doxrus

Two possible references/ripoffs by director Coppola to his uncle's APOCALYPSE NOW. After killing his father, Joe has a breakdown, sitting in a motel room in his underwear next to an unmade bed - just like Wiilard. Later, he stares up at the ceiling fan, just as Willard does.

During the showdown with Lou, why does Joe turn on the carousel? He does it quite deftly, barely looking at the power switch, as if he'd been planning it all along, and knows exactly where the switch is located. Is it really that simple and easy to turn a carousel on and off? And if he had wanted to shoot Lou, it would have been much easier when he was standing still, right in front of him, not on a turning carousel surrounded by moving horses.

This film has one of the greatest lines in film history. Late in the story, Uncle Lou talks to his nephew Joe. Their relationship, and Joe's "killing" of his father, have been central themes in the film. Lou says, "Well you know my brother.....[dramatic pause]....[deeper, more dramatic voice]....your father..." Really? He says this as if it's some sort of huge revelation. Does Joe not realize that his uncle's twin brother is his father? Is he confused about how familial relationships work? Even if these lines are meant for the audience, doesn't everyone on the planet know uncles and fathers and nephews work?

This film was shot by the great cinematographer Maryse Alberti, who has done masterful work in features (THE WRESTLER, VELVET GOLDMINE, HAPPINESS) but mostly in docs (TAXI TO THE DARK SIDE, ENRON THE SMARTEST GUYS IN THE ROOM, WHEN WE WERE KINGS, etc.).