Sunday, May 19, 2013

Les trois désastres

On Seeing the Premiere of the New Godard [Part of the Otherwise Unfortunate 3X3D] at Cannes, 18.05.13

(reposted/revised from my Twitter) The Godard short is re-entry hot.

Topics: dimensions (how a building might be in 3 dimensions but when it collapses it's in 2, like... 

...how in Hiroshima people were 3D then became 2D when their ash-shadows were left against walls. Topics covered (cont'd) —

...mathematics and "N"; catastrophes (désastres); dice (dés); cosmos (astres); reality and time; money; cinema; Eisenstein; Orson Welles;...

..and on and on. Narrated by Godard (mostly) and Miéville and more. Broken into 3 sections (1st, 2nd, 3rd disasters). ...

 ... The third section recounts "the story of the dog" through history and what he must wonder if he sits near a fireplace...

 ...and listens to the conversation between a man and a woman. This is one of the most powerful, moving. and poetic passages in all of JLG...

 ..Godard himself appears from moustache down in extreme close-up during this 3rd section, which is punctuated with footage...

...of a dog (in 3D naturally) in the wet autumn-leaf -strewn woods gazing up into the camera. It's an overwhelming image and moment...

...There are also several punctuational moments where b&w stills of director's faces [Welles; Ford; N. Ray] snap from "squished" aspect-ratio to their proper...

...dimensions. Among the HD 3D sequences shot 'in-house', there's the documentation of the assembly of the apparatus, how JLG created his 3D technique, ...

...with two DSLR cameras placed on a mount, beside one another, one rightside-up, the other upside-down; we see the camera[s] "film itself"...

...later revealed (filmed by the same camera itself [from an outer angle]) in an incredible tracking shot to be pointed into a giant mirror (i.e., "the ultimate movie")..

(that is, a JLG-3D camera filming in tracking shot a JLG-3D camera, stationary and unmanned, filming itself in a mirror..

(..which resulting image we see previously a few times) (but it is revealed as a shot into a mirror; not a shot of the camera[s] from across an imaginary 180-degree-line)..

..It closes with JLG in VO denouncing James Cameron ("the master of the Titanic") for perverting depth/profundity with his use of 3D...

...and words to the [very rough] effect that he [Cameron] has no idea what to do with his technology, why he forced this technique upon the world, nor has any clue as to what dimensions are...

... / are used for. The final supertitle reads: "3D / malheur numérique." —

There are things in this movie we have never seen nor imagined.
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Sunday, December 23, 2012

Top 12 Movies of 2012

2012 Favorites

—————

12. In Another Country [Dareun naraeseo] by Hong Sang-soo

The latest installment in the Hong universe puts Huppert off-center in a messy humid context and deceptive mise-en-scène. The cuts are very elegant, and audacious techniques like the HSS trademark digital zoom make perfunctory attempts at solidifying the lead's now-elfin presence in flitty summer garments which by their nature destabilize whatever structural operations one might ascribe to the masterplan at play. She also brings with her colonial associations or orientalist weight. Hong, of course, lives within the land of the living, and remains one of the greatest, least pretentious, directors in the world, the South Korean maker of endless minor masterpieces.

11. Marvin Seth and Stanley by Stephen Gurewitz

The debut feature from Stephen Gurewitz played the inaugural La Di Da Festival in New York a few months ago. Star turns from its essentially three-person cast who constitute the family Greenstein: Marvin Gurewitz, Stephen's father, a gentle and selfless optimist who takes no small amount of shit from Seth (Alex Karpovsky in his most-dickish role to date) while Stanley (Gurewitz) plays the middle-ground. Yet another goddamn road trip movie in a year full of them and there are probably more to come — I've read four road trip scripts and twelve road trip treatments in the last twelve months. And I couldn't tell you when the last time was I went on a road trip. Actually it was two years ago; my friend had to go perform a deposition in Virginia: the destination town center memorialized with a bronze cube the spot where once stood a slave auction block. On the drive back we stopped at a truck stop where a bus-load of inconceivably beautiful co-eds from Madrid got their first taste of Roy Rogers. The final scene with Karpovsky's come-around is expertly conceived, and the opening is brilliantly and hilariously acted by Gurewitz who veers toward violent conflict with a cab driver over carrying luggage — it's like something out of a midget-Chinese Bookie.

10. Red Flag by Alex Karpovsky

The second film in a year from Alex Karpovsky (I still haven't seen Rubberneck) about his road trip to self-promote his earlier feature Woodpecker after breaking up with a girlfriend (Caroline White, underused) with whom he makes an ambivalent attempt to reconnect following a one-night stand mid-tour with an obsessive groupie (Jennifer Prediger, superb here and as funny as in Richard's Wedding by Onur Tukel, who also appears). A film of caution signals, as the title indicates: reckless sex, reckless love, perils of obsession and of obsession's flip-side: self-absorption, self-involvement — in one word less, total fucking narcissism. Maybe the last word of the micro-budget meta-film. Best shot in the film: Caroline White looks up from the kitchen table during Karpovsky's streaming rationalization: the best are-you-KIDDING-me expression ever filmed.

9. This Is 40 by Judd Apatow

Yesterday I wrote something on Twitter: "Loved it. Sprawling + relaxed + hilarious. Also, Maude Apatow is amazing. I don't think I've seen anyone do aggrieved outrage better." I don't have much more to add. Except that there's no point in directors shooting in 2.35:1 anymore, although it's turned into something of a Hollywood standard — they're not framing Moonfleet, and in six months' time when the film is seen from that point in perpetuity only on 16x9 flatscreens, it's either going to be letterboxed (Blu-ray/DVD/VOD) or (when it appears on cable) cropped to 1.78:1. Whichever way you see it, the Albert Brooks, Melissa McCarthy, and Charlyne Yi scenes will blow you away, too.

8. The Comedy by Rick Alverson

Brilliant, upsetting, hypnotic, and sincerely funny rendition of a possible trust-fund dude (Tim Heidecker) who incarnates the existential end-point of "Irony," emotional detachment, and (not ennui) passionlessness. It's a reset of Gus Van Sant's (remember him?) Last Days, Kurt Cobain dead now for over 18 years. Alverson's previous feature, New Jerusalem, starring the great Will Oldham, is now available on VOD — I haven't seen it yet, but can't wait to.

7. The Unspeakable Act by Dan Sallitt

The gorgeous, deep, third feature film of Dan Sallitt (pronounced "Suh-LEET"), centered around the breakout performance of Tallie Medel, who is probably my favorite actress besides Juliette Binoche. I did a long interview with Dan that was published around the time of its summer world premiere at BAMcinémafest and goes pretty into-depth on the film, which you can read here. And I made a short film with Tallie which you can watch here.

6. Sound of My Voice by Zal Batmanglij

A small concise debut feature about the infiltration of a charismatic Southern California cult-leader/would-be messiah's inner sanctum. It nails suburban middle-class houses and points to the untold stories that take place behind the windows that open onto drywall and landlord beige. Recessed spotlights in kitchens. Actually suspenseful script. There's a recurring set-up that has to do with the two protagonists (Christopher Denham and Nicole Vicius) prepping for meetings with the leader — clip-snap-pop insert-shots of the ritual, but the sequence gets shorter every time and what at first instance comes off as a crappy American genre-movie technique for moving the story along eventually metamorphoses into dismissive shorthand telegraphs. Genuinely suspenseful, closes genuinely unsettlingly with a non-shitty pay-off. This is a B-programmer that plays like an A-movie, in the way some Siodmak films used to, and not in the sense of cinephile apologia for the higher-Rotten-Tomatoes superhero flicks. Fox Searchlight should keep bankrolling pictures of this scale and have them be put together by the same team. The cult-leader "Maggie" is played by Brit Marling, who co-wrote the script with Batmanglij, and who starred in and co-wrote with director Mike Cahill Another Earth, and who said in an interview I read or watched that she and Batmanglij would like to make two more movies continuing the story from Sound of My Voice. For me, and to show why I'd only recommend this picture, Marling is my favorite young American actress besides Tallie Medel. Batmanglij's new film The East, also starring and co-written by Marling, will premiere at Sundance next month, and also stars Ellen Page, Alexander Skarsård, and Julia Ormond. It's the Sundance film I'm most anticipating besides Andrew Bujalski's Computer Chess.

