September 2009 Archives

"You may think you know what you're dealing with, but believe me, you don't."
-- Noah Cross, "Chinatown"

Roman Polanski gets under people's skin. Not just his movies, but there's something about him that dredges up deep, dark, disturbing feelings. I hope you've seen Marina Zenovich's 2008 documentary "Roman Polanski: Wanted and Desired" (trailer below), the biographical film that recounts the sex charges brought against Polanski in 1977, the resulting media melee, his guilty plea to a lesser charge of unlawful sexual intercourse with a minor, and his escape to France before sentencing. Watching the film, you may find yourself feeling a little like Rosemary Woodhouse, disoriented by the bleeding together of dreams, paranoia, irrationality, ambition, drugs, sex... and movies. ("This is really happening!") The tagline for the doc was "The truth couldn't fit in the headlines" -- and that's the case now, too.

At home, Mark Whitacre (Matt Damon) has a business line and a personal line. You should know that because the FBI does, and so do his bosses at Archer Daniels Midland ("Supermarket To The World"™). Mark is pretty good at compartmentalizing his life, but the lines are about to get crossed a little bit.

Mark lives with his wife and kids in Decatur, IL, but he's been all over the world with ADM and he's proud of what they do, especially with corn. They make all kinds of stuff out of plain old corn, from high fructose corn syrup to lysine to ethanol -- all of which, you might say, are fuel additives, designed to juice up production of... whatever.

Celebrating ADM's miraculous line of alchemical products, Mark excitedly notes: "Corn goes in one end and profit comes out the other!" Vivid image, that. Kind of suggests Mark's chronic logorrhoea, the stream of partially digested thoughts that swirls around inside his head and occasionally gushes from his mouth. When he gets going his internal monologue (in voiceover) actually talks right over his lips and his tongue. He doesn't interrupt himself; his mouth and his brain just keep spilling over each other. I wouldn't be surprised if Damon's Mark Whitacre had a cousin named Jerry Lundegaard in Fargo.

Christian evangelist Kirk Cameron ("Growing Pains," "Left Behind") and his buddy Ray Comfort of the Way of the Master School of Biblical Evangelism and Living Waters Ministry -- the folks who used a banana to prove the existence of god -- have a plan. They call it their Origin Into Schools Project and it goes like this: The 150th anniversary of the publication of Charles Darwin's "On the Origin of Species" is approaching. But guess what? Darwin's book was never copyrighted by the Walt Disney Company, so it is now in the public domain. That means Ray can write a new 50-page Creationist introduction to the book, re-publish it under Darwin's name, and give away thousands of copies of the "new edition" at 50 top schools on the anniversary, November 19!

Kirk and Ray's version is called "Origin of Species 150th Anniversary Edition" on its cover, and "Origin of Species containing the gospel and Intelligent Design" on the Living Waters web site. (The overview does not say which of the four canonical gospels is included.) Here's an explanation of the plan, as explained by Ray (online) and Kirk (in the above clip):

"As a sequence is being cut, the cutter should know where a particular setup most effectively presents the information needed for that particular part of the scene. In other words, he will stay with the shot as long as that shot is the one which best delivers the required information and cut to another shot only when the new cut will better serve the purposes of the scene, whether because the size is more effective, the composition is more suitable, or the interpretation is superior.... In short, as long as the scene is playing at its best in the selected angle, leave it alone!"
-- veteran Hollywood director Edward Dmytryk ("Murder, My Sweet," "Crossfire," "The Caine Mutiny"), On Film Editing (1984)

Steven Boone at Big Media Vandalism says he gave up on film criticism (for the fourth or fifth time) this year:

I quit film criticism because somebody has banished the shot from mainstream commercial cinema.

The shot, man.

That unit of film composition which lends film its cumulative power and structural integrity.

In place of the shot, like a leaky sandbag in place of a brick, somebody put... Well, what to call it, this fragment of film that has more in common with a spontaneous cutaway during Monday Night Football than with the ruminative, kinetic moving image discovered by Kuleshov, Porter, Griffith, et al? I once jokingly called it a gotcha-fragment, but that doesn't quite get it. The word for "shot" in the new century shall be...

