First, a comment to the two reviewers who found this film 'slow,' etc;
The pace of films - for MOST of the 20th century were at a much slower pace. It lets the director get to know the characters, etc.
In today's film market - in which a HUGE part of the pie is overseas sales/distribution - dialogue doesn't translate, but, ACTIONS do.
That's one of the reasons why most films of the past decade or so, have interchangeable plots, characters - the story is second to the action.
Saying that, let me talk about MEDICINE FOR MELANCHOLY.
I came in a few minutes after it had begun. I'd never seen, nor heard of it (my friend had left the TV on, and was actually watching something prior - FLAWLESS, with R. DeNiro.
I came in when Micah was in a cab bringing the lost wallet he'd found back to it's owner, Jo (I know that they'd had casual sex just before this, and didn't know each other).
I got caught up in the dialogue. It was slow. It as natural, as to how two people meet (awkwardly) at inopportune times.
I quickly picked up on the ambivalence Jo' was having, and Micah, just trying (at first) to get to know Jo a bit.
The film follows them throughout that day - and that night, as the two start to reveal more of themselves. A third important cast member, who's very important, is the sprawling city of San Francisco.
I love the cinematography done on this film. It's a loving portrayal of San Francisco.
The pair walk through streets, and neighbourhoods, that are far from the shiny images tourists see, or think of, when they hear the city's name.
As for the performances of both the two (verbal) actors, I enjoyed their charisma, and I hope to see more from them in the future.
MEDICINE FOR MELANCHOLY is not for people who are impatient, or 'don't get' plots. But, for those who enjoy spending an afternoon, and just letting a film wash over you, this one's definitely one to watch.
The pace of films - for MOST of the 20th century were at a much slower pace. It lets the director get to know the characters, etc.
In today's film market - in which a HUGE part of the pie is overseas sales/distribution - dialogue doesn't translate, but, ACTIONS do.
That's one of the reasons why most films of the past decade or so, have interchangeable plots, characters - the story is second to the action.
Saying that, let me talk about MEDICINE FOR MELANCHOLY.
I came in a few minutes after it had begun. I'd never seen, nor heard of it (my friend had left the TV on, and was actually watching something prior - FLAWLESS, with R. DeNiro.
I came in when Micah was in a cab bringing the lost wallet he'd found back to it's owner, Jo (I know that they'd had casual sex just before this, and didn't know each other).
I got caught up in the dialogue. It was slow. It as natural, as to how two people meet (awkwardly) at inopportune times.
I quickly picked up on the ambivalence Jo' was having, and Micah, just trying (at first) to get to know Jo a bit.
The film follows them throughout that day - and that night, as the two start to reveal more of themselves. A third important cast member, who's very important, is the sprawling city of San Francisco.
I love the cinematography done on this film. It's a loving portrayal of San Francisco.
The pair walk through streets, and neighbourhoods, that are far from the shiny images tourists see, or think of, when they hear the city's name.
As for the performances of both the two (verbal) actors, I enjoyed their charisma, and I hope to see more from them in the future.
MEDICINE FOR MELANCHOLY is not for people who are impatient, or 'don't get' plots. But, for those who enjoy spending an afternoon, and just letting a film wash over you, this one's definitely one to watch.