5. Tim and Eric's Billion Dollar Movie by Tim Heidecker and Eric Wareheim

I think I paid $30 on OnDemand to see this, because I watched it three times. I'm not usually in the mood for invoking au courant critical receptions of movies, because I couldn't give a shit. Here, I'll break my disinclination in order to say that most of the "takes" on this film are fucking insane. Despite Will Ferrell's presence (who, here, is not terrible), this is easily the funniest movie since parts of Borat, since some parts of In the Loop and Four Lions, since Clifford, since Freddy Got Fingered. It's the anti-Blues Brothers, which is, always has been, a complete piece of shit. Tim and Eric's Billion Dollar Movie is the most ruthless and incendiary take-down of the modern Hollywood idiom — moving on from the televisual/early-Internet rabbit-hole of the Adult Swim show — ever made. Tim and Eric's Billion Dollar Movie is, unequivocally, a masterpiece. If you think The Blues Brothers is hilarious you're an idiot.

4. Damsels in Distress by Whit Stillman

I think this might be a 2011 film, but I only got to see it in theaters this year (I went a few times) and, for me, it's another masterpiece — and the greatest Stillman film. A lot of friends of mine who've seen it either hate it or are on the fence. I would say that I love the way ideas, notional flights-of-fancy, and rhetorical turns of phrases are taken in Damsels in Distress to their extremity, their utmost conclusion — and in so doing a kind of conversational utopia is asserted in which at least one of the conversants do not just 'drop the subject' because it's hit a baton-pass lull but instead take it to the end-iteration of whatever point needs to be made. (e.g.,: the "Xavier/Zavier" monologue.) Additionally, Stillman's mise-en-scène has never been more focused: he instills a clean, almost Hawksian grammatical clarity to his shots and cuts unlike little else seen in modern movies. (e.g.,: the quick insert shot when Hugo Becker and Analeigh Tipton chop vegetables.) I could go on and would like to at some point — other highlights include the highly word-worked script à la Stillman (I read someone who wrote something to the effect: "It is so refreshing to hear characters who speak in complete sentences," and I agree to a certain extent but this doesn't exactly get to what's good about the dialogue, and of course this was probably a veiled dig at mumblecore), and the boarding-school milieu. Easily one of my favorite films of all-time, and one that gets better and richer with every viewing, like most movies do.

—————

TOP THREE / NO RANKING

Louie: Season 3 by Louis C.K.

The greatest single season of 'episodic television' (and one which is actually TRUE CINEMA, at that) in the history of the medium — better than the final season of The Larry Sanders Show, than the phantasmagoria of the end of Roseanne, than the most recent season (the "New York" one) of Curb Your Enthusiasm, than the British Office, than Peep Show (shout-out Hannah Fidell), than Get a Life, than the best of (and especially the last episode of) The Sopranos. And better than "Wrist Hulk." (Which, for all I know, he may have written.) So much has been written about Louis C.K. at this late stage that I'll only jot three things. (1) Season 3 is the funniest, most humane, absurd, tears-inducing whatever-it-even-was-from-one-week-to-the-next scalp-grasping WHAT since the first Gatti/Ward fight. (2) The DP of Pootie Tang was Willy Kurant who shot Godard's Masculin Féminin, Pialat's Sous le soleil de Satan, and, most recently, Garrel's A Burning Hot Summer. (3) The ad absurdum conceit of guest-star-appearances on this season wiped away the cliché of gratuitous drop-ins by dint of the sheer jaw-dropping quality of the performances: Gaby Hoffmann, Melissa Leo, Parker Posey, Maria Dizzia, Sarah Silverman, Chloë Sevigny, etc. (and the surprise-guest-spot turn of the Master in the 3-episode Late Show arc). Literally, the best, and without a "thing that I saw this year counting almost every movie" qualifier. The best. And this on the heels of the Live at the Beacon Theater web-on-demand-$5-download special at the end of last year, which is the best stand-up set I've ever seen. How is all of this possible? Nothing is more fucking annoying.

Open Five 2 by Kentucker Audley

"The Sort-Of Sequel to Open Five." A few things here: this film along with Stephen Gurewitz's Marvin Seth and Stanely and a couple other pictures like ones by Amy Seimetz and Dustin Guy Defa (neither of which I've seen yet) premiered at La Di Da in NYC in September; Open Five 2 has played at two other places since, once in Memphis, and once in Wrocław. Right now, the film is available to watch for free, streaming, in HD, indefinitely, at NoBudge, which is also where Marvin Seth and Stanley was watchable for a bit. (You can check out the OF2 trailer, one of the most exhilarating ever cut, in my opinion, along with an hour-long archived/YouTubed Ustream Q&A with the director-star which is worth your time where among other things he gives the sharpest response about why 'older people' haven't been in his films to date, although they actually have.) — Part of me dislikes the term "mumblecore" but most of me no longer cares and thinks it's okay and kind of charming and it's okay, again. Most of the mumblecorers, so to speak, have proven themselves as lasters and still-further-going expeditioneers. To that point, and this is just my opinion, Open Five 2 is the best movie anyone who ever got lumped into the category has ever made — and I love a lot of those films. I never much took to using the categorization to begin with, because to me movies are movies. (And why, on this list, are there so many American movies? This might be the first year ever with as much for me, and so maybe there are some things filmmakers need to have a long hard self-exam about, and which festival magazines are oblivious to though maybe the French are now more aware beyond just the Safdies and Alex Ross Perry.) (Separately: Cinema-allusion and plan-séquence and waiting-for-government-funding are dead.) So what's in Open Five 2? A film broken up into two halves, where the first is another road trip (like in two other films on this list), intermittently so, and which provides the opportunity for one of the most cogent and powerful/breathtaking take-downs I've ever seen on screen, via Kentucker, having to do with annual-income and frustration and general annoyance at a certain disposition or confrontation, — and which also provides the opportunity for an articulation, via Jake Rabinbach, of love and the way people operating in relationships actually operate, while he's steering the vehicle, and which, alone, friends of mine and me had a long conversation about in a BBQ joint after the La Di Da showing. The first half of the picture is exciting exactly because it's kind of meandering, and sort of a knowing (and slippery) retread of "established" templates (road trip, certain ways of cuts looking and talking), etc., interspersed with the electrifying moments, the beautiful images, snow at last. The second half: — I said this once before about the first Open Five film, but: this movie is another record, in every sense: there is a 'Side 2' here definitely, and there's a flip-point where the movie doubles-down. A new rhythm comes on around the 40- or 45-minute mark after Kentucker returns to Memphis, gets back in the vicinity of Caroline (Caroline White, also in Karpovsky's Red Flag, cf. above); they make a go of reconnecting after some fraught recent times. I won't say much from this stretch of the movie, beyond the fact that in the overwhelming climax of the film White and Audley, together, make the case by admission that whatever the future might hold, at least here, there in the scene, there is love, not movie-character love but the raw flay and exposure: — and here in a time when everything looks cheap and stupid and facile or abstract in most movies: finally something alive, something moving, a plea to try to live our lives better, — this, in one of the most beautiful-looking films of recent times, and I love it because the core surpasses its own (excellent) image/sound aesthetics. ( — ...that is, someone might for example make a film about "turning 40" and it's somehow never about 'turning 40' it's about 'performativity' or is somehow ultimately a subtext because that somehow trumps the subject 'in critical aesthetics.') In an epoch when I hate when movie reviewers or their staff-editors often repurpose a past-/pop-culturally-relevant movie title, or quibble on the thing, for their headline, — in this instance it would certainly occasion — and without much Godfather: Part III operatics — "ONE FROM THE HEART."

