Saturday, May 19, 2018

Manon 70 (Jean Aurel, 1968)

Across such an intervening distance, it’s hard to know how much Jean Aurel’s Manon 70 is channeling the specific morality of its era, versus merely engaging in pretty, titillating fantasies. Journalist Des Grieux (Sami Frey) sees Manon (Catherine Deneuve) in a Japanese airport, and his first transgression follows almost immediately – blowing expense account money on upgrading to first class to boost his chances with her. The gamble works, but the die is already cast – not too much later (whether in narrative or in screen time) he’s out of a job, and tolerating behaviour from Manon of the kind for which he earlier said he’d kill her. But then, everybody’s doing it – Manon’s brother (Jean-Claude Brialy) appears to live primarily on the earnings of pimping her out, even getting a nightclub out of it when an American millionaire Ravaggi (Robert Webber) enters the scene (Ravaggi is the one character who seems turned on primarily by tuning into his own rapaciousness, which may be intended as a shot at the under-sensualized US) . The film crams a lot into its 100 minutes, too much to impress as a serious sociological and psychological investigation, especially when everyone and everywhere looks so ravishing (except for Stockholm which is made to look like the back end of Siberia). Aurel takes Deneuve mostly at face value, which indeed is worth a lot, until one compares to her greatest  works of this era. It’s hard not to think of the film in relation to her recent cautionary comments on the “Me too” movement – it exemplifies a notion of messy, self-gratifying act-now-work-out-the-details-later hedonism. Perhaps that’s not really much of a view of human interaction, but as the film is at least notionally based on an 18th century work of literature, you might conclude it’s drawing on some weary notion of the long view.

Sunday, May 13, 2018

Movie notebook #3

(originally published in The Outreach Connection in May 2000)

I’ve been thinking for a while that I’d like to do an article on my ten favourite films, but it always comes up against a practical problem – I can’t decide what they are. And even if I could, I should really check out the contenders again before committing myself in print. I think Bonnie and Clyde and That Obscure Object of Desire are on the list, but I haven’t watched either of them for a few years, and I never seem to get round to it. A sign perhaps, that they don’t belong on the list.

I think John Cassavetes’ Love Streams must be a major contender, for I watched it only last week, and would happily start all over again. Note that I was only talking above about my ten favourite films – a wantonly subjective criterion. Cassavetes’ two-and-a-half hour film is obsessive, obscure, self-indulgent; it often seems to be talking only to itself. But I adore it.

Love Streams

The film revolves around two characters. The first is a writer, played by Cassavetes, who lives in a vaguely explained harem-like situation, through which he wanders in a tuxedo and a cloud of cigarette smoke. He represents a highly narcissistic, defensive, formalized view of love and relationships, never yielding the truth about himself, regardless that he insists that a beautiful woman must give up her secrets.

This contrasts with his sister, played by Gena Rowlands, whose marriage has crashed under the strain of her highly fluid notion of love as a stream that never stops flowing, whatever the ups and downs of relationships; she almost cracks in her attempt to implement this vague philosophy. Even if I didn’t find the film artistically scintillating, I think I’d still love it just for the ambition. Love Streams has a story, with a resolution, but it feels more like a feverishly molded sculpture than a narrative. Cassavetes, as an actor, had a uniquely aggressive stylized quality about him, yet as a director he was devoted to a notion of discovery and exposure. I think the balance shifted over the years toward the actor in him, for whereas his early work (Shadows) was naturalistic, Love Streams is essentially a spacy, distended fantasy, swooping across moods and tones. A passage where Rowlands buys him a mini menagerie and brings it home in a cab is one of the most delightful deadpan scenes of the last twenty years; at other times the film is so raw that it bleeds.

Well, Cassavetes has been dead for some fifteen years now, and I still miss him. Of course, one occasionally sees films that evoke elements of his style – the Dogme 95 group for example – but they don’t have his showmanship or his blazing vision. I remember Vincent Gallo’s Buffalo 66 a few years ago as being unusually satisfying in that kind of vein – but I’d need to watch it again to know for sure (I must get around to that).

Miss Julie

I was thinking about this again recently as I watched Mike Figgis’ latest film Miss Julie. Figgis is the director of Leaving Las Vegas and Internal Affairs – a likely candidate for the Hollywood A-list if he were interested. But he’s taken to blasting big-budget money as being inconsistent with good work, and says he’s tired of conventional filmmaking. His last, The Loss of Sexual Innocence, was a freeform scrap book of images, widely regarded as ludicrous (I liked it more than not). His next is apparently a thriller shot in a single ninety-minute take, or something like that.

Miss Julie is an adaptation of a Strindberg play, confined almost entirely to a single set, dealing with the fleeting but disastrous relationship between an aristocratic young woman (Saffron Burrows) and her father’s footman (Peter Mullan). It’s powerful, savage material – fiercely laying bare the hypocritical, self-deluding niceties of relationships across class and sexual lines. Figgis’ film is appropriately corrosive and disquieting; he gets a fine performance from Burrows (his girlfriend and apparent muse).

