Thinking comparative-film…

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One of the most ingenuine things about comparative-film is getting the opportunity to look at one of my favorite comedic actors and writers of film and writing in general. I’ve always been intrigued by Woody Allen’s work–and in coming across two films Interiors and Broadway Danny Rose, not only is a simple setting like a house and an ocean as well as a table in a lounge provokative, but it’s what lies underneath: a subtext thematic of a family’s vision or a breaking up of that vision–at least that’s what I came across with while watching Interiors.

It’s interesting the inner-personal struggle and tragic-nature of the characters and how they either pretend to manage their strife and what plans they have or don’t yet have and how they deal with loss and/or cope with it. And, interestingly enough, in Broadway Danny Rose, a once non-lowlife entertainment agent seeks sustainability in such desperation that he loses sight of the reason why he’s an agent in the first place. Comparative-film invokes, for me, more of an altruistic way of looking at the family dynamic even when these characters aren’t related. The table, The lounge. The characters. Some find family in the lounge. And some, in general, with comedy–which is just about as close as some can get to family. What’s also intriguing is how adverse these characters are to inner-change.They know they need to change, but they can’t seem to either change themselves or want the risk in knowing what comes with change. The two films couldn’t be more different than one another; however, they are one in the same with characters who know a change is needed but they can’t find a way into that change.

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