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Speed
Freaks [film]
Unconscious
Motives of the Motion Picture Industry |
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A man crawls out of a hole in the wall and listens obediently to his chatty hand puppet. A sultry woman sees him and shoots him in the ass. Almost instantly the two start tangoing and jumping recklessly into each other's arms. Enter woman two. Blond and more subdued than the first, she carries her own hand puppet and offers the man not only romantic camaraderie but a few steps of the Charleston. Such is the candlelit dreamscape of writer/director Robert Cucuzza's The Sticky Banister (Ontological Theater), a witty, theatrical meditation on the eternal conflict between rash, passionate love and more domestic, soul-mate bliss. Cucuzza choreographs his actors into quirky, fantasialike configurations exemplifying his agonized male's subjective quandary. Though the perspective occasionally seem young ("You can only inflict as much pain as you can receive"), the fluid treatment signals the emergence of a genuine poet of the theater.
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