For the most part Figgis plays things fairly straight, but a couple of times near the start of the film, he engages in shot selections that seem ludicrously artificial and jarring (the footman viewed from the point-of-view of the wine glass he holds in his hand; a disorienting one-take shift of focus from one character to another, then again to another), and at one point he uses a split screen. I took these devices as deliberate attempts to force us beyond mere identification with the characters, to make us think about the events depicted within the broader context in which we watch the film (text book kind of stuff), but whatever the intention, they’re very strained, not particularly interesting.

Being unconventional

I was more intrigued by a sequence when the rest of the servants briefly take over the kitchen; drunk and giddy from a Midsummer celebration, they dance and chant and spew vulgarities about their masters, while Burrows listens from a corner. There’s an odd disembodied feeling to this sequence; the servants don’t register as characters, merely as a shambling yet vaguely menacing mass, ritualistically venting its scorn – the sequence seems like a momentarily much more imaginative evocation of the intractability of the class system, and its placement forms a significant meridian in the central relationship.

But since that’s only one sequence, I’m really only saying that Figgis isn’t actually offering up an awful lot, relative to all the fuss he’s making about steering clear of the mainstream for the sake of a higher calling. Miss Julie is certainly very different from The Loss of Sexual Innocence, but you almost wonder if that isn’t the whole point. With both films, you might be up on one piece of it and down on another, but it’s a pretty fragmented kind of response either way. And of course, the films aren’t massively different from the mainstream – they still have actors, recognizable plot strands; they don’t run upside down or backward. Looking at Figgis’ attempts so far at “unconventional” filmmaking, you just feel like you’re missing the frame of reference. Mike, what did you say was broken? And just tell me again, how exactly are you fixing it?

Personally, I thought Figgis’ most distinctive film was his 1997 commercial flop One Night Stand, but that’s a minority view. It’s certainly ironic that almost as soon as he embarked on his mission, a number of fine unconventional movies emerged from within the wretched Hollywood system. But whether Figgis chooses to work within or outside the system, I hope he manages to forge a persuasive case for our continued interest in his work. He seems to have the ambition of a Cassavetes. But Cassavetes was a visionary whereas Figgis, at present, merely reacts.

(2018 footnote – here’s an article I wrote subsequently on my top ten films)

Saturday, May 12, 2018

Revolution (Hugh Hudson, 1985)

At its sporadic relative best, Hugh Hudson’s Revolution seems to aspire to becoming a work of pure texture and movement and evocation of time and place, prioritizing collective over individual experience; at such times it sometimes puts one in mind of the great and overlooked Peter Watkins. That’s not necessarily helpful to the film as it stands though – Watkins would surely have rejected the big-star casting and the narrative contrivances, and would have found his way to a far more probing kind of authenticity (among so much else, the film doesn’t have much sense of real labour, or of real pain), even while acknowledging its artifice. Obviously the film was largely shaped by more commercial considerations than that, but it’s still disappointing that the makers couldn’t have avoided the lame love story between the fur trapper who gets swept up by events (Al Pacino’s Tom Dobb) and the child of privilege who abandons her family for the sake of becoming a figurehead of the revolution (Nastassja Kinski); or the over-reliance on Dobb’s fierce love for his son as an all-consuming motivation and engine of personal transformation. The film presents the English as being grotesque either in their effeteness or else in their brutality, and invests heavily in the inherent moral superiority of the rebels, to the point of expunging any notion of exploitation of the indigenous people, or (I think) any reference to slavery: perhaps these simplifications can be interpreted partly as a function of one man’s subjective experience (and the film certainly emphasizes that Dobb is illiterate and under-informed) but they mainly seem hollow and calculating. Revolution does acknowledge in its closing scenes that the new regime may primarily come to represent new means of exploitation and misrepresentation, but that’s mainly for the purpose of stroking us with Dobb’s new awakening and articulacy (which then in rapid order meets its primary reward, that of getting the girl). The nature of the film’s failures is almost always interesting, but it seldom feels like a meaningful conversation with American history, nor with its present.

Sunday, May 6, 2018

Slums of the film festival

(originally published in The Outreach Connection in October 1998)

I'd never use this space to advance a personal grievance of course, so it’s as a matter of objective commentary that I report on the Toronto film festival’s refusal to issue me a press pass for this year’s festival. Well, they didn’t actually refuse – they just ignored my request. I thought a circulation of 12,000 might have counted for something, but maybe, gentle readers, you just don’t seem arty enough. But I shouldn’t blame you. My cultural credentials were shot as soon as I gave Lethal Weapon 4 twice the rating of Smoke Signals. They were probably worried I’d be a conspicuous lowbrow – a dissenter chanting “Jackie Chan rules” during Bernardo Bertolucci’s press conference.

