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Final Critique: The Invisibles, Pg. 2


Content

The writing in this movie is excellent, both due to its cultural relevance and its chemistry. Dialogue is believable and flows smoothly. The characters of joy and Jude are convincing and multi-dimensional. This is in turn aided by the great performances put on by Portia de Rossi and Michael Goorjian. They both believably portray the fears, frustrations, struggles, and quirks of their characters. While this movie brings up several interesting points about how the public perceives celebrities and about how celebrities view their fame. It is interesting to note that both main actors had received quite a bit of recognition for acting prior to this movie (Portia de Rossi in Ally McBeal and Michael Goorjian in Party of Five); while they were by no means "big-name" celebrities, they had some experience with the attention that comes with being a public figure.

The film begins rather slowly at first during the credits, but picks up once Joy drags Jude back to her apartment and revives him. The pace of the story flows at a pretty good rate through the various conversations, neither spending too much time dragging them out nor rushing through them. The editing is smooth, which also helps the story flow well. A nice touch Stern includes is the occasional interrupting thoughts of Jude's "mental self" at various points in the movie. (For example, at one point, Joy gets angry at Jude and begins beating him with a feather pillow. The action pauses in a freeze-frame for a second before it switches to a scene of Jude wearing a hockey outfit. This "mental" Jude announces, "And now, we bring you the following repressed memory!" and the scene changes to a first person POV shot of Jude getting beaten by his father with a hockey stick. Return to "mental" Jude: "The preceding has been a repressed memory." The scene then cuts back to Joy continuing to hit Jude with the pillow.) These creative edits make the movie more interesting and enjoyable.

Observant eyes will notice a pic of
Ghandi in the anorexic models' loft...
...which is just one of the little visual
touches throughout this film.

Visual Look
The film is shot on black and white 16mm film, and is set in a loft apartment in Paris, France. Together, these elements add a nice artistic feel to the movie. Creative use of light and dark must be utilized to compensate for lack of color. The director makes good use of the windows in the apartment, and the set and props are either light or dark (very little gray), so nearly everything is clearly visible. Except for one brief shot (which was very underexposed), the entire film is well-lit and balanced.

While there aren't very many dramatic camera setups, there are some nice POV shots from both perspectives in the scenes when Joy and Jude are making love. Also, the blocking in several scenes is well done (e.g. when they are laying on the bed talking, sitting on the floor eating pizza, etc). These examples of creative layout are especially beneficial when almost all of the action takes places in the same location.

Use of Audio
For the most part, the audio in the film was decent. There were a few times when it has that slight echo-y reverberation that you get when filming in a brick-walled room. Additionally, there were several scenes where off-camera dialogue with the other character was difficult to hear, because it hadn't been recorded clearly enough. Re-recording of the off camera audio would be required to clean up this audio. (A good idea to think about for 10th anniversary edition of this film in a few years!)

The music was very well done and had an eclectic, acoustic feel to it that integrated perfectly with the movie. It also didn't overpower the dialogue at any point.

 

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