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Swimming to Cambodia
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Directed by Jonathan Demme.
By rights, an 87-minute filmed monologue should be as stimulating as watching paint dry. Ah, but when the monologist is the brilliant Spalding Gray, then the audience is in for a cerebral feast. Based on his one-man Broadway presentation, Swimming to Cambodia is a mesmerizing account of Gray's experiences while playing a small role in the 1984 film The Killing Fields. Gray's ramblings encompass such subject as Southeast Asian politics, the availability of sex and drugs in the Third World, and even a few choice observations about New York City. The monologist sits at a desk throughout, while director Jonathan Demme makes no effort to "cinematize" the material. Still, the film is a fascinating hour and a half, and few viewers will feel the impulse to walk out of the theatre or fast-forward the VCR. Swimming to Cambodia was followed by another Spalding Gray "talking theatre" piece, Monster in a Box. ~ Hal Erickson, All Movie Guide
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Dr_GorDr_Gor Re: Directors
by Dr_Gor in HORROR MOVIES 101
hasn't rated it.
"Please excuse my friend Robert for plugging his website every chance he gets... I told him he could do that... and it IS a pretty darn cool website if your a Horror/Gore fan.... " [More]
Phantasma-gore-iaPhantasma-gore-ia Re: Directors
by Phantasma-gore-ia in HORROR MOVIES 101
loved it.
"David Fincher for Fight Club and the movie that drove me to pursue a career in film, Panic Room; Jonathan Demme for his extensive versatility from films like Swimming to Cambodia to, well, everyone knows...; Jan de Bont for his adrenaline-rich action adventures involving unstoppable buses and wild weather. :)For a thrill, you'll visit http://bloodgutsandgore.com, won't you? " [More]
Review by All Movie Guide
All Movie Guide
liked it.
There's nothing inherently cinematic about watching a man talk for 87 minutes. But Jonathan Demme's film version of Spalding Gray's one-man show works remarkably well, mainly because the director has enough respect for Gray's material to present it properly. Demme knows when to move in or pull back or shift the angle of his camera to match the rhythms of Gray's monologue; the photography breaks up the material visually but never calls attention to itself, much of the time simply staying put. When Gray gets rolling, Demme just stays on him, capturing the meter of his voice and the landscape of his face (and even the bits of spittle that occasionally burst from his lips). Gray's monologue is compelling and deeply felt from start to finish; it would probably have been interesting even in the hands of an inept filmmaker, and its translation by a director as skilled and intelligent as Demme allows us to appreciate Gray's gifts all the more. ~ Mark Deming, All Movie Guide
 



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