Created in their video department The New York Times, and based largely on its reporting content, “Sorry/Not Sorry” is a how-to guide about Louis C.K. The story of a standup comic who turned into a lowbudget extreme self-revealing filmmaker. He went on to be a writer, director, producer and one of the principal actors in the television semi-autobiographical show “Louie” broadcast by FX, in which the main character, a divorced comic, was also a struggling stand-up comedian. At the high point of the show’s popularity, C.K. was regarded as a very earthy intellectual entertainer that could be enjoyed by fans of Woody Allen’s pre-scandal era before the terrible disgrace that followed him at the age of C.K. 40.
The immigration narrative offered by the US movies is not practiced in order to appeal to the native viewers with their weak ‘films’ captivating. Instead, it has some attractions in each frame and shots, somewhat focused by Robert Richmond camera awoke his potential viewer and glued the whole remembering of the picture. Jonahtan Station and the co-directors are more than a brand than the sum of their parts such as non-overlapping. The story is primarily structured through an account of women who came forward to the Times and said that C.K. was abusive. C.K. is nothing short of an A plus- list comedian, who later becomes a television producer whose job is that of assigning kings or queens.
Interdisciplinary, multivocational, and transprofessional—these are the antonyms that most accurately characterize approaches to social diseases like any addiction. It is funny that we agree with one of the principles and I even signed it: ‘Bearing witness and proclaiming what we see,’ we can admit, ‘is a better way of protest.’ However, the need to document oneself (‘selfie’) and the constant desire to be in contact, i.e., their virtual life, must be separated from one’s own personal identity. No such rhetorical questions need to be asked.
(To be completely honest, an acquaintance of mine, New York Magazine writer who has sociologized a comedic scene, and a podcaster at ‘Good One’, Jesse David Fox, can be spotted in the commentary section for a moment.)
The focal point of the narrative is on three comedians Jen Kirkman, Abby Schachner, and Megan Koester, who represented this side of C.K. and in the first place chose to suck it up for professional reasons or were made resigned in silence. Apparently, C.K. would straight up message people who he thought might have posted about him anonymously online and apologize vaguely or suggest meeting over the phone or in person (to make things better). At times he used the heart-wrenching image of how his little daughters would discover the truth about what he did, to silence the critics.
C.K. exhibited a rather baffling and troubling trait which though I couldn’t help but mention as well, C.K. would take people’s consent before performing the most cerise embarrassing stunt imaginable.
This created an appearance of assent, although the repository of women faced many ergonic problems in fear that if they said, “No but I do not want to hear this” or “No but I do not want to see you masterbating” or even just turn and walk away, they would be blacklisted from everything that C.K. was part of. (One of the times reporters who worked on the project which nailed down most allegations against C.K., Cara Buckley, faces the problem by asking whether such behavior would have been acceptable in a non-show-business environment such as a bank.)
In an official communication issued by C.K. admitting the allegations against him, he said nearly all what anyone in his position was expected to say. “…I have caused ache to my parents, friends, my kids and their mother:…. I feel I have had a very lucky long career where I have been able to talk, shout or say whatever I like. I will squint out to my new horizon, but it is to quiet myself for a lengthy period.”
Did he actually? One of the binding motifs in ‘Sorry/Not Sorry’ is C.K. who throughout appears to be sorry but somehow has taken one extreme to another where he avoids consequences by trying to make amends entailing seeking an almost non-existent retribution. Rather, seeking pleasure in extreme damage control where the main question becomes how much can you do or how low can you go and still emerge relatively unscathed after all.
C.K. took things to the extreme with depth, went on tardy for several month long intervals and returned to work like nothing ever happened. Sorry/Not Sorry judging his career through such a prism only makes one admire the post-apology period as the most additional backlash and the final win of all tricksters.
In the course of my review for the Sorry/Not Sorry film “I Love You, Daddy,” I had once referred to C.K. as something akin to a flasher, for there’s no doubt that for a sex offender, a good part of the adrenaline is drawn from instilling a reasonable doubt in their victims as to whether they are truly witnessing what they are in fact, but cannot bear to think that someone would be as foul and as obvious in such a setting. Against this background, “I Love You Daddy” has C.K. playing the role of a father to the bikini wearing teenager daughter, and in a lusty tale of a sexually aggressive, John Malkovich, playing a Woody Allen-ish director, he becomes the girl’s love interest. There is also a part where in an office setting, one of the characters goes overboard and pretends to masturbate and cum in front of a woman.
It was filmed and wrapped in the year 2016 and early 2017, at the time when Trump’s election and swearing in was …(roughly) the time when the media was dominated by politics, and various accusations of misconduct, and during this time, there were also demons accusing C.K. on the world wide web. The completed movie was first screened at the Toronto Film Festival in September 2017, while the investigation was winding down, and had a scheduled theatrical release on November 17, 2017. C.K.’s last apology was released on 9th November right alongside the Times’ article rendering the movie’s release impossible.
The depiction of the song “Sorry/Not Sorry” leads you to as ask the question if that two month span was the most intense period of C.K. It was possibly both the worst and the best period of their lives as well. No woman has inquired the interviewees where that Sorry/Not Sorry film fitting in chronology concerns, but all the nontheless awed at the fact of its very in the first place. Once again, it is too generous to indicate that they simply did not understand that it was C.K. who was inviting such people.
It’s only within the context of Sorry/Not Sorry film that one cannot point such scenes, capturing C.K. imitating masturbation or sex in front of the audience or in the episodes of “Louie” (as well as a segment featuring an attempted rape) as unnecessary dramatization, even as fetishism of footages deployed in evidence against Allen. (Put it this way: just because Martin Scorsese’s films have a lot of murders, it doesn’t follow that he has killed somebody).
In any case, C.K. is a special case, if such is respite in that you cannot contest the proposition how may Douglas Hutchinson have it never done it. He flat out said he did it. Every last bit. And you cannot say that the women on whose behavior influence C.K. affected could have easily said no and or walked away because C.K. himself admits that he put them in a position where it was difficult to go ahead to do what needed to be done.
Sorry/Not Sorry the most clamoring section of the movie is right at the end. It is disturbing but also the most ridiculous: C.K. came up with everything they had accused him of, what rarely happens when times investigations are concerned, people such as the city’s lifetime Guardian journalist, who also was one of the investigating team and reported more than two issues herself during the investigation Jodi Kantor reports that everything that he was subjected to every accusation was after the full public confession of every accusation. Thus, as was said at the very beginning of this article, C.K. emerged as a diminutive somewhat loving extending the analogy to C.K. Parsons, one of the run of the mill rightwing whoring stand up where the performance excuse the anger of the regressed liberals who consider that the more left liberal ideology among the so-called progressives the more censorship on free speech by the spoilsport methods.
The “listening” period for C.K.’s work was definitely short. Seven years and able to sell arenas once again since his return. How strange and disgusting this story turned out to be.
Watch free movies on Fmovies
