hail to the incorrigible men!!!

a story enhanced by murder and deceit. and the best thing in this movie shall be claire trevor's performance as the ambitious, complicated seductress who is in eternal struggle between the crave of peace and security and the longing for strength, excitement and corruptness. naturally this ambivalence is anchored by her choices of men: the rich loyal fred and the shrewd ferocious sam(lawrence tierney). besides the warobe of miss trevor in this movie is dynamically femme fatale to delineate the iceberg women with the coldest surface and rottenest inside. one of the pleasure for the film noir aficinados is the savor of its dialogues of cynical wisecrackers which reflects the simmering irony of life. and this one shall have one of the best scripts. for example. "life is coffee, the aroma is always better than its actuality"....besides it's also the best chance to take a glance over the young lawrence tierney (one of the coolest original tough guys)whose youthful dashing looks matches his razor-sharp toughness.

the flick which prompts lawrence tierney's overnight fame as the hard-boiled tough guy. now he incarnates into the 30s gritty bankrobber john dilinger to heaten up the silver screen.

the story starts off with one trivial event which triggers him into robbing a grocery store on his own, a female companion's insistent request on drinking another round of beers as well as the contempting remark from a snobbish waiter who dismisses him as "two-bit chieseler"... it draws the contour of his persona, always motivated by the provocation of overbearing pride which could drive him into anything. in prison, he aquires the skill of conning, then he springs his cellmates to partake in their gang. afterwards he substitutes the boss as the no. 1 man to dominate the whole mob. but eventually his ultraviolent tyranny induces the grudge of his mistress who doublecrosses him to obtain the reward sum.

the role of dilinger is literarily tailored for tierney whose private life rivals with the tumults in the roles he plays. dilinger is an abitrarily spoilt man whose vindictiveness thrives him but also abolishes him. his vengeful angst pushes him forward to wench the world into his palm, and it also antagonizes himself against others due to his keen disaposals of his potential foemen.

this is a flick accelerated by testosterone, featuring some raw bankrobbery scenes in its primitive state, and it's swiftly paced on a man's rising bloom and his flopping doom. and the closure is blended with a sense of absurdity, interwined with the agonic clausphobia to avoid police: great mobster dilinger gets himself caught for attending theater to see a cartoon flick.

as the studio shedded off the moral code which had been effeminating the flicks for a decade in 30s, james cagney rises up again to be the incorigible villainy man without converting to the heroic roles he had taken such as "g men", "each dawn i die" and "city of conquest"..etc. this time his sinisterness erupts as some volcanic force which detonates right in front your face when his cody jarret finally reach toward "the top of the world"....

cagney plays cody jarret, a mobster leader with oedipus complex, morbidly fixed at ma, and his mystically legendary headache tears him into pieces then he besseches ma's bossom to soothe it. obsessed with absolute domineering power thru brutal violence that is the psychotic trait of homicidal inclination. he swears like machine gun and he slaughters mercilessly. except his affectionate adherence to ma, his human-ness is amputated then he's a thug machine bridling his gang mugs and his harpy wife. and director raoul walsh settles some scene even with the suspense horror to interpretate cody's intimidating evil momentum: in one scene, his murderous glare creeks thru the leak of doorgate on the eve when he's about to dispose of his rival, then cody cold-bloodedly grabs his mistress' arm to drop-kick the corpse downward the stairway complecently. here you witness a monster striking around with tricky chortle.

as some misogynism expresses proudly in "public enemy" such as the notorious grapefruit-smashing scene, "white heat" also bears cagney role's misogynism in a more subdued way by enhancing cody's affinity with ma that explains his reluctant neglect to his wife, as one scene says it outloud: cody inquires his wife where ma goes, she replies with impatient smirk "don't you like strawberry?! she happens to go to buy some for her boy!!" then cody spurns her away from the chair while she stands upon it to wear her mink coat. as a mama's boy, cody has no concrete relationship with women excpet the amative lust. he treats her friendly only when he's in the urge of sex that suggests his compliment on her looking good in the shower curtain. genuinely cody's heart belongs to ma, the prison scene of him runing lunatic after acquiring the news of ma's demise is a great showcase for cagney. eventually cody ends up ruined without the discerning flair of ma, enmeshing into the scheme of doublecross.

