Ok let's do this
I uploaded the best copy available but the quality is not optimal (dvd is a laserdisc transfer or some shit), bear with me.
Sound might be slightly out of sync, nothing VLC can't fix (shortcuts J and K keys).Little Odessa
I've been meaning to watch this one for a while, I figured one stone two birds all that...
Context (quick and dirty)
James Gray occupies an interesting place in today's American cinema. Through his first three films (Little Odessa, The Yards
and We Own the Night
) he has developed a brand of (crime) filmmaking that's been alternatively referred to as European and classical (= classic Hollywood films), a rare occurrence in a landscape largely redefined by the genre-mixing, irony-laden, nonlinear narratives of Pulp Fiction
(released a couple months before Little Odessa
). In many ways, Gray is the antithesis of Tarantino. His films are restrained, full of contained tension, long takes...
More than classical, Gray's filmmaking continues the 'post-classical/New Hollywood' realism tradition of directors like Coppola, Scorsese, Lumet, Kubrick, Cimino...
Besides those inspirations, Gray draws heavily from literary (Dostoyevsky, Shakespeare) and theatrical (greek tragedies but also operas) influences to give a solemn and fatalistic atmosphere to his films.“This is an operatic conception to some degree,”
says Gray, “but it’s almost like the characters themselves are not truly in control of their own fates. It is, to my own taste, an elegant and sophisticated way to approach a movie, but not to everybody’s. It’s very frustrating to watch characters who are hostage to a larger system, a larger world order.I think I’m a very American director, but I probably should have been making movies somewhere around 1976. I never left the mainstream of American movies, the American mainstream left me. Really what I’m doing is an attempt to continue the best work of the people I adore, Francis Coppola and Scorsese and Robert Altman and Stanley Kubrick and those amazing directors whose work I grew up with and loved. Because really American film was that! An American commitment to narrative with an interest in the creation of atmosphere that came probably from Japan or Asian cinema, with a commitment to thematic depth that comes from Europe... We lost that.Edited by sipang - 2/26/13 at 8:51pm