My Private Movie
Mike, a street hustler, stands alone on a deserted stretch of highway. He starts talking to himself and notices that the road looks "like someone's face, like a fucked-up face." He then experiences a narcoleptic episode and dreams of his mother comforting him as home movies of his childhood play in his mind.
My Private Movie
Conversely, USA Today gave My Own Private Idaho two and half stars out of four, calling it "nothing but set pieces; tossed into a mix whose meaning is almost certainly private".Time magazine's Richard Schickel wrote, "What plot it has is borrowed, improbably, from Henry IV, and whenever anyone manages to speak an entire paragraph, it is usually a Shakespearean paraphrase. But this is a desperate imposition on an essentially inert film."In his review for The New Yorker, Terrence Rafferty wrote, "Van Sant has stranded the actor in a movie full of flat characters and bad ideas, but Phoenix walks through the picture, down the road after road after road, as if he were surrounded by glorious phantoms."
In 2005, the film was remastered by The Criterion Collection and released on a two-disc DVD set. The second disc features new interviews, outtakes and more information about the movie. This DVD set is accompanied by an illustrated 64-page-booklet featuring previously published articles, interviews with cast and crew, new essays by JT LeRoy and Amy Taubin, a 1991 article by Lance Loud, and reprinted interviews with Gus Van Sant, River Phoenix and Keanu Reeves. Entertainment Weekly gave the DVD a "B+" rating and wrote, "While you may enjoy watching My Own Private Idaho, whether you choose to view this two-disc Criterion edition in its entirety depends on how much you enjoy watching people talking about My Own Private Idaho", and concluded, "But with all the various interpretations and influences, this is definitely a film worth talking about".
The characters have been compared by one critic to Prince Hal and Falstaff - to the errant heir and his lowlife companion. It's the strangest thing. Here is a movie about lowlife sexual outlaws, and yet they remind us of works by Shakespeare or Dostoyevsky, not William Burroughs or Andy Warhol. Maybe that's because Van Sant is essentially making a human comedy here, a story that may be sad and lonely in parts but is illuminated by the insight that all experience is potentially ridiculous; that if we could see ourselves with nough detachment, some of the things we take with deadly seriousness might seem more than faintly absurd.
The movie takes place in Portland, Ore., and the open spaces of the Pacific Northwest - the same territory covered by "Drugstore Cowboy," Van Sant's previous picture. Again he is looking into the lives of outlaws on the road. Life centers around who you get a ride from, where you spend the night, how much money you have in your pocket. There are no long-range plans.
Although the central characters are prostitutes, the movie is not really about sex, which does not interest either Mike or Scott very much. What Mike wants is love, and by love what he really means is someone to hold him and care for him. He was deeply damaged as a child, and now he seeks shelter; it is a matter of indifference whether he finds it with a man or a woman. The achievement of this film is that is wants to evoke that state of drifting need, and it does. There is no mechanical plot that has to grind to a Hollywood conclusion, and no contrived test for the heroes to pass; this is a movie about two particular young men, and how they pass their lives.
The film inverted the movie pin-up idea that audiences had grown accustomed to in other ways, too. The usual floppy hairstyle and boyish charm of the Hollywood leading man are replaced by a shaggy cut paired with untamed stubble. This grungy aesthetic also blends into Beatrix Aruna Pasztor's costume design. Mike is rarely without his burnt-orange dirt-scuffed jacket. Van Sant implements this gritty-edged style throughout his cinematic world; it is a million miles away from the action hero or suave-gentleman archetype Reeves and Phoenix could have otherwise channelled.
"It's certainly the case that there are trends in each era that come to temporarily define male imagery on the screen and that are reflective of cultural changes," Dr Karen McNally, reader in American film, television and cultural history at London Metropolitan University, tells BBC Culture. Many Hollywood movies of the 1980s presented "a hyper-masculinity of the Reagan era. Michael Douglas's entitled white masculinity in Wall Street and Fatal Attraction and the aggressive physicality of Sylvester Stallone and Arnold Schwarzenegger became emblems of the hyper-male politics and culture of the 1980s." It was this hardened masculinity, one that was unmoving and stoic, sitting at the intersection of mystery and virility, that Van Sant's My Own Private Idaho went on to undermine. From the physical closeness of the two characters to Mike's physical weakness with narcolepsy, the brutish male is non-existent here.
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Do you have a personal video that you want to share with your family and friends? The services that make you broadcast your everyday footage to the entire world may not be the best solution for sharing private family videos.
Start uploading a video to YouTube in the usual way by clicking on the icon in the upper right-hand corner. These days, all YouTube videos that are uploaded are set to private mode until you publish them.
However, if you can look past the privacy headlines, Facebook is one of the best ways to share private home videos online. Almost everyone has an account (including Grandma!) and choosing your audience for your video is relatively straightforward.
