1. März: Fear and Loathing in Las Vegas
von: Filmstelle VSETH; aufgeschaltet am 28.02.2011 00:41
Türöffnung 19.30, Film 20.00 (Eintritt 5.-)
Universitätsstr. 6, Zürich
„We were somewhere around Barstow on the edge of the desert when the drugs began to take hold.” These words at the beginning of the film set the tone for the wild, drug-fueled ride taken by Raoul Duke and Dr. Gonzo. In Vegas for work, Duke and Gonzo push the boundaries of decency in a constant, erratic, hallucinogenic haze. The surreal backdrop of Vegas is a source of both cover and terror, indulgence and disgust, fear and loathing.
Depp’s deft ability to play bizarre characters and Del Toro’s intensity provide convincing, often hysterical, over-the-top drug binge portrayals. Terry Gilliam’s facial close-ups as well as swooping, bending, and tilting camera work enhance the feeling of drug-induced psychosis. Yet the film, faithful to Hunter S. Thompson’s book of the same name, is also sharp social commentary. It depicts the liberation as well as the empty promises of psychedelic drug use. Via Duke’s fearless, inquisitive journey along with images of the Vietnam war, the American flag, trashed hotel rooms and ridiculous angry faces, the story lays bare the excess and arrogance of the American dream while saluting American resilience and individuality.
Universitätsstr. 6, Zürich
„We were somewhere around Barstow on the edge of the desert when the drugs began to take hold.” These words at the beginning of the film set the tone for the wild, drug-fueled ride taken by Raoul Duke and Dr. Gonzo. In Vegas for work, Duke and Gonzo push the boundaries of decency in a constant, erratic, hallucinogenic haze. The surreal backdrop of Vegas is a source of both cover and terror, indulgence and disgust, fear and loathing.
Depp’s deft ability to play bizarre characters and Del Toro’s intensity provide convincing, often hysterical, over-the-top drug binge portrayals. Terry Gilliam’s facial close-ups as well as swooping, bending, and tilting camera work enhance the feeling of drug-induced psychosis. Yet the film, faithful to Hunter S. Thompson’s book of the same name, is also sharp social commentary. It depicts the liberation as well as the empty promises of psychedelic drug use. Via Duke’s fearless, inquisitive journey along with images of the Vietnam war, the American flag, trashed hotel rooms and ridiculous angry faces, the story lays bare the excess and arrogance of the American dream while saluting American resilience and individuality.
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