gri_2003_m_46_b06_f04_018
- Max. dissimilarity: 0.16
- Mean dissimilarity: 0.086
- Image votes: 0.0
Transcribers
- 73012604 - catuecker
- 73424610 - the3esses
- 73547609 - Zooniverse2017
- 73651968 - jesseytucker
- 73715474 - Chris5420
- WINNER - 73719294 - glt
73012604 - catuecker
The Atonement of Gosta Berling opens with slow shots, panning and fixe, of natural landscape - panoramic and with a sense of scale and light. Such slow treatment, with sluggish subtitle, when it finally comes is absurd - 'in the heart of the country': surprise! The subtitles, though the obscure plot needs them, continually jar: 'Why, Countess, what are you doing alone on the ice at night? The reader of Conrad and the reader of the New Yorker must join in finding these sub-titles grotesque and provicial. The images and the compositional sense of Maurice Stiller have grandeur but the nobility lurches continuuosly into bathos. Too many arms are raised to point at too many doors.The opening suggests the rightness of nature. The rhetoric of the human beings who soon appear is not devoid of insight - for example the Countess' monologue to Gosta is eloquently in envery gesture, and Greta Garbo's sensual face really makes something of the symbolic flight across the lake. However, the dragging of the plot, its perpetual detours and repetitions, does express a state of mind which soaks the film's texture. Grandeur becomes perversity in the lingering carressing anguish which is everybody's lot sooner than later. Large eyes look so often at the wreck of their life or hopes or on the past that a psychological malaise shadows the pantheistic landscape sense.
Perenenes or experrind, the ham-acting dirralve the present (the real images on the screen, that is) & sucks our attention back to rewote, casual guilt. Exasperation and admiration are comingled in one's reaction to this film, 30 years after it was made.
73424610 - the3esses
The Atonement of Gosta Berling opens with slow shots, panning and fixed, of natural landscape - panoramic and with a sense of scale and light. Such slow treatment, with sluggish fades, suggests reverence, perhaps for God-in-Nature. The 1st subtitle, when it finally comes is absurd - 'in the heart of the country': surprise! The subtitles, though the obscure plot needs them, continually jar: 'Why, Countess, what are you doing alone on the ice at night?' and so on. The reader of Conrad and the reader of the NEw Yorker must join in finding these sub-titles grotesque and provincial. The images and the compositional sense of Maurice Stiller have grandeur but the nobility lurches continually into bathes. Too many arms are raised to point at too many doors.The opening suggests the rightness of nature. The rhetoric of the human beings who soon appear is not devoid of insight - for example the Countess' monologue to Gosta is eloquent in every gesture, and Greta Garbo's sensual face really makes something of the symbolic flight across the lake. However, the dragging of the plot, its perpetual detours and repetitions, does express a state of mind which soaks the film's texture. Grandeur becomes perversity in the lingering carressing anguish which is everybody's lot sooner or later. Large eyes look so often at the wreck of their life or hopes or on the past that a psychological malaise shadows the pantheistic landscape sense.
Perversely to expressing the ham-acting dissolves the present (the real images on the screen, that is) & sucks our attention back to remote, causal guilt. Exasperation and admiration are thus mingled in one's reaction to this film, 30 years after it was made.
73547609 - Zooniverse2017
The Atonement of Gosta Berling opens with slow shots, pan-ning and fixed, of natural landscape - panoramic and with a
sense of scale and light. Such slow treatment, with sluggish
fades, suggests reverence, perhaps for God-in-Nature. The 1st
subtitle, when it finally comes is absurd - 'in the heart of
the country' - surprise! The subtitles, though the obscure
plot needs them, continually jar: 'Why, Countess, what are you
doing alone on the ice at night?' and so on. The reader of
Conrad and the reader of the New Yorker must go in finding
these subtitles grotesque and provincial. The images and the
compositional sense of Maurice Stiller have grandeur but the
nobility lurches continually into bathos. Too many arms are
raised to point at too many doors.
The opening suggests the rightness of nature. The rhetoric
of the human beings who soon appear is not devoid of insight -
for example, the Countess' monologue to Gosta is eloquent in every
gesture, and Greta Garbo's sensual face really makes something
of the symbolic flight across the lake. However, the drag-
ging of the plot, its perpetual detours and repetitions, does
express a state of mind which soaks the film's texture. Grand-
eur becomes perversity in the lingering caressing anguish which
is everybody's lot sooner or later. Large eyes look so often
at the wreck of their life or hopes or on the past that a psycho-
logical malaise shadows the pantheistic landscape sense.
