What is the quality called "genius"? My dictionary gives several definitions, but the one I like best is:
1. "great mental capacity and inventive ability; especially great and original creative ability in some art, science, etc. 2. a person having such capacity or ability.
I've always thought the term "genius" was an appropriate description of someone who can do something (either with the brain or body) that even people who are themselves proficient in that area of thought or performance are amazed by and in awe of the person's ability. In the field of physics for example, Richard Feynman was regarded as a "genius" even by others who were regarded as being geniuses by the "average" theoretical physicist. In fact, he was regarded as a "magician", because nobody could comprehend how he did what he did. I suppose that his example shows that there are different levels of genius.
By the way, since the brain is a part of the body, the distinction I've made above may very well be redundant. But, there is still some sort of difference between those who excel at strictly mental work (math, physics, linguistics, etc.) and those whose brains enable their bodies to do amazing things (dance, basketball, boxing, etc.).
I decided to look through all my you-tube links I've saved over the years and see if I could find a few that illustrate this (somewhat elusive) quality I call "genius".
And, I found quite a few, some of which I'm including here. I hope you take the time to watch them all - none is over 10 minutes, and all (I think) are fascinating.
David Blaine (Magician)
David Blaine is the Houdini of our time. In addition to being a "conventional" magician (albeit one of "genius" ability) he is (like Houdini) a "daredevil". A few years ago he stood on a 100 foot pillar in Central Park for something like 36 hours. I saw a show about it on TV and someone who had watched this feat as it was happening referred to it as "religious experience", and I understood why. He also holds the world record for holding his breath under water (17 minutes and 50 seconds. His most recent stunt was to hang upside-down in Central Park for 60 hours. That's dangerous. And awe inspiring.
He likes to travel around and perform "street magic", that is, do tricks for people he meets while walking around. What amazes me about many of his tricks is that I can't even begin to formulate a theory about how he does them. You will probably see what I mean if you watch the video whose link is directly below. By the way, if you do have any ideas on how he does his tricks, please send them along to me.
http://www.youtube.com/watch?v=I7C0UCE2YGg
Steve Wright (Comedian)
Steve Wright has a very unique style, which is one of the reason's I regard him as a "genius". His comedy probably doesn't appeal to everyone, because it's relatively sophisticated intellectually. He even brings in philosophical ideas at times.
I think seeing him perform adds a lot to the material. This video is from a concert he did in the 80's.
My question is: how does he come up with his comic ideas? Well, that's what geniuses do.
http://www.youtube.com/watch?v=56v_jenBUpU
Don Imus (Talk Show Host)
"Talk Show Host" doesn't really describe what he does. His show now is a mixture of comedy and interviews with politicians, journalists, sports figures, and various people from other fields of endeavor.
Imus is by far the best interviewer I've ever seen, which is why I have hundreds of his interviews on disk. The video below is a very brief look at his career, and features part of his interview with Bill Clinton.
Over the last 15 years (and this is not mentioned in the video, which is relatively old) Imus has changed his life considerably. He has been completely off drugs and alcohol for almost 20 years, and is now a "health nut". He is now married and has a 10 year old boy. He and his wife run a ranch for children with cancer, and they are both active in environmental affairs.
It is very easy to misinterpret Imus, and many people have (particularly those who don't listen to the show, but have heard some of the remarks he's made out of context).
And, the video itself does not illustrate why Imus is a "genius". You would have to listen to him talk (and in particular listen to his interviews) for a while before that would be clear.
I've been listening to him for around 15 years, which is why I have no problem including him in this newsletter about "genius".
http://www.youtube.com/watch?v=1VFjUSSkY5g
Sid Caesar (Comedian)
I'm old enough to actually remember "Your Show Of Shows", a live, 90 minute comedy show that ran for five years beginning in 1950. I was too young to appreciate it then, but I have seen many sketches from it over the years. And, it is quite obvious that Sid Caesar was (and he's still alive at age 88) a genius. And, he was regarded as precisely that by all the writers who worked for him (people like Carl Reiner, Neil Simon, and Mel Brooks).
He's a "physical" comedian (like Stan Laurel and Dick Van Dyke). He also had an interesting natural ability: the ability to sound like he was speaking a foreign language, even though what he was saying was nonsense. He used this often and in hilarious ways. I imagine that he could have been a serious linguist had he been so inclined.
The video here is one of a married couple arguing to the Background of Beethoven's 5th. As brilliant as this skit is, it boggles the mind to think that it was performed live.
http://www.youtube.com/watch?v=EEhF-7suDsM
Pilobolus Dance Theater
It's hard to label a dance group as a "genius" since it is a collaborative effort, so I guess I'd have to refer to the collective genius of it's founders. Here's some brief background on the group from Wikipedia:
Pilobolus is an internationally-renowned dance company, whose origins are traced to a 1971 Dartmouth College dance class taught by Alison Chase; the founding members were Robby Barnett, Lee Harris, Moses Pendleton, Nicholas Bochte and Jonathan Wolken. The group first began performing in October 1971, and has been touring worldwide since that date, primarily with artistic directors Barnett, Chase, Wolken, and Michael Tracy, though Chase left in 2006, after having collaborated with Pendleton in 1980 to form the offshoot group Momix. Their performances have long been characterized by a strong element of physical interaction between the bodies of the performers, and exaggerations or contortions of the human form (or other anthropomorphic forms), often verging on gymnastics.
Pilobolus has recently come up with an idea it calls "Shadow Dancing". I'm planning to see the group in New York this summer (for the second year in a row), and plan to make sure I see their program of shadow dancing. Here's an example:
http://www.youtube.com/watch?v=YKcYWYvUQPA
Daniel Tammett (Mathematical And Linguistic Savant)
It's not easy to describe Daniel Tammett. He has some talents that are hard to believe are possible. Remember that film "The Rain Man", about the retarded guy who had extraordinary abilities (like being able to multiply huge numbers in his head)? Well, Tammett is like the "rain man" in that sense.
But, there is a very significant sense in which he is different from people like that (who are often called "idiot savants"), in that he is definitely not retarded (although he is considered to be a "high functioning" autistic, he is incredibly articulate). And (this is very significant to the scientists who are studying his mind) he is able to explain how he does what he does.
He can speak 12 languages, and was once given a challenge to learn a difficult language (Icelandic) in a week. One of the videos I'm including below (a small part of a documentary I saw about him) is the story of how that turned out.
http://www.youtube.com/watch?v=qMz3gjl9x-M
He once recited pi to 22,514 places. What fascinates me about this is that he really didn't memorize the numbers in the way that the normal person thinks of it. As he explains, he sees numbers as shapes, and he "sees" pi as an incredibly beautiful structure, which he simply "looks" at in his mind and translates the shapes he sees into numbers.
Here's a short interview he did with Diane Sawyer:
http://www.youtube.com/watch?v=_YYEObFxfGA
Stephen Wiltshire (Painter)
Steven Wiltshire is autistic, but what he can do is... astounding and unbelievable. Of course, much of what "geniuses" can do is exactly that. Just watch this video...
http://www.youtube.com/watch?v=a8YXZTlwTAU
After watching it, if you're wondering if he can also draw people, the answer is yes. He has a gallery now in London and is expanding his repertoire. Here's a link to his website.
The Stephen Wiltshire Gallery - Drawings, paintings and prints
Muhammed Ali (Boxer)
Ali is someone who has always inspired me. He is (in my relatively informed opinion) the greatest boxer who ever lived. That in itself would qualify him for my list here. But, that's not the reason he's on the list. The fact is, he'a a genius in many ways. He could have been a great comedian, a great orator, a great politician, a great ballet dancer (although there is a great similarity between dance and boxing). In fact, many of his fights are comparable to the most beautiful ballets. Watch this brief interview below for an example of his verbal and comedic gifts.
http://www.youtube.com/watch?v=lfHhjBXReEY
Friday, April 3, 2009
Saturday, March 7, 2009
My "Top Nine" Movies Of All Time
For some time, I've been wanting to put together a list of my "all time great" movies and say a few words about them. I've finally done that below. I consider each of them to be a "work of genius", each one of them "perfect" in it's own way.
You'll notice that there are two from the sixties, four from the seventies, two from the eighties, and only one from the nineties, for a total of nine. So, these are the top nine out of the approximately 4000 movies I've seen in my life.
I've wondered why only one of these movies (American Beauty) was made after 1982. I actually think it's just coincidence, as opposed to my having a more jaundiced view or higher standards as I get older.
Were I to go through the list of all the movies I've seen since 1970 (the year I first began keeping a list), I could probably find a couple of more that, upon reflection, I would think belonged on this list. Why (I ask myself) isn't Alan Rudolph's "Afterglow" on it? Perhaps it should be. I'm planning to go back through my lists soon, think about it, and decide if I have overlooked something. I'm also planning to create a "top 50 " list. Although my lists go back only to 1970, I won't forget the great movies made before that ("Citizen Kane" was made in 1941!).
My # 1 movie of all time is Terrence Malick's "Badlands". # 2 used to be "Days Of Heaven", also by Malick (since he's made only four movies, that gives you some idea of my esteem for him), but since 1999 has been replaced by "American Beauty", the first film of theatrical director Sam Mendes (although, unlike Malick's films, "American Beauty" was not written by him). And, "Days Of Heaven" has dropped a bit. "Welcome To L.A." now solidly holds down the # 3 position.
As for the order of the rest, I find it difficult to rank them. As of now, I think it would go like this:
4. One From The Heart
5. Midnight Cowboy,
6. The Panic In Needle Park
7. Days Of Heaven
8. In Cold Blood
9. The Return Of The Secaucus Seven
The last film, "The Return Of The Secaucus Seven" was made for under $100,000 by John Sayles. It might not be as impressive as the others to many people. But, it's on my list, because it manages to do something that no other movie has ever done for me: capture essence of the sixties the way I "felt" it. And, since everyone experienced the sixties in their own way, that's very significant to me.