Like Someone in Love by Abbas Kiarostami

One of the greatest filmmakers of all-time. One of his greatest films. (He's only ever made masterpieces.) The title is completely presented in English, on the digital negative (just like the titles of the Dinah, Ella, and Björk recordings, all of which the director loves; at first he was going to call the film The End, as in the title-card you see at the end of studio-era Hollywood movies). The film was shot in Tokyo. In a sense, Like Someone in Love represents a companion-piece to Certified Copy. A colleague told me that that particular film (another of the greatest of the 2010s, something on the level of Buñuel's best) was no good because he couldn't stand Binoche's "schtick." (A "schtick" that repulsed him from one movie of hers to the next, apparently.) This sentiment of his reminded me of the Truffaut film The Man Who Loved Women, which I've never seen, because this man must not understand what there is to love about women. Anyway, there is no way to retread Kiarostami's film on this blog entry: I simply wouldn't want to give away spoilers — I'm not a child, but people see films to be surprised, to experience the pleasure of surprise: this is how it works, and I agree wholeheartedly that it should be this way. So: most people reading this have probably read a little bit about the picture and already know about its general contour: okay: the first scene is a tour-de-force of sound and looking and discerning; there's a cab-ride afterwards which is shocking in its power and surprise; an apartment scene with suspense, palm-and-reveal (Kiarostami, the anti-Italian-magic-realist magician); a utilitarian afternoon scene, daylight but claustrophobic and also car-based, a rather protracted scene slightly boring the first time around (I was at MoMA btw on the first day they opened the theater in the new building in 2004: to see Godard's Moments choisis des Histoire(s) du cinéma on 35mm and, earlier, Kiarostami's Five for the introduction of which he had sent a fax read aloud by Mary Lea Bandy, in which he asserted to the audience it was perfectly okay to fall asleep during the course of his film); and a final section which I will not talk about here, because it's the dazzling, dazing ending of this great work, — and is one of the most shocking endings in the history of movies. I have not stopped thinking about this challenging, rapturous movie for months, and maybe never will, maybe never will understand its puzzles completely. But this is part of the exchange with "Kiarostami, the magnificent."

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Wednesday, August 01, 2012

Mark Tween


I made a short film called Mark Tween, starring Tallie Medel. Click here or on the poster image to watch it at its Vimeo page. Enjoy.


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Wednesday, July 11, 2012

The Unspeakable Act

A couple weeks ago The Notebook posted a long interview I did with Dan Sallitt about his incredible new film The Unspeakable Act, starring Tallie Medel. The piece is here.


===
Administrative Note: Part of the more recent downturn on activity here has to do with the fact that I hate Blogspot's/Blogger's updated posting interface. Not that I was too crazy about it to begin with. Further, I've been unable to add the latest posts to the makeshift index you see at the left; a limit of the number of entries allowed has been imposed at Blogger's backend. Any post more recent than that Tempest thing has been prohibited from entering the 'table of contents', and henceforth will be findable only via Google or manual wading beyond the current homepage. No good.
===

Monday, May 21, 2012

Like Someone in Love

Pieces
Kiarostami
Kiarostami | [ Ozu ] | Hou
doublings
reflections
shared / transferred predicaments, scenarios, events
"translations"
interruptions
favors
"evolution"
dislocated voices
bi-fold psychology
the Sleep of the Just (in every sense of the phrase)
MALEDICTION
In CERTIFIED COPY, reality mutates; the same can be said of LIKE SOMEONE IN LOVE, but it no longer means the same thing. In CERTIFIED COPY, reality inside of metaphor; in LIKE SOMEONE IN LOVE, metaphor from the reality.
21.05.12

Wednesday, April 25, 2012

High School




I wrote a piece about Frederick Wiseman's 1968 film High School at The MUBI Notebook. Here.

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Thursday, March 29, 2012

Friday, March 23, 2012

The YouTube Videos of ColinMan1991, AubreyS1987, and MathewV21688


Opening To Pocahontas 1996 VHS



ColinMan1991 Game Recap #20 February 3, 2012



1-Year Anniversary Special For AubreyS1987 (Part 7)



1-Year Anniversary Special For AubreyS1987 (Part 8)



AubreyS1987 Weekend Celebration #1 (Part 1)



3 Different Versions of "Lady and the Tramp"



10-in-1 Video Special (Part 7)



Birthday Special for MathewV21688 (Part 24) The Epic Finale!



MathewV21688 2011 Spring Break Special Part 13



Announcement of 2012 Spring Break Special



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Tuesday, February 21, 2012

The Tempest


[1611]





I.ii


PROSPERO

The hour's now come; / The very minute bids thee ope thine ear. / Obey, and be attentive. Canst thou remember / A time before we came unto this cell? / I do not think thou canst, for then thou wast not / Out three years old.

MIRANDA

Certainly, sir, I can.

PROSPERO

By what? By any other house or person? / Of anything the image tell me that / Hath kept with thy remembrance.

MIRANDA

'Tis far off, / And rather like a dream than an assurance / That my remembrance warrants. Had I not / Four or five women once that tended me?

PROSPERO

Thou hadst, and more, Miranda. But how is it / That this lives in thy mind? What seest thou else / In the dark backward and abysm of time?

===


I.ii


PROSPERO

Sit still, and hear the last of our sea sorrow. / Here in this island we arrived; and here / Have I, thy schoolmaster, made thee more profit / Than other princess' can, that have more time / For vainer hours, and tutors not so careful.

===


I.ii


ARIEL

All hail, great master! Grave sir, hail! I come / To answer thy best pleasure; be't to fly, / To swim, to dive into the fire, to ride / On the curled clouds. To thy strong bidding task / Ariel and all his quality.

PROSPERO

Hath thou, spirit, / Performed, to point, the tempest that I bade thee?

ARIEL

To every article. / I boarded the King's ship. Now on the beak, / Now in the waist, the deck, in every cabin, / I flamed amazement. Sometime I'd divide / And burn in many places; on the topmast, / The yards, and boresprit would I flame distinctly, / Then meet and join. Jove's lightnings, the precursors / O' th' dreadful thunderclaps, more momentary / And sight-outrunning were not. The fire and cracks / Of sulfurous roaring the most mighty Neptune / Seem to besiege, and make his bold waves tremble; / Yea, his dread trident shake.

PROSPERO

My brave spirit! / Who was so firm, so constant, that this coil / Would not infect his reason?

ARIEL

Not a soul / But felt a fever of the mad and played / Some tricks of desperation.

===


I.ii


PROSPERO

Dost thou forget / From what a torment I did free thee?

ARIEL

No.

PROSPERO

Thou dost; and think'st it much to tread the ooze / Of the salt deep, / To run upon the sharp wind of the North, / To do me business in the veins o' th' earth / When it is baked with frost.

ARIEL

I do not, sir.

PROSPERO

Thou liest, malignant thing! Hast thou forgot / The foul witch Sycorax, who with age and envy / Was grown into a hoop? Hast thou forgot her?

ARIEL

No, sir.

PROSPERO

Thou hast. Where was she born? Speak! / Tell me!

ARIEL

Sir, in Argier.

PROSPERO

O, was she so? I must / Once in a month recount what thou hast been, / Which thou forget'st. This damned witch Sycorax, / For mischiefs manifold, and sorceries terrible / To enter human hearing, from Argier, / Thou know'st, was banished. For one thing she did / They would not take her life. Is not this true?

ARIEL

Ay, sir.

PROSPERO

This blue-eyed hag was hither brought with child / And here was left by th' sailors. Thou, my slave, / As thou report'st thyself, wast then her servant. / And, for thou wast a spirit too delicate / To act her earthy and abhorred commands, / Refusing her grand hests, she did confine thee, / By help of her more potent ministers, / And in her most unmitigable rage, / Into a cloven pine; within which rift / Imprisoned thou didst painfully remain / A dozen years; within which space she died / And left thee there, where thou didst vent thy groans / As fast as millwheels strike. Then was this island / (Save for the son that she did litter here, / A freckled whelp, hagborn) not honoured with / A human shape.

ARIEL

Yes, Caliban her son.

PROSPERO

Dull thing, I say so! He, that Caliban / Whom now I keep in service. Thou best know'st / What torment I did find thee in; thy groans / Did make wolves howl and penetrate the breasts / Of ever-angry bears. It was a torment / To lay upon the damned, which Sycorax / Could not again undo. It was mine art, / When I arrived and heard thee, that made gape / The pine, and let thee out.

ARIEL

I thank thee, master.

