Archive for The Man Who Lies

The Anachronism, and how to get it

Posted in Fashion, FILM with tags , , , , , , , , on July 29, 2015 by dcairns

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In Robbe-Grillet’s Czech shot early opus, THE MAN WHO LIES, the sixties look of the principle actresses seems like some kind of clever idea — the film seems to be set during WWII, some of the time, and at a non-specific time after WWII the rest of the time. Given that the comparatively youthful Jean-Louis Trintigant (ah! it was all so long ago!) claims to have been involved in said war as a resistance hero/traitor/hero, it doesn’t seem likely that the post-war part of the narrative is meant to be set in the sixties. So it seems like Robbe-Grillet is up to his usual games with time and memory and reality.

In another Czech film of the sixties, CLOSELY OBSERVED TRAINS, however, experiments with narrative do not seem to account for the wildly anachronistic appearance of the women. Bushy eyebrows, bob, no makeup, a hat that could have sat on Rita Tushingham…

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Was it Marshall McLuhan who said that you cannot see an environment when you’re in it? Are we to assume that certain sixties filmmakers were unable to recognize that women had not always styled themselves in beehives and white lipstick? The hair and makeup department of DOCTOR ZHIVAGO likewise let the side down, but was David Lean, the great perfectionist, unable to spot that Julie Christie was being arrayed in a manner that suggested Carnaby Street rather than Imperial Russia?

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CLOSELY OBSERVED TRAINS is an excellent film, DOCTOR ZHIVAGO is at least partly an excellent film. I’m not too sure about PARTY GIRL, because I can never make it through that one. The wilful trashing of any period atmosphere in what is supposed to be a prohibition-era gangster film throws me badly (so does the cast, I admit). And director Nick Ray had lived through the era he was portraying, so it makes no sense. We could blame the studio, but then look at the rather convincing historical sense displayed in SINGIN’ IN THE RAIN.

I’d love to hear your favourite examples — not wristwatch-and-toga combos, just period moves where the whole feeling screams aloud the period when it was made.

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The Image

Posted in FILM, literature with tags , , , , , on July 23, 2015 by dcairns

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This fortnight’s edition of The Forgotten looks at THE MAN WHO LIES, by writer-director Alain Robbe-Grillet. I’ve meant to write something about him for ages, but never found an angle that made him clear to me. His erotic fantasies — sexy but queasy and dodgy — are presented in detail but never explored as to meaning, and don’t seem particularly connected to his interest in deconstructing narrative. A clue was provided by Mme. Robbe-Grillet’s revelations about her marital life, and I now see Robbe-Grillet as some kind of Hitchcockian fetishist, constructing filmed rituals as a kind of sublimation of the conventional sex drive.

As I explain here.