Word: codas
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Dates: during 1970-1970
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Tristana. Like their greatest paisano, Picasso, Spanish geniuses have their roots in another century or their homes in another country. Except for that grand exception: Luis Buñuel. The Old Aragonese, 70, has reached a modus vivendi with Franco Spain, and returned to create in Tristana a coda of inexhaustible power and sophistication. Like the world reflected in a convex mirror, every element is in this masterwork -but somehow transfigured and amplified. People are themselves and something other. Even the film's title has a dual meaning: Tristana suggests "sadness," and is the name of its heroine, impeccably...
Roger was still there for the Coda; when the darkness of city life re-emerged as meth-amphetamine. It was a ritual victory for plastic and concrete, and Roger, after getting ripped-off and beat up, came back East. But since it all happens about a year late in Cambridge, he was just in time for the capitulation of Cambridge Hippic. He was all set, in a sense. Roger probably would not think of it in these terms. This is overview, and what Roger knows about his life now is what he new then: that he has to stay alive...
...Junk, a kind of sentimental word jamboree: "Bye, bye, says the sign in the shop window/ Why, Why, says the junk in the yard." Maybe I'm Amazed, however, is a pale echo of the choral sumptuousness of McCartney's The End, which served as the coda to Abbey Road, the hit 1969 Beatle album...
...scene is justified and perhaps inevitable. Having broken down the connections between people and objects sharing a common environment, Antonioni literally breaks down the organic structure of the objects themselves, and of the frames that contain them. The house, shown in increasingly close angle, erupts furiously. Then, in a coda, rooms and objects within the house are destroyed in slow motion-refrigerators, bookshelves, clothesracks. The abstraction becomes Expressionistic, simplemindedly recalling Jackson Pollock. Zabriskie Point offers a final reduction in images revealing the vulnerability of props and symbols that obscure humanity and emotion. The vision is conservative: he idealizes love-making...