Sense of Things

"We cannot interpret the signs of a loved person without proceeding into worlds that have not waited for us in order to take form, that that formed themselves with other persons, and in which we are at first only an object among the rest. The lover wants his beloved to devote to him her preferences, her gestures, her caresses. But the beloved's gestures, at the very moment they are addressed to us, still express that unknown world that excludes us. The beloved gives us signs of preference; but because these signs are the same as those that express worlds to which we do not belong, each preference by which we profit draws the image of the possible world in which others might be or are preferred." (Gilles Deleuze, trans. Richard Howard, Proust & Signs, p. 8)

Why did cinema not produce "historical analyses, theories, essays, memoirs" (as Guy Debord asks in In girum imus nocte et consumimur igni)? When Susan Sontag advocated an "erotics" for art in the 1960s (a call-to-arms that would have many a sensuous-formalist gearing up even today), I wonder how healthy any of that would have been. That is, an erotics which seeks only to find satisfaction in its own pleasure - a cinephilia dying that couldn't come to terms with its own obsolescence. This despite the fact that nothing like it ever really lived long. The erotics of a particular mode of elite spectatorship (though this 'elite' is not definitively elitist, nor could it be unduly described, simply, as just marginal) ... this passes, this family resemblance of cinephilias that have nevertheless been quick to forget and quicker to forgive its own common afflictions.

(If someone has sought out Serge Daney's work on television, who among these have done some more to really search out critical discussion of television? Can a given cinephile can take a stance on television that is well-considered? It's worth thinking about.)

The sense of a thing, and the "erotic" attachment to it, when robust does ( - must - ) create an offspace, the field of other possible worlds; myopia reinvests this kind of negativity in a continual reworking of the cinema, so that we find all the answers to all the problems we think we've discerned, located, worked on. But all we've done is bury deeper a certain lack. (This is why that fellow who's chained to the cinematheque quotes: "Cinephilia is a lack of ambition.") Cinephilia is among other things historically marked by a confusion over what's to be found in an image, why we're looking there in the first place.

Quote of the Day

"Currently, for many people in the upper-middle class in the United States and perhaps in other parts of the world, face lifts and the cheaper alternative, botox, have become the norm, a regular medicalized procedure they undergo to increase job potential, gain status or erotic opportunity, and achieve control over their social mobility and class position in a constantly unstable world. If Lily Tomlin no longer has the wonderfully expressive face she had as a comedienne, in Damages her appearance well matches her role as a tastefully coiffed and botoxed rich-man’s-wife. In this show, most of the characters are upper-middle class, so that the actors’ cosmetically worked-on faces fit well with the narrative’s entrepreneurial psychology, one that neoliberalism now imposes on the managerial class: work on yourself, develop yourself, make good choices, take charge of your life—especially in terms of services you can buy.

"In current television and popular culture, there is a significant division between connotative imagery, as in the photos above of actors and public figures, and the televisual narrativization of plastic surgery and other personal “makeovers.” On the one hand, we have that which is merely suggested. On the other, we have shows such as Extreme Makeover, The Biggest Loser, or What Not to Wear which depict how people, often lower middle class or working class, submit to regimens of authority dictated by experts in the fields of fashion, personal appearance, and physical culture. These are disciplinary regimes, as described by Michel Foucault; the shows’ participants are expected to internalize the experts’ norms. Both within the shows and in the eyes of viewers, all the minute aspects of the participants’ bodies are judged, evaluated, objectified, and constantly measured for deviation and conformity. Those on the makeover shows are rehabilitated through monitoring and regulation—both the authorities’ taste and their own internalization of the authorities’ norms."

—Julia Lesage, "Watching for Botox" (here).

Image of the Day

... the other customers ...

