tag:blogger.com,1999:blog-50816903406398672512024-03-04T23:36:05.939-08:00The Vulgar CinemaSara Freemanhttp://www.blogger.com/profile/05455420127433311271noreply@blogger.comBlogger43125tag:blogger.com,1999:blog-5081690340639867251.post-31075590321887555812014-06-28T14:19:00.001-07:002014-06-28T14:19:10.273-07:00New site! <div class="separator" style="clear: both; text-align: center;">
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The Vulgar Cinema has moved to <a href="http://thevulgarcinema.com/">http://thevulgarcinema.com/</a>.<br />
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Thanks for visiting! Sara Freemanhttp://www.blogger.com/profile/05455420127433311271noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-56584430381029142302014-04-09T12:26:00.000-07:002014-04-09T12:35:23.216-07:00Don't Go Breaking My Heart (Johnnie To, 2011)<div dir="ltr" style="text-align: left;" trbidi="on">
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In the early days of Hollywood, it wasn’t uncommon for the
greatest filmmakers of the time to work in the romantic comedy genre. Howard
Hawks (<i>His Girl Friday</i>), Billy Wilder (<i>The Apartment</i>), George Cukor (<i>The Philadelphia Story</i>) and even Alfred Hitchcock (<i>Mr. and Mrs. Smith</i>) put their stamp on the genre <span style="color: black; mso-themecolor: text1;">during the golden age </span>and<span style="color: black; mso-themecolor: text1;">,</span> consequently<span style="color: black; mso-themecolor: text1;">, </span>ended up creating many of the beloved classics
that helped define it. In 2014, the state of the romantic
comedy isn’t nearly as vibrant. A lot of modern directors run away from these
light, cute, humorous stories of finding the one you love like the plague.
There have been a few examples here and there in recent years, like Paul
Thomas Anderson’s <i style="mso-bidi-font-style: normal;">Punch-Drunk Love </i>and
the Farrelly Brothers melding of gross-out humour and romance like in <i style="mso-bidi-font-style: normal;">Fever Pitch</i>, but mostly the genre is
riddled with films that stay too close to formula and have no real voice of
their own. This formula of meet-cute, budding romance, break up, reconciliation,
and, finally, love are useless without some kind of voice to differentiate between
these stories. The problem with a lack of auteurism in the
romantic comedy genre is there is little deviation from formula, and essentially
they feel more like products than actual films. <span style="mso-spacerun: yes;"> </span></div>
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What separates your average, run of the mill romantic comedy from the truly great ones, though, is how a director works their voice into the material. That’s what I love so much about <i style="mso-bidi-font-style: normal;">Don’t Go Breaking My Heart</i>. As a filmmaker, Johnnie To has never shied away <span style="color: black; mso-themecolor: text1;">from any genre, let alone romantic comedy</span>.
<i style="mso-bidi-font-style: normal;">Don’t Go Breaking My Heart</i> is perhaps
his most recent classic romantic comedy, and proof that there is still
something valid in masters working in this genre. To’s take on the formula elevates this <span style="color: black; mso-themecolor: text1;">movie</span> into the stratosphere. </div>
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<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Don’t Go Breaking My
Heart</i> is a film about a love triangle set mostly in post-economic crash
Hong Kong. To visualizes this by making the <span style="color: black; mso-themecolor: text1;">cinematic</span> language about lines, separation and shapes while still
playing into the genre’s formula. The best example of this is how Yen <span style="color: black; mso-themecolor: text1;">(Gao Yuanyuan)</span>, Sean <span style="color: black; mso-themecolor: text1;">(Louis Koo) </span>and Kevin <span style="color: black; mso-themecolor: text1;">(Daniel Wu)</span> do most of their
communicating through windows. This is most frequently utilized through two
high towered buildings set across a vast city landscape. The offices where
these characters work have these large transparent windows that see out through
the entire city. Theses windows are huge and wide so it creates the
feeling of a frame within a frame. The characters get the chance to act out
as the lead in their own movie in these frames for the person in the window
opposite of them to win over their love interest. <span style="mso-spacerun: yes;"> </span>Sean flirts across the window by creating post
it note faces on the windowsill, almost like materialized emoticons. Yen, in
her own frame, laughs and talks back through broad sign language of her own.
<br />
<br />
Sean eventually catches the eye of Angelina <span style="color: black; mso-themecolor: text1;">(Larisa Bakurova)</span> in a window just below Yen and
creates a situation where he accidentally asks Yen and Angelina out on the same
date through this overt sign language. These earlier scenes of communication
through To’s playful language are light, funny and sweet in a way that both
satisfies the meet-cute formula and his own brand of comedy that’s present in later films like <i style="mso-bidi-font-style: normal;">Blind Detective</i>. The
third character in the triangle is Kevin <span style="color: black; mso-themecolor: text1;">and, as an architect, </span>even he is prone to adulation over shapes.
In one scene, To uses the shadow of Yen reflected off a billboard to emphasize
Kevin’s revelation that he needs to get his life together. And, of course, he creates
a building in her honor. One other scene later in the film would have To visually
represent the chasm of the love triangle by window frames in separating all
three characters by lines and distance. The way that To can communicate so much
longing and need for romance but also the complications of having to choose
between two men in a handful of images is so powerful. <br />
<br />
This is a film where
love is held within window frames and the lines those frames create. It’s
romance by architecture.<br />
</div>
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<div class="MsoNormal">
<br />
<span style="color: black; mso-themecolor: text1;"></span><br /></div>
<div class="MsoNormal">
<span style="color: black; mso-themecolor: text1;">The other classic rom-com trope
at play in <i style="mso-bidi-font-style: normal;">Don’t Go Breaking My Heart</i>
is the competitive nature of its characters</span>. It’s not uncommon for two
guys to fight over the same girl in this genre of filmmaking, but here it is
taken to extremes not often seen. <span style="mso-spacerun: yes;"> </span>Kevin
and Sean engage in romantic battle for the hand of Yen as if she were the last
woman on Earth. This is never more present than in the final scenes of the film
where they propose at the same time in very different ways. Kevin brings Yen to the building he built for her after the two of them slowly
started falling in love. Then he takes Yen to a restaurant neighboruing the
building he created for her, with the intention of proposing. Kevin was
there for Yen in the moments when Sean kept getting into trouble with her by leering
at other women. In the last scene, Sean takes to the roof of the building Kevin
built for her and writes out “Marry Me” in bright red paint with a heart to the
side. He drapes this across the building in a grand act of love calling back to
the earlier scenes where he would communicate through the windows where they
fell in love in the first place. <br />
<br />
At that same moment, Sean gets down on one
knee and proposes. Yen stands with her back to the window, her reflection shows
as well as Kevin’s “Marry Me sign,” and this eminent moment of romantic choice
is once again being split by windows. She’s had a long history with both
men and her heart is torn, but she makes a choice, and perfectly ends this
romantic duel with what her heart tells her to do. In the final moment of the movie, To brought up this supremely difficult decision for Yen and gave closure to everyone in this romance without breaking the rule that a romantic comedy must have happy ending. <br />
<br />
It’s these highest-of-stakes
moments and his expert visual craftsmanship that make To a
master of romantic comedy <i>and</i> cinema. He has always shown a knack for knowing how to play into the sensibilities of respective genres. It's remarkable how easily he shifts from mode to mode while still displaying his knowledge for those genres and being meticulous in filmic details in one way or another (here with frames). In <i>Election</i> he would stay true to the masculine power game structure of gangster pictures but instead of filling the film with constant violence he would focus on a tightly constructed narrative of bribes and longer takes at tables. He would bring that same meticulous attention to detail in <i>Drug War </i>where the machine-like rhythms of dialogue (specifically in the Hotel sequence) and violence resemble a police drama, but turned up to 11. This is especially true of the final sequence where To would even flip the police drama on it's head and turn it into something more closely resembling the final shootout of a western. He's a filmmaker constantly looking to challenge himself with the general idea of how to make a film in different genres while still paying respect to their core principles. He did so in the gangster picture <i>Election, </i>the police drama <i>Drug War, </i>and this romantic comedy. </div>
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<div class="MsoNormal">
My heart sings in these happy endings and it’s that feeling
that I chase after when watching films. I love the warmth that washes over me
whenever I watch two characters finally kiss and get their moment of bliss
because, for those couple hours, I’m living through them. I think that’s why I
love the romantic comedy. It’s a genre that is always going to reach towards
those feelings of joy and doesn’t contain any of the cynicism located in
everyday life. Good things happen in films like these. One character always
ends up heartbroken in a love triangle, but, because they live in a romantic comedy
world, the right person will eventually be there for them too. In this universe, the story
always ends with an embrace next to a sunset with the one you love. I think we
could use more of that in cinema especially from the greats. </div>
</div>
Willow Maclayhttp://www.blogger.com/profile/16743087522299241283noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-48837344050265286472014-04-08T04:49:00.001-07:002014-04-08T10:54:40.237-07:00We Sell Our Ass, Not Our Friends: Robert Kramer's Diesel<div dir="ltr" style="text-align: left;" trbidi="on">
<i>The following piece is published in conjunction with Laurent Kretzschmar’s <a href="http://sergedaney.blogspot.fr/2014/04/kramer-v-kramer.html">English translation of Serge Daney’s review of </a></i><a href="http://sergedaney.blogspot.fr/2014/04/kramer-v-kramer.html">Diesel</a><i>, first printed in </i>Libération, <i>August 15, 1985</i><br />
<i><br /></i>
<br />
No one wrote about Robert Kramer like Serge Daney but not even Daney could understand <i>Diesel</i>, Kramer’s only foray into commercial filmmaking, produced in France in 1985. “From Ridley Scott to Luc Besson, today’s images feed on […] survivalist mythology,” wrote Daney. “With <i>Diesel</i>, Robert Kramer also attempts to institute this minimal ecology. He doesn’t pull it off, unfortunately. Fortunately, he doesn’t pull it off.”<br />
<div>
<br /></div>
<div>
<i>Diesel</i> is that most auteurist of treats, the interesting failure. Even Kramer seems to have considered it a defeat: “I had a couple experiences with full professional crews of 60-75 people, which I found extremely painful and uninteresting. It puts me in the position of military commander.”<br />
<br />
It’s a movie made in the past, set in the future, about a problem that haunts our present:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPPMmJQtIY3BD6g_IKWIc5ivaMuFU1PuMl1e6vrsYrbHW025fX2BRaUJFavzWqaAA2nr-Z9dAUhrKunHaodEhcRrZHjXoej3b1zCfmAA2ZVXtEm9NiITnNsZw6X7i8I24X8HmtjlmA_X0/s1600/vlcsnap-2014-01-11-15h13m42s105.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPPMmJQtIY3BD6g_IKWIc5ivaMuFU1PuMl1e6vrsYrbHW025fX2BRaUJFavzWqaAA2nr-Z9dAUhrKunHaodEhcRrZHjXoej3b1zCfmAA2ZVXtEm9NiITnNsZw6X7i8I24X8HmtjlmA_X0/s1600/vlcsnap-2014-01-11-15h13m42s105.png" height="424" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyuItopFsHhcOD7GqKaN2-sE6fFu4j3c_EnrZOSwlB643kamKetn0Mgl73tU4nygkr5tjupROi6f9nq0kIDjZpECgAYgLVBcPHioYMbYb6JiIHtrZZGP6WUFZjtAVfYwqMNHV2M3mX9FE/s1600/vlcsnap-2014-01-11-15h51m34s55.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyuItopFsHhcOD7GqKaN2-sE6fFu4j3c_EnrZOSwlB643kamKetn0Mgl73tU4nygkr5tjupROi6f9nq0kIDjZpECgAYgLVBcPHioYMbYb6JiIHtrZZGP6WUFZjtAVfYwqMNHV2M3mX9FE/s1600/vlcsnap-2014-01-11-15h51m34s55.png" height="424" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTCdbwZvLrQZT0uIXAlhkUsHuoIxylOdhaKWyOtm_ntR2G11-xuvwzuYqXe3G8PCgEaZp3Y6f0ZPdZxY2vV918QE14l7UHqpufKfcXjnFYmEgN7UPVYycM27kKrtrcHctlw1mzh4_cacQ/s1600/vlcsnap-2014-01-11-15h13m56s7.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTCdbwZvLrQZT0uIXAlhkUsHuoIxylOdhaKWyOtm_ntR2G11-xuvwzuYqXe3G8PCgEaZp3Y6f0ZPdZxY2vV918QE14l7UHqpufKfcXjnFYmEgN7UPVYycM27kKrtrcHctlw1mzh4_cacQ/s1600/vlcsnap-2014-01-11-15h13m56s7.png" height="424" width="640" /></a></div>
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Capitalism:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnXgwzHazGYWAtOUPWYFBRybnhOa3p9TrXE0DDHEq8Fd8vQfIqL-8aQ9DQZA_kwgEJEJ8v0o6YYz3vT5zZ0qDOVzWVSWvG4eJXpzYdMdHiqwcRxMV_9OYf7C4VtQ8zuw_yePD9iBY3mew/s1600/vlcsnap-2014-01-11-15h52m16s185.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnXgwzHazGYWAtOUPWYFBRybnhOa3p9TrXE0DDHEq8Fd8vQfIqL-8aQ9DQZA_kwgEJEJ8v0o6YYz3vT5zZ0qDOVzWVSWvG4eJXpzYdMdHiqwcRxMV_9OYf7C4VtQ8zuw_yePD9iBY3mew/s1600/vlcsnap-2014-01-11-15h52m16s185.jpg" height="401" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnV_LUucCK342aI-VSuBvjJZ1VZ0YQlvrdUr_aMhfbBFy3V6Gw3trc2OTpNWS_-P9ZUPL9Nl83Zg_2NK9DL2qwA1uNBTmu74iSp0HAq5fkA-mmfXa5UHO69py3mp35TK6sP3r9CmJzAc8/s1600/vlcsnap-2014-01-11-15h15m52s122.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnV_LUucCK342aI-VSuBvjJZ1VZ0YQlvrdUr_aMhfbBFy3V6Gw3trc2OTpNWS_-P9ZUPL9Nl83Zg_2NK9DL2qwA1uNBTmu74iSp0HAq5fkA-mmfXa5UHO69py3mp35TK6sP3r9CmJzAc8/s1600/vlcsnap-2014-01-11-15h15m52s122.jpg" height="416" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXEC_44HnqPdAyidO00wWJwa604-UWxFoWaLFhv8_gvKC_y_dv2KMMbZ1A3S1MBX7I7vrhNjwIRWkO72grWznu_baGmpiRqMJqm_1zzx4ZpKBJIpUR1OZf5oHc93wYMR32ASmeBgw2pTs/s1600/aa8b8de94a5e04eca3035be138d6a946.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXEC_44HnqPdAyidO00wWJwa604-UWxFoWaLFhv8_gvKC_y_dv2KMMbZ1A3S1MBX7I7vrhNjwIRWkO72grWznu_baGmpiRqMJqm_1zzx4ZpKBJIpUR1OZf5oHc93wYMR32ASmeBgw2pTs/s1600/aa8b8de94a5e04eca3035be138d6a946.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Giorgio Moroder Presents <i>Metropolis</i> (Lang, 1927/1984)</td></tr>
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Patriarchy:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj13Di3KA-FB6gqi8jyH6OZ5AfyWPu985MdbF82OlsRiNUySLdgIQSVP9JeLdY2fQR45R4ThYNeO-s-4WODbjFbS1PJUcoDdYdUTNF5vW0hyI35dTwxLLWE9cgu0K0uYwBFbKMhcRXzbXE/s1600/vlcsnap-2014-01-11-15h41m20s54.png" imageanchor="1" style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj13Di3KA-FB6gqi8jyH6OZ5AfyWPu985MdbF82OlsRiNUySLdgIQSVP9JeLdY2fQR45R4ThYNeO-s-4WODbjFbS1PJUcoDdYdUTNF5vW0hyI35dTwxLLWE9cgu0K0uYwBFbKMhcRXzbXE/s1600/vlcsnap-2014-01-11-15h41m20s54.png" height="424" width="640" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj13Di3KA-FB6gqi8jyH6OZ5AfyWPu985MdbF82OlsRiNUySLdgIQSVP9JeLdY2fQR45R4ThYNeO-s-4WODbjFbS1PJUcoDdYdUTNF5vW0hyI35dTwxLLWE9cgu0K0uYwBFbKMhcRXzbXE/s1600/vlcsnap-2014-01-11-15h41m20s54.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYn0haLqezJhuQCGAUd6_8GoYHQ10qngKD3QenUvCKtOgLUAaQT4R76cGjcqW3cZ31h4o7IZLRooOfS2UrjQ-quOTPCm7EYa0_i4HqZ2lF33Gbme_scI7vMr-vkSEapBaEQJr0-a_Eb-g/s1600/vlcsnap-2014-01-11-15h33m00s184.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYn0haLqezJhuQCGAUd6_8GoYHQ10qngKD3QenUvCKtOgLUAaQT4R76cGjcqW3cZ31h4o7IZLRooOfS2UrjQ-quOTPCm7EYa0_i4HqZ2lF33Gbme_scI7vMr-vkSEapBaEQJr0-a_Eb-g/s1600/vlcsnap-2014-01-11-15h33m00s184.png" height="424" width="640" /></a></div>
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Capitalism = Patriarchy:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj92SCBCjdDqk-9y6LVIC6W2uSA5qELGnyiLY5MoDxIs2_Iv3m17pH190gqd0gc5XwDS6MpAIW4Hs1DZBdYPbYyWU0fZoKCeUeIzK2H_tvmr5169kkbCPILuSAyeQnrGB-fzsXrn6-VGrg/s1600/vlcsnap-2014-01-12-14h29m07s232.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj92SCBCjdDqk-9y6LVIC6W2uSA5qELGnyiLY5MoDxIs2_Iv3m17pH190gqd0gc5XwDS6MpAIW4Hs1DZBdYPbYyWU0fZoKCeUeIzK2H_tvmr5169kkbCPILuSAyeQnrGB-fzsXrn6-VGrg/s1600/vlcsnap-2014-01-12-14h29m07s232.png" height="424" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOdI2ORRFKZiBqAi1xZKi9PSSnpUmvGyOWNrNyUtMmi1Gco3xIUTivgECEnEtPcRoVtCuf9N7cDrKjqtMCLfgWnPycQ589tH_6IqkKWBj4eVkFQXf8KD3alm-Zd-BWSR1dgOWlgqEy0DE/s1600/vlcsnap-2014-01-12-14h29m38s42.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOdI2ORRFKZiBqAi1xZKi9PSSnpUmvGyOWNrNyUtMmi1Gco3xIUTivgECEnEtPcRoVtCuf9N7cDrKjqtMCLfgWnPycQ589tH_6IqkKWBj4eVkFQXf8KD3alm-Zd-BWSR1dgOWlgqEy0DE/s1600/vlcsnap-2014-01-12-14h29m38s42.png" height="424" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXZQwJAd5CVIMjpXbqVhkcTuOaQ18p1PJOxAdL1wCN1LDhbT9lGZQhq2yYmqwzLrcB-avZHXhqu6onN08ebuIrOC-V2Gvxkt3-Sjj-uFVsiUO29eOTByLAn6OV3Mx-caOseZR3ywn9Zvc/s1600/metropolisdiesel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXZQwJAd5CVIMjpXbqVhkcTuOaQ18p1PJOxAdL1wCN1LDhbT9lGZQhq2yYmqwzLrcB-avZHXhqu6onN08ebuIrOC-V2Gvxkt3-Sjj-uFVsiUO29eOTByLAn6OV3Mx-caOseZR3ywn9Zvc/s1600/metropolisdiesel.jpg" height="424" width="640" /></a></div>
The City as Dystopia, The City as Brothel:<br />
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<img border="0" height="431" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgatkd_hKNun1dd3aXbvHyHc2QMGWEFSMd48tm2B9pta72KK7WHXyN4RO9F4hz3CAl2pJyNvBhOK4V-b3ZA-2bJp0dtHKd3pSHyayqwuDum0zMfz_z_36MDECPhNAfYykLFFKMWrQylJiQ/s1600/vlcsnap-2014-01-12-15h16m21s179.jpg" width="640" /><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB7nZtPm1owyFxsPDRJj7ugz-vTrStB3lmw6TUh4nkJu-MJqwY8EghurI2jx2S5w0FIVJnc2ePy8CWiEvfIYeUqMraExIv53z2fmVBYgYb1GnLH0u7lB023KNIlvvG6iLCBUcL2FiGeB0/s1600/vlcsnap-2014-04-05-12h10m20s254.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB7nZtPm1owyFxsPDRJj7ugz-vTrStB3lmw6TUh4nkJu-MJqwY8EghurI2jx2S5w0FIVJnc2ePy8CWiEvfIYeUqMraExIv53z2fmVBYgYb1GnLH0u7lB023KNIlvvG6iLCBUcL2FiGeB0/s1600/vlcsnap-2014-04-05-12h10m20s254.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Alphaville, une étrange aventure de Lemmy Caution </i>(Godard, 1965)</td></tr>
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The world on a wire, its environment on the line, its people just super surrounded by railings:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvoIXNkOMJuCNUlYP02ZzyNQqbphI7rv_iIHDl2ux3PeEmgPiH-SVu1dFaxwNo281KrCj-018h3Qb1vgotPCs6ZKaJPZS2GYvlV9v36FKs3WKwE9Yus2CxrFehDvZ7srqlU-IGWr7eEUg/s1600/vlcsnap-2014-04-05-13h18m08s9.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvoIXNkOMJuCNUlYP02ZzyNQqbphI7rv_iIHDl2ux3PeEmgPiH-SVu1dFaxwNo281KrCj-018h3Qb1vgotPCs6ZKaJPZS2GYvlV9v36FKs3WKwE9Yus2CxrFehDvZ7srqlU-IGWr7eEUg/s1600/vlcsnap-2014-04-05-13h18m08s9.png" height="424" width="640" /></a></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDrhqmOE_Swz2vPqbiRn-ZnU8pyKp8Cm5Kv7X4q6d7-MR55mc5_OjhyphenhyphenwZEqEONk-YbtrK0SNSbvAWBTkRlOKebDHNyXSr9OxEXcZPU45upG18GRfeTvL6Bah7GfOUtGtTjo5LnANRukrU/s1600/vlcsnap-2014-04-05-12h46m50s164.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDrhqmOE_Swz2vPqbiRn-ZnU8pyKp8Cm5Kv7X4q6d7-MR55mc5_OjhyphenhyphenwZEqEONk-YbtrK0SNSbvAWBTkRlOKebDHNyXSr9OxEXcZPU45upG18GRfeTvL6Bah7GfOUtGtTjo5LnANRukrU/s1600/vlcsnap-2014-04-05-12h46m50s164.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Welt am Draht </i>(Fassbinder, 1973)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEits7YuOHm28aEKGiIpIrW1G4n5V1NW8DslpW_sF5ma2pATVJznwkq9lg-71MvP7vS_eJTlwVDPQYWhQ23jqwSbcrzsuKPn-xmPAx2bk5uz1biMTiSWUTNyZnlNRi8PJKI-aFEdw2kZg0g/s1600/vlcsnap-2014-04-05-13h15m34s253.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEits7YuOHm28aEKGiIpIrW1G4n5V1NW8DslpW_sF5ma2pATVJznwkq9lg-71MvP7vS_eJTlwVDPQYWhQ23jqwSbcrzsuKPn-xmPAx2bk5uz1biMTiSWUTNyZnlNRi8PJKI-aFEdw2kZg0g/s1600/vlcsnap-2014-04-05-13h15m34s253.png" height="424" width="640" /></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL4dzTwu1z83tnSDwU2G2EjQ9-yiqpT_1fJubCxF3XlrQEJW1ZTZD87lRasHu1ux7uRAg9zNYTM9xu4XRqEqRyCrYH-fhuuH-psH-55nnDhMpPst3jR3a3cminEJIb6vobdQPRIbsubq8/s1600/vlcsnap-2014-04-05-12h48m20s41.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL4dzTwu1z83tnSDwU2G2EjQ9-yiqpT_1fJubCxF3XlrQEJW1ZTZD87lRasHu1ux7uRAg9zNYTM9xu4XRqEqRyCrYH-fhuuH-psH-55nnDhMpPst3jR3a3cminEJIb6vobdQPRIbsubq8/s1600/vlcsnap-2014-04-05-12h48m20s41.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Welt am Draht</i><i> </i>(Fassbinder, 1973)</td></tr>
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Everything gets in the way of the camera, even a woman’s posterior:<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Welt am Draht </i>(Fassbinder, 1973)</td></tr>
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A future that looks, to the eyes of 2014, almost like a past, with tube TVs galore, pixels the size of polka-dots, and so many grates and lines it’s like the world were interlaced:</div>
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Kramer went in front of the camera to stand behind it in Wim Wenders’ <i>The State of Things</i> (1982), playing a cinematographer; <i>Diesel, </i>with its derelict Martian wasteland just outside The City,<i> </i>would seem to occupy a space somewhere between <i>The Survivors</i>, that film of nuclear winter survivalist mythology the characters try to make in <i>The State of Things, </i>and Wenders’ more commercial pictures, which introduce elements of genre but rarely generate tension because Wenders, like Kramer, is too sensitive or compassionate to render villainy without humanity, too observant or personal to succeed at the business of being a big-budget director.</div>
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What made <i>Diesel</i> a failure also makes it interesting: like Daney said, “its cruelty is not sincere.” If Kramer, that ex-pat, that American observer of the spirit of ’68, could’ve seen the future we find ourselves in today, where corporations are people, and the victims of climate change are the ones that had nothing to do with causing it, he might still have made <i>Diesel,</i> this strange movie against contracts, where heroes drive tow-trucks, women stick together, and handshakes are everything…<br />
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Where one sells oneself in desperation but one’s friends, never.<span style="background-color: #eeeeee; font-family: 'Trebuchet MS', Trebuchet, sans-serif; font-size: 13.600000381469727px; line-height: 14.7839994430542px;"> </span><o:p style="background-color: #eeeeee; font-family: 'Trebuchet MS', Trebuchet, sans-serif; font-size: 13.600000381469727px; line-height: 14.7839994430542px;"></o:p><span style="background-color: #eeeeee; color: #444444; font-family: Georgia, Times, 'Times New Roman', serif; font-size: 15.333333015441895px; line-height: 22.5px;">■</span><br />
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<span style="font-size: xx-small;"><i>[Screencaps come, like rude proof that the future can never escape the past, from a pan-and-scan VHS cassette.]</i></span></div>
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<i>This review is part of our <a href="http://thevulgarcinema.blogspot.cz/2014/03/auteurs-gone-wild-master-list.html">Auteurs Gone Wild</a> series. The movie will screen at Anthology Film Archives on 3/20, 3/27 and 3/29.