Finally, if I were to rank these movies next week, the order (with the exception of the top three) might very well be different. And, in a few years, even the order of the top three might change - although "Badlands" has been # 1 since 1973, except for a very brief period in 1999 when "American Beauty" slipped into that position.
Here are my more detailed thoughts on these brilliant movies.
Badlands [1973]
Director: Terrence Malick
I wouldn't have thought that such material could be turned into a film of (in my mind) unsurpassed visual and aural beauty. But, this (my #1 film of all time") is a perfect film.
Martin Sheen as the disturbed (and just plain strange) Kit, and Sissy Spacek as the hapless Holly both turn in the best performances of their career here. And, it was early in both their careers.
Malick has a genius for choosing music that enhances what's on the screen. And what's on the screen is cinematic art, done in a certain style (which I don't have the vocabulary to describe), no matter who the director of photography is, which tells me that Malick's vision must be behind it.
American Beauty [1999]
Director: Sam Mendes
I was so "blown away" by "American Beauty" on first viewing that I elevated it to my "#1 film of all time slot", pushing "Badlands" (which had occupied that position for 26 years) into the number two slot. So obviously, it touched me.
It's about a dysfunctional family in the suburbs. It begins with a slow aerial shot of a suburban neighborhood, and then we hear Kevin Spacey's voice:
"My name is Lester Burnam. This is my neighborhood. This is my street. This is my life. I'm 42 years old, and in less than a year, I'll be dead [now a shot above his bed, where he is just waking up]. Of course, I don't know that yet. And, in a way, I'm dead already [he's now in the shower, and we see him from behind]. Look at me, jerking off in the shower. This will be the high point of my day. It's all downhill from here".
And it is downhill from there, as we see throughout the movie. Lester is alienated from his sullen teenage daughter Janie, and his real estate agent wife Caroline is having an affair. He hates his job.
But, when he becomes infatuated with Janie's seductive high-school classmate, his life begins to change.
As the film ends, he's dead, just like he said he'd be. Exactly how he winds up this way is the subject of my #2 film of all time. In addition to being that, "American Beauty" also features my #1 scene of all time, another monologue by Spacey after he's been killed. The words themselves can't begin to do this scene justice, but I want to put them here anyway. It's the tone of Spacey's voice, and the way he says them, and the haunting music and visuals that accompany them that make them memorable.
I'd always heard your entire life flashes before your eyes the second before you die.
First of all, that one second isn't a second at all; it stretches on forever, like an ocean of time.
For me, it was lying on my back, at boy scout camp, watching falling stars; and yellow leaves, from the maple trees that lined our street; or my grandmother's hands, and the way her skin seemed like paper; and the first time I saw my cousin Tony's brand new firebird. And Janie..... and Janie. And Caroline.
I guess I could be pretty pissed off about what happened to me; but it's hard to stay mad when there's so much beauty in the world.
Sometimes, I feel like I'm seeing it all at once, and it's too much - my heart fills up like a balloon that's about to burst.
And then I remember to relax, and stop trying to hold on to it. And then it flows through me like rain.
And, I can't feel anything but gratitude for every single moment of my stupid little life.
You have no idea what I'm talking about, I'm sure. But, don't worry. You will someday.
Welcome To L.A. [1976]
Director: Alan Rudolph
Welcome To L.A. is about alienation in Los Angeles. About a group of interconnected people who have trouble forming meaningful relationships. About people who exemplify the title of one of the songs in the soundtrack: City Of The One Night Stands.
The soundtrack was written and sung by a guy named Richard Baskin, and the songs resonate with me so much that I still can't understand why Baskin never became a household word. Maybe because of the melancholy nature of his voice and content of the songs. I've listened to the album (which I'm sure would be almost impossible to get today) hundreds of times since I first saw the movie.
So, the music is no doubt one of the reasons that "Welcome To L.A. wound up on this list. But, there are many other reasons. Each member of the cast creates a memorable character.
Keith Carradine (who also sings some of Baskin's songs) brings his special sort of "cool" to his role of Carroll Barber, hip young songwriter who seems alienated from everyone, including his father.
Richard Baskin (the real songwriter) plays the famous singer planning to make an album of Carroll's songs. He has no dialogue other than to sing the songs. Nonetheless, his charisma (and talent) have been indelibly burned into my memory.
Sally Kellerman is great as a totally desperate (for a loving relationship) real estate agent.
Geraldine Chaplin (one of my favorite relatively unknown actresses) is fantastic as a somewhat crazy unfulfilled housewife who spends a lot of time riding around L.A. in cabs.
And Harvey Keitel (in a role totally against type" and unlike any other I've ever seen him in) is a "corporate hotshot" who's driving his wife (Chaplin) crazy through his indifference to her.
I've been looking at some reviews of this , my # 3 "all time great" film, and notice that it got almost universally negative reviews. And, a lot of the reviewers don't like the music either. I guess they just don't get it...
One From The Heart [1982]
Director: Francis Ford Coppola
"One from The Heart" got generally terrible reviews when it was first released (and when it was re-released a few years ago) . But, I thought it was a work of genius then, and I still think that today.
Here's a few blurbs from critics, followed by my brief comments:
A bold experiment in style and technique that doesn't work.
Kevin Thomas, L.A. Times
It was indeed bold and, I think, so far ahead of it's time that it couldn't be appreciated back in 1982, and probably not even today.
An ambitious misfire by a brilliant filmmaker.
Geoff Pevere, Toronto Star
Since this critic acknowledges that Coppola is indeed a "brilliant filmmaker", he should perhaps ask himself if this great artist's vision may in this case exceed his own.
One From The Heart is aptly named. No one will mistake it for "One From The Brain"
Chris Hewitt,St. Paul Pioneer Press
A kind of witless "low blow". But actually, the greatness of the film has nothing to do with "the brain". Rather, it communicates a powerful emotional message.
I was however, able to find a few critics who seemed to be touched by the film in the same way I was:
A playful, delightfully unfathomable piece of magic.
Desson Thomson, Washington Post
The key words here are "playful", delightfully", unfathomable", and "magic". I would also add "fairy tale", "charming", "beautiful", "mesmerizing", "inspiring".
An integral piece of the oeuvre of one of America's great directors.
Ruthe Stein San Francisco Chronicle
I actually think it's his greatest work.
The story is simple. two "average" people (played by Terri Garr and Frederick Forrest ) live in an "fairy-tale -like" Las Vegas (the set is highly stylized, and we could just as well imagine the action taking place in some alternate universe). After five years together, they're both bored, and this soon leads them into "exciting" relationships with charismatic others. And, after experiencing all this "excitement", and the disillusionment that inevitably follows.... they get back together. And presumably live happily ever after. The end.
Sounds mundane right? Sounds like it could have been made in the 1940's right? Well, Coppola uses all the tools available to a filmmaker (including a tremendous musical score by Tom Waits) to make this mundane (and universal) love story into something transcendent.
I like the way this critic put it:
But as Coppola's camera glides through the crowds to trace the criss-crossing trajectories of the frustrated romantics, walls separating lovers all but disappear with the dimming of a light, and a desert junkyard glows like the ghost of Vegas glitz. We're in the realm of magic.
Sean Axmaker, Seattle Post Intelligencer
Yes. That's it. In the "realm of magic" is exactly where we are.
Midnight Cowboy [1969]
Director: John Schlesinger
"Midnight Cowboy" was originally released with the dreaded "X" rating, which usually meant commercial doom. The rating was absurd by today's standards, and by any rational standards, even back then. I think it got it for it's very oblique portrayal of a homosexual act. It later won the "Best Picture" Academy award.
This is another of what I call a "two man show", in that (like "In Cold Blood") it intensely focuses on the relationship between two men (neither of them gay by the way).
Joe Buck (Jon Voigt) is a handsome hayseed from a small town in Texas who decides to go to new York and become a "stud" , thinking that there are plenty of rich, lonely women willing to pay for his "services". He's naive of course, and runs into a very rough time in a very rough city. He meets "Ratso" (Dustin Hoffman), a broken down pathetic little man, a small time "hustler" and homeless person.
Ratso tries to help Joe, and they develop a relationship - two pathetic losers trying to keep each other alive in a city that couldn't care less. Both Ratso and Joe are likable however, and actually decent guys. We feel that both of them could have (like Perry Smith) been "something" if their circumstances had been a bit different. Ratso fantasies all the time about what his life might have been.
"Midnight Cowboy", in addition to being on my "all time great" list, also has my #1 opening scene of all time, which shows Joe preparing to come to New York, and then riding the long way to the city on a grimy greyhound bus, all to the background music of Harry Nilsson's great song "Everybody's Talkin'".
Given Joe's background (some horrible things happened to him when he was a kid, which we find out about through disturbing flashbacks), and the terrible conditions in which the two men are living together, "Midnight Cowboy" is, to some extent, a bit of a "downer" of a film. And yet... there is much humor, flawlessly integrated throughout. And, even though in the end, Ratso dies, it seems that his relationship with Joe has transformed the younger man, to the extent that we come away from it all feeling that there is real hope for Joe, something we never expected.
The Panic In Needle Park [1971]
Director: Jerry Schatzberg
"The Panic In Needle Park" was Al Pacino's "breakthrough" film, and of course, it's presence on this list means that I think it was also his best.
More than anything else, it captures the gritty world of drug addiction in New York. You're there, and it's a very unsettling "trip". Bobby (Pacino) is a heroin addict and a dealer. He was first "busted" when he was 9, he says, and he looks like he's been on the street ever since.
He meets Helen, a shy girl from Indiana who's just had an abortion. He visits her in the hospital. She's taken by his energy, his streetwise cockiness, his boyish charm. In a memorable scene a bit later, while sitting in the park, she commits herself to him. It's all very subtle and "between the lines". And beautiful. Here's the dialogue (although much is lost by not being able to hear the tone of their words and the see the expressions on their faces):
Bobby: What was it like, where you come from? I mean, when you was a kid, growin' up?
