To tell you the truth, I have to wonder, because when it comes to a night out with (Marilyn Monroe), then this is wild. Very wild. So when they show it as something that's less enjoyable than the ordinary life, then I must veto, and in a hard way too!
But.. give it a little thinking, since the movie's point of view is so interesting: the relationship with humans lives longer than the relationship with the stars, as reality is more honest and amusing than movies. Hmmm.. Try to imagine that!
The boy here discovered that the cinematic dream, albeit as incredibly fantastic as (Marilyn) herself, is just a dream. So all the rest of our silly, foolish, and risky life is more fantastic, because we actually lived it (even if it contained some nightmares already!). Hence, the jam in the phone booth with a girl you like becomes eventually more important than a lively fantasy you may live - like the movie fulfills indeed - with your own calendar girl.
This movie made tributes, that were full of love and longing to a lot of things: the adolescence's foolishness, the friendship's coolest memories, the pure fondness of a movie star, the innocent days of the late 1950s and the early 1960s, the good old Hollywood, and lastly the shiniest star yet (Marilyn Monroe). She was portrayed here as a sad lonely woman, missing what these young men already have: the friendship, who dies with the beauty of that era, and the end of those guys' minority too; as if that era was the adolescence's climax of America itself before Vietnam, the series of assassinations, the hippie revelation.. etc.
I loved the whole deal; the nice comedy (the supposedly coolest guy doesn't find anything to say in front of the star unless what he described earlier as stupid !) , the good characterization, the performance from the entire young bunch, the bright cinematography, and the atmosphere which was so solid despite the low budget. Long story short, it got a real sentimental script and directing.
It's one comic, so passionate, movie which has no shame in depicting this obligatory phase of life, when you've got to know your dream, so consequently your fact. And while that, it cheers: viva the 1950s, (Marilyn), the boyhood, the fictional world, and most of all: viva the genius experiment of factual LIFE.
But.. give it a little thinking, since the movie's point of view is so interesting: the relationship with humans lives longer than the relationship with the stars, as reality is more honest and amusing than movies. Hmmm.. Try to imagine that!
The boy here discovered that the cinematic dream, albeit as incredibly fantastic as (Marilyn) herself, is just a dream. So all the rest of our silly, foolish, and risky life is more fantastic, because we actually lived it (even if it contained some nightmares already!). Hence, the jam in the phone booth with a girl you like becomes eventually more important than a lively fantasy you may live - like the movie fulfills indeed - with your own calendar girl.
This movie made tributes, that were full of love and longing to a lot of things: the adolescence's foolishness, the friendship's coolest memories, the pure fondness of a movie star, the innocent days of the late 1950s and the early 1960s, the good old Hollywood, and lastly the shiniest star yet (Marilyn Monroe). She was portrayed here as a sad lonely woman, missing what these young men already have: the friendship, who dies with the beauty of that era, and the end of those guys' minority too; as if that era was the adolescence's climax of America itself before Vietnam, the series of assassinations, the hippie revelation.. etc.
I loved the whole deal; the nice comedy (the supposedly coolest guy doesn't find anything to say in front of the star unless what he described earlier as stupid !) , the good characterization, the performance from the entire young bunch, the bright cinematography, and the atmosphere which was so solid despite the low budget. Long story short, it got a real sentimental script and directing.
It's one comic, so passionate, movie which has no shame in depicting this obligatory phase of life, when you've got to know your dream, so consequently your fact. And while that, it cheers: viva the 1950s, (Marilyn), the boyhood, the fictional world, and most of all: viva the genius experiment of factual LIFE.