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Directed by | |||
| Harmony Korine | |||
Writing credits | ||
| Harmony Korine | (written by) & | |
| Avi Korine | (written by) | |
Original Music by | |||
| Jason Spaceman | |||
| The Sun City Girls | |||
Cinematography by | |||
| Marcel Zyskind | |||
Film Editing by | |||
| Paul Zucker | |||
| Valdís Óskarsdóttir | |||
Casting by | |||
| Sarah Crowe | |||
Production Design by | |||
| Richard Campling | |||
Art Direction by | |||
| Johnny Campling | |||
Costume Design by | |||
| Judy Shrewsbury | |||
Makeup Department | |||
| Jo Allen | .... | hair designer | |
| Jo Allen | .... | makeup designer | |
| Mark English | .... | hair stylist | |
Production Management | |||
| Sylvain Marques | .... | assistant unit manager: french unit | |
| Dean O'Toole | .... | unit production manager | |
| Charlotte Puiroux | .... | assistant unit manager | |
Second Unit Director or Assistant Director | |||
| Sonia Delhaye | .... | trainee assistant director | |
| James Hagger | .... | first assistant director | |
| Anna Sheldrake | .... | second assistant director | |
Art Department | |||
| Robert Crewe | .... | construction manager | |
| Josh Fifarek | .... | set designer | |
| Alex Raine | .... | assistant art director | |
| Lee Whiteman | .... | props | |
| Lee Whiteman | .... | scenic artist | |
Sound Department | |||
| Julie Ankerson | .... | foley artist | |
| Vincent Arnardi | .... | sound re-recording mixer | |
| Tim Barker | .... | sound recordist: Panama crew | |
| Thomas Bernard | .... | sound recordist | |
| Ben Brazier | .... | sound editor | |
| Simon Bysshe | .... | playback operator | |
| Simon Bysshe | .... | sound assistant | |
| Adam Davidson | .... | adr recordist | |
| Jamie Gambell | .... | sound mixer | |
| Loïc Gourbe | .... | sound recordist | |
| Ben Greaves | .... | boom operator | |
| Mathew Knights | .... | sound re-recording mixer | |
| Julien Perez | .... | sound re-recording mixer | |
| Bruno Seznec | .... | mastering | |
| Anna Sulley | .... | sound effects editor | |
Visual Effects by | |||
| Paul Beard | .... | visual effects line producer | |
| Simon Carr | .... | visual effects design: Men-from-Mars | |
| Adam Christopher | .... | digital colourist | |
| Emma Clifton | .... | digital effects artist | |
| Harriet Donington | .... | visual effects producer | |
| Simon Frame | .... | visual effects supervisor | |
| Lionel Heath | .... | compositor: Men from Mars | |
| Rick Leach | .... | rotoscoper | |
| Tom Pegg | .... | digital effects artist | |
Camera and Electrical Department | |||
| Paul Dain | .... | camera trainee | |
| Henry Landgrebe | .... | clapper loader | |
| Jens Lund-Larsen | .... | best boy | |
| Richard Miles | .... | electrician | |
| Pete Nash | .... | grip | |
| Brent Stewart | .... | photographer | |
| Juergen Teller | .... | photographer | |
| Simon Tindall | .... | first assistant camera | |
| Jacob Østergaard | .... | gaffer | |
Casting Department | |||
| Marie-Sylvie Caillierez | .... | casting | |
| Cassandra King | .... | casting associate | |
Costume and Wardrobe Department | |||
| Alan Flyng | .... | costume supervisor | |
| Claire Tong | .... | costumer | |
Editorial Department | |||
| Andrew Haigh | .... | first assistant editor | |
| Jamie Rogers | .... | trainee assistant editor | |
| Matthew Streatfield | .... | assistant editor | |
| Alex Panton | .... | digital intermediate producer (uncredited) | |
Music Department | |||
| Liz Gallacher | .... | music supervisor | |
Other crew | |||
| Freya Beales | .... | production assistant | |
| Laure Bregevin | .... | script supervisor: UK and France | |
| Catia Di Giorgio | .... | production coordinator | |
| Samantha Gardner | .... | production secretary | |
| Paul Harris | .... | choreographer | |
| Glynn Henderson | .... | safety consultant | |
| François Lamotte | .... | other crew | |
| Richard Lormand | .... | unit publicist | |
| Richard McNeill | .... | production accountant | |
| Sylvia Parker | .... | script supervisor | |
| Manuel Pouet | .... | location scout | |
| Tracey Taylor | .... | assistant post-production accountant (uncredited) | |
Thanks | |||
| Abner Benaim | .... | special thanks | |
| Laura De Casto | .... | very special thanks | |
