Review:Private and odd, archly dreamy and intimate, this 1974 documentary remains one of the more uniquely hypnotic movies about the connection between presented life and pulsating art, writes Robert Abele of 'A Bigger Splash.'
, the more you try to peg what it is — snapshot biography? documentary? art project? imagined reverie? — the more its beauties and mysteries push back, until you feel like someone helplessly enraptured in front of a great painting: the mind’s orderliness defeated by the buzz of heightened consciousness.
Here’s an attempt, anyway, at describing British filmmaker Hazan’s then-controversial, years-in-the-making movie, which he named after Hockney’s landmark 1967 water-and-modern-architecture study memorializing landscape and instantaneousness, but which captures the making of a different great work.
If you’re someone who misses the rich grain of celluloid in our digital age, Hazan’s cinematography — whether focused on someone’s awkwardly frozen visage or the look and feel of 1970s London as its swinging days reached the end — will feel like a time capsule treasure. Patrick Gowers’ highly strung score, meanwhile, its swirling motif applied in generous daubs, gives off the feeling you’re watching a psychological drama that might just lead to an act of violence.
No death or brutality is in store, however — just the transforming of an affair’s finality into a bold, gorgeous new work, the assemblage of which as Hockney makes photographic studies, finesses the details, and completes the painting, is stunning to behold.
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