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THE MAN I KILLED (Lubitsch, 1932)<br />
SECOND PIANO SONATA "CONCORD, MASS., 1840-60: III. THE ALCOTTS" (performed by Kirkpatrick, 1939; composed by Charles Ives)</div>
<div style="text-align: left;">
ANGEL<i> </i>(Lubitsch, 1937)</div>
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UNDER CAPRICORN (Hitchcock, 1949)</div>
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LANCELOT DU LAC (Bresson, 1974)</div>
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L'ARGENT (Bresson, 1983)</div>
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LA VALLÉE CLOSE (Rousseau, 1995)</div>
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It’s funny how two movies made ninety years apart can have so much in common. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBd0PvromMrWkgHfDiyKcmHT3HKO3X2jl3lKjAw5TffJbRgBJn1VOd0l_h5jc4u6C8MQ3m2CK7yzY6ro8fIDZmRxBNsOPyIOVM8anrDL5AqqhB6ujQ6aerkpuWvXJept9qjltUslngv9I/s1600/vlcsnap-2014-03-30-18h52m13s22.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBd0PvromMrWkgHfDiyKcmHT3HKO3X2jl3lKjAw5TffJbRgBJn1VOd0l_h5jc4u6C8MQ3m2CK7yzY6ro8fIDZmRxBNsOPyIOVM8anrDL5AqqhB6ujQ6aerkpuWvXJept9qjltUslngv9I/s1600/vlcsnap-2014-03-30-18h52m13s22.png" width="640" /></a><br /><br /><i>The Immigrant</i> was released during 2013’s festival season. <i>A Woman of Paris</i> was released in 1923. <br /><br />Both films are set roughly two years apart in the early 1920s.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc9YeLiD_jbbwFO3RkDe37NzFm1UOc8G0wOFAmpZRyO6Q_coKSFZTm3DjLXSD7AyWy1qvCq-r3rO8KgANyTnaP73AeI0npt2oW5a6-Asf9f2KCvDT4FEJsYB_XSZCQAydGHDuIb7S4gVw/s1600/vlcsnap-2014-03-30-18h52m53s131.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc9YeLiD_jbbwFO3RkDe37NzFm1UOc8G0wOFAmpZRyO6Q_coKSFZTm3DjLXSD7AyWy1qvCq-r3rO8KgANyTnaP73AeI0npt2oW5a6-Asf9f2KCvDT4FEJsYB_XSZCQAydGHDuIb7S4gVw/s1600/vlcsnap-2014-03-30-18h52m53s131.png" width="640" /></a><br /><br />Both are about young women looking and hoping for a better life in a new city. <br /><br />Ewa (Marion Cotillard) is a Polish gal who immigrates to America and lands in New York.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmTPO-Nwas8DxXWX9ASvTvGbrrAeb0zxFCZo_cxcGyv6bSAIdCxvgjt5qHs0RPWz2L4NboHLpfnjEAFsHO8n50InDrOsONT66Ke7sSy5IQ6I3GniWzYCOBXeqZYHDkfST1Ez1Qg9sOQp4/s1600/vlcsnap-2014-03-30-18h53m25s215.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmTPO-Nwas8DxXWX9ASvTvGbrrAeb0zxFCZo_cxcGyv6bSAIdCxvgjt5qHs0RPWz2L4NboHLpfnjEAFsHO8n50InDrOsONT66Ke7sSy5IQ6I3GniWzYCOBXeqZYHDkfST1Ez1Qg9sOQp4/s1600/vlcsnap-2014-03-30-18h53m25s215.png" width="640" /></a><br /><br />Marie St. Clair (Edna Purviance) is a French village girl who leaves family and love behind to move to Paris. <br /><br />Both are considered women of low morals before their cinematic stories even begin, low morals, which, put them both smack-dab in the middle of two no-goodnik men.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiidmLWChhIm2bzZvBFKap8U58E71uEo2SbUsepBvZ1YhjfyhE0EQ5Kpp0qQ74PE03F2eu1sAII05bZG9KVXV6RGb1ZWPKTqUSBvuPFPlGZo_Gz3MhJ6zCJo0IeGknqEBaw3P-ERn_Ls/s1600/vlcsnap-2014-03-30-18h43m27s126.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiidmLWChhIm2bzZvBFKap8U58E71uEo2SbUsepBvZ1YhjfyhE0EQ5Kpp0qQ74PE03F2eu1sAII05bZG9KVXV6RGb1ZWPKTqUSBvuPFPlGZo_Gz3MhJ6zCJo0IeGknqEBaw3P-ERn_Ls/s1600/vlcsnap-2014-03-30-18h43m27s126.png" /></a><br /><br />Chaplin begins Marie’s tale by having her look out of a window, longing for and dreaming of love and life. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgClxlkRNh_aX-0PFVDg5TWOqI3maRMzqyfyrfklLeY8rIRTll9mRBFVqCKuQWU63zq2SOqkKDUEdTMH0SeeK5wqXgkb8YUqpO-YuhA8RQ_YgHYccQh0vFNdTXt-PXwY9nBvRHQ7sUTth0/s1600/vlcsnap-2014-03-30-17h57m30s190.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgClxlkRNh_aX-0PFVDg5TWOqI3maRMzqyfyrfklLeY8rIRTll9mRBFVqCKuQWU63zq2SOqkKDUEdTMH0SeeK5wqXgkb8YUqpO-YuhA8RQ_YgHYccQh0vFNdTXt-PXwY9nBvRHQ7sUTth0/s1600/vlcsnap-2014-03-30-17h57m30s190.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAQb7UntmclBhVMqJCB0vQ1V4h_67V_dfs9GDFl9geOg-MRheZVC-mOLS57R1B3DkDz_WM6DXSTJ0nkPXs0J2G9JT-wrHsINjS50Pl1fstd-3EOfOK9KnFtxivRcJy3tD-74mmjas5SHE/s1600/vlcsnap-2014-03-30-17h57m40s49.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAQb7UntmclBhVMqJCB0vQ1V4h_67V_dfs9GDFl9geOg-MRheZVC-mOLS57R1B3DkDz_WM6DXSTJ0nkPXs0J2G9JT-wrHsINjS50Pl1fstd-3EOfOK9KnFtxivRcJy3tD-74mmjas5SHE/s1600/vlcsnap-2014-03-30-17h57m40s49.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1IxBbR1fpFFtPf8UHeq24G6NvF-MBbj9koKOAdTlIy7xvzQcdeUGXKvrEo9gBzcjbAdKt-BXwt4w0Suk6PxCO76QUsemqI2PPb4MNDNoRV6OSFSBCD4j-KVADlCDpIbAk71lnAetxPHg/s1600/vlcsnap-2014-03-30-17h57m48s122.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1IxBbR1fpFFtPf8UHeq24G6NvF-MBbj9koKOAdTlIy7xvzQcdeUGXKvrEo9gBzcjbAdKt-BXwt4w0Suk6PxCO76QUsemqI2PPb4MNDNoRV6OSFSBCD4j-KVADlCDpIbAk71lnAetxPHg/s1600/vlcsnap-2014-03-30-17h57m48s122.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzD4CPJBkrnNvB_L1KyS9NA55hujAxYRqRN3WNk9MtAY4F0TCiqak1E9D9Kx9Se493fw-GSv9G7AYaRwm5HhCeaXO2rwPRZi9mFla_mEqnECBkZCn-DGvhka1EO_YLlZ1o2OQTDubvMCg/s1600/vlcsnap-2014-03-30-17h58m02s25.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzD4CPJBkrnNvB_L1KyS9NA55hujAxYRqRN3WNk9MtAY4F0TCiqak1E9D9Kx9Se493fw-GSv9G7AYaRwm5HhCeaXO2rwPRZi9mFla_mEqnECBkZCn-DGvhka1EO_YLlZ1o2OQTDubvMCg/s1600/vlcsnap-2014-03-30-17h58m02s25.png" /></a><br /><br />This section of the movie is the only time Marie seems like a real person with real needs and wants. She eventually leaves love behind to embrace life on her own. <br /><br />The scene where she boards the last train to Paris is probably my favorite in the movie. She seems like she’s going to take on the world. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6EMwtGUnfVxlhI9BgTY9I-gFnwYJAlWsEnSuy3DNPEWhl9MJuvJyeLqp6tXtSjeY9SU8cEWi4cptAQ0ar5t6eaeeXLRocqb_HMNn3B0KjYQaHNsyJcKLULwrA97MnRwiBSEfosBa4kTU/s1600/vlcsnap-2014-03-30-18h05m42s20.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6EMwtGUnfVxlhI9BgTY9I-gFnwYJAlWsEnSuy3DNPEWhl9MJuvJyeLqp6tXtSjeY9SU8cEWi4cptAQ0ar5t6eaeeXLRocqb_HMNn3B0KjYQaHNsyJcKLULwrA97MnRwiBSEfosBa4kTU/s1600/vlcsnap-2014-03-30-18h05m42s20.png" /></a><br /><br />Once she reaches the city, however, Marie’s personality vanishes. She’s now a bauble, a bright young thing, a kept woman. She’s an empty shell despite the fact that her keeper is the debonair Adolphe Menjou. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOpOBPQtfefiMiJSZNhQPPOIvprCnc4Tb-OGRfEMLX-NwtMSEcXQiFgEr2u3xNUqPNZBx7W-h7jyMOKS7OMCQWTBhNjntQS-yxORUNUMsWYw-31ScOUqUXwREaWwB68Pnb7mWEXsf03Uc/s1600/vlcsnap-2014-03-30-18h08m50s120.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOpOBPQtfefiMiJSZNhQPPOIvprCnc4Tb-OGRfEMLX-NwtMSEcXQiFgEr2u3xNUqPNZBx7W-h7jyMOKS7OMCQWTBhNjntQS-yxORUNUMsWYw-31ScOUqUXwREaWwB68Pnb7mWEXsf03Uc/s1600/vlcsnap-2014-03-30-18h08m50s120.png" /></a><br /><br /> As <a href="http://blankshoreripples.tumblr.com/">Adam Cook</a> has pointed out in two of his pieces on/relating to <i>The Immigrant</i>, mirrors and windows are integral to the picture. <br /><br /><a href="https://mubi.com/notebook/posts/love-sincerity-a-conversation-with-james-gray">“There’s a rhyming going on, isn’t there? With recurring bifurcated compositions at the confessional and again at the end with the mirror and window. There’s another one too. It establishes that Bruno and Ewa are on separate paths.” </a><br /><br /><a href="http://cinema-scope.com/cinema-scope-magazine/issue-55-table-of-contents/">“A devout Catholic, Ewa suffers intense spiritual anguish from her involvement with Bruno and subsequent prostitution. Arrested for soliciting and returned to Ellis Island, where she is tossed into a filthy cell, Ewa peers through her cell door and sees a procession of cloaked figures with candles passing by. Whether a literal event or a miraculous vision, the sight triggers an epiphany within this desperate and abused woman: her dormant faith gives her something to latch onto in this harsh and unforgiving milieu.” </a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI2KNsLHTA_ofWzIzTEdBUj2V0IyjNSgVvXLHC1uScJL-OETNIBsFlugZE3JKdG6at_Xc61xMsrqqeTqzURZYFxE2BVfu5G2CKo3IQTlp6DnxIQtSaguOWvVzG1zfYLtuUwjA8qyg6A5k/s1600/vlcsnap-2014-03-30-18h09m32s249.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI2KNsLHTA_ofWzIzTEdBUj2V0IyjNSgVvXLHC1uScJL-OETNIBsFlugZE3JKdG6at_Xc61xMsrqqeTqzURZYFxE2BVfu5G2CKo3IQTlp6DnxIQtSaguOWvVzG1zfYLtuUwjA8qyg6A5k/s1600/vlcsnap-2014-03-30-18h09m32s249.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCK2TkRmyH_E-T1XzltJVByFgReWrSGA2VPO5wxxAQjEPqTbJgf0MOw4Teh2LCQtiC9biezaJILVJQsdviFVOkshVEHX9mrQftI0TDRLrDvnopz91bPGYQCvFlHkxAg7flb6qMYfWKfyI/s1600/vlcsnap-2014-03-30-18h10m43s198.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCK2TkRmyH_E-T1XzltJVByFgReWrSGA2VPO5wxxAQjEPqTbJgf0MOw4Teh2LCQtiC9biezaJILVJQsdviFVOkshVEHX9mrQftI0TDRLrDvnopz91bPGYQCvFlHkxAg7flb6qMYfWKfyI/s1600/vlcsnap-2014-03-30-18h10m43s198.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJynLHKOv2Htr-iDOvzaV6gEFHxcczd4TBM5BA0Fe4syMfUC2yMxIDWMrxy_yqrdGY1NBBYAdA5KHfK-y0ykBPNwEJ5D9vuFeJavtOVwbVn7z1msGEmUuIUDlF20qMbIj5Z6QgQxrgvKs/s1600/vlcsnap-2014-03-30-18h10m50s21.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJynLHKOv2Htr-iDOvzaV6gEFHxcczd4TBM5BA0Fe4syMfUC2yMxIDWMrxy_yqrdGY1NBBYAdA5KHfK-y0ykBPNwEJ5D9vuFeJavtOVwbVn7z1msGEmUuIUDlF20qMbIj5Z6QgQxrgvKs/s1600/vlcsnap-2014-03-30-18h10m50s21.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq7sLIrQMT5PEqEhEiXO-cTtvj364zNYMFPKYUr63prvW2ZFPefulOFw2B32LaRf9jCwewJ1QU0g_ZZF4s-4da5MnP3IKZHsQnrlyhc3OL8xfacVeCyPxju8Zk1Zpmm7gyCe7rkx2B2vM/s1600/vlcsnap-2014-03-30-18h11m42s118.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq7sLIrQMT5PEqEhEiXO-cTtvj364zNYMFPKYUr63prvW2ZFPefulOFw2B32LaRf9jCwewJ1QU0g_ZZF4s-4da5MnP3IKZHsQnrlyhc3OL8xfacVeCyPxju8Zk1Zpmm7gyCe7rkx2B2vM/s1600/vlcsnap-2014-03-30-18h11m42s118.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_I02ZRfFmUiEc5JACRhRxWWk8J01no4JsV_pOIlSeoHcvBWpqgqsKq2iNtRc37DsqU0HoreLypBdeslC5T-CCYay0IHH5MpGqogaFlKDYQq7_cV6MLrtHQoHuTObY7iYYSRXcfRJXGC4/s1600/vlcsnap-2014-03-30-18h13m20s233.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_I02ZRfFmUiEc5JACRhRxWWk8J01no4JsV_pOIlSeoHcvBWpqgqsKq2iNtRc37DsqU0HoreLypBdeslC5T-CCYay0IHH5MpGqogaFlKDYQq7_cV6MLrtHQoHuTObY7iYYSRXcfRJXGC4/s1600/vlcsnap-2014-03-30-18h13m20s233.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MdJpnMdnAoPVQ6EzSNk-zfL12H2gyTE79d9A6x3hfd_Se5C3sUTUPPWSdUz-jPa0xAczTpCMBeEkWRWCKetU95Di53eW8shpstb31uJaNg-oEslINNVX1jHbWpwXAw2MkhMZV6hm83I/s1600/vlcsnap-2014-03-30-18h20m46s88.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MdJpnMdnAoPVQ6EzSNk-zfL12H2gyTE79d9A6x3hfd_Se5C3sUTUPPWSdUz-jPa0xAczTpCMBeEkWRWCKetU95Di53eW8shpstb31uJaNg-oEslINNVX1jHbWpwXAw2MkhMZV6hm83I/s1600/vlcsnap-2014-03-30-18h20m46s88.png" /></a><br /><br />Unlike Ewa, Marie is not a prisoner of anything except her moral standing. Menjou’s Pierre Revel is her keeper, not her captor, and her childhood boy-toy, Jean (Carl Miller) has no hold over her whatsoever. In Marie’s apartment, which, in my mind, is the visual center of the picture, the space feels open, airy and elegant. Neither Marie nor the rooms feel claustrophobic or dominated with or without Adolphe Menjou there. In fact, Chaplin frames the couple as if they’re on an even-playing field. Yet, she’s blasé about her freedom and seems to intentionally avoid personal reflection (literally and figuratively) or even meditation about where her future is going.</div>
<div>
<br />In fact, the only way she'll look at herself is by doing it through someone else's eyes: <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPbzcEnRocPGFwssTg4f3fgcg8-nqVvtiepHys6sswCTdrxn9B0-WBcUZeAiHV56cUJ5F_-3-PJUlihgMPgWm7mDlNGmPn4a4xzr9yvv1SU4QpB1VdBakYItx-9XUniYfLDIYpAbmKLR0/s1600/vlcsnap-2014-03-30-18h50m44s67.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPbzcEnRocPGFwssTg4f3fgcg8-nqVvtiepHys6sswCTdrxn9B0-WBcUZeAiHV56cUJ5F_-3-PJUlihgMPgWm7mDlNGmPn4a4xzr9yvv1SU4QpB1VdBakYItx-9XUniYfLDIYpAbmKLR0/s1600/vlcsnap-2014-03-30-18h50m44s67.png" /></a><br /></div>
<div>
And those eyes only see her past self. <br /></div>
<div>
Marie is a phony.</div>
<div>
<br />So much so, that the film actually pokes fun at her when she half-heartedly attempts to say what she wants out of life: <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_bOG8I_c-SigB_yoVF9wMREOmkADlq5HKE-ULqFTsS8NkK61VFvEP6vU0debqyo1MXVR9-bVm1uoQJk2fXYvaxL9QhQWjo4pC7xmdiuojNyR05sB6oPhTRR68OYWg-6a_H34mPyYve0/s1600/vlcsnap-2014-03-30-18h21m32s39.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_bOG8I_c-SigB_yoVF9wMREOmkADlq5HKE-ULqFTsS8NkK61VFvEP6vU0debqyo1MXVR9-bVm1uoQJk2fXYvaxL9QhQWjo4pC7xmdiuojNyR05sB6oPhTRR68OYWg-6a_H34mPyYve0/s1600/vlcsnap-2014-03-30-18h21m32s39.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC1LDFeH3QsjMfDlnJPRIvJme2HrAKjrnWCEFA9QoJpO0NcNQa1mg0KNsj7zg_d3h6O3VcRxpEl1yImolwRIuthQBjUucWf4keh5_0p5SR3VyddHgVfMfI7vV9tErG6rgE_oJqZRJB3m8/s1600/vlcsnap-2014-03-30-18h27m18s108.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC1LDFeH3QsjMfDlnJPRIvJme2HrAKjrnWCEFA9QoJpO0NcNQa1mg0KNsj7zg_d3h6O3VcRxpEl1yImolwRIuthQBjUucWf4keh5_0p5SR3VyddHgVfMfI7vV9tErG6rgE_oJqZRJB3m8/s1600/vlcsnap-2014-03-30-18h27m18s108.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWjAauVH_5C6Z0_CggMo_8Fnl4LQO2atm_rKcKKINkA2z5OF5I2kCjA4w1jmM2QSlncs_uXAabbcK_MA-vS1wNQe9QSd9t16Rh3mnZynRf1kkttSntgMa7Nfe73lKSlSn5jk5-EE4Svy0/s1600/vlcsnap-2014-03-30-18h30m30s42.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWjAauVH_5C6Z0_CggMo_8Fnl4LQO2atm_rKcKKINkA2z5OF5I2kCjA4w1jmM2QSlncs_uXAabbcK_MA-vS1wNQe9QSd9t16Rh3mnZynRf1kkttSntgMa7Nfe73lKSlSn5jk5-EE4Svy0/s1600/vlcsnap-2014-03-30-18h30m30s42.png" /></a><br /><br /><a 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src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC251O5Owvxy1S1ZKT-VhNIQL-Zotd9WE6Bt0_ZewTiMcJigL5Kt2yqb23zaAAUqh6bMAkWZG8NR3VhvbzJKHHPjepv5PS4UA-nMY8p14asMF2TB3OgA1vNNFo7C82c08WgZhgJpOLqsQ/s1600/vlcsnap-2014-03-30-18h42m37s145.png" /></a><br /><br /> She even breaks a heel. <br /><br />Other than that first moment of the movie, this is the only time Marie looks out the window again. And why does she leave the comfortable confines of her apartment? To get her pearl necklace back from a homeless man. The idea of her longing and hoping for a good future is laughable. <br /><br />Though Ewa isn’t technically imprisoned by the man who manipulates her into prostitution, Bruno (Joaquin Phoenix), or any of the other people she’s with, she’s certainly physically oppressed by her surroundings, beautifully photographed by Darius Khondji as they may be. During the first section of the movie, Ewa is frequently framed against imposing doorways and really tight, confining spaces. Ewa stays at the apartment of another prostitute and scarcely moves beyond 10% of the area. She walks from the doorway to her bed and almost never sets foot in the rest of the flat, preferring to crouch like a mouse alongside the wall. <br /><br />Look at this scene where Bruno, Ewa and a couple of the prostitutes return home after a night of partying:<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG5Loy7oCkCpbA2DnZabC_jODNJb3m9Z8hR0h-2EgQhl8QDPPr3KbXobN-75w4_CNdxQ_U4ilG3ok4xdITP6VpexIwRSEAWO-T3tgGyHbELGtMIRt2rFlETDuCP7U409v_zntIBB2yp5w/s1600/vlcsnap-2014-03-30-18h55m22s118.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG5Loy7oCkCpbA2DnZabC_jODNJb3m9Z8hR0h-2EgQhl8QDPPr3KbXobN-75w4_CNdxQ_U4ilG3ok4xdITP6VpexIwRSEAWO-T3tgGyHbELGtMIRt2rFlETDuCP7U409v_zntIBB2yp5w/s1600/vlcsnap-2014-03-30-18h55m22s118.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0PqRdO-Mnaa2kbk7ZlfPlruIbapZnQwOvfwClSiGWpS3mCxBe74CRLK6cfcqZdeX9_4uQgJ_pkM8ikFI5bTqdbvzmitev0qfLRkEnFuB4DrNDuTH2ucwwUML1r5r9QlfBfc0VA-6hjTw/s1600/vlcsnap-2014-03-30-18h55m40s36.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0PqRdO-Mnaa2kbk7ZlfPlruIbapZnQwOvfwClSiGWpS3mCxBe74CRLK6cfcqZdeX9_4uQgJ_pkM8ikFI5bTqdbvzmitev0qfLRkEnFuB4DrNDuTH2ucwwUML1r5r9QlfBfc0VA-6hjTw/s1600/vlcsnap-2014-03-30-18h55m40s36.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhscKolze8X0Bm8f76NO1fhrs6SPR21F3XEVarYXxQ8PRYoe9VMOe_BFNPWUmAWJMWAHWFbzdtT4JoLYEZSqOuBnCHdICf_gwJs54fEkRtZ29SloUzPeQdDyt76LOleG2pHd6ucsbc5cQs/s1600/vlcsnap-2014-03-30-18h55m49s117.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhscKolze8X0Bm8f76NO1fhrs6SPR21F3XEVarYXxQ8PRYoe9VMOe_BFNPWUmAWJMWAHWFbzdtT4JoLYEZSqOuBnCHdICf_gwJs54fEkRtZ29SloUzPeQdDyt76LOleG2pHd6ucsbc5cQs/s1600/vlcsnap-2014-03-30-18h55m49s117.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyefC7n5eoTmQR0Cvm0vdytLIy0smYEGqd1DHRlxPULO73qlAAyBKhc0UNV4ohDQXuoCSVo05GNSPY8VILXMO_SqpkFa6hW_qANSvQ6yrvfEE04rtmngNqlPGoKfpvBVePigK2sd8OEwk/s1600/vlcsnap-2014-03-30-18h55m55s188.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyefC7n5eoTmQR0Cvm0vdytLIy0smYEGqd1DHRlxPULO73qlAAyBKhc0UNV4ohDQXuoCSVo05GNSPY8VILXMO_SqpkFa6hW_qANSvQ6yrvfEE04rtmngNqlPGoKfpvBVePigK2sd8OEwk/s1600/vlcsnap-2014-03-30-18h55m55s188.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrom8HYUS-jCncfbb9OHvDQTRuUha68ksVz0X5JvfZvdmLozKjtamS2c5VVO9c2b5MklWBOUpI0EDDd-pBBmu9L3rHWErP0vKA-bIoqsKtknI4MF6h9B8rXw454FV7tir_9Bpvlya-3RM/s1600/vlcsnap-2014-03-30-18h56m06s46.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrom8HYUS-jCncfbb9OHvDQTRuUha68ksVz0X5JvfZvdmLozKjtamS2c5VVO9c2b5MklWBOUpI0EDDd-pBBmu9L3rHWErP0vKA-bIoqsKtknI4MF6h9B8rXw454FV7tir_9Bpvlya-3RM/s1600/vlcsnap-2014-03-30-18h56m06s46.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4FiRHys60qpEG-pAoK0smU3G3X3jn19T7CSBLdpeTwU1EHxC6JpTzWXQQ1gpQ8ea2VkTXYDOyIiInkiToK8q1xw5kM6iaJlkR9Wqni7ZlnZ8Zb5bYXIZ5OKmoYd2WGGcXXheOquavIT8/s1600/vlcsnap-2014-03-30-18h56m17s152.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4FiRHys60qpEG-pAoK0smU3G3X3jn19T7CSBLdpeTwU1EHxC6JpTzWXQQ1gpQ8ea2VkTXYDOyIiInkiToK8q1xw5kM6iaJlkR9Wqni7ZlnZ8Zb5bYXIZ5OKmoYd2WGGcXXheOquavIT8/s1600/vlcsnap-2014-03-30-18h56m17s152.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieob-XbhQQkMZv1nTEkwvsi_hsI9hwJMWEq8cjwSgGp5SxvMvmniXGkivJP1YeS84xrSzotE8P6SOay83Hm9UX-DuuvqKpbgVc1pBZIScj3_cb1bp88jT8p9Y-AsQN464yB3MmQNVfzOc/s1600/vlcsnap-2014-03-30-18h57m43s207.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieob-XbhQQkMZv1nTEkwvsi_hsI9hwJMWEq8cjwSgGp5SxvMvmniXGkivJP1YeS84xrSzotE8P6SOay83Hm9UX-DuuvqKpbgVc1pBZIScj3_cb1bp88jT8p9Y-AsQN464yB3MmQNVfzOc/s1600/vlcsnap-2014-03-30-18h57m43s207.png" width="640" /></a><br /><br />The prostitutes and Bruno trot in like they own the place, completely comfortable with the environment and each other. They’re in full view of the window whereas Ewa slowly steps inside, removes her coat with most of her body out of frame and skittishly walks to her corner to avoid Bruno’s eager conversation. It might seem like she’s apologizing for her existence, but she’s actually just trying to keep her head up and eyes on the prize. When reality sets in and she accepts her fate and what she must do to help her sister leave Ellis Island, the city space becomes a lot more open and welcoming to her. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdEDZzvl9ZQ5OBeJxYy9NrL2kz2G9UGpFdbz7lv-thNzmcyrzXxxUeKbIEKFDYIN3xjagZJZOQsRu8id4bNhi2zVV6ntJEEOEEBXgJTjQUTEi3RwzEFlAmQ9O8NoqHjwUhsE6iDf6tWo/s1600/vlcsnap-2014-03-30-18h59m47s165.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdEDZzvl9ZQ5OBeJxYy9NrL2kz2G9UGpFdbz7lv-thNzmcyrzXxxUeKbIEKFDYIN3xjagZJZOQsRu8id4bNhi2zVV6ntJEEOEEBXgJTjQUTEi3RwzEFlAmQ9O8NoqHjwUhsE6iDf6tWo/s1600/vlcsnap-2014-03-30-18h59m47s165.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigSTeU0xjjvRwJumKkKrOXPKG9F0WckI1v2EJ46KuL4GjQx4HTf-zsZ_beh9urN1-fA4_1sep-yKkaVMhx4Elrt5X6SFCbH3_JPO0lBOc4RegEbDPRiRIzhyphenhyphenadQmvVj2akVYZGC9STxNs/s1600/vlcsnap-2014-03-30-19h01m03s208.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigSTeU0xjjvRwJumKkKrOXPKG9F0WckI1v2EJ46KuL4GjQx4HTf-zsZ_beh9urN1-fA4_1sep-yKkaVMhx4Elrt5X6SFCbH3_JPO0lBOc4RegEbDPRiRIzhyphenhyphenadQmvVj2akVYZGC9STxNs/s1600/vlcsnap-2014-03-30-19h01m03s208.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3NazrvSyWpJXu2fxB0uzetHAWBwb3zhkG71bij41d_mzx0-NQ8GHTvDKxw3wvHMNzv9teuEJz7cr8ESmNT5HdFVeeK3fO1YRjH99H2O916inwViMk-LnG2BPGBRh9eMBl3nDHIslanH4/s1600/vlcsnap-2014-03-30-19h03m16s235.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3NazrvSyWpJXu2fxB0uzetHAWBwb3zhkG71bij41d_mzx0-NQ8GHTvDKxw3wvHMNzv9teuEJz7cr8ESmNT5HdFVeeK3fO1YRjH99H2O916inwViMk-LnG2BPGBRh9eMBl3nDHIslanH4/s1600/vlcsnap-2014-03-30-19h03m16s235.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvT2t_ck4sPLfW7RD7VQ1qPRFaGTt4UPjY4K70k1NvnQpLGDxP3-dhkuR6A506vrEic-Ims4qDywaBA-xIHrP2YfrfDmWRipmOyXeZTt7dfk3y0ULxcGjJCH4xSD1GDYru2DnL61tcrgA/s1600/vlcsnap-2014-03-30-19h03m41s252.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvT2t_ck4sPLfW7RD7VQ1qPRFaGTt4UPjY4K70k1NvnQpLGDxP3-dhkuR6A506vrEic-Ims4qDywaBA-xIHrP2YfrfDmWRipmOyXeZTt7dfk3y0ULxcGjJCH4xSD1GDYru2DnL61tcrgA/s1600/vlcsnap-2014-03-30-19h03m41s252.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4w30P0TxDEcLhsK95PxDHbpbTHzVMvdYtU1QxIWK7nyIbOJLz_6DRWUEMYrQl70dro6vYQFdfzFA-qdRngt7wObjsR3Jp4OESxh9Wv-OM0SAGHXN5d_xl0D6DN9l6TMH3FklZbBqPAH4/s1600/vlcsnap-2014-03-30-19h04m14s61.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4w30P0TxDEcLhsK95PxDHbpbTHzVMvdYtU1QxIWK7nyIbOJLz_6DRWUEMYrQl70dro6vYQFdfzFA-qdRngt7wObjsR3Jp4OESxh9Wv-OM0SAGHXN5d_xl0D6DN9l6TMH3FklZbBqPAH4/s1600/vlcsnap-2014-03-30-19h04m14s61.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1yLGjqoQNsfaHXOGgoAL31sCfhCNUF4d7zg3EEhrSOTTCDnwa6VSROPWKHmC1FRxHMhotBcsyHbnP346jr-0ifpGKWl87Q8JdR4Rd0-3WxptmK5_3iDIxXljXpUTOB_71ivOx4kZNzTo/s1600/vlcsnap-2014-03-30-19h04m46s118.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1yLGjqoQNsfaHXOGgoAL31sCfhCNUF4d7zg3EEhrSOTTCDnwa6VSROPWKHmC1FRxHMhotBcsyHbnP346jr-0ifpGKWl87Q8JdR4Rd0-3WxptmK5_3iDIxXljXpUTOB_71ivOx4kZNzTo/s1600/vlcsnap-2014-03-30-19h04m46s118.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUZ_jYcJiTS2uiwEr9Jg8gMGv9UK8bh-M7C40W__njVhiTQFVnY_mG19w8FLfRgYSqUcGUq6-pqpcDdil54K51QZd_QfxZ7odOCUfeN83uI8ZpdyjDmBEIms5CPUMP8iYcJNz8ZYa8Y5k/s1600/vlcsnap-2014-03-30-19h04m58s246.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUZ_jYcJiTS2uiwEr9Jg8gMGv9UK8bh-M7C40W__njVhiTQFVnY_mG19w8FLfRgYSqUcGUq6-pqpcDdil54K51QZd_QfxZ7odOCUfeN83uI8ZpdyjDmBEIms5CPUMP8iYcJNz8ZYa8Y5k/s1600/vlcsnap-2014-03-30-19h04m58s246.png" width="640" /></a><br /><br />If Ewa wasn’t such a determined and strong presence, I’d probably hate The Immigrant. I don’t think a female character has faced this level of manipulation on screen since Rosemary’s Baby. However, Ewa is always looking forward, always looking to the future. The numerous shots of her looking in mirrors and out of windows serve as constant reminders of her humanity and strength. She has faith in herself because she has faith in God. Nothing anyone can do to her body will ever change that. <br /><br />Though Marie and Ewa are two different types of prostitutes, Marie being high-end and Ewa being at the bottom of the totem pole, both women look the same in society’s and cinema’s eyes. They’re women of low morals, those devilish vixens who steal husbands and ruin young men with red lipstick and fishnet stockings. It’s really sad that our idea of good and bad women hasn’t really changed that much since Chaplin’s day. Sadder still, that there are nearly 30 million victims of human trafficking worldwide. I can only hope that some of them meet the same happy ending Ewa and Marie did in their separate cinematic universes. Whether the victims are men, children or women of low-means or low morals, no one deserves to have their life, love or liberty taken away from them. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4K5kqCQswc9o0lgR85rIU8WZyvrg1Yc07a1l-LFwXiQBvdxQcdSzx_xNfDw6hqRePM9bfmkiUiUCVZLs0RCAAtc8Mr2gc4OMR8ge570JC16_27CEfXUtG6A9bVhbPABFQ8KJuClz8tys/s1600/vlcsnap-2014-03-30-18h52m21s112.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4K5kqCQswc9o0lgR85rIU8WZyvrg1Yc07a1l-LFwXiQBvdxQcdSzx_xNfDw6hqRePM9bfmkiUiUCVZLs0RCAAtc8Mr2gc4OMR8ge570JC16_27CEfXUtG6A9bVhbPABFQ8KJuClz8tys/s1600/vlcsnap-2014-03-30-18h52m21s112.png" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_qJ5BpMcvzacUGHtsyvUaWQ6NKQdq38-DSSLdPJo0Y9KOb_OlASSI6YhOWka3o4X-ZqHH7HoYPVys_q8swGew-6O-q6o_z0XEymadCdN4uio5BusVC_vo0OWhN5cDRCLTr0LK0IYcC0I/s1600/vlcsnap-2014-03-30-18h36m20s193.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_qJ5BpMcvzacUGHtsyvUaWQ6NKQdq38-DSSLdPJo0Y9KOb_OlASSI6YhOWka3o4X-ZqHH7HoYPVys_q8swGew-6O-q6o_z0XEymadCdN4uio5BusVC_vo0OWhN5cDRCLTr0LK0IYcC0I/s1600/vlcsnap-2014-03-30-18h36m20s193.png" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzCHZo2EtGCxf_Kto_X9ASd8JOkE-6N0VhcdNMgJnOoMPP7yvSTJfJ-CXS5NU79Lh_6o0wFEPyAwLv_B3Sm860FZhPLQrEXzcgj4ovamnVqNNNSdf_Nh_ffc12J2MKigEzdShz6OxoG0s/s1600/vlcsnap-2014-03-30-19h08m15s160.png"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzCHZo2EtGCxf_Kto_X9ASd8JOkE-6N0VhcdNMgJnOoMPP7yvSTJfJ-CXS5NU79Lh_6o0wFEPyAwLv_B3Sm860FZhPLQrEXzcgj4ovamnVqNNNSdf_Nh_ffc12J2MKigEzdShz6OxoG0s/s1600/vlcsnap-2014-03-30-19h08m15s160.png" width="640" /></a><br /><br /> </div>
