“A Beautiful Laugh”: A Cinematic Criticism

“The aim of art is not to represent the outward appearance of things, but their inward significance.”

It was Aristotle who uttered these words. Were it not for the statement’s simple poignancy, we may be misguided in our attempts to glean deeper meaning from the universal truths proffered by the great philosopher.

Should you inquire of me that which I fear, I would be so inclined as to respond holistically–nevermore clinging to my veiled attempts to shroud my character.

“Death!” I would cry.

It is the abyss which chills me, as it did my fathers and their fathers before them. Truly, I tell you, the mouth of Hell is ringed with the bleakest nonexistence and it yawns henceforth before me.

I search, as do my fellow men, for a worldly mistress to assuage these perennial terrors. Be it physical or metaphysical, I yearn for the respite of youthful bliss.

Mr. Maloney’s seminal work, A Beautiful Laugh, envelops these desires in a manner so succinct and nuanced that I marvel to think of what he transitions into the autumnal days of his already remarkable career.

A Beautiful Laugh has been dismissed by some as a farce, yet I believe this dismissal to be the mark of an ignorant generation. Those who are quick to write off Mr. Maloney’s work as cheap parody are, without failure, those who are incapable of turning a discerning eye towards the human condition addressed in the film.

Mr. Maloney’s creation is a simultaneous amalgamation of whim, tragedy and the often bleak assurance that a byproduct of mirth as small as the titular laugh can stand as resolute evidence that we are very much alive in this gilded world.

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