PROSPERO

If thou more murmur'st, I will rend an oak / And peg thee in his knotty entrails till / Thou hast howled away twelve winters.

ARIEL

Pardon, master. / I will be correspondent to command / And do my spiriting gently.

===


I.ii


CALIBAN

As wicked dew as e'er my mother brushed / With raven's feather from unwholesome fen / Drop on you both! A southwest blow on ye / And blister you all o'er!

PROSPERO

For this, be sure, tonight thou shalt have cramps, / Side-stitches that shall pen thy breath up. Urchins / Shall, for that vast of night that they may work, / All exercise on thee; thou shalt be pinched / As thick as honeycomb, each pinch more stinging / Than bees that made 'em.

CALIBAN

I must eat my dinner. / This island's mine by Sycorax my mother, / Which thou tak'st from me. When thou cam'st first, / Thou strok'st me and made much of me; wouldst give me / Water with berries in't; and teach me how / To name the bigger light, and how the less, / That burn by day and night.

===


I.ii


[Ariel's song]

Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that doth fade
But doth suffer a sea change
Into something rich and strange.
Sea nymphs hourly ring his knell:
[Burden.] Ding-dong.
Hark! Now I hear them — ding-dong bell.

===


II.ii


CALIBAN

All the infections that the sun sucks up / From bogs, fens, flats, on Prosper fall, and make him / By inchmeal a disease! His spirits hear me, / And yet I needs must curse. But they'll nor pinch, / Fright me with urchin shows, pitch me i' th' mire, / Nor lead me, like a firebrand, in the dark / Out of my way, unless he bid 'em. But / For every trifle are they set upon me; / Sometime like apes that mow and chatter at me, / And after bite me; then like hedgehogs which / Lie tumbling in my barefoot way and mount / Their pricks at my footfall; sometime am I / All wound with adders, who with cloven tongues / Do hiss me into madness.

===


II.ii


STEPHANO

How now, mooncalf? How does thine ague?

CALIBAN

Hast thou not dropped from heaven?

STEPHANO

Out o' th' moon, I do assure thee. I was the Man i' th' Moon when time was.

CALIBAN

I have seen thee in her, and I do adore thee. My mistress showed me thee, and thy dog, and thy bush.

STEPHANO

Come, swear to that; kiss the book. [Gives him drink.] I will furnish it anon with new contents. Swear. [Caliban drinks.]

TRINCULO

By this good light, this is a very shallow monster! I afeard of him? A very weak monster! The Man i' th' Moon? A most poor credulous monster! Well drawn, monster, in good sooth!

CALIBAN

I'll show thee every fertile inch o' th' island; and I will kiss thy foot. I prithee, be my god.

TRINCULO

By this light, a most perfidious and drunken monster! When's god's asleep, he'll rob his bottle.

CALIBAN

I'll kiss thy foot. I'll swear myself thy subject.

STEPHANO

Come on then. Down, and swear!

TRINCULO

I shall laugh myself to death at this puppy-headed monster. A most scurvy monster! I could find in my heart to beat him —

STEPHANO

Come, kiss.

TRINCULO

But that the poor monster's in drink. An abominable monster!

CALIBAN

I'll show thee the best springs; I'll pluck thee berries; / I'll fish for thee, and get thee wood enough. / A plague upon the tyrant that I serve! / I'll bear him no more sticks, but follow thee, / Thou wondrous man.

TRINCULO

A most ridiculous monster, to make a wonder of a poor drunkard!

CALIBAN

I prithee let me bring thee where crabs grow; / And I with my long nails will dig thee pignuts, / Show thee a jay's nest, and instruct thee how / To snare the nimble marmoset. I'll bring thee / To clust'ring filberts, and sometimes I'll get thee / Young scamels from the rock.

===


III.ii


STEPHANO

Flout 'em and scout 'em
And scout 'em and flout 'em!
Thought is free.

===


III.iii


GONZALO

By'r Lakin, I can go no further, sir; / My old bones aches. Here's a maze trod indeed / Through forthrights and meanders.

===


IV.i


PROSPERO

You do look, my son, in a movèd sort, / As if you were dismayed; be cheerful, sir. / Our revels now are ended. These our actors, / As I foretold you, were all spirits and / Are melted into air, into thin air; / And, like the baseless fabric of this vision, / The cloud-capped towers, the gorgeous palaces, / The solemn temples, the great globe itself, / Yea, all which it inherit, shall dissolve, / And, like this insubstantial pageant faded, / Leave not a rack behind. We are such stuff / As dreams are made on, and our little life / Is rounded with a sleep.

===


V.i


PROSPERO

Now does my project gather to a head. / My charms crack not, my spirits obey, and time / Goes upright with his carriage.

===


V.i


PROSPERO

Ye elves of hills, brooks, standing lakes, and groves, / And ye that on the sands with printless foot / Do chase the ebbing Neptune, and do fly him / When he comes back; you demi-puppets that / By moonshine do the green sour ringlets make, / Whereof the ewe not bites; and you whose pastime / Is to make midnight mushrumps, that rejoice / To hear the solemn curfew; by whose aid / (Weak masters though ye be) I have bedimmed / The noontide sun, called forth the mutinous winds, / And 'twixt the green sea and the azured vault / Set roaring war; to the dread rattling thunder / Have I given fire and rifted Jove's stout oak / With his own bolt; the strong-based promontory / Have I made shake and by the spurs plucked up / The pine and cedar; graves at my command / Have waked their sleepers, oped, and let 'em forth / By my so potent art. But this rough magic / I here abjure; and when I have required / Some heavenly music (which even now I do) / To work mine end upon their senses that / This airy charm is for, I'll break my staff, / Bury it certain fathoms in the earth, / And deeper than did ever plummet sound / I'll drown my book.

===





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Sunday, January 29, 2012

Jean-Luc Godard, On Authors' Rights (2012)




(Click the full-screen icon on the video to view large.)

Via Kassandre, a not-for-profit organization that aims to promote and support a free and open cinema. Discovered this weekend on the Twitter for Les Films du Losange.

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Tuesday, January 24, 2012

Bob Dylan Interview with John Elderfield, 2012: In the Films of the '40s and '50s, "Individuals Overcame Problems Instead of Merely Surviving Them"


ELDERFIELD: An area of American visual art of great interest to you is, I know, movies of the 1950s, such as A Face in the Crowd, Ace in the Hole, and Sweet Smell of Success. What is it about these that attract you? And do you see a relationship between them and the kind of narrative dramas you have painted — more in The Brazil Series, though, than in The Asia Series?

DYLAN: Face in the Crowd — that's so current, isn't it? You can watch any of those TV personalities, and if you've seen Face in the Crowd, you know there's probably some Lonesome Rhodes in all of them. The whole country is like their flock of sheep. I grew up in a small town hidden from the outside world, and the films from the '40s and '50s were like a window into the future, like classic literature, and had great meaning. It's hard to explain that, especially in this age of narcissism and self-surveillance. A lot of people wouldn't know they are alive unless they have photos of themselves to prove it — from the cradle to the grave, actually. The movies that we grew up watching seemed to be tuned to a higher vibration. They weren't about us, they were about people bigger than us, living more on the edge than us — strange morality tales, more like Greek theater. Individuals overcame problems instead of merely surviving them, so you knew you could do that too. The people we saw on the screen were more real than real people. They were exemplary. Cult figures. Heroes and heroines. Anti-heroes. Top of the world. Brute force. Themes of salvation. Echoes of Shakespeare and of Aeschylus. Those films had a powerful effect on all of us who grew up with them. Like schoolboy lessons. Sure, I see a relationship. There's always been a relationship.

—from a new interview with John Elderfield, here

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Monday, January 16, 2012

Marriage Material + Joe Swanberg: Collected Films 2011


Watch in Full and for Free


Marriage Material by Joe Swanberg, 2012:



Today Joe Swanberg premiered his latest and never-before-seen 55-minute feature, Marriage Material, at Vimeo, where it's available for viewing until the end of the month. It comes on the occasion of the release by Factory 25 of the Joe Swanberg: Collected Films 2011 box set, the first installment of which bows this week, and which will ultimately be comprised of the collectively amazing Silver Bullets, Art History, The Zone, and the still-unpremiered Privacy Settings. I haven't seen Privacy Settings yet, but I personally consider both Art History and The Zone, alongside the 2009 Alexander the Last, as maybe Swanberg's very best films to date. Joe gave an interview to the Los Angeles Times blog a few days ago about the newest film and the box set here. You can order Joe Swanberg: Collected Films 2011 here.