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It played at Anthology Film Archives on 3/24 and will play again on 3/29. </em><br />
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<strong>Review by Preston C. Whistle</strong><em> </em></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOI5tw3-E57XCLLeWqJEox8Tq70ci981qw1xoQ3ozlspg6RjkdXLV32JEs3_ggc4Bafai1M1UgFqJTj1PXB2YdHAfr2C0-IX680osFNrb4RTz9NUl9cNxyXG3xEluXUs-dqEmuZ0AxoPA/s1600/vlcsnap-2014-03-29-15h38m51s178.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOI5tw3-E57XCLLeWqJEox8Tq70ci981qw1xoQ3ozlspg6RjkdXLV32JEs3_ggc4Bafai1M1UgFqJTj1PXB2YdHAfr2C0-IX680osFNrb4RTz9NUl9cNxyXG3xEluXUs-dqEmuZ0AxoPA/s1600/vlcsnap-2014-03-29-15h38m51s178.png" height="480" width="640" /></a>The first shots of Josef von Sternberg's <em>The Saga of Anatahan</em> establish the extreme geography of the film. The opening credits are seen from the distinctly human perspective of the top of a fish tank. The occupying fish swim around and over the words, even casting small shadows over the lettering. Notice the line behind the text, where the floor of the tank meets the wall. This establishes a space so small that it seems only a tiny piece of text can be slipped between it. The line is exploded by the title JUNE 12, 1944 which itself is replaced by the image of another line, another boundary, a new space. This space is vast compared to the fish tank, but no less cluttered. This is a space between extremes, where most of us live. It's a powerful visual idea and one Sternberg repeats. <em>The Salvation Hunters</em>, <em>Underworld</em>, and so on.</div>
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This space is important because Sternberg's many characters are defined by and largely exist on its peripheries. <em>The Salvation Hunters</em>, Sternberg's first film, is dedicated to the derelicts of the world, and its characters don't even have names (an admittedly common occurrence in silent films of the era). This is Sternberg's most extreme example and seasoned auteurists both vulgar and tasteful will know the other examples well. <em>Blonde Venus</em>, finds Marlene Dietrich playing a runaway mother, keeping her son from a well-intentioned but destructively self-righteous Herbert Marshall. His goal being to place the son back into some sort of domestic safe zone, a place his mother, now a prostitute, can never hope to return. <em>The Scarlet Empress</em> offers an interesting variation on this premise, wherein the cunning Catherine The Great (Dietrich again) seizes power from the eerily child-like, Grand Duke Peter (Sam Jaffe). Although the film concerns the most important people in all of Russia, it feels as if it's all playing out in an secluded cave somewhere, where occasional screams from the heart of the earth rattle upward and spread out into nothingness. It's a hopeless film and its orgiastic final images offer a terrifying outward explosion of plant and animal matter in such a way as to suggest the prize won between these two animals was the right to eat up all of humanity and puke it right back out. To rearrange the earth, just because they could. <br />
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Thankfully, Sternberg is a complex-enough storyteller to allow for many different variations of these relationships. In <em>Underworld</em>, for example, gangster kingpin Bull Weed (George Bancroft) rescues his former lawyer, "Rolls Royce" Wensel (Clive Brook) from the gutter, who then falls in love with Bull's girlfriend, Feathers McCoy (Evelyn Brent). The end result is Bull sacrifices himself for sake of the secret lovers. In <em>The Blue Angel</em>, Emil Jannings is Prof. Immanuel Rath, a well-respected school teacher whose idea of social and domestic propriety contradict what his testicles want so badly, that he destroys himself in the pursuit. This is all to say that there's a strange kind of social mobility in Sternberg's world, too. One that seems to rearrange the distribution of power for some, but reveal how meaningless the struggle is for others. The beginning of <em>The Blue Angel</em> finds Emil Jannings in the same place as in the end, at his desk. The mud dwellers in <em>The Salvation Hunters</em> are writhing in the same filthy river as Catherine The Great and every other denizen of this place. </div>
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One of the many reasons <em>The Saga of Anatahan</em> is unique is because of how these character inhabit this space. It seems like the island is placed similarly to the feather in Underworld or the floating piece of cargo with the seagull standing on it from <em>The Salvation Hunters</em>, perhaps placing it between the aforementioned extremes.</div>
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That is to say unlike the people in <em>The Salvation Hunters</em>, or even <em>Shanghai Express</em>, whose lives are complicated by political and economic forces just outside of their control, the islanders who settle on Anatahan do so with something of a clean slate:<br />
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Unfortunately, though, the trauma of being human, especially during wartime, is too great for these inhabitants. There's only one woman and one man on Anatahan when these twelve seamen show up: a farmer and his wife. Even when stripped down to the barest elements, this single domestic arrangement is a significant enough source of friction that life for these poor people soon consists of nothing but jockeying for power objects and status. As is often the case both in life and on film, this results in dead people. </div>
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It's Sternberg's final work and as such places itself quite comfortably on a list of other, formally adventurous final works by veteran filmmakers. Sternberg himself is the narrator for the film, a technique which provides us with intermittent and poetic interpretations of the events we're witnessing as well as providing the inhabitants of Anatahan with a voice. The effect of using this single voice for all the different characters in the film at once offers us the strange comfort of unity that often accompanies the pain of being human, but also has a way of eroding the individuality of the concerned parties. The resulting tension dominates the film as well every single day of life here on earth.<span style="font-family: 'Times New Roman'; font-size: 12pt; mso-spacerun: "yes";"> </span><span style="font-family: 'Times New Roman'; font-size: 12pt; mso-spacerun: "yes";"><o:p></o:p></span></div>
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<em>This review is part of our </em><a href="http://thevulgarcinema.blogspot.cz/2014/03/auteurs-gone-wild-master-list.html"><em>Auteurs Gone Wild</em></a><em> series. The movie will screen at Anthology Film Archives on 3/20, 3/27 and 3/29. </em></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVXidcc9eiRA9SvRBaiwRyTsK8qOLRf3EHkfaVogXTZSrRroncF7Pky3D9-oVaPjKO11XtPyNH8VA-Lb7jxGN8SNDBOl2GIZRM3sxlczhu8P3Tb1B_J_glYDZs06ky-izWtJFjGUXs4VI/s1600/vlcsnap-4310703.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVXidcc9eiRA9SvRBaiwRyTsK8qOLRf3EHkfaVogXTZSrRroncF7Pky3D9-oVaPjKO11XtPyNH8VA-Lb7jxGN8SNDBOl2GIZRM3sxlczhu8P3Tb1B_J_glYDZs06ky-izWtJFjGUXs4VI/s1600/vlcsnap-4310703.png" height="480" width="640" /></a>Sylvia Sidney is one of Lang's good girls, one of his American sweethearts. She wants the finer things in life, of course, but she doesn't ask for what she can't have, for things far outside her means. She's not vain and lazy like <i>Scarlet Street</i>'s Kitty March (Joan Bennett), only picking up and touching things with the very ends of her fingertips because she's afraid she'll chip her nail polish. She's not even a "sampler" of small vices, like Katie Bannion (Jocelyn Brando) or a well-dressed good-time girl like Debby Marsh (Gloria Grahame) in <i>The Big Heat</i>. No, Lang's Sidney is content to be one of those hardworking folks who only indulges in niceties once or twice a year, probably around tax and birthday time.<br />
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In <i>You and Me</i>, her character, Helen, would love to have a bottle of Hour of Ecstasy perfume. She probably stares at the perfume's window display during her lunch hour at Morris' department store everyday. And, even though she's an ex-con with a rough history, Helen doesn't steal it. She wants it so badly that we never even see her smell it, just in case it proves to be too tempting for her.<br />
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Helen's new husband, Joe (George Raft), doesn't understand why she wants the perfume, which, to me, means he doesn't really understand her. <br />
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<b>Helen</b>: I’ve been looking at that [Hour of Ecstasy perfume] again. Gee, imagine some girls can just go in and buy it and think nothing of it.<br />
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<b>Joe</b>: It’s just smell-um, isn’t it? <br />
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<b>Helen</b>: But, Joe, it’s Hour of Ecstasy!<br />
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<b>Joe</b>: Is it? <br />
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<b>Helen</b>: Joe, you just don’t understand, I guess. There isn’t anything in the world that can build a girl up like good perfume. It does something for her… soul, kind of. See?<br />
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<b>Joe</b>: No.<br />
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<b>Helen</b>: It must be very simple to be a man.<br />
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*** </div>
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Much is said of the sound in Fritz Lang's movies, how his intricate application
of clicks and clacks in metal and machinery on his soundtracks or use of tunes like <a href="https://www.youtube.com/watch?v=9YXnMX5ADjs">"Legend of Chuck-A-Luck"</a> make him one of the masters of cinema. When I think
of Lang, I think of the heavy motor noises before the gun fire and
explosion in the first five minutes of <i>The Testament of Dr.
Mabuse</i>. Or maybe the sound of Robert Ryan's projector
whirring at the small town movie house in <i>Clash by Night.</i> His cinematography,
which tackled everything from German expressionism to lush
Technicolor productions, is also a frequent point of discussion. And rightfully
so.<br />
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In <i>You and Me</i>, which is probably Lang's sweetest flick,
however, a man learning to appreciate his wife's fine sense of smell is
the predominant force at work. The main reason it’s Lang’s most atypical film. <br />
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This is kind of funny because <i>You and Me</i> also happens to be a
wonderfully goofy gangster musical. <br />
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His skilled use of:<br />
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Sound:<br />
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Sight:<br />
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And even touch...: <br />
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<br />
...are all prevalent in the flick, too. But the moment
of favorable judgment, the happy ending, only comes after Joe
buys Helen the perfume.<br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyb8-clryzSkdx80izgXNqUGTvf4FuOc_wrsEBJZDGr5lFukXFzDbzWSY1C4mxUrxOyeYRKWx2hl2APrlWTAk7vDvw-b5ISYRK4hyHT8v0OavLGdpdQb68nAwCvrDZtDrYFQDxyyBx9I/s1600/vlcsnap-1300285.png" /><br />
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<br />
George Raft sits alone in the department store, contemplating his, and possibly, their, future. He behaved like a hypocritical idiot and reacted to a bad situation like so many other Lang characters…<br />
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If this were a typical Fritz Lang movie, Raft’s Joe might have officially left Helen after he discovered they weren’t actually married, when she knowingly consummated their illegitimate relationship and got pregnant, but this isn’t a typical Lang film, it’s <i>You and Me</i>. It’s not only an Hour of Ecstasy, or even two. It’s just perfect.</div>
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<span style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span style="line-height: 107%;">Edward,
My Son</span></i><span style="line-height: 107%;"> is a very strange movie and I’m not really sure how
much I actually like it. I’ve seen it three of four times now and my feelings
seem to change with every viewing. Not because it’s narratively a bit flat and
disjointed or because Spencer Tracy is miscast, no, that stuff doesn’t bother
me. I usually love oddball movies because I’m an oddball gal. What does bother
me is the cruelty housed inside its lopsided episodic structure. Told almost entirely
in flashback via a handful of short, dated segments, Spencer Tracy plays a
pretty horrible guy named Lord Arnold Boult who will stop at nothing to give
his son, Edward, every possible opportunity in life. The world is his oyster
and all that. Affording him every opportunity includes committing arson,
causing two suicides and basically breaking all of the commandments in the book.
Not to mention just being a real bastard to everyone around him, especially his
loving wife, Evelyn (Deborah Kerr). </span></span></div>
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<span style="font-family: inherit; line-height: 107%;">The prodigal son is never seen because he’s already
dead before the movie begins. Spencer Tracy is the one orchestrating what we’re
supposed to be seeing and feeling. Most of the action takes place indoors,
inside apartments, cramped houses and sad-looking mansions and offices with
lengthy 5-10 minute shots for each segment. The ghost of Edward hovers over the
space of the movie as much as it does over the story. The long, almost
uninterrupted shots offer only a handful of close-ups, which, along with the
heavy makeup and melodramatic storytelling, cause the movie to feel quite
theatrical and stagey. Because Edward is never seen, I feel as though he’s the
one who is really supposed to be watching what’s happening, watching what his
father arranged for him. Lord Arnold Boult asks the audience for their opinion
of him at the beginning and end of the movie, but I think he only ever wanted Edward’s.
To know he did the right things for him even if he didn’t do the right things
for anyone else.</span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;">Caught in the middle of this father-son confession
fest is poor Deborah Kerr, who very well might be Cukor’s most troubled heroine
after <i style="mso-bidi-font-style: normal;">The Chapman Report’s</i> Claire
Bloom. Kerr’s Evelyn is batted around, pushed to the side and smeared into
becoming an empty-shelled drunkard because she doesn’t have the power to combat
Boult’s tricks and manipulation. There are few sadder images than that of dear
Evelyn, looking tacky and cheap, sitting alone, mumbling to herself by the
fireside drunk off her ass. No man (or men) should have ever done that to
Deborah Kerr.<o:p></o:p></span></span></div>
Cukor’s subsequent heroines didn’t suffer the same fate, however. After <em>Edward, My Son</em>, Cukor seemed to really step into the modern age and closely examine what the post-war malaise was doing to the women around him. He began to shy away from the Tracy Samantha Lord’s (Katharine Hepburn, <em>The Philadelphia Story</em>) and Mrs. Stephen Haines’ (Norma Shearer, <em>The Women</em>) of filmdom and started focusing on the more down to earth, working class types like Gladys Glover (Judy Holliday, <em>It Should Happen to You</em>) and Mae Swasey (Thelma Ritter, <em>The Model and the Marriage Broker</em>). Evelyn was the last of his female characters, at least between 1949 and 1954, to really seem boxed-in and caged by her lack of independence. With its confined, lifeless spaces, <em>Edward, My Son</em> is a fitting, if not punishing, finish to the feminine creampuff way of living and a wonderful introduction to the blue collar social sparkle ideals I love so dearly in his filmography. I just wish it hadn’t been Deborah Kerr who got caught up in the suffocating bromance of her screen husband and son. Sara Freemanhttp://www.blogger.com/profile/05455420127433311271noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-87377848911486408982014-03-16T19:03:00.000-07:002014-03-30T13:50:02.596-07:00Peter Ibbetson (Henry Hathaway, 1935)<div dir="ltr" style="text-align: left;" trbidi="on">
<em>This review is part of our </em><a href="http://thevulgarcinema.blogspot.cz/2014/03/auteurs-gone-wild-master-list.html"><em>Auteurs Gone Wild</em></a><em> series. The movie will screen at </em><a href="http://anthologyfilmarchives.org/film_screenings/series/42271"><em>Anthology Film Archives</em></a><em> on 3/21 and 3/25.</em><br />
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<tr><td class="tr-caption" style="text-align: center;">One cries, another looks on, starts to cry herself.<br />
A child invents empathy anew.</td></tr>
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“We begin with gin bitters and barmaids and end up with an aching head,” Peter Ibbetson says, describing what it’s like to go out after work. Peter, “a strange child, so sensitive,<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">” </span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">grows into “a very impertinent young man” (played by Gary Cooper), a man of principle who can’t do anything he doesn’t like, so destabilized by an event from his childhood that he tries to quit his job for no reason and, failing that, goes on holiday only to, in a feat of preternatural abstention, resist the come-ons of a teenage Ida Lupino.</span></div>
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<i>Peter Ibbetson</i>, the film, the story of a love between children, half-remembered and unknowingly re-enacted by adults, is weird at every turn. These childs’ lives are ruined, their growth stunted, when they’re ripped apart at an early age; their love, born across fence posts and a fight over boards, makes no sense except as <i>l’amour fou</i>, crazy love that transcends everything, which must be what made it a favorite of surrealists Andre Breton and Paul Eluard, who, like a great explorer, reportedly ‘discovered’ it by following a pretty lady into a movie theater.</div>
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The picture resolves behind prison bars in a chiaroscuro-drenched fever dream that pays no mind to reality or other people. “The films of 1935 to 1945 inclusive were the high point of Western culture, completing what began that day in the theatre of Dionysus when Aeschylus first spoke to the Athenians,” Myra Breckinridge said in Gore Vidal’s book of the same name. Hollywood, how normal everyone thinks you are, how strange you’ve always been.</div>
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Otie Wheelerhttp://www.blogger.com/profile/07597062404464564882noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-47717786647529507712014-03-16T18:55:00.000-07:002014-03-30T13:50:14.862-07:00A Countess From Hong Kong (Charlie Chaplin, 1967)<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-family: inherit;">
<span style="line-height: 115%;"><em>This review is part of our </em><a href="http://thevulgarcinema.blogspot.cz/2014/03/auteurs-gone-wild-master-list.html"><em>Auteurs Gone Wild</em></a><em> series. The movie will screen at the <a href="http://anthologyfilmarchives.org/film_screenings/series/42271">Anthology Film Archives</a> on 3/22, 3/26 and 3/30. </em></span><br />
<br />
<span style="line-height: 115%;">“If
they don’t like it, they’re bloody idiots!
