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Tulse Luper Suitcases Part 3: From Sark to Finish, The
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by Greg Muskewitz

"... attention is only spent on visual construction and erection ..."
2 stars

The fizzle in this 16 part series has arrived already, mostly by re-using the entire closing 30 to 40-minutes of The Moab Story as the beginning of this entry.

Considering the Proustian extremities Peter Greenaway is going to, because, as heís said, thereís just so much depth to go into, why then is his third episode borrowing so heavily from the first two? He seems to be spreading himself too thinly too soon for all the massaging heís giving his ego. If the point were to provide a re-cap of the previous goings-on, a brief summary is plausible. But Greenaway has taken the last chunk of film, exactly the way it was, and placed it as this filmís start. Even if I had not seen Part 1 two days before, even if this was meant to be seen a year down the line, my memory neednít be jogged that much. The questions that persisted from the first go-round (arguments over Kafka and Beckett, just to name one) remain just as inscrutable the second time; no clarity is to be gained or confusion removed (only added to if you hadnít seen the first part) in its inclusion. Television is one of the avenues Greenaway plans to continue his oeuvre, but how feasible would it be for ďAliasĒ to replay the entire close of the previous episode before finally getting on to the present one? Antwerp picks up in 1938, once all the verbatim catch-up is caught, and Luper is freed from his detention to further be seduced by Passion Hockmeister, and used as a pawn by her family; itís still undecided, on a scale of greater importance, whether or not he is the spy that caused him to be locked up in the first place. Little else of the story is memorable, between the continued cross-cutting, image-splicing, super-imposed text, broken record-editing, image-shifting, discoloration, super-imposed boxes that pop up one atop the other like internet ads, etc. And as expected, the continued naked offerings. Aside from the truncated scope of this entry, all of the things that were used to tinker with in The Moab Story have quickly become repetitious and tiresome here when itís all thatís being relied on. Boredom rapidly ensues once all thoughts of the progression of storytelling are tossed away, and stasis persists when attention is only spent on visual construction and erection (pun intended). With much of the zeal of the projectís outset dried up already, only the promised use of players such as Isabella Rossellini, Sting, Kathy Bates, Victoria Abril, William Hurt, Don Johnson, Amanda Plummer, and Molly Ringwald, begin to entice any possibility of a return. With JJ Feild, Caroline Dehavernas, Jack Wouterse, Drew Mulligan, and Valentina Cervi.

[See it if you must.]

link directly to this review at https://www.hollywoodbitchslap.com/review.php?movie=8612&reviewer=172
originally posted: 02/04/04 16:42:57
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OFFICIAL SELECTION: 2004 Palm Springs Film Festival. For more in the 2004 Palm Springs Film Festival series, click here.
OFFICIAL SELECTION: 2005 Tribeca Film Festival For more in the 2005 Tribeca Film Festival series, click here.

User Comments

1/07/09 Igor Very good film! 5 stars
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