The movie vigil

Anyway, I didn’t want to go to the festival any less because of this painful snub, so I got up at 4 am on September 3rd and hauled myself over to College Park to stand in the ticket order line. If you’ve never been part of it, the film festival involves a highly complex ordering process that entails visiting the box office on at least three separate occasions. The key date is that on which – two days after announcing the film schedule – they collect advance ticket orders. These are processed on a first come, first serve basis, starting at 9 am, but given the festival’s popularity, all the best movies would already be sold out if you actually turned up at that hour. Some people arrive the previous evening and spend the night. Arriving at 4.30 am, there were well over a hundred people in front of me. The line ultimately circled the south side of College Park, then trailed up Yonge, west on College, down Bay at least to Gerrard, and even further south for all I know.

My early start paid off – I got ninety-five per cent of the movies I wanted. But many of those who struck out will undoubtedly make an earlier start next time. I go an hour earlier every year and never make up any ground. I dread the day when I feel obliged to spend the night there (now you start to see how my interest in getting the press pass might not have been wholly altruistic), but how far off can that be?  Still, although I’m not any sort of morning person, and the street got pretty hard on my rear end (wiser people bring folding chairs), the time passed surprisingly quickly, eavesdropping on others in line and diligently reviewing an extremely long and dull but somewhat important work-related document (I was really pleased with that aspect of it – I got to charge virtually the whole stint!)

The cinematic zoo

My big gripe is that the incredible enthusiasm for obscure movies that erupts in Toronto for ten days each September seems disproportionate to the general year-round appetite for such films. Last year I tried to get tickets to an afternoon showing of Gary Oldman’s Nil by Mouth, but it had already sold out. I eventually saw it commercially six months or so later – me and the four other people in the theater. The picture lasted a mere  two weeks. How do you reconcile those two extremes of audience interest? The Cinematheque Ontario regularly shows wonderful, rare movies by cinema’s greatest directors, to half-empty theaters. I appreciate that it’s easier for people to fill their quota of challenging cinema in one dose – take the week off and cover the waterfront. But that’s not much of a place for art cinema in the scheme of things – to be experienced primarily in a concentrated tumble of sleep-deprived viewing excess.

Roger Ebert recently pointed out that the film festival circuit is becoming, in effect, the primary means of exhibition for more and more foreign films. I think the Toronto festival has enough clout in these parts to be a bit of a bully. Instead of giving the best ticket selections to those willing or able to wait in line the longest, why not give priority booking to people who’ve been to the Cinematheque at least ten times during the year? You can debate the pros and cons of that, but at least it would characterize the festival as being rooted in – and the high point of – a thriving film culture, rather than as a short-lived annual explosion. It’s in danger of resembling a cinematic zoo – wildly popular for its many strange and exotic exhibits, but of little or no relevance to the survival of those species in their natural habitat.

And you know I’m sincere about that. What axe could I possibly have to grind?

Among the masses

Anyway, my original idea was to cover the festival highlights in these pages, but I guess they didn’t want me to do that, so let’s head back into the commercial jungle and the current Slums of Beverly Hills. A film far more accomplished than its raucous trailer and Adam Sandler-ish title suggest, it’s about an economically-stretched father of three, played by Alan Arkin, and his family’s ups and downs in the down-at-heel outer regions of B.H. The film’s raunchy energy is much better rooted in a meaningful plot and worldview than were the bad-taste selling points of There’s Something About Mary. For instance, a scene where two women (well-played by Natasha Lyonne and Marisa Tomei) dance around the room while throwing back and forth a vibrator is titillating and laugh-out-loud funny, but it’s also a perfect expression of how Tomei deliberately draws the younger woman toward sexual awareness, despite the fragility of her own state. And the end of that scene, with Arkin entering the room and catching his daughter enjoying the vibrator a little too much, may be predictable, but – along with just about everything else in the picture – has an accomplished light touch.

The ending is sentimental, but very level-headed – the family doesn’t get out of the slums. I wouldn’t have wanted it any other way. I wanted the hand-to-mouth experience to triumph. Shut out from the film festival’s equivalent of the great mansions, naturally my only option is to enjoy the communal experience of the proletariat. And I really do enjoy it. The press pass would have been pretty neat. But the main thing – whatever it takes – is to see the movies.

(2018 postscript – I did receive a press pass the following year, and held on to it for a decade. You can read many of the resulting reviews on this website. But I haven’t seen a single film at the festival since 2009).

Saturday, May 5, 2018

Slap the Monster on Page One (Marco Bellocchio, 1972)

