SOCIAL MEDIA PRESENCE
Requiem for the American Dream version 2.0 Here is the diabolical trick that the Firm presents to its clients: it does not make the indegent rich and doesn't exalt nonentities to the peak of power. https://sampannic07.webgarden.at/kategorien/sampannic07-s-blog/make-iceberg-hide Her clients are folks who are already wealthy and successful. The firm does not give them a brand new lease on life - it just swaps them around like pieces on a board, while each one stays along with his own. Under the new appearance, the aging insides are hidden, and beneath the new, completely new personality, there's lots of old memories, sins, mistakes and fears that you have to transport with you everywhere. ... However, our gloomy man seems to really have a chance: on the beach he met a mystical woman named Nora (Salome Jens) - not his first youth, but still very attractive. Judging by some hints, also from the'former '. Initially, alert Tony gradually thaws. Nora takes him to the annual festival of wine, of which hippies indulge in libations and arrange an actual orgy: grapes are poured right into a huge wooden vat, naked women and men trample it down to the universal joyful chant. In this vat, the effervescent wine of the sexual revolution is fermenting, which turns the pinnacle of the hippie generation. By the conclusion of the century, it will hopelessly sour in to a vinegar of harassment and pedophilia, but for folks who happily tumble in a vat, it is still ahead. However, 30-year-old playboy Tony discusses this deadly sin with the eyes of 50-year-old accountant Arthur. https://articlescad.com/balto-animated-movie-review-2-607482.html Only once his clothes are forcibly cheated and dragged in to a vat does the minute of enlightenment come - bursting into hysterical laughter, Tony tumbles in a grape slurry! But no ... no breakthrough happened, sobering sets in, and paranoia returns ... Gradually, the unsightly underside of his new life opens before Tony Wilson. There is no turning back - he wants to try again, not realizing that the second attempt is doomed similar to the first. Neither a new name, nor a fresh face could make him free and happy, because he is locked in his inner prison, and where the key from it is - God only knows ... Nevertheless, he requires a second chance. The Firm is incredibly reluctant to make such deals. Tony's only opportunity for a second try is to locate a new client for the Firm, as Charlie once found himself. The cycle of secondhand cows must continue ... * * * Frankenheimer shot The Secondaries at the height of his directorial power, using his entire arsenal of highly polished visuals. Contrasting black-and-white cinematography, dynamic camera, sharp editing, unexpected angles, having fun with optical distortion and new wide-angle optics for anyone times, specially built scenery that creates an unreal perspective. With the excellent acting of the actors, especially the'double-headed monster'Randolph / Hudson, this creates a feeling of paranoia that literally sticks to the viewer. By viewing it becomes clear where the legs grow from the Aronophian'Pi'and'Requiem for a Dream '. Even the rocking camera that I hate is used tastefully and to the stage - when it follows a drunk hero at a celebration, there is a real feeling to be'rolled'... I would suggest watching it together with a Japanese painting of the exact same year'Tanin no kao (Alien's face) '.