unlike the 30s gangster flicks which always enclosed with a moral lesson, our cody jarret simply doesn't give a damn! he would rather torches himself into the outburst of gasoline than submit to the police imprisonment, persisting untamed as his consistent revolt against society and morality. self-destructs before be destructed by others as he hollers "make it, ma! top of the world!!!" with his last inconformable flatulency.

the founded stone for james cagney's overnight success of his classic gangster status. this flick is adapted from a moralistic social stiric novel called "beer and blood" which is applied in the lines during the flick as well. one of the first movies tackles the mob tumult under the prohibition in the 20s.

cagney's character tom is a hoodlum who's been meddling with the "wrong kind of people" since childhood with his pal matt, he's learned how to steal, intimidate and rob, generally an incorigible man who takes what he wants without hesitation. as tom's relationships with family, a spoilt younger son with mother fixation, hostile toward the paternal prestige: his father and senior sibling mike, thus he defies authority and contempts the government as he remarks on his brother's diligence on schooling "he's learning how to be poor!" and also his disapproval on patriotism which is serving your country in the war, he dismisses as getting medals for killing people, just as rotten as his success made by the brutal violence of blood, especially when mike shows tom his disdain on tom's unjust fortune by thrashing the beer cask aside...by contemporary standard, those family dramas upon postwar social condition seem dated, hardly to be resonated with empathy. but public enemy has its own relevant importance by being one of defining evidences of this decade's spirits as some historical residual with characters in simplistic archetypes.

the mere timeless element which contributes "public enemy"' as one mighty unshakable classic is james cagney's conspicuously ballistic performance as the cocky gangster who growls and curses like a machine gun, a misogynist who smashes a grapefruit to mae clark's facecheek after quibbing "i wish you were a wishing well, so i could tuck a bucket and sink it"....also delivers the famous line "i aint so tough!" after being shot down to loblolly in the rain.

jean harlow also makes her cameo as cagney's mistress after tossing away mae clarke out of abhorrence...harlow says her lines bluntly like "oh, my bashful boy...i could love you to death"...harlow is more like decorative vase as gangster's eagerness to boast his flamboyance. but harlow's wardrobe is glamous enough to nuance her screen time. one trivia is that the role tom was assigned to co-star ed woods but director demands the exchange as temporal trial, then woods' carrer became luckluster after public enemy, cagney remained ace still.

typically the public enemy is enclosed with a moralistic ending just as your parents would preach: you would end up no good being a gangster.

scarface in 1932 was one of the first film with the primitive perspective to dig into the anti-hero american dream.....perhaps partially spoiled by its moralistic ending, but subtled by its several metaphoric index such as the x sign which stands for toni camonte that is utilized as hommage by martin scorsesse's latest flick "the departed"....and also the cocktail glittering neon logo which says "the world is yours" that symbolizes camonte's greedy ambition to take it all....besides each time scarface tony camonte commits a murder, the sign of x in various forms would appear as some mystic forshadowing, even at camonte's demise. during several scenes, as camonte casts his covetous eye upon his boss' mistress puppy, he frequently utters words like "expensive? huh?" or "this is hot!" or showing off his extravagent leisure robe which is a token of wealth then. the man's concepts of success mainly base on materialistic conquest of interior decoration and daily accessory gadgets or imitating the taste of upper class by attending some refined drama show....but his trynnical inference over his younger playful sister manifests his crude and barbarian side that is the catalysis of his doom. as mentioned earlier, camonte terms his success by the materialistic conquest, so his ultimate success would be the conquest of boss's mistress puppy, he reaches his pinnacle of gangster career as he officially possess puppy who is the symbol of his american dream. camonte embraces puppy while pointing his finger to the cocktail sign "the world is yours" with a conspicuous demeanor.(same as the fitzgerald novel "the great gatsby", gatsby's term of success is to win rich girl daisy's love), then he flops into the lowest when his brutal obessession over his sister emerges upon the surface that is his tragic flaw....except paul muni as the legendary scarface whose character is drawed upon the notorious mobkiller al copone....george raft made his leap of fame by impersonifying camonte's good pal vs top hitman guino. (his trademark would be the mindless toying of a dime.).....the 30s scarface might not be as provocative and thrilling as al pacino's 1983 version but definitely riddled with more reading-into-mind sign language.

