I still cannot tell if Kaufman's oeuvre's common thread of loneliness is an outgrowth of something deeply personal to him or someone else; after all, every interview proves again his charisma and warmth and amity. I suppose that Donald, propped next to his inward brother in a wet swamp, captured the pic best: "It was mine, that love. I owned it. Even Sarah didn't have the right to take it away. I can love whoever I want."
La Roche at first loved his greens, then a woman, then whatever it took to harness that woman's love, even if it means robbing life of another, something he before so protected of his orchids. Not everyone can be a Donald -- and thank God for that (bad jokes are "good" because of their very paucity). But I think that he had the optimal approach to life: do not listen selectively but rather exhaustively, and do selectively choose which of these listenings actually affect your being, and which to tell, Fuck off.
Slightly less entertaining than Being John Malkovich or Eternal Sunshine of the spotless mind, but possibly ever more philosophical, clearly working off of a similar mindset that would result in Synecdoche New York.
If absurdism or post-modernism interest you, you'll love it.
Wow. I mean wow! Best. Movie. Ever. Okay maybe not, but it's still pretty good . . . if you thought BEING JOHN MALKOVICH was original (and it was) wait and see what other amazingly inventive goodies the widely imaginative Spike Jonze has up his sleeve. Try to understand this: a strange but brilliant screenwriter tries to devise a screenplay based on a book about flowers. But you'll have to watch it you really understand it. Cage, playing two roles, is simply superb, and the screenplay has an unbelievably complicated (but fascinating) subtlety about it (watching it feels like the movie knows you're watching it, and shows off its genius, almost with ease). Best of all: It's not cynical! Chris Cooper won Supporting Actor Oscar, but where's Cage's award?