By Thomas H Cullen (UK)

 

It would feel like an oxymoron, for an identical to become a sequence. Not part of a sequence, but if the identical in question were the entire manifestation of the sequence. It isn’t an oxymoron though since the basic notion of an identical means a detachment.

Though hardly orthodox, a normal inference about the concept of detachment is hostility. And this is when things become actually impressive, with regards to the Tom Ford masterpiece Nocturnal Animals, because the underlying theme of Susan Morrow’s story is that an entity of hostility becomes its own sequence. Which is insane, come to think of it. If a force is hostile, how on earth can that force be expected to orchestrate and organise itself so that it can perform an elaborate function?

With the clash simply meaning what it’s supposed to mean, an obvious conclusion from this is that if the clash is doubled the original reality is resolved. Yet the film format of Nocturnal Animals precludes this ability. The double clash doesn’t apply. Susan’s story reaches far beyond a double clash, ergo resolution, and is a very unique type of story.

First, what is a clash? The definition has to include time, and yet time is synonymous with the concept of sequence. Time belongs to the overall product and it belongs to the construction of the product. The overall product is ownership, and ownership is owned across the product. So another way to look at it, is that while control is the story outright, at the same time the control is being controlled across itself.

Control is peace, or at least it can be. It can also amount to repression, meaning that when it comes to Nocturnal Animals and the tragic story of Laura and India Hastings, a repressive force is being repressed within itself. The experience of force is being self-inflicted. Force and direction are detached from one another, and then direction is equal to force.

The freedom of direction from force has had to be the effect of force, meaning that the resolution hasn’t yet come to fruition. Force has no direction, meaning that it has no image. Image and direction are now identical. Structure and direction are now identical.

A structure is a series of joints, and a direction is a singular idea. This means that the story of the kidnapping, rape and murder of Laura and India Hastings is a story of a singular being the same as a series of joints. A joint is a connection, thus a combination of connections is the singular. Needless to say, this is a problematic state.

A combination is a difference, regardless of anything. Different differences define the combination, thereby rendering the singular as something which is a void of different differences. The singular is just one difference, in effect one void of sameness. As its own concept, combination therefore becomes something which is one acceptance of sameness despite the singular being one rejection of sameness.

The single is a rejection of itself, and the opposite is an acceptance of self-rejection. So the quality of internal conflict is the unresolved state of being a prerequisite of outside interference. The self has needed outside interference to gain the ability to scrutinise the morality of the self, which is obviously self-defeating.

It would then seem that the supposed superfluousness of a combination “of connections” is in actual fact the means to the resolution. The connections of the outside interference is the moral balance, because by linking the intrinsic nature of difference to a form of sameness, the outside interference is in no better moral state than the self.

Outside self-awareness, the lack of hostility having always been reality is the means by which self-awareness can justify attacking its own right to exist.

In terms that are less mechanical, Nocturnal Animals is a story about the origin of life having the right to experience the origin of life without any consequence whatsoever. There is no implication, there is no paradox, there is no discrepancy. Origin simply has the right to be self-aware of itself, end of story. Logic of course means a maze of course corrections, yet Tom Ford’s direction and approach to his craft has meant a product which is a resolute condemnation of logic.

To sum up: Tom Ford’s Nocturnal Animals is possibly the greatest movie ever made; the sex appeal of Susan Morrow, at the very end of the film, is the rightful successor to the beauty of the deaths of Laura and India that are near to the beginning of the film..

It’s the perfection of Nocturnal Animals to supplant the logical order of priority, when it matters the most, yet do so to perfect logical effect.

Rating: 5/5

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