Cache (Hidden) Movie

[David Morris]

I just watched Ebert's smoking gun. It's "ah ha!" moment last less than 2
seconds.
SPOILER ALERT

We see a view of a street from a 2nd floor window, looking @ the spot from
which the first videos watched the house we are watching from. Lights are
out in the room, and another camera creeps up to the window the locus of
previous view. We reach that window and see a dark-skinned imp choking on
blood, looking out the window, and he is startled when he turns and sees us
seeing him.

The imp is deus ex machina.  It might be a dream, but then so is the
reality of this film. The protagonist is the hidden viewer/recorder.  He is
relentless.  The scene is almost regrettable.  It is maybe better not to
provide a solution to this films questions. But that is a quibble.

David Morris

On Tuesday, September 20, 2016, David Morris <fqmorris at gmail.com> wrote:

> Ebert's intro paragraph:
>
> "How is it possible to watch a thriller intently two times and completely
> miss a smoking gun that's in full view? Yet I did. Only on my third trip
> through Michael Haneke's "Cache" did I consciously observe a shot which
> forced me to redefine the film. I was not alone. I haven't read all of the
> reviews of the film, but after seeing that shot I looked up a lot of them,
> and the shot is never referred to. For that matter, no one seems to point
> to a conclusion that it might suggest.
>
> Ebert's last paragraph:
>
> "Now I call your attention to the shot I missed the first time through.
> You will find it on the DVD, centering around 20:39. You tell me what it
> means. It's the smoking gun, but did it shoot anybody?"
>
> Does anybody know what scene he's talking about?
>
> David Morris
>
> On Tue, Sep 20, 2016 at 4:34 PM, Jochen Stremmel <jstremmel at gmail.com
> <javascript:_e(%7B%7D,'cvml','jstremmel at gmail.com');>> wrote:
>
>> Not to forget Amour about which Ebert wrote (at least) 2 great paragraphs
>>
>> Old age isn't for sissies, and neither is this film. Trintignant and Riva
>> courageously take on these roles, which strip aside all the glamor of their
>> long careers (he starred in "A Man and a Woman," she most famously in
>> "Hiroshima, Mon Amour"). Their beauty has faded, but it glows from within.
>> It accepts unflinchingly the realities of age, failure and the
>> disintegration of  the   ego.
>>
>> FrYes, and to watch "Amour" invites us — another audience — to accept
>> them, too. When I saw "Hiroshima, Mon Amor" (1959), I was young and eager
>> and excited to be attending one of the first French art films I'd ever
>> seen. It helped teach me what it was, and who I was. Now I see that the
>> film, its actors and its meaning have all been carried on, and that the
>> firemen are going to come looking for all of us one of these days, sooner
>> or later.
>> 3 months before the firemen came looking for him.
>>
>>
>> 2016-09-20 22:52 GMT+02:00 rich <richard.romeo at gmail.com
>> <javascript:_e(%7B%7D,'cvml','richard.romeo at gmail.com');>>:
>>
>>> hard to choose also considering the brilliance of The White Ribbon and
>>> The Piano Teacher.  Haneke would seem to be a good fit for a Thomas
>>> Bernhardt adaptation seems to me
>>>
>>> rich
>>>
>>> On Tue, Sep 20, 2016 at 2:19 AM, Jochen Stremmel <jstremmel at gmail.com
>>> <javascript:_e(%7B%7D,'cvml','jstremmel at gmail.com');>> wrote:
>>>
>>>> Thank you very much for that, David. I saw the film when it came out
>>>> here. Very impressed. But I didn't know what Ebert wrote about it – one of
>>>> his best reviews I think. And one of Haneke's best movies.
>>>>
>>>> 2016-09-20 3:46 GMT+02:00 David Morris <fqmorris at gmail.com
>>>> <javascript:_e(%7B%7D,'cvml','fqmorris at gmail.com');>>:
>>>>
>>>>> http://www.rogerebert.com/reviews/great-movie-cache-2005
>>>>>
>>>>> I just watched this on DVD.  It was a fascinating character study
>>>>> Mystery. The mystery being stitching together the story of a series oh
>>>>> hidden camera tapes of a family being observed delivered to them wrapped in
>>>>> childish sketched of blood-gushing from throats of children or chickens.
>>>>>
>>>>> It moves slowly, but this drama requires patience.  It is a mature
>>>>> Mystery.  It feels like a Film Vetrite with  a dash of  cerebral reality
>>>>> questioning. It always seems plausible, untill it doesn't.  And that's a
>>>>> good thing.
>>>>>
>>>>> David Morris
>>>>>
>>>>
>>>>
>>>
>>
>
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