Snatch.

In his two-part round-up of summer movies, David Bordwell finds himself not only impressed with Quentin Tatantino's latest film (after finding "Death Proof" "merely proof of the director's creative death"), but with the quality, quantity and intensity of the online analysis of it:

It's a measure of the changes wrought by the Internets that "Inglourious Basterds" has in about a month amassed a daunting volume of serious commentary. Without benefit of DVD (let's be charitable and assume no BitTorrenting), dozens of online writers have dug deep into this movie. As if to demonstrate the virtues of crowdsourcing, this flurry of critical discussion has shown that most professional movie reviewers have tired ideas, know little about film history, and are constrained by the physical format and looming deadlines of print publication. At this point, I'm very glad I'm not writing a book on Tarantino; the sort of secondary sources that normally take years to accrete have piled up in a few weeks, and the pile can only grow bigger, faster.

(He also offers well-deserved praise for the "knowledgeable readers" here at Scanners!)

Would sarcastic or satirical intent be better communicated on the InterTubes if we had access to backward-italic sarcastic fonts?

From the Sarcastic Font Manifesto:

For too long e-mails, instant messages, web pages and documents have been unable to fully communicate the subtleties of sarcasm. Text delivered without intonation fail to represent the rare form of language where the intended meaning is the opposite of the written word.

Over the internet we yell at each other with ALL CAPS and emphasize with bold and italics, but where is sarcasm? Where is the nuance, the elegance? We say it is time for a change. It's time for a revolution. It's time for a new font style....

(tip: Daniel Oxenhandler)

But I am deeply saddened to report that the great Henry Gibson has died. "Laugh-In" ("A Poem... by Henry Gibson"), "The Long Goodbye," "Nashville," "Mullet" (a short), "Magnolia"... he has always been an inspiration to me.

I am in Boulder with my friend Julia Sweeney for a CWA-related athenaeum, talking to students about comedy, critical thinking, death... and any and all other subjects, depending on where the conversations lead. I'll be back this weekend and plan to write more about Henry Gibson then. R.I.P.

A little two-shot movie in a corner of the kitchen of critics Kathleen Murphy and Richard T. Jameson.

He thought it was another sketch. Somebody should have dropped a Brüno on his head...

(tip: Daniel Johnson)

A new critical thinking meme: This web site features a grating parody of the "Leave Britney alone!" video at the top of the page, and proceeds to explain its purpose:

This site exists to try and help examine the vicious rumor that Glenn Beck raped and murdered a young girl in 1990. We don't claim to know the truth -- only that the rumour floating around saying that Glenn Beck raped and murdered a young girl in 1990 should be discussed. So we're going to do our part to try and help get to the bottom of this.

Why won't Glenn Beck deny these allegations? We're not accusing Glenn Beck of raping and murdering a young girl in 1990 - in fact, we think he didn't! But we can't help but wonder, since he has failed to deny these horrible allegations. Why won't he deny that he raped and killed a young girl in 1990?

Breaking News: Famously loose-lipped presidential heckler Rep. Joe Wilson of South Carolina (catch him in the above clip) now says his outburst ("You lie!") was "inappropriate and regrettable." He did not say he regretted it or found it inappropriate, but he implied that somebody else may have, which is why the party leadership told him to apologize. Surely his lapse was also, you know, a youthful indiscretion. After all, we must proceed under the assumption that people cannot be held responsible for the things they say and do. They just happen. Like when babies go potty in their diapers. Or like meteor showers. Wilson is flat-out wrong, too, but he maintains that he has a right to "disagree" that the bill says what it says, because he would prefer to pretend it says something other than what it does, in fact, say:

H.R. 3200: Sec. 246. NO FEDERAL PAYMENT FOR UNDOCUMENTED ALIENS

Nothing in this subtitle shall allow Federal payments for affordability credits on behalf of individuals who are not lawfully present in the United States.