Perversely by expressing the ham-acting dissolves the present (the real
image on the screen, that is) & sucks our attention back to private,
causal guilt. Exasperation and admiration are thus mingled in
one's reaction to this film, 30 years after it was made.
73651968 - jesseytucker
The Atonement of Gosta Berling opens with slow shots, pan-ing and fixed, of natural landscape--panoramic and with a
sense of scale and light. Such slow treatment, with sluggish
fades, suggests reverence, perhaps for God-in-Nature. The 1st
subtitle, when it finally comes is absurd--'in the heart of
the country': surprise! The subtitles, though the obscure
plot needs them, continually jar: 'Why, Countess, what are you
doing alone on the ice at night?' and so on. The reader of
Conrad and the reader of the New Yorker must join in finding
these sub-titles grotesque and provincial. The images and the
compositional sense of Maurice Stiller have grandeur but the
nobility lurches continually into bathos. Too may arms are
raised to point at too many doors.
The opening suggests the rightness of nature. The rhetoric
of the human beings who soon appear is not devoid of insight--
for example the Countess' monologue to Gosta is eloquent in every
gesture, and Greta Garbo's sensual face really makes something
of the symbolic flight across the lake. However, the drag-
ging of the plot, its perpetual detours and repetitions, does
express a state of mind which soaks the film's texture. Grand-
eur becomes perversity in the lingering carressing anguish which
is everybody's lot sooner or later. Large eyes look so often
at the wreck of their life or hopes or on the past that psycho-
logical malaise shadows the pantheistic landscape sense.
Permananetly and expressingly the ham acting dissolves the present (the real
images on the screen, that is) to sucks our attention back to newate,
casuea guilt, exasperation and admiration are thus mingled in
one's reaction to this film, 30 years after it was made.
73715474 - Chris5420
The Atonement of Gosta Berling opens with slow shots, pan-ning and fixed, of natural landscape - panoramic and with a sense of scale and light. Such slow treatment, with sluggish fades, suggests reverence, perhaps for God-in-Nature. The 1st subtitle, when it finally comes is absurd - 'in the heart of the country': surprise! The subtitles, though the obscure plot needs them, continually jar: 'Why, countess, what are you doing alone on the ice at night?' and so on. The reader of Conrad and the reader of the New Yorker must join in finding these sub-titles grotesque and provincial. The images and the compositional sense of Maurice Stiller have grandeur but the nobility lurches continually into bathos. Too many arms are raised to point at too many doors.The opening suggests the rightness of nature. The rhetoric of the human beings who soon appear is not devoid of insight - for example the Countess' monologue to Gosta is eloquent in every gesture, and Greta Garbo's sensual face really makes something of the symbolic flight across the lake. However, the drag-ging of the plot, its perpetual detours and repetitions, does express a state of mind which soaks the film's texture. Grand-eur becomes perversity in the lingering carressing anguish which is everybody's lot sooner or later. Large eyes look so often at the wreck of their life of hopes or on the past that a psycho-logical malaise shadows the pantheisitic landscape sense.
Perversely & expressively the ham-acting dissolves the present (the real images on the screen, that is) & sucks our attention back to remote causal guilt. Exasperation and administration are thus mingled in one's reaction to this film, 30 years after it was made.
WINNER - 73719294 - glt
The Atonement of Gosta Berling opens with slow shots, panning and fixed, of natural landscape - panoramic and with a sense of scale and light.Such slow treatment, with sluggish fades, suggests reverence, perhaps for God-in-Nature.
The 1st subtitle, when it finally comes is absurd - 'in the heart of the country': surprise! The subtitles, though the obscure plot needs them, continually jar: 'Why, Countess, what are you doing alone on the ice at night?' and so on. The reader of Conrad and the reader of the New Yorker must join in finding these sub-titles grotesque and provincial. The images and the compositional sense of Maurice Stiller have grandeur but the nobility lurches continually into bathos. Too many arms are raised to point at too many doors.
The opening suggests the rightness of nature. The rhetoric of the human beings who soon appear is not devoid of insight - for example the Countess' monologue to Gosta is eloquent in every gesture, and Greta Garbo's sensual face really makes something of the symbolic flight across the lake. However, the dragging of the plot, its perpetual detours and repetitions, does express a state of mind which soaks the film's texture. Grandeur becomes perversity in the lingering caressing anguish which is everybody's lot sooner or later. Large eyes look so often at the wreck of their life or hopes or on the past that a psychological malaise shadows the pantheistic landscape sense.
Perversely & expressively the ham-acting dissolves the present (the real images on the screen, that is) & sucks our attention back to remote, causal guilt. Exasperation and admiration are thus mingled in one's reaction to this film, 30 years after it was made.