Helen: it was alright. I was born and went to school.
Bobby: That's good.
Helen: I had a mother and a father and a little brother... and a lawn.
Bobby: Terrific.
Helen: I was always going to art classes. And my mom was always going to the doctor. It was alright.
Bobby: Why'd you leave then? Don't just go around leavin' people for no reason.
Helen: (long, thoughtful pause). ...I wouldn't.
Bobby: Well, you shouldn't. It ain't right.
Helen: (another long pause). ... I won't.
Bobby: ... Good.
So, this film is a primarily love story, taking place around the seedy, depressing area of "needle park", at 72nd and Broadway, where loving someone like Bobby has more than the usual complications. Especially when the "panic" sets in because of a shortage in the drug supply.
Days Of Heaven [1978]
Director: Terrence Malick
I think I'll just offer some blurbs from other reviews (on the "Rotten Tomatoes" website) to try to communicate how I feel about this film.
So beautiful that it touches heaven itself.
Majorie Baumgarten, Austin Chronicle
*******
It is among the most startlingly beautiful color film shot in history. But it is not beauty for beauty's sake, as I described before. The seemingly random shots have a divine order to them.
Jeffrey M. Anderson, Combustible Celluoid
*******
It accomplishes what all great art does – moving us beyond verbal explanations and transporting us into a world of its own. Images and music from the film are permanently etched in my mind.
Derek Smith, Apollo Guide
*******
It is the closest to poetry in motion that I have ever seen.
Andrew Ross, Salon.com
********
This is a movie made by a man who knew how something felt, and found a way to evoke it in us.
Roger Ebert, Chicago Sun Times
*******
Almost incontestably the most gorgeously photographed film ever made.
Michael Atkinson, The Village Voice
*******
Days of Heaven (1978) is an exquisite, lyrical film of exceptional visual beauty and only the second film of writer-director Terrence Malick, following his critically-acclaimed success with an equally-haunting and visually-striking Badlands. This moody, elegiac film has universally been acclaimed as a cinematographic masterpiece, from the talents of Cuban-born European Nestor Almendros (and 'additional photography' by Haskell Wexler), with naturally-lit, sweeping, 70mm images of crystal clarity and scope, and artfully composed scenes reminiscent of Andrew Wyeth paintings. The film's tagline proclaimed: "Your eyes... Your ears... Your senses... will be overwhelmed."
Tim Dirks, The Greatest Films
In Cold Blood [1967]
Director: Richard Brooks
"In Cold Blood" is based on the famous Truman Capote novel of the same name, and since there have been two movies recently about how Capote went about writing it ("Capote" and "Infamous"), I've been thinking about it, and re-watching parts of it.
Robert Blake (as Perry Smith) and Scott Wilson (as Dick Hickock) are simply brilliant in their roles as the two neer-do-wells who set out to rob a wealthy farmer of the $10,000 they mistakenly think he has in a safe in his home, and then senselessly wind up killing him and his whole family when they find that there is no money there after all.
This is one of very few films that primarily focus on an intense relationship between two men. In this case, one of them (Perry) is actually a sensitive, artistically inclined man who, had his life been more "normal", might have become a painter. As it was, he was destined to be a "tortured soul", who winds up at the end of a rope, in the film's very last, jolting, intensely sad and demoralizing scene. The other (Dick) is Perry's opposite - a clueless "average Joe", who Perry actually disdains, but doesn't have the wherewithal to escape from his pernicious influence.
The Return Of The Secaucus 7 [1980]
Director: John Sayles
"Secaucus 7" was Sayles' first movie, and he shot it in 25 days on a budget of less than $100,000. So, it has a rough-edged look to it... but that doesn't matter.
It's about a "reunion" of seven friends ten years after they were active together in the anti Vietnam war movement. They jokingly refer to themselves as the Secaucus 7 because they once wound up in a New jersey jail after having hit a deer while on the way to a protest march.
Two of them (Mike and Katie, who are hosting the reunion) are now husband and wife and teach high school. Irene is a senator's speechwriter, and her boyfriend Chip (not originally one of the "seven") is a bit "straighter" than the rest, and tries to fit in. Frances is a medical student, and (to her own amazement) sleeps with with Ron, a local mechanic and acquaintance of the "seven" (played by a young David Strathairn). Jeff and Maura are a couple now, and in deep trouble (this creates a bit of tension among the group). J.T. is an amiable "struggling musician", who winds up sleeping with Maura, which doesn't help her situation with Jeff.
Nothing much happens. They talk about old times. The guys play some basketball. They go for a swim. They take in a local play starring another acquaintance. They eat.
But, these people, and the way they interact, somehow evoke the spirit of the sixties for me. No other movie has come close to doing that. That's why it's on this list.
You'll notice that there are two from the sixties, four from the seventies, two from the eighties, and only one from the nineties, for a total of nine. So, these are the top nine out of the approximately 4000 movies I've seen in my life.
I've wondered why only one of these movies (American Beauty) was made after 1982. I actually think it's just coincidence, as opposed to my having a more jaundiced view or higher standards as I get older.
Were I to go through the list of all the movies I've seen since 1970 (the year I first began keeping a list), I could probably find a couple of more that, upon reflection, I would think belonged on this list. Why (I ask myself) isn't Alan Rudolph's "Afterglow" on it? Perhaps it should be. I'm planning to go back through my lists soon, think about it, and decide if I have overlooked something. I'm also planning to create a "top 50 " list. Although my lists go back only to 1970, I won't forget the great movies made before that ("Citizen Kane" was made in 1941!).
My # 1 movie of all time is Terrence Malick's "Badlands". # 2 used to be "Days Of Heaven", also by Malick (since he's made only four movies, that gives you some idea of my esteem for him), but since 1999 has been replaced by "American Beauty", the first film of theatrical director Sam Mendes (although, unlike Malick's films, "American Beauty" was not written by him). And, "Days Of Heaven" has dropped a bit. "Welcome To L.A." now solidly holds down the # 3 position.
As for the order of the rest, I find it difficult to rank them. As of now, I think it would go like this:
4. One From The Heart
5. Midnight Cowboy,
6. The Panic In Needle Park
7. Days Of Heaven
8. In Cold Blood
9. The Return Of The Secaucus Seven
The last film, "The Return Of The Secaucus Seven" was made for under $100,000 by John Sayles. It might not be as impressive as the others to many people. But, it's on my list, because it manages to do something that no other movie has ever done for me: capture essence of the sixties the way I "felt" it. And, since everyone experienced the sixties in their own way, that's very significant to me.
Finally, if I were to rank these movies next week, the order (with the exception of the top three) might very well be different. And, in a few years, even the order of the top three might change - although "Badlands" has been # 1 since 1973, except for a very brief period in 1999 when "American Beauty" slipped into that position.
Here are my more detailed thoughts on these brilliant movies.
Badlands [1973]
Director: Terrence Malick
I wouldn't have thought that such material could be turned into a film of (in my mind) unsurpassed visual and aural beauty. But, this (my #1 film of all time") is a perfect film.
Martin Sheen as the disturbed (and just plain strange) Kit, and Sissy Spacek as the hapless Holly both turn in the best performances of their career here. And, it was early in both their careers.
Malick has a genius for choosing music that enhances what's on the screen. And what's on the screen is cinematic art, done in a certain style (which I don't have the vocabulary to describe), no matter who the director of photography is, which tells me that Malick's vision must be behind it.
American Beauty [1999]
Director: Sam Mendes
I was so "blown away" by "American Beauty" on first viewing that I elevated it to my "#1 film of all time slot", pushing "Badlands" (which had occupied that position for 26 years) into the number two slot. So obviously, it touched me.
It's about a dysfunctional family in the suburbs. It begins with a slow aerial shot of a suburban neighborhood, and then we hear Kevin Spacey's voice:
"My name is Lester Burnam. This is my neighborhood. This is my street. This is my life. I'm 42 years old, and in less than a year, I'll be dead [now a shot above his bed, where he is just waking up]. Of course, I don't know that yet. And, in a way, I'm dead already [he's now in the shower, and we see him from behind]. Look at me, jerking off in the shower. This will be the high point of my day. It's all downhill from here".
And it is downhill from there, as we see throughout the movie. Lester is alienated from his sullen teenage daughter Janie, and his real estate agent wife Caroline is having an affair. He hates his job.
But, when he becomes infatuated with Janie's seductive high-school classmate, his life begins to change.
As the film ends, he's dead, just like he said he'd be. Exactly how he winds up this way is the subject of my #2 film of all time. In addition to being that, "American Beauty" also features my #1 scene of all time, another monologue by Spacey after he's been killed. The words themselves can't begin to do this scene justice, but I want to put them here anyway. It's the tone of Spacey's voice, and the way he says them, and the haunting music and visuals that accompany them that make them memorable.
I'd always heard your entire life flashes before your eyes the second before you die.
First of all, that one second isn't a second at all; it stretches on forever, like an ocean of time.
For me, it was lying on my back, at boy scout camp, watching falling stars; and yellow leaves, from the maple trees that lined our street; or my grandmother's hands, and the way her skin seemed like paper; and the first time I saw my cousin Tony's brand new firebird. And Janie..... and Janie. And Caroline.
I guess I could be pretty pissed off about what happened to me; but it's hard to stay mad when there's so much beauty in the world.
Sometimes, I feel like I'm seeing it all at once, and it's too much - my heart fills up like a balloon that's about to burst.
And then I remember to relax, and stop trying to hold on to it. And then it flows through me like rain.
And, I can't feel anything but gratitude for every single moment of my stupid little life.
You have no idea what I'm talking about, I'm sure. But, don't worry. You will someday.
Welcome To L.A. [1976]
Director: Alan Rudolph
Welcome To L.A. is about alienation in Los Angeles. About a group of interconnected people who have trouble forming meaningful relationships. About people who exemplify the title of one of the songs in the soundtrack: City Of The One Night Stands.