A millionaire falling in love with a beautiful prostitute –what better story
can they have than that? It’s the best
thing I’ve ever done.” - Charlie Chaplin<br />
<br />Perhaps <i>Countess</i> really is Chaplin’s greatest work, his most personal and
poetic. In the words of Andrew Sarris: “the
quintessence of everything Chaplin has ever felt.” And indeed much of Chaplin’s prior films echo
on through this one. <br />
<br />
Like wealth dominated by longing:</span></div>
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<div style="font-family: inherit;">
<span style="font-family: inherit;">But as essential as images in this film are, sound is equally as important. The score, already beginning in the film's studio logo, is so mournful. There is something very beautiful in how it comes in right before the Universal logo; we only see space, and briefly, the earth.</span><span style="line-height: 115%;"> </span><br />
<span style="font-family: Georgia, serif;"><span style="line-height: 18.39px;"><b><u><br /></u></b></span></span></div>
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<div style="font-family: inherit;">
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<span style="line-height: 115%;">Chaplin
to Francis Wyndham: “Between you and me and the gatepost, it’s a very sad
story. This man who leaves his icicle of
a wife for a girl who’s a whore. I think
the end, where they’re dancing, is tragic.
Perhaps his love for her is just a passing thing, happens to us all.”<br />
<br />
And indeed the mournful tune of the opening doesn’t appear at all throughout
the rest of the film, until its final moments. This has happened before, in <i>City Lights</i>. Chaplin's smile bursts forth glowingly, but the music plays as though a requiem.</span><span style="font-family: "Georgia","serif"; font-size: 12pt; line-height: 115%;"></span><br />
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<div style="font-family: inherit;">
<span style="font-family: inherit;"><span style="line-height: 115%;">Note
that the final moments of <i>Countess</i> are of people dancing.
</span><span style="line-height: 115%;">Throughout the film we see dances begun:</span></span><span style="font-family: "Georgia","serif"; font-size: 12pt; line-height: 115%;"></span><br />
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<div>
<span style="font-family: inherit;"><span style="font-size: small; line-height: 115%;">Dances
longed for:</span></span></div>
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Dances interrupted:<br />
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<div style="font-family: inherit;">
And dances lost:<br />
<span style="font-family: "Georgia","serif"; font-size: 12pt; line-height: 115%;"><br /></span></div>
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<div style="font-family: inherit;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 115%;">The
film itself begins in a dance hall, a sailor who “has a ticket to dance.”</span></span></span><br />
<span style="font-family: "Georgia","serif"; font-size: 12pt; line-height: 115%;"><br /></span></div>
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<div style="font-family: inherit;">
Just like the Little Tramp:<br />
<span style="font-family: "Georgia","serif"; font-size: 12pt; line-height: 115%;"><br /></span></div>
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<div style="font-family: inherit;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="line-height: 115%;">One of the most striking things about this opening sequence
is the use of dialogue, which will reverberate throughout the film. </span><span style="line-height: 115%;">When the sailor says “I got a ticket to dance!”
it is infused with a great innocence, a great honesty.</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">This will return later, first appearing in
the “blandness” of the dialogues between Brando and Sydney Chaplin early on in
the film.</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">The things they say are bland
not because the story is bland, but because they are bland people.</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">Chaplin does not have to explain what kind of
people they are; it is rather through the tone in their voice, the way a line
is read.</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">And of course, gestures.</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">It reminds me of another late masterpiece,
John Ford’s </span><i style="line-height: 115%;">7 Women</i><span style="line-height: 115%;"> as well as the
films of the Straubs.</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">Here, it may
represent Chaplin’s own contempt for contemporary society.</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">But then look at when the “countesses” are
introduced!</span></span></span><br />
<span style="font-family: "Georgia","serif"; font-size: 12pt; line-height: 115%;"><br /></span></div>
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Suddenly elegance replaces banality, and indeed much of the film will watch Brando struggle to rise above his banality and return to his instincts.<br />
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Chaplin idolizes his countesses in the early sequence. Even though the nameless sailor and the girl are the only people having a conversation, Chaplin treats us to three more close-ups of these women, because he loves them.<br />
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<br />
And of course, they dance:<br />
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<div style="font-family: inherit;">
It doesn’t take a Chaplin aficionado to recognize that dancing is perhaps the key to Chaplin’s cinema.<br />
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Even if the countesses are glorious, they are rife with the pessimism of Chaplin’s Verdoux. “Money makes me romantic,” says one. They are almost lifeless, except for Loren’s Natascha.<span style="font-family: "Georgia","serif"; font-size: 12pt; line-height: 115%;"></span><br />
<span style="font-family: "Georgia","serif"; font-size: 12pt; line-height: 115%;"><br /></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4gCAiaVc_USu0JwZUR7zo3shHj4ooT9602O5kzvYvmlyL8n-TpSdxsq-fbtlKX67VCCqHQCZ6ZPW8163GC86cozwuXJRHHmdqK-DNAaJYqfmR_WPKmxeLzAwxuLr-ptKu-x1xGjHsROXQ/s1600/vlcsnap-2014-03-14-19h28m43s61.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4gCAiaVc_USu0JwZUR7zo3shHj4ooT9602O5kzvYvmlyL8n-TpSdxsq-fbtlKX67VCCqHQCZ6ZPW8163GC86cozwuXJRHHmdqK-DNAaJYqfmR_WPKmxeLzAwxuLr-ptKu-x1xGjHsROXQ/s1600/vlcsnap-2014-03-14-19h28m43s61.png" height="360" width="640" /></a><span style="font-family: inherit;">A second Tramp.</span><br />
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She even says things that could have come out of the mouth of the little Tramp. “We must all face the world sooner or later, some of us sooner,” “Escape from despair, hopelessness, no future. Nothing to look forward to but dance halls and prostitution. I am determined not to slowly die and rot.” At the same time, she continues the trend of lost, dejected women in Chaplin's films: the Mother in <em>The Kid</em>, Marie from <em>A Woman of Paris</em>, Georgia in <em>The Gold Rush</em>, The Blind Girl from <em>City Lights</em>, the Gamine in <em>Modern Times</em>, the nameless prostitute from <em>Monsieur Verdoux</em>, and Terry from <em>Limelight</em>.<br />
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Meanwhile Brando’s Ogden gives us lines like, “If I succumb to any sympathy, I’d have the whole world breathing down my neck." Much of the things Ogden says to Natascha early on in the film are rife with cruelty. At first he says “You’ll have to leave these premises immediately,” as if a robotic security guard, before burping and undercutting his own supposed authority. His menace becomes much more apparent when he actually does ring the purser and heartlessly says, “Now go ahead and scream.”<br />
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Thus, Natascha becomes her alter-ego.<br />
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<span style="line-height: 115%;">Natascha
exists in a world dominated by cynicism.
</span><span style="line-height: 115%;">When we meet Ogden’s wife, she and her husband exchange:</span></div>
<div style="font-family: inherit;">
<span style="line-height: 115%;">
<br />
“Unfortunately Ogden, the only interest I have is money, having had no
children.”</span></div>
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<span style="line-height: 115%;"><br />
“Am I to blame for that?”</span></div>
<div style="font-family: inherit;">
<span style="line-height: 115%;"><br />
“No, neither one of us is to blame. The desire
for happiness fooled us both.”</span></div>
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<span style="line-height: 115%;"><br />
“Happiness, huh.”</span></div>
<span style="font-family: "Georgia","serif"; font-size: 11pt; line-height: 115%;"><br style="font-family: inherit;" /><span style="font-family: inherit;">
<span style="font-size: small;">“I was going to say love! But I don’t
think either one of us knows what the world means.”</span></span><span style="font-family: inherit; font-size: small;"><br /><br />
Look at their positions as they say the last two lines.</span></span><span style="font-family: "Georgia","serif"; font-size: 11pt; line-height: 115%;"><br />
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<span style="font-size: small; line-height: 115%;">Brando
practically mumbles his line to the point of near incoherence. It’s one of the saddest moments in movies.</span><span style="font-family: "Georgia","serif"; font-size: 11pt; line-height: 115%;"></span><br />
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<div style="font-family: inherit;">
<span style="line-height: 115%;">Hedren
pulls a cigarette, resigned to her fate. </span></div>
<div style="font-family: inherit;">
<span style="line-height: 115%;">
<br />
In the moments prior to this, sound has dominated this movie. The buzzer of the room where most of this
movie occurs takes on a kind of omniscient tone, forcing Ogden out of
upholding his established beliefs, and back to ground zero.</span></div>
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<div style="font-family: inherit;">
A diplomat, a lawyer and a prostitute.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCR4jpo2vZtuIjk84I8_ErzMP98sM3Oe9IMft8y7a38fFusy_xZ49B5-TP6FUP6LhsvpUREiZ3XSk_4oBOYUhB-UJA939oMlnI5EPZPgx9UFliyfIrA-xFRg5Vl52gkYpUax7FbefoFp_/s1600/vlcsnap-2014-03-14-21h09m10s170.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCR4jpo2vZtuIjk84I8_ErzMP98sM3Oe9IMft8y7a38fFusy_xZ49B5-TP6FUP6LhsvpUREiZ3XSk_4oBOYUhB-UJA939oMlnI5EPZPgx9UFliyfIrA-xFRg5Vl52gkYpUax7FbefoFp_/s1600/vlcsnap-2014-03-14-21h09m10s170.png" height="360" width="640" /></a></div>
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The buzzer goes off, chaos ensues, and for a brief moment they are just human beings running on base impulses.<br />
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Natascha even tells Ogden early on, explaining why she stayed aboard the ship, “I didn’t think, it was an impulse.”<span style="font-family: Georgia, serif; font-size: 11pt; line-height: 115%;"><br /></span><br />
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<div style="font-family: inherit;">
<span style="font-size: small; line-height: 115%;">Moments
before Ogden is forced to live by impulse as well:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyQvJftiKunS6zvsGVPKHz0nUEpWLtoEpQqS1OHbWZvl0vHsggFj8bgctf1b0W7YPZhHetJu6saC50swOhWBgSkHZB2SxaWI9kXJSoeQiG8ntA-sSQI4B2P41h9kfta42sJuDb8McwcLFA/s1600/vlcsnap-2014-03-14-21h14m43s171.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyQvJftiKunS6zvsGVPKHz0nUEpWLtoEpQqS1OHbWZvl0vHsggFj8bgctf1b0W7YPZhHetJu6saC50swOhWBgSkHZB2SxaWI9kXJSoeQiG8ntA-sSQI4B2P41h9kfta42sJuDb8McwcLFA/s1600/vlcsnap-2014-03-14-21h14m43s171.png" height="360" width="640" /></a></div>
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<div style="font-family: inherit;">
<span style="font-size: small; line-height: 115%;">Ogden
is constantly breaking down, moving from “distinguished figure,” to comic one.</span><span style="font-family: Georgia, serif; font-size: 11pt; line-height: 115%;"></span><br />
<span style="font-family: Georgia, serif; font-size: 11pt; line-height: 115%;"><br /></span></div>
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<div style="font-family: inherit;">
<span style="font-size: small; line-height: 115%;">He’s
reduced to chasing </span><span style="font-size: small; line-height: 16.86px;">Natasha</span><span style="font-size: small; line-height: 115%;"> around the room yelling “Take off those pajamas!”</span><span style="font-family: Georgia, serif;"><span style="font-size: 11pt; line-height: 115%;"></span></span><br />
<span style="font-family: Georgia, serif;"><span style="font-size: 11pt; line-height: 115%;"><br /></span></span></div>
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<div style="font-family: inherit;">
<span style="font-size: small; line-height: 115%;">Moments
before a press conference:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXeCIaaOMjybGW-_BAc2bPn8Mk2bRY8HMHj4xBG2927zSR2HpqnKo9j9mrL4Fdnai3_p2BECxvRl9yfN094fPb6nE6Qfwt_P-FtTibByes_u15u4u4zFhnWVfkonKxisz6kbaS6hD26GU5/s1600/vlcsnap-2014-03-14-21h19m54s198.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXeCIaaOMjybGW-_BAc2bPn8Mk2bRY8HMHj4xBG2927zSR2HpqnKo9j9mrL4Fdnai3_p2BECxvRl9yfN094fPb6nE6Qfwt_P-FtTibByes_u15u4u4zFhnWVfkonKxisz6kbaS6hD26GU5/s1600/vlcsnap-2014-03-14-21h19m54s198.png" height="360" width="640" /></a></div>
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<div style="font-family: inherit;">
<span style="font-size: small; line-height: 115%;">Where
he is inexplicably forced to confront his own hypocrisy.</span></div>
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<div style="font-family: inherit;">
<span style="font-size: small; line-height: 115%;">In
his conferences and speeches, he is constantly talking of “solutions of world
peace, and when we first see Ogden, he is repeating these sentiments, but he’s
posing, rehearsing himself monotonously, like a robot.</span><span style="font-family: "Georgia","serif"; font-size: 11pt; line-height: 115%;"></span><br />
<span style="font-family: "Georgia","serif"; font-size: 11pt; line-height: 115%;"><br /></span></div>
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<div style="font-family: inherit;">
<span style="font-size: small; line-height: 115%;">“Every
statesman, every minister, every diplomat should dedicate himself to the cause
of world peace.” Whatever that means.</span></div>
<div style="font-family: inherit;">
<span style="font-size: small; line-height: 115%;"><br /></span>
<span style="font-size: small; line-height: 115%;">But
just because Ogden lives in a moral void </span><span style="font-size: small; line-height: 16.86px;">doesn't</span><span style="font-size: small; line-height: 115%;"> mean he’s fated to it. He is looking for happiness too. He learns to live with his impulses, and
Chaplin, in his first and only color film, turns the screen red.</span><span style="font-family: "Georgia","serif"; font-size: 11pt; line-height: 115%;"></span><br />
<span style="font-family: "Georgia","serif"; font-size: 11pt; line-height: 115%;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuarteqSNyhlYPxXg16KN64ojFJJFCZLuFBQ5JvFPEI9870FljmP-j5CVG1-J6CzXD-8MXy9QGKs7vJM5TW5Cz7dMxWdwmPHpLF6ipTeOBR4WwDEFZlBSiTtvGpz9hCMPCM6OzsfmKhEYJ/s1600/vlcsnap-2014-03-14-21h32m25s45.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a>
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<div style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuarteqSNyhlYPxXg16KN64ojFJJFCZLuFBQ5JvFPEI9870FljmP-j5CVG1-J6CzXD-8MXy9QGKs7vJM5TW5Cz7dMxWdwmPHpLF6ipTeOBR4WwDEFZlBSiTtvGpz9hCMPCM6OzsfmKhEYJ/s1600/vlcsnap-2014-03-14-21h32m25s45.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuarteqSNyhlYPxXg16KN64ojFJJFCZLuFBQ5JvFPEI9870FljmP-j5CVG1-J6CzXD-8MXy9QGKs7vJM5TW5Cz7dMxWdwmPHpLF6ipTeOBR4WwDEFZlBSiTtvGpz9hCMPCM6OzsfmKhEYJ/s1600/vlcsnap-2014-03-14-21h32m25s45.png" height="360" width="640" /></a>Note his line to Sydney Chaplin right before he walks into this frame: “See you in the morning.”</div>
<div style="text-align: left;">
<br />
Natascha turns her head from the window to Ogden, in awe.<span style="font-size: small;"></span></div>
<div style="font-family: inherit; text-align: left;">
<span style="font-size: small;"><br /> Of course Ogden asks: “Can I have this dance?”</span></div>
<div style="text-align: left;">
<br /></div>
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<div style="font-family: inherit;">
It’s hard to put into words the sheer romantic energy of this movie. It’s not quite sensual, closer to idealism:<span style="font-family: "Georgia","serif"; font-size: 11pt; line-height: 115%;"><br /></span> </div>
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<div style="font-family: inherit;">
<span style="font-size: small;">The morning
after they sleep together they are like two different, reborn people.</span></div>
<div class="MsoNormal" style="font-family: inherit;">
<!--[if !supportLineBreakNewLine]-->
<!--[endif]--></div>
<div class="MsoNormal" style="font-family: inherit;">
<span style="font-size: small;">“Don’t be
sad. That’s too easy. Be like me.