Marco Bellocchio’s Slap the Monster on Page One certainly reflects a particular time and place, seeped in the self-satisfied calculations of the monied Italian establishment, but it resonates bleakly in our time of heightened political cynicism and authoritarianism and of systematic disregard for truth. Gian Maria Volonte’s Bizanti is the editor-in-chief of a prominent newspaper, leading its self-portrayal as a societal bulwark against violent leftist forces. When a young well-connected woman is brutally murdered, the paper seizes on the story in the way media always does, as a flagrant circulation booster and, when a likely suspect emerges, as particularly potent evidence of the degradation of the left. But the reporter on the story becomes aware that the trail is all too well-lit and the conclusion is too convenient a contribution to the narrative of a looming election; his reward for his awakening is to get fired. The film’s subtlety lies in how Bizanti isn’t at all oblivious to his personal corruption and culpability: on the contrary, he exults in it, seeing himself as the operator of an elaborate machine contributing to keep the worker suitably and obediently incentivized, and at the same time implicitly assuming that the worker understands and accepts his subjection to this calculated narcotic. Anyone who can’t perceive (and it seems even appreciate, as one does a work of art) the workings of this system is merely a contemptible moron – including his wife, as he expresses in a memorably cruel outburst. In the end the truth is placed safely in storage, although with an understanding that it may be allowed to emerge in the future depending on the outcome of the election; the film ends on images of the Catholic church (by then degraded by an earlier deranged juxtaposition of the dead girl with the Virgin Mary) and then – amusingly if not subtly – on a river of garbage. Concise, dark and potent, the film might still be capable of inciting outrage, at least for a viewer still in possession of any sense of societal optimism.

Monday, April 30, 2018

Corporate rocket

(originally published in The Outreach Connection in May 1999)

I am no great symbol of any aspect of corporate culture, but the new satire Office Space catches me at a convenient time in my personal history. After twelve years on the ladder, I recently quit, and at the time of writing I’m serving out an extended notice period. I have a feeler on another job, representing a modest change of direction, but it may very well not work out, in which case I’ll be looking in the short term at unemployment. What could have possessed me? Frustration, arrogance, idiocy, idealism? Certainly all of those. But perhaps it was primarily an act of imagination. I’d been complaining for years on and off about my career track, and how I felt I was painting myself into a corner, but it kept meeting various objective measures of success, so I kept going. I needed to evolve a vision of how to quit, to approach my dilemma creatively, to craft a vision of how my soul would hold up under all the alternative scenarios. After that it became easy, even inevitable. Right now I feel great. Of course, that may not last (see above comment re unemployment).

Downsize this!

This all gives me a greater than academic interest in the central conceit of Office Space: the idea of packing it all in, of not playing the game anymore. Variety predicted in its review that the movie might become a cult comedy for office workers, with repeat viewings tacked on to happy hour. I went to see it on a Friday lunchtime – a perfect time to spot such individuals playing hooky (I hasten to clarify that in my closing days on the job I’m being paid only for a 75% week, making my own presence there quite legitimate). But there wasn’t a tie or briefcase in sight. Of course, casual Fridays are so pervasive now that it’s hard to tell who’s working and who’s en route to the golf course. I’ve always refused to do casual Fridays. Before I quit, that was my primary act of rebellion (that and the Exposed movie poster in my office), and you know you’ve been around too long when your primary act of rebellion involves choosing to wear a tie.

Anyway, the central character of Office Space, drowning in a monotonous corporate culture, finds himself suddenly liberated, to the point of recklessness, after an overstimulating hypnotherapy session. He starts coming in to work only when he feels like it, speaking his mind without caring about the consequences, dressing casually (and I don’t mean business-casually). He just doesn’t care anymore. But instead of getting him fired, even as the firm downsizes ruthlessly around him, his candor and individuality earn him a promotion. Not that it makes him care a jot more. When his by-the-book buttoned-down buddies get the axe, the three decide to take their revenge by ripping off the company. And then there’s more plot-driven kind of stuff.

The grass is greener

When you hear that his new attitude also enables him to reel in Jennifer Aniston as his romantic interest, you may guess that Office Space allows itself a little too much latitude in the area of wish fulfilment. The film’s early stretches contain some reasonably effective potshots at the usual Dilbert-type targets, but the second half is little more than an extended wrap-up (with developments such as his break-up and reunification with Aniston leaving as much impression as an empty toner bag). And if there’s a message more profound in there than that corporate life kind of sucks and it’d be kind of neat to do your own thing, it bypassed my in-tray.

But there are obvious reasons of self-preservation for why most of us stay at our desks. Maybe Office Space is just a big whine about the grass being greener (it persistently mocks a waiter who immerses himself too ingratiatingly in his restaurant’s upbeat ethos, but what’s wrong with adapting to your situation?) I don’t want to get all pious about this, but another new film reminds us how lucky we are to have the desk and the commute and, maybe most of all, the air conditioner. In October Sky, based on a true story, a teenage boy dreams of escaping from his dire home town, where a career down the local coal mine is taken to be as inevitable as night following day. It’s 1957, the time of the Sputnik launch, and the protagonist and his friends start to experiment with homemade rocket science.

Alternative histories

This has the practical upside of providing a possible ticket to the science fair, a winning scholarship, and escape. But much of the film’s surprising emotional punch comes, I think, from the potency of the recurring images of the homemade rockets – once they’ve got them to work – traveling crisply into the heavens, their scissor-straight tails slicing the blue sky. It’s a compelling, sleek evocation of limitless escape, touching as a contrast to the soul-destroying grimness of the town. The movie gets so much play from the wretched existence represented by the mine (embodied through a standard-issue conflict between blinkered father and dreaming son) that it’s almost Dickensian, although in the end – perhaps aware of the dangers of condescension to the blue-collar segment of the audience – it makes a game attempt at asserting that the mining life isn’t inferior; it’s just different.