The soundtrack was written and sung by a guy named Richard Baskin, and the songs resonate with me so much that I still can't understand why Baskin never became a household word. Maybe because of the melancholy nature of his voice and content of the songs. I've listened to the album (which I'm sure would be almost impossible to get today) hundreds of times since I first saw the movie.
So, the music is no doubt one of the reasons that "Welcome To L.A. wound up on this list. But, there are many other reasons. Each member of the cast creates a memorable character.
Keith Carradine (who also sings some of Baskin's songs) brings his special sort of "cool" to his role of Carroll Barber, hip young songwriter who seems alienated from everyone, including his father.
Richard Baskin (the real songwriter) plays the famous singer planning to make an album of Carroll's songs. He has no dialogue other than to sing the songs. Nonetheless, his charisma (and talent) have been indelibly burned into my memory.
Sally Kellerman is great as a totally desperate (for a loving relationship) real estate agent.
Geraldine Chaplin (one of my favorite relatively unknown actresses) is fantastic as a somewhat crazy unfulfilled housewife who spends a lot of time riding around L.A. in cabs.
And Harvey Keitel (in a role totally against type" and unlike any other I've ever seen him in) is a "corporate hotshot" who's driving his wife (Chaplin) crazy through his indifference to her.
I've been looking at some reviews of this , my # 3 "all time great" film, and notice that it got almost universally negative reviews. And, a lot of the reviewers don't like the music either. I guess they just don't get it...
One From The Heart [1982]
Director: Francis Ford Coppola
"One from The Heart" got generally terrible reviews when it was first released (and when it was re-released a few years ago) . But, I thought it was a work of genius then, and I still think that today.
Here's a few blurbs from critics, followed by my brief comments:
A bold experiment in style and technique that doesn't work.
Kevin Thomas, L.A. Times
It was indeed bold and, I think, so far ahead of it's time that it couldn't be appreciated back in 1982, and probably not even today.
An ambitious misfire by a brilliant filmmaker.
Geoff Pevere, Toronto Star
Since this critic acknowledges that Coppola is indeed a "brilliant filmmaker", he should perhaps ask himself if this great artist's vision may in this case exceed his own.
One From The Heart is aptly named. No one will mistake it for "One From The Brain"
Chris Hewitt,St. Paul Pioneer Press
A kind of witless "low blow". But actually, the greatness of the film has nothing to do with "the brain". Rather, it communicates a powerful emotional message.
I was however, able to find a few critics who seemed to be touched by the film in the same way I was:
A playful, delightfully unfathomable piece of magic.
Desson Thomson, Washington Post
The key words here are "playful", delightfully", unfathomable", and "magic". I would also add "fairy tale", "charming", "beautiful", "mesmerizing", "inspiring".
An integral piece of the oeuvre of one of America's great directors.
Ruthe Stein San Francisco Chronicle
I actually think it's his greatest work.
The story is simple. two "average" people (played by Terri Garr and Frederick Forrest ) live in an "fairy-tale -like" Las Vegas (the set is highly stylized, and we could just as well imagine the action taking place in some alternate universe). After five years together, they're both bored, and this soon leads them into "exciting" relationships with charismatic others. And, after experiencing all this "excitement", and the disillusionment that inevitably follows.... they get back together. And presumably live happily ever after. The end.
Sounds mundane right? Sounds like it could have been made in the 1940's right? Well, Coppola uses all the tools available to a filmmaker (including a tremendous musical score by Tom Waits) to make this mundane (and universal) love story into something transcendent.
I like the way this critic put it:
But as Coppola's camera glides through the crowds to trace the criss-crossing trajectories of the frustrated romantics, walls separating lovers all but disappear with the dimming of a light, and a desert junkyard glows like the ghost of Vegas glitz. We're in the realm of magic.
Sean Axmaker, Seattle Post Intelligencer
Yes. That's it. In the "realm of magic" is exactly where we are.
Midnight Cowboy [1969]
Director: John Schlesinger
"Midnight Cowboy" was originally released with the dreaded "X" rating, which usually meant commercial doom. The rating was absurd by today's standards, and by any rational standards, even back then. I think it got it for it's very oblique portrayal of a homosexual act. It later won the "Best Picture" Academy award.
This is another of what I call a "two man show", in that (like "In Cold Blood") it intensely focuses on the relationship between two men (neither of them gay by the way).
Joe Buck (Jon Voigt) is a handsome hayseed from a small town in Texas who decides to go to new York and become a "stud" , thinking that there are plenty of rich, lonely women willing to pay for his "services". He's naive of course, and runs into a very rough time in a very rough city. He meets "Ratso" (Dustin Hoffman), a broken down pathetic little man, a small time "hustler" and homeless person.
Ratso tries to help Joe, and they develop a relationship - two pathetic losers trying to keep each other alive in a city that couldn't care less. Both Ratso and Joe are likable however, and actually decent guys. We feel that both of them could have (like Perry Smith) been "something" if their circumstances had been a bit different. Ratso fantasies all the time about what his life might have been.
"Midnight Cowboy", in addition to being on my "all time great" list, also has my #1 opening scene of all time, which shows Joe preparing to come to New York, and then riding the long way to the city on a grimy greyhound bus, all to the background music of Harry Nilsson's great song "Everybody's Talkin'".
Given Joe's background (some horrible things happened to him when he was a kid, which we find out about through disturbing flashbacks), and the terrible conditions in which the two men are living together, "Midnight Cowboy" is, to some extent, a bit of a "downer" of a film. And yet... there is much humor, flawlessly integrated throughout. And, even though in the end, Ratso dies, it seems that his relationship with Joe has transformed the younger man, to the extent that we come away from it all feeling that there is real hope for Joe, something we never expected.
The Panic In Needle Park [1971]
Director: Jerry Schatzberg
"The Panic In Needle Park" was Al Pacino's "breakthrough" film, and of course, it's presence on this list means that I think it was also his best.
More than anything else, it captures the gritty world of drug addiction in New York. You're there, and it's a very unsettling "trip". Bobby (Pacino) is a heroin addict and a dealer. He was first "busted" when he was 9, he says, and he looks like he's been on the street ever since.
He meets Helen, a shy girl from Indiana who's just had an abortion. He visits her in the hospital. She's taken by his energy, his streetwise cockiness, his boyish charm. In a memorable scene a bit later, while sitting in the park, she commits herself to him. It's all very subtle and "between the lines". And beautiful. Here's the dialogue (although much is lost by not being able to hear the tone of their words and the see the expressions on their faces):
Bobby: What was it like, where you come from? I mean, when you was a kid, growin' up?
Helen: it was alright. I was born and went to school.
Bobby: That's good.
Helen: I had a mother and a father and a little brother... and a lawn.
Bobby: Terrific.
Helen: I was always going to art classes. And my mom was always going to the doctor. It was alright.
Bobby: Why'd you leave then? Don't just go around leavin' people for no reason.
Helen: (long, thoughtful pause). ...I wouldn't.
Bobby: Well, you shouldn't. It ain't right.
Helen: (another long pause). ... I won't.
Bobby: ... Good.
So, this film is a primarily love story, taking place around the seedy, depressing area of "needle park", at 72nd and Broadway, where loving someone like Bobby has more than the usual complications. Especially when the "panic" sets in because of a shortage in the drug supply.
Days Of Heaven [1978]
Director: Terrence Malick
I think I'll just offer some blurbs from other reviews (on the "Rotten Tomatoes" website) to try to communicate how I feel about this film.
So beautiful that it touches heaven itself.
Majorie Baumgarten, Austin Chronicle
*******
It is among the most startlingly beautiful color film shot in history. But it is not beauty for beauty's sake, as I described before. The seemingly random shots have a divine order to them.
Jeffrey M. Anderson, Combustible Celluoid
*******
It accomplishes what all great art does – moving us beyond verbal explanations and transporting us into a world of its own. Images and music from the film are permanently etched in my mind.
Derek Smith, Apollo Guide
*******
It is the closest to poetry in motion that I have ever seen.
Andrew Ross, Salon.com
********
This is a movie made by a man who knew how something felt, and found a way to evoke it in us.
Roger Ebert, Chicago Sun Times
*******
Almost incontestably the most gorgeously photographed film ever made.
Michael Atkinson, The Village Voice
*******
Days of Heaven (1978) is an exquisite, lyrical film of exceptional visual beauty and only the second film of writer-director Terrence Malick, following his critically-acclaimed success with an equally-haunting and visually-striking Badlands. This moody, elegiac film has universally been acclaimed as a cinematographic masterpiece, from the talents of Cuban-born European Nestor Almendros (and 'additional photography' by Haskell Wexler), with naturally-lit, sweeping, 70mm images of crystal clarity and scope, and artfully composed scenes reminiscent of Andrew Wyeth paintings. The film's tagline proclaimed: "Your eyes... Your ears... Your senses... will be overwhelmed."
Tim Dirks, The Greatest Films
In Cold Blood [1967]
Director: Richard Brooks
"In Cold Blood" is based on the famous Truman Capote novel of the same name, and since there have been two movies recently about how Capote went about writing it ("Capote" and "Infamous"), I've been thinking about it, and re-watching parts of it.
Robert Blake (as Perry Smith) and Scott Wilson (as Dick Hickock) are simply brilliant in their roles as the two neer-do-wells who set out to rob a wealthy farmer of the $10,000 they mistakenly think he has in a safe in his home, and then senselessly wind up killing him and his whole family when they find that there is no money there after all.
This is one of very few films that primarily focus on an intense relationship between two men. In this case, one of them (Perry) is actually a sensitive, artistically inclined man who, had his life been more "normal", might have become a painter. As it was, he was destined to be a "tortured soul", who winds up at the end of a rope, in the film's very last, jolting, intensely sad and demoralizing scene. The other (Dick) is Perry's opposite - a clueless "average Joe", who Perry actually disdains, but doesn't have the wherewithal to escape from his pernicious influence.