So as not to disturb the other customers. This deadening of the language marks the convergence of all people being some kind of consumers (or "customers") with the controversial sham that all people are in all situations nothing but consumers (or "customers"). Public transportation speaks of its passengers as customers; schools and universities are likely to cater more and more to customers instead of students (what is education now but a service provided?), clinics and hospitals treat customers. Nobody reading these lines needs me to perform for them an indignant rebuke of the wicked consumerist core of this enterprise. (At least the vulgarization here is on some level honest.) What else does bother me is the homogenization of multiple meanings, which had enjoyed multiple corresponding words, into a single word, a word which itself may have different meanings and contexts, but whose sameness could very well be used to spackle over differences and arrive at ridiculous sociopolitical or juridical conclusions. As with corporations being "individuals."

"If the root be in confusion, nothing will be well governed." (Pound/Confucius)

Going Places

Belatedly

Exiled

About a decade ago, Nicole Brenez wrote of Crouching Tiger, Hidden Dragon that academicism has never been so brilliant. I'm tempted to say the same thing of Johnnie To's Exiled, which I finally saw not long ago. How shrewdly and confidently it employs narrative shorthand! (The device of photography, frozen, suggests an entire prehistory for the film, when in fact there isn't much back-story suggested except through the ambiguous nostalgia of a picture, of sets and costumes designed to tastefully evoke spaghetti westerns.) It all works so beautifully, however. The compositions are often eye-popping, as in the two screengrabs that illustrate this post. It's very moving too; another thing I'm tempted to say is that it's the greatest gangster film since Once Upon a Time in America.

Image of the Day

Richard Jenkins during the quail dinner in Flirting with Disaster. I just revisited this online, not though with very strict attention to it. Maybe my third or fourth go-round of this one over the years, and Jenkins' comic performance is one of the things that stands out most this time around. It's integrated into the rest of the film so well, blink-and-you-miss-it quick faces and reactions, almost seamless.

Lookalike

(Above: the great filmmaker Raoul Ruiz, top, and the character actor Steven Geray, from Gilda).

Image of the Day

Recently Seen

A big difference between Paul Blart: Mall Cop and a lot of Judd Apatow stuff is that the former has a good time with 'mall culture' and its space (like Romero's Dawn of the Dead), while the latter just figures it as a form of contemporary naturalism.

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That said, I have been persuaded recently, finally, to watch with Freaks & Geeks (I'm not quite finished with the entirety of its run), which Apatow had a hand in. It is as amazingly good as most stuff bearing his name is just grimace-inducingly bad.

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For the first or second time in a decade, I've seen five Best Picture nominees before Oscar night. Unfortunately this is the year they extended the field back to ten. (Would you like my rundown? Avatar: eh. Hurt Locker: eh. Inglourious Basterds: some strong elements. Up in the Air: some strong elements, fine middlebrow cinema.) Just today I watched District 9 and it's quite something. Stupid, sure. But also clever. Both 'anti-apartheid' and 'blatantly racist'? You bet. It's one of those films designed to be "read," "interpreted," whose ostensible progressivism can really be taken in any number of ways. It's nice that non-whiteness doesn't necessarily, ultimately signify irrationality, mythicism, etc., here ... though that's the take-away from certain isolated scenes. At the same time, there's a tone to the critique, as though multicultural liberalism is the blind flaw and enemy of humanity, the worst and weakest of (codedly white) militant liberalism (which is good, well-meaning, sane). There's a line to be crossed that situates criticism of "liberal" policies not anymore from a progressive standpoint but rather from the standpoint of downright hatred, opposition, fear. (Comedian Louis CK, whose stand-up I've also been sampling recently, exploits this very line.) The best thing about District 9 is the savvy with which it plunders generic codes (surveillance footage, handheld cameras, allegorical sf) as well as the sense of humor it maintains throughout, and the fact that the narrative never totally succumbs to a central conflict theory, but rather feels 'on the run.' The freedom in this respect is kind of breathtaking. I would say it's the best film for the adolescent male demographic featuring CGI bug-aliens since Starship Troopers.