But few career hazards could hold the sheer disgust of having one’s lungs fill up with coal dust. My Welsh ancestors were primarily farmers, but my grandfather was a minister, spending much of his career in mining towns. He went down the mine shaft once, and never forgot the experience. It all seems pretty distant, sitting in downtown Toronto. And one can’t measure one’s own happiness by dwelling on the alternative histories that were narrowly missed by the accident of a generation here or a bloodline there. Still, October Sky almost made me inclined to reconceptualize the downtown office core as my personal Cape Canaveral, and to rush to beg for acceptance back into white-collar security. Almost, but not quite. Even after writing this article, and thereby thinking about the whole thing too much, my imagination’s still buzzing. For today, I’m still wallowing in the idea of escape.

Saturday, April 28, 2018

Target (Arthur Penn, 1985)

During his rather brief but glorious heyday, Arthur Penn seemed incapable of generating a merely functional scene; his work was at once thrillingly intimate and engaged and yet full of weighted, often melancholy implication. His work has the quality of a cinematic barometer - at its most vivid in the sixties; silent for much of the misbegotten seventies and then disillusioned and wayward; and then never fully himself from the eighties onward, as if America had lost its power to stimulate. Target is no doubt one of his least-cherished films, although by some measures (the more conventional ones) it's among his most proficient - it's seamlessly plotted, compellingly paced and entirely on top of its action scenes, especially the car chases. Gene Hackman's Walter Lloyd is a small-town lumber yard owner, so boring he won't even accompany his wife on a European vacation, until she disappears and he heads over with his son (Matt Dillon) in search of her: the first dead body shows up at the baggage claim, heralding Walter's past identity as a CIA Cold War super-operative, the detritus of which now provides a resurgent threat. Hackman is surely in tune with the broader idea, that however much the 80's might have seemed like a time of settling and resignation, nothing had been resolved; the surface might still crack both for worse (undermining all concepts of stability and predictability) and for better (Walter's resurrection of his buried self, and the consequent rewrite of his relationship with his son, portends a healthier and more vibrant future for the family). It’s no surprise of course that the peril turns out to be caused by rot within the system, by duplicity and weak character. I suppose the degree to which you think the climactic fire symbolizes a broader possibility of cleansing might depend on how optimistic you felt at the time about peak-Reaganism. But it seems certain that the younger Penn would have found stranger and groovier patterns in the flames.

Saturday, April 21, 2018

Les plus belles escroqueries du monde (1964, Horikawa, Gregoretti, Chabrol, Godard)

At least in its current form, the five-part movie’s most beautiful swindle perhaps arises when you arrive at where Polanski’s segment should be (as per the opening titles) and get only a caption saying it’s been removed at the director’s request – a nice reminder, at least, of the contingent nature of the supposedly finished film. This leaves ninety very easy to take minutes, barely held together by the notion of “beautiful swindlers” though – at least two of the four segments present women who are ultimately victims (but then isn’t that always the way). Horikawa’s Tokyo sequence is lively and sexy, but doesn’t amount to much more than the sum of its parts. Gregoretti’s Naples sequence instantly announces itself as being more socially grounded, and ultimately almost vicious in its turning of the self-serving tables. Chabrol’s breezy segment depicts a scam to sell the Eiffel Tower to a Paris-obsessed German, and amounts to exactly as much as meets the eye (although the recessive nature of Deneuve’s participation is a bit of a mystery in itself). And then comes Godard’s Moroccan sequence, of course turning the project’s dynamics on their head. Jean Seberg (“Patricia,” as in Breathless) plays a TV documentarian from San Francisco, moving through Marrakech with her camera, briefly accused by the police of passing counterfeit money, and then finding the real perpetrator, whose motives turn out to be complexly yet dreamily philosophical and subversive. Patricia’s unexamined faith in the camera as a captor of truth, and in subsequently reporting these events to the police for the sake of her conscience, stand as profoundly unequal to the counterfeiter’s complex imaginings, and as Seberg’s camera turns in the final shot to stare back at us, Godard subtly indicts whatever easy pleasures we might have gleaned from the movie to that point. No surprise then that the movie’s original American release was missing this section rather than Polanski’s.

Sunday, April 15, 2018

An Unsuitable Job for a Woman (Christopher Petit, 1982)

I don’t know anything about the P D James source material, but Chris Petit’s film of An Unsuitable Job for a Woman has a dark and unexpected take on its catchy title. As the detective doing the unsuitable job – engaged by a rich man to find out why his son hanged himself – Pippa Guard’s Cordelia Gray unearths clues and follows leads as capably as any man probably would, and has sufficient physical agility and determination to escape at her major moment of peril. But she embodies little of the classic authority of the investigating protagonist: she expresses herself untidily and allows herself to identify too much with the dead man (to the point of almost accidentally replicating his suicide), and she’s much more watched upon than she is the watcher – the fact that the dead man was found dressed as a woman contributes to the sense of destabilization. When she finds her way to the truth, it yields little sense of actual or figurative light – the denouement takes place in darkness and in near-silence, as the culmination of a long-standing familial fracture. The fracture isn’t just that though – it’s that of an England in which the stability of the grand houses and the bucolic cottages and the very proper accents is rotting from within, eaten away by avarice and evasion and hypocrisy (the solution to the mystery lies, literally, in the blood). Petit’s minimizing of narrative in favour of mood and intuition has elements both of diagnosis and potential cure - given the movie’s period, it’s hard not to think of Margaret Thatcher as the overwhelming national reference point for any assessment of unsuitability, and for considering how that assessment might or might not correlate with gender identity. Certainly Thatcher’s public persona was largely built on denying the intuitive, often - so to speak- un-Guarded openness that characterizes Gray here. 