The Return Of The Secaucus 7 [1980]
Director: John Sayles
"Secaucus 7" was Sayles' first movie, and he shot it in 25 days on a budget of less than $100,000. So, it has a rough-edged look to it... but that doesn't matter.
It's about a "reunion" of seven friends ten years after they were active together in the anti Vietnam war movement. They jokingly refer to themselves as the Secaucus 7 because they once wound up in a New jersey jail after having hit a deer while on the way to a protest march.
Two of them (Mike and Katie, who are hosting the reunion) are now husband and wife and teach high school. Irene is a senator's speechwriter, and her boyfriend Chip (not originally one of the "seven") is a bit "straighter" than the rest, and tries to fit in. Frances is a medical student, and (to her own amazement) sleeps with with Ron, a local mechanic and acquaintance of the "seven" (played by a young David Strathairn). Jeff and Maura are a couple now, and in deep trouble (this creates a bit of tension among the group). J.T. is an amiable "struggling musician", who winds up sleeping with Maura, which doesn't help her situation with Jeff.
Nothing much happens. They talk about old times. The guys play some basketball. They go for a swim. They take in a local play starring another acquaintance. They eat.
But, these people, and the way they interact, somehow evoke the spirit of the sixties for me. No other movie has come close to doing that. That's why it's on this list.
Wednesday, February 25, 2009
The Shaw Festival
We've been going to the Shaw festival, which takes place in Niagara-On-The-Lake, Ontario, since 1996. Here's a bit about the festival from Wikipedia:
The Shaw Festival is a major Canadian theatre festival in Niagara-on-the-Lake, Ontario, the second largest repertory theatre company in North America. Founded in 1962, its original mandate was to stimulate interest in George Bernard Shaw and his period, and to advance the development of theatre arts in Canada.
Below are my comments on our expereince at the Shaw in 2005.
This was our 10th year in a row up here. We now stay in the Marriott Courtyard at Niagara Falls (Ontario). The town of Niagara Falls is a bit seedy, but the area directly around the falls is very nice. We hadn't seen the falls in several years (even though we can almost hear them from our room), but this year I wanted to get some pictures with my digital camera, so we spent our first evening looking at the falls. Below are a couple of shots I got that first night.
Niagara Falls - Canadian Version Up Close
Boats Going To And From Falls With Wet People
Before I first came up here, I wasn't aware that there is a "Canadian side" to the falls, and that actually, the Canadian falls are more impressive than the American falls.
But, we don't spend much time in the town of Niagara Falls (the fact that it's main attractions besides the falls seems to be the "Ripley's Believe It Or Not" museum and Louis Tussand"s wax museum says it all). Rather, we hang out in the unbelievably beautiful little town of Niagara-On-The-Lake, home of the Shaw Festival. The eminent critic John Simon has described the Shaw as "The best repertory theater on the entire continent", and it is inconceivable to me that he's wrong. I think the actors here are among the best in the country (I mean, I've never seen better, in the movies or on the stage - with some individual exceptins of course), and virtually every play we've seen here has been superb. Of course, to some extent, that depends on one's taste, and the play's author. But, for me, seeing these plays has always been an exciting and gratifying experience (and that's a significant statement from a "movie person" like me).
The Day's Lineup
The Courthouse Theater
The Royal George Theater And The Shaw Shop
The more memorable plays for me this year are: (by the way, the Playbills are minature works of art in themselves, and I've been collecting them since 1996, but starting last year, some unfortunate changes were made in their design).
1. The Constant Wife (Somerset Maugham)
I was surprised at how "modern" were the ideas of this play, written (and first performed in the U.S.) in 1926. It's theme is the sexual and economic freedom of women. An article in the Playbill summarizes it nicely: "Constance rejects the social convention voiced by her mother and practiced by her husband. When she chooses to become financially self-sufficient and thereby to claim equality with her husband in sexual matters, she redefines the marriage contract for woman of her class and time".
I had no idea that this sort of thing could even talked about publicly in 1926. And yet, this play had a run of 300 performances in that year!
The Constant Wife Playbill
2. Something On The Side (Georges Feydeau)
I'd never heard of this playwright, but the Playbill says "In his day - his thirty most productive years were 1886-1916 - Feydeau was considered the funniest, wittiest dramatist in France". I can believe that, based on this play alone, which I found hilarious at times.
The plot: two male acquaintances run into each other at a small restaurant. It turns out that both are there for assignations with women. And that both are cheating - not only on their wives, but on their mistresses! Well (and I think this is sort of funny) it turns out that each man is meeting the mistress of the other. And (of course there's more) these two women happen to be the first two wives of the Maitre'D of the restaurant!
Something On The Side Playbill
3. Bus Stop (William Inge)
I was very impressed with Inge's "Picnic", which the Shaw put on a few years ago, and equally impressed when I read "Bus Stop" a few days ago. To quote once again from the Playbill, Inge said of this play: "Bus Stop, I suppose, has less real story than any play that ever survived on Broadway. I meant it only as a composite picture of varying kinds of love, ranging from the innocent to the depraved".
And, it is exactly that. It takes place on one snowy night, when the few passengers on a bus are stranded for a night in a small cafe because the roads are impassable. The young (21) cowboy Bo passionately and idealistically loves the "chanteuse"/near prostitute Cherie. The café owner Grace "loves" the bus driver Carl in a "occasional one night stand" sort of way (she has no illusions or regrets about this). The drunken professor Dr. Lyman loves the high-school-girl/part-time waitress Elma in a pathetically unrealistic sort of way (and yet the fact that he shows an interest means a lot to the innocent young girl). And, there's a strong paternal (perhaps repressed homosexual) love for Bo by his older friend Virgil (who has "looked after" Bo since his father died when he was 10).
Bus Stop Playbill
4. Gypsy (Music by Jule Styne, Lyrics by Stephen Sondheim)
This is a wonderful musical that primarily focuses not on the stripper Gypsy Rose Lee, but on her mother, the archetype of all pushy "stage mothers". One of its well-known songs is "Everything's Coming Up Roses". I may now check out the 1962 movie version with Rosalind Russell.
Gypsy Playbill
5. Journey's End (R.C. Sherriff)
A poignant "anti-war" play which takes place in a bunker during WWI, where Six English officers await a massive German attack. I was struck by the authenticity of the language, and by the glaring intensity of what was not said. And, by the humor that somehow was able to emerge from men who were very aware that they were doomed.
Journey's End Playbill
6. You Never Can Tell (George Bernard Shaw)
A very funny play about "true love", which conquers in spite of the restrictive atmosphere of Victorian England. Shaw is not one of my favorite playwrights, but this play is superb!
You Never Can Tell Playbill
Lunch is a very pleasant experience in Niagara-On-The Lake. Often we eat at a place called The Harvest Barn, which looks like a sort of barn on the outside, while inside it offers soups, sandwiches, salads, and pies, which one can eat on picnic benches outside. Why can't there be places like this in the D.C. area?
The Harvest Barn
Niagara-On-The-Lake also has fruit stands and "country markets" all over the place. Walker's Country Market is an example.
Walker's Country Market
One day we ate lunch at the Whirlpool golf course, and I was struck by the... elegance of these golf carts all in a row.
Golf Carts Ready For Inspection
Near our hotel is a huge observation tower (there's some restaurants up there too). We hadn't been up to the top since our first time here in 1996, so I was anxious to get some shots with my digital camera.
Observation Tower
Before 1996, I wasn't even aware that there was a "Canadian side" to Niagara falls (I mean, I didn't realize that there was more than one waterfall here). But, the Canadian falls are actually wider than the American falls, as you will see in the shots below.
Niagara Falls (American Version)
Rainbow Bridge, Connecting Canada With The U.S.
Niagara Falls (Canadian Version)
Finally, it's nice to walk (and drive) around town looking for interesting things to take pictures of. I've always had a particular fascination with boats and lighthouses.
Boats
Lighthouse
The Shaw Festival is a major Canadian theatre festival in Niagara-on-the-Lake, Ontario, the second largest repertory theatre company in North America. Founded in 1962, its original mandate was to stimulate interest in George Bernard Shaw and his period, and to advance the development of theatre arts in Canada.
Below are my comments on our expereince at the Shaw in 2005.
This was our 10th year in a row up here. We now stay in the Marriott Courtyard at Niagara Falls (Ontario). The town of Niagara Falls is a bit seedy, but the area directly around the falls is very nice. We hadn't seen the falls in several years (even though we can almost hear them from our room), but this year I wanted to get some pictures with my digital camera, so we spent our first evening looking at the falls. Below are a couple of shots I got that first night.
Niagara Falls - Canadian Version Up Close
Boats Going To And From Falls With Wet PeopleBefore I first came up here, I wasn't aware that there is a "Canadian side" to the falls, and that actually, the Canadian falls are more impressive than the American falls.
But, we don't spend much time in the town of Niagara Falls (the fact that it's main attractions besides the falls seems to be the "Ripley's Believe It Or Not" museum and Louis Tussand"s wax museum says it all). Rather, we hang out in the unbelievably beautiful little town of Niagara-On-The-Lake, home of the Shaw Festival. The eminent critic John Simon has described the Shaw as "The best repertory theater on the entire continent", and it is inconceivable to me that he's wrong. I think the actors here are among the best in the country (I mean, I've never seen better, in the movies or on the stage - with some individual exceptins of course), and virtually every play we've seen here has been superb. Of course, to some extent, that depends on one's taste, and the play's author. But, for me, seeing these plays has always been an exciting and gratifying experience (and that's a significant statement from a "movie person" like me).
The Day's Lineup
The Courthouse Theater
The Royal George Theater And The Shaw ShopThe more memorable plays for me this year are: (by the way, the Playbills are minature works of art in themselves, and I've been collecting them since 1996, but starting last year, some unfortunate changes were made in their design).