About Marriage Material: pic stars Kentucker Audley and Caroline White as they babysit Joe and Kris's son Jude Huckleberry Swanberg over the course of a day or two at their Memphis home. The presence of the baby occasions a hard look at the possibility of starting a family and a serious conversation about when/if/why to get married. Tensions boil, but never boil over, via such touchstones as diverse and oblique as government aid, Béla Tarr, and Mac vs. PC. The long central conversation between Kentucker and Caroline that takes place on the couple's bed with the family dog at their feet qualifies as one of the most intimate and powerful scenes Swanberg has presented to date. The entire film (beautiful, as these frames attest to, with Adam Wingard as DP) sort of represents a kind of prologue, epilogue, or companion-piece to Audley's own forthcoming — and unbelievable — Open Five 2, which should well be regarded as one of the most anticipated films of 2012.

You can watch Marriage Material right now, right here. Go full-screen, and plug in your earbuds.

Marriage Material by Joe Swanberg, 2012:





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Posts on Silver Bullets and Art History at Cinemasparagus:

Silver Bullets [2011]

Art History [2011]


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Sunday, January 08, 2012

Scattered Junk


What's in a Name?


Scattered Junk by Timothy Morton, 2011:



They say you bring what you know to a movie. Holds for the filmmaker, holds for the audience. If you didn't take the picture as a kind of documentary, you might proclaim Scattered Junk, in your sick little poll, winner of Best Production Design of any film of 2011. But the revolution is not a craft-service table, and Scattered Junk is the true document of real revolutionaries: this cell of dreamers, plotters, enact the same gestures of Carlos, transposed to an apartment not so much lived-in as occupied, embedded-within, just beneath the apex of a clapboard that recalls a similar form similarly haunted, halfway through The Night of the Hunter. Too real? Or just too earnest for a world (or movie landscape) where all is statecraft and lies?

Scattered Junk by Timothy Morton, 2011:



Everyone will be cruel to this film — let's have no illusions that the critics are anything other than animals. The title of the picture applies to settings — to a final mixtape by subject Tim Cushing — to fragile emotions of fragile moments — to the approach by director Timothy Morton which might be characterized as junkle-rough, its thick-stitched and very kinetic patchwork the jigsaw signature of some second-, third-cousin to Trash Humpers, Gummo, or the recent films by HK's pal Jonas Mekas. Scattered Junk defies the viewer (it doesn't matter what his 'class' is or where she lays her regional roots) to reckon the whole affair sad, to deem the self-constructed squalor, the morning misery windshields, the implied prospectlessness, the suicide absent and central to the matters at hand, as all so sad. And this Whole is sad, and Morton celebrates its beauty accordingly with just about as little use for patronizing-"sad" as one might any slice of time.

Scattered Junk by Timothy Morton, 2011:



Aside from his talents as a filmmaker, Timothy Morton is one of the most interesting actors/personalities in movies today: see his notable appearances in Kentucker Audley's Team Picture, Ginger Sand, Family Tree (playing Lena Dunham's brother), or the great Holy Land. You can watch Scattered Junk in its entirety on your laptop, desktop, iPad, or phone for free at Audley's excellent No Budge site here. (Just be good and watch in full-screen mode if you can, and plug in some headphones.)

Scattered Junk by Timothy Morton, 2011:



===


Other pieces at Cinemasparagus about films involving Timothy Morton:

Team Picture

Ginger Sand

Family Tree

Holy Land


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Saturday, December 24, 2011

The Winter's Tale


[c. 1610]





I.ii


HERMIONE

Come, I'll question you / Of my lord's tricks, and yours, when you were boys: / You were pretty lordlings then?

POLIXENES

We were, fair Queen, / Two lads that thought there was no more behind / But such a day tomorrow as today, / And to be boy eternal.

HERMIONE

Was not my lord / The verier wag o' th' two?

POLIXENES

We were as twinned lambs, that did frisk i' th' sun, / And bleat the one at th' other; what we changed / Was innocence for innocence; we knew not / The doctrine of ill-doing, nor dreamed / That any did; had we pursued that life, / And our weak spirits ne'er been higher reared / With stronger blood, we should have answered heaven / Boldly, "not guilty"; the imposition cleared, / Hereditary ours.

===


I.ii


LEONTES

Mamillius, / Art thou my boy?

MAMILLIUS

Ay, my good lord.

LEONTES

I' fecks! / Why, that's my bawcock. What, hast smutched thy nose? / They say it is a copy out of mine. Come, Captain, / We must be neat — not neat, but cleanly, Captain: / And yet the steer, the heifer, and the calf, / Are all called neat. Still virginaling / Upon his palm? How now, you wanton calf, / Art thou my calf?

MAMILLIUS

Yes, if you will, my lord.

LEONTES

Thou want'st a rough pash, and the shoots that I have / To be full like me: yet they say we are / Almost as like as eggs; women say so, / That will say anything. But were they false / As o'er-dyed blacks, as wind, as waters; false / As dice are to be wished, by one that fixes / No bourn 'twixt his and mine — yet were it true / To say this boy were like me. Come, Sir Page, / Look on me with your welkin eye. Sweet villain, / Most dear'st, my collop! Can thy dam, may 't be? / Affection! Thy intention stabs the center. / Thou dost make possible things not so held, / Communicat'st with dreams — how can this be? — / With what's unreal thou coactive art, / And fellow'st nothing. Then 'tis very credent / Thou mayst co-join with something, and thou dost, / And that beyond commission, and I find it, / And that to the infection of my brains, / And hardening of my brows.

===


I.ii


LEONTES

Gone already! / Inch-thick, knee-deep, o'er head and ears a forked one! / Go play, boy, play: thy mother plays, and I / Play too — but so disgraced a part, whose issue / Will hiss me to my grave; contempt and clamour / Will be my knell. Go play, boy, play. There have been, / Or I am much deceived, cuckolds ere now, / And many a man there is, even at this present, / Now, while I speak this, holds his wife by th' arm, / That little thinks she has been sluiced in 's absence, / And his pond fished by his next neighbour, by / Sir Smile, his neighbour; nay, there's comfort in 't, / Whiles other men have gates, and those gates opened, / As mine against their will. Should all despair, / That have revolted wives, the tenth of mankind / Would hang themselves. Physic for 't there's none; / It is a bawdy planet, that will strike / Where 'tis predominant, and 'tis powerful, think it, / From east, west, north, and south. Be it concluded, / No barricado for a belly. Know 't / It will let in and out the enemy, / With bag and baggage. Many thousand on 's / Have the disease, and feel 't not. How now, boy!

===


I.ii


LEONTES

Is whispering nothing? / Is leaning cheek to cheek? Is meeting noses? / Kissing with inside lip? Stopping the career / Of laughter with a sigh (a note infallible / Of breaking honesty)? Horsing foot on foot? / Skulking in corners? Wishing clocks more swift? / Hours, minutes? Noon, midnight? And all eyes / Blind with the pin and web, but theirs; theirs only, / That would unseen be wicked? Is this nothing? / Why, then the world and all that's in 't is nothing, / The covering sky is nothing, Bohemia nothing, / My wife is nothing, nor nothing have these nothings, / If this be nothing.

===


III.iii


SHEPHERD

I would there were no age between ten and three-and-twenty, or that youth would sleep out the rest; for there is nothing in the between but getting wenches with child, wronging the ancientry, stealing, fighting. Hark you now! Would any but these boiled brains of nineteen and two-and-twenty hunt this weather? They have scared away two of my best sheep, which I fear the wolf will sooner find than the master; if anywhere I have them, 'tis by the seaside, browsing of ivy. Good luck, an 't be thy will, what have we here? Mercy on 's, a barne! A very pretty barne; a boy or a child, I wonder? A pretty one, a very pretty one; sure, some scape; though I am not bookish, yet I can read waiting-gentlewoman in the scape. This has been some stair-work, some trunk-work, some behind-door-work; they were warmer that got this than the poor thing is here.