(tip: Ms. Feeney)

"Even to a writer who is being intentionally obscure or wild of tongue we can say, 'Be obscure clearly! Be wild of tongue in a way we can understand!'"
-- Strunk & White, "The Elements of Style" (musical adaptation by Nico Muhly)

I love it when artists known for their work in one medium show a passionate investment in another. Over the weekend I stumbled upon composer Nico Muhly's blog. This is the guy who studied with John Corigliano and Christopher Rouse, made two albums of his own music (Speaks Volumes and Mothertongue), and has collaborated with Philip Glass, Björk, Antony and the Johnsons, Bonnie "Prince" Billy (aka Will Oldham, of "Old Joy" and "Wendy and Lucy") and Grizzly Bear, among others. And he's the composer of the scores for "Choking Man," "Joshua" and "The Reader." (The middle one is actually a pretty good movie.)

As a number of online critics have noted, Quentin Tarantino's "Inglourious Basterds" has inspired some of the most exciting critical discussion of the year. I'm grateful to Dennis Cozzalio at Sergio Leone and the Infield Fly Rule, who has been a big part of that discussion, for pointing out one of the most penetrating pieces on the movie yet, "For Bravery: Das Unheimliche and INGLOURIOUS BASTERDS" by Chris Stangl at The Exploding Kinetoscope.

Although I think he misinterprets something I wrote (and I'll get to that later), he's a superb writer who has an affinity for Tarantino's work and an ability to articulate it compellingly.

Stangl offers inspired analysis of the structures and character games in Tarantino's films; the invocation of decadent "Nazisploitation" (from "Ilsa, She-Wolf of the SS" to Visconti's "The Damned") among the layered movie textures in "IB"; Tarantino's use of deep focus "to impart as much information as possible in a shot"...

Film critics and journalists Alexis Tioseco and Nika Bohinc were robbed and killed at their home in Quezon City, Manila, Philippines, earlier this week. David Hudson has collected writings and reminiscences by and about the couple at The Auteurs Daily. I wasn't familiar with either of the young writers -- he, a Canadian-Filipino critic and editor; she, a Slovenian film journalist; both champions of Southeast Asian cinema. But I was moved by the belated discovery of a piece Alexis wrote to Nika in Rogue Magazine last year in which he spoke of his love of Filipino film and his love for her. It's called "The Letter I Would Love To Read To You In Person," and it's a meditation on love and work and doing what one must:

This six-minute 2005 short, "Alive in Joburg," by South African director Neill Blomkamp, forms the basis for his "District 9." Unlike the feature, it is set in 1990 under the apartheid government, during which time (in actual history) thousands of black South Africans were relocated from an area of Cape Town known as District 6 to make it an "all whites area." (The same was done in Sophiatown, Johannesburg, setting of the feature film.)

Draw your own interpretations...

I think QT is wrong about Paul Dano (who is, to repurpose his Anderson-Tarantino comparison, Montgomery Clift to Daniel Day Lewis's Marlon Brando), but this makes me want to see "There Will Be Blood" again, willing to reconsider it afresh. Dano's character Eli Sunday is supposed to play the smaller, weaker, younger, inferior charismatic performer to the bombastic Daniel Plainview -- but both characters are born salesmen in different fields (religion, business), comparably calculating, bitter, egomaniacal and insane. Day Lewis got all the attention (and the Oscar), but he owes half of it to Dano, without whom his performance could not be what it is.

Quentin Tarantino's "Inglourious Basterds" is about World War II in roughly the same way that, I suppose, Stanley Kubrick's "The Shining" is about a haunted hotel. The war is indeed the setting, but that's not so much what the movie is about. I also don't see it as an act of Holocaust denial or an anti-vengeance fable in which we are supposed to first applaud the Face of Jewish Revenge, and then feel uncomfortable sympathy for the Nazis. The movie comes down firmly on the side of the Jews, and of revenge, of an early end to the war and the saving of thousands of lives, with barely a quibble.

But while "Inglourious Basterds" is indisputably a WW II revenge fantasy (and, of course, a typically Tarantinian "love letter to cinema"), a theme that is central to nearly every moment, every image, every line of dialog, is that of performance -- of existence as a form of acting, and human identity as both projection and perception. As you would expect from a film that is also an espionage picture and a detective movie, it's shot through with identity games, interrogations, role-playing and people or situations that are not what they appear to be...