Archive for The Trial

Mail Anxiety

Posted in FILM with tags , , , , , , , , , , , , , , , on October 10, 2018 by dcairns

There’s this really interesting dream sequence in THE MARRYING KIND. Your basic anxiety dream, easy to interpret. Disgruntled postal worker Aldo Ray swept some loose ball bearings out of sight at work rather than clearing them up properly, and he’s worried they’ll cause an accident. Under the influence of too many cocktails, he feels his bed turn into a post office conveyor belt bearing him from his bedroom to the post office, which turns out to be an adjoining space —

   

That’s the best bit. The many ball-bearings that come scooting out to meet him are cute, but Cukor’s use of a single shot to travel from reality into dream, and the evocation of that weird spacial dislocation unique to the dream state (see also, Welles’ THE TRIAL, where the back entrance of the artist’s garret opens onto the law court offices; “That seems to surprise you,” lisps the artist, staring glassily).

It’s almost as good as the bed that becomes a car in Pierre Etaix’s LE GRAND AMOUR. Though our dreams typically see us leaving our bedrooms far behind with no hint of how way found ourselves elsewhere, movie dreams seem to benefit from keeping the idea of the bedroom in play — hence all those movies where the hero is in his pajamas to create surrealistic contrast with whatever scenario he finds himself wrestling with, and hence also Polanski’s use of bedroom sounds — breathing, the alarm clock’s tinny tick — to accompany his own uncanny dream sequences.

“If I ever had to do hell in a film,” Cukor told Gavin Lambert, “– no, not quite hell, let’s say purgatory — the New York post office would be the perfect setting.”

Cukor didn’t get to do many dreams, alas. He wasn’t likely to get many films noir, being a prestigious as he was, and the other genre associated with dreams, the musical, just didn’t lead him that way, unless you count his brief involvement with THE WIZARD OF OZ. A DOUBLE LIFE is his other hallucinatory one.

I really like that THE MARRYING KIND is a realistic comedy with a dream sequence. People in realist movies so seldom dream, and yet in ACTUAL reality, we all dream a lot. That’s why I like LOS OLVIDADOS better than anything by Ken Loach, even though it’s more depressing. Bunuel’s poor people still dream, though their dreams, as shown, are even more upsetting that Aldo Ray’s ball bearings.

Oh, maybe worth making a comparison to another Columbia picture —

   

Advertisements

God Send the Prince a Better Companion

Posted in FILM, MUSIC with tags , , , , , , , , , , , , on July 15, 2015 by dcairns

orson-welles-magician

MAGICIAN: THE ASTONISHING LIFE AND WORK OR ORSON WELLES has one decisive thing in its favour — it’s on the side of its subject. American documentaries about Welles have tended to take an antagonistic view — there’s something about seeing Welles as, ultimately, a failure, which is immensely comforting to mediocrities. It’s wrong to aspire to greatness, you’ll never make it, so Three Cheers for the Ordinary! Showmanship instead of Genius.

But Chuck Workman is a really terrible name to have if you’re setting out to make a film celebrating genius, I have to say. God, it’s really unfair to pick on a guy for his name, isn’t it? Forget I said it.

The problem with the documentary… no, I can’t make it that simple. First among the documentary’s problems is that it tries to cram too much in. This was always going to be tough, when you look at the number of books and documentaries and fictional representations of Welles — such Simon Callow’s still-unfinished trilogy of biographies. How do you do justice to all that, if you’re tackling the plays as well as the films, the incomplete, unreleased works as well as the known classics? You don’t.

The decision to include everything, or a bit of everything, looks heroic at first but is possibly the result of indecision. What else can explain the fleeting reference to the controversial restoration of OTHELLO — “It has a few problems,” — a subject dropped as soon as it’s raised, with absolutely no exposition of what the problems are. Even getting into this subject takes us out of chronology and into Welles’ posthumous reputation, so it derails the narrative. This is a movie that insists on touching upon every point but is in too much of a hurry to elucidate anything.

orson-welles

The most egregious effect of the need for speed is the treatment of the film clips, all of which are recut, compressed, turned into edited highlights — Workman even plays music underneath to further condense, distort. His idea of the kind of edit you can get away with is also hopelessly optimistic, so that he chops lines together as in a movie trailer, resulting in bizarre non-sequiturs, making blurting blipverts out of some of the best-known scenes in American cinema. When the expected line doesn’t follow, or follows five seconds too soon, the audience member familiar with the clip is thrown for a loop. The audience member new to all this is in an even worse position, force-fed a bowdlerized, mangled version of LADY FROM SHANGHAI or THE THIRD MAN. It’s hugely ironic that a movie which takes Welles’ part should re-edit his films as viciously as ever Columbia or RKO could manage.

Added to this, quality control is low: an early montage of framed photos of Welles features one shot with a Magnum watermark pasted across it — stolen from the internet, defaced, not paid for, thrown out there in the hopes that we won’t notice the very thing we’re being shown. Music choices are hackneyed, anachronistic, inappropriate (L’Apres-Midi  d’un Faun for THE TRIAL??) and rather than bolstering the emotion of the clips they play under — the presumed purpose — they frequently undermine it. Clips are sourced from all over, some of them seemingly from YouTube, so the resolution fluctuates like crazy.