At this moment, I am very happy."<o:p></o:p></span></div>
<br />
And the night they sleep together, Chaplin does something very unusual for him, but very remarkable:<br />
<br />
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Anonymoushttp://www.blogger.com/profile/04145100760415593240noreply@blogger.com2tag:blogger.com,1999:blog-5081690340639867251.post-18115620077502027122014-03-16T18:46:00.000-07:002014-03-31T01:32:09.907-07:00Auteurs Gone Wild Master List<div class="separator" style="clear: both; text-align: center;">
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At the Anthology Film Archives in New York, <a href="http://davidphelps.tumblr.com/">David Phelps</a> has curated a <a href="http://anthologyfilmarchives.org/film_screenings/series/42271">nifty new series</a> called <a href="http://anthologyfilmarchives.org/film_screenings/series/42271">Auteurs Gone Wild</a> which looks at the Crème de la crème of classic Hollywood's best filmmakers and their most atypical works. Included are Hitchcock, Lubitsch, Chaplin, Cukor, Capra and a whole lot more. <br />
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As the title suggests, this series is sort of the fun house mirror version of vulgar cinema. We're going to be providing coverage of the whole program, which runs from March 20th-30th. Please let us know if you check it out. <br />
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Here's the master list for everything we're going to be writing about and when it screens::<br />
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<a href="http://thevulgarcinema.blogspot.cz/2014/03/you-and-me-fritz-lang-1938.html"><em>You and Me</em> (Fritz Lang, 1938): by Sara Freeman</a> <br />
March 20th, 9:00<br />
March 27th, 7:00<br />
March 29th, 9:00<br />
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<a href="http://thevulgarcinema.blogspot.cz/2014/03/peter-ibbetson-henry-hathaway-1935.html"><em>Peter Ibbetson</em> (Henry Hathaway, 1935): by Otie Wheeler</a><br />
March 21st, 7:00<br />
March 25th, 9:15<br />
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<a href="http://thevulgarcinema.blogspot.cz/2014/03/edward-my-son-george-cukor-1949.html"><em>Edward, My Son</em> (George Cukor, 1949): by Sara Freeman</a><br />
March 21st, 9:00<br />
March 23rd, 4:15<br />
March 26th, 6:45<br />
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<a href="http://thevulgarcinema.blogspot.cz/2014/03/a-woman-of-paris-charles-chaplin-1923.html"><em>A Woman of Paris</em> (Charles Chaplin, 1923): by Sara Freeman</a> <br />
March 22nd, 4:45<br />
March 23rd, 8:30<br />
March 30th, 7:00<br />
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<a href="http://thevulgarcinema.blogspot.cz/2014/03/a-countess-from-hong-kong-charlie.html"><em>A Countess from Hong Kong</em> (Charles Chaplin, 1967): by Neil Bahadur</a> <br />
March 22nd, 6:45<br />
March 26th, 9:15<br />
March 30th, 4:30<br />
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<a href="http://thevulgarcinema.blogspot.cz/2014/03/for-any-order-two-for-auteurs-gone-wild.html"><em>Under Capricorn</em> (Alfred Hitchcock, 1949): by Christopher Small</a><br />
March 22nd, 9:15<br />
March 25th, 6:45<br />
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<a href="http://thevulgarcinema.blogspot.cz/2014/03/for-any-order-two-for-auteurs-gone-wild.html"><em>Broken Lullaby</em> (Ernst Lubitsch, 1932): by Christopher Small</a><br />
March 23rd, 6:45<br />
March 29th, 5:15<br />
March 30th, 9:00<br />
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<a href="http://thevulgarcinema.blogspot.cz/2014/03/the-saga-of-anatahan-josef-von.html"><em>The Saga of Anatahan</em> (Josef Von Sternberg,1953): by Preston C. Whistle</a><br />
March 24th, 9:00<br />
March 29th, 7:00<br />
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<br />Sara Freemanhttp://www.blogger.com/profile/05455420127433311271noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-13510770154534446822014-01-01T12:34:00.000-08:002014-04-16T08:13:47.416-07:00You’re Nothing to Me Until You’re Everything: Romance & Enchantment in American Hustle<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana; font-size: 13px; text-align: justify; white-space: pre-wrap;">Here is a movie about conmen without a single bad guy. A movie about corruption without a trace of cynicism. It has a convoluted plot yet it's written and directed by David O. Russell, who doesn't care about plot. It's the same story Russell told twice before, with the same general actors playing the same general characters in the same general way but cast against type this time. Six actors return from <i>Silver Linings Playbook</i>, four from <i>The Fighter</i>. Ever in screwball land, Bradley Cooper continues to speak with the speed and musicality of a fast-talking dame, and lines from different pictures echo one another</span><span style="font-family: Verdana; font-size: 13px; line-height: 1.15; text-align: justify; white-space: pre-wrap;">:</span></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Pat Solitano (Cooper): "I'm on the scoreboard! I'm playing down field!"</span></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Richie DiMaso (Cooper): "I'm runnin' the show! I'm the quarterback!"</span></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Stress & emphasis recur across actors and films: Anthony Amado (Alessandro Nivola) says no to an entire floor at the Plaza but yes to the plan in general with the same rhythm and cadence as Randy (Paul Herman) rejects the handicap but takes the parlay in </span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Playbook</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. </span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The camera follows Cooper and Amy Adams to the dancefloor from behind like it did Cooper and Jennifer Lawrence in the prior film</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>.</i></span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: Verdana; font-size: 13px; line-height: 1.15; white-space: pre-wrap;">Dramatic Steadicam swoop-ins for emphasis are common now. Shots are replicated across films—cameras pan from face to hands then back to face, as if gestures could talk:</span></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">What is it if not another story of reinvention, another reification of Russell’s self-conscious self-transformation? </span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Du mußt dein Leben ändern</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Rilke wrote. You must change your life. An imperative so strong, even the characters scream Russell’s themes out loud:</span></div>
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<b id="docs-internal-guid-3231a0cf-2af6-2405-25e1-34fe42020ec2" style="font-weight: normal;"><br /><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></b>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">“No more fake shit!</span></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">“I wanna be fuckin’ real!”</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 11px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></div>
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<b style="font-weight: normal;"><br /><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></b>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Here is a movie about bullshit artists who want desperately to stop BSing.</span><span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;"><i> </i></span><span style="font-family: Verdana; font-size: 13px; line-height: 1.15; white-space: pre-wrap;">It’s a movie so shrill, even John Cassavetes might have asked the actors to tone it down; he certainly would’ve edited the film to be less entertaining, but that was a perversity unique to Cassavetes. Russell’s biggest flaw is giving the audience what it wants rather than what it needs, but with so few directors pursuing Old Hollywood aura while trying to realize a personal artistic vision, it may be a flaw worth forgiving.</span></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">“That’s emotion,” Tiffany Maxwell told Pat Solitano when he walked across the studio to her in </span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Silver Linings Playbook.</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> Russell’s unstated aim—to marry the raw feelings of Cassavetes to the romantic optimism of Frank Capra (a logical fusion, since Capra was the Hollywood director Cassavetes admired)—is reified by his mode of production. Like in Cassavetes, sets are lit for 360 degrees so that actors can move freely with blocking adjusted as needed; the camera (in this case, a Steadicam) is handheld , like in Cassavetes; but unlike in the films of Cassavetes, who hated beautiful shots and once fired cinematographer Caleb Deschanel for being too hung up on them, </span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">American Hustle</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">’s director of photography, Linus Sandgren, devised a way to glamourize the actors by lighting them on the fly. “To make sure that any actor we panned to had enough light,” Sandgren said, "my gaffer, Patrick Murray, hung a Chinese lantern from a sound boom, running by the Steadicam; we filled the lantern with dimmable LEDs, which gave us the ability to dial the color temperature from warm to cool.”<sup>1</sup> New Hollywood, meet Old Hollywood.</span></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Russell films scenes all the way through without stopping, nine or ten times in a row with no breaks in between, no adjusting lights, no fussing over perfect camera angles or focus, no waiting in trailers between takes, nothing, just a constant escalation, with the director on top of the actors, yelling instructions or modifying lines in the midst of it all. The result is loud, vulgar, operatic and cartoonish, with no concern for modulation or moderation.</span></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: bold; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">“David finds moments where this ‘pushed reality’ is the truth.”</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (Amy Adams)</span><span style="font-family: Verdana; font-size: 11.199999809265137px; line-height: 9.600000381469727px; white-space: pre-wrap;"><sup>2</sup></span></div>
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<b style="font-weight: normal;"><br /><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></b>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Realism ruined movies; where before, truth was something you felt while watching a cowboy cross his arms, the history of cinema passing from Harry Carey to John Wayne as we watched Duke through a doorway, suddenly the search for truth became a prosaic concern for relative minutiae (resulting eventually in a process-oriented cinema of actual minutiae and grim pseudo-documentary shaky-cam depictions of the Truth, capital T).</span></div>
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<b style="font-weight: normal;"><br /><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></b>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Realism obligated fidelity to objects, not feelings. Once when they were full, movie theaters were to dream in; now empty, a nit-picking pedantry took over. But the sleep of reason produces monsters: directors, even great ones like Robert Altman, held their characters in contempt, but looking down on the world didn’t make sense when looking up at a screen, and theaters emptied even further.</span></div>
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<span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;">Russell was as guilty of acting superior as Alexander Payne, Joel & Ethan Coen or any of their contemporaries were, but today, having turned his back on all that, he's reviled in some circles for having gone soft. In <i>American Hustle, </i>there are good sides to every character. Russell's vision is earnest and annoying and he pursues it relentlessly. “I know what I love right now,” he says. “I love these kinds of people and these kinds of worlds.”<sup>3</sup></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik6JkbMkaCfwa2-Cg5yXsnwWw24cnveTwXZs2rOm4ygCmAo7xK_otkPoptxz-3UapIAg5KzbXdLXtB7ndHaZDLziTemOzLLHvfDHHwcTKMal63X4_NzTv5OULHWCGAxsff_obMKgcOa4o/s1600/vlcsnap-2014-04-16-11h06m38s150.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik6JkbMkaCfwa2-Cg5yXsnwWw24cnveTwXZs2rOm4ygCmAo7xK_otkPoptxz-3UapIAg5KzbXdLXtB7ndHaZDLziTemOzLLHvfDHHwcTKMal63X4_NzTv5OULHWCGAxsff_obMKgcOa4o/s1600/vlcsnap-2014-04-16-11h06m38s150.jpg" height="266" width="640" /></a></div>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline;">To love life, in Russell’s self-described trilogy of emotion, reinvention, and enchantment, was to flout decorum, furiously tearing at life like it were meat on a stick. Characters fell in love at the drop of a hat, not because it made sense but because it seemed crazy (“Falling in love is kind of a form of socially acceptable insanity,” Amy Adams would say in </span><span style="color: black; font-family: Verdana; font-size: 13px; font-style: italic; vertical-align: baseline;">Her</span><span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline;">, the new movie by Russell’s friend, Spike Jonze).</span></span></div>
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<b style="font-weight: normal;"><br /><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></b>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">What if the entire plot were a MacGuffin? What if film were reduced to character (Hawks), performance (Cassavetes), romance and enchantment (vulgar legacy of the Hollywood studio system), would the remainder be </span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">American Hustle</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">?</span></div>
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<b style="font-weight: normal;"><br /><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></b>
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Abolish plot summaries, I say (and don’t read the comments</span><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">). I watch a movie a day, give or take, and don’t remember the plots to any of them. </span><span style="font-family: Verdana; font-size: 12.800000190734863px; line-height: 11.199999809265137px; white-space: pre-wrap;">I remember story: lonely, lovable loser takes advantage of people until he doesn’t want to anymore. Camera movement: the lens gliding from mirror to character or vice-versa, because how a man sees the world changes based on how he sees himself.</span><span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;"> I remember images: Jennifer Lawrence hate-dusting to “Live and Let Die”. A moral code: </span><span style="color: black; font-family: Verdana; font-size: 13px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">you must change your life</span><span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;">.</span></div>
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<b style="font-weight: normal;"><br /><span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></b>
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<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
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<span style="background-color: transparent; color: black; font-family: Verdana; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Was it a mess? Was it sloppy? Does a bear shit in the woods? The film was fast and loose because what's frozen is dead. The mode of production matched the themes, which matched the execution. In Russell’s world, a character's interior life is forever on the verge of being expressed; emotions are operatic; people are dreamers; romance is everything (“you're nothing to me until you're everything”). If you don’t love life and all the horrible rotten shit that comes with it (<a href="http://youtu.be/z_M3wRmWKms?t=1m4s">“It’s flowers but with garbage”</a>), what are you even doing?</span></div>
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<span style="font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;"></span><span style="font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;">“Floating in the dead space with the furnitures and the curtains,” that’s what.</span></div>
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<span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;"><sup>1</sup> Press packet</span><br />
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<span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;"><span style="color: black; font-family: Verdana; font-size: 11.199999809265137px; line-height: 9.600000381469727px; vertical-align: baseline;">2</span><span style="color: black; font-family: Verdana; font-size: 13px; line-height: 1.15; vertical-align: baseline;"> '<a href="http://blogs.indiewire.com/theplaylist/american-hustle-cast-talks-funny-hairdos-masks-sexual-power-that-kiss-between-jennifer-lawrence-amy-adams-20131209">American Hustle Cast Talks Funny Hairdos, Masks, Sexual Power & "That Kiss" Between Jennifer Lawrence & Amy Adams</a>', Indiewire</span></span><br />
<span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;"><sup><br /></sup></span>
<span style="color: black; font-family: Verdana; font-size: 13px; vertical-align: baseline; white-space: pre-wrap;"><sup>3</sup> <a href="http://www.interviewmagazine.com/film/david-o-russell">Interview with David O. Russell</a> by Louis C.K., Interview Magazine</span></div>
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Otie Wheelerhttp://www.blogger.com/profile/07597062404464564882noreply@blogger.com1tag:blogger.com,1999:blog-5081690340639867251.post-48706641823629233102013-12-30T11:23:00.000-08:002013-12-30T11:23:29.310-08:00Do Not Enter: Sébastien Clerget on Assault on Precinct 13<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Do Not Enter</b><br />
<b>Sébastien Clerget</b><br />
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"Against the tactics of speed, of noise, set tactics of slowness, of silence."<br />
– Robert Bresson, <i>Notes on the Cinematograph</i><br />
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The characters under assault in the Anderson precinct are fighting against a dark, anonymous force, a product of both the urban universe and the psychological world. In 1976, <i>Assault on Precinct 13</i> exposed the reality of gangs, which Carpenter adapted to structures and situations taken from westerns, his favorite genre after fantasy. But very quickly—and very slowly as well—Carpenter shifts his film into a figurative system where—under the cover of night, revealed to themselves—several characters in Anderson end up seeing their proximity to death affirmed.<br />
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<b>The Circulation of Death</b><br />
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The first sequence in the film depicts the massacre by the "forces of order" of an indistinct group who we later identify as the Warlords, members of a gang with the allure of a sect, the other image the film gives of the forces of <i>an</i> order—forces whose only purpose, from a strictly narrative point of view, is to kill. Death is produced once and it circulates through a specific, closed space that contains it while also trying to preserve itself from it.<br />
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The murders of the ice cream man and the little girl are equally as gratuitous and premeditated as the inaugural massacre. This time, the murderers and victims have faces. The film opens a passage for emotion and the father throws himself into hunting those who killed his child. He completes his vengeance at nightfall, beating up the murderer—though nothing proves that he has been able to identify him since he didn't witness the murder and the other offers himself to him more as a sacrifice. Death returns to the Warlords in the image of the blond man's corpse. Out of this body—frozen in a martyr's pose—arise the ghostly silhouettes of the forces of a deadly order whose role, from a figurative point of view, is to <i>represent</i> death.<br />
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<b>The Transitional Space</b><br />
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Up until the father's arrival in the precinct, the movement of the bodies remains uniformly slow, even hieratic. The distances to cover in the street, on the sidewalk and in the hallways are covered in the time <i>given</i> to these routes, time that no one wants to see pass too quickly, especially the prisoners being transferred (Napoleon WIlson, sentenced to death, Wells and the sick guy). The space of the precinct—an empty, transitional space, emptied of its functionality and also being transferred (it's actually a ghost precinct: the displaced characters find themselves in a place that has already been displaced itself)—becomes a space to be reinvested, protected and isolated. Lieutenant Bishop (Austin Stoker) is temporarily in charge of this space which he knew as a child and to which he is returning for the first time after many years. It is his job to protect this shot from its reverse shots. <br />
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<b>Death in the Reverse Shot</b><br />
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From the precinct's main entrance, when the assaulted look outside from the other side of the street, there are three possible reverse shots: the parking lot in front, the row of bushes on the right and the bushes on the left (secondary reverse shots can be added to these three main ones, like the one of the lawn or the manhole—this one is difficult to situate). At first, the points of view are believable, the angles match. Progressively, the continuity breaks down and soon the characters under assault don't even have to put themselves in the right place (behind the door) to see these reverse shots, they can see them from wherever they are in the precinct. Near the end, before Bishop, Wilson and Leigh go down into the basement to take refuge, a shot of Leigh—her cloudy eyes turned towards the outside—is matched with one of the reverse shots. Point of view is no longer necessary to see death's approach, it has contaminated the entire space of the film and will soon go through the door of precinct 13.<br />
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<b>Breaches in the Frame</b><br />
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Contamination is allowed only by breaches opened by the bodies in the frame. Every body seen in the precinct—embodied by the image of the sick prisoner (a line of dialogue highlights the risk of his contagiousness)—already carries within it this death-in-progress. The film's temporality constantly reminds us that every passing moment fatally brings the body closer to its own death. The slow, uniform rhythm carries in it a clear, inescapable, unalterable temporality.<br />
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Napoleon Wilson (Darwin Joston) is sentenced to death and is therefore a man "with no future." Like Snake Plissken in <i>Escape from New York</i>, who everyone takes for dead, he is condemned by life ("You got something to do with death," a preacher once told him). Wilson tells Wells: "Life just seems to pass us by, doesn't it" and this passing by is already death, which Wilson is able to fight on his own turf, behind bars. A Warlord's intrusion into his cell ends with the attacker's death, or at least his demise (the Warlords don't die, they disappear). Being behind bars, for Wilson, means not quite being dead yet, it's his personal space. <br />
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The trace left by Bishop on a desk when he was kid (graffiti) attests to his belonging to the place: if he became a police officer—and the film corresponds to this first night on the job—it is solely to return to where he has been awaited. After his arrival, during his interview in the office of the man who he is symbolically replacing, there is a body in front of him, the space of the shot barred by a flare gun.<br />
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Leigh (Laurie Zimmer in a Bressonian performance) is as fearless as the Warlords in the beginning: her body and her face stigmatize the aggressor's cold and impassive violence, reflecting the apparent absence of fear and emotion before they, in the basement battle, free all the hysteria she and the film contain (anguished cries, frantic gestures).<br />
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The largest breach is obviously opened by the father of the little girl, the victim of a definitive figurative death, made mute and incapable of autonomous actions and movements, plunged into a cataleptic state for having figured in a shot assigned to death, that of the reverse shot/parking lot during his arrival at the precinct. "None of us know who he is, what happened to him, or what he's done. He could be anybody or anything," Leigh says. He is a transitional body in a transitional space, the body through which death circulates before parking in front of their door. The shot of the parking lot, central and recurrent, is the one around which the siege (this "goddamn siege") is organized, out of the spreading death. Two traffic signs structure this shot: "DO NOT ENTER," which could be addressed to the people under attack as a warning (do not enter this shot, do not let this shot enter) as well as to the attackers as a prayer (do not enter the reverse shot of this shot). The signs are also more or less lit, more or less red depending on whether the Warlords are or are not in the image, and will never be less lit than when the father carries this shot (by a pan) or more lit than when the Warlords appear in it for the first time, in the reverse shot of the father after he crosses the street. He is, then, the "carrier" and the author of this shot, he is twice at its origin. <br />
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The street separating the parking lot from the precinct remains the frontier to not be crossed.<br />
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<b>Death of the Reverse Shot</b><br />
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From the reverse shot and the offscreen space come muted blasts of silenced weapons. The attackers are characterized by their silence, interchangeable in their mutual muteness (in a film where the origins of the action are essentially aural: if in Hitchcock's <i>The Birds</i>, it is the scene of the attack on the school—"the birds are attracted by the children's singing"*—here, the ice cream man's music attracts the killers and causes the girl's death). The silencers give the impression that the shots come from a lot further than they are actually coming (in fact, we almost never hear them, the sound of the bullets' impact and the traces they leave remain the tangible proof of their existence), since it is from a space "beyond." Silence and night cut off the evil in this beyond, they are both a threat and a protection. Not distinguishing the attackers, not hearing them denies them some of their reality, makes them exist less. It creates the possibility of pushing them a little further into their space, deepening the hole that represents another frontier than the one created by the editing. To not see them enter.<br />
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This is the meaning of the gun shots directed at the venetian blinds, whose purpose is of course to break up the rhythm imposed by death (acceleration), to push away the assailants (push them away by the sound too, through the blasts of bullets—through a curious chance, the only gun with a silencer, Wells', ends up being useless because it is full of blanks), but, moreover, especially not to see them. They are hidden by the blinds—protective, horizontal lines—like the stripes painted on the "Support your local police" sign Wilson and Bishop use to protect themselves one last time. Ultimately, the three survivors take refuge in the basement, where there is no opening, suppressing any possibility of a reverse shot. The attackers enter the precinct offscreen, then, and their entrance is only heard.<br />
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Wilson, Bishop and Leigh are revealed to death, death is revealed to them, as if to better connect them to each other. The film ends with their ascension, after the bodies that filled the hallway have disappeared, leaving the path clear for an eventual return to the living, access to a reverse shot that has <i>returned from the dead</i>.<br />
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*Alain Philippon (private letter, 1994). <br />
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<i>[First published in </i>Admiranda/Restricted: Fury, Contemporary Action Cinema,<i> no. 11-12, 1996. Generously translated for The Vulgar Cinema by <span id="goog_1579484761"></span>Ted Fendt<span id="goog_1579484762"></span>.]</i><br />
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Otie Wheelerhttp://www.blogger.com/profile/07597062404464564882noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-53075682996570453282013-12-25T15:00:00.000-08:002013-12-25T15:22:33.255-08:00An Interview with John Carpenter<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="line-height: 107%;"><span style="font-family: inherit;">I lived in Chicago between 2004 and 2012. John
Carpenter’s last movie, <i>The Ward</i>,
didn’t play in the third largest US city during its limited theatrical run in
2011. It did, however, show briefly in Austin, TX. I worked at Whole Foods at
the time and just happened to be traveling down to the weird city to receive
some special training with the company. If memory serves, the very last
screening started at 8:00 and our plane was supposed to land around 6:30. I
thought, if I was lucky, I could sneak out of my hotel room and high-tail down
to the movie theater where it was playing just in time to see it.</span></span><br />
<span style="font-family: inherit; line-height: 107%;"><br /></span>
<span style="font-family: inherit; line-height: 107%;">But our plane was delayed by over an hour. I didn’t
even get to the hotel room until after 9:00 and there were no other screenings
I could see while I was there. I had missed my </span><i style="font-family: inherit; line-height: 107%;">only</i><span style="font-family: inherit; line-height: 107%;"> chance to see John Carpenter’s first feature-length movie in
ten years on the big screen. I had failed Mr. Carpenter. I can still taste the
disappointment. </span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span>
<span style="line-height: 107%;"><span style="font-family: inherit;">I think I was
born a Carpenter fan because I feel like I’ve always had his movies in my life.
I grew up watching the classics and always had a particular fondness for <i>Christine</i> because I watched it with my
brother, Joe, all the time. However, I was born in 1986, and came into my own
during the period he was making his more idiosyncratic, underrated work in the
‘90s – movies like <i>Village of the Damned,
Memoirs of an Invisible Man </i>and<i>
Vampires</i> – to name a few. I had no idea until much later in my life (when I revisited almost all of his movies with a certain horror-loving friend) that not a lot has been written</span></span><span style="line-height: 107%;"><span style="font-family: inherit;"> about the movies he made
after<i> They Live, </i>which is bewildering
to me because I think he’s grown as a filmmaker with each
movie he’s made.</span></span></div>
<span style="font-family: inherit;">
</span>
<br />
<span style="font-family: inherit;">
</span>
<span style="line-height: 107%;"><span style="font-family: inherit;">I recently got the chance to ask Carpenter a few
questions and made sure to touch upon this point. What follows is an interview that was conducted via e-mail shortly after the Halloween holiday came to a close. </span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span>
<span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><br />
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<span style="font-family: inherit;"><span style="line-height: 107%;"><b>SARA FREEMAN:</b> </span><span style="line-height: 107%;">How do you think your work changed once Sandy
started producing your movies? What are some differences you see between the
work you made in the ‘70s/’80s and the flicks you made in the ‘90s/’00s?</span><span style="color: black;"><b> </b></span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><b><br /></b></span></span>
<br />
<span style="font-family: inherit;"><span style="color: black;"><b>JOHN CARPENTER:</b> I don't think there was a formal, storytelling change. My quality
of life improved.</span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><br /></span></span>
<span style="font-family: inherit;"><span style="color: black;"><br /></span></span>
<span style="font-family: inherit;">
</span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN:</b> You’ve worked on video games, comic books,
television shows, movies, and more. Considering this, how does your approach to
visual storytelling differ across various media? Based on their strengths,
which type lends itself best to your artistic style? <o:p></o:p></span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span></div>
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</span><br />
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<span style="font-family: inherit;"><span style="color: black;"><b>CARPENTER:</b> I will always be first and foremost a movie storyteller.</span><span style="line-height: 107%;"><o:p></o:p></span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><br /></span></span></div>
<b><span style="font-family: inherit;">
</span></b><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN:</b> You’re known for being a horror/action filmmaker. However,
it seems like most of your protagonists are mentally tormented more often than
they are physically harmed. What is your approach to movie violence? Is it
difficult to find the perfect balance of psychological and physical horror? <o:p></o:p></span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span></div>
<span style="font-family: inherit;">
</span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: inherit;"><span style="color: black;"><b>CARPENTER:</b> How to depict violence in cinema depends entirely on the
circumstances of the story. There are no hard and fast rules. And I don't think
Snake Plissken nor Jack Burton were mentally tormented.</span><span style="line-height: 107%;"><o:p></o:p></span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><br /></span></span></div>
<span style="font-family: inherit;">
<span style="line-height: 107%;"></span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN:</b> Do you consider yourself to be a “modern” filmmaker?
How do you think your cinematic style meshes with contemporary aesthetic and
technical trends, like digital filmmaking? How have these technologies helped
you evolve as a storyteller? <o:p></o:p></span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span>
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: inherit;">
</span><br />
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<span style="font-family: inherit;"><span style="color: black;"><b>CARPENTER:</b> I'm not sure I know what 'modern' means. Digital is certainly a
great filmmaking tool. I've used it for a variety of reasons and effects. But I
dislike 3-D. Shaky cam (hand-held, once called Soviet cam) is great sometimes,
but it's often overused. I maintain the basics of movie storytelling haven’t
changed since silent films.</span><span style="line-height: 107%;"><o:p></o:p></span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><br /></span></span></div>
<span style="font-family: inherit;">
</span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN:</b> What are you working on next and how can fans help?<o:p></o:p></span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span></div>
<span style="font-family: inherit;">
</span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="color: black;"><span style="font-family: inherit;"><b>CARPENTER:</b> I'm still recovering from eye surgery so I'm not rushing into
production anytime soon. What can fans do? Remain loyal to the Vulgar Cinema. <br /><br /><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span></span></span><br />
<span style="color: black;"><span style="font-family: inherit;"><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial;"></span></span></span><br />
<span style="font-family: Arial;"><span style="color: #cccccc;"><span style="background-color: #eeeeee;"></span></span></span> <i>Major thanks to John and the Storm King company for setting up this interview.</i></div>
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Sara Freemanhttp://www.blogger.com/profile/05455420127433311271noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-91808305587612151292013-12-24T16:46:00.000-08:002013-12-25T15:22:33.268-08:00John Carpenter's Halloween (1978)<div dir="ltr" style="text-align: left;" trbidi="on">
Jonathan Rosenbaum's 1979 <a href="http://www.jonathanrosenbaum.net/1979/01/halloween-1979-review/">review</a> of Halloween begins well enough, shining a light on the talents and previous works of a filmmaker just now getting a taste of the spotlight, and making familiar comparisons to help people understand his influences (Hawks, Hitchcock). However, Rosenbaum is less interested in the credentials of Carpenter and more interested in what <i>Halloween</i> embodies, and though too early to know yet, the impact and influence it would have popularizing "slasher" films. The point he is trying to make of this genre is an important one, high quality technical film making can be rendered obsolete by moral problems. As Rosenbaum puts it "...what <i>is</i> he (or are we?) honoring in the MSSM (Mainstream Simulated Snuff Film), and what makes this morally superior to fondling Nazi war relics?"
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<br />
Troublesome Nazi comparison aside, the answer is simple: Carpenter is completely aware of the moral implications of his film. He refuses to let his audience distance themselves from their voyeurism, critiquing them and the future of the slasher film all at once. In the very first sequence in the film, Carpenter utilizes a roughly four minute POV shot to immediately make the audience and killer synonymous, highlighting the audiences morally reprehensible interests (murder as entertainment) and refusing to allow the audience to distance themselves from these implications like they normally would. With Michael Myers (Tony Moran) and the audience being bonded in such a manner, other shots that use either the POV or breathing of Myers gain a heightened sense of dread and disgust. Carpenter doesn't need the inclusion of Myers to wield voyeurism effectively though, he uses wide shots that seem to be a POV of the suburb itself as it tracks and stalks in a quietly unsettling manner.
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While this is all the handiwork of a skilled director, it doesn't necessarily mean that <i>Halloween</i>
isn't a perverse, evil film. Someone who dislikes Carpenter could accuse him of immorality with these points and another filmmaker might have done the same things if they wanted you to enjoy the killings and have a good time, so what is it that separates <i>Halloween</i> from its followers? How does <i>Halloween</i>
differentiate from Nazi war relics?
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<br />
After Michael Myers vanishes at the end of the film, the safety of suburbia is nonexistent. Despite
its seemingly calm and normal appearance, Carpenter shows us static shots of all the locations where the horrible events happened, which seem almost like victims themselves, accompanied by the progressively heavier and creepier breathing of Michael Myers. The events that have transpired have affected its witnesses to such an extent that Michael Myers has ceased to exist as a physical entity and has literally become their surroundings.
<br />
<br />
When Laurie first encounters Myers, she flees and returns to the house where she was babysitting. The living room she cowers in seems to converge on her. The wind in the drapes flowing out in a dramatic, rhythmic gesture as if they were actually breathing. Voyeurism is invasive by nature, and now the film has revealed that violence is not the only way it can manifest itself.
Carpenter has commonly been interested in the ideas of evil and generally confronts the abstract via the physical <i>(Prince of Darkness, The Thing)</i> but here he brings the physical into <i>your</i> home, <i>your</i> neighborhood. Michael Myers isn't just some goblin from the woods who only exists to torture us, he's a representation of our inability to control, estimate or even understand the impact we have on people or our surroundings. <i>Halloween</i> rises above the failings of its genre because Carpenter knew that the only way to deal with a derelict, rotten building like the Myers family home is to tear it down. If people want to play in the remains of the festering wood, so be it.</div>
Anonymoushttp://www.blogger.com/profile/15806302084419011539noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-47625483940653224312013-12-24T13:23:00.002-08:002013-12-24T13:30:21.659-08:00"What is Empathy?" Motherhood in Village of the Damned<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9fwr7eF0PmxqTohrAgRF0YNTPyad4qODUvQyQkhX2u7lwXlWjzOCRRItnWjwU0jmpkO9pIzN7YTWz9Dy35XmUBqa3ejQsFAmSgc7pUkztbHiArekicdg52ISegYxT3Ip4Kcu7KhY3TKI/s1600/vlcsnap-2013-12-13-01h54m06s51.png" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9fwr7eF0PmxqTohrAgRF0YNTPyad4qODUvQyQkhX2u7lwXlWjzOCRRItnWjwU0jmpkO9pIzN7YTWz9Dy35XmUBqa3ejQsFAmSgc7pUkztbHiArekicdg52ISegYxT3Ip4Kcu7KhY3TKI/s640/vlcsnap-2013-12-13-01h54m06s51.png" width="640" /></a><br />
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I think one of the
biggest reasons why I enjoy <i>Village of the Damned</i> (and horror in general
really) is because it's never afraid to tell a narrative from a woman's
viewpoint. While other genres of film have often shied away from female
narratives, fears and concerns, horror has always embraced our stories. This is very apparent in <i>Village of
the Damned, </i>which is basically a film about unexpected pregnancy. So why are John Carpenter's, perhaps the
horror genre's greatest filmmaker, post -90s women's pictures so undervalued?