Sunday, April 8, 2018

Identification of a Woman (Michelangelo Antonioni, 1982)

Identification of a Woman is hardly one of Antonioni’s most galvanized or necessary works – it often seems mired in bewilderment (or in figurative - and in a couple of its most striking scenes literal - fog). It seems all too obvious that the protagonist, Niccolo, would be a director uncertain about his next project – at one point saying he’s no further along than knowing it will be about a woman, and later on seeming bogged down merely in searching for striking faces. But uncertainty isn’t the same as resignation, let alone surrender, and the film has a constant sense of reaching for something potentially transformative, and of welcoming the accompanying frustrations. In the first section, Niccolo’s relationship with the aristocratic Mavi exposes him to threats from unknown presumed competitors, to a social group he’s uncomfortable with, and ultimately to her unexplained disappearance; the sex scenes between them often carry a sense of wanting to conquer the surrounding space, or to break through it. In the second section, he meets an actress, Ida, who embodies quieter and more intimate mysteries. Antonioni shows us little of the development of either relationship, and the film has a constant sense of roads not taken or threats narrowly avoided – long looks exchanged with other women, warnings of pending violence – or of understandings from which Niccolo is excluded: he certainly seems here like the most passive of filmmakers. In the end, the film suggests his artistic (and perhaps personal) redemption must lie in transcending earthly mysteries, to move into science fiction, where the investigations are celestial; describing the project in his closing voice-over, his imagination for the first time seems free and his wonderment unjaded. The film certainly feels strained at times, and never approaches the glories of L’Avventura or The Passenger; its strange poignancy lies in the sense that Antonioni no longer thought himself capable (or worthy?) of aiming for them.

Sunday, April 1, 2018

Mr. Patman (John Guillermin, 1980)

John Guillermin’s Mr. Patman (identified on the print I saw as Crossover) is one of the more interesting legacies of the late 70s Canadian tax-shelter boom. Like most of the films that came out of there, it has an imported star and director, and although filmed in Vancouver it’s mostly vague about its setting – nothing about it tries to evoke or illuminate “Canadian” themes or issues. Coburn’s Patman is a night-shift nurse in a psychiatric hospital, empathetic and easygoing and popular, in severe contrast to most of the self-absorbed, tight-assed doctors; women seem to fall into his lap, although his primary emotional relationship is with his aging cat. Patman starts to see things, to imagine people watching his apartment, or colleagues turning up dead: a conversation with one of the patients – suggesting most of them can turn their conditions on and off at will, if there’s ever a reason to (the movie makes several ominous references to the grim state of the world) – sets him thinking increasingly about the relative virtues of their life versus his own, and from there on the plot’s general trajectory is never in much doubt. Although it has elements of conventional psychological thrillers, the film never commits very passionately to such genre mechanics, seeming happiest with odd bits of business involving the patients and doctors, and with finding ways to inject a bit of nudity. Coburn seems far too imposing for his role, but he gives a real performance, at once engaged and brooding; despite (or in part because of) Guillermin’s murky visuals, he turns Patman’s, uh, crossover into a largely plausible existential journey. And that’s why the film might stand as a symbol of that maligned cultural era – almost everything about it is ultimately about denial, of Canada, of its star, of sanity, of possibility, of rationality…many (not me of course) will choose to add: of meaningful entertainment. It’s an embodiment of the insecurity and benign confusion that spawned the ill-fated tax-shelter policy, and that shapes much of Canadian policy today for that matter. Perhaps then it should be reclaimed as a great Canadian movie, albeit largely because of its denial of any such identity.

Wednesday, March 28, 2018

Another melting pot

(originally published in The Outreach Connection in July 1997) (obviously at a very specific time in modern Canadian history – a referendum on independence for Quebec had failed very narrowly in 1995, and the risk of a second, successful attempt at it felt very high).

It’s obvious by now that I can hardly articulate my thoughts, except by referring to movies. But then, why would I need to, when fate (or as the case may be, Alliance, Norstar and so forth) keeps delivering such eerily topical stimulation to our local screens.

Last Friday night I had some drinks and, the way the conversation went, I ended up getting all depressed about Quebec. The next afternoon, clear-headed again, I went to see Broken English, a new film directed by Gregor Nicholas. This movie tells us (a) that diverse societies can be hell, (b) that they needn’t be, and (c) that either way, it’s better than the alternative.

