The film opens with a slow‑motion montage of cityscapes, the relentless hum of trading floors, and a solitary figure—Jimmie March—gliding through the corridors of the Philips firm, his eyes perpetually lost in a reverie of Eleanor Philips, the daughter of his formidable boss, E.J. Philips. The camera lingers on Jimmie'...
Comparing the cinematic DNA and archive impact of two defining moments in cult history.
Grover Jones
Edward LeSaint
Community
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"The film opens with a slow‑motion montage of cityscapes, the relentless hum of trading floors, and a solitary figure—Jimmie March—gliding through the corridors of the Philips firm, his eyes perpetually lost in a reverie of Eleanor Philips, the daughter of his formidable boss, E.J. Philips. The camera lingers on Jimmie's face, capturing the subtle tremor that betrays his longing, before cutting to a crisp, almost cinematic, shot of Eleanor laughing with her fiancé, the swaggering Mortimer Fenton...."
Kenneth MacDonald
Suzanne Avery, Bud Barsky
United States
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