Villem Dafoe in the drama Bohemia Then and now

In Kent Joneslyrical and enchanting “Light glory” Villem Dafoe He plays forgotten New York poet who once had a moment. It was 1979. years and Dafoe’s character, Ed Sakberger, was part of the scene in the city and Warhol / Water Egyptian Misfits who lived next to nothing in the eastern parties and that they went to the attic. Edited the book poetry, called it on the verge of what was happening. But the 1980s did not pay for the rent, it was no longer a poet (like Charles Bukovski did 50s and ’60s), a It now lives the life of the source of anonymity. Every evening is socialized in the same neighboring lane with its other workers who have no idea that ever a writer.

Early, while walking to his dead residential building Anghattan, Ed stopped a young man who watches him across the street. Off, trailer, trailer is entered as MEERS (Edmund Donovan) and explains that he read “last time”, and he thinks it’s a masterpiece. Him, ED is not some spirit of poets that no one remembers; He is the God of the writers who made up something timeless. And while Meiers explains, he is not the only one who feels like that. He has a group of friends who meet regularly discuss art and life and everything between and everyone read “Read” past, “and everyone thinks that ed that. They want to meet him.

Dafoe plays this meeting with a great glow shine. Our instinct is to imagine the ED will be flattered and touching knowing that someone remembers (and loves) your book. But Dafa, with a haunted eyes and a slow air smile, shows that Ed barely takes it. It is not only his days of poetry for decades behind him; that is that it’s not person More. But below a certain middle American compound, he is a confidential guy, and Meiers continues him to kajolira. So, after a while, Ed agrees to appear in that cafe to get acquainted with your Zoomer fans.

One of the usual observations about movie kakers like Jean Renoir, Robert Altman and Jonathan Demme is to see humanity of all on the screen. This is abundantly true for Kate Jones, who made its first dramatic characteristic, crucial “Diane,” in 2018; It was starred by Mary Kai Place, in a revelatory effect, as a bumera aging negotiating the past that was so alive towards her you could just touch. Looking “late glory,” I felt the same top strata of humanity – except that it was especially about Jones’ voice, this time he came to even greater relief. It has a style that is very naturalistic, but in a significant side of the road. Its camera follows the actors around, tracking movements and thoughts, often comes to them. What drives that camera, word, is curiosity.

Kent Jones is a filmmaker who is deeply and dramatically curious and it is a quality that divides with the film scenar, Sam Burch, written by “Maja-December”. In “late glory, Jones fills the screen with people who wants to know more. The film, like “Diane”, has a fascinating central character, and once again we see that the sign is set against the community that supports the degree, although not without lubricable illusions. Ed, in the “late glory,” he goes on his way – in his past, but really question whether he is who he still could exist in the present.

When she first appears to meet Meiers and his friends, it seems to have much in common. But ED represents without Friils to judicial training, it is equal parts of courtesy and caution. It asks the same thing we are: Who are these people – this new generation of poetry lovers sit and drinks in the eastern village? In the cafe, where they occupy a large open space on the first floor (wide range from the “Impact” table, they consider their Nemes), declare and discuss their passions and their values. They are mostly recent faculties, from NIU and other elite Hawes. Love art, Real Art. They do not like technology or social media. Everyone relates to their surnames each other, and speculation meant to cause toughness in the 1920s. And as a group, they call themselves enthusiasm society – to name the name of the assumption, but that the state is part of that, reprimanding the hip cipenism that lives people from passion.

“Late glory, which reconfigures the published Roman Arthur Schnitzler (who wrote a story about SNU in 1926. years,” in which “eyes are widely closed) in the form of a proven duet between EDA and his enlightened new cult of followers and fans. What enchants on the film is how it uses a bigger story: from the bohemian world, and now and what it really meant (or may not be reflected in where it is reflected in where all of them reflects. But it is also quietly haunted by a highly specific portrait of one man, Dafoe’s Ed: Stopping, eager, resistant, but there is still a figure buried and only someone who wakes up a part of himself, should never fall asleep.

What is the enthusiasm about society? From the very beginning, he intrigued the character of the Meier. Edmund Donovan makes it formal and precise, and he talks about why he appreciates formality (all the art of language, which the rest of the culture lets Kudnjak); Seems to be honest enough. But then Ed visit the visit to Meier’s apartment. As soon as it enters the failure, a flawless set pad, see the right story about the matches and his friends: that they are rich in children in the daddy’s dairy, playing Bohemian on the Cochemical Cochemistry at the Tatin Dimer. (They say they hate technology, but Meiers is on very kind conditions with Siri.) Doesn’t it undo their orientation? Not necessarily. Meiers, for one, seems to be truly worried about literature. It was said, the world of privileges is a different thing from the world not only love arts but live for it. As the “late glory” continues, and they decide to set up in the center of poetry, which will have public return ED Sakberger (with other bines of performance thrown in), the film meditates whether it is medium-class artistic evolution or fatal contradiction.

Dafo’s performance is like slowly separated wild flowers. His ed begins as a devastated monument, but that person gradually does not fit while comfortably becoming comfortable with his new notice, while in it, even while he is aware of his built-in Evanescence. Dafoe acting becomes the most hope and vulnerable, when Ed returned Gloria’s interest, the only woman in the group, and perhaps one original Bohemian. She is older than the others are, and Greta Lee, from “last life,” she plays like a postmodern vampa Fatal from the 80s, the cross between Louise Brooks and Lydia’s lunch. It is a professional flirt at once; awesome IT girl; disgusting poseur; And, as we see on one scene where she drops the crash, the dusty old ingredients that will decrease with someone for rent. But she is also a real artist. In reading poetry, he rises on stage and performs Brecht / Weill “Surabaia Johnni” with a recking cabarette force that turns the song into four minute autobiography. She’s getting stronger.

And so Ed when he finally gets up on stage to read the song with the “past”. He agreed to write a new song for this opportunity, but he could not retire together to do it; True poetry, we gather, not written on request. But in that way to hear that the poet ed was in his vrgo, and there was a double vision there. We hear how fashionable Sounds (and modernly I think: how captured it is in its time), from the New York Reference of Lost Worlds to insisten male views on the crumpled three-dimensionality of the language. Still … It’s a thing of beauty! It’s falling on our ears like music and we realize that Ed really had a gift.

But is it his new followers, like Meiers and Ersatz Proletarian Brusard (clay singer), and hair is about him? Or want it, because walking is an incentive of artistic fearlessness to turn into accessories? Until the end of “late glory,” Ed passed through a glass of rebuilding just to return. After 37 years in the post office, it has a huge life on the other side. But what it wants is what is real, and it’s something Bohemia may no longer have a place for it.