S1m0ne ending a relationship

The Simone Controversy: The End of Reality? by Thomas Cooper, Ph.D.

The Strange Relationship: Director Harmony Korine's experimental movie offers S1m0ne follows film director Viktor (Al Pacino) as he creates a CGI . ends - incest and tongue-removal does not constitute a happy ending. S1m0ne is a Science Fiction comedy-drama film written and directed by Later, Simone replaces Mother Teresa in the talk show intro in the ending. When you're head-over-heels in love with your partner, it can be hard to even imagine the possibility of breaking up — but the unfortunate truth.

Initially cynical at the grand success of his deception "A star is digitized," he musesViktor soon accepts the love: No longer an art-house nobody, Viktor signs a three picture deal with Amalgamated, and soon taps out his next masterpiece, the aptly titled Eternity Forever in which Simone utters the immortal line, "Love is like a wildflower, but that flower only grows on the edge of a very high cliff".

With all eyes on Simone, the celebrity-making system kicks into high gear: Simone does an interview by remote she's "on location"pitches a perfume, appears on magazine covers In Style, Time, Uswins an Oscar, and becomes a pop star, complete with an album, Splendid Isolation, and a live show before a stadium throng who doesn't want to perceive that she's a holographic image, with Mary J.

At show's end, Simone gushes, "Never stop believing! Aside from sucker-fans, Simone mocks box-office-obsessed execs; self-serving "talent" Simone's costar, Hal [Jay Mohr], rides along in her wake, pretending he's met her to up his cool factor ; and stupid-cow reporters. These last, of course, are represented by the requisite tabloid hacks, Milton Jason Schwartzman and the unsubtly named Max Sayer Pruitt Taylor Vincewho lusts after his subject so completely that he convinces himself that Viktor's fake hotel room layout is "real," fondling "her" lingerie, laying on "her" bed, tasting "her" toothbrush.

This scene, like most everything else in Simone, takes aim at an easy target who doesn't revile the bottom-feeding bloiders?

Simone (2002)

The broad-comedy-as-insider-critique is at once cursory and smug. As the only nonbeliever in sight, Viktor provides a particularly contemptuous position from which to observe the proceedings; his disdain for Simone's zillions of disciples intensifies as they increasingly overlook his brilliance, and he resembles more and more his namesake, Victor Frankenstein, overwhelmed by his own creation.

No surprise, Viktor and Simone provide the film's most detailed, compelling relationship. Or perhaps more accurately, Viktor and Viktor. He sees his most attractive, resourceful, and prolific self in Simone: Her responses are his to himself, spoken into a mic and returned in the voice he's conjured for her.

Her gestures mirror his, her expressions are his transformed. One of the film's more hysterical scenes in all senses of the word occurs as Viktor dons lipstick in order to put Simone's "kisses" on autographed photos, at the same time that he's engineering her concert performance from a sound booth. All his manic activity leads to chaos. On one hand, he appears oddly transgendered, emulating and simultaneously producing Simone's "feminine" appearance. On another hand, when he's discovered with lipstick smeared all over his mouth, he looks to be Simone's lover, so consumed with passion for her that he's lost control over his own "manly" appearance.

And this is Simone's key insight, the elaborate gendering, de-gendering, and re-gendering processes that allow all levels of self-love in La-La Land. Viktor doesn't quite understand this aspect of his fantasy, believing that he's in charge. At wit's end over Simone's mammoth popularity and his declining importancehe tries to fess up to Elaine, declaring, "I made Simone.

The public however is just as much to blame for this - our insatiable need to know everything - how much the stars earn, who they're dating, what they're addicted to It's amazing that today's superstars don't immolate under the spotlight's glare. While the days of discovering the next screen legend in ice cream parlours may be over, they may soon be created over a banana split For Viktor Taransky bad things do indeed come in threes, in his case, movies: His comeback attempt is apparently dashed when the star "A supermodel with a SAG card" of his latest film walks out on him citing creative differences.

Replacing her seems impossible - as an agent eloquently notes "[For my client] having no credits is better than having a Taransky credit. Distraught and demoralized, Viktor's salvation appears in the guise a seemingly deranged genius who offers him the ultimate software for the director who can't find a star - who says you can't make em like you used to?

For those accustomed to Al Pacino's typical cast of characters -serious, dark and brooding, with an intensity level that never drops below 10, Viktor Taranksy is a refreshing change. As the real read: Pacino is appropriately low key and morose- even when Viktor should be bathing in the glow of success there is a palpable manic undercurrent and sense of foreboding. The supporting cast is a mixed blessing. Catherine Keener, who plays Elaine, Viktor's ex-wife her second role as a Hollywood executive in as many monthshas suprisingly little presence in the film - her dialogue is light and her character is relatively inconsequential.

S1m0ne (Film) - TV Tropes

I can only assume that this was done so as not to detract from the other adult female lead see below. Evan Rachel Wood, delivers a solid performance as the daughter, supplying maturity and offering sage advice to her self-involved immature parents.

Of course the real star is Simone.