<i>Village of the Damned</i>, <i>The Ward</i> and <i>Ghosts of Mars</i> are almost always written
off as lesser works in the director's oeuvre by cinephiles, and yet I
find myself endlessly fascinated by the stories they tell. Their dismissal is
completely baffling to me. In <i>Village of the Damned</i>, specifically, Carpenter
revisits themes he has been playing around with his entire career like alien
forces (<i>The Thing</i>) and apocalypse narratives (<i>Prince of Darkness, In
the Mouth of Madness</i>), but with the added benefit of tapping into the real life
concerns of women, specifically, the problems of pregnancy and the role of motherhood.</div>
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The way Carpenter shoots the opening is very ominous. The landscape is
absolutely massive because of his 2.35:1 aerial work and he places us directly
inside of this evil entity that is about to take over the town of Midwich,
California. In the midst of a local celebration, an alien force strikes
and makes everyone in town unconscious for several hours. The people don't know it yet, but the alien raped and
impregnated ten of their local women with emotionless, violent children. Children
that they later learn all possess psychic abilities. Carpenter's score
punctuates these scenes with rising moody synths as the horror
quietly builds. The camera snakes its way through the town, hovering over
the townspeople, and makes it feel like the camera may attack you at any
moment. But then, the horror is seemingly over. Everyone in town wakes up
and they think everything has gone back to normal. Women brush their teeth, men
rest in bed, and husbands and wives share an embrace. It is a sleepy town that
you could find anywhere in America, a place where religion and family
are the only ways of life.<br />
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<![endif]-->After the aliens
impregnate some of the local townswomen, the female characters must decide what
to do about their delicate conditions. They are given the option of abortion,
but their personal values, perhaps because of having lived in such a religious
town, push these women into actually keeping their babies. One scene in
particular plays as a kind of divine intervention in convincing the women to
keep them. One night, while all the women are asleep, they share a celestial
dream. This is assumed to have been implanted by the alien forces, but it plays
like a message from God. The women are all framed beautifully with round
stomachs and soft light reaching from above. There are streaks of blue painted
across the scene and Carpenter cuts back and forth between the dream and their
reality. When they wake up they all seem content in keeping their children.
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It might be a little troubling that Carpenter's views on the
female characters lean to the conservative side in <i>Village of the Damned</i>. He
connects many of their desires to motherhood, but I think those claims are held
off with Kirstie Alley's character, Dr. Susan Verner (the leading government
psychologist the town calls to help with this crazy situation). She’s a successful
independent woman in a male dominated field working in a town whose heteronormative
ideas are cherished. She's clearly the liberal voice of the picture with her
pro-choice ideas. She’s thoroughly confused as to why these women don't want
abortions. This plays in direct contrast to the attitudes and lifestyles of
the other women in the town. What I like, though, is that all of these women
are treated equally whether they strive for motherhood or career status. Carpenter doesn’t play favourites and doesn't
outright say Verner or the pregnant mothers are better because his films are
always very respectful of female characters. Even when one woman loses her alien
child in the process of labor, Carpenter is empathetic to her grief. She
spirals further and further down until she eventually reaches a point where she
takes her own life. Carpenter doesn’t graze over this lightly. You feel the real pain of her loss from the moment Verner says her child
is stillborn up until her eventual death, and it makes for one of the more
powerful moments in this picture. David (Thomas Dekker, one of the alien children) was
supposed to be paired with the stillborn child. David feels the loss of his
mate, and doesn’t understand his emotions. In an attempt to try and empathize
with the mother who lost her child he learns of her sadness through his psychic
abilities. They share a brief moment of connection and, through the eyes of
David, we also empathizes with her loss, and begins to understand
emotion.<br />
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The strongest aspect of <i>Village of the Damned</i> is the honest
and thoughtful look at the bond a mother and a child can have and how
horrifying it can be to lose that child. The main protagonist in <i>Village of the
Damned</i>, Jill McGowan (Linda Kozlowski), is a very devoted mother to David, the only child who seems relatively normal. Carpenter shows
the bond between these two as strained but incredibly warm. Their best scene
together shows a brokenhearted David not being able to understand his emotional mindset
after he begins to feel sorrow for his mate who was stillborn. Jill opens up to
him about feeling empathy (he would put this lesson into effect in the next
scene as mentioned above) and does her best to show him how much she cares for
him. The push and pull between David’s duties to his clan of alien relatives
and his growing feelings of attachment to his mother is essentially the biggest
conflict of the movie because there's a lot of emotion steeped in this relationship.
David is the most important thing in her life and you can easily see this as
truth in the final moments of the film when they share an embrace bathed in
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One of my strongest childhood memories is helping my mom out
around the house. We always did the chores together, or more accurately, she
did everything and I followed her. I learned how to fold clothes, do the dishes
and take care of my baby brother because I emulated her constantly. I’ve always
looked up to my mom because she worked constantly to provide for my family. Before she became religious, she was everything in my entire world. I wanted to
be just like her, and that’s what made me feel so much like David in this
picture. David struggles as a child because he feels perpetually different from
those around him, and I basically grew up feeling different as well. It’s always really difficult to adapt to your
surroundings when you know you are different. David felt a kind of difference
between him and the alien children and I personally felt a difference between
myself and other boys. It took years to figure out, but eventually I learned
what was causing me to feel so different. I was transgender and I wasn’t a boy
at all. I strongly relate to the struggles David had of trying to be like
the others and failing, but he had something I never had, and that’s a mom who
loved him no matter what happened. My relationship with my mother ended when I
came out as transgender a few years ago, and I watch <i>Village of the Damned</i>
almost with a sense of longing. In a perfect world I’d still have my mom and
she’d treat me the way Jill treats David in this picture. I’ve always wanted to
be a mom, and I find solace in stories about motherhood. I’m not sure if it’s
because I lost my mother or because I strive for a day when I can be a mom too.
I have definite fears about being a mom, but I want to be like Jill McGowan. I
want to be the type of mom who could star in a John Carpenter picture. It's empowering to feel that kind of connection. I truly feel like this is one of Carpenter's best efforts, one that should be reevaluated in the years to come. </div>
</div>
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Willow Maclayhttp://www.blogger.com/profile/16743087522299241283noreply@blogger.com1tag:blogger.com,1999:blog-5081690340639867251.post-72423613724078764522013-12-20T13:34:00.002-08:002013-12-20T18:03:10.633-08:00Ghosts of Mars<!--[if gte mso 9]><xml>
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<i>Ghosts of Mars</i>,
like <i>Assault on Precinct 13</i> and <i>Vampires</i>, is one of John Carpenter’s
non-Western Westerns. In terms of its plot, it’s very much a retread of <i>Precinct 13</i>: the forces of law and order
must rely on the help of a criminal in order to survive the assault of a
hostile mob of savages.<o:p></o:p></div>
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There are two striking and distinctive things about it, and
they’re related to each other.<o:p></o:p></div>
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The first is that narratively, it’s quite complex: though
other Carpenter movies feature flashbacks (<i>The
Ward</i>) or framing stories (<i>In the
Mouth of Madness</i>), none of his other movies have such an intricate
collection of flashbacks-within-flashbacks, stories-within-stories.<o:p></o:p></div>
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The second is that there are dissolves all over the place:
between the “present” and a flashback, between stories, between scenes, and,
most noticeably, within scenes (noticeable because we aren’t used to seeing
dissolves used that way).<o:p></o:p><br />
<br />
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The movie tells the story of colonists on Mars unleashing
the “ghosts” of a Martian race only presumed dead. It’s the story of
colonization: trying to impose a civilization on a landscape that pushes back
up through that imposition. The stories-within-stories and the ubiquitous
dissolves play this out: “now” and “then” bleed into each other, cause and
effect are mixed, point-of-view and identity lose their fixed boundaries.<o:p></o:p><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbidipyTBH7EQF6x1SJE6U-vc85RRqOFbCcwiepieEy17JLWGLVB9DAR9O1nnE1G09PmgZeymiYxMm_prXn7QFdzZFGQOBUvxrV97TeK37Ahs1faoQcX8m0DigsqLsEqQB9qhXf9nKlQ/s1600/Screen+Shot+2013-12-15+at+7.03.07+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbidipyTBH7EQF6x1SJE6U-vc85RRqOFbCcwiepieEy17JLWGLVB9DAR9O1nnE1G09PmgZeymiYxMm_prXn7QFdzZFGQOBUvxrV97TeK37Ahs1faoQcX8m0DigsqLsEqQB9qhXf9nKlQ/s640/Screen+Shot+2013-12-15+at+7.03.07+AM.png" width="640" /></a></div>
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The movie wasn’t well received at the time. I remember going
to the theater to see it with my brother, and while we both liked it, it felt
old-fashioned to us: an action movie from a pre-<i>Matrix</i> era. Since then, though, I’ve seen it multiple times, and it
now seems, if not quite radical, then at least as vital as any other great
movie from its era. And in its story of a colonization and occupation
undermined by the unseen forces of history, it also turned out to be very much
a movie of its time. It’s a great movie, deserving of more recognition, and a
reappraisal of its many merits.<br />
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<!--EndFragment--><br />Jon Hastingshttp://www.blogger.com/profile/01030406521787423155noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-89651440676129960422013-12-20T13:33:00.002-08:002013-12-20T13:33:16.985-08:00John Carpenter's 'Vampires' (1998); Some Points of Entry:<!--[if gte mso 9]><xml>
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<![endif]--> Carpenter is rarely given credit for being a consummate
landscape artist. Perhaps it’s because for him, the landscape is less a thing
of natural beauty and more an active, if cryptic, participant in his horror
narratives (the same might be said for the landscapes in Westerns by de Toth and Nick Ray, amongst others) . Most obliquely, one could reference the barren urban landscapes of
<i>Assault on Precinct 13</i>, <i>Halloween</i>, <i>Prince of Darkness</i> and <i>They Live</i> (all
decrepit and underpopulated). More directly, <i>The Thing</i> takes place entirely in
the barren no-man’s land of Antarctica (no one can hear you scream); in <i>Ghosts
of Mars</i>, the red planet literally comes alive to destroy the human invaders;
<i>Vampires</i> ironically situates its sunlight-averse bloodsuckers in the middle of
the New Mexico desert, with an intense, palpable heat constantly beating down, natural
light flooding the frame courtesy of cinematographer Gary B. Kibbe.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>The earth comes to life.</i></td></tr>
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Carpenter begins <i>Vampires</i> by introducing the
location before anything else – traveling shots of the New Mexico landscape
dissolve into one another as the opening credits crawl across the screen.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>New Mexico Death Trip.</i></td></tr>
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Lateral tracking shots and lap dissolves finally give way to the propulsive forward momentum of a <br />
traveling helicopter shot, moving closer and closer to a decrepit farmhouse.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>House of the Devil.</i></td></tr>
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The camera finally settles on two lone figures, James Woods and Daniel Baldwin,
surveying an empty house and deciding how to proceed. Once they’ve decided to
attack (the house is presumably a vampire ‘nest’), Carpenter presents each of
them entering a vehicle on opposite sides of the frame. They are partners, but
there is a distance between them (subtle staging that acts as a kind of context for the gradual disintegration of their relationship throughout the narrative proper). </div>
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James Woods opens up his vehicle to reveal a
team of vampire hunting bad asses. Their assault on the vampire nest is one of Carpenter’s single
greatest action set pieces, but it begins quietly, with a finely calibrated Hawksian moment – finding the door
to the nest locked, one of the men uses a kind of pneumatic press to blow out the
door knob. Another man goes to jimmy open the lock, before James Woods says
simply, ‘my turn.’ There’s no argument, as he’s unmistakably the boss, but there’s
also no surprise – he’s obviously done this before, this team takes turns, no exceptions. It’s
a testament to Carpenter’s conception of the scene and James Woods’ acting that
when he goes to stick his hand through the hole, reaching blindly for the door
lock, there is a sense of panic – quiet and controlled, but most discernibly
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<tr><td class="tr-caption" style="text-align: center;"><i>The Professional.</i></td></tr>
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John Carpenter's affinity for Howards Hawks is well-known, and there's certainly something to be said for both directors affection for rough-and-tumble men's men, professionals doing a job of work to the best of their abilities, the pleasure of a job well done their most satisfying reward. But there's a streak of anti-authoritative individuality in almost all of Carpenter's films - he often favors anti-heroes fighting against a corrupt system, whether metaphorically in <i>The Thing </i>and<i> The Ward,</i> ironically juxtaposed ala the police station of <i>Assault on</i> <i>Precinct 13</i>, or quite literally in <i>Escape From New</i> <i>York/L.A</i>. and <i>They Live</i>. James Woods' Jack Crow is cut from the Snake Plissken cloth. Ostensibly employed by the Catholic Church to hunt vampires, Crow delights in blasphemy, and at one point goes so far as to torture the young priest that the Vatican has sent to oversee him. It's a testament to James Woods performance that he doesn't delight in the act, it's simply the quickest, most direct way to garner certain information (Hawks gone vulgar, so to speak). And it's a testament to Carpenter's deep distrust of codified systems of power that the Church in fact is to blame for the creation of vampires (a neat bit of mythological ret-con that turns the Church into something like the corrupt U.S. Government overseen by Donald Pleasence in <i>Escape</i> <i>From New York</i>). <i>Vampires</i> exists in the late-period region of Carpenter's filmography, along with <i>Village of the Damned</i>, <i>Ghosts of Mars </i>and <i>The Ward</i>, films either ignored or outright despised during their initial releases. Here's hoping that the faithful come around, and that the unconverted can use these series of pieces as signposts for seeking out works otherwise written out of the official history of genre cinema. Vive la Carpenter. </div>
Danielhttp://www.blogger.com/profile/04823496467652553501noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-29503294148359713722013-12-16T14:10:00.000-08:002013-12-16T14:10:12.731-08:00Cigarette Burns<div dir="ltr" style="text-align: left;" trbidi="on">
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John Carpenter has never been a "contemporary" horror director. His cinema has always seemed out of synch with its appropriate climate or era. Usually, it's agreed that the Hollywood of the 1950s would've been a more ideal environment, but is that even true? Increasingly, particularly as the horror genre (all genres) have metastasized in the wake of digital, it has become apparent that Carpenter is a director without an era. Rather, it is critical to his work to both exist post-Classical Hollywood, while never aligning with the trajectories or traits of his peers. Carpenter needs the world to react off of, more particularly the ideologically murky world of the 20th Century and its fallout. Everything that entails, perhaps most critically cinema, is fundamentally alienated from, yet critical to, his work.<br />
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Vampires (1998) needs both the Western and the Catholic Church to exist.<i> Escape from L.A.</i> (1996) needs its predecessor (<i>Escape from New York</i>, 1981), the Spaghetti Westerns of Sergio Leone, the trends of Hollywood, Reaganism, New Age religions, satellites, and American conservatism. <i>They Live</i> (1988) is both a film of the 1980s and not. His cinema is alienated. </div>
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It makes sense, then, that <i>Cigarette Burns</i> (2005) registers as his most despairing note. It is the ultimate realization of alienation. The moment Carpenter must finally, directly, look at the horror cinema around him. More importantly, the horror cinema of the 2000s. Torture porn, found footage, the sadistic and immoral search for shock/truth from filmmakers like Lars von Trier and Gaspar Noé. </div>
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The fictional film-within-the-film, <em>La Fin Absolue du Monde</em>, inverts all Carpenter. The omnipresent threat of the unknown, of evil, manifests itself as a film. This isn't some bullshit, grandiloquent statement on cinema. Rather, it's a deeply painful, personal look inward at the genre that sustained Carpenter as a director. The end of horror, the direct confrontation with evil that once formed the core of this particular cinema, has become elusive, or outright vanished, in the cinema of his contemporary filmmakers. A gesture of great loneliness. </div>
Jack Lehtonenhttp://www.blogger.com/profile/14573119998860926348noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-75928801280911471492013-12-16T14:09:00.000-08:002013-12-16T14:09:57.874-08:00Walking Tall: An Interview with Sandy King Carpenter <div dir="ltr" trbidi="on">
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Sandy King Carpenter has been in the picture business since the 1970s. She's worked on everything from television to film to animation and comic books. She met John Carpenter on the set of <i>Starman</i> when she was a script supervisor and began producing his movies four years later with <i>They Live</i>. They got married in 1990 and she's produced almost everything for him since, except for his <i>Masters of Horror </i>flicks and <i>The Ward</i>. This lady truly knows her way around show business.<br />
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I recently had the opportunity to interview Sandy on the phone and it was a terrific experience. She radiates confidence and positivity and it was a genuine pleasure to talk to her about her career and life before and after she started working with John Carpenter.<br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b></b></span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SARA FREEMAN: </b>How
do you think John’s movies changed once you started producing them? Do you see
a big difference between his ‘70s/</span></span><span style="line-height: 17px;">‘</span><span style="font-family: inherit; line-height: 107%;">80s work and his ‘90s/</span><span style="line-height: 17px;">‘</span><span style="font-family: inherit; line-height: 107%;">00s flicks?</span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SANDY KING CARPENTER</b>: I don’t think any audience person can tell who
produced John’s movies. I think that’s the beauty of producing for him – he
makes our lives very easy. He’s a problem solver as a director, so he’s really
choosing the stories he tells. In the John Carpenter sphere, we’ve all been
producers of the old school where the producer’s job is to implement the
director’s vision. The difference between how each of us works would be more
what our relationships with crew people were, or how we got the job done. I
don’t think it necessarily affected what was happening on the screen.</span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;">Perhaps, politically, John’s and my mindsets are
more alike so maybe the films got more overtly political. Because, as a
personal team and a working team, we’re more inline that way, but I don’t think
that’s paramount in how the producer works with John as a director.</span></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>How
do you feel about the politics in John’s movies?</span></span><br />
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<span style="font-family: inherit;"><span style="line-height: 107%;"><b>SKC:</b> </span><span style="line-height: 107%;">I would say that the way politics are shown in
John’s movies is really subtle. You know with subtle forms, like interracial
casting, integration behind the camera. There’s movies like <i>They Live</i>, which is
political satire. There’s subtle things. John’s movies are more about the
nature of evil and what form that takes. You can have what you call
conservative horror, which would say it’s “the others” that are frightening and
you can have, say, liberal horror, where the evil is within us. John’s always
felt it – what is it that makes us human. That’s a theme that’s always been in
him. I don’t think he sets out to make
political movies, but I think you can affect change by how you live and that’s
how we make our movies. </span></span><br />
<span style="font-family: inherit;"><span style="line-height: 107%;"><br /></span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>What
was the idea behind the matriarchal society in <i>Ghosts of Mars</i>?<o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Oh, it’s just an interesting thing to do. A neat
exploration. Again, notions like that don’t scare John. I think you can see
that he’s always had a lot of women on his crews, two female producers. And
when he did <i>The Ward</i>, that was John’s version of a chick-flick. I think the
idea of a matriarchy and having strong characters that way was just an
interesting notion. <o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b> It’s not an idea that’s often explored in
contemporary sci-fi movies.</span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><o:p></o:p></span></span> </div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Yeah, and when you have people like Pam Grier
around, why not.<o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Oh,
I love Pam Grier. <o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> She’s awesome.<o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>I
love her in Jack Hill’s movies.<o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Yeah! <o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Do
you love Howard Hawks movies as much as John does? Who is a bigger movie fan?<o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Well, I don’t think we compete for that title!
[laughs]</span></span></div>
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<span style="font-family: inherit; line-height: 107%;">I love Howard Hawks movies, but I didn’t know I
loved Howard Hawks movies until I met John. He taught me what I loved were
Howard Hawks movies. I came at movies from an art background, so I tended to be
really visually-oriented. I would say “Well, I loved this Vilmos Zsigmond movie
or James Wong Howe movie.” I was following the cinematographers. I didn’t
realize that the movies that gave me female role models happened to be Howard
Hawks films. He always had really strong women. I grew up largely raised by men
who never taught me there was anything I couldn’t be. They just taught me to
keep up and take bigger steps if I was falling behind. Howard Hawks had largely
that point of view of women. When I got with John, I found that the common
theme in all of these women that I thought were hip in movies was that they
were all Howard Hawks characters. And often written by Leigh Brackett, a woman! </span><br />
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<span style="font-family: inherit;"><b>FREEMAN:</b> Who is your favorite Howard Hawks heroine?</span></div>
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<span style="font-family: inherit;"><b>SKC: </b>Well, I've got to say I'm a Rosalind fan. I've always loved <i>His Girl Friday</i>. I thought she was a lot of fun. She always fell for Cary Grant even though she was really smart and all the guys looked up to her because she was the best writer. I liked Jean Arthur in <i>Only Angels Have Wings</i>… you know, I liked all of them. They were all hip and all had these different things that made them cool. </span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>What’s
your history with cinema? What’s the movie that made you love movies?<o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> I didn’t grow up near any movie theaters for the
most part. I grew up half in LA and half in Colorado. When I was little, I was
only allowed to see Disney films. I remember seeing <i>The Thing From Another
World</i> when I snuck over to somebody’s house and it scaring the hell out of me.
I would go over to my friend’s house and camp out in the backyard with
binoculars and watch the drive-in movie down in the valley. <o:p></o:p></span></span></div>
<span style="font-family: inherit; line-height: 107%;">It just fascinated me, but I came into movies
through art and animation. I just thought it was another great art form and
another great way of telling stories. I came in through the crew side. It was
never my intention to necessarily be a producer, I was just one of those who
sat there and asked “why don’t producers do it this way?” and “why don’t they
understand how this works?” I
tried to carry that sensibility into movies.</span><span style="font-family: inherit;"></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Did
you go into animation because of those Disney movies you watched when you were
little?<o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Partly, but I was also going to starve as an artist!</span></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;">[Sara laughs]</span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;">I’d done animation at UCLA and my teacher was
friends with Chuck Jones and then I had a contact at Disney and was originally
hired at Disney doing character sketch. I worked on an animated film,<i>
Anti-Matter</i>, that got the Academy award. Three guys got the Academy award
because they actually produced it. I was an intern. It seemed natural for me to
go into animation, but I had to make a choice between live action and animation
because when you go to work at Disney you really had to commit. I was scared
because of my personality that I would become one of those people in the dark
talking to myself. At the same time, there was something about live action that
I found really vital and another way to tell stories that I hadn’t thought of because
I’d always been an artist. I leapt out of what had seemed to be my path and
instead my knowledge of animation informed the choices I make now as a producer
and as a comic book maker.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMe6LlRTa0sOZAFcuArL0eMBqrCut1iCpmshAjS5g5MQYldK_6egtIM2p1rkTne1w3TKAJJqfSMdXJw3MhLNiUZqQMKQInsy6pvg6cp0YGOkNREzjmrFbtCwqHqO0kyZBdLlcIEns3pzU/s1600/asylum.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMe6LlRTa0sOZAFcuArL0eMBqrCut1iCpmshAjS5g5MQYldK_6egtIM2p1rkTne1w3TKAJJqfSMdXJw3MhLNiUZqQMKQInsy6pvg6cp0YGOkNREzjmrFbtCwqHqO0kyZBdLlcIEns3pzU/s640/asylum.jpg" width="640" /></a></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN:</b> Is working on comic books the best of both
worlds? <o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Yeah, I like comic books. It’s, again, another way
to tell stories. Another way to reach <i>our</i>
<i>audience</i>. Our audience plays video
games, reads comic books, goes to the movies. Not all stories make great
movies, not all stories make great comic books, not all comics make great
movies, not all movies make great comic books, but people had come to John for
years wanting to put his name on comics and they were usually substandard books
that needed his name if they wanted it to sell and we didn’t think that was a
good idea.</span></span></div>
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<span style="line-height: 107%;"><span style="font-family: inherit;">This [<i>John Carpenter’s Asylum</i>] was an idea that we’d
been doing artwork for and thinking about as a TV series. It just kept looking
more and more like a great graphic novel or comic book. One day we just said
“Look, it’s a comic book.” Then we said, “Why don’t we do it in-house like we
do our movies?” So we did it.<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Had
you read many comic books before? <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Oh yeah. Again, I grew up with mostly boys and I
wasn’t really a <i>Little Lulu</i> fan. I grew up with lots of comics and then, after
I was with John and our sons were growing up, there were comics all the time.
