Bobby: Hmm. It’s clear. So what comes out: someone named Lou took you somewhere in the bushes and threw you out? Tony: No, he … put me behind the wheel. In the novel “Animals of the Night,” Edward described his own inner world. Tony Hastings’ story is how Edward reflected on Susan’s departure. Susan hurt him as much as she could - she didn’t believe in his writing talent she considered him weak she left him for a man who was his complete opposite she took away from him the opportunity to become a father.įor Edward, the pain of losing his wife and unborn daughter is comparable to that of Tony Hastings, whose wife and daughter were brutally murdered by night bandits. In addition, the gang mocks Tony’s weakness, and even Police Lieutenant Bobby Andes talks to Tony with subtle mockery at first.īobby: As far as I understand, the guys had no weapons. Nocturnal Animals Movie Meaning & Film Analysis. Her ex-husband tells her about this through his brilliant novel. For several evenings, the main character – the owner of an art gallery named Susan – realizes how far her life has diverged from the dreams of her youth. Tom Ford’s Nocturnal Animals is a story of graceful revenge, if, of course, you can call graceful revenge. “And I’m very torn about that.The meaning of the film “Nocturnal Animals” But doesn’t Ford help perpetuate conventional standards of beauty through his career as a fashion designer? “It certainly wasn’t fat-shaming - if anything, it’s a celebration of the beauty of their bodies, and a challenge to what we think of beauty,” he said. In the end, it’s one of Ford’s favorite sequences for exactly that reason. She’s being who she thinks she needs to be: I need to live this way, I need to look like that.” They had let go of what our culture had said they’re supposed to be, and because of that, they were so totally free. They were so uninhibited, and I realized that actually, they were a microcosm of what the whole film was saying. I found them so beautiful, so joyful, and so happy to be there. That all changed when Ford showed up to the nude shoot “and fell in love with these women,” he said, admitting, “I actually felt guilty that that had been my original intention. So, guess what? I want to talk about America today: Gluttonous, overfed, aging, sad, tired.” America was always tan, beautiful teeth, tits and ass. And I remembered that great poster that I had hanging in my room when I was a kid, when I thought I was straight, of Farrah Fawcett in that red bathing suit. “Politics being what they are right now, I want to make a statement about America. “I’ve lived in Europe for the last 27 years, so I thought, What do I want to say if I’m having a gallery show in America?” mused Ford. Though nearly all the art in the film was on loan from real-world artists - “I don’t like a movie that’s about the art world that doesn’t have real art,” said Ford, “because you can always tell” - the director shot the nude women himself, adopting the imaginary persona of a foreign artist with an axe to grind. So there were a lot of different reasons for that sequence, and not least of all, it grabs the audience at the very beginning and gets them into the story.” “They’re the Valkyrie in a sense, casting a spell on the entire film. “The whole thing is a bit of a fairy tale, and they’re sort of the witches leading you in,” Ford began. Yesterday, I sat down with Ford and asked him to explain what he had in mind. “I’d rather Tom Ford didn’t use fat nude bodies as avant garde gimmicks until he casts a similarly sized person as a person,” tweeted NPR’s Linda Holmes, while writer Jen McDonnell liked the film but still had qualms about “the fat-shaming opening credits BS.” Indeed, in a film full of movie stars at their most lithe and toned, the sequence stands out all the more. It’s eventually revealed that we’re watching video art on display at a gallery opening engineered by wealthy, disaffected art maven Susan (played by Adams), but the attention-grabbing sequence left a bad taste in the mouths of some viewers here at the Toronto Film Festival, where the film had its North American premiere this week. A revenge thriller toplined by Amy Adams and Jake Gyllenhaal, Nocturnal Animals opens not on its stars but with a montage of nude, obese women dancing in slow motion as glitter flutters all around them. After three decades of working in the fashion industry, Tom Ford understands the power of a provocative image - and the opening-credits sequence of his new movie Nocturnal Animals may be the designer-filmmaker’s most controversial creative choice yet.
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