Interesting how we get different takes on the same movie. The above example is a movie that was seen 20 years apart. The movie is the same but we change. It nearly makes one ask, have I really seen such-and-such movie, blithely affirming so despite many years since. Not that this would apply to all movies, some would seem to "stay the same." But with others, who might not stay the same, we might have to refrain from saying, "Yes, I've seen that one." It might turn out to be something else after a new reading. Just when we think we've got it nailed, we have to go back and see it again to ensure we really know the film. We can never catch up. (and then to think that there all those that have not been seen at all.)
Here's a film I've never seen in 20 years. What an interesting experience.
Natural Born Killers (1994) A satirical, Neo Noir, sensory overdose, psychedelic acid road trip to Hell.
Directed by Oliver Stone, based on a Quentin Tarantino story, with Woody Harrelson, Juliette Lewis, Tom Sizemore, Russell Means, Tommy Lee Jones, Rodney Dangerfield, Edie McClurg, Balthazar Getty, and Robert Downey Jr.
It's a bizarre black comedy satire of the American 24 hr news cycle celebrity/violence culture, much in the same vein of Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) and A Clockwork Orange (1971).
I've managed to not see this somehow since it's release, and I believe my experience was all that more enhanced since I've begun delving into Noir and Neo Noir so heavily. The film, like a slow motion strobe, sporadically flashes between Black & White and Color film, it has these insanely canted Dutch Angles while at other times they tilt teeter-totter like along with other Noir stylistics, it uses documentary style footage and live breaking news parodies, animation, TV sit com satire, super 8 film sequences, TV quasi News Specials, and music video style promos and hyper violence mixed with cultural and natural Iconography all in a assault on the senses. It's INSANITY, with a complimentary soundtrack.
It's the same set up as Badlands (1973), but combined with They Live By Night (1948) and Gun Crazy (1950), Mickey & Mallory are depicted as damaged individuals two man created demon/outlaws rolling across the Southwest guns a-blazing, how different is this from say Quantrill's Raiders, the James Gang or any other marauders roaming the West.
The film is full of these little picaresque noir vignettes that will stuck in your mind amidst all the designed chaos.
One you can call Mallory 90s Femme Fatale sequence where Blondie-Mallory goes off half cocked away from Mickey in a cocktail dress, and ends up seducing a town pump gas jockey on the hood of a Corvette in the garage bay. He quickly looses control and Mallory frustrate-edly pushes him off the hood, pulls a revolver out of her bag, and cowboys him full of holes. She then grabs her shed panties and flings them at the corpse exclaiming "that was the worst head I ever got"! and stomps off. lol.
Welcome to the 90s. We are post code but it's still using dialog and suggestive images to jump start your imagination, but it actually has very little nudity in the whole film, your imagination fills in the rest just like it did during Classic Noir.
A following related vignette has Jack Scagnetti the sadistic detective on their trail recreating the crime scene at the town pump. He picks up the panties and smells them then tosses them to a deputy. He sees the imprint of Mallory's **** on the hood remarks that it's a "fine ****", then makes note of the saliva drops in an obviously related location. He then leans over the corpse and extracts a **** hair from the dead mans teeth and exclaims "Malloy meet Jack Scagnetti".
Another is the Mickey & Mallory take their marriage vows sequence. They are standing on a high bridge over a canyon its shot with a tongue in cheek tenderness which is temporarily shattered when a pickup full of jeering hecklers drives by. Mickey keeps it under control in truly warped solemnity saying "I will not murder anybody on my wedding day".
Other times the vignettes are just small homages to the past cinema like when Mallory & Mickey are dancing at the diner the sequence changes from full traditional lit color to Astaire & Rogers low key chiaroscuro.
Caution this film will not be for everyone. But it's still a refreshing alternative to most of the current output of films. 9/10