Archive for Paul Verhoeven

Unstarry Nights

Posted in FILM, MUSIC, Painting with tags , , , , , , , on July 3, 2021 by dcairns

Maurice Pialat’s VINCENT is, for some reason, the first Pialat movie I’ve gotten around to. I’ve owned the Masters of Cinema Blu-ray of it, and POLICE, for ages. This should prompt me to watch more.

I mean, one could complain — the movie is long and often slow and one ends with no huge sense of understanding the main character — it’s not clear whether he’s ill or mad, his eventual suicide comes out of left field, and although he was clearly not a happy man, there’s no obvious MOTIVATION behind him suddenly shooting himself. So any desire for narrative neatness is defeated.

Pialat in interviews seems obviously complicated, a tricky customer, but he never says anything that would help guide you through his movie. He never discusses the large fictional elements he inserted into VVG’s life. Some of the movie’s deleted scenes seem like they might have helped a little, and that may be why they were deleted.

But it seems churlish to me to complain about the movie’s length (it’s not THAT long but it does SEEM quite long) when so much that’s good in it wouldn’t be there if there was a serious attempt to chip away everything that doesn’t look like a story. In the hostelry where VVG has taken a room, we see people in the back bar, and then a big hay cart comes by the window, VERY CLOSE.

(Had to photograph it off TV because I can’t frame-grab Blu-rays currently.)

“That’s amazing,” I said.

“I was about to say that,” said Fiona. But neither of us could decide exactly WHY it was amazing. The reverberant trundle and rattle of the cart in the night street is part of its gentle ominous loveliness. Certainly it relates to one of the film’s major strengths, its evocation of time and place. Without trying to transform the landscape into a Van Gogh painting, as Minnelli and Kurosawa in their own ways do, it creates an immersive beauty. Paul Verhoeven once said that when you make a period movie, you often can’t afford to pan an inch to the left or an inch to the right for fear of exposing something modern (CGI has almost removed that problem). Pialat’s filmmaking makes it feel like the painter’s world surrounds us completely, and everything we see is real.

He seems to have had a fair bit of money, but there are no Parisian street scenes, so the budget wasn’t unlimited. He’s just really good. The performances are startlingly informal, they feel present-tense but at the same time they’re never anachronistic (the prostitute singing Carmen with da-dum da-dum raunchiness). It puts you inside Van Gogh’s world but can’t or won’t put you inside his head. But it succeeds so exceptionally at the former that it still impresses no end.

Holiday Affray

Posted in FILM, literature with tags , , , , , , , , , , , on April 13, 2021 by dcairns

Also over Easter we rewatched the original and one true TOTAL RECALL, quite a messianic film if you think about it. True, Arnold Schwarzenegger rides to Mars not on a donkey, but wearing a robotic fat lady costume, and he kills a lot of people, but he also saves the mutants and terraforms the planet, which I’m sure Jesus would have done had he thought of it.

Paul Verhoeven threatened for years to make a Jesus film, which would at least have been interesting. I imagine his Christ would have been more human than most, but maybe I’m wrong. The closest he got was ROBOCOP, where Peter Weller rises from the dead, walks on water (seriously — check out his final confrontation with Ronny Cox), and stabs a guy in the throat. At least two of those things get done by Christ in The New Testament.

Verhoeven, Mel Gibson and John Woo are the unholy trinity of Christian mayhem merchants.

This oxygen volcano has a certain Maria Montez nostalgia value, but feels like something the leads should be dancing around in SHOWGIRLS.

Saint Paul’s other big unmade film also had a Middle East setting, his crusades film, planned in the wake of the Gulf War — Schwarzenegger as Schwarzkopf.

But back to Mars. Dan O’Bannon and Ron Shussett, ALIEN’s originators, adapt a Philip K. Dick story. The project passed from David Cronenberg to Fred Schepisi and back to Cronenberg and then somehow to Verhoeven, changing company in from De Laurentiis Entertainment Group (which folded) to Carolco in the process. Verhoeven, discussing the extreme violence, said that gore in movies meant nothing to him since he grew up in WWII and so bodies blown to pieces in the streets. O’Bannon, responding in another interview, said that was all well and good, Verhoeven was “psychotically desensitized,” but he should remember that he was making films for audiences who are not.

We kind of are, though. But Cronenberg himself said that movie violence desensitizes us to more movie violence, but no amount of fake punch-ups will lessen the impact of a real punch, given, received or witnessed. Which is true. Though I think movies can get us into trouble by creating the impression that certain activities will be fun if we try them. The reality is often disappointing.