1. The Constant Wife (Somerset Maugham)
I was surprised at how "modern" were the ideas of this play, written (and first performed in the U.S.) in 1926. It's theme is the sexual and economic freedom of women. An article in the Playbill summarizes it nicely: "Constance rejects the social convention voiced by her mother and practiced by her husband. When she chooses to become financially self-sufficient and thereby to claim equality with her husband in sexual matters, she redefines the marriage contract for woman of her class and time".
I had no idea that this sort of thing could even talked about publicly in 1926. And yet, this play had a run of 300 performances in that year!
The Constant Wife Playbill
2. Something On The Side (Georges Feydeau)
I'd never heard of this playwright, but the Playbill says "In his day - his thirty most productive years were 1886-1916 - Feydeau was considered the funniest, wittiest dramatist in France". I can believe that, based on this play alone, which I found hilarious at times.
The plot: two male acquaintances run into each other at a small restaurant. It turns out that both are there for assignations with women. And that both are cheating - not only on their wives, but on their mistresses! Well (and I think this is sort of funny) it turns out that each man is meeting the mistress of the other. And (of course there's more) these two women happen to be the first two wives of the Maitre'D of the restaurant!
Something On The Side Playbill
3. Bus Stop (William Inge)
I was very impressed with Inge's "Picnic", which the Shaw put on a few years ago, and equally impressed when I read "Bus Stop" a few days ago. To quote once again from the Playbill, Inge said of this play: "Bus Stop, I suppose, has less real story than any play that ever survived on Broadway. I meant it only as a composite picture of varying kinds of love, ranging from the innocent to the depraved".
And, it is exactly that. It takes place on one snowy night, when the few passengers on a bus are stranded for a night in a small cafe because the roads are impassable. The young (21) cowboy Bo passionately and idealistically loves the "chanteuse"/near prostitute Cherie. The café owner Grace "loves" the bus driver Carl in a "occasional one night stand" sort of way (she has no illusions or regrets about this). The drunken professor Dr. Lyman loves the high-school-girl/part-time waitress Elma in a pathetically unrealistic sort of way (and yet the fact that he shows an interest means a lot to the innocent young girl). And, there's a strong paternal (perhaps repressed homosexual) love for Bo by his older friend Virgil (who has "looked after" Bo since his father died when he was 10).
Bus Stop Playbill
4. Gypsy (Music by Jule Styne, Lyrics by Stephen Sondheim)
This is a wonderful musical that primarily focuses not on the stripper Gypsy Rose Lee, but on her mother, the archetype of all pushy "stage mothers". One of its well-known songs is "Everything's Coming Up Roses". I may now check out the 1962 movie version with Rosalind Russell.
Gypsy Playbill
5. Journey's End (R.C. Sherriff)
A poignant "anti-war" play which takes place in a bunker during WWI, where Six English officers await a massive German attack. I was struck by the authenticity of the language, and by the glaring intensity of what was not said. And, by the humor that somehow was able to emerge from men who were very aware that they were doomed.
Journey's End Playbill
6. You Never Can Tell (George Bernard Shaw)
A very funny play about "true love", which conquers in spite of the restrictive atmosphere of Victorian England. Shaw is not one of my favorite playwrights, but this play is superb!
You Never Can Tell Playbill
Lunch is a very pleasant experience in Niagara-On-The Lake. Often we eat at a place called The Harvest Barn, which looks like a sort of barn on the outside, while inside it offers soups, sandwiches, salads, and pies, which one can eat on picnic benches outside. Why can't there be places like this in the D.C. area?
The Harvest Barn
Niagara-On-The-Lake also has fruit stands and "country markets" all over the place. Walker's Country Market is an example.
Walker's Country Market
One day we ate lunch at the Whirlpool golf course, and I was struck by the... elegance of these golf carts all in a row.
Golf Carts Ready For Inspection
Near our hotel is a huge observation tower (there's some restaurants up there too). We hadn't been up to the top since our first time here in 1996, so I was anxious to get some shots with my digital camera.
Observation Tower
Before 1996, I wasn't even aware that there was a "Canadian side" to Niagara falls (I mean, I didn't realize that there was more than one waterfall here). But, the Canadian falls are actually wider than the American falls, as you will see in the shots below.
Niagara Falls (American Version)
Rainbow Bridge, Connecting Canada With The U.S.
Niagara Falls (Canadian Version)
Finally, it's nice to walk (and drive) around town looking for interesting things to take pictures of. I've always had a particular fascination with boats and lighthouses.
Boats
Lighthouse
Thursday, February 5, 2009
Top Thirteen Movies Of 2008
I thought 2008 was a pretty good year for movies, although I don't think I realized that until around December, when I began contemplating my "top ten" list (this year it's thirteen).
The Academy award nominations came out the other day, and (unlike many years) I think almost everything on it (that I'm familiar with) is "reasonable"... with two glaring exceptions. "The Reader" has been nominated for "Best Picture". Huh? That feeble excuse for soft-core porno? Even though it did feature my ideal woman Kate Winslet (physically speaking) - well, at least she was before she became anorexic. But no, they're not kidding.
There was also an astoundingly glaring omission - my "Number 1 Movie Of 2008" (see below) was not only not on the "Best Picture" list, but received absolutely no nominations - for anything! What's that all about? Could it be me? (I don't think so).
However... considering only what was actually nominated, here's how I think the awards should go:
Best Picture:
"Milk". "Frost Nixon" is a very close second
Best Director:
Ron Howard ["Frost Nixon" ]. Gus Van Sant could also reasonably get it for "Milk", but I thought I'd spread the awards around a bit.
Best Male Actor:
FRANK LANGELLA ["Frost Nixon"]. For an incredibly brilliant performance as Nixon. Langella should have gotten it last year for "Starting Out In The Evening" but didn't even get nominated (Academy bastards!). So he should definitely get it this year, even though Sean Penn gives an equally amazing performance in "Milk". I mean, Langella has never gotten it before, and Penn got one for "Mystic River". So, let's be fair about this, huh.
Best Female Actor:
Meryl Streep [Doubt]
Best Male Supporting Actor:
Michael Shannon [Revolutionary Road]. His role was brief, but his performance memorable. I did not see Heath ledger in "The Dark Knight" however.
Best Female Supporting Actor:
I have no preference here. I didn't think any of these performances were extraordinary.
*******
My Top Thirteen Movies Of 2008 Are (the first five are in order of preference, the rest in alphabetical order) :
1. Appaloosa [Ed Harris] Appaloosa is unlike any Western I've ever seen, although it features many elements of the more "conventional" Western. To begin with, it has a real "tough guy" marshal, Virgil Cole, played by director Ed Harris, and seeing Harris's performance is a real delight. He and his long-time partner Everett (Viggo Mortensen) are "free-lance" law men, who hire themselves out on as "as needed" basis.
Well, they're badly needed in the tiny frontier town of Appaloosa, New Mexico, which is on the verge of collapsing into anarchy because of the intimidation tactics of a gang run by the "bad guy", Randall Bragg, played by the English actor Jeremy Irons. I noticed right away that Irons still seemed to have a bit of his English accent, and wondered why (after all, he's playing a "bad guy" in an American western), because the accent gives him an aura of sophistication rather than menace, which one would expect.
I understand now that this was part of the humor that runs through the film. Yes, Appaloosa is quite funny. Actually, that's too strong a word. I think "witty" is perhaps more appropriate. Consider the scene where Virgil has Bragg locked up in the tiny jail cell in his office. Bragg, on noticing that Virgil is reading Emerson, begins to comment at length on Emerson's qualities as a writer. Virgil finally tells him to "shut the f**k up".
There's the pretty widow too (Renee Zellweger), and the possibility that she's going to create some serious tension between Virgil and Everett. And that gets worked out in an amusing and unusual way.
Appaloosa is beautiful visually, and unlike the Westerns of old, one really believes the action is taking place in 1882.
+Appaloosa.jpg)
2. Vicki Christina Barcelona [Woody Allen] A few years ago, I concluded that Woody Allen was “washed up" as a filmmaker, and I felt a bit sad about it, because I'd always considered him “America’s Greatest Director”, having created several film “masterpieces”, as well as at least 20 movies that were excellent (if not quite masterpieces). I was wrong. After a string of four “disasters”, beginning with the unfunny “Small Time Crooks” in 2000, followed by the absolutely terrible“Curse Of The Jade Scorpion”, 2001, followed by a couple of more bombs in 2002 and 2003, Allen began to “rise from the dead” in 2004 with the “pretty good” “Melinda and Melinda”, followed by the absolutely superb “Match Point” in 2005.
I was tentatively hopeful that he was “back”. Well, that was followed by the excellent “Cassandra’s Dream” in 2007, and now, in 2008, my #2 film of the year. I think I can at last say with some confidence that Woody Allen is back, and that I’m back to looking forward to seeing his next film, which is called “Whatever Works”, and which takes place in the “real” New York, as opposed to the “romanticized” New York that has been so much a part of many of his films.
How do I explain his temporary decline? Well, I think that being publicly accused of child molestation could have an adverse affect on one’s creative powers. I’m cautiously optimistic that he’s recovered from that trauma.
Anyway, Vicki Christina Barcelona is about two young woman (Vicki and Christina) who travel to Barcelona one summer for a vacation, and how they both become involved (in always interesting, at times funny, and at times quite sad ways) with a charismatic and seductive artist played by the great Javier Bardem. It’s filled with the humor and psychological insight of the “great” Woody Allen, and was beautifully shot in Barcelona, one of the most visually pleasing cities in the world.
+Vicki+Christina+Barcelona.jpg)
3. Milk [Gus Van Sant]
I always knew that Sean Penn was a great actor, but I also assumed that his naturally sullen nature (or at least, that's the way he seemed to come across in many interviews I saw of him) limited his acting range. I'm happy to see that I was wrong about this, because his performance in "Milk" is more of a transformation than acting. He's phenomenal, and should of course get the academy award, but as I explained above, in a just world, that would go to Frank Langella this year.+Slumdog+Millionaire.jpg)
The Academy award nominations came out the other day, and (unlike many years) I think almost everything on it (that I'm familiar with) is "reasonable"... with two glaring exceptions. "The Reader" has been nominated for "Best Picture". Huh? That feeble excuse for soft-core porno? Even though it did feature my ideal woman Kate Winslet (physically speaking) - well, at least she was before she became anorexic. But no, they're not kidding.