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Shutter Island, maybe my favorite Scorsese film in 15 years, is a bit like David Fincher's Panic Room: shallow, genre-bound, beautiful, trying (successfully in my case) to play and tug upon deep-seated feelings. I liked it much more than I expected, and probably a bit more even than Roman Polanski's very fine, quite beautiful anti-Blairite film The Ghost Writer. (Polanski's is a serious genre movie with actual political commentary; Shutter Island is openly a 'mere' entertainment—and I wouldn't dispute that label—that is nevertheless vastly more intelligent than most pro critics ever grant mere entertainment to be.) One problem is that everyone expects or hopes the culture industry product they like to also align with their political sympathies on some level, and to express their political (dis)tastes. Sometimes this is the case, but not always, and rarely is great art (especially when we deal with cinema) distinctly aligned with a viable political critique. (It exists in the off-spaces; its operationalized in its afterlives through real people in real contexts.) Especially as politics change but a film is not as open to rearticulation in the same sense that a play is (or even a novel, perhaps?).

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The last multiplex-type film I saw that was roughly as bad, as bored with itself, as cynical, as The Wolfman (Joe Johnston, 2010) was Sherlock Holmes (Guy Ritchie, 2009). Though the latter, at least, had Robert Downey, Jr., in its corner. Iron Man 2 is probably going to be absolutely awful, but ... the first third of Iron Man was quite decent, the only worthwhile blockbuster superhero cinema I know from the past ten years, aside from the first half-hour of Batman Begins (fascistic-militaristic but at least openly, interestingly so) and the first two Spider-Man films (Raimi delivers minor plastic fun). OK, I didn't bother to see Watchmen, readers let me know if this is a serious omission on my part.

Shyamalan Notes

In my head the template for Shyamalan's career is George A. Romero's masterpiece Knightriders: a film, a genre film, that is baldly ludicrous on its face ... and yet taken so seriously that it arrives at a certain admirable, mesmerizing intensity. But wait—can't zealous, solemn, deliberately meaningful genre films be a buzzkill (to say the least)!? Of course, of course. Obviously. But I'd say there are two broad kinds of elevating seriousness open to the mere genre entertainment. One is externalizing, communicative: communicating above and around the trappings of "genre" or "entertainment" to impart a series of messages or postures. (The sort of genre film that tends to win awards & critical hosannas.) Another is internalizing, an invitation down a rabbit hole.

Shyamalan often works on both registers, I think it should be admitted. The most ferocious critics of Signs, for instance, focused on the cheapness of its New Age nondenominationalism, the gracelessness (or unconvincingness) with which it peddled its "signs" and coincidences. Quite guilty! At the same time, the singlemindedness with which Shyamalan pursues his themes and expresses his stylistic tics also has its virtues. I don't know that I'm very interested in making (or reading) a case for Shyamalan as "auteur" that identifies his consistent themes, as these are, in his case, merely obvious, repetitious. But the way Shyamalan (consistently) constructs timing, line delivery, perspectival planes, the "weight" of the image (Ignatiy Vishnevetsky, in one of the very best commentaries on MNS I know, says "When the camera is stationary, it isn’t resting, it’s bolted down.") ... these things are fascinating, and possessed of an integrity of their own.

I can understand why someone would say Shyamalan's cinema is ultimately bad. I wouldn't even necessarily disagree with them. But I can't understand anyone saying they can't see anything of authentic and rare interest in Shyamalan's cinema. None of Shyamalan's work is as good as Knightriders; but aspects of it are far above 90-95% of what else is getting made in Hollywood. There's the intensity of focus, the sheer glee in working with 'restricted' elements (e.g., color palette), the willingness to create nonsensical stories and premises with ordinary heroes (Shyamalan's people aren't ubermenschen or anything of the kind, whereas a Bruckheimeresque blockbuster is populated by gifted experts of mind & flesh).

No Comment (Almost)

This isn't new, but it was new to me when I came across it recently. The chairman of Mensa International apparently chose these ten TV shows as his favorites, or the best ones, or something like that. I reproduce the list and its justifications, holding back all I want to say, except to point out that for good television it is apparently crucial to have "repartee" and "science."