We went to the comic book store every week. I love them. Again, I relate to the
art in them. In recent years, there’s better stories and storytelling. I think
there’s been a parallel in great stories in comics the same way there has been
in great television now. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>I’m
sorry to say that the only comic book I’ve really kept up with is the <i>Buffy the
Vampire Slayer</i> comic. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> [laughing] Shame on you! <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>I
know, I know. It’s something I’m interested in and want to get into, but there
are just so many great comics out there that I don’t really know where to
start. Other than with <i>Wonder Woman</i> and all the classic DC and Marvel stuff. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> They’re doing neat things with <i>Birds of Prey</i> now and
Gail Simone has been doing neat things with <i>Red Sonja</i>. Jimmy Palmiotti has got
<i>Jonah Hex</i> doing wild stuff. I mean, really, follow the writers. When you’ve got
Warren Ellis and Dirk Benedict, all those guys are great writers and you should
buy their comics.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">There was a great project I worked on called
Womanthology where 150 women – writers, artists, editors – put together a great
anthology called <i>Heroes</i>. I came in on Womanthology: <i>Space</i>, it was nominated for
a Harvey and raised $150,000 for women’s charities. They’ve also really raised awareness
of women in comics and that little girls can aspire to go into comics and can
read comics. They’ve kind of made comic book stores perk up that girls read
comics. That might be a good starting place for you!<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>I’ll
put it on my Christmas list! </span></span> </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJV0IHeJk9lWORkeduxBOXrifUfIDTHU4ODIljTWS5AM7l3v9fJ4RT-eF-1fuBcU9jv1pypgheiEWEVlaExkJ3ugjVTNi3nMxENI0iwohnJ9LXxy0gSPV9csTIP9pqWXgDSFWfIr6ykI/s1600/vlcsnap-2013-12-03-18h05m36s15.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJV0IHeJk9lWORkeduxBOXrifUfIDTHU4ODIljTWS5AM7l3v9fJ4RT-eF-1fuBcU9jv1pypgheiEWEVlaExkJ3ugjVTNi3nMxENI0iwohnJ9LXxy0gSPV9csTIP9pqWXgDSFWfIr6ykI/s640/vlcsnap-2013-12-03-18h05m36s15.png" width="640" /></a></div>
<div style="text-align: right;">
</div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<br />
<br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>How
do you feel about being an influence for other women in the film industry?<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> I don’t know that they know I exist! [laughs]<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Oh,
I know you exist! I know that Debra Hill existed and it’s important to me…<b> <o:p></o:p></b></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Well, that’s good!<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">I just think
that women have to be careful not to isolate themselves in a niche. As a
longtime feminist, both in the art movement and in movies and every place else,
I think it’s dangerous to segregate yourself. I think you have to be part of
everything else or you are in danger of becoming a sewing circle. I remember
back in my painting days when there was Judy Chicago and the California Girls
and they had the Women’s Building and stuff. They thought they were bringing
attention to themselves as women artists, but what they managed to do was knock
a lot of women out of mainstream art shows at a time when women were finally
being shown with mainstream artists! I think that when you start getting
labeled “woman comic book publisher” or “woman producer,” “woman this or that,” it’s a double-edged
sword. What you want to be is just Producer, Director, Publisher, Writer, and
stand on equal footing wherever you go. I think it’s great that more women need
to give a hand-up to everybody, but more girls need to not use being a girl as
an excuse. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: inherit; line-height: 107%;"><b>FREEMAN: </b>Do
you think it’s becoming more difficult to produce genre cinema? Is it more
difficult now than it was when you started producing?</span><span style="line-height: 107%;"><o:p></o:p></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> I don’t think so. I just think it’s more difficult
to produce, period, and get things made. Money’s tighter, there’s less of a
gambler mentality. Studios used to essentially be run by gamblers. There was a
risk-taker mentality to anyone who ran a studio and they used to balance the
portfolio between tent-poles, what the studio was known for, what real risks
they were willing to take that year. Now, nobody wants to take any risks or
stick their neck out for fear of being fired over anything. I’d say that we’re
all as producers at equal risk of not getting our films made. In the genre film,
I think there’s a lot of really lazy people that just do what’s been done
before. They don’t investigate what works or how to entertain an audience as
opposed to how you make money off of them. I don’t see a lot of films that
scare me now.</span></span><br />
</div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Me
either. The last one I saw that really scared me was probably <i>[REC]</i>, a Spanish
movie from a few years ago. Have you seen that?<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Haven’t seen that. But, I’ll tell you, I did scream
during <i>World War Z</i>! <i>World War Z</i> rocks. The zombies were reinvented and scared
me and feel that I couldn’t escape them. I know that everyone will want to
think that’s uncool because it was an expensive movie, but I happen to think
that they [the filmmakers] were hard on themselves and tried hard. It’s scary! <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Not
to be salacious, but can you talk about your working relationship with John as
a producer? How is a John Carpenter set different than another filmmaker’s set?<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Well, we don’t like drama. We’re very low key. We
have a lot of prep because mistakes and rethinking things cost money. We like
to put the money on the screen. John, like I said, makes a producer’s job easy.
You try and plan everything out in advance, but something is always going to go
wrong. When something does go wrong, you go to him and you’ve got the $5, $10
and $25 solution and let him choose from that. If it’s the $25 solution, you
have to figure out where you’re going to save that, and find out what the next
solution is.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">I’ve always had a really strong unit production
manager, Kim Kurumada, who, unfortunately, passed away in the last couple of
years, and a great production coordinator, Cheryl Miller. Anything I do is
largely them and I just pretend I’m producing.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">The key is all in the pre-production, pre-planning, rehearsing,
and getting into John’s head and seeing what his vision is for the film. That’s
really a matter of giving the heads of the different departments enough time
with John so that we’re all swimming in the same direction. My job is to
support all of those departments so they can get the job done. We’re all
supposed to be implementing the same vision and keeping the heat off everybody.
Just make it as smooth as possible. You know, you’re not supposed to be
miserable doing this. This is your life twenty-four hours day a day and you’re
supposed to enjoy it.<o:p></o:p></span></span></div>
<div style="text-align: right;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTXRIbDeUcAVZw6wNbAH7ZeCnRcnLOUDekQJmHpSKjBrBLd1fTAvkNdgjt7fcWAzIv6grsUbLCAFK2VirG94jgmEGaTH5vBXXvUTvA8C-zT99kGCx8lAUGg_ofeHM8w27vJD1LpTiNrg/s1600/tumblr_m9u4rntPVw1rwmjuto1_500.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTXRIbDeUcAVZw6wNbAH7ZeCnRcnLOUDekQJmHpSKjBrBLd1fTAvkNdgjt7fcWAzIv6grsUbLCAFK2VirG94jgmEGaTH5vBXXvUTvA8C-zT99kGCx8lAUGg_ofeHM8w27vJD1LpTiNrg/s640/tumblr_m9u4rntPVw1rwmjuto1_500.jpg" width="640" /></a></div>
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<br />
<br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Have
you noticed more tension and less fun on other filmmaker’s sets? <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: inherit;"><span style="line-height: 107%;"><b>SKC:</b> Oh yeah! I’ve worked for everybody from Francis Ford
Coppola to Michael Mann, Walter Hill, John Cassavetes. There’s all different
levels of drama and some people really thrive on drama. I find that a really
uncomfortable way to live. I’m much more comfortable and John’s much more
comfortable if you can show up, enjoy what you’re doing, and everybody’s
happier if they know it’s going to be a decent workday. There’s always the
unexpected, but try and take care of what you know. If you’re on location, try
and take care of everybody the best you can, try and take care of their
families the best you can, and make it nice. </span><span style="line-height: 107%;">Some people thrive on anxiety and that doesn’t
interest me.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">Debra Hill asked me to take over a film for her with
Barbra Streisand and I said no. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">[Sara
laughs]<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> I don’t want to do it! It doesn’t interest me to be
around someone screaming all day. Enough of that happens, you can’t get a
psychiatric sheet on everyone, but if you see it coming, it doesn’t interest
me. I take it for the team. If there is someone with a problem, that’s my job. I
clean up after the elephants. That’s my only function in life. You know,
student filmmakers make films without producers all the time, or whatever they
like to call themselves, but my job is to take that stress away from the cast,
crew and director. If I see a problem coming, I’m going to try and short circuit
that. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Is
there a special reason why you didn’t produce <i>The Ward</i>? <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Yeah, it wasn’t my movie! [laughs] I don’t just butt
in on other people’s stuff.<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">That one was brought to John by his managers and I
thought it would be funny to stand back and watch. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Was
it?<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> None of my business. [laughs]<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>So
you were the support at home that time around?<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> At that point in time, I had to move us back into
our house because our house been undergoing construction. I took care of the
house and stood by supportively while he was in Washington. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>So
you were directing one thing while he was directing another. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Yeah, I dealt with the home front. <b> </b></span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE_hucRZ3F4kYWQfa4tCTqDvqnOzCmIiXpdKbq9ftHDamG1eWZs08krWHVF39N13DbgVSX1eSpMh4v8VTxUT-ryYzPx7mXNMIjjKk-7uPjylk35I5SzomWICirsb9xRNNcCDqMk2IufhA/s1600/vlcsnap-2013-12-03-18h25m01s0.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE_hucRZ3F4kYWQfa4tCTqDvqnOzCmIiXpdKbq9ftHDamG1eWZs08krWHVF39N13DbgVSX1eSpMh4v8VTxUT-ryYzPx7mXNMIjjKk-7uPjylk35I5SzomWICirsb9xRNNcCDqMk2IufhA/s640/vlcsnap-2013-12-03-18h25m01s0.png" width="640" /></a></div>
</div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Can
you talk about the differences and similarities between working on movies and
working on comic books? Which do you prefer working on these days?<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Well, believe it or not, there’s a certain amount of
the same kind of cheerleading of the artists that goes on. You have to be
supportive, there’s an artist’s vulnerability to the people working. You have
to make some of the same story decisions, make sure you have good story arcs,
good character arcs, good structure. There’s more than I thought there would be
in terms of releasing and promoting [comic books]. Certain things we decide in
terms of marketing posters, social media, that kind of stuff.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">In terms of actually putting things together, it’s
much more like animation. Trying to make sure the first line art work, which
are the pencils and inks, get to the colorist and get to the letterer on time
and then coming back to the printer on time. The technical stuff that goes
through the graphics process.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">I remember when we had the whole thing put together
and I suddenly realized I had no idea how to deliver it to the printer. There
was a big gap in my knowledge. I had no idea how it becomes a book! Oops.<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;">[Sandy and Sara laugh]</span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><o:p></o:p></span></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvI0hQ1MHFHbDPie8jswESFJ8GASFB4HjpuJTgj9YBEFIaqZ4yowC_CbNPIiKQjwNxVeTp4IEsXE9W2osb5l3w8jZXFLd1U4uTYZttCdgpuvaQQDZv7mJv24UmSFKQdz0n2l5afki0svQ/s1600/vlcsnap-2013-12-03-18h17m42s230.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvI0hQ1MHFHbDPie8jswESFJ8GASFB4HjpuJTgj9YBEFIaqZ4yowC_CbNPIiKQjwNxVeTp4IEsXE9W2osb5l3w8jZXFLd1U4uTYZttCdgpuvaQQDZv7mJv24UmSFKQdz0n2l5afki0svQ/s640/vlcsnap-2013-12-03-18h17m42s230.png" width="640" /></a></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: inherit;"><span style="line-height: 107%;"><b>FREEMAN: </b>How
does it become a book?</span><span style="line-height: 107%;"> <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> I call up my daughter-in-law who is a graphic artist
and say “I don’t understand the printer’s delivery instructions!” [laughs] She
said “No problem” and I turned it over to her. Her name is Sophie, she’s
Belgian and she’s now our online delivery graphic artist. I finally realized
there are some things I just don’t need to know. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>So
it’s like a big family project?<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> You know, it’s a lot more fun that way. I like it
when everything’s all together. Sophie is a great addition to the comic book
family. We just did a trailer, a two-minute animated trailer for the comic book
that Leonardo Manco put together and Thomas Ian Griffith did the voice of
Beckett and John scored it. Daniel, our God son, did the sound mix on it. It’s
fun because it’s like our in-house trailer that’s going to premiere at Long
Beach Comic Con <b>[and since has--s.f.]</b>. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>How
is producing a movie now different than producing one twenty years ago?<o:p></o:p></span></span></div>
<span style="font-family: inherit; line-height: 107%;"></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> It changes
about every two years, of how you raise your money, and where you go. At one
point it was to get most of your money foreign and then you get your domestic
distribution set-up. Now I think you’re a fool if you don’t get your domestic
distribution first because foreign caught on… there’s always somebody that
wrecks it. People find out and you get screwed on it. You want to be a
responsible person. You’re not just getting your money to self-aggrandize, you
want to be responsible to the people who give you money to make a film. <o:p></o:p></span></span><br />
<span style="font-family: inherit;"></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;">I might be the highest priced hooker on sunset, but
I want to show him a good time.<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Good
one. </span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><o:p></o:p></span></span><br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7NBgqzRjepn9Yh2Z3L-saJyOJI67jDA92XmyJqsBsiIB6e50UD7w7vTGFVxjkvuFJX5sG3pST7hYVOY5fkwaLLTL3EivuM1_979BJzI1LUkoOTcNcy0A8GQchH_GIehUQOH1-S6E78GM/s1600/1_dbl.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7NBgqzRjepn9Yh2Z3L-saJyOJI67jDA92XmyJqsBsiIB6e50UD7w7vTGFVxjkvuFJX5sG3pST7hYVOY5fkwaLLTL3EivuM1_979BJzI1LUkoOTcNcy0A8GQchH_GIehUQOH1-S6E78GM/s640/1_dbl.jpg" width="640" /></a></div>
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>What
are you guys working on right now?<o:p></o:p></span></span><br />
<br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> We’re developing a film called <i>Darkchylde</i> and it’s
based on a ‘90s comic book by Randy Queen. The big difference nowadays [in
studio filmmaking] is you have to go in with all the questions answered: they’re
going to want to see what your visual effects will look like, how they’re going
to work, what the monsters are going to look like, which means you’re spending a
lot more in what used to be the development phase that was paid for by a
studio. You carry those costs yourself. It’s been a long period of development,
and, essentially, pre-production being done by us before it ever goes to the
studio. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Well,
I guess you’ll be really ready by the time you actually start making the movie!<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> You are. It answers questions for us, too. It’s
okay. It’s just what it is, but it puts the risk on the filmmaker’s shoulders. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>I
also saw on your </span><a href="http://www.stormkingproductions.com/"><span style="font-family: inherit;">website</span></a><span style="font-family: inherit;"> that there’s a television series being developed?<b> <o:p></o:p></b></span></span></div>
<span style="font-family: inherit;"></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>SKC:</b> Yeah, there’s one called <i>Hellgate</i>. It still has
story arcs being worked out and that kind of thing. <o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
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<span style="line-height: 107%;"><span style="font-family: inherit;"><b>FREEMAN: </b>Can
you say a little bit about what it will be about</span></span><span style="line-height: 107%;"><span style="font-family: inherit;">?<o:p></o:p></span></span></div>
<span style="font-family: inherit;"></span><br />
<b>SKC:</b> It’s a ghost story. A ghost epic! <br />
<br />
<span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><span style="background-color: #eeeeee; color: #cccccc; font-family: Arial; font-size: 16px; line-height: 22px; text-align: center; white-space: pre-wrap;">––––––––––</span><br />
<br />
<i>Major thanks to Sandy and the Storm King company for setting up this interview.</i></div>
Sara Freemanhttp://www.blogger.com/profile/05455420127433311271noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-39159135563305184082013-12-11T15:05:00.000-08:002013-12-11T16:15:22.738-08:00Run Baby Run (Back into my Brain): John Carpenter's The Ward<br />
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I’ve written about this a few times before, but I tried to kill myself when I was fifteen. I didn’t succeed, so I had to go to a juvenile mental institution for observation. I was admitted for something like ten days and had to prove that I was mentally capable of handling the “real world” once I left. If I hadn’t proven myself, I would have been there for at least a year. <br />
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It was a co-ed place, but the patients were mostly boys with anger issues. There was one boy in particular who had a gigantic meltdown during my first night. As a newbie, I was forced to sleep with my bedroom door open for the first twenty-four hours I was there, lest I break a window to slit my wrists with or hang myself with a bed sheet, but I digress. I heard him screaming down the hall for at least two hours before they put him in one of the padded rooms. I got up to go to the bathroom and remember seeing his eyes through the tiny window. I was quickly ushered back into my room, but the screaming didn’t stop until they took him away. Where, I don’t know. I found out from another patient that he had managed to yank two nails out of the padded room walls and stabbed himself all over his body. <br />
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Ten or so years later I started working at Whole Foods. Customer service is its own form of hell and madness, but one of the most infuriating aspects of the job, as a woman, is your vulnerability to the people around you. You are always expected to be ready and available to the needs of your customers, even if they’re telling you horrible, harassing things or even requesting something as personal as a smile from you. I can’t tell you how many times male customers (and random men on the street) would ask “Why don’t you smile? Can’t you smile for me?” There’s this sickening expectation of women to always be social, always be happy, always ready to please. When they’re not, they should be out of sight and out of mind. In cinema, sad women are usually shuffled off to quiet, remote places like mental institutions so they can be groomed for society’s watchful eye yet again. <br />
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I think about that boy and my brief stay at the hospital every time I watch John Carpenter’s <i>The Ward</i>. It’s impossible for me not to. Many movies have been made about personal experiences inside mental institutions, but I think <i>The Ward</i> captures what I lived through best. Most of the time it’s eerily still and quiet inside the hospital. Everybody is generally too involved in their own problems to really interact with the other patients. However, the sterility can be overwhelming – it’s a blanket of white when the space inside your head is filled with color and drama. They clash terribly. Sometimes you can’t help flying off the handle and screaming at another patient. Anything to make the snow seem more colorful and alive.</div>
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In <i>The Ward</i>, Alice (Mika Boorem) wants to escape, but not from the hospital in which she’s housed. She wants to be inside that cold, lifeless environment. She’s had enough color and drama for one lifetime, so she separates herself and her mind into fragmented pieces, different women, who can manage the difficulties and feelings for her. Their names are Emily (Mamie Gummer), Zoey (Laura-Leigh), Sarah (Danielle Panabaker), Iris (Lyndsy Fonseca), and Kristen (Amber Heard). Kristen is the new gal on the block, the fighter and survivor of the group. She doesn’t know about Alice’s intentions and tries to battle her ghost to protect the other girls from the mysterious presence that’s out to destroy them. <br />
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One of the greatest things about John Carpenter is that he’s a filmmaker who believes in equality. He’s known for being a horror and action guy, but he’s not known for making <i>only </i>movies about dudes or <i>only </i>movies about women. It’s pretty much 50/50. He’s made quite a few women’s pictures in his day – <i>Halloween</i>, <i>Someone’s Watching Me</i>,<i> The Fog</i>, <i>Starman</i>, <i>Village of the Damned</i>, and <i>Ghosts of Mars</i> all contain some of the traditional tropes of classic women’s pictures. <i>Halloween </i>is about a young woman struggling to find her identity and sexuality, <i>The Fog</i> looks at the complex power dynamics between women in a small coastal town, and <i>Village of the Damned </i>outright questions the fundamentals of motherhood. The bottom line is John Carpenter is careful with, and respectful of, women. He would never put his female characters in a position, either narratively or aesthetically, to be senselessly victimized or fetishized. That’s just not his style. He uses his all-important 2.35:1 to empower his cinematic ladies.</div>
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Classic women’s pictures (<i>Now, Voyager</i>, <i>Mildred Pierce</i>,<i> Stella Dallas</i>) rarely had the luxury of space. They had to empower their female characters through delicate and considerate body framing and positioning in the full-screen format, which usually occurred indoors, and through dialogue and fucking great storytelling. Carpenter, on the other hand, does have the advantage of space, does have the advantage of showing full bodies in wide open places (in addition to good dialogue and storytelling). When we think of Carpenter, we might typically think of Kurt Russell walking around the vast openness of Antarctica in <i>The Thing</i> or maybe James Woods strutting through one of the desert landscapes in <i>Vampires</i>. But his female characters are also granted the same privilege. How amazing is it to see Natasha Henstridge dominate the Martian frontier in <i>Ghosts of Mars</i> or watch Karen Allen trek through the hot Arizona sands in <i>Starman</i>? Carpenter’s women are the cowboys and heroes of their narratives. They’re allowed to explore, conquer and save the day because they have the cinematic space and freedom to do their jobs and complete their tasks.</div>
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This is very important in understanding why <i>The Ward</i> is such a special movie. Many other films about women in psychiatric hospitals are either ambivalent about the use of space inside their movies (<i>Girl, Interrupted</i>, <i>Sucker Punch</i>) or try to make the environment seem as claustrophobic and maddening as possible (<i>The Snake Pit</i>, <i>Bedlam</i>). It seems natural to want to escape. The hospital in <i>The Ward</i>, however, never feels constricting in its non-horror moments. The camera moves and glides along the corridors and lobbies to make the space feel as open and clear as possible. It suggests freedom when there’s really none to be found. It’s still an icy and bland place with eyes watching you all the time, but it’s the safe and secure locale Alice’s personalities have designed to thrive in. The movie’s heroine, Kristen, only tries to escape because she wants to protect herself and the other personalities from being terminated. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvigqUL56YF9UjRS8nn32H2U7A3EcXsqG2gVUGgdP42NpyEujnuHkA9Uh-b-oCJypn3slVJe6669EJIB-zlludt4Dsl5wXaz1LNp_KiVVGmjkJllWBO5Nr0dRGLtvu6YlH80-kVChYqbg/s1600/vlcsnap-2013-12-03-18h22m17s152.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvigqUL56YF9UjRS8nn32H2U7A3EcXsqG2gVUGgdP42NpyEujnuHkA9Uh-b-oCJypn3slVJe6669EJIB-zlludt4Dsl5wXaz1LNp_KiVVGmjkJllWBO5Nr0dRGLtvu6YlH80-kVChYqbg/s640/vlcsnap-2013-12-03-18h22m17s152.png" /></a><br />
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The first time I saw <i>The Ward</i> I was a little perturbed at the ending. The split personalities make sense, but why would anyone try to eliminate them from Alice’s brain? They’re the natural safeguards she invented to protect herself from the trauma she survived. If she’s not hurting anyone, including herself, then what’s the harm in trying to let her sort out what happened alone? In her own way? Surely burning down an abandoned house full of terrible memories can’t be such a bad thing if it offers her some of the closure she needs to become a stronger person. Can it? <br />
<br />
By forcing Alice to face reality through the use of horrible drugs and inhumane shock therapy, her doctors, nurses, and parents are pushing and squishing her psyche into doing something completely unnatural. Why try to normalize Alice when she’ll never, and I mean, never be normal again? Even with drugs and psychiatric help for the rest of her life? It’s impossible. When the clear-headed Alice appears, it’s the first time in the movie she really seems boxed-in and engulfed by her environment and the demons around her. She’s pushed down against her hospital bed, the bars from the windows close in and tighten while her parents and the doctor and nurse look down on her. Alice has finally been captured, captured by prescription pills and society’s desire for her to be another one of those cheerful, plucky girls with no problems again.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGi1a3w3gUSvP1oOqJkO09U7-DHmKGzJNSDLbmynVHYeoyQ44JAPcjPaHIl1HOUF4GSsOzm7b3ZEptzRByzlgyMHpFz8vZgDdXCrKgSdr18C9NAaASjx6UZq-J6ENSUAJUkhdYdSo545Q/s1600/vlcsnap-5963931.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGi1a3w3gUSvP1oOqJkO09U7-DHmKGzJNSDLbmynVHYeoyQ44JAPcjPaHIl1HOUF4GSsOzm7b3ZEptzRByzlgyMHpFz8vZgDdXCrKgSdr18C9NAaASjx6UZq-J6ENSUAJUkhdYdSo545Q/s640/vlcsnap-5963931.png" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR1NkMNRy5hqZ1Lf-e-xTy2NywVgSsJKCjyCy-3VzcfperL6c7F6bk3wdpFaoa1i0ilIE2WjE_q9B8eCjPI6mJOwRpNeqvAFfMDjKTmE1GifqUrIhu1lXjzwRCs_DZUhMPrm8vxcYNCPs/s1600/vlcsnap-5964575.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR1NkMNRy5hqZ1Lf-e-xTy2NywVgSsJKCjyCy-3VzcfperL6c7F6bk3wdpFaoa1i0ilIE2WjE_q9B8eCjPI6mJOwRpNeqvAFfMDjKTmE1GifqUrIhu1lXjzwRCs_DZUhMPrm8vxcYNCPs/s640/vlcsnap-5964575.png" /></a><br />
<br />
This imprisonment is short-lived, however, When Kristen jumps out of the medicine cabinet during the last shot of the movie, it means Alice hasn’t given up on herself yet. She still wants Kristen and her imagination to fight on her behalf. To slay the dragons of normalcy and western medicine. She’ll smile when she’s ready to smile.</div>
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I sometimes wonder about the little boy in that padded room. I wonder if he ever got out. I wonder how often he’s asked to smile. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrxIMFPw2hjNC6Z1LUglOTd0YoB3A-0iD_s-R68CadTx0CXDPEhjdRl6wguGP52HQjyjiinK9s0C0GTBooCt6nNVyBcpcFDrui9e5BpHaKB83aGpfhOtLX_DZpWFXNce-JBMrjVfhmmo/s1600/vlcsnap-5965473.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrxIMFPw2hjNC6Z1LUglOTd0YoB3A-0iD_s-R68CadTx0CXDPEhjdRl6wguGP52HQjyjiinK9s0C0GTBooCt6nNVyBcpcFDrui9e5BpHaKB83aGpfhOtLX_DZpWFXNce-JBMrjVfhmmo/s640/vlcsnap-5965473.png" width="640" /></a></div>
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Sara Freemanhttp://www.blogger.com/profile/05455420127433311271noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-86070914230202169322013-12-11T15:04:00.000-08:002013-12-11T18:42:03.443-08:00Amuse-gueule #3: "All Shook Up" (on John Carpenter's ELVIS)<div dir="ltr" style="text-align: left;" trbidi="on">
<iframe allowfullscreen="" frameborder="0" height="366" mozallowfullscreen="" src="//player.vimeo.com/video/80898800?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="650"></iframe>
<br />
<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="line-height: 23px;"><span style="font-family: Arial, Helvetica, sans-serif;"></span></span><br />
<div style="text-align: center;">
<span style="line-height: 23px;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"><i>(made for TV in 1979, projected and "re-recorded" in an apartment in 2013, revised on and for a computer)</i></span></span></span><br />
<span style="line-height: 23px;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"><i>(recommended full screen)</i></span></span></span></div>
<br />
<span style="color: #474747; line-height: 23px;"><span style="font-family: Arial, Helvetica, sans-serif;">______</span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #474747; line-height: 23px;"><br /></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; line-height: 23px;"><b>Question</b></span><span style="font-family: Arial, Helvetica, sans-serif; line-height: 23px;">: "Do you dye your hair?"</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 23px;"><b>Elvis Presley</b>: "Sure, because I've always done it for the movies."</span></span><br />
<b style="font-family: Arial, Helvetica, sans-serif; line-height: 23px;">Question</b><span style="font-family: Arial, Helvetica, sans-serif; line-height: 23px;">: "Why do you dye your hair?"</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 23px;"><b>Elvis Presley</b>: "Because it's gray."</span></span><br />
<div style="text-align: right;">
<span style="font-family: Arial, Helvetica, sans-serif; line-height: 23px;">- press conference on July 31st 1969, Las Vegas, International Hotel</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 23px;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 23px;">***</span></span><br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">"I don’t think that CinemaScope is a good medium. It’s good only for showing great masses of movement. For other things, it’s distracting, it’s hard to focus attention, and it’s very difficult to cut. Some people just cut it and let people’s eyes jump around and find what they want to find. It’s very hard for an audience to focus — they have too much to look at — they can’t see the whole thing.”</span><br />
<div style="text-align: right;">
<span style="font-family: Arial, Helvetica, sans-serif;">- Howard Hawks</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">***</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">"I just love Panavision... It's a cinematic ratio, and I don't think you can see it anywhere but the movie house. On television, you see squares and that's fine for television."</span><br />
<div style="text-align: right;">
<span style="font-family: Arial, Helvetica, sans-serif;">- John Carpenter</span></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 23px;">***</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 23px;">"Now the stage is bare and I'm standing there / </span><span style="line-height: 23px;">With emptiness all around"</span></span><br />
<div style="text-align: right;">
<span style="line-height: 23px;"><span style="font-family: Arial, Helvetica, sans-serif;">- from "Are You Lonesome Tonight?", lyrics by Roy Turk </span></span></div>
<span style="line-height: 23px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span style="line-height: 23px;"><span style="font-family: Arial, Helvetica, sans-serif;">______</span></span><br />
</div>
</div>
gthttp://www.blogger.com/profile/16681914533784372299noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-31201802272324785782013-11-27T17:01:00.001-08:002014-04-22T08:20:18.561-07:00Predator or A-violence<div dir="ltr" style="text-align: left;" trbidi="on">
<i>The following article, an investigation into the treatment of violence in John McTiernan's </i>Predator <i>(1987)</i>,<i> originally ran in 1996 in a special issue of the French magazine, </i>Admiranda<i>, dedicated to action movies. </i><i>The author, <a href="http://martinbarnier.fr/">Martin Barnier</a>, is professor of film history at Lumière University Lyon 2 in Lyon, France. He publishes articles in the </i><a href="http://1895.revues.org/">1895. Revue</a> <i>and has also published in CinémAction, Positif, Film History, and Cinegrafie. </i><i>The piece was graciously translated for </i>The Vulgar Cinema <i>by <a href="http://howlingwretches.blogspot.com/">Ted Fendt</a> and reprinted with the author’s permission.</i><br />
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<b><i>Predator</i> or A-violence</b><br />
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Martin Barnier</div>
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Can a Hollywood action film be self-reflexive? Can it rid
itself of the apology for violence that is inherent to such productions? Can it
contest the legitimacy of a government’s historical decisions with images? How can
it rework the rules of a cinematic genre? These are some of the questions the
film <i>Predator </i>seems to be asking us.</div>
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<br /></div>
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In the <i>Die Hard</i>
series (two of the three episodes were directed by McTiernan), the hero is
practically nude or unarmed at the beginning of the film, then forced to fight
and invent sophisticated traps to overcome terrorists who have put his wife in
danger. On the contrary, the team of specialists who go to war at the beginning
of <i>Predator</i> is over-armed. The
latest gadgets, the best technology, the heaviest and most precise weapons
allow these soldiers to wipe out a camp of guerrillas in Central America.