hitchcock's grand-daughter claims that "shadow of a doubt" is hitch's favorite piece of work. as for its authentiy, it's another business, but "shadow of a doubt" is phenomenal considering its double parallel of its smitten moral dualism.

the story is about the characters of two "charlies" in an average household. the uncle charlie is a closet sociopath with penchant to strangle rich widows to serve his twisted idealism. young charlie is a naive small-town girl with whimsical ruminations all the time. to escape from investigator, uncle charlie takes refugee in his elder sister's home under the expectation of young charlie's mental telegracy that injects some dreamy hope into young charlie's dried life of boredom. but she would never know her dream degenerates into a horrisome nightmare as she discovers her uncle's deadly secret.

the appliance of two charlies with the introduction of them laying on bed in seperate scenes is the resonation of their connected twin personality. uncle charlie is the dark evil side while young charlie stands for the bright gentility. as uncle charlie dies, part of young charlie's perspect of innocence also withers just like she would never be completed ever again, consuming the rest of her life mourning over the uncle she's infatuated with, as hitch once remarks "sometimes you would slaughters the one you love"....her self-guilt is severe becuz her uncle's vice is partially indulged by her connived silence, then she has to run the risk of his murderous elimination for the sake of his own safety.

joseph cotten as the merry window strangler is sinisterly dynamic, and he delivers some cynically spiteful lines upon women by demeaning old rich widows as "faded, fat. freezing animals" who squader their diligent husbands' hard-earned fortunes by being wastefully leisure all the time, he detests them but takes belief that their annihilations would improve the world as a better place that is the most harsh misogynisitc comment ever in hitch's movies. or lines like "women are fools! they could be in love with anything!!" his idealism detorted with his pervert killing is the so called "moral ambiguity"... there're some stylish shots of cotten's smoking poises full of contempts and complacency as he gazes outside the window as well as his disregard to the conventional superstition by tossing his hat toward the bed purposedly.

there're some engrossing symbolic metaphors, such as the train cotten takes as he arrives the town emits black fume that means devil is approaching here; then the train he takes to depart exuberates white smoke that crytalizes the town as the devil's going away. ironically the ending shows the whole town santa rosa is all lamenting over uncle charlie by dubbing him "son of santa rosa" that is literarily consecrating a murderer with righteous holliness.

the tasteful part is that hitchcock never demonstrates one scene of the actual widow-strangling crime, and it's simply hinted with the killer's fierce strength to string over a napkin with a ferocious gaze. joseph cotten shall be one of the best hitchcockian villains among claude rains, robert walker and ray millard, recognition approved by hitch himself.

a must-see hitchcock classic in 50s, and it features one of the best hitchcockian villain, ray milland as well as the stunning grace kelly as the hitchcockian icy cold blonde. this time the plotline begins with one of hitchcock's commonly favorite themes: murder on one's spouse.

ray milland plays the former tennis star who highly relies on the well fortune of his wife, angered by her infidelity, he schemes to blackmail his college acquaintance into slaughtering his wife. but the wife accidentally grabs a pair of scissors as self-defense, then the thug dies that forces him into entrapping his wife with muder-charged death sentence....

one of the elements on hitchcock's success is his thrust upon audience's intelligence and focused patience, and he hasn't altered any location of scenery in the whole flick, and all the plots all occur in one fixed tiny appartment which form the atmosphere of clausphobia. and his clever use of macguffin is upon the crucial drawback of this crime event, the key in grace kelly's handbag. the suspense is totally absorbed by the viewer while his attention is in quest of the key as hitchcock intends to manipulate.

the showstopper in it is marvellous pro ray milland whose caculated composure savors his ruthless villainy with excellence. the scene he tricks a man into his apartment with murder proposal is brilliantly formidable, and from time to time, the complacent smirk upon his face gives him the adequate aura of an aloof villain. milland's character also confronts his final catastrophe with grace and fine humor like a good loser.

as hitchcock always sympathesizes his villians, milland's wife-murderer also has a cause: marital unfaithfulness which resonates another classic hitchcockian trait: moral ambiguity. she cheats him first, then he schemes to kill her as an unworthy spouse.