Anyway, apart from the graphic and OTT carnage, there’s also Rob Bottin’s spectacular asphyxiation effects, achieved with fake heads, bulging eyes, protruding tongues… I find these repellent but hilarious. While the faux Arnie head which emerges from the fat lady is unconvincing (they hold on it too long in a static medium close-up), the gagging stars would be totally compelling if they weren’t so extreme.

A difference of reaction: Fiona is really freaked out by them, which she puts down to her panic disorder, a condition which gives you the feeling you can’t breathe. Whereas I find them amusing — though the horrific/absurd confusion OUGHT to be disturbing. And I have asthma, which means I periodically really CAN’T breathe.

I’m always struck by how the film, despite the talents involved, the money lavished, and the nasty fun provided, isn’t very good-looking. Mars looks kinda awful, right from the get-go. There’s so much wrong with the very first effects shot…

Firstly, it fails to establish the domed cities, which we need to know about. The sets consequently always seem really small, I think because there’s little to tie the buildings in with the domes. We need wide shots of miniatures that show lots tiny buildings inside domes, and these little buildings would then be seen full-sized with the actors moving about them, and THEN we’d feel a sense of scale.

It’s crazy the way everything is tucked underneath the horizon line. Feels like an attempt to make things easy to matte together.

And the yellow construction cranes are popping too much. The fact that there’s work going on is something we don’t need to know about yet, the domed cities should be the priority.

Verhoeven’s skill with blocking is something only intermittently present in his work, flashing up unexpectedly in scenes that don’t always deserve it. Though the staging of the fights is pretty good, making the slow-moving AS seem like an effective scrapper, it’s only with the first long dialogue scene with Rachel Ticotin that we get a nice lesson in old-school staging:

As a prospective Cronenberg picture, it’s intriguing to see how the layered plot twists or “mind fucks” would connect with his first person films — VIDEODROME, NAKED LUNCH, XISTENZ, SPIDER — where we’re led up a subjective garden path away from consensus reality. Rather than going deeper into delusion, TOTAL RECALL progressively strips away the false scenarios our lunk hero is ensnared within.

Of course, it’s all happening in Rekall, Inc, and Arnie’s dream should end with a big reveal showing him “a drooling vegetable,” as Verhoeven vividly put it (and with relish) in the chair, his memory implant having malfunctioned and fried his brain (the term “schizoid embolism,” a conflation of the psychological and neurological, is a trashy bit of ersatz science Cronenberg would probably have improved upon). But, in a big action picture starring the number-one box-office star, this was unthinkable. So Verhoeven says he ended the picture on a fade to white to give the audience a subtle feeling that something was up…

Walking on the Frame

Posted in FILM with tags , , , , , , , , , on February 14, 2020 by dcairns

(It’s crazy how rough my old DVDs of IVAN look compared to the Blu-Rays, images of which I’ve seen but which I do not currently own…)

Eisenstein makes a big thing out of having a character actually walk forward and stand on the bottom edge of the frame in IVAN THE TERRIBLE (among countless other bold compositional devices).

Since so much of, for instance, MACBETH is clearly under the influence of Eisenstein, I’m assuming that Welles’ occasional moments of framewalking are also inspired by this.

(VLC Media Player has decided to screw up the aspect ratio. Still, Welles has achieved the effect of a mass of characters at different distances from the camera all standing on the frame edge by positioning them on different raised platforms. Otherwise, some of them would be cut off at the knees, some at the waist, as they got further away.)

In PATTON, Franklin Schaffner poses George C. Scott on the lower edge, but the effect is somewhat different since the entire screen is transformed into Old Glory, with just the tiny figure at bottom, a graphic effect that’s quite different from Eisenstein and Welles’ pop-up charcoal cartoons.

Of course Welles and even Schaffner score over Eisenstein in my book, despite his visual richness, because they show recognizable human beings while S.E. is totally in the moving-icon business. It’s a personal prejudice of my own — the hinged cardboard of the characters in IVAN is off-putting to me, though I can dig something like COLOUR OF POMEGRANITES which more or less excludes human behaviour altogether.

Been watching too many turkeys, so I wanted to look at an Acknowledged Classic. I recall Paul Verhoeven telling Alex Cox that he rewatched IVAN annually along with THE SEVEN SAMURAI and VERTIGO, “to remind myself that, yes, film CAN be art, because I have almost forgotten this, not only because of what everyone else is doing but because of my OWN work…” I tried ROME, OPEN CITY but my DVD of that has likewise been thoroughly superseded, and a good thing too — it’s taken from an old US print with the original subtitles, which choose not to translate half the dialogue…