===


IV.iii


AUTOLYCUS (THE THIEF)


My traffic is sheets; when the kite builds, look to lesser linen. My father named me Autolycus, who being, as I am, littered under Mercury, was likewise a snapper-up of unconsidered trifles. With die and drab, I purchased this caparison, and my revenue is the silly cheat. Gallows and knock are too powerful on the highway. Beating and hanging are terrors to me; for the life to come, I sleep out the thought of it.

===


IV.iv


POLIXENES

Shepherdess — / A fair one are you — well you fit our ages / With flow'rs of winter.

PERDITA

Sir, the year growing ancient, / Not yet on summer's death, nor on the birth / Of trembling winter, the fairest flow'rs o' th' season / Are our carnations, and streaked gillyvors, / Which some call Nature's bastards; of that kind / Our rustic garden's barren; and I care not / To get slips of them.

POLIXENES

Wherefore, gentle maiden, / Do you neglect them?

PERDITA

For I have heard it said, / There is an art, which in their piedness shares / With great creating Nature.

POLIXENES

Say there be; / Yet Nature is made better by no mean / But Nature makes that means; so over that art, / Which you say adds to Nature, is an art, / That Nature makes. You see, sweet maid, we marry / A gentler scion to the wildest stock, / And make conceive a bark of baser kind / By bud of nobler race. This is an art / Which does mend Nature, change it rather; but / The art itself is Nature.

PERDITA

So it is.

POLIXENES

Then make your garden rich in gillyvors, / And do not call them bastards.

PERDITA

I'll not put / The dibble in earth, to set one slip of them; / No more than were I painted, I would wish / This youth should say 'twere well, and only therefore / Desire to breed by me. Here's flow'rs for you: / Hot lavender, mints, savory, marjoram, / The marigold that goes to bed wi' th' sun, / And with him rises, weeping; these are flow'rs / Of middle summer, and I think they are given / To men of middle age. You're very welcome.

===


IV.iv


SERVANT

He sings several tunes faster than you'll tell money; he utters them as he had eaten ballads, and all men's ears grew to his tunes.

CLOWN

He could never come better; he shall come in; I love a ballad but even too well, if it be doleful matter merrily set down; or a very pleasant thing indeed, and sung lamentably.

SERVANT

He hath songs for man or woman of all sizes; no milliner can so fit his customers with gloves. He has the prettiest love songs for maids, so without bawdry, which is strange; with such delicate burdens of dildos and fadings: "Jump her, and thump her"; and where some stretch-mouthed rascal would, as it were, mean mischief, and break a foul gap into the matter, he makes the maid to answer, "Whoop, do me no harm, good man"; puts him off, slights him, with "Whoop, do me no harm, good man."

===


IV.iv


POLIXENES

Mark your divorce, young sir, / Whom son I dare not call; thou art too base / To be acknowledged. Thou, a scepter's heir, / That thus affect'st a sheep-hook! Thou, old traitor, / I am sorry that by hanging thee, I can / But shorten thy life one week. And thou, fresh piece / Of excellent witchcraft, who of force must know / The royal fool thou cop'st with —

SHEPHERD

O my heart!

POLIXENES

I'll have thy beauty scratched with briers and made / More homely than thy state. For thee, fond boy, / If I may ever know thou dost but sigh / That thou no more shalt see this knack — as never / I mean thou shalt — we'll bar thee from succession; / Not hold thee of our blood, no not our kin, / Farre than Deucalion off. Mark thou my words. / Follow us to the court. Thou, churl, for this time, / Though full of our displeasure, yet we free thee / From the dead blow of it. And you, enchantment, / Worthy enough a herdsman — yea him, too, / That makes himself, but for our honour therein, / Unworthy thee — if ever henceforth thou / These rural latches to his entrance open, / Or hoop his body more with thy embraces, / I will devise a death as cruel for thee / As thou art tender to 't.

PERDITA

Even here undone!

===


IV.iv


AUTOLYCUS

I understand the business, I hear it. To have an open ear, a quick eye, and a nimble hand, is necessary for a cutpurse; a good nose is requisite also, to smell out work for th' other senses. I see this is the time that the unjust man doth thrive. What an exchange had this been without boot! What a boot is here, with this exchange! Sure, the gods do this year connive at us, and we may do anything extempore.

===


V.ii


CLOWN

Give me thy hand. I will swear to the Prince thou art as honest a true fellow as any is in Bohemia.

SHEPHERD

You may say it, but not swear it.

CLOWN

Not swear it, now I am a gentleman? Let boors and franklins say it, I'll swear it.

SHEPHERD

How if it be false, son?

CLOWN

If it be ne'er so false, a true gentleman may swear it in the behalf of his friend; and I'll swear to the Prince thou art a tall fellow of thy hands, and that thou wilt not be drunk; but I know thou art no tall fellow of thy hands, and that thou wilt be drunk; but I'll swear it, and I would thou wouldst be a tall fellow of thy hands.

AUTOLYCUS

I will prove so, sir, to my power.

CLOWN

Ay, by any means prove a tall fellow. If I do not wonder how thou dar'st venture to be drunk, not being a tall fellow, trust me not.

===





===

Monday, November 28, 2011

Cymbeline


[c. 1609]





I.iv


IACHIMO

You must not so prefer her 'fore ours of Italy.

POSTHUMUS LEONATUS

Being so far provoked as I was in France, I would abate her nothing, though I profess myself her adorer, not her friend.

IACHIMO

As fair and as good — a kind of hand-in-hand comparison — had been something too fair and too good for any lady in Britain. If she went before others I have seen, as that diamond of yours outlusters many I have beheld, I could not but believe she excelled many; but I have not seen the most precious diamond that is, nor you the lady.

POSTHUMUS LEONATUS

I praised her as I rated her. So do I my stone.

IACHIMO

What do you esteem it at?

POSTHUMUS LEONATUS

More than the world enjoys.

IACHIMO

Either your unparagoned mistress is dead, or she's outprized by a trifle.

POSTHUMUS LEONATUS

You are mistaken. The one may be sold or given, or if there were wealth enough for the purchase or merit for the gift. The other is not a thing for sale, and only the gift of the gods.

IACHIMO

Which the gods have given you?

POSTHUMUS LEONATUS

Which by their graces I will keep.

IACHIMO

You may wear her in title yours, but you know strange fowl light upon neighbouring ponds. Your ring may be stol'n too. So your brace of unprizable estimations, the one is but frail and the other casual. A cunning thief or a that-way-accomplished courtier would hazard the winning both of first and last.

===


II.v


POSTHUMUS LEONATUS


Is there no way for men to be, but women / Must be half-workers? We are all bastards, / And that most venerable man which I / Did call my father was I know not where / When I was stamped. Some coiner with his tools / Made me a counterfeit; yet my mother seemed / The Dian of that time. So doth my wife / The nonpareil of this. O, vengeance, vengeance! / Me of my lawful pleasure she restrained / And prayed me oft forbearance — did it with / A pudency so rosy, the sweet view on't / Might well have warmed old Saturn — that I thought her / As chaste as unsunned snow. O, all the devils! / This yellow Iachimo in an hour, was't not? / Or less? At first? Perchance he spoke not, but, / Like a full-acorned boar, a German one, / Cried "O!" and mounted; found no opposition / But what he looked for should oppose and she / Should from encounter guard. Could I find out / The woman's part in me! For there's no motion / That tends to vice in man but I affirm / It is the woman's part. Be it lying, note it, / The woman's; flattering, hers; deceiving, hers; / Lust and rank thoughts, hers, hers; revenges, hers; / Ambitions, covetings, change of prides, disdain, / Nice longings, slanders, mutability, / All faults that man may name, nay, that hell knows, / Why, hers, in part or all, but rather all. / For even to vice / They are not constant, but are changing still / One vice but of a minute old for one / Not half so old as that. I'll write against them, / Detest them, curse them. Yet 'tis greater skill / In a true hate to pray they have their will; / The very devils cannot plague them better.