There was also an astoundingly glaring omission - my "Number 1 Movie Of 2008" (see below) was not only not on the "Best Picture" list, but received absolutely no nominations - for anything! What's that all about? Could it be me? (I don't think so).
However... considering only what was actually nominated, here's how I think the awards should go:
Best Picture:
"Milk". "Frost Nixon" is a very close second
Best Director:
Ron Howard ["Frost Nixon" ]. Gus Van Sant could also reasonably get it for "Milk", but I thought I'd spread the awards around a bit.
Best Male Actor:
FRANK LANGELLA ["Frost Nixon"]. For an incredibly brilliant performance as Nixon. Langella should have gotten it last year for "Starting Out In The Evening" but didn't even get nominated (Academy bastards!). So he should definitely get it this year, even though Sean Penn gives an equally amazing performance in "Milk". I mean, Langella has never gotten it before, and Penn got one for "Mystic River". So, let's be fair about this, huh.
Best Female Actor:
Meryl Streep [Doubt]
Best Male Supporting Actor:
Michael Shannon [Revolutionary Road]. His role was brief, but his performance memorable. I did not see Heath ledger in "The Dark Knight" however.
Best Female Supporting Actor:
I have no preference here. I didn't think any of these performances were extraordinary.
*******
My Top Thirteen Movies Of 2008 Are (the first five are in order of preference, the rest in alphabetical order) :
1. Appaloosa [Ed Harris] Appaloosa is unlike any Western I've ever seen, although it features many elements of the more "conventional" Western. To begin with, it has a real "tough guy" marshal, Virgil Cole, played by director Ed Harris, and seeing Harris's performance is a real delight. He and his long-time partner Everett (Viggo Mortensen) are "free-lance" law men, who hire themselves out on as "as needed" basis.
Well, they're badly needed in the tiny frontier town of Appaloosa, New Mexico, which is on the verge of collapsing into anarchy because of the intimidation tactics of a gang run by the "bad guy", Randall Bragg, played by the English actor Jeremy Irons. I noticed right away that Irons still seemed to have a bit of his English accent, and wondered why (after all, he's playing a "bad guy" in an American western), because the accent gives him an aura of sophistication rather than menace, which one would expect.
I understand now that this was part of the humor that runs through the film. Yes, Appaloosa is quite funny. Actually, that's too strong a word. I think "witty" is perhaps more appropriate. Consider the scene where Virgil has Bragg locked up in the tiny jail cell in his office. Bragg, on noticing that Virgil is reading Emerson, begins to comment at length on Emerson's qualities as a writer. Virgil finally tells him to "shut the f**k up".
There's the pretty widow too (Renee Zellweger), and the possibility that she's going to create some serious tension between Virgil and Everett. And that gets worked out in an amusing and unusual way.
Appaloosa is beautiful visually, and unlike the Westerns of old, one really believes the action is taking place in 1882.
+Appaloosa.jpg)
2. Vicki Christina Barcelona [Woody Allen] A few years ago, I concluded that Woody Allen was “washed up" as a filmmaker, and I felt a bit sad about it, because I'd always considered him “America’s Greatest Director”, having created several film “masterpieces”, as well as at least 20 movies that were excellent (if not quite masterpieces). I was wrong. After a string of four “disasters”, beginning with the unfunny “Small Time Crooks” in 2000, followed by the absolutely terrible“Curse Of The Jade Scorpion”, 2001, followed by a couple of more bombs in 2002 and 2003, Allen began to “rise from the dead” in 2004 with the “pretty good” “Melinda and Melinda”, followed by the absolutely superb “Match Point” in 2005.
I was tentatively hopeful that he was “back”. Well, that was followed by the excellent “Cassandra’s Dream” in 2007, and now, in 2008, my #2 film of the year. I think I can at last say with some confidence that Woody Allen is back, and that I’m back to looking forward to seeing his next film, which is called “Whatever Works”, and which takes place in the “real” New York, as opposed to the “romanticized” New York that has been so much a part of many of his films.
How do I explain his temporary decline? Well, I think that being publicly accused of child molestation could have an adverse affect on one’s creative powers. I’m cautiously optimistic that he’s recovered from that trauma.
Anyway, Vicki Christina Barcelona is about two young woman (Vicki and Christina) who travel to Barcelona one summer for a vacation, and how they both become involved (in always interesting, at times funny, and at times quite sad ways) with a charismatic and seductive artist played by the great Javier Bardem. It’s filled with the humor and psychological insight of the “great” Woody Allen, and was beautifully shot in Barcelona, one of the most visually pleasing cities in the world.
3. Milk [Gus Van Sant]
I always knew that Sean Penn was a great actor, but I also assumed that his naturally sullen nature (or at least, that's the way he seemed to come across in many interviews I saw of him) limited his acting range. I'm happy to see that I was wrong about this, because his performance in "Milk" is more of a transformation than acting. He's phenomenal, and should of course get the academy award, but as I explained above, in a just world, that would go to Frank Langella this year.
Harvey Milk was a political activist in San Francisco back in the 70's. He eventually managed to be elected to the Board of Supervisors, and thus become the first openly gay politician elected to a significant office.
"Milk"is his tragic story, and I must say that I wept the end, when Milk was shot and killed by a deranged fellow supervisor, chillingly portrayed by Josh Brolin (who also played George Bush in "W").
+Milk.jpg)
4. Revolutionary Road [Sam Mendes]
Sam Mendes is a very special director for me, because one of his films ("American Beauty") is # 2 on my "all time great" movie list.
While "Revolutionary Road" doesn't quite make that cut, it's still quite impressive. But, it's a grim story, about a young couple (played by Kate Winslet and Leonardo DiCaprio, who were together in "Titanic") in 1950's America who are disillusioned with their life in the Connecticut suburbs.
I think the film exaggerates the bleakness of the 1950's, but the young woman's plight (which I would diagnose as being severe depression, as opposed to something about the times) is very powerfully presented to us by Kate Winslet, who received the Golden Globe award for best actress but for some inexplicable reason wasn't even nominated for the Academy award.
+Revolutionary+Road.jpg)
5. Frost Nixon [Ron Howard]
I saw the play at the Kennedy Center, in which Stacy Keach played Nixon. I thought he mimicked the voice better than Langella did, but overall, I greatly preferred Langella's performance (he captured Nixon's essence more, I thought). It may have had something to do with the different directors (the way they instructed the actors to interpret the material), but I found Langella's interpretation of Nixon quite moving, whereas Keach's seemed more like a caricature (almost a comic character at times). Langella played the role on Broadway, and won a Tony in 2007 for "Best Leading Actor".
Frost and Nixon were both "outcasts" at the time of the interviews. Frost had come to be regarded as a "lightweight", suitable for interviewing the likes of Gsa Gabor, while Nixon... well, we all know his story.
Frost took a gamble in paying Nixon $600,000 (mostly of his own money) to sit down and talk with Nixon. Both parties had much "on the line". The build-up to the confrontation reminded me of the atmosphere prior to a heavyweight championship flight, and the movie conveys that sense of fear (especially on the part of Frost's producer) and excitement.
As it turned out both Frost and Nixon won the "fight". Frost managed to revive his career by getting Nixon to admit to certain things that people needed to hear (and that perhaps he needed to say). And, in doing so, Nixon was able to (in a sense) at last put the Watergate mess behind him.
+Frost+Nixon.jpg)
Ballast [Lance Hammer]
I was lucky to have been able to see "Ballast" when I was in Denver, because I don't think it even got a distribution in the D.C. area. And, that's a shame, because while it was obviously made on a limited budget, it is a powerful drama, about a poor black family living in the Mississippi Delta region of Louisiana.
Ballast begins with the image of Lawrence, an almost catatonic, large black man sitting in a chair, trying to assimilate the suicide of his twin brother, whose body he's just found. His brother had a 12 year old son James, who's on the verge of being sucked into the lethal world of some small-time drug dealers.
The story focuses on the relationship that Lawrence comes to have with his brother's embittered widow, and on their attempt to provide some sort of stability for James.
The character’s lives are bleak, and their futures seem hopeless, and these facts come across so compellingly on the screen that we feel bleak and hopeless too. These people seem real. And, since several of them are nonprofessional actors, in a certain sense, they are.
"Ballast" is a very powerful drama.
+Ballast.jpg)
Boy A [John Crowley] (England)
"Boy A" was the name given to Jack, when he was tried as a pre-adolescent along with another boy ("Boy B") for having killed a girl their age many years ago. As the film opens, Jack is being released from prison, with a new name, new job, fake background story, and the hope of assimilating himself into civilized society.
The film is the story of what the shy, rather sweet Jack experiences as he tries to become a part of the world, which is not so willing to forgive him, once his secret is revealed.
+Boy+A.jpg)
Burn After Reading [Joel and Ethan Coen]
Well, the Coen brothers have done it again, they've created another really funny, really quirky, yet exceptionally intelligent film with a great cast.
The Coen's have said that this film completes their "idiot trilogy" with George Clooney (the first two being "Oh Brother Where Art Thou", and "Intolerable Cruelty"), and that's too bad, because Clooney is great in those movies, and in this one. As are Frances McDormand, John Malkovitch, Tilda Swinton, and (yes) even Brad Pitt.
+Burn+After+Reading.jpg)
Chop Shop [Ramin Bahrami] >
This film takes us to what seems like another universe (or at least a third-world country) until we realize that we're in a part of New York City very rarely seen in movies. We're in the "Iron Triangle" of Willet's Point, Queens, the location of numerous auto body shops, where Alejandro (Ale) a twelve-year old orphan lives and works.
