Changes made to The Ring Finger
Revision 1
Created on Thursday, 16th October 2008, 19:56
Change Submitted by Si Wooldridge
List of Changes:
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Change #1 - ading]
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Change #2 - ingers.
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Change #3 - a ship.
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Change #4 - other.
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Change #5 - Barbé).
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Change #6 - e bill.
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Change #7 - sonal.
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Change #8 - ation).
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Change #9 - ry him.
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Change #10 - rthday.
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Change #11 - them.
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Change #12 - to her.
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Change #13 - ocess.
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Change #14 - ading]
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Change #15 - the piece.
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Change #16 - g]
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<newline>Stunning melancholic soundtrack from Portishead’s Beth Gibbons, it really deserves a surround sound soundtrack to really do it justice though. The 2.0 Stereo soundtrack is fine for the film itself, which isn’t sound effects heavy or overly burdened with dialogue so the score is allowed time to breathe. <newline> <newline>[heading][b]Overall[/b] [/heading] <newline> <newline>I have to say that not much really happens in this film but conversely, so much does. The dialogue is sparse and much of the plot is based on the almost silent and brooding chemistry between Kurylenko and Barbé. Barbé’s character never explains himself and you never really get an understanding of what work he is doing or why the lab does what it does; in the end it doesn’t matter and you don’t dwell on this as the film meanders towards it’s open ended conclusion. <newline> <newline>What I like about this film is that it explains nothing and as a viewer, you really need to know nothing. You very quickly accept what is happening and because you’re encouraged to think about Iris and what she is going through, you don’t dwell on the mysteries of the plot. It’s simply unimportant in the end. Obviously Miss Kurylenko is a nice on-screen distraction, especially when appearing au naturale, but whilst these sequences look very nicely photographed and arty, they never feel as if they’re there for the sake of it. The chemistry between Barbé and Kurylenko is quite powerful as well, discrete touch and facial expression conveying all you need to understand in a sensual way. <newline> <newline>There’s a lot of subtext to this film, and the focus appears to be on personal freedom and letting go. The specimens, in the only exposition of the film, are brought in by the clients in order for them to feel separation, preservation and closure. The same thing is happening to Iris, but she doesn’t know it yet. The red shoes are the trigger for the changes she needs to make and despite a warning that the snugly fitting shoes will take possession of her feet, she willingly wears them to take her on a journey of self-discovery and liberation; which sounds a bit gushing, I know, but oddly the film just had that kind of effect on me. There is sex and hints of sex in this film, but don’t judge the film by the cover as you’ll get the wrong idea entirely, it’s not about the sex at all and there’s very little of it. It’s about acceptance and release from whatever burdens we carry, which are all symbolised by something – in Iris’ case, her ring finger that was sliced in an accident. <newline> <newline>I really liked this, much much more than I thought I would.<newline>Stunning melancholic soundtrack from Portishead’s Beth Gibbons, it really deserves a surround sound soundtrack to really do it justice though. The 2.0 Stereo soundtrack is fine for the film itself, which isn’t sound effects heavy or overly burdened with dialogue so the score is allowed time to breathe. <newline> <newline>[imgmc=0000205687.jpg|0000109133] <newline> <newline>[heading][b]Overall[/b] [/heading] <newline> <newline>I have to say that not much really happens in this film but conversely, so much does. The dialogue is sparse and much of the plot is based on the almost silent and brooding chemistry between Kurylenko and Barbé. Barbé’s character never explains himself and you never really get an understanding of what work he is doing or why the lab does what it does; in the end it doesn’t matter and you don’t dwell on this as the film meanders towards it’s open ended conclusion. <newline> <newline>What I like about this film is that it explains nothing and as a viewer, you really need to know nothing. You very quickly accept what is happening and because you’re encouraged to think about Iris and what she is going through, you don’t dwell on the mysteries of the plot. It’s simply unimportant in the end. Obviously Miss Kurylenko is a nice on-screen distraction, especially when appearing au naturale, but whilst these sequences look very nicely photographed and arty, they never feel as if they’re there for the sake of it. The chemistry between Barbé and Kurylenko is quite powerful as well, discrete touch and facial expression conveying all you need to understand in a sensual way. <newline> <newline>[imgmc=0000205686.jpg|0000109132] <newline> <newline>There’s a lot of subtext to this film, and the focus appears to be on personal freedom and letting go. The specimens, in the only exposition of the film, are brought in by the clients in order for them to feel separation, preservation and closure. The same thing is happening to Iris, but she doesn’t know it yet. The red shoes are the trigger for the changes she needs to make and despite a warning that the snugly fitting shoes will take possession of her feet, she willingly wears them to take her on a journey of self-discovery and liberation; which sounds a bit gushing, I know, but oddly the film just had that kind of effect on me. There is sex and hints of sex in this film, but don’t judge the film by the cover as you’ll get the wrong idea entirely, it’s not about the sex at all and there’s very little of it. It’s about acceptance and release from whatever burdens we carry, which are all symbolised by something – in Iris’ case, her ring finger that was sliced in an accident. <newline> <newline>I really liked this, much much more than I thought I would. <newline> <newline>[imgmc=0000205688.jpg|0000109134]
Initial Version
Created on Thursday, 16th October 2008, 19:52
First Submitted by Si Wooldridge