The alternative, in Broken English, is war. In one of the more idiosyncratic melting pots I’ve encountered in a movie-going life, based largely on the search for diversity, the movie presents a family of Croatian refugees, living in New Zealand, and the consequences when one of the daughters (played with effective sexiness by Aleksandra Vujcic) falls in love with a Maori cook from the restaurant where she’s a waitress.

The most prominent subplot involves the Vujcic character’s arranged marriage (she has citizenship by virtue of her mother having been born there) to a workmate’s Asian boyfriend. Just on a basic line-by-line and scene-by-scene level, the movie isn’t always easy to assimilate for the very reason suggested by its title: the mix of accents and idiosyncrasies – intermingled with bursts of foreign dialogue that are sometimes translated and sometimes not – means that your sense of what’s happening is occasionally only approximate.

This isn’t a big problem, though, because the characters aren’t staking out particularly complex positions. The Croatian father (Rade Serbedzija, whose other movie this year was The Saint) has managed, through his entrepreneurial activities (at least some of which aren’t quite within the law) to acquire a passably middle-class house and such trappings as a mobile phone, into which he talks a lot.

Economically and structurally, he’s essentially absorbed into the society. Culturally, on the other hand, he doesn’t even try. He basks in his difference; he asserts it frequently. He doesn’t even seem to try modifying his hot temper and (by Western standards at least) wildly unreasonable treatment of his family; he conducts himself with a self-righteous, passionate swagger. When Vujcic’s character brings her Maori boyfriend and Asian friends for a visit (a venture that we always know will end in tears), he makes a remark about it resembling a UN peace-keeping force, which isn’t delivered with the tone of an endorsement.

This all plays out in a relatively unsurprising fashion (and, coming on top of Once Were Warriors a couple of years ago, has the effect of making you a bit depressed about New Zealand). The climax of the movie is violent and hopeless – a racial war on a suburban lawn. But the final image is uplifting: a moment of unambiguous, pragmatic, cultural unity that, however – because it consists of people posing for a photograph – is also an explicitly artificial creation. So can we take away a feeling of optimism about this particular melting pot (and, by extension, our own), or are we just being thrown a final reconciliatory mirage to distract us from the ongoing fractures?

As usual, the answer is probably both, although it’s encouraging that the younger people are, on the whole, better integrated than the older ones (also as an aside, the Croatian daughters seem to be more independently minded than the son). Love, economic opportunity and the plain desire to have a life that’s easy and uncomplicated, and that allows you a measure of pride and self-respect: these seem like obvious motives for assimilating as much as you can of your governing environment.

On the other hand, depending on the time and place, and on how the cards are dealt, they might all seem like equally obvious motives for rejecting it. Serbedzija’s character might be described as prejudiced against the Maoris and the Asians (one wonders how he’d react to a WASP, but the movie hardly contains any of them), but his actions are based in his desire to perpetuate values and traditions that he knows will otherwise be swallowed whole by the multi-cultural society. That’s not a justification, but it’s the way he is.

So I said I was thinking about Quebec. As Jack Nicholson said in Mars Attacks, just before the aliens zapped him, “Why can’t we all just get along.” Movies, or any media products for that matter, seldom suggest that any situation is utterly intransigent. The nature of a narrative, of the artistic process, and of imagination itself, is to find a way to get from here to there – however crazy and idealistic the goal.

The real world, unfortunately, generally follows more incremental mechanisms: in politics, it pretty much always does. Our leaders may or may not have vision, but they seldom apply it to their policy-making (which is perhaps just as well, given that the Megacity idea was a bold enough leap to be attributed to a vision of some sort). And I guess we just have to accept, for the most part, that they do the best they can given the tradeoffs required.

The thing that depresses me about our current situation is that we might actually need some inspiring leadership. If I were in Quebec, listening to the Bloc trying to pull me out of the country on the one hand and (if this is how it develops) Preston Manning seeming to push me out of it on the other – of course I’d be tempted to vote for independence.

Why would I want to be locked into that perpetual debate and psychic trauma with its uncertainty -  I’d rather pull the plug and hope for the best. Which would be the wrong decision. The economics of separation are probably just devastating. But as we know, people play their hunches as far as economics goes.

Next time round, then, the argument for continuing unity had better be as clear as a bell. Which it wasn’t last time, and won’t be again, unless someone starts meticulously communicating it long before the situation becomes dire. And as for whether Chretien’s the person to lead that communication…well, I think we’re all aware of his limitations by now.

Paradoxically, perhaps, the reason that Broken English gives me some hope isn’t in the characters who assimilate, but in the Croatian father who doesn’t. Despite his hot-headedness, he knows that culture and economics are two different things: separation in one can – in a diverse world – must coexist with assimilation in the other. Not everything is a matter for the gun, or even for the ballot box. Although the world of Broken English is hopelessly fragmented, this is just a reflection of the fact that in an open facilitating society, people make the choices they must. And if they choose to erect internal walls, well…there’s nothing wrong with separation as long as we’re all in it together.