He lives (if you want to call it that) in a dingy room above one of these shops, and he earns his meager living by doing odd jobs around the shop, and also by various other enterprises (like selling candy on the subway).
It's a pretty grim existence, but Ale has so much spirit, that one always feels that somehow, he'll "make it".
The director, Ramin Bahrani, is an Iranian-born American director who I predict will someday be very well-known.
+Chop+Shop+2.jpg)
In Bruges [Martin McDonagh]
Bruges (pronounced broozh) is a beautiful city in Belgium (and the cinematography of the film emphasizes that), and therefore an unusual place to set a black comedy about two hit men forced into hiding by their boss because one of them has accidentally killed a young boy while in the process of killing a priest (that was his assignment).
But, this is a black comedy (although it is also much more) so Ken, the relatively "nice guy" hit man (Brenden Gleeson) and Ray, the "hothead" who's totally oblivious to the charm of Bruges (Colin Farrell, finally using his natural Irish accent) are in Bruges.
"In Bruges" manages to combine the disparate elements of hilarious comedy, travelogue cinematography, and horrific violence in a way that somehow seems natural. It's the first film of an Irish playwright named Martin McDonagh (he wrote it too), and I think he has a future as a first-class film "auteur".
+In+Bruges.jpg)
I've Loved You For So Long [Phillipe Claudel] (France)
Kristin Scott Thomas gives a remarkable performance here, more outstanding than that of any female actor nominated for an academy award (which of course she's not eligible for).
She did win the Best European Actress award at the 2008 European Film Awards held in Copenhagen. And, she has been nominated for the 2008 BAFTA (British Academy Of Film And Television Awards) Bafta Home - The BAFTA site .
She plays Juliette (a former physician), a woman who has just been released from prison after fifteen years there for committing a horrendous crime. Her sister Lea reluctantly takes her in, obviously against the better judgement of her husband Luc, who is wary of Juliette and not at all comfortable with her being around his children.
The details of Juliette's crime remain vague, and we're not always quite sure what to think about her. All we know for sure is that she's extremely depressed, and Scott-Thomas's ability to project this is memorable. The film is in essence a depiction of an intelligent and sensitive woman's adjustment to a horrifying and tragic incident in her life.
+I've+Loved+You+For+So+Long.jpg)
Let The Right One In [Tomas Alfredson] (Sweden)
This film has an unusual mixture of themes, which one would not necessarily expect to work well together.
It's a "coming of age" story, about two twelve year old misfits who become close friends. His name is Oskar, and he's neglected by his parents, he's harassed by bullies at school, and his life in general is miserable. One day he meets Eli, a new girl his age, who's just moved into his apartment building with her strange father. She's strange too, and has a pale emaciated quality that's unsettling. But, there turns out to be a reason for that: she's a vampire, and doesn't get much sun.
Amazingly, it works! The film I mean, in spite of the implausibility of it all. It's painfully realistic, though sensitive and compelling in its depiction of the difficulties of pre-adolescense. So much so that the "surrealism" of the vampire motif really doesn't diminish the believability of the "coming of age" story.
+Let+The+Right+One+In.jpg)
Slumdog Millionaire [Danny Boyle]
Danny Boyle is another significant director for me, because he too (like Sam Mendes, mentioned above) has a film on my "all time great" movie list. And since there's only eleven movies (out of about 4000 I've seen) on that list, that's significant. It's called "Trainspotting".
"Slumdog" is worth seeing if only for the cinematography, which features vivid shots of some of the most poverty-ridden slums of India. And, I thought I was from the slums!
It also features one of the funniest scenes I've ever seen, although this scene won't appeal to everyone (if you see the film, you'll know the scene I mean). I very seldom laugh uncontrollably, but I did here. I've had that happen only one other time at the movies - when I saw Charlie Chaplin's "Modern Times".
But the story itself is fascinating. About an orphan named Jamel, a real "survivor" if there ever was one (we can't begin to imagine what it's like to be a homeless orphan in the slums of Bombay, and that in itself is a good reason to see the movie).
Well, Jamel miraculously winds up on the Indian version of "Who Wants To Be A Millionaire", and even more miraculously (and suspiciously to some people) is on the verge of winning the grand prize.
How Jamel knows all the answers is gradually revealed in flashbacks, which tell the story of his amazing life.
There's a poignant love story too!
Monday, January 12, 2009
The Boys In The Trees
I just got back from a 10 day cruise, and I'd like to talk about a book I read on the ship. Here's what I wrote when I finished it:
I recently discovered a book that I know I’m going to be actively reading and thinking about for the rest of my life, which is also how I feel about Proust’s work.
The author is (amazingly) alive, her name is Mary Swan, and (judging from a picture I saw of her) is relatively young, and the title of her first and only novel (which I have no hesitation about calling a work of “towering genius”) is called “The Boys In The Trees”.
I don’t have the vocabulary (or ability) to accurately explain why her work moves me so much. She uses language like a poet in the sense that she’s able to express so much meaning (of both an intellectual and emotional sort) through the use of words, but which transcends the words. Her sentences are beautiful, and at times what I would call “profoundly subtle”.
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The plot is on one level simple: a disturbed man kills his family and is hanged for it. But, Swan tells the story from the perspective of many people who knew the man, either directly or indirectly. She takes us inside the minds of many different characters, and vividly relates their psychological stories. I didn’t always know the significance of a sentence or a paragraph as I was reading it - its meaning would become clear later, and this technique, which I’d never seen before, had a strange effect on me. It added a unique flavor to the work. Her sentences also sometimes have a very unusual structure, another fascinating aspect of this book. I can read them over and over again, intrigued by their beauty and originality.
I'd like to write her and tell her that (really!) she's as good as Virginia Woolf (and for me, that's saying something, since Woolf is on my very short list of "all time great writers"). But she probably hears that a lot. She should anyway.
Below is a passage which I think illustrates the exquisite sensitivity and psychological depth of her prose. The “he” of the passage is Eaton, who appears in the book as a young boy, and later as an old man reflecting on his life. Here he’s remembering the death of his wife Jenny.
It was very cold the day Jenny left her life, the wheels of the ambulance crunching along their snow-covered street. Blue light of early morning. The men were as gentle as their voices, but the rattle of the wheeled stretcher scraped the air raw. She couldn’t speak but her eyes told him that she knew, as surely as a condemned criminal, that this was the last trip down the green carpeted stairs, straps drawn tight over the red blanket. Knew that this cold on her face was the last real air she would feel. The winter sky was webbed with trees, wisps of smoke rising, the snow-covered peaks of houses, and he knew that she was filling her eyes with the last of the world.
Later he imagined that she had closed her eyes when the ambulance doors clicked shut, but at the time his mind was swept bare, only able to notice small, discrete things. The tremor in his hand as he turned the key in the lock, the cold plastic smell inside his car. A light flicking on in a house as he turned a corner and the way the big car seemed to glide through the dead gray streets, his own pale hands on the steering wheel. Jenny lingered another whole day, enough time for their children to arrive and stroke her forehead, hold her hands, but she didn’t look at anyone again. Sitting in the hard chair beside the hospital bed, he knew that what he was feeling was the rest of his life without her.
I recently discovered a book that I know I’m going to be actively reading and thinking about for the rest of my life, which is also how I feel about Proust’s work.
The author is (amazingly) alive, her name is Mary Swan, and (judging from a picture I saw of her) is relatively young, and the title of her first and only novel (which I have no hesitation about calling a work of “towering genius”) is called “The Boys In The Trees”.
I don’t have the vocabulary (or ability) to accurately explain why her work moves me so much. She uses language like a poet in the sense that she’s able to express so much meaning (of both an intellectual and emotional sort) through the use of words, but which transcends the words. Her sentences are beautiful, and at times what I would call “profoundly subtle”.
.jpg)
The plot is on one level simple: a disturbed man kills his family and is hanged for it. But, Swan tells the story from the perspective of many people who knew the man, either directly or indirectly. She takes us inside the minds of many different characters, and vividly relates their psychological stories. I didn’t always know the significance of a sentence or a paragraph as I was reading it - its meaning would become clear later, and this technique, which I’d never seen before, had a strange effect on me. It added a unique flavor to the work. Her sentences also sometimes have a very unusual structure, another fascinating aspect of this book. I can read them over and over again, intrigued by their beauty and originality.I'd like to write her and tell her that (really!) she's as good as Virginia Woolf (and for me, that's saying something, since Woolf is on my very short list of "all time great writers"). But she probably hears that a lot. She should anyway.
Below is a passage which I think illustrates the exquisite sensitivity and psychological depth of her prose. The “he” of the passage is Eaton, who appears in the book as a young boy, and later as an old man reflecting on his life. Here he’s remembering the death of his wife Jenny.
It was very cold the day Jenny left her life, the wheels of the ambulance crunching along their snow-covered street. Blue light of early morning. The men were as gentle as their voices, but the rattle of the wheeled stretcher scraped the air raw. She couldn’t speak but her eyes told him that she knew, as surely as a condemned criminal, that this was the last trip down the green carpeted stairs, straps drawn tight over the red blanket. Knew that this cold on her face was the last real air she would feel. The winter sky was webbed with trees, wisps of smoke rising, the snow-covered peaks of houses, and he knew that she was filling her eyes with the last of the world.
Later he imagined that she had closed her eyes when the ambulance doors clicked shut, but at the time his mind was swept bare, only able to notice small, discrete things. The tremor in his hand as he turned the key in the lock, the cold plastic smell inside his car. A light flicking on in a house as he turned a corner and the way the big car seemed to glide through the dead gray streets, his own pale hands on the steering wheel. Jenny lingered another whole day, enough time for their children to arrive and stroke her forehead, hold her hands, but she didn’t look at anyone again. Sitting in the hard chair beside the hospital bed, he knew that what he was feeling was the rest of his life without her.
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