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For his latest and seventh feature, Anderson has undertaken the decidedly tricky task of translating the work of reclusive author Thomas Pynchon onto the big screen. The latter’s work is famous for its often head-scrambling degrees of density and complexity. Thus, no one has ever dared to adapt any of his novels before.

Anyone who says they can follow what’s going on in Inherent Vice on the first viewing is either a savant or a liar.

Inherent Vice is a trip. With its labyrinthine plot, never-ending collection of mysterious characters and befuddling ambiguity, it is safe to say this will be a trip not enjoyed by everyone.

To give meaning to the title of the Thomas Pynchon novel, “Eggs break, chocolate melts, and glass shatters.”

The supposed backlash to Inherent Vice, in my highly uninformed view, is less to do with Anderson than the assumptions and expectations that critics and audiences have of contemporary cinema. We arrive expecting order, clarity, momentum – a miraculous escape from our day-to-day lives. But that is not all art can and should be…

A WORD of advice: do not go to see “Inherent Vice” expecting to understand it. Audiences who recognise references to noir predecessors like “The Big Sleep” or, most notably, Robert Altman’s 1970s neo-noir “The Long Goodbye” may feel a smug sense of satisfaction.

If you’re one of those who fondly recalls spending the ’60s luxuriating in a pleasantly disorienting haze, well, consider “Inherent Vice” a reunion of sorts. You’ll fit right in.

Inherent Vice is the latest from writer/director Paul Thomas Anderson, based on the 2009 novel of the same name by Thomas Pynchon. Pynchon’s work is often characterized by its density and difficulty. As such, some said Vice could not be successfully adapted for the screen.

еще одна обложка в коллекцию – достаточно нелепая

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дополнительное чтение: линза гравитации

библиотечка пинчоноведа: A Study on the Thought of Technology of Thomas Pynchon’s Fictions

через Писателя ВД – привет от Дока:

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