also been drinking heavily is the sometimes harrowing, sometimes amusing difficult Documentation the Maysles brothers a farce before the Lord, how it can write so beautifully, only the exaltation of the human ego. Our condition was not the best, was added in order to truly follow any conversation - but it, so I construct the well, is not at all to it. More importantly, after all, as is spoken. In this film, above all without listening to each other and has set his own ego at the center of the world.
The two sisters Edith "Big Edie" Ewing Bouvier Beale and her daughter Edith "Little Edie" Bouvier Beale spend their days in a mansion in East Hampton - so there where rich New Yorkers in the summer set in the dunes and fry . let The house is run down but hard to live day to day, Messier-growth catchment has received. Garbage everywhere, cats, dust on Baroque ornaments. To dress extravagant - after all, one aunt and cousin of Jacqueline Bouvier Kennedy Onassis. But beyond that distant glory, there is nothing that could stop the deterioration and aging. The two ladies indulge in memories of days gone by, therefore only they are in an almost shocking way fleeing, time fugitive. This now accounts for them no meaning (beyond a good tan on the skin wrinkly seniors).
As viewers have been encountered on the head - just as shocked at the same time fascinated. That one is really here to Voyeuer is the controversial position that the man is, and it is only on the restrained style of the Maysles documentary that one can ankucken. For this direct cinema - stylish design - as without intervention by the directors - the two protagonists to tell their stories themselves, seemingly without any external influence. And indeed there are many scenes in which they seem to forget the camera. The object "reveals himself". The aesthetic impetus of the Maysles, however, is beyond the skandalon: they focus on the relationship between reality and image. And the influence of the camera to the reality in this film as the search for To understand true depiction - whether this claim can be met in the production of a Echteitskondensats at all, so I dare to doubt. The Filmed is always the self-promoter. In other words / asked: when is the individual, within a social context of ever telling the truth? Is this not an ideal which is as chased?
Anyway, GREY GARDENS, you should not miss if you love it, sometimes lift off the mainstream a few beads. And since the film has indeed experienced the Criterionweihen and was even listed in Cannes, is even the need for quality cinema Safe disgusting enough done. But it can Maysles nothing.
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