Archive for Jane Campion

Limpid

Posted in FILM, Television with tags , , , , , , , , , , , , on September 27, 2017 by dcairns

We’re halfway through season one of Top of the Lake, Jane Campion & Gerard Lee’s TV series. (Lee co-directed PASSIONLESS MOMENTS, one of my very favourite Campion things.) It’s not quite auteurist TV a la Twin Peaks, so it doesn’t fill that (rumbling) void — Campion directed most but not all of it. So we’ve just had two episodes directed by Garth Davis. It’s all beautifully photographed by Adam Arkapaw, reminding me of the first True Detective in its landscape work. But you do notice the difference when Campion’s not at the tiller. The shots cut together less fluidly, the changes in shot size are less intelligible.

We get this beautiful close-up of Elizabeth Moss all of a sudden, in the midst of a conversation, and it doesn’t appear to signal an important intensification or development. It feels like either Davis felt he couldn’t sustain the interest with his previous angles so threw this in at random just to liven things up, or he got bewitched by Moss’s eyes, which look normal/small in medium shot but here suddenly transform in the sidelight into great goldfish bowls with targets painted on them. Huge, shiny, fragile, challenging.

“A closeup is like a trump at bridge,” said Billy Wilder, cautioning the filmmaker to only play it when it will have a meaningful effect.

Rewatched it to get screen grabs. I can see better what Davis is up to now. I think the line we cut in on IS meant to be a turning point in the conversation, but it doesn’t quite come off as one in the performance or cutting, which again makes the sudden close-up seem arbitrary. The point when he goes back to his two-shot, a relaxing of the tension, IS lucid and effective.

Fiona’s bothered by the fact that all or nearly all the men in this show are arseholes. I don’t feel persecuted, though. I don’t identify with them. they are the kind of men who make MY life less pleasant at times too. Maybe the plot just isn’t clever enough. With the cast searching for a missing girl, they’ve twice played, or attempted to play, the trick of having a dog turn up in a situation where we might expect it to be the girl. Of course, everything gets better when the top actors come on: Holly Hunter and Peter Mullan are energizing presences here. Although weirdly, when you put Mullan together with the weird coven of recovering women, the mix of crazies kind of cancels out the possibility for involvement. It gets a bit HOLY SMOKE.

Final verdict when we finish the thing — which we will.

Oh, I never got around to praising Happy Valley, which we caught up with quite belatedly.Both seasons. That definitely IS a terrific TV show, and apart from the coincidence of all the characters being connected in multiple ways, extremely well crafted from a story point of view, and with a central character who is both seriously flawed, capable of terrible mistakes — and at the same time, a mountain of goodness. Sarah Lancashire’s eyes aren’t limpid pools, maybe, but bolstered by Sally Wainwright’s writing, she makes an inspirational figure. (And a very credible cop.)

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Sex-Positif

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on October 23, 2013 by dcairns

paulette-goddard

Amazing! Picked up the special edition of Positif from 1964 in Lyon for two measly euros. This was a FIND, partly because it intersects with NATAN, the film Paul Duane and I made. Bernard Natan has been falsely connected with several pornographic films, and one of the “sources” for this is a short list of early smut films in the back of this magazine. Many of the films are unattributed, but a few have the name “Nathan” attached. The anonymous author probably did mean Natan, since earlier publications like a 1938 edition of Match also attributed some of the same titles to Natan. But repeating the allegations strikes me as dodgy, since the Positif “article” gives no sources, offers no evidence, and getting the guy’s name wrong doesn’t exactly fill one with confidence. (Natan’s name is spelled “Nathan” all over the place — Georges Sadoul does it in his Histoire General du Cinema, despite getting it right elsewhere in the same book. This is odd, since the title Pathe-Natan appeared ahead of all Natan’s thirties films, often with his signature.)

Anyway, the magazine has a few other things of interest, as you’d expect, including the following piquant questionnaire, which I think we can have some fun with.

MR INDIA. Invisible man musical sexiness,

1) What is the most erotic movie you ever saw? Give your reasons.

2) What seems to you to be the perfect example of a non-erotic movie? Limiting yourself, of course, to films that deal with love.

3) Has the cinema had an influence on your erotic life?

4) What situations, scenes, objects or attitudes in the cinema, seem to you to have the greatest erotic significance?

