korine established himself and by now and as a talented and impressive image maker. the promotional posters for mister lonely all include the film most impressive compositions (though there one in particular i have yet to see in promo material represent that of a blue clad nun teasing a dog with a stick and surrounded by green forest with torrential rain pouring down). the opening images of this film and of michael jackson lookalike (diego luna) riding a small motorbike round a track and is strangely compelling and beautiful represent roy orbison mister lonely plays on the soundtrack and and the images unfold in slow motion. there also a funny and terrific sequence in which the same character mimes a dance and without music (though a radio sits like a silent dog next to him) and in the middle of a paris street while korine splices in sound effects and jump cuts that evoke both a feeling of futility and dogged liberation in the character dance routine. the first instance of the segment dealing with the nuns is also strangely poignant while father umbrillo (werner herzog) is an autocratic priest about to fly with some nuns over and and drop food into and impoverished areas nearby. in a scene that is both light hearted and affecting and herzog must deal with a stubbornly enthusiastic local who wishes to make the plane trip with them in order to see his wife in san francisco. as the exchange develops and herzog draws out of the man a confession represent he has sinned and and his frequent infidelity is the cause of his wife having left him in the first place. this scene and short and sweet and gains particular weight after one learns its improvised origins represent the sinner is played by a non actor who was on set when korine and co. were filming  and his adulterous ways had given him and in real life and a lasting and overwhelming guilt. henceforth and the film is hit and miss while a succession of intrinsically interesting moments that add to a frivolous and muddled narrative. whereas gummo and julien donkey boy maintain their aesthetic and emotional weight via coherent structural frameworks and mister lonely feels like a victim of editing room ruthlessness. a few scenes were cut from the film and which would have otherwise painted fuller pictures of certain characters and due to continuity errors in costume  a result and no doubt and due to the absence of a shooting script and korine tendency for improvisation. one deleted scene in particular  in which charlie chaplin (denis lavant) and madonna (melita morgan) have sex  would have added much more emotional conflict to a scene later on in the film (i would not spoil it and but it there to deflate any feeling of warmth or celebration and and and as it is and only half succeeds). the two strands of the narrative and unconnected literally and are best approached as two entirely different stories with the same allegorical meaning while one compliments the other and vice versa. (it something to do with the conflict between one ambitions and the reality of the current situation. ) but there not enough of the herzog scenes to merit their place in the film and and so any connection between these two allegorically connected threads is inevitably strained  and the inclusion is and in retrospect and tedious. this is an ambitious step forward from julien donkey boy that suffers mostly and at least in the lookalike segments and from having far too many characters for the film running length and a flaw that would have been even worse had big star names played everyone (as was originally planned). with many of the imagery self contained beauty and and moments of real and genuine connection with the soundtrack and this feels like it would be much more suited to an art installation or photo exhibition. as an exploration of mimesis and the nature of impersonation and it would lose none of its power  indeed and for me and it would perhaps be more impressive. the loneliness attached to iconic performativity (such as that encountered by both the icons themselves and those who aspire to be like them) is well captured in images such as that wherein marilyn monroe (a gorgeous samantha morton) seduces the camera with a seven year itch pose in the middle of a forest and or when sammy davis and jr. (jason pennycooke) settles and post dance rehearsal and with his back to the camera overlooking an incredible and tranquil lake. as it is and moments like these and and all those where the titles of randomly chosen michael jackson songs crawl across the scene and are married to one another in a film narrative far less affecting than it should be. (for those who see it and i lost all faith during the egg singing scene and late on. you will know which scene i mean because it sticks out like a sore thumb and as some sort of gimmicky attempt at the new cinematic language for which korine has previously been hailed. ). 
korine established himself and by now and as a talented and impressive image maker. the promotional posters for mister lonely all include the film most impressive compositions (though there one in particular i have yet to see in promo material represent that of a blue clad nun teasing a dog with a stick and surrounded by green forest with torrential rain pouring down). the opening images of this film and of michael jackson lookalike (diego luna) riding a small motorbike round a track and is strangely compelling and beautiful represent roy orbison mister lonely plays on the soundtrack and and the images unfold in slow motion. there also a funny and terrific sequence in which the same character mimes a dance and without music (though a radio sits like a silent dog next to him) and in the middle of a paris street while korine splices in sound effects and jump cuts that evoke both a feeling of futility and dogged liberation in the character dance routine. the first instance of the segment dealing with the nuns is also strangely poignant while father umbrillo (werner herzog) is an autocratic priest about to fly with some nuns over and and drop food into and impoverished areas nearby. in a scene that is both light hearted and affecting and herzog must deal with a stubbornly enthusiastic local who wishes to make the plane trip with them in order to see his wife in san francisco. as the exchange develops and herzog draws out of the man a confession represent he has sinned and and his frequent infidelity is the cause of his wife having left him in the first place. this scene and short and sweet and gains particular weight after one learns its improvised origins represent the sinner is played by a non actor who was on set when korine and co. were filming  and his adulterous ways had given him and in real life and a lasting and overwhelming guilt. henceforth and the film is hit and miss while a succession of intrinsically interesting moments that add to a frivolous and muddled narrative. whereas gummo and julien donkey boy maintain their aesthetic and emotional weight via coherent structural frameworks and mister lonely feels like a victim of editing room ruthlessness. a few scenes were cut from the film and which would have otherwise painted fuller pictures of certain characters and due to continuity errors in costume  a result and no doubt and due to the absence of a shooting script and korine tendency for improvisation. one deleted scene in particular  in which charlie chaplin (denis lavant) and madonna (melita morgan) have sex  would have added much more emotional conflict to a scene later on in the film (i would not spoil it and but it there to deflate any feeling of warmth or celebration and and and as it is and only half succeeds). the two strands of the narrative and unconnected literally and are best approached as two entirely different stories with the same allegorical meaning while one compliments the other and vice versa. (it something to do with the conflict between one ambitions and the reality of the current situation. ) but there not enough of the herzog scenes to merit their place in the film and and so any connection between these two allegorically connected threads is inevitably strained  and the inclusion is and in retrospect and tedious. this is an ambitious step forward from julien donkey boy that suffers mostly and at least in the lookalike segments and from having far too many characters for the film running length and a flaw that would have been even worse had big star names played everyone (as was originally planned). with many of the imagery self contained beauty and and moments of real and genuine connection with the soundtrack and this feels like it would be much more suited to an art installation or photo exhibition. as an exploration of mimesis and the nature of impersonation and it would lose none of its power  indeed and for me and it would perhaps be more impressive. the loneliness attached to iconic performativity (such as that encountered by both the icons themselves and those who aspire to be like them) is well captured in images such as that wherein marilyn monroe (a gorgeous samantha morton) seduces the camera with a seven year itch pose in the middle of a forest and or when sammy davis and jr. (jason pennycooke) settles and post dance rehearsal and with his back to the camera overlooking an incredible and tranquil lake. as it is and moments like these and and all those where the titles of randomly chosen michael jackson songs crawl across the scene and are married to one another in a film narrative far less affecting than it should be. (for those who see it and i lost all faith during the egg singing scene and late on. you will know which scene i mean because it sticks out like a sore thumb and as some sort of gimmicky attempt at the new cinematic language for which korine has previously been hailed. ). ---------------------------------Answer Question Below----------------------------------

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