Diary entries forSeconds
Seconds
Uma trinca interessante é você ver "A Cicatriz" do Sekely e Henreid e emendar esse em seguida. O que Frankenheimer faz aqui é abissal. A começar que o diretor abusa de closes fechados próximos até demais dos rostos dessas personagens, o desconforto, a sensação de claustrofobia mesmo em ambientes espaçosos, a forma como o diretor distorce a imagem, aquela lente de olho de peixe que deforma essa vida de americano de meia-idade que, supostamente, deveria estar vivendo o sonho americano. O emprego estável, a futura promoção a gerente, uma esposa e um casamento longínquo, mas ainda sim tudo é vazio, tudo é uma perspectiva externa. É a vida de um homem cansado, apático, isolado de afeto. Acho muito interessante quando em uma das melhores cenas do filme que é quando o personagem do John Randolph fala sobre sua esposa e em um momento de intimidade ele cria esse momento que ele fala sobre não ter mais intimidade com a esposa, mas ao invés dele se referir a sexo, ele desvia e fala de afeto... E a interpretação tanto dele quanto do psicólogo de Will Geer tem tanto pesar emocional. Mas quando vem a virada e Rock Hudson assume... Ele prova que não era só um rostinho bonito. Ele sai do arquétipo do galã, o ator que começou a carreira como um interprete dos filmes do Sirk tá intenso demais, é um personagem que carrega culpa, dor, uma vontade gigante de fazer valer todo aquele esforço empregado na nova vida e daí pra frente o filme se enfia em um bacanal, um coquetel que dá tudo errado e uma conspiração cercada de rostos e vidas falsas. Acho muito lindo a forma como o filme volta para o "começo" e tem aquele diálogo tão bonito com a esposa. Ele ouvir da boca de alguém que ele viveu anos que ele morreu muito antes do incêndio... Visceral e tocante.
Seconds
Rewatching one of my favorite movies. Seconds Adalah film horror psikologis yang menggambarkan secara garis besar mengenai krisis identitas dan eksistensi diri. Arthur Hamilton, sang tokoh utama, seorang pria paruh baya yang mengalami kekosongan di masa tuanya, ia mendapatkan tawaran oleh “Company” yaitu organisasi rahasia yang menawarkan sebuah kehidupan baru atau bisa disebut “Rebirth” dengan cara melakukan operasi plastik secara besar-besaran dan membuat identitas palsu untuk kehidupan barunya. Arthur yang awalnya tidak tertarik tapi justru terprovokasi karena pihak Company bisa memainkan emosi dan jiwanya. Selanjutnya, setelah memulai kehidupan baru, Athur yang mengubah namanya menjadi Antiochus Wilson mencoba beradaptasi dengan identitas barunya menjadi seorang pelukis. Namun, kehidupan baru yang dijalaninya tidak sesuai apa yang diharapkan, Wilson mengalami krisis moral dan lupa akan aturan yang diberikan oleh Company. ----- Kalau menurut gw awalnya hidupnya si Arthur ini gk buruk-buruk amat, dia cuma korban provokasi karena usianya yang udah cukup tua dan kesehariannya yang monoton menjadi bankir. Pertengahan film freak banget asli, tokoh-tokoh yg muncul itu ternyata cuma kepalsuan yang dibuat oleh Company. Intinya Arthur ini emang dapet jaminan bebas dari kehidupan lamanya, tapi dia jadi dapet kontrol penuh dari company yang berarti hidupnya ini akan selalu dibuntuti dan gk bebas sama sekali, jadi bullshit lah istilah freedom freedom yang dijanjiin itu. Btw butuh rewatch yg kedua kalinya buat gw benar-benar mahamin alur film ini.
Seconds
نحن نعيد تشكيل الناس، لكننا لا نحسنهم. الجملة اللي فوق تلخص لك الفيلم بأكمله، مهما غيرت اسمك او شكلك او حياتك لكن إذا ماواجهت حقيقتك الداخلية، راح ترجع لنفس النقطة اللي كنت فيها بس بطريقة ثانية او يمكن حتى اسوأ. فيلم غريب وتحس بتوتر غريب وانت تشاهده، روك هودسن اداء مثالي، والاخراج اسطوري وزوايا التصوير كانت مثالية وتزيدك توتر فوق التوتر اللي انت فيه. تجربة رائعة ودور غير معتاد من روك هودسن لكن ابدع فيه جداً.
Seconds
i didn’t expect this film to be as eerie as it is, this is definitely a “be careful what you wish for” type of narrative. like, does changing your identity, your name, your face, where you are, change what’s actually troubling you? it rarely does. oftentimes you just end up stuck with the same problems at the end of it all, if not worse. the movie uses a lot of close-ups, giving the audience this almost uncomfortable sort of closeness to the actors, perhaps highlighting the film’s focus on identity. i also really like the types of film from this era that lean into having bleak endings, and this is definitely one of them.
Seconds
Hooptober 12 (https://boxd.it/O4q2m) #32 of 33 • 2 of 3 cult or conspiracy (https://www.ranker.com/list/best-horror-movies-about-cults/ranker-film) films AND 3 of 9 different decades (https://letterboxd.com/films/genre/horror/by/release/size/small/) (1960s) Not feeling the hype on this one. Certainly an interesting premise and really neat camerawork, but just didn’t captivate me.
Seconds
الكل يحتاج يشوف الفيلم
Seconds
“𝘠𝘰𝘶 𝘤𝘢𝘯’𝘵 𝘭𝘦𝘵 𝘵𝘩𝘦 𝘮𝘪𝘴𝘵𝘢𝘬𝘦𝘴 𝘫𝘦𝘰𝘱𝘢𝘳𝘥𝘪𝘻𝘦 𝘵𝘩𝘦 𝘥𝘳𝘦𝘢𝘮𝘴.” It's funny how a second watch can change thoughts and opinions. I think the first time around, I focussed too heavily on style without realizing what it was doing. But the blurs. Fisheye shots. Dutch tilts. All of it works in this intense reawakening of a second chance at life. But what if you fuck up second chances? Sweat. Blurs. Cuts. All in black and white. It's a fully embodied film that plays with anxiety in the unknowingness. In unfamiliarity. How do you begin again? Is everything worth relearning? In the mundanity and in Dionysian perversity anxiety is found. Some days feel so uneven that I feel so alien to sunlight. To sea. Speaking. People. Standing. Waiting. I'm not waiting for these days to end, but I'm waiting for the grand outburst. Feelings free, all up in the air.
Seconds
This one had me so anxious. The way the camera feels hand held, low and swarming along the steps of people, the very montage at the beginning that stresses you out. It put me in a spell of disbelief that this was even put out in the sixties. The "middle" act really put me to sleep until it got to the "Midsommar" vibes, the real shocker. And the last half of the film makes a sweeping return back to its very beginning. Definitely recommend this for anyone interested in how you can make an early Godard film scary. But it makes us question: If given a second chance at life, do we end up with the same kind of self-destructive behaviors that existed in our first shot? Are we allowed another chance if we screw up the second? How do we rid ourselves of self-destructive behaviors? Shout out to Gaspar Noe for making this a recommendation. I think this is where most of his weird camera work comes from, the very paranoia of how an eye can capture the mundanity yet see the psychotic nature of the dullness in life.
