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Everyone Wants More !! (Richard Linklater, 2016)
In the final photo of Richard Linklater’s 2016 film Everyone Wants More !!, a professor of history stood in front of the class on the first day of school and wrote on the board, “FUTURE IS WHAT YOU GET.” They are everywhere. Always. A few years ago, on a hot August day, my friend Mitchell and I watched a couple of back-and-forth movies, one with a passion for borders. All of this also happens in relation to sperm, its limits, limits, and possibilities. Borders are not just places. They are emotional.
First, we saw George Stevens’ 1953 paintings Shane on TCM. We had all seen it many times, so it was an old and exciting part. Then, curiously, we entered Everyone Wants More !!. Afterward, we talked about how the two films — from two different cultures to the present — do not speak in the same way. We noticed the subtle but inconspicuous confusion of the old male movies. There is no film that makes this distraction visible; they all place them in the atmosphere in which the characters work. They are secretly disturbing movies. Blink and you can miss their word.
All of this is happening in men’s countries who are always looking for men: in Shane, running and firing; mu Everyone Wants More !!, and the jock world of baseball baseball. Rural Wyoming, Shane there seems to be a western country where herdsmen intimidate cattle herders, who do not consider them to be “real” men. Shane (Alan Ladd), an amazing gunman who works on Joe Starrett’s farm. Shane’s happiness applies to everyone in the host family: Joe (Van Heflin), his wife Marian (Jean Arthur, in his last video drama), and young son Joey (Brandon De Wilde). Joey Shane’s idol worship is considered a breach, as well as Joe’s desire to show himself to Shane, even in another key. Shane makes Joe want to be good, brave, strong. Meanwhile, Marian goes to cook a taciturn pie in hides.
Shane’s reluctance to throw his weight is mistakenly viewed as the weakness of the farmers, who suspect him, mocking him when ordering “sodapop” instead of whiskey. Safe in her masculinity, Shane should not be obsessed. They fight unless there is no other choice, when the Starrett family is threatened. Refusing to “play” such a violent game confuses farmers, exposing their weaknesses as men. Shane should be destroyed for this. One thinks of the first chapters of Billy Budd, as Melville describes how the HMS Bellipotent group treated a handsome young man — another sailor, “out of jealousy, perhaps, out of jealousy, and thought he was a ‘nice and handsome man,’ when they mocked him for leaving. the others, who may not have the spirit of a rooster, should strive to fight it. ” Dynamic matching is taking place Shane. Better a poor horse than no horse at all. Shane gives another example of wandering around the world as a man, who gives nothing (he is strong and courageous), but one that allows for touch, quiet listening, compassion.
Linklater Images Everyone Wants More !! founded in 1980 and opened with the launch of a dairy crate full of labels, by Devo’s Q: Are We Men?… on a visual display. The New Wave team question is honest, frequently asked. For more than four days, the college boys in the middle of the film visit the chicks, go to parties, and engage in competitive fights from ping pong to bongs. In the midst of all these traditions, the film features unexpected moments of love and imagination, showing the boys ’willingness to throw themselves in different places. When she goes to a theater, she wears clothes and participates in sports. On the punk show they are, frankly, scared, until they give in to the fun and throw themselves into a mosh pit. They sing at the Country bar, and make noise at the disco. In the middle of nowhere, they go home to change their clothes, from silk shirts to cowboy boots to sleeveless dresses. It is not just a matter of hiding. They change. They are always on the move, but the girls they meet are just always having fun. No one is using it. In “dudebro” movies, women are often portrayed as party girls or revolutionary triumphs (or, worse, “manic pixie dream girls”). The girls are inside Everyone Wants More !! to have more power. There are a few men here who are unfamiliar, angry, who claim to be powerful with women, alcohol lovers, and other players, fighting the hatred behind a protective wall. They did not realize that the best boundaries are the ones that are porous.
Shane and Everyone Wants More !! create an environment in which male culture is marginalized and liberated. In both films, the men who are unable to do so suffer. They are locked up. He will not enjoy life to the full. They may desire women but may not be able to have relationships or allow themselves to be soft (i.e. comfortable and presentable). Mu Everyone Wants More !!, and free-themaster Willoughby (Wyatt Russell) advises his new acolyte not to worry about men’s rules. Instead: “Bring who you are — not who they want — and that, my friend, is when it’s fun.” Or deep. Or fun. Or free.
Sheila O’Malley is a regular critic of Rogerebert.com and other retailers including The Criterion Collection. Her blog is The Sheila Variations.
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