1. "M*A*S*H" – It had smart repartee and was so much more than a comedy.

2. "Cosmos" (with Carl Sagan) – Sagan was able to communicate something extremely complicated to the layman and do it well, and that’s unusual for a scientist at his level.

3. "CSI" — The way they use science to solve their programs is intriguing to viewers.

4. "House" – Again, it’s high level type of show; it’s the personality that makes it a winner, plus it deals with science.

5. "West Wing" – You had to pay attention to stay up with it. The repartee was fast and furious and you needed a fairly high level intelligence to keep up with it.

6. "Boston Legal" – It’s primarily because of the characters. The story lines are okay, but the characters are incredible and the writers give them great dialogue.

7. "All in the Family" – The show dealt with social issues before its time and was on the forefront of trying to show people’s feelings, beliefs and the complexities of personality, in both a serious and comedic way.

8. "Frasier" – The repartee was sensational; the main characters were very good. Even though they portrayed people who were likely of high intelligence, they also showed their weaknesses.

9. "Mad About You" – It’s a personal favorite, I loved the characters and the back and forth. It was very smart.

10. "Jeopardy" – It’s about the only game show that really tries to test people’s intelligence. There’s very little luck involved, and there are few game shows like that. I don’t watch it all that much honestly, but from what I’ve seen it tests more than knowledge, it tests intelligence too.

Butterflies

"Is this what a Nostromo sequel would look like, shot by Pedro Costa?" (Danny Kasman)

"Surreal, absurd and sad—all hallmarks of a Lav Diaz film—Butterflies, and indeed there are actually butterflies, is all the more haunting in that it seems to be foreshadowing a real-life event—the killing earlier this month of Canadian-Filipino film critic Alexis Tioseco and his partner Slovenian film critic Nika Bohinc, likely by people they knew, but were not wearing masks." (Wise Kwai)

These low-constrast images are fascinating. I kept thinking, 'These shots seem so simple, so obvious, and yet I can't recall a film that looks to have been made quite like this.' Roaring white noise in the background will give way to dead silence from shot-to-shot; roosters crow all around you in one take; motors and traffic. Murky depths everywhere. Beautiful, ugly, picturesque, mundane: this video is balanced on a knife-edge.

The plot of Butterflies Have No Memories, such as it is, reveals itself slowly and obliquely. There's a dead-and-gutted mining town. A Canadian woman, Martha, comes back to this place, where her family used to live in its industrial heyday. She tries to socialize with her old friends and family employees, who are too busy with their own problems & the getting-on-with of life. No time or inclination for idle nostalgia in a home they've never left, a privileged past they've never romanticized. Some of the villagers concoct a plan (with different levels of moral feeling) to kidnap Martha. From there the film goes even deeper into an abyss. Somehow Butterflies Have No Memories seems to be both in the vein of novelistic, richly structured moral exposé and as well in the "slow," "meandering," small-s surrealist paradigm of contemporary festival cinema.

I do not expect this to be the last time I write on Lav Diaz's work ...

Hurting

Some potential reactions to The Hurt Locker:

A. "This movie is metal, bro."
B. "This movie is about how soldiers experience contemporary warfare as metal, bro."
C. "This movie is metal, bro, and it was directed by a woman."
D. "This movie is about how soldiers experience contemporary warfare as metal, bro, and it was directed by a woman."
E. "This movie is about how soldiers experience contemporary warfare as metal, bro, and it was directed by a woman, and I am vaguely cognizant that there are, like, kickass gender implications at play."

Obviously there are additional, and different potential reactions to The Hurt Locker, but I'd be lying if I said that I didn't pick up some of these vibes from hearing about the film, which I recently caught up with on DVD. (Eh, it's so-so.) But why is it that so many people feel compelled to express their affection for Bigelow primarily through the prism of her being, essentially, a tomboy, and then relating this 'praise' as though patting oneself on the back for it? (As one piece of evidence: Rob Nelson's comments in the current issue of Film Comment, where he writes, "Note to Marc Webb, Todd Phillips, and Oren Peli: Kathryn Bigelow is a more muscular director than all of you combined." One might as well be saying: Yeah! Let's make fun of them nancy-boys! It's OK to do so because we've snuck in under the umbrella of gender equality!)