"streetcar named desire" is a mighty classic from tennesse williams' play. of course, the earth-shaking marlon brando is hardly to be neglected with his raw beastly sensuality, and ballsy vivien leigh is willing to de-glamourize her southern belle image in "gone with the wind" to appear as a wailingly aging nymphmaniac female who deserves the most pathos.

much has been said about brando and leigh's performances, no need to elucidate further since it's so conspiciously brilliant that audience would notice himself. despite the brando's charisma and sex appeal, the cultural ideology under williams' symbolic dialogues should be studied further.

it's a story about the marred dim glory of old south prestige where blanchet (leigh) and stella get nutured, and how they descend under a mercilessly spiteful palm of one prole savage, stanley(brando)...blanchet commits numerous adulteries then retreats back her sister's home in industrial area, forced to confine under the same roof with her violent bro-in-law stanley who runs amok in poker games and shouts to his wife all the time. blanchet tries to restore stella back in the right track of their gentle breed that arouses the intense animosity of stanley who schemes to unravel blanchet's sordid past to jeopardize her new-sought potential marriage with mitch. so he could susccessfully eliminate blanchet, then further he even violates her sexually.

stanley's character is the side of new american, mostly primitive immigrants, who contempt tender civilization of old genteel. this new breed of americans is brutally philistine due to their suviver prole nature as stanley's mention of nappolian code and eager estimation on blanchet's lost land, and they're also crude misogynists who hate to be ordered around by women. they demand the absolute depotism over their women, and women should shut their mouth at dinner table as stanley smashes the dishes to do his table-cleaning. and this new prole-born americans are repulsed against the polite gentlemanship advocated in hollywood movies. stanley hates to give women compliments and his desperate need for his wife stella is like a caveman yelling out for mating in agony, as he growls "STELLA!!!!!!!"

blanchet is narcissistically self-deceiful but pitifully excusable. despite her self-obsession, she's imaginatively lyrical, craving for the beauty of waltz even under a roof filled with rednecks, prefering to wrap light-bulb with chinese lantern, as she remarks "i cannot stand brutal conversations as i cannot stand the naked light-bulb" even she grows into a caricature for her bizarre insistance on her old south courteous mannerism. as willaims' preference to have his female lead as vigorous, sexually depraven female in desperate crave for their homosexual spouse uncapable to satiate the marital duties. blanchet's first love, 16 year-old lad who commits suicide due to his failture of consummation, is another williams' typical tragic catalysis. to escape death, she seeks the obverse desire, her so-called "kindness from strangers", that leads to her embarassment of pedophilic scandal and her self-exploitative intercourses. libido and love is compartmentalized, thus blanchet's doomed with neurotic sensitivity, a more delicate complexity stanley lacks and ignores, shattered by stanley's unrelenting violence into pieces.

brando could transfer such objectionable character to a sexy beast even he conducts himself clumsily, that could parallel the 50s beat spirit to revive the partriachy he reveres. blanchet's catastrophe into asylum is the metaphoric ruin of old doctrines.

a highly underrated film noir flick starring tyrone power who is usually the typecasted swashbuckler....a story around the circus and the art of con. power plays a drifter who seeks a job in the circus and acquires the trickery of conning art supervised by the senior con woman played by joan blondell. he escapes after accidently sparking off one drunk member's death....he elopes with another female performer who has a crush upon him, soliciting her as his co-schemer(and his marital spouse) as the upcoming fraud. then he recruits a female psychiatrist as his extended crew to enlarge the scale of his racket and evolve his status of fame....then he flops into the gutter due to one trivial failure of conscience. eventually he gets doublecrossed by the psychiatrist then becomes a degenerated drunk drifter without any perspective....retracks back in the primitive spot he begins...even worse, he transforms into an authentic geek which means beast-alike man without no intelligence.

this flick amplifies the noirish cynicism to the sublime extremity, simmering with errosive irony: he observes the geek when he just joins the crew then utters "how could anyone get so low?"...also he disbelieves the old flame of bondell's used to be a master of con...at last, he sinks into the deepest low with double-level bastardization.

power is notably a gorgeously striking man, and it's alluringly convincing to cast him as the womanizer, the taker who extract profits from female affinity, and he's made by women's benevolence but also ruined by the misdeed and the malice of women. just as the latin saying "what nourishes me destroyes me"...eventually his male beauty is despoiled of then devastatingly wasted that stimulates some shock effect to the audience, particularly when you recall the devilishly seductive expression on his face when he whispers love to his wife's ear then coaxes her tenderly into compromising to his next con, then you look into the carved uglified face later, then hearing him growling like human beast geek, what a shock....even he's still redeemed by love at last that doesn't dissolve a bit of its sour taste since it also parallels another sorrowful love story of bondell's character in the beginning.

this movie proves the potential depth of tyrone power as an actor, and he's much more talented than most people assume. "nightmare alley" is the proof that he could be the noirish anti-hero as well...just as "witness for the prosecution" shows that he can be a evil villain... but his conspicuous male beauty is so pleasant to the eye that you just could not help but infatuated that overshadows the recognition of his talent. is that a blissful bless or a ill-fated curse?

