© 2016 by James Clark
The career of Ridley Scott offers a fertile sense of the glories and the pitfalls of contemporary film. Most particularly, his connoisseurship of conflict, resentment and equilibrium meets in the workplace and marketplace a bizarre and bruising dismissiveness, notwithstanding superficial salutes.
Feeling to be at his best when giving a consummate twist to the products of others, Scott unveils works tending to be remarkably at odds with the inceptions, stories and screenplays of those populating the credits. Having a keen eye (and heart) for natural and historical incidents significantly pertaining to the preparations on hand, he very subtly provides his rip-roaring, usually quite winning, dazzlements with far less plebeian ranges of nourishment, far more aristocratic ranges of problematics and sufficiency, than the public would suspect. As we make our way through Thelma and Louise (1991), being equipped by feminist screenwriter, Callie Khouri, we must be on our toes to comprehend why such exclusivity strikes him as the way to go. (more…)
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