5) Who is the actress (or actor) who, for you, embodies eroticism? Why?

6) Of  those who are supposed to embody eroticism on screen, which actor (or actress) is for you the negation or eroticism? Why?

7) What erotic work would you like you see adapted (or would you like to adapt yourself) to the screen? With who?

fellinilast1

Fellini’s last drawing: on the bottom of a model in a magazine.

A few notes on the questions and answers.

I love the “(or actor)” and “(or actress)” which are positioned with a hilarious assumption that most of the respondents will be straight men. In film criticism, has this ever been true? At any rate, they at least allow for exceptions, but they want to make it very clear, via parenthesis, that they ARE exceptions. At any rate, the only women quoted are France Roche (respected screenwriter, still with us at 91) and critic Grace Winter.

The aforementioned Sadoul puts Dovzhenko’s EARTH at the top, which surprised me as I didn’t hear swooning over its sexiness at Pordenone, but maybe I didn’t have my ear to the right patch of ground. And maybe I should see for myself. Sadoul is also very keen on Louise Brooks, who was undergoing rediscovery.

Raymond Durgnat is fascinating, as you’d expect. Lots of top choices for erotic film, including but not limited to BRIDE OF FRANKENSTEIN, 42ND STREET, PICKPOCKET, KING KONG, HAXAN and ARTISTS AND MODELS. Polymorphous perversity! But I have to admit, Shirley MacLaine looks cute as Bat Lady.

Private Property (1960) Directed by Leslie Stevens Shown: Kate Manx

The little-known PRIVATE PROPERTY (1960, above) appears on Durgnat’s non-erotic list, and on Grace Winter’s erotic list. Makes me want to see it!

Michel Ciment champions QUEEN KELLY (a popular choice), Sternberg and Bunuel. The ideal erotic film, he says, would stand at an equal distance between Stroheim, Sternberg and Bunuel.

Ciment and several people mention BRIEF ENCOUNTER as a film about love without sex appeal. One critic hasn’t even seen it, and says it’s a good thing too.

Roche on unerotic actors: “Cary Grant: old young man with still-young arteries, but dry elsewhere. Rex Harrison: furry slippers and lumbago.” Mean! This question is apt to get VERY mean, so let’s try not to turn into John Simon when we approach it. John Simon is not a good look.

Poor Brigitte Bardot gets cited as an answer to question (5) by several correspondents. Vadim is chosen as an unerotic director, but Gerard Legrand disagrees and puts ET DIEU CREA LA FEMME at the top of his sexiness chart. Clearly, the negative feeling about BB was simply a reaction against the prevailing fashion, as if there’s one thing she is for most people, it’s sexy. It’s perfectly legitimate to disagree, but so many erotic nay-sayers?

Also: those who put Delphine Seyrig or Grace Kelly in their hot spot, are correspondingly apt to dismiss BB and all the busty Italians of the era.

Lotte Eisner has the best choice for work of fiction to be adapted: William Beckford’s Gothic novel Vathek, under the aegis of Luis Bunuel. Don Luis crops up as preferred adaptor on several lists. The Gothic fiction he really wanted to do was The Monk, of course.

Someone called Debourcieu chooses a science-fiction novel by someone called Pierre Versins, and wants Minnelli, Sinatra, Novak and choreography by Jack Cole.

OK. Harumph. Now, it behooves me to answer the questions myself, and honestly. Rather than just knocking everyone else’s choices. In theory I have an advantage, since I have almost fifty years more cinema to draw upon, and it’s a half-century that’s enjoyed more latitude than the earlier era. On the other hand, I have a disadvantage: shyness.

sanda

Evidence: I was just in a room with Dominique Sanda, who meant a lot to me as a youngster and still does. Now, at her age, would she be horrified if I said, as Jonathan Ross did to Britt Ekland, “Thank you for helping me through those difficult teenage years?” I think not. But instead I just gave her a small salute. She saluted back, perhaps slightly bemused.

