Sometimes a masterpiece can sink the career of an author, at least as far as prestige is concerned. For example, after The House of the Spirits , "Isabel Allende has written something at the height of the great influence he had his first novel? The Allende has remained funny and sometimes clever, but never anything I had written the emotional depth of his early work, even this Paula with which readers cried half the world (including me).
García Márquez is too big. Nothing is further from my intention to compare with Allende, whether The House of the Spirits me come to me in a more intimate setting. Chronicle of a Death Foretold and Love in the Time of Cholera Gabo would be worth it to be considered the greatest living writer in English, but they are NOT Hundred Years of Solitude , This novel despite being a tad sexist can literally everything that is written in the twentieth century.
Let the music. Remember the Jagged Little Pill Alanis Morrissette of ? What a bombshell, right? And now tell me the name of any of the other discs that Canada has taken. No? Then come, at least one song. Nor, right?
But do not fall into the topic. Not always. And one must be careful because even though I absolutely love, sometimes are those topical which condemn any artist's work after you have done your masterpiece . And it is still unfair. Namely:
Madonna: Music
Let us frivolous, which is Madonna. The elastic amazing grandmother has always been an expert in excel after his great records, but will not always be recognized. Today I was listening to my ipod the Music, which released in 2000, two years after the boom of Ray of Light, and the way things are, even in its day Rolling Stone said it was "a just and improvised version of his previous work", Music is a piece of disc. Perhaps more irregular, perhaps rarer or less appealing at first sight, but also revolutionary, because there is only one electronic disk and go. There are songs like I Deserve It or Gone, which at first seem poison country and little else, with Madonna singing more listless than ever, but have a brutal synth arrangements that make you put the creeps. We have to wait half the songs, but it's worth:
Almodóvar: Átame
Critics have said all of this movie, especially his biggest problem is the lack of clarity within a genre. Come on, Almodóvar does not know whether to laugh or mourn. I actually think this movie is a gem, and his only problem is that Almodóvar made just after the boom of Women on the Verge of a Nervous Breakdown , which was a perfect comedy. Átame is no better movie, but not necessarily worse. The comedic tone is not as accomplished, but that was needless, because it was not that.
Anne Rice: The Vampire Lestat
After Interview with the Vampire , Anne Rice took the opportunity to make a long story and box. And ended up prolonging the delirium, with a vampire chronicles the end there was no one to swallow. But it did just after the first, the vampire Lestat , is by far the most fun of all, much more so than the first part (also because the first part was fine, but it was not a work teacher to say).
Sam Mendes, Revolutionary Road
Well what can I say, American Beauty was good, but I never seemed to much. Moreover, it seems to me that I had a whiff of opportunism that has made him become outdated over time. The story is ultimately much of the nineties. The soundtrack, taken as the ultimate moment, sounds and trilladísima. And the scene of the plastic bag in the wind and ends up being cheaper postmodernoide transcendentalism. To me, failing to pass the years so that it can judge in righteousness, Revolutionary Road seems a movie much more perfect and heartbreaking. Ironically, it was not given much hype level Oscars and other awards, but I think that ultimately that it will do a favor to the future of the tape.
Fernando Meirelles, The Constant Gardener
At the time, when I saw City of God not upset me. But I found that the overwhelming aesthetic proposal kept the story a tad diluted. Years later, The Constant Gardener, freaked. There was still a beauty, but here what Meirelles proved its worth as a storyteller was driving a story that actually are three: the love story, the best-seller political and social criticism. Difficult difficult, but Meirelles goes out more than winning, so I think it's much better film than the first.
*** More. From childhood I have always liked more Indiana Jones and the Temple of Doom that Raiders of the Lost Ark . Back to the Future Part II is a Despiporre great, that challenges and laughs even the shadow of the first part (the third is not, the third is horrible). The Empire Strikes is infinitely better than Wars The , much as the freaks they think this is blasphemy. And so on and so forth. And do not talk about The Godfather because it is a topic endlessly released (and because, oops, I have not seen ...).
Today, with such TV series as well done, I think the topic is shattered forever. Lots of series have been made in recent years whose first season just had bellows, but then picked up strength and have been turned into second or third seasons geniales. Buffy , por ejemplo, que tiene una primera temporada bastante aburrida, (y que por eso cuesta tanto trabajo a la hora de convencer a neófitos). O miren los famosos spins-off , como Fraisier , que salió de la genial Cheers , pero que era igualmente genial. En España, lo poco que he visto de Aída me ha parecido siempre bastante mejor que lo poco que vi de Siete vidas . Y sí, no pasa lo mismo con Aquí no hay quien viva , que después de las dos primeras temporadas, alucinantes, no supo mantener el tipo: I've seen something What coming, and it's funny, but not the same.
I'm just saying be careful to crucify those who are lucky or the merit of making a masterpiece, because sometimes, the same devotion to the masterpiece can blind us to judge what comes next.
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