Isn't this really just a symptom of the sorts of thinking we should be moving beyond? Yes, Bigelow is a quite talented director. Some people consider her one of the preeminent directors in Hollywood today. She is also a woman, and there are not so many of those directing films (and doing a lot of other empowered jobs) as one would think there should be. And one could count on one hand the number of women filmmakers in Hollywood who might be granted, in public and critical discourse, the status of "authorship" and, what's more, a respected authorship, over her films. So indeed it's important to discuss gender, like genre, with respect to a lot of Bigelow's movies. Including The Hurt Locker. At the same time, hasn't she been around, doing her thing, long enough for people to have come up with better ways of understanding her than (implicitly) by strict analogy to one of the tough female action heroes in one of the films helmed by either her or her infamous ex-husband!?

Paramutual

It should go without saying that if Elusive Lucidity is anything beyond a 'public notebook,' which is the author's main intention for this site, it is a club where one of the few dues to be paid is to be open to the art of Jerry Lewis. It's not so much that Jerry Lewis is a particular personal favorite, but rather that he's a lightning rod and litmus test. I'd wager that, chances are, if you like this blog at all, you probably are also a believer in films like The Ladies Man, The Errand Boy, and Cracking Up (aka Smorgasbord). Or you're open to being a believer.

At the same time, cinephilic nostalgia is no fun unless one has some leeway in recontextualizing it. One of the great things about The Errand Boy (1961; all b&w screengrabs in this post, save one obvious one, are from this film) is how beautifully, cheerfully it skewers a company image. For reasons of both professional development and personal leisure, I have been watching—indeed catching up on!—a lot of television in recent months, and my sitcom of choice the past month or so has been NBC's 30 Rock, a few big notches below the best of Tashlin's or Lewis's satires on the big workplace, but very much in the same family tree ... and also very, very funny. (Let's recall that the great, brutal critiques of, say, Frank Tashlin were still very much part of their system, and part of a certain sanctioned tradition of industrial self-criticism and parody. The greatness of Tashlin, as well as his student J. Lewis, is not that he fomented a revolution but that he so robustly, so sharply pulled off greenlit critiques when they could have been otherwise bloodless.)

Disdain for commercial and managerial nomenclature. "... the distinguished firm of Fumble, Fidget & Fuss ..." (The Errand Boy) / The Sheinhardt Wig Company (30 Rock).

"The real: nothing more than a thing to put film on." (The Errand Boy)

"Gods did not create man; man created the gods." (Fritz Lang, as 'Fritz Lang,' in Contempt)

"Fritz, that's wonderful for you and me, but do you think the public is going to understand that?" (Jack Palance's producer to 'Fritz Lang' in Contempt)

"Ya just liked what ya saw ... and you believed what ya liked" (Magnolia in The Errand Boy)

"It doesn't pay much." "But at least the hours are lousy!" (The Errand Boy)

Locations

Biarritz: a beach town in France (in the south of the Bay of Biscay) where old Dodsworth's younger, sad wife is unfaithful to him, and where Delphine in Rohmer's Le rayon vert goes in search of a good vacation (=something to cure her blues ... love?). In Biarritz, in the cinema, one finds sad romance. Maybe not even romance: Baise-moi was shot, in part, in Biarritz ...