===


III.iv


IMOGEN


Some jay of Italy, / Whose mother was her painting, hath betrayed him. / Poor I am stale, a garment out of fashion, / And, for I am richer than to hang by th' walls, / I must be ripped. To pieces with me! O, / Men's vows are women's traitors! All good seeming, / By thy revolt, O husband, shall be thought / Put on for villainy, nor born where't grows, / But worn a bait for ladies.

===


V.iv


JAILER


A heavy reckoning for you, sir. But the comfort is, you shall be called to no more payments, fear no more tavern bills, which are often the sadness of parting, as the procuring of mirth. You come in faint for want of meat, depart reeling with too much drink; sorry that you have paid too much, and sorry that you are paid too much; purse and brain both empty; the brain the heavier for being too light, the purse too light, being drawn of heaviness. O, of this contradiction you shall now be quit. O, the charity of a penny cord! It sums up thousands in a trice. You have no true debitor and creditor but it; of what's past, is, and to come, the discharge. Your neck, sir, is pen, book, and counters; so the acquittance follows.




===

Thursday, November 17, 2011

André Bazin's 4th-Favorite Film


Cum Memoriam Cordis Musei Tokugawa




===

The Godfather: Parts I & II


The Godfather: Parts I & II by Francis Ford Coppola

"I dedicate my performance as Connie to Nicholas Dean Des Barres."
—Talia Shire




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Monday, November 07, 2011

Chapter Seventeen: Icarus



"Jobs and Sculley asked for other ideas, but the agency folks pushed back. 'You guys didn't want to run "1984" last year,' one of them said. According to Sculley, Lee Clow added, 'I will put my whole reputation, everything, on this commercial.' When the filmed version, done by Ridley Scott's brother Tony, came in, the concept looked even worse. The mindless managers marching off the cliff were singing a funeral-paced version of the Snow White song 'Heigh-ho, Heigh-ho,' and the dreary filmmaking made it even more depressing than the storyboards portended. 'I can't believe you're going to insult businesspeople across America by running that,' Debi Coleman yelled at Jobs when she saw the ad. At the marketing meetings, she stood up to make her point about how much she hated it. 'I literally put a resignation letter on his desk. I wrote it on my Mac. I thought it was an affront to corporate managers. We were just beginning to get a toehold with desktop publishing.' "

— from Steve Jobs by Walter Isaacson, p. 187.

===

Friday, November 04, 2011

The Prague Orgy


[1985]





" 'Yes! Yes! I would iron your shirts all day long.'

" 'That would be the first week,' Bolotka says. 'Then would begin the second week and the excitement of being Mr. Olga.'

" 'That isn't true,' she says, 'I would leave him alone.'

" 'Then would begin the vodka,' Bolotka says. 'Then would begin the adventures.'

" 'Not in America,' weeps Olga.

" 'Oh,' says Bolotka, 'you would not be homesick for Prague in New York City?'

" 'No!'

" 'Olga, in America you would shoot yourself.'

" 'I will shoot myself here!'

" 'With what?' asks Bolotka.

" 'A tank! Tonight! I will steal a Russian tank and I will shoot myself with it tonight!' "

•••


"Someone stares at me from a nearby table while I continue sizing up the floor and with it the unforeseen consequences of art. I am remembering the actress Eva Kalinova and how they have used Anne Frank as a whip to drive her from the stage, how the ghost of the Jewish saint has returned to haunt her as a demon. Anne Frank as a curse and a stigma! No, there's nothing that can't be done to a book, no cause in which even the most innocent of all books cannot be enlisted, not only by them, but by you and me. Had Eva Kalinova been born in New Jersey she too would have wished that Anne Frank had never died as she did; but coming, like Anne Frank, from the wrong continent at the wrong time, she could only wish that the Jewish girl and her little diary had never even existed."

•••


"I board a trolley by the river, then jump off halfway to the museum where Bolotka is expecting me to pay him a visit. On foot, and with the help of a Prague map, I proceed to lose my way but also to shake my escort. By the time I reach the museum this seems to me a city that I've known all my life. The old-time streetcars, the barren shops, the soot-blackened bridges, the tunneled alleys and medieval streets, the people in a state of impervious heaviness, their faces shut down by solemnity, faces that appear to be on strikes against life—this is the city I imagined during the war's worst years, when, as a Hebrew-school student of little more than nine, I went out after supper with my blue-and-white collection can to solicit from the neighbors for the Jewish National Fund. This is the city I imagined the Jews would buy when they had accumulated enough money for a homeland. I knew about Palestine and the hearty Jewish teenagers there reclaiming the desert and draining the swamps, but I also recalled, from our vague family chronicle, shadowy, cramped streets where the innkeepers and distillery workers who were our Old World forebears had dwelled apart, as strangers, from the notorious Poles—and so, what I privately pictured the Jews able to afford with the nickels and dimes I collected was a used city, a broken city, a city so worn and grim that nobody else would even put in a bid. It would go for a song, the owner delighted to be rid of it before it completely caved in. In this used city, one would hear endless stories being told—on benches in the park, in kitchens at night, while waiting your turn at the grocery or over the clothesline in the yard, anxious tales of harassment and flight, stories of fantastic endurance and pitiful collapse. What was to betoken a Jewish homeland to an impressionable, emotional nine-year-old child, highly susceptible to the emblems of pathos, was, first, the overpowering oldness of the homes, the centuries of deterioration that had made the property so cheap, the leaky pipes and moldy walls and rotting timbers and smoking stoves and simmering cabbages souring the air of the semidark stairwells; second were the stories, all the telling and listening to be done, their infinite interest in their own existence, the fascination with their alarming plight, the mining and refining of tons of these stories—the national industry of the Jewish homeland, if not the sole means of production (if not the sole source of satisfaction), the construction of narrative out of the exertions of survival; third were the jokes—because beneath the ordeal of perpetual melancholia and the tremendous strain of just getting through, a joke is always lurking somewhere, a derisory portrait, a scathing crack, a joke which builds with subtle self-savaging to the uproarious punch line, 'And this is what suffering does!' What you smell are centuries and what you hear are voices and what you see are Jews, wild with lament and rippling with amusement, their voices tremulous with rancor and vibrating with pain, a choral society proclaiming vehemently, 'Do you believe it? Can you imagine it?' even as they affirm with every wizardly trick in the book, by a thousand acoustical fluctuations of tempo, tone, inflection, and pitch, 'Yet this is exactly what happened!' That such things can happen—there's the moral of the stories—that such things happen to me, to him, to her, to you, to us. That is the national anthem of the Jewish homeland. By all rights, when you hear someone there begin telling a story—when you see the Jewish faces mastering anxiety and feigning innocence and registering astonishment at their own fortitude—you ought to stand and put your hand to your heart.

"Here where the literary culture is held hostage, the art of narration flourishes by mouth. In Prague, stories aren't simply stories; it's what they have instead of life. Here they have becomes their stories, in lieu of being permitted to be anything else. Storytelling is the form their resistance has taken against the coercion of the powers-that-be."

•••


"No, one's story isn't a skin to be shed—it's inescapable, one's body and blood. You go on pumping it out till you die, the story veined with the themes of your life, the ever-recurring story that's at once your invention and the invention of you."

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Roth in 27-minute interview shortly after being awarded the Man Booker International Prize in May 2011:



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Previous posts on Philip Roth at Cinemasparagus:

The Ghost Writer [1979]

Zuckerman Unbound [1981]

The Anatomy Lesson [1984]

2006 and 2007 Interviews

See also some of the Chaplin entries.


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Monday, October 24, 2011

The Anatomy Lesson


[1984]

And Roth Still Hasn't Been Awarded the Nobel Prize

(And That's a Post for Another Night)





"Zuckerman's mother, a quiet, simple woman, dutiful and inoffensive though she was, always seemed to him a slightly more carefree and emancipated spirit. Redressing historical grievances, righting intolerable wrongs, changing the tragic course of Jewish history—all this she gladly left for her husband to accomplish during dinner. He made the noise and had the opinions, she contented herself with preparing their meal and feeding the children and enjoying, while it lasted, the harmonious family life. A year after his death she developed a brain tumor. For months she'd been complaining of episodes of dizziness, of headache, of little memory lapses. Her first time in the hospital, the doctors diagnosed a minor stroke, nothing to leave her seriously impaired; four months later, when they admitted her again, she was able to recognize her neurologist when he came by the room, but when he asked if she would write her name for him on a piece of paper, she took the pen from his hand and instead of 'Selma' wrote the word 'Holocaust,' perfectly spelled."