"out of the past" is one mighty example of the old proverb "women are not to be trusted"...jane greer is the incarnation of classic noir femme fatale who backstabs men for profits and survival, a giant rotten swelling beneath her strikingly angelic beauty.

jeff bailey(mitchum) is a private eye hired by mobster whit (kirk douglas) to retrack back his mistress kathey(greer) who shoots him four times then elope with $4000. as the moment bailey sees her, he's enchanted to her, so both of them together cheat whit to shelter upon the north for thier love-nest. unfortunately their traces are spotted that leades to one murder which also unravels the sordid darkside of kathey. then bailey recluses in some countryside to reform and seek a kind gentle woman as love companion until one day whit sends his sidekick for bailey....

spontaneously all the men in "out of the past" are chain-smokers who transcend fume circles into enigmatic white clouds that might be an indication of their masochistic empheral doom. everywhere mitchum goes, he ignites a cigarette even at the crucial moment of robbing important documentary. maybe their choice of the woman is the best eloquent case of such chronical suicidal tendency which reflects on non-stop smokings.

both bailey and whit (mitchum and douglas) are shrewd men with sharply fierce sight to see things thru, but they still select to embrace the defying perils, such as bailey knows whit wanna frame him, but he still goes for it; whit understands kathey is no good but he still want her back at any cost. they're tough guys with imperious confidence preferring to be surrounded with apparent danger, enjoying messing up with beautiful dame who is utterly no good just like boys like to play with firecracker even it might blow them off into pieces. jane greer would be the best pretty poison for these two extraordinarily cocky men.

in one dialogue, greer tries to persuade mitchum into her faux innocence, mitchum simply replies "oh baby, i don't care!"...men in "out of the past" are prodigals stuck in their transient life philosophy under the adrenlined sensations for the dazzling sparks, always some case, some feud, some unexpected doublecross to settle, eventually mitchum's character explodes by the forthcoming curse of his tragic flaws.

"the asphalt jungle" is john huston's heist classic which reaches the pinnacle of this gendre with enough keleiscopic characters to sustain a revieting hard-boiled picture to entice you into this god-condemned dimension of film noir.

an aging millionaore emmerich who just goes bankrupt recently schemes to doublecross his gang of jewlry thievery to elope with the whole gross of sum then spend a transient journey of extravaganza with his mistress(marilyn manroe) who is young enough to be his granddughter. unfortunately, his con is penetrated by doc, a man of savvy wisdom, also the brain behind the heist, aided by the shrewd hitman dix who longs nothing but to reclaim his lost familyfiled in the south....eventually could they scram with what they initially seek?

one definitive line from emmerich would be "crime is the left handed form of huamn endeavor" for "asphalt jungle"...the earth abounds good and evil, virtue and vice, and they're all termed by humans. one requires another to complement each other. it guides us toward the underground predatory territory of this asphalt jungle with beasts slughtering each other for the juicy raw meat they droolingly covet. as doc remarks "we all work for our vices", the city is an asphalt jungle for the predators to quest its preys....at last, the jungle wins, ceased with the dirge of dix's demise over his natural retreat, farmland.

it's also a good chance to glance over the freshly young marilyn manroe who ticklingly utters "uncle lon" all the time, whose cameo is brief but visually impressive.

"the asphalt jungle" would be considered the vigorously gory tale about the existentialistic oblivion of urban criminality, dissected from the perspect of cons, constrastive to late 40s "the naked city" which intercuts from the angle of policeforce. two flicks could be parallels as the dark tales of urban disillusions.