| Joshua Elrod | .... | special thanks (as Elbone) | |
| Alainée Kent | .... | special thanks | |
| Alexandra Stone | .... | thanks | |
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| The Science of Sleep | Madame Bovary | The Last of the High Kings | Big Fish | Marie Antoinette |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb UK section |
Harmony Korine returned to the cinematographic circuit after a 8-year long hiatus, no longer a prolific and controversial teenager, now evolved in style, subtlety, film language and self-conscience. Apparently inspired by his own failings in life Korine delves into the wacky world of celebrity impersonators - of people not satisfied with who they are and acquisitioning the personas of others in a search for betterment and happiness. Michael Jackson (Diego Luna of "Y Tu Mamá También" fame) does the moonwalk on the streets of London, dancing and acting his part in front of passerby's while the boom-box stays conspicuously silent. Upon a chance meeting with Marilyn Monroe (Samantha Morton) he decide to join an impersonator community living off the land on a island near the Scottish coast. There amidst Charlie Chaplin, Abraham Lincoln, the Stooges, Madonna and James Dean he finds an idyllic bubble of happiness. The catalyst for the Utopian self-destruction comes in the form of a sheep disease, which forces the motley band to kill and burn their carcasses. With it burning the feeling of safety and detachment from worry.
"Mister Lonely" also features a second thread running parallel and seemingly unconnected with the main storyline. It tells the story of a group of nuns, who believe that through the power of faith they are able to fly. Their pilot - a catholic priest Father Umbrillo is adorably played by Werner Herzog, a adequate comrade in arms for Korine given the strong metaphysical essence of his work. Albeit seemingly disparate, the two interloping stories basically deal with the same issue of striving to become an ideal - through faith fulfilling the will of god or by imitating the semblance of perfection of the impersonated celebrity.
The theme chosen for his career reboot seems like very fortuitous and ripe for the picking by a avantgarde artist such as Corine. Dealing with a relatively abundant production budget Corine pulls no stops to deliver a visually perfect movie, proving beyond a doubt his immaculate taste for picture and music, seamlessly constructing beautiful albeit absurd imagery (Michael Jackson riding a mini bike to the song "Mister Lonely", flying nuns of BMXs or face-covered yoga training). Astounding vivid and mesmeric with a strong premise the overall artistic success is pretty obvious, especially in comparison the the raw predecessors. Albeit not entirely style over substance Corine fails to balance the ideas and images with a passable story. No longer a chaotic collage of relatively unconnected scenes ("Gummo"), structured around the island community "Mister Lonely" feels overly improvisational and uninspiring, as if guided by a belief that populating the movie with oddballs (in true Wes Anderson hollowness) and quirking up the ante will suffice to keep the audience intrigued for two hours. The characters themselves are uninspiring, once the novelty of their wackiness wears off becoming a group of doubly faceless individual (neither truly the personas they attempt to recreate nor fleshed out individuals behind the mask).
The grading for Corine is somewhat generous given my issues with his efforts, much owed to the admiration of topics touched as well as some utterly magnificent scenes. To some extent the flying-nuns storyline offers just compensation for the ramblings on in other sequences. A well toned, beautifully portrayed effort with a grim overtone, featuring an unbelievable entry scene, where Werner Herzog donned as a priest confronts a man over his unfaithfulness. Apparently a true event it transcends the overall value of the movie, however capturing an unmistakable feel of Herzog's documentary endeavours and strictly pointing in which direction Corine seems intent on heading.
The biggest misstep however is a pretty ridiculous reinvention of Paul Thomas Anderson's "Wise Up" sequence... albeit with a different song and sung by a bunch of talking eggs...