Sunday, March 25, 2018

Full Metal Jacket (Stanley Kubrick, 1987)

I suppose your assessment of Kubrick’s Full Metal Jacket depends largely on how you see the relationship between its two halves: the first set in a South Carolina training camp where a group of newly-recruited Marines are belittled and terrorized by their drill sergeant; the second following a couple of the characters to Vietnam, to be belittled and terrorized by the war itself. The first time I saw the film, the transition seemed jarring, but over time I’ve come to see it as validating the sergeant’s tactics as much as damning them. Of course his relentlessness makes them tougher, but Kubrick pushes the abuse into the realm of twisted poetry and mythmaking, into an exercise in fictionalizing oneself (no one ever gets called by their real name) and then wearing that fiction like a full metal jacket. If Matthew Modine’s character “Joker” copes best, it’s perhaps because of his head start on such a project with his dumb John Wayne impersonations and smart mouth. In Vietnam, working for the Stars and Stripes newspaper and chafing at its mediocre reporting values, he craves greater engagement, then gets a dose of it, and in his final voice over is retreating back to the imagined, to the world of the sergeant’s invented “Mary Jane Rottencrotch,” and thereby finding a measure of peace, even of satisfaction. Given time, he might retreat even further, maybe into a photograph as at the end of The Shining; the interiors in the first half of Full Metal Jacket often feels like it might have been shot in some of the back corridors of the Overlook Hotel, and the second half might just be taking place inside a more cunning and noisy metaphysical maze. Whether it’s an “anti-war” film seems somehow like the wrong question; any attempts even to engage with it – as in Joker’s simultaneous wearing of a peace symbol and a “Born to Kill” slogan on his helmet, explained as some kind of comment on the “duality of man” – seem draining and futile. As such, the film, even if it’s not one of Kubrick’s very best, is an astounding exercise in strangifying.

Sunday, March 18, 2018

Playtime (Jacques Tati, 1967)

Tati’s Playtime hardly encourages a deep sense of people as individuals – few of its dozens of characters are even granted a medium shot, let alone a close-up. The movie seems to warn of nothing less than collective obliteration – submersion into mass standardization, into absurd consumerism, into systems and surfaces that can only be stained by human intervention (and of course this is even before the online/social media revolution), into hopeless distance from basic pleasures (embodied by the American visitors to Paris who are kept well away from all its points of differentiation). Looked at a certain way, it can feel overwhelming, and even depressing – Tati’s choreography is so staggering, often involving multiple bits of foreground and background action in the same shot, that it hardly seems designed for a human spectator. Of course, this is also at the heart of the film’s inexhaustible glory, of its status as one of the most singular of all cinematic masterpieces. And Tati seeds his design with remnants of past humanity or portents of a future one – the sudden appearance of old friends, of mysterious near-doubles, of things that are just funny despite everything. The brilliant extended climax in a restaurant that all but gets destroyed on its opening night speaks to the capacity of collective action for transcending stifling corporate calculation. But it’s also plainly a one-off, incapable of shaping the following day for more than a few dreamy early-morning hours. In one of its final gags, the movie posits that a moving window might actually influence the object that’s being reflected in it – something that might have seemed like the ultimate loss of control, except that Tati presents it as an elating moment, a promise that all isn’t yet heavy and tethered. Least of all, of course, M. Hulot, who returns to the crowd as modestly and mysteriously as he emerged from it.

Sunday, March 11, 2018

Husbands (John Cassavetes, 1970)

Husbands is perhaps Cassavetes’ most darkly disorienting work, and probably his most aggressive one: its trio of protagonists interrogates and/or attacks virtually every utterance, every assumption, every active moment and every quiet one, exhausting each other (and possibly us) in their search for a new stable structure – the old structure fell apart after a fourth friend suddenly died. After Harry (Ben Gazzara) gets into a violent fight with his wife, he decides to take off for London – Gus (Cassavetes) and Archie (Peter Falk) tag along; they all set out to find women for the night, and all succeed (the inevitability of this, at least, is one thing the film never questions), but it never feels like conventional coupling will generate much of an answer to anything. The film sees better prospects for renewal within the dynamics of mysteriously-assembled groups, often from using song as a tool for moving past language, to a purer expression of emotion. As with most of Cassavetes’ work, the impact is hardly naturalistic, and doesn’t necessarily seem like an excavation of “truth” either, but it’s an astounding exercise in unbound performance, in traumatic destabilization. And you constantly feel Cassavetes’ delight in faces and voices and expressions, particularly it seems in observing English women with their strange accents and turns of phrase. Harry stays in London (defined here solely by its cramped interiors and its rain); Gus and Archie return, if only because they can’t figure out how to make a case for doing anything else. “What’s he going to do without us?” they ask, but the real question is the opposite one – how they’re meant to reconfigure their relationship yet again to accommodate a further loss. But whether they manage it or not, the final moments of Gus returning to his family (played by Cassavetes’ real-life children) leave little doubt that they’ll be husbands, and fathers, whether or not they’re also living out their concept of being men.