Spring Break
Kaufman's Synecdoche is a psychedelic success
Issue date: 12/4/08
On an airplane to Berlin - to try to find Olive - Caden imagines his book is talking to him and giving him directions, and suddenly his therapist appears to his left. In other words, Kaufman uses his trademark psychedelic method of storytelling to depict the decaying of Caden's magnificent, troubled mind.
As this new production goes forward, Caden has a New York City replica built in his hangar, and enlists actors to play everyone - including himself. A man named Sam (Tommy Noonan), possessing an otherworldly essence, follows Caden everywhere.
Soon, without a linear or clear progression, 17 years have passed. Since Caden can't grasp how events are moving forward, neither can the film. Events happen rapidly without any reason or obvious connection.
The protagonist is so obsessed with "earning" his MacArthur grant and creating a play that is "truthful" and "pure." He creates a microcosm within this hangar, an artificial world that is meant to capture what's "real" in the outside one.
The irony, though, is that through such an enormous effort to capture the truth in life, Caden and his crew lose their grip on their own existence.
More layers are added to the puzzle: Caden disguises himself as a housekeeper to sneak into Adele's New York apartment; he meets Olive, who is tattooed and dying, and refuses to forgive him for abandoning her.
Both events point to an underlying theme in the film - Caden's possible homosexuality, constantly suppressed but alluded to very often.
If Caden were gay, his estranged female relationships and constant self-loathing would be easily explained - which is why he probably isn't. In a film as complex and interwoven as Synechdoche, New York the simplest answer is most definitely not the correct one.
The movie is wonderful, thought-provoking, infinitely complicated and wonderfully simple. With all its strengths, though, it cannot escape its one weakness: It's too long.
The downward spiral of Caden Cotard's psyche is a marvelous and brave undertaking on Kaufman's part, but losing 20 minutes from the film's run time would make it even more effective. Some shots are overly long and some scenes too abstract; surrealism is the heart of this film, but without any firm ground for the viewer to hold onto, it loses its poignancy.
Overall, though, the movie is breathtaking. The replica of New York City, covered by the steel cage of the hanger, is a sight to behold; the performances, too, are just as spectacular. Hoffman, especially, embodies this role and makes it not only believable but beautifully tragic.
No external meaning will be projected here; this film is one that simply needs to be seen.
As this new production goes forward, Caden has a New York City replica built in his hangar, and enlists actors to play everyone - including himself. A man named Sam (Tommy Noonan), possessing an otherworldly essence, follows Caden everywhere.
Soon, without a linear or clear progression, 17 years have passed. Since Caden can't grasp how events are moving forward, neither can the film. Events happen rapidly without any reason or obvious connection.
The protagonist is so obsessed with "earning" his MacArthur grant and creating a play that is "truthful" and "pure." He creates a microcosm within this hangar, an artificial world that is meant to capture what's "real" in the outside one.
The irony, though, is that through such an enormous effort to capture the truth in life, Caden and his crew lose their grip on their own existence.
More layers are added to the puzzle: Caden disguises himself as a housekeeper to sneak into Adele's New York apartment; he meets Olive, who is tattooed and dying, and refuses to forgive him for abandoning her.
Both events point to an underlying theme in the film - Caden's possible homosexuality, constantly suppressed but alluded to very often.
If Caden were gay, his estranged female relationships and constant self-loathing would be easily explained - which is why he probably isn't. In a film as complex and interwoven as Synechdoche, New York the simplest answer is most definitely not the correct one.
The movie is wonderful, thought-provoking, infinitely complicated and wonderfully simple. With all its strengths, though, it cannot escape its one weakness: It's too long.
The downward spiral of Caden Cotard's psyche is a marvelous and brave undertaking on Kaufman's part, but losing 20 minutes from the film's run time would make it even more effective. Some shots are overly long and some scenes too abstract; surrealism is the heart of this film, but without any firm ground for the viewer to hold onto, it loses its poignancy.
Overall, though, the movie is breathtaking. The replica of New York City, covered by the steel cage of the hanger, is a sight to behold; the performances, too, are just as spectacular. Hoffman, especially, embodies this role and makes it not only believable but beautifully tragic.
No external meaning will be projected here; this film is one that simply needs to be seen.
Viewing Comments 1 - 1 of 1
Caroline Pellyn
posted 3/07/09 @ 12:44 AM EST
Great article. I agree totally.
Post a Comment