NYFF podcast. Go Go Tales.
In this podcast from the New York Film Festival
, Andrew Grant
and Aaron Hillis
talk with Manohla Dargis
of the New York Times
about Abel Ferrara
's Go Go Tales
). To download or listen, click here
Screens Friday and Sunday.
"Go Go Tales
is a joyful mess," writes Jürgen Fauth
. "Not every gag works, not every character convinces, and most shots of the near-naked dancers are entirely gratuitous, but the film's sensory overload and exploitative mood seem entirely appropriate for the subject matter, and Ferrara's evident love for the world shines through even the most haphazardly improvised scenes."
"Using the beleaguered club as a symbol of the staff's own unrealized ambitions (a correlation that is reinforced in the club's hosting of a weekly, after hours talent showcase, mostly catering to family and friends), Ferrara creates a polarizing and blunt, yet astute and unexpectedly compassionate allegory for the inextinguishable creative spirit in all its chaos, volatility, isolation, hope and exhilaration," writes acquarello
At the IFC Blog
, Alison Willmore
finds the film "as shaggily likable and verging on car-wreckish as the director himself."
"Works of narrative cinema rarely seem this intoxicated with every fun-loving, form-manipulating moment," writes Robert Levin
. "Yet, the movie ultimately proves a bit too crazed and disjointed for its own good."
"Ferrara seems to have a good time vamping up the good old/bad old days of underworld New York, particularly when serving up more writhing ass than a donkey farm during a cholera epidemic," writes Michelle Orange
at the Reeler
. "But some of the riff-heavy scenes feel riff-heavy, and Ferrara seems more impressed with his satire of a dying lifestyle/New York/genre than I was."
"Financing and distribution woes have taken their toll on his body of work and yet he perseveres like a stand-up comedian whose been batted around the club scene for too long." William Speruzzi
saw Ferrara at the Apple Store SoHo
Earlier: NYFF previews
and Cannes reviews
For the Reeler
, Annaliese Griffin
follows Ferrara around New York as he promotes Go Go Tales
and works on a documentary about the Chelsea Hotel
"With Go Go Tales
, it's once again Abel Ferrara's party, and he'll indulge in boisterous craziness if he wants to," writes Nick Schager
, who finds that the "sleazy energy, sense of community, black humor and bittersweet nostalgia are infectious."
Update, 10/9: Aaron Hillis
finds out more about Ferrara's Chelsea Hotel project in his interview with him for IFC News
tells a rather sad tale of a midnight screening, and then: "[T]he absence of any real glamor or hope of financial security is really the precondition of its cheerfulness, and this is the difference between Go Go Tales
, perhaps even between New York go-go dancing and Vegas stripping. It's telling that to avoid triggering cynical rejection in the audience Ferrara has to undercut [Willem] Dafoe
's rabble-rousing manifesto with the last shot, as if we the festival audience have grown simply incapable of 'buying' a straightforwardly happy ending. Is this where three decades of irony-laden ennui and anti-human pessimism drops us off?"
In both The Last Mistress
and Go Go Tales
, Argento "is at once ultra-feminine and masculine, sexy and 'scary,' in a way that maybe hasn't been seen on screen to this extent since the height of Marlene Dietrich
," writes Karina Longworth
at the SpoutBlog
. "But saying that Argento plays the Dietrich role in Go Go Tales
is essentially like imagining the gorilla suit number from Blonde Venus
digitally inserted into the middle of 42nd Street
. Ferrara's made an almost happy-go-lucky glorification of sleaze, with Argento as its dark heart."
"[R]eally, it's not very good, just a thin little wisp of a film that probably wouldn't get the attention it will inevitably receive if it didn't take place in a struggling, mom-and-pop strip club evoking the last vestiges of pre-Guiliani Manhattan vice," writes Michael Joshua Rowin
at Stop Smiling
Posted by dwhudson at October 3, 2007 5:38 AM