There’s a moment in Eric Steel’s film when all hope for a serious rumination on the nature of suicide—its causes, preventions, and effects—becomes immediately perverted. A subject paces back and forth along the Golden Gate Bridge as he prepares to leap over the side; his hair courses through the Bay wind, and he casually smokes a cigarette. And, over the sounds of silence, we’re offered “Sim City” music—bouncy, anxious, appallingly placed, as though the filmmakers were building some sick tension in preparation for his final moments. In fact, that’s what much of The Bridge is based around—a growing anxiety over “will he?” and “when will he?” It doesn’t help that, most of the time, the camera seems to be moving along with its subjects, following them as they pace and pray and fall—as though somewhere, someone with a camera were watching each suicide unfold without trying to stop it.
by Adam Balz | Source: Koch Lorber DVD
15 Oct 2007 1:00 PM | Submit Comment
