CK and Buscemi is not the family you’d want but it is the one you’ve got and the one you can’t stop conversing with.
CK’s love letter to Eugene O’Neill follows a non-pretentious arthouse system. And no, I am not concluding it on the basis of its marketing technique, but the broadminded shallowness of the ideology it refers to. If the theme in Louis CK, the creator’s, play dissects the inside of prejudiced abhorrent beings, he is also not obsessed on pursuing you to change or whip you with its content, on the other hand. His project isn’t ambiguous or vague, if anything it is the most complete story told in its entirety to serve nothing but the purpose that it evidently wants you to eradicate from your thinking.
The livelihood that it depicts is the punishment to the unfair activities that these fellows bring upon themselves and onto others. CK doesn’t compromise the quality of the show by steering it towards preaching-to-the-choir tone. Just like his stand up material, a lot of the thinking is left up to you. This personal project of his shows enormous amount of enthusiasm on not caring on the views or opinions that its by product will have. And those politically incorrect views are the distraction unlike the material we have been bombarded with in the last few years.
That crispiness, the humorisc debates, the goofiness is a celebratory distraction to what’s going on or goes on in a bar. The real drama lies in the silence pitched on the screen that observes the physicality of these character in contrast to the surrounding they are in. The stillness that CK has captured is impeccable, so rarely do you get to see these calm and sweet moments choreographed and danced. Horace And Pete is a drama that is ahead of its time, just served us as a teaser to what should and could be our future, both in the real world and this two dimensional screen that we have been naming as “the idiot box”.