"kiss me deadly" is not the conventional noir which populates in 1940s with detective hero scenarios, and contrarily our opportunistic protagonist could be the meanest dubious anti-hero who sticks to his chauvinist womanizing lifestyle without redeeming mercy. and the catastrophe at last is the metaphoric phobia for the atomic age when chemical explosion is the deadliest phemonal crisis then. the femme fatale is ruthlessly trigger-happy pandora who unravel the lethal box of doom. the world surrounded within "kiss me deadly" is not entirely realistic decadence for the crimes of passion but a crooked labyrinth where man's avarice dominates, and the cynicism of such macabre is timelessly contemporary.

the profile of our male protagonist is cleverly anchored within the dialogues at the opening sequence while a female asylum inmate hitchhikes his two-seat chic roadster: "a self-indulgent male who cares nothing but his clothes, his car, who only takes but never gives in a relationship."....then the horrid murder under the disguise of car wreck follows after a brutal kidnap. so this self-indulgent male happens to be a bedroom dick, who philanders his own girlfriend to profit from divorce cases, is eager to investigate the truth of the matter on his own, NOT for the sake of performing justice but to gain an angle of earning quick cashes. the process of mayhem is highly practiced within the procedue of obtaining what he yearns to know. so this self-obessed man intimates everyone involed and embraces to kiss every woman to attain his purposes. and that includes whoring his own sappy girlfriend AGAIN. BUT his effortless greed is futile since what he's after turns out to be an appartus of apolytic condemnation.

this is an universe running amok with its sinister overpower, and its lack of heroic savior is modern syptom of aloof amorality which detonates the explosion of pandora's box to ruminate man's own misdemeanors. ralph meeker's self-assumptious chauvinist ends up being a dope who takes the bullet of punishment from a guiling female con, so he retreats into his maternal girlfriend's bossom to do away with the forseeing descent of pandora's evil venom...could he be immue?

needless to say, the illuminator is ralph meeker's devilish womanizer as well as gaby rodger who emanates a modern sense of diabolism which rivals lena olin in "romeo is bleeding"...there's not much realism in "kiss me deadly" but an intriguing concept expressed in an utterly self-centered perspective.

"the big town" appears like a hommage to paul newman's 1961 "the hustler", an archetyped prodigal son tale people always enjoy to hear: a smug small-town boy with one special talent who hit big to the metropolitan city in his pursuit of fame and wealth, the essence of american dream, then he would bump into a lovely dame of maternal heart as well as the femme fatale who devours him alive with extreme sensuality. inevitably, he would sink into either booze or sex, or, both of them altogether. disillusioned, so he hits the road again to his home town with a broken heart. either he retracks to where he started or devastated by his presistant pursuit of dream. corny, right? but you just cannot quit it! whether it's the big-cocked dirk diggler in "boogie night", or billard master paul newman in "the hustler"...what counts is how the story is presented.

"the big town" is predicable in every scenario but it's rendered so elaborately that you accept it with adoration anyway, especially when the fresh-faced matt dillion, who was one of the promising supernovella who's got sex appeal, charisma and most of all, genius of his fluent naturalistic actings which resurrect the remants of james dean, marlon brando and paul newman in their days of rebellious outrage, and dillion had the edge to pull them off in pratically any material about troubled youth, such as his "rumble fish"...he simply looks so damned attractive with a cigarette burning in his mouth, throwing a dice recklessly as if he's gonna win, he's got "the cool" to swoon you.

it's a pleasant peep at the young, even more voluptuous diane lane as the femme fatale, and the sex scenes are surely a nice treat with elvis' "fever" in the background every time they mate. bruce dern as the obnoxious blind gambler boss and tommy lee jones as the tough-assed criminal, they're the villians alongside our prodigal charm-boy. every actor just fits into his/her part so seamlessly that makes this predictable story worth seeing. it's a compelling reminiscence of the hipster 50s with the best soundtrack of those songs which once hit the top notch of national sales. the process of viewing it is just one word to describe: smooth.

paul newman's hustler has received the ruminations of his tragic flaw: excessive ego as his fingers are smashed and his sweetheart commits suicide for humiliation that leads him into finding his true self, "hustler" is more of a think-piece to tell you the doctrine that everything you gain easy has a price to pay. but dillion's dice-thrower just slides across the path of easy dough in the poise without harsh retribution as you wish for him. so "the big town" is more of a crowd-pleasing feel-piece without grits in a well-groomed nostalgic aura so all you've got to do is to flow along with protagonist like a 109 mins of hashish fantasy.