Cremaster 3 (2002) 6.9
The third film of a five-part art-installation epic -- it's part-zombie movie, part-gangster film. Director:Matthew BarneyWriter:Matthew Barney |
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Cremaster 3 (2002) 6.9
The third film of a five-part art-installation epic -- it's part-zombie movie, part-gangster film. Director:Matthew BarneyWriter:Matthew Barney |
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| 0Share... |
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Richard Serra | ... |
Hiram Abiff
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Matthew Barney | ... |
The Entered Apprentice
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| Aimee Mullins | ... |
The Entered Novitiate /
Oonagh MacCumhail
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Paul Brady | ... |
Cloud Club Maitre D'
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Terry Gillespie | ... |
Cloud Club Barman
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Mike Bocchetti | ... |
Grand Master
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David Edward Campbell | ... |
Grand Master
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James Pantoleon | ... |
Grand Master
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| Jim Tooey | ... |
Grand Master
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Nesrin Karanouh | ... |
Gary Gilmore
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| Peter Donald Badalamenti II | ... |
Fionn MacCumhail
(as Peter D. Badalamenti)
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The Mighty Biggs | ... |
Fingal
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| Rest of cast listed alphabetically: | |||
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Heather Coker | ... |
Dancer
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James Drescher | ... |
Lead Singer - Murphy's Law
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| Todd Christian Hunter | ... |
Mason
(as Todd Hunter)
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Barney plays the Entered Apprentice and his opponents include the Order of the Rainbow for Girls (who look a lot like the Rockettes), Agnostic Front and Murphy's Law (two New York Hardcore bands), Aimee Mullins, and Richard Serra. Molten Vaseline, dental surgery, a demolition derby by vintage Chrysler Imperial New Yorker cars and a gorgeous creature who is half-cheetah/half woman all figure in this latest edition of Matthew Barney's fever dream. Much of the action takes place in two New York landmarks, the Chrysler Building and the Guggenheim Museum, as well as at the Saratoga Racetrack (upstate NY), the Giant's Causeway (Ireland) and Fingal's cave (the Scottish Isle of Staffa). Written by Sujit R. Varma
I suppose you have to have already made a decision about who you a re and how cinema fits in your life to lucidly decide the first things about this. What is it and how will it speak to you?
I've now seen the "long" version and a 30 minute cut that was apparently done for exhibiting at The Guggenheim for patrons with less patience. Actually, with a different score that short version would be something useful. It isn't that the score is offensive. It is, but that's not what I'm trying to avoid. (Bjork's handling of "Restraint" was apt while annoying.) What he needs is something that plays with his symbol-universe sonically.
The short version cuts out the whole Chrysler erection sequence and shortens the Guggenheim. There's less Crisco tossing.
You may like this. It reeks of importance. It has layers of symbology, at least so far as notations and is very much like those paintings from that era when you could say: those grapes "stand for" so and so and that reclining lamb next to them "means" such and such. So okay: scots freemasonry as dedeconstruction, punk fried eggs, Dante's circles of museum hell, manufactured women except one beast goddess...
It seems for some of these he comes up with the symbol systems first, then surveys what material he has and then forms a performance out of that based on objects and himself. That's weak tea for me. "Cremaster 1" was an important and rich experience for me. That's because I believe he started with the images and built everything around that. Its really quite brilliant and I recommend it to you.
But not this. Its his own yard sale. Don't go.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.