Delirium

Quote of the Day

"In fact, a critique of formalism needs to render inadequate an implicit distinction in much current theory between form and content. Using the codes of narrative and realism, a film like Z (Costa-Gavras, 1969) will be said to be recuperated within a reactionary tradition, while a film like Godard's Ici et ailleurs (1976), which is self-reflexively "about" the ways it can be about the PLO, will be said to be progressive at a more advanced level. But no human practice is a collection of formal codes on the one hand and contents ont he other: any particular practice, any textual system, is a combination and mutual displacement of elements into a new semiotic arrangement whose elements cannot be extracted except in an artificial and distorting way. A wave good-bye in a film derives its meaning not only from the social connotations of waving but also from the place of waving in the semiotic practice in the specific text of the film. Z, for example, is not a film with the same old cinematic forms presenting a new content to the necessarily same old end or effect, but a unique text in which the meaning of elements exists in terms of their place in the text where it is impossible to isolate elements as content or form. To take a more immediate example, while a television show like All in the Family used, and repeated, many of the available specific codes of television storytelling (for example, consistent screen direction; definable beginnings, middles, and ends) and so could be said to adhere to an old system of representation, the very introduction of new elements—even if they are elements nonspecific to television (for example, the image of the bigot, the working class accent)—changes that old system; the presence of a new accent on television, for example, becomes part of the textual system, gives the show part of its meaning in a way that is not distinguishable as content or as form. This, however, is not to claim that this new textual system, simply by being new, is in any way inherently subversive of the old. Every message, by not being some other message, is again a differance, a meaning which differs (is like the preexisting) but differs (is unlike the preexistening); the effect of any partcular semiotic arrangement is never given in advance to a text by its adherence (or not) to prior codes, but can only exist in relation to the specific interaction of that text's codical arrangement with other codes (specific and nonspecific) and in the relation of the specific textual system to the whole social semiotics of an historical moment."

—Dana Polan, The Political Language of Film and the Avant-Gard (1985)

Single

If you Google image search A Single Man, and different combinations ("Colin Firth," "Tom Ford"), you'll see that stills don't crop up quite so readily—no, it's a panoply of aspect ratios, media screengrabs + publicity images, photographs from the set. At one moment I'm tempted to say that it's impossible one could have anything of interest to say without knowing a few things about how & why this movie was made; and then, I reverse, and I think that all of the important things about this film are immediately evident.

Possibly the most impressive feature fashioned wholly out of cologne ad aesthetics since Vittorio De Seta's 1966 Almost a Man (Un uomo a metà), I wouldn't say A Single Man is a masterpiece. But. It's much better than I would have ever expected it to be. I don't just mean pretty production design + good performances, although this is part of what constitutes the film's appeal. I think that A Single Man utilizes its painfully fashionable production design to interesting ends (one), and that it also bears mature witness to a certain cultural value system that would have been very easily to distort, parody, and dismiss (two).

What's lost, what's at stake, here? The historical conflict in Tom Ford's movie isn't the progress of gay rights—queerness is taken for granted as a fact of life—but cultural decline across generations. The high (and connotatively aristocratic) seriousness that underwrote camp sensibility is here viewed in its recto expression: seriousness, simply. Colin Firth narrates to say that it takes time for him to become himself in the morning. This could easily encroach upon the more heavily-trodden paths of mere masquerade—the same thing employed/parodied in Far from Heaven. But Firth's character, Prof. Falconer, isn't a social outcast hiding his "true" self—though self-fashioning is part of his identity (as it is for all of us). Falconer is, as a queer man of privilege, taste, and intelligence, privy to the masquerade in which we all partake. The painful part of his life is not a limit on his "self-expression," but rather all the rude and cruel impositions that a heteronormative standpoint would otherwise have one believe are reserved only for the normative elect. (Isn't your male lover really just a substitution for something else? -No.)

So what is interesting about A Single Man is that it deals, nostalgically, for a period and context of queer repression but the film does not even begin to define queerness by that very repression. The repression, its threats, are real; there are rules of seduction and of domesticity which one must perform for the sake of safety; but there is not a negative essence serving as the root of all non-normative desire, affection, love.

The team that designs Mad Men was behind the look of A Single Man, too. But where the acclaimed television show gets a lot of its kicks from pointing out how backwards the era was in the full view of something called Progress, A Single Man is rare because it doesn't valorize the ethos of 1960s "revolution" mythology—that is, the short navel-gazing rebellion of middle-class youth against their bourgeois parents.