Technological power has a terrifying quality at the beginning of the film. We
even wonder what could possibly happen to this seemingly invincible, over-trained
group. In comparison to a similar kind of film, <i>Commando</i> (Mark Lester), we can see that, in the first fifteen
minutes of the film, the attack and destruction of a pro-communist guerrilla base
is carried out with effects resembling those during the final battle in <i>Commando</i>: slow-motion bodies thrown into the air by
explosions, men mowed down at full speed… Did the screenwriters and producers
make a mistake? What will happen during the rest of the film when, after
fifteen minutes, the mission—<i>Rambo II</i>-style—is already successfully completed? Nothing remains for the
little group than to return to the meeting point at the helicopter… The
structure of the beginning of the script is similar to <i>Rambo II</i> (<i>Rambo: First Blood Part II</i> by George Pan Cosmatos) where, after thirty minutes
of running through the jungle, the hero brings a beautiful native and an
American prisoner of war to the helicopter meeting point. Fortunately (?), to stretch
out the story, an awful Pentagon bureaucrat sends the helicopter away in order
to prolong John Rambo’s suffering and the film by an hour. In <i>Predator</i>, the hero’s friend, the one who offers him the
mission, resembles both the cruel organizer of the search for the missing
soldiers—who abandons Rambo in the middle of the jungle—and the “adoptive
father” of the hero played by Stallone—the leader who trained him and who
admires him. This is to say that action films from the mid-1980s have an
unusual relationship with the American state administration and pose several questions
about the meaning of the values of the military hierarchy.<sup>1</sup> But the similarities
end there. The films in the Rambo series (the first one aside) reproduce
clichés, strung out one after the other, like a prayer for the Dead that must
be said and repeated again to forget one’s grief in the litany it brings about.
McTiernan, however, interrogates them as commonplaces: the time for
consolation is over, the images of destruction must be destroyed. (Hence, in a
film with Stallone, women have only a supporting role and must die quickly. In <i>Predator</i>, the feminine element alone can survive).<sup>2</sup><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7faui-TFxOwbIk04lZKCbcTBV15vqKz-nCKuUSVy-JepkUdjZuKAs-cFt6BAK0cGwiQWtIYweeKpSsnpm1O0AYZaHeHaKWuB4lR6dxzIIRQqGzgH8OReAt1bmB3bpXwtV45H75Fy8mfY/s1600/vlcsnap-2013-11-27-19h12m03s15.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7faui-TFxOwbIk04lZKCbcTBV15vqKz-nCKuUSVy-JepkUdjZuKAs-cFt6BAK0cGwiQWtIYweeKpSsnpm1O0AYZaHeHaKWuB4lR6dxzIIRQqGzgH8OReAt1bmB3bpXwtV45H75Fy8mfY/s640/vlcsnap-2013-11-27-19h12m03s15.jpg" height="346" width="640" /></a></div>
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The elementary political aspect of the beginning of the film
is quickly ditched.<sup>3</sup> It isn’t a matter of dealing with anti-communism like
his rivals (the 1980s was a period rich in films of this kind, with John
Milius, Stallone, etc. in the middle of the end of the Cold War!). The
polemical spirit of McTiernan’s films is felt here as well. The film’s hero
questions himself about the mission he has to undertake. Does he really need to
help the anti-communist Contras in Nicaragua at any cost? The denunciation of
the actions of certain highly placed generals who manipulate large sums for
veiled ideological goals is felt, but gently. The issue in <i>Predator</i> is situated at a more abstract level of reflection.
Early in the film, Dutch—played by Arnold Schwarzenegger—opposes his
ex-colleague in the CIA by affirming that he doesn’t, or no longer, likes to
kill…even though he has been trained for it. The hero considers and shows his problem with violence and
death. It is not uncommon for action films to begin with the opposition between
a reformed hero (for example, Schwarzenegger, already playing a former soldier,
in the countryside, with his daughter at the beginning of <i>Commando</i>) and a group of former comrades-in-arms who have
turned to crime, or particularly well-organized, intelligent and cruel bad
guys. We find this structure in most of Joel Silver’s productions. The heroes
of this very shrewd producer (<i>Commando</i>, <i>Die Hard</i>, <i>Lethal
Weapon</i>, <i>The Last Boy Scout</i>, <i>Demolition Man</i>…) are on vacation (in the first two) or on the verge of depression
(the following two), and Spartan/Stallone is imprisoned and even frozen at the
beginning of <i>Demolition Man</i>. They
are, then, inactive and supposedly not a threat to the bad guys. These supermen
return to being killing machines after the first two sequences. In the case of
certain action films using the idea of technological domination even more, the
“heroes” are machines in the primary sense of the word with Terminators<i>
</i>and Robocops. The mechanization of violence
is equally present in Dutch, but he continues to question his life and the
justice of his actions throughout <i>Predator</i>. The young, fragile, unarmed woman who accompanies him represents an exact
figurative counterweight to the obtuse warriors these soldiers are. Another
paradox: she functions as the antagonist. Dutch, however, protects and saves
this revolutionary. She is a kind of conscience, a call for peace. The twin of
this peaceful conscience, the “drive towards violence” (and the mind of
a hunter attracted by the blood of the hero) is revealed in
an even stranger manner.</div>
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The heroes of John McTiernan’s work are ambivalent. Their
double nature is manifested in the characters around them. The young guerrilla
embodies the question about violence that Dutch carries in himself. But where
is his <i>Nemesis</i>? After having rapidly destroyed
the camp of guerrillas in the middle of the jungle, the small group leaves, on
guard, ready to fight off an ambush. The men, rather heavily armed, are ripped
apart one by one. They disappear in the bushes and are found with their limbs
torn off, their bodies in pieces, dismembered by something <i>they
cannot see</i>. After the war film—1980s version—we
switch to a horror film…rapidly filled with shades of science fiction. The <i>law
of genres</i> is broken and at the same time
the director renders homage to the old masters of that classical Hollywood
genre: the <i>horror movie</i>. Faced
with this invisible thing that cruelly tears up and kills, the hardened,
indifferent men rediscover a very human attitude: fear. Another paradox, this
time against the current of the American cinematic river. “Never show the cause
of the horror”: in following this principle McTiernan remains closer to <i>The
Leopard Man</i> (1943) and especially <i>Cat
People</i> (1942), Tourneur’s classics, than
fantasy and horror films of the 1980s.<sup>4</sup> The goal of the <i>Alien</i> sequels seemed to be to show the greatest possible
number of monsters. Gore having discolored contemporary productions, suggestiveness
is no longer appropriate. Blood gushes, monsters are presented to the eyes of
spectators in Homeric battles with the heroes. The Predator hiding in the
trees, like the leopard man,<sup>5</sup> is suggested much more than it is shown.
When, finally, it is completely visible, it is no longer scary and the film
again changes type. Meaning that in its “horror” part, <i>Predator</i> follows the old rules, out of step with films from
the 1980s but in order to then elude them. </div>
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The survivors discover that what is attacking them, one by
one, is an alien, an invisible monster that kills for pleasure alone. So that
his sport is “nobler,” he only kills people who are armed. Dutch understands
this rule quickly and forbids the young woman from touching a weapon, allowing her
to be saved. The balance of power is constantly evolving. The “superheroes” of
the technological world—supposedly invincible thanks to their weapons—become
easy prey precisely because of the objects that are supposed to protect them. The
dialectical reversal does not stop there. If their rapid actions at the
beginning were very bloody, they find far worse in each of the powerful alien’s
acts and become frightened humans condemned to helping each other out. Contrary
to most action films, canons, rocket launchers, flamethrowers and other big
guns no longer have any use in the face of the non-human entity chasing them.
The most accurate fire would be useless in the face of this chameleon that
reflects the forest. We might think it is Nature incarnated, like the demons
protecting the forest in Sam Raimi’s <i>The Evil Dead</i>. In fact, the alien blends into the jungle, its
camouflage attaining the hunter’s ideal: authentic invisibility. But the
demonic powers attributed to it by viewers and the soldiers are revealed to be
exaggerated. The Predator proves to be much closer to Man than the reflections
glimpsed at the tops of the trees lead us to believe (sometimes also evoking
the invisible monster created by electrical energy in <i>Forbidden
Planet</i>). Is it just a pure spirit, a
creature coming from the very unconsciousness of those who are afraid of it, as
in so many horror films? This idea occurs to viewers and maybe to the
characters as well but one of McTiernan’s games is to lose his audience by
forcing it to put together multiple scenarios<sup>6</sup> and to stay ahead of the
action in order to escape the fear and suspense implemented.</div>
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The hunter alien kills Dutch’s men one by one, to the last.
To succeed in beating it, one has to be even better camouflaged than it.
Dutch—fascinated by this being—rises to the challenge. He gets rid of his
weapons once the young woman is taken away by the helicopter. He too disappears
into the natural elements, covers himself in mud, returns to a primitive state,
becomes a part of the Earth and the land… He no longer looks like a man,
changes into a root, a branch, a rock and becomes invisible himself—a new
transformation of the film’s genre and a new reversal of the situation. The
predator—who stops re-activating his camouflage—returns to the visible, becomes
Dutch’s game again. It then becomes a suspense film, the fantastic having
disappeared… But is it still an action film? The rule here is to not show any
violence, to hide, to not bear arms, to play dead…in order to live. We end up
with the exact opposite of every action film. The second rule is to only use
Nature to combat the Predator’s ultra-sophisticated technology. A bit like in
the first <i>Rambo</i>, creepers, branches,
trunks and mud allow a trained and determined man to defend himself when faced
with a superior enemy (in number with Rambo, in technology with Dutch). <i>Predator</i> confirms that all that counts is cunning and
intelligence, not the power of weapons. In 1987, Ronald Reagan was developing
the military budget, only industries linked to the Pentagon continued to
flourish and the President of the United States still clung to his “Star Wars”
project. “He wanted to make the Strategic Defense Initiative the major,
irreversible work of his presidency, while most experts—including military
ones—judged the project as technically unrealizable, financially ruinous and
strategically destabilizing.”<sup>7</sup> <i>Predator</i> is opposed to over-armament—even against an enemy
“from the sky”—and argues the profound futility of it. The polemical, if not
political, motivation of its auteur. The film poses questions to its country.
If East-West relations are becoming more open, do we still have the right to
spend billions on ultra-sophisticated weaponry that is becoming useless? Even
in the face of an effectively more powerful enemy, Dutch—becoming the
incarnation of Humanity in the face of a hunter who has taken the entire Earth
as a hunting grounds—chooses to fight with his heart and mind, without the help
of his killer’s accessories. </div>
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The last part of the film puts Dutch and the alien face to
face in a fight without weapons. The Predator also rejects his murderous
technology. It’s unusual hand-to-hand combat. Only the beauty of the struggle
interests the Predator. It’s been wounded by the clever man who was only using
stakes made from branches, vines and stones. They’re fighting, then, with their
fists. Once again the genre conventions are overturned. Arnold Schwarzenegger’s
superb, ripped biceps no longer serve any purpose in the face of a ten-foot
tall giant. McTiernan reduces bodybuilding—a selling point of the actor’s
earlier productions—to nothing. Finally, the monster avoids the trap set by the
man but not the trap’s counterweight (the final suspense and another reversal:
it’s not what we think is most important that saves us, it’s the second
element, the compliment, the unappealing, utilitarian part that proves
essential and vital). It is a tree trunk, then, that hits and mortally wounds
it. Dutch bends over the alien hiding on the ground and, for the first time in
over 45 minutes in the film, we hear dialogue. “Who are you?” the human asks
his enemy, throwing away the rock with which he wanted to finish off the
creature. The response throws the question back at Dutch through a synthetic
voice that records and reproduces the way the entire body of this camera-being
can do. “Who are you?” The veritable mirror of the human “super-killer”
reflects the question. The alien double puts “Work”—the soldier’s <i>raison d’</i><span lang="FR"><i>ê</i></span><i>tre</i>—into question. It’s the Socratic <span lang="UZ-CYR"><i>gnōthi seauton</i></span>.
“Know thyself” to know your enemy…who is none other than your double. You are
only fighting yourself. The mirror being is just the indicator of the vacuity
of a life spent killing. It allows for the re-internalization of the process of
knowledge. The only end to battle of the Titans was this questioning. <o:p></o:p></div>
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The Predator is equally the incarnation of Death, which
Dutch served so well. Faced with his own death, what is life? The alien,
collector of Death and Annihilation: once his hunt is completed and lost, he
programs his self-destruction. He becomes a living bomb and the human has only
a few seconds to escape the giant explosion that ravages the forest. When Dutch
is picked up by the helicopter, despite the combat he’s experienced, he is destroyed,
not physically but mentally: he has looked truth in the face.<br />
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Seeing his hidden face, the negative, the darkest part of
himself: that is the experience this man has gone through. A person and his
opposite meet, constructing a figure we call an oxymoron. The final, complex
part—the film’s revelation which functions like a spiral staircase that we go
up or down, around ourselves, depending on the director’s good will. When the
director uses a genre in a classical manner, it is in order to better pervert
it, twist it and—through this helical torsion and tension—create a new figure,
oppose terms that went hand in hand or bring opposing elements back together.
This is why this anti-action film is so active: following a continuously
looping dialectical principle, it overturns the initial elements and pushes
everyone—viewer and character—towards a multi-faceted revelation. From Reagan’s
policies in Central America to the question of the violence in each of us, and
including the Strategic Defense Initiative and the causes of fear, the film
never stops questioning us. Revealed by his enemy-double, his brother from the
other side of the mirror, Dutch evolves and transforms. This process is already
in progress from the revelation of the “Who are you?” just as, from this
moment, his alien-negative effects his final transformation in the opposite
sense: his destruction. Why fight, since you’re only fighting yourself. <o:p></o:p><span style="color: #444444; font-family: Georgia, Times, 'Times New Roman', serif; font-size: 15.333333015441895px; line-height: 22.5px;">■</span></div>
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<div class="MsoNormal">
<i>Thank you to Vincent Vatrican and Fr</i><span lang="FR"><i>édé</i></span><i>ric Borgia, who were the first
to show me another way of looking at John McTiernan. <o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal">
<sup>1</sup> We will see further on that it is undoubtedly the ambiguous
and manipulative attitude of the Reagan and Bush governments that resulted in
this defiance of military authority in many action films from this
period. Without neglecting, moreover, the rebellious tradition of all Americans
in the face of the federal government, an attitude that is also a legacy of
Vietnam: can we still believe our leaders if they sent us uselessly to die? Or
can we believe a military-political hierarchy that makes mistakes whose
consequence is the loss of soldiers? This is the metaphor that is implicit in films implicating the army during
this period, even Rambo who sees his leaders abandon him and leave in the
helicopter… As Nicole Brenez suggested to me, this is an analogy with the
abandoning of the South Vietnamese and American prisoners during the army’s
departure from Saigon. The last soldiers and civilians were evacuated by a
noria of helicopters. The same image during the fall of Cambodia.</div>
<br />
<div class="MsoFootnoteText">
<sup>2</sup> Perhaps a foretaste of political correctness,
preceding by little the diffusion of this slogan and its ideas. </div>
<br />
<div class="MsoNormal">
<sup>3</sup> The film is nevertheless entirely realistic on this
point because, since 1983, the United States was militarily supporting the Contras
in Nicaragua. An American citizen was even captured on October 6, 1986. It’s
also the beginning of the Iran-Contra affair and Oliver North’s trial…</div>
<br />
<div class="MsoNormal">
<sup>4</sup> Jean-Louis Leutrat, <i>Vie des fantômes: Le fantasique
au cin</i><span lang="FR"><i>éma</i></span> (Cahiers
du cin<span lang="FR">é</span>ma: Paris, 1995), 27-28.
<i>My translation</i>.</div>
<br />
<div class="MsoNormal">
<sup>5</sup> “A young girl in a cemetery at night suddenly looks up
and sees a tree branch bend and break. She screams and it’s over, everyone has
seen the leopard. But it’s curious, what is suggested is much better than what
we see.” In “Entretien avec Jacques Tourneur,” <i>Camera/Stylo</i>, May 1986, p. 59. <i>My Translation.<o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<sup>6</sup> On the other hand, in regards to <i>Die Hard: With A
Vengeance</i>, Bill Krohn explains: “Willis,
trapped in a deadly version of ‘Simon Says,’ is forced to read and interpret a veritable
deluge of evidence and enigmas that Irons throws at him and that McTiernan’s
editing, even more rapid than usual, makes more and more unintelligible to the
viewer who spends the last third of the film two steps behind the hero.” Bill
Krohn, “Une Cure hollywoodienne,” <i>Cahiers du cinema</i>, no. 493, July/August 1995, p. 59. </div>
<br />
<div class="MsoNormal">
<sup>7</sup> Marie-France Toinet, “Etats-Unis. Sombre <span lang="FR" style="mso-ansi-language: FR;">année pour Ronald Reagon,</span>” <i>L’Etat
du Monde 1987-1988</i><span style="font-style: normal;"> (Editions La D</span><span lang="FR" style="mso-ansi-language: FR;">é</span>couverte: Paris, 1987), p. 95. <i>My
translation.</i><span style="font-style: normal;"><o:p></o:p></span><br />
<i><br /></i>
<i><br /></i>
<i>[First published in </i>Admiranda/Restricted: Fury, Contemporary Action Cinema,<i> no. 11-12, 1996]</i></div>
</div>
Otie Wheelerhttp://www.blogger.com/profile/07597062404464564882noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-75977189631046346352013-11-23T15:43:00.000-08:002013-11-23T16:00:25.170-08:00Regeneration - Time and Tide, 2000<br />
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Tsui Hark crashed violently into the 21st Century. The angry, youthful director of <i>Dangerous Encounters of the First Kind</i> (1980) regurgitated and restructured. Birth and death, as always, conflating, cameras plummeting over ledges, battering through apartments. Heightened colours and movements, frenetic edits, building to an overwhelming immersion of craft. The accretion of formal excess breaks from his Hong Kong contemporaries, becoming at once sensual and bewildering.<br />
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It's both typical and atypical for Hark, a saturated technique that makes <i>Time and Tide </i>(2000) nearly inscrutable. However, he maintains a submerged, consistent didactic. Hark's always had a feel for the political and social climate of his nation, as well as its vast history, no matter how frivolous the film. As diverse as his filmography is, Hark is far from the fractured artist many suggest.<br />
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<i>Time and Tide</i> returns him to the world of youth, something that's atrophied within the film's world. The outward meddling of violent capitalism (a fixture of much Hong Kong cinema), is here distinctly predatory. A push-pull between sensate existence and corruption threatens oblivion for the young, but Hark refuses blanket nihilism. Rather, it becomes clear that, however apocalyptic the climate of the 21st Century, the regenerative ideal of youth maintains a critical, and potentially, hopeful essence. In its nightclub desperation and particular malaise, the film begins to feel more akin to the Millennial distress of the 2010s. Caustic action cinema in anticipation of social media loneliness. Tsui Hark has always been relevant. Jack Lehtonenhttp://www.blogger.com/profile/14573119998860926348noreply@blogger.com0tag:blogger.com,1999:blog-5081690340639867251.post-17270367497680504072013-10-02T05:58:00.001-07:002014-03-01T18:56:24.055-08:00Notes on the Interplay of the Vulgar and the Funereal in Robert Mulligan's Same Time, Next Year and The Man in the Moon<div class="separator" style="clear: both; text-align: center;">
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Critical idioms fail a film like <i>Same Time, Next Year</i>, which, despite its more eccentric moments, is a beautiful film about the passing of time. Mulligan is a master of adjusting to the modulations in subject, tone, and emotion within a scene: his films contain silences, pauses, and prolonged periods where we might simply observe the back of a character's head as they turn away from the camera, or moments of quiet while somebody pauses to retrace their steps in an argument. Sometimes, a scene written with the subtlety of soap opera is filled out by these masterful gaps and his deftness with punctuating dialogue with small visual asides. He'll often frame two figures head on in an argument, and much like Albert Brooks, his refusal to cut teases every detail out of a scene. Doris and George argue about politics in <i>Same Time, Next Year</i>: the scene, set in the late 1960s, depicts Doris' transformation into flower-child and George's newfound conservatism (both of which, initially, grate unbearably as playwright's gimmick). The argument between the two, which at first seems to be heading towards didacticism, veers off into new terrain, as George admits that his worldview was soured by the death of his son at the hands of a Vietnamese sniper. A quiet falls on the scene, and like all these beautiful moments in Mulligan's films, we are forced into a moment of staggering breathlessness.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6dYRIyvAmZfXrO_bfRhNIpCJECEbZkSOYaaawiyDAIc0t7ilLCsMA1mGLGaeKfcsPXyc2o-0lsfNGgCnPW0r0DBkaOSupz8p9i_645A_CAdw5UV95tJNcM9WyfJQbNmTz56_fhBFhrg/s1600/vlcsnap-2013-09-14-00h45m17s51.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6dYRIyvAmZfXrO_bfRhNIpCJECEbZkSOYaaawiyDAIc0t7ilLCsMA1mGLGaeKfcsPXyc2o-0lsfNGgCnPW0r0DBkaOSupz8p9i_645A_CAdw5UV95tJNcM9WyfJQbNmTz56_fhBFhrg/s640/vlcsnap-2013-09-14-00h45m17s51.png" height="340" width="640" /></a>Consider the scene in <i>The Man in the Moon </i>where the pregnant mother Abigail wanders into the yard at night, searching for Dani, her daughter, away swimming at the creek. Abigail steps out into the wind, and wanders aimlessly into the darkness. Spotting her daughter's shirt, strewn on the back of a lounge chair, she takes it in her hand and calls out for Dani. As the young girl appears in the distance, running towards the house, Abigail, filled with worry, wildly sets out to meet her. Mulligan's camera, with a fluid sideways motion, follows her path. It ducks behind the family truck as Abigail approaches the fence. As in Ford, we see her framed through a fence or a grid—first with the hood of the family truck peeping out from under the bottom of the frame, and then through the wind-shield and the passenger-side window. Mulligan cuts to a breathless Dani, who stumbles coming through the garden gate. This is then echoed by Abigail who, panic-stricken, lurches forward towards her fallen daughter. Her foot is caught in a sinewy tree root poking out of the ground and she falls forward. The camera ducks behind a tree. We do not see the fall, but, instead, the front door of the house flying open and Dani's father Matthew emerging in confusion.<br />
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Dani approaches and sees her father tending to her incapacitated mother. Mulligan's mise-en-scène is vividly subjective, and Abigail, lying amongst the tree roots with a bloodied forehead, is revealed to us only when the perspective correlates with Dani's. The mother's fall, which at first strikes us as broad and out-of-place, is then contextualised by the subsequent stillness; a new moment which suddenly becomes powerfully sombre. In the hands of a lesser filmmaker, abrupt shifts in tone such as these could undo the flow of a film. In Mulligan, they deafen and overwhelm us with sadness.Anonymoushttp://www.blogger.com/profile/06492267819558431338noreply@blogger.com0