Improvisation was used to a groundbreaking degree in this film, but it only functions as a novelty. No greater truth about the situation is got by asking the actors to improvise. The performances are not improved by improvisation, because the actors now have twice as much to worry about: not only whether they're delivering the line well, but whether the line itself is any good. So that's why the performances in many Robert Altman films are often really hestitant - because the actors aren't really confident saying lines which they've made up, and therefore aren't sure are any good.
And, quite honestly, often its not very good. Often the dialogue doesn't really follow from one line to another, or fit the surroundings.
It crackles with an unpredictable, youthful energy - but honestly, i found it hard to follow and concentrate on it meanders so badly.
Nevertheless, a fascinating raw piece of film, and commendable 100% for taking the power over the green light into the street.
There are some generally great things in it. This joke, for example:
I'm a dancer. What sort of a dancer, like a ballet dancer? Oh no... exotic.
And the whole party scene its in, the following trip to the park, and the scene where the boys go looking at statues.
2/5. I wouldn't say they're worth 2 hours of your time, though.
And, quite honestly, often its not very good. Often the dialogue doesn't really follow from one line to another, or fit the surroundings.
It crackles with an unpredictable, youthful energy - but honestly, i found it hard to follow and concentrate on it meanders so badly.
Nevertheless, a fascinating raw piece of film, and commendable 100% for taking the power over the green light into the street.
There are some generally great things in it. This joke, for example:
I'm a dancer. What sort of a dancer, like a ballet dancer? Oh no... exotic.
And the whole party scene its in, the following trip to the park, and the scene where the boys go looking at statues.
2/5. I wouldn't say they're worth 2 hours of your time, though.