1) Impossible to pick a single most erotic film: too self-revealing. But

(a) I had my young mind blown by Robbe-Grillet’s TRANS-EUROP EXPRESS. It’s very dodgy, though;

(b) BETTY BLUE, for all its serious problems, did combine explicitness and photogenics, and if the story had some nasty, unexamined retrograde aspects, the sex was good (everyone seemed to enjoy it);

(c) SOME LIKE IT HOT: kissing as hard porn (fleshly, leering, over-extended), and a film which refused to go as far as I wanted it to, but teetered on the brink like an expert tightrope walker;

(d) GIRL WITH A SUITCASE: the power of enforced chastity: the young hero is home alone with Claudia Cardinale, who seems eminently available. It’s like RISKY BUSINESS for the DOLCE VITA generation. But as he’s a realistic teen not a Hollywood concoction, he doesn’t know what the hell to do so nothing happens. For two hours! It’s hell, I tell you.

(I didn’t see La Cardinale in Lyon, though she was apparently there — the encounter could only be disappointing, in the sense that I would be disappointed in myself.)

(e) THE WICKER MAN had a lot of impact on my b&w portable TV in the bedroom, fuzzy signal picked up from Grampian Regional Television, and probably would’ve “worked” even without the nudity — the singing, the drumming, and the torment, plus the extreme duration

A theme is emerging here in spite of my best efforts: the theme of intense frustration. And yet THAT OBSCURE OBJECT OF DESIRE and the other versions of La Femme et le Pantin don’t do that much for me.

2) Non-erotic movie? I just visited Venice so DON’T LOOK NOW is in my mind. The justly celebrated sex scene is sensitive, intimate, frank, tender, emotional, and beautifully played and rendered. Of course, as a male person I can obviously be stimulated by anything with a naked woman in it as long as she’s not actually Michelle Bachman, but for me what is impressive about the scene is how it doesn’t particularly need the audience to become excited about sex or skin (and as for the age-old “Are they really doing it?” — PUH-LEEZE). It’s beautiful, and not in a vapid way, just not in a way that’s strictly sexual. And it’s one of very, very few films to show married people having sex. With the possible intent of having a child. And the censors still went after it. THAT’S the obscenity.

(See also: THE LAST TEMPTATION OF CHRIST.)

3) Yes, cinema has influenced my erotic life. It has BEEN my erotic life for more of the time than I care to discuss. It seems unfair to blame any kinks or hang-ups on the movies, though — although James B. Harris, at Lyon, stated unequivocally that the theme of his deeply weird SOME CALL IT LOVING is that people get sexually imprinted by their first encounter with sex, in which case BARBARELLA has a lot to answer for and the continuing unavailability of an affordable Excessive Machine is a major problem.

I am trying to master that thing Donald Sutherland does with his arm in DON’T LOOK NOW. Am certain it’ll revolutionize my bedroom existence when I’ve got it down.

I am extremely lucky to be wed to a very impressive Louise Brooks type, and an even more impressive Fiona Watson type, Fiona Watson. Our shared love of movies is part of the bond.

4) I’m not at all sure how I’m supposed to define “erotic significance”. But I could list objects: The Excessive Machine (one wants to call it an Orgasmatron but it’s not); the windscreen in COOL HAND LUKE; the chair in CABARET; Joel Cairo’s cane in THE MALTESE FALCON; the boa and the numbered cards in IL MAGNIFICO CORNUTO; actually, this is harder than I thought — I guess I’m not much of a fetishist.

5) The embodiment of eroticism? My screen harem is too extensive to enumerate (picture Guido’s mental farmhouse in EIGHT AND A HALF but extending for at least a city block). Cardinale and Bardot both drive me berserk for reasons hard to justify on any higher plain. Ann-Margret in her (extensive) prime also. On a subtler note, Grace Kelly was my first love on the big screen. Louise Brooks is an obsession. For some reason, Elsa Martinelli is leaping unbidden to the forefront of my mind, but on another day it might be the Geeson sisters. Clara Bow. Romy Schneider.

Embodiment of male beauty: Horst Buchholtz. My idea of un vrai homme: James Coburn.

flint

6) The opportunity to be mean: the negation of erotica… Bo Derek never did anything for me. Her breasts seemed boring. Sharon Stone too artificial: la Welch a blushing ingenue by comparison. Madonna, always and forever unappealing, though Fincher tried in the videos. I see the glamour of Garbo and Dietrich but not only don’t want to but can’t even imagine engaging in any kind of passionate interaction with them. They are abstract creatures of light and I admire them enormously. Mickey Rourke always seemed disgusting. Tom Cruise never projects any sense of desire or desirability. Most of these people have other good traits though.

