Waiting for Godot (2001)
Directed by Michael Lindsay-Hogg
Two tramps wait for a man named Godot, but instead meet a pompous man and his stooped-over slave.
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What critics compared Waiting for Godot to
The jerking-off debate between Hank and Manny — yes, the corpse talks when the occasion arises — would remind you of Samuel Beckett if the mind of the author of Waiting for Godot found itself in the craniums of Daniels.
Clearly enjoying chemistry together, they would make a great Vladimir and Estragon for a revival of Waiting for Godot.
The film revels in its weird comic absurdity, never as existential or nihilistic as more high-brow fare such as “Waiting for Godot,” but it does feel freely mined from the cranium of Michael Gondry (“Eternal Sunshine of the Spotless Mind”) had he been locked in solitary with nothing but a stack of Mad magazines to pass the day.
Massagué and Eguileor are up to being in a zesty “Waiting for Godot.”
Initially, the film unfolds like a two-man play, somewhere between the aimless comedic circles of Samuel Beckett’s Waiting for Godot , and the helpless hell-is-other-people hostility of Jean-Paul Sartre’s No Exit .
Boiled down to its simplest elements, THE LIGHTHOUSE is a mash-up of the cold existentialism of Samuel Beckett’s Waiting For Godot, the drunken savagery of Ted Kotcheff’s 1971 film WAKE IN FRIGHT, and a large scoop of Jungian archetypal imagery pertaining to recurring myths.
Neeson’s character wears a bowler hat and looks as if he could have walked out of a production of Samuel Beckett’s Waiting For Godot .
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Michael Lindsay-Hogg began his directing career in 1970 by capturing the deterioration of the Beatles' communal genius in "Let it Be."