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David Greenwood

Kim, I saw "I Stand Alone" based solely on your recommendation, and greatly enjoyed it. While some critics have claimed that the movie's shock tactics are cheap or juvenile, they make perfect sense if "I Stand Alone" is judged as a horror film. It's meant to shock, to provoke, to take us to dark places. And to that end, it's an immense success. Unfortunately, since it's in French, appears artsy, and doesn't have a high body count, people forget that.

One big annoyance with me was the DVD that Netflix sent me of the film. It doesn't accommodate 16x9 televisions, so to get it outside of a postage stamp you need to zoom in your view and blow up the movie. Unfortunately, the subtitles are so low in the frame that doing so would cut them off. I wonder how much more powerful the film would have been if I hadn't had to strain so hard to see it.

Is there a better DVD of the film, one what you can personally recommend? I'd love to own the movie, but not the release I saw.

Dave Enkosky

Great review. I haven't seen this movie in almost a decade but damn near every image, every film-induced emotion has been seared into my memory. I think Gaspar Noe is an unmitigated genius, but damned if I ain't ascared before watching one of his pictures.


To quote filmspotting..."I hear what you are saying, but you are completely wrong." Punishment, administered by our mothers is hopefully (depending on who your mom is?) an act of love. When Noe' does it to an audience however it is pedantic, he has no more love for us than the governor of Texas has for a black man on death row. The results of his little experiments should have been obvious from the outset; if you swirl the camera around (accompanied by a grating sound)for ninety minutes the audience will feel disoriented-no shit! Peckinpah's critics called him a misogynist-I believe instead he was as hard on everyone including himself-Noe' is no misogynist, it is me he hates. He will give me Monica B, the most potent sex-popsicle since Claudia Cardinale, completely nude, in her party dress, and then destroy her in the most vile scene that I think I have ever witnessed. At the risk of sounding like Roger Ebert wrongheadedly berating David Lynch for his mistreatment of Isabella Rossellini, let me say that "Irreversable" is a successful film. It succeeds, as few films have, at what it is striving for, it is just that Noe' is aiming so low.


I curious- what did you think of the film "The Woman".

Logan Wilkin

I always questioned the prologue on Morality and Justice. Who are those characters? Are they in reference to a previous Noé short film? I do not remember them in CARNE (1991). As with IRREVERSIBLE (2002), the opening scene involves Nahon reprising his role as The Butcher and Stéphane Drouot from Noé's short INTOXICATION (2002, with the exception of Drouot's differently spelled last name -- a difference of one letter). I read in an interview with Noé that ENTER THE VOID (2009) also sneaks in an image of Monica Bellucci somewhere (I have yet to discover it). He is a filmmaker that creates his own cinematic universe through the characters he depicts. Many filmmakers have done, and are doing it: Todd Solondz, Kevin Smith, Lindsay Anderson, and François Truffaut, to name a few -- and that's okay; as Hitchcock once said, "self-plagiarism is style".

The speech on Morality and Justice, though fitting for the film's tone and themes, is arguably the most omissive, simply because of the character(s) saying it. Any thoughts as to why these hard-edged people are presenting the introduction to the film? Given the original french title, SEUL CONTRE TOUS ("Alone Against All"), is the man with the gun representing the "ALL" vs Nahon's "I"?

I love the films of Gaspar Noé, and I truly believe he is a genius, or rather a mad scientist of cinema. His use of sound should be noted, as it is extremely mental, giving the viewer not just a visual exercise, but a subliminal, audible one. Can't we infer that the campaign of 3D movies that are being resurfaced today are paralleled to the underground innovations of Noé's sound editing/mixing? Not since APOCALYPSE NOW (1979) has the use of sound been so effective, in my humble opinion. Noé is one of a kind, a daring filmmaker on the most extreme edge of the cinematic spectrum.

Thanks for this review. You brought out the critic in me.

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