A third popular way to share video online privately is to use a cloud storage provider. The big three names in the industry are Google Drive, OneDrive, and Dropbox, but there are lots of smaller services out there as well.
DIRECTV is now available free of charge on select flights. The DIRECTV programming provides access to more than 100 TV channels and new movie releases, so you can catch up on your favorite shows or see the latest films. DIRECTV service is not available on flights outside the continental U.S.
Like all the senior actors Chiranjeevi and Balakrishna, Telugu actor Victory Venkatesh has delivered some of the unforgettable blockbusters in Tollywood. But due to inflation, only the current figures of his movies are considered and that includes his comedy series with Anil Ravipudi
Just like Chiranjeevi, Nandamuri Balakrishna to has several blockbusters in the past such as Naari Naari Naduma Murari, Aditya 369, Bhairavadweepam, Samara Simha Reddy, Narasimha Naidu just to name a few but due to Inflation only current movies are considered for the above list.
Just like Dad Chiranjeevi, Mega Power Star Ram Charan too has succeeded to do as many movies as possible and currently, he has 3 100 crore movies to his name of which two are directed by SS.Rajamouli.
Like JrNTR, Telugu Megastar Chiranjeevi to has several blockbusters to his name such as Khaidi No. 786, Gangleader, Indra, Shankar Dada MBBS, Tagore and other films but due to inflation only his current movies are considered for the above list.
After Mahesh Babu, it is Powerstar Pawan Kalyan who too has 6 hundred crore movies the Tollywood and that includes a few flop films too, still, they have managed to mint Rs 100 crores at the Tollywood box office.
Starring two incredible talents, River Phoenix and Keanu Reeves, My Own Private Idaho is a touching drama movie written and directed by Gus Van Sant, produced by Laurie Parker, loosely based on Shakespeare's works. This American independent film follows the story of two friends embarking on a journey of personal discovery from Portland to Idaho and Rome. The film premiered at Venice on September 4, 1991, was released on September 29, 1991, in the USA, won many awards and nominations. My Own Private Idaho was shot in the USA and Italy. Oregon and Lazio were among the filming locations.
My Own Private Idaho is a story about a narcoleptic gay male hustler. There. That's easy enough to summarize on this first go-round. But that's only a beginning. For this is an ambitious movie; a movie about roots and rootlessness, about reclaiming the past and seizing the future, about the ways of the street and the life of the road, about wishes and memories and swimming upstream (like the salmon we see in montages at both the beginning and end of the movie). Director Van Sant, following his black-and-white story of unrequited homosexual love of a skid row liquor store clerk for a straight Mexican immigrant in Mala Noche and his breakthrough film about a band of junkie pill thieves, Drugstore Cowboy, here lays claim to being one of the most adventurous filmmakers at work in the U.S. today. Phoenix plays Mike Waters, the young ragamuffin hustler mentioned above who begins to twitch and folds into a lifeless, sleeping bundle whenever situations become too difficult or remind him of his childhood and his mother. This happens often. Reeves plays his best friend Scott Favor, another hustler who's in it for the money as well the aggravation it brings his wealthy father, the mayor of Portland (where much of this movie takes place). Like Prince Hal in Shakespeare's Henry IV, Part 1, Scott's temporarily slumming on the fringes while waiting for his inheritance (he's a week shy of his 21st birthday and his dad has a bad heart). The Shakespeare refereneces are deliberate. Themes and passages from Henry IV are reworked into modern English, Shakespeare's Boar's Head Tavern becomes a hotel for derelicts, the botched Gadshill robbery is restaged for the urban landscape, Shakespearean speeches are fractured into contemporary dialogue and the role of Falstaff has mutated into the character of Bob, an overweight cocaine-addicted chicken hawk (played with stunning gusto by Richert, himself known as the director of off-beat movie gems like Winter Kills and Success). These connections to the Bard are both the movie's glory and stumbling block. The audacity of the attempt is exciting to watch although its reach often extends further than its grasp. Reeves, in particular, seems stilted and aloof at times, though it must be said that such posture also befits his character. Mike and Scott take off for Idaho (the land of the imagination) in a search for Mike's long-gone mother. Mike is also in love with Scott, who is kinder to Mike than to most other people (Scott cradles Mike in pieta poses and protects him in his somnolence), though Scott seems predominantly heterosexual despite his gay hustling. Van Sant's filmmaking combines a unique blend of gritty street realism and carefully composed stylizations. Apart from the Shakespearean narrative, My Own Private Idaho employs some breathtaking visual frills (like the repeated trope of the time-lapsed cloud movement and the movie's stand-out sequence in which the cover boys on a bunch of porn magazines displayed on a bookstore rack come to life and initiate a telling dialogue amongst themselves). My Own Private Idaho Idaho is a movie that takes risks and some of them work better than others. But it's a daredevil's ride that keeps you glued with fascination. 041b061a72