Snatch (2000)

Style, But to What End?

This kind of film superficially resembles what I really yearn for: heavy cinematic qualities in the filmmaking. I look for a harmony of vision among how the camera is managed, the edits are composed, the music punctuates the image. Snatch has this, and sustains a pace almost frenetically conducted. I was really impressed with the effectiveness of style that was pulled off here.

But the reason I yearn for this is because of the power that can result when these cinematic skills are put to the service of climbing into one’s mind. Few things are as powerful at the social level than such films. The written word goes deeper, but film is more visceral. So I have to ask in the service of what art was all this Snatch motion created? And I think in this case, the flash alone was intended to be the only justification.

That’s not good enough for me. This film is an interesting empty vessel. In contrast, the first Mr Madonna isn’t afraid of life. We’re better off with him. Less style, but more substance, the stuff our brains and nerves eat

Kudos though to Brad Pitt. Even though this film is a waste for him, he is on a laudable journey to plumb many non-mainstream niches, while eluding the fate of Julia. He’s taking real risks here, and I expect we will all be better for it.

Posted in 2001

Ted’s Evaluation — 2 of 3: Has some interesting elements.


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