By Harmony Korine
The unique Ritalin child, concord Korine burst at the scene with Kids, a movie so gritty and unsettling in its depiction of sweet sixteen lifestyles that it was once slapped with an NC-17 score and banned in a few theaters around the state. In many ways, the media frenzy over the score overshadowed the harrowing portrait of young ones destroying their lives and the then twenty-one-year-old screenwriter who created them. "Whether you notice the motion picture as a masterpiece or as sensationalism," wrote Lynn Hirshberg, "the motion picture is relentless and amazing and intensely tense. It's powerful-both steel-eyed and attractive; frightening and captivating."
Now, during this first booklet of fictional set items, Korine captures the fragmented moments of a lifestyles saw throughout the demented lens of media, television, and teenage obsession. Korine reinvents the radical during this hugely experimental montage of scenes that appear either genuine and surreal while. With a filmmaker's eye and a prankster's glee, this extraordinary selection of jokes, half-remembered scenes, discussion fragments, motion picture principles, and suicide notes is an episodic, epigrammatic lovesong to the realm of pictures. Korine is the voice of his media-savvy new release and A Crack-Up on the Race Riots is the satiric lovechild of his darkish mind's eye.
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Additional resources for A Crack Up at the Race Riots
Over the mantelpiece Judith was still holding the head of Holofernes by the hair. His mouth open. Her eyes turned to heaven. The painter wanted you to think of Judith as the simple daughter of Zion, a natural chaste beauty, even though she has just cut off a fellow's head. What was Ravelstein's view of all this? There were very few indications in his private quarters of Ravelstein's sexual preferences. One had no reason, in any respect, to suspect him of irregularities of the commoner sort--the outlandish seductive behaviors of old-fashioned gay men.
Ravelstein was in real earnest about this quest, driven by longing. Not everyone feels that longing, or acknowledges it if he does feel it. In literature Antony and Cleopatra had it, Romeo and Juliet had it. Closer to our own time Anna Karenina and Emma Bovary had it, Stendhal's Madame de Renal in her simplicity and innocence had it. And of course others, untaught, untouched by open recognition have it in some obscure form. This was what Ravelstein was continually on the watch for, and with such a preoccupation he was only a step from arranging matches.
Ravelstein often made me doubt my abilities. " "You make it sound like the Stations of the Cross," Ravelstein said, smiling. "You and Nikki are safe with this giant German corporation. It's like bourgeois royalty. " Because his arms were wasted, Ravelstein's hands looked unnaturally big as he lit one of the cigarettes Rosamund had brought him. Then as he put it down in the ashtray and waved away the smoke, I was aware that someone had entered the room. It was Dr. Schley--Ravelstein's cardiologist.
A Crack Up at the Race Riots by Harmony Korine