Manara-Fellini

7) At one point, Roman Polanski wanted to adapt the porno comics of Milo Manara as an animated feature. This strikes me as the worst combination possible, but Manara’s comics might be a suitable source. The lousy Jean-Louis Richard film of CLICK is quite good, even though it’s totally lousy, if you know what I mean. Unfortunately, Manara is a deeply sexist idiot, and there’s a nastiness to his work I’d prefer to avoid — plus his real talent is his drawing, so why adapt him to another medium? His adaptation of unfilmed Fellini scenarios was a better way for him to engage with cinema.

Bertrand Blier and Alain Robbe-Grillet were both masters of the perverse who really get into their fantasies and make even the most obnoxious imaginings photogenic, but can they be trusted? Nic Roeg was more sound, you could even hand him something like The Story if the Eye. Jane Campion has a wonderful erotic imagination which can create powerful effects out of small, seemingly almost innocent things. Given her flair for the Gothic, Geoffrey Lewis’s The Monk?

The glimpses seen of THE OTHER SIDE OF THE WIND suggest that Welles could have been a great director of sexy stuff.

Plans for another version of Jean-Claude Forest’s Barbarella have stultified for years, and by the way Robert Rodriguez is the wrong man. Incidentally, if you read the original comic, the lines that sound most like Terry Southern scripted them (the best lines) are already there. I’d love to see a BARBARELLA that had to aim for PG-13, so there was something to struggle with and smuggle through, some necessity for restraint. The original’s combo of American star, Italian design and French director was a neat selection, but they had the wrong Frenchman. Clouzot would have been better!

Keanu would have been a great Pygar.

Imagine Von Sternberg’s DRACULA, with Charles Boyer.

John Barrymore as CASANOVA for Cecil B. DeMille.

Now I want to hear from YOU. Regular commenters and people I never heard from before. Shadowplay just became the Kinsey report of the movie blogosphere. Spill it!

Star Bright

Posted in FILM, literature with tags , , , , , , , , , on May 24, 2010 by dcairns

Jane Campion’s BRIGHT STAR is easy to underrate because it drifts by quite easily, very lovely to look at and quite nice, making some effort to get the audience to really hear poetry, not always wholly succeeding, not quite managing something which would cross over the arthouse barrier and hit the teen market the way ROMEO + JULIET did (I’ve since come to thoroughly loathe Luhrmann’s style, but seeing that film in a cinema full of sobbing schoolies made me appreciate its brute effectiveness) — but that doubtless wasn’t Campion’s aim anyway.

I would almost compare the effect to somebody like Olivier Assayas, whose films grip with such cushioned gentleness that you’re scarcely aware of being interested at all, except that you can’t look away. And Campion also has a nice rogue element, in the form of Paul Schneider as Keats’s friend, Charles Armitage Brown. Good Ol’ Charlie Brown! Keats groupies seem to be divided between those supporting the poet’s lover, Fanny Brawne, and those who reject Fanny and regard CAB as Keats’s true friend. Campion, of course, is on the side of Fanny.

Schneider plays Brown with a Scottish accent borrowed largely from Mike Myers’ work in SHREK, for which I don’t believe there is much historical evidence. It’s not the worst attempt at a Scots accent I’ve ever heard, but it’s slightly second-hand and certainly not convincing to a native — not as downright weird as Anna Paquin’s in THE PIANO, which deserves some kind of STAR TREK-sponsored reward, but AP had a pretty good alibi in that she was Canadian, shooting in New Zealand, and aged ten. Schneider is American, but at least he was thirty-two and shooting in the UK.

However, despite his linguistic handicap, Schneider is a barrel of smiles (and you can get more of those in a barrel than you can laughs: stack them sideways to avoid breaking a smile) — while the film’s lovers are quite teenaged in their all-or-nothing romanticism, Brown is a peevish little git, emotionally about three years old, an agglomeration of lousy traits packed within a meaty, fundamentally fairly decent personage. Watch him be annoying! It’s great.

The little girl’s great too. Adorable and completely real.

The other real coup in the film is Abbie Cornish’s meltdown at the end, the rawest expression of grief Fiona and I could remember having seen, ever. In a film, anyway. Cornish and Ben Whishaw are both excellent throughout, but this moment of unphotogenic pure trauma was a very considerable feat. Now I want to see IN THE CUT to see if it’s as bad as everyone says.