Most of the best stuff comes from Welles’ giant BBC interview, broadcast as Orson Welles: Stories from a Life in Film, but this is hacked up too. There’s nothing as egregious as the ending of The Battle for Citizen Kane, which has Welles saying “I think I made essentially a mistake staying in motion pictures,” but leaves off what he said next — “but it’s a mistake I can’t regret,” which is followed by a heartbreaking, inspiring speech about his love of film. But Workman does use the interview as a source for random pull-quotes, so that some lines do duty for subjects they originally had nothing to do with. It’s a very insidious form of misquotation. Sometimes, people whose big mouths have gotten them in trouble complain of being “quoted out of context” (all quotes are, by their nature, somewhat out of context) — Welles is being quoted in contexts he never knew anything about, contexts devised thirty years after his death by a bloke called Chuck whose day job is editing the Oscars.

The compassion for Welles is admirable, and I think the section on his love of food was skillfully done — affectionate without degenerating into fat jokes. and there’s a nice bit where different Welles interviews are cut together to show how he would vary a story each time he told it. Where the movie has a strong idea, it’s on solid ground, but this rarely happens.

Orson_Welles_magician_in_F_for_Fake

Of the critical thinkers on display, James Naremore makes the best contribution. I would have liked more of Christopher Welles and even the dreaded Beatrice. Oja Kodar’s bit comes across like unedited rushes, jumping from subject to subject which may well be the way she talks, but the filmmaker is supposed to supply shape. She says some lovely stuff, and announces her willingness to be shamelessly indiscrete — I wish she was allowed to be.

Still, this could be an important moment even if the film is mainly a missed opportunity — a film from America which is resoundingly pro-Welles, which sees the truncated and unfinished films as the fault of a system rather than of the man, which debunks “fear of completion” and admits that the Philistinism of the film industry is the more serious problem — this is a new development, and worthy of celebration in this centennial year.

The Zero With a Thousand Faces

Posted in FILM with tags , , , , , , , , , , , on October 18, 2014 by dcairns

vlcsnap-2014-10-12-10h30m09s236

Terry Gilliam ought to, by rights, be exempt from criticism — he’s done enough great work and suffered enough appalling misfortune and interference to merit being left in peace — a mighty Prometheus regularly torn apart by vultures ought to at least be spared mosquito bites. Noble as these sentiments are, I’m not going to abide by them, since when was the life of the film blogger a noble one? I would place THE ZERO THEOREM abaft TIDELAND (2005), belonging in that category of undiluted Gilliam films, unscarred by tragedy or disaster (of the external kind, anyway) which nevertheless feel a bit insubstantial.

Beautiful, lively and as eccentric as you could ask for, TZT is also somewhat familiar — I remember at the time of THE FISHER KING, Michael Palin remarking that it was a little disappointing when someone as wildly original as Gilliam repeated himself even a little — he was thinking of the Black Knight — and in this case the disappointment is a little greater since quite a bit of the movie derives from BRAZIL, and even a key image that isn’t in Gilliam’s 1985 masterwork is actually the source image Gilliam had for that film — a man on a beach with a song playing. There’s a dream girl who is also real, and floats nude in the sky at one point, there’s a threatening fat-one-thin-one duo, a needy manager, a limp desk jockey hero, vast bureaucracies, plagues of commercialism, weird nuns, sideways monitors, tubing, homeless persons as set dressing, and a multinational cast that gives the movie an Everywhere quality. Welles’ film of THE TRIAL hovers somewhere between the director’s eye and his viewfinder.

Gilliam also has to contend with the generation or so of filmmakers influenced by him — when Tilda Swinton turns up, chuntering through a wig, false teeth and an extreme regional accent, it irresistibly recalls SNOWPIERCER, whether or not Gilliam’s film did it first.

And what do you do when your best film, BRAZIL, has since come true? Gilliam has suggested suing Dick Cheney for plagiarism, but that doesn’t solve the artistic problem.

vlcsnap-2014-10-12-10h33m19s80

Freshening the mix somewhat are the dayglo colours, which give the movie a unique, painfully intense look, and a vein of porno sexiness/sexism which is at times difficult to make sense of. Well, in fact the whole movie is difficult to make sense of, whether because Gilliam has obfuscated the narrative with excess decoration, or because it never was clear, is impossible to say. So the pleasures have to be snatched from incidentals, or rather the incidentals become central — David Thewlis’s desperate bonhomie, Melanie Thierry’s accent (putatively French but seeming to have made a tour of every major European country and a few of the municipalities), and the way Matt Damon’s suits always match his background precisely. Also the ways in which Christoph Waltz’s home has been adapted from a church.

vlcsnap-2014-10-12-10h32m02s111

Most of the film takes place in that church, which is the film’s solution to the problem of a low budget. Apart from having to confine itself to its quarters, and a slight tendency to repeat its computer animations on Waltz’s screens, it never betrays signs of cheapness. But a film stuck in one place needs some other form of momentum to compensate for the limited ground covered geographically. We never seem to be getting anywhere, in terms of narrative, character, theme or anything else. This inertia means that the movie can actually end with a sunset and still not feel like it has a proper ending.