Confessions Of A Dangerous Mind

The film flows in a reverse direction, the drug loses its effect and every bait comes out.

Now saying that, for a debutant director George Clooney, this is an excellent achievement. It would be misleading, since this is an excellent achievement. But for any director. And I say that for the film juggles both humor and drama with such ease like even his, Clooney’s crime partners weren’t able to. And I am talking about Coen Brothers whose filmography in these genres never communicated to me. But I think he is deriving more from his old time buddy Steven Soderberg. The way he makes a hustle fun, it is simply inspiring. And Clooney has got that same sense of humor in his bones. From panning out cameras and using them as the gun to shoot jokes repeatedly is the best comic character of the film.

Just take Brad Pitt and Matt Damon’s cameo for instance. I have never seen a better use of a special appearance or having famous celebrities as friends. And it might not seem in early stages, but it is vital to the plot line. The images, the punch lines, the expression, everything stays with you, just as it should, just as Clooney was hoping for. What film lacks is the commercial structure that builds up towards an antic and ends on the highest pitch it can achieve for a cathartic finale.

Luckily, Clooney isn’t looking to satisfy the audience but himself. And that’s his big win. Obsession to please everyone didn’t take his film away from him, contrary to what happened to the lead character. Charlie Kauffman’s sharp screenplay and Sam Rockwell’s balanced performance are just another factors elevating the Confessions Of A Dangerous Mind. As an intense drama, the film only fully comes alive when it focuses on individuality, the loneliness strikes a jaggering thunder in those quiet moments.

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