•••


"The sharp smells, the decisive noises, the American ideals, the Zionist zeal, the Jewish indignation, all that to a boy was vivid and inspiring, almost superhuman, had belonged to his father; the mother who'd been so enormous to him for the first ten years of his life was as diaphanous in recollection as the chiffon hood. A breast, then a lap, then a fading voice calling after him, 'Be careful.' Then a long gap when there is nothing of her to remember, just the invisible somebody, anxious to please, reporting to him on the phone the weather in New Jersey. Then the Florida retirement and the blond hair. Neatly dressed for the tropics in pink cotton slacks and a monogrammed white blouse (wearing the pearl pin he'd bought years before in Orly Airport and brought home for her from his first summer in France), a little brown-skinned blond-haired woman waiting down at the end of the corridor when he gets off the elevator with his bag: the unconstrained grin, the encompassing dark eyes, the sad clinging embrace, instantly followed by the gratitude. Such gratitude! It was as though the President of the United States had arrived at the condominium to call upon some lucky citizen whose name and address had been drawn from a hat."

•••


"Out past the new condominium that had gone up next door, he saw a wide slice of the bay. So long as her husband was alive, they used to look at the bay ritually from the bedroom balcony every evening after dinner and the TV news. 'Oh, Nathan, you should have seen the colors last night at sunset—only you would have the words to describe it.' But after Dr. Zuckerman's death, she couldn't face all that ineffable beauty alone and just kept watching television, no matter what was on."

•••


"She sent the chauffeur all the way down to Allen Street for the stuffed peppers from Seymour's Parkway, and then came over in the car to heat them up for his dinner. She rushed into the little kitchenette in her red-fox Russian cossack coat and, when she came out with the steaming pot, was wearing only her heels. Gloria was nearing forty, a firm, hefty brunette with protruding circular breasts like targets, and electrifying growths of hair. Her face could have been a Spanish mulatto's: almond eyes, a wide, imposing jaw, and full rounded lips with peculiarly raised edges. There were bruises on her behind. He wasn't the only primitive she babied and he didn't care. He ate the food and he tasted the breasts. There was nothing Gloria didn't remember to carry in her bag: nippleless bra, crotchless panties, Polaroid camera, vibrating dildo, K-Y jelly, Gucci blindfold, a length of braided velvet rope—for a treat, on his birthday, a gram of cocaine. 'Times have changed,' said Zuckerman, 'since all you needed was a condom.' 'A child is sick,' she said, 'you bring toys.' True, and Dionysian rites were once believed to have a therapeutic effect on the physically afflicted. There was also the ancient treatment known as the imposition of hands. Gloria had classical history on her side. His own mother's means for effecting a cure were to play casino on the edge of the bed with him when he was home with a fever. So as not to fall behind in her housework, she'd set her ironing board up in his bedroom while they gossiped about school and his friends. He loved the smell of ironing still. Gloria, lubricating a finger and slipping it in his anus, talked about her marriage to Marvin.

"Zuckerman said to her, 'Gloria, you're the dirtiest woman I've ever met.'

" 'If I'm the dirtiest woman you've ever met, you're in trouble. I fuck Marvin twice a week. I put down my book, put out my cigarette, turn out the light, and roll over.'

" 'On your back?'

" 'What else? And then he puts it in and I know just what to do to make him come. And then he mumbles something about tits and love and he comes. Then I put on the light and roll on my side and light up a cigarette and get on with my book. I'm reading the one you told me about. Jean Rhys.'

" 'What do you do to make him come?'

" 'I make three circles this way, and three circles the other way, and I draw my fingernail down his spine like this—and he comes.'

" 'So you do seven things.'

" 'Right. Seven things. And then he says something about my tits and love, and he comes. And then he falls asleep and I can turn on the light again and read.' "

•••


"...'I've been so busy with my old man I haven't even had time to think about my mother. That'll come later, I suppose. What's it like for you, without them? I still remember your folks and your kid brother when they all came out to visit on the train.'

"The differences in their family predicament Zuckerman preferred not discussing right then—it could only promote further dismissive interpretations of his motives. Zuckerman was still stunned by how matter-of-factly Bobby had opposed him. His plan to change his life had seemed as absurd to Bobby as it had to Diana when he'd invited her to come out with him to Chicago and go to school.

" 'What's it like,' Bobby asked him, 'three, four years after they're gone?'

" 'I miss them.' To miss. To feel the absence of. Also, to fail to do, as to miss an opportunity.

" 'What'd they make of Carnovsky?'

" In the old days he would have told him the truth—back then Zuckerman would have kept Bobby up half the night telling him the truth. But to explain that his father had never forgiven the mockery that he saw in Carnovsky, of both the Zuckermans and the Jews; to describe his acquiescent mother's discomposure, the wounded pride, the confused emotions, the social embarrassment during the last year of her life, all because of the mother in Carnovsky, to tell him that his brother had gone so far as to claim that what he'd committed wasn't mockery but murder... well, he didn't consider it seemly, twenty years on, still to be complaining to his roommate that nobody from New Jersey knew how to read."

•••


" ...'Shirley Temper happens to be as bright as any actress working in the legitimate theater. Why is she doing it? She's doing it because she is pulling in a thousand dollars a day. My money. Is that debasing women? She's doing it because a Broadway play opens and closes in a week and she's back with the unemployed, while with me she works all the time, has the dignity of a working person, and gets the chance to play a whole variety of roles. Sure, some of them are the classic woman who is looking for a strong pimp to rob them blind. Some people are always going to be exploited and not take responsibility for their own lives. Exploiting goes on everywhere there are people willing to be exploited. But Shirley says fuck that. And she didn't belong to the college sorority with Jane Fonda and Gloria Steinem. Scranton PA, that was her college.' "

•••


"The last of the old-fashioned fathers. And we, thought Zuckerman, the last of the old-fashioned sons. Who that follows after us will understand how midway through the twentieth century, in this huge, lax, disjointed democracy, a father—and not even a father of learning or eminence or demonstrable power—could still assume the stature of a father in a Kafka story? No, the good old days are just about over, when half the time, without even knowing it, a father could sentence a son to punishment for his crimes, and the love and hatred of authority could be such a painful, tangled mess."

•••


"He'd been considered a great mocker once himself, but never as diabolically inspired as this. Even without the aid of his glasses, he understood that he didn't look like he was on the ball. He thought, Just don't make me write about it after. Not everything has to be a book. Not that, too.

"But back in bed he thought, The burden isn't that everything has to be a book. It's that everything can be a book. And doesn't count as life until it is."

•••


[from Philip Roth's 1984 introduction to the Franklin Library limited-edition of The Anatomy Lesson]:

"In The Ghost Writer, young Zuckerman imagines himself morally rescued by marrying the martyred Anne Frank, shielded by that fantasied union from charges of betraying his family, and Jews generally, with his reckless, ill-considered fiction. In The Anatomy Lesson he imagines himself, with no less exuberance, as the owner of a pornographic dynasty grossing seven million a year, an antisocial desperado with a filthy mouth and a fourteen-thousand-dollar watch, about whom he thinks, '...maybe he is what makes one secretly proudest of being a Jew after all. The more he sits with me, the more I find to like.' Anne Frank's husband has come a long way. [...]

"The Anatomy Lesson is a comedy about searching for relief from all that binds, a comedy of disappointment and imprisonment and loss. Why pain of such proportions should be funny is something I'm unable to explain, except to say that only inasmuch as I can see it as comic do I believe that what I've written originates in motives I can trust."

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Previous posts on Philip Roth at Cinemasparagus:

The Ghost Writer [1979]

Zuckerman Unbound [1981]

2006 and 2007 Interviews

See also some of the Chaplin entries.


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