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The Movies
I never realized quite how much movies mean to me until recently, when I subscribed to Netfilx and started watching the classic movies I really enjoy more frequently.
Sylvia did pretty well with watching Monsieur Verdoux last night, paying attention to the plot and the characters, giving indications she understood what was going on. She lost interest about a half hour before the end of the movie though. (It is 2 hours long.)
Before the feature there was a preview for Encounters at the End of the World; Sylvia asked if that was what I had seen the other night and said she wanted to see it, but at home, "So we could make it softer."
Here is something I did not know Charlie Chaplin could do: compose excellent scores for a movie soundtrack. He is credited as writer, director, and composer for Monsieur Verdoux; and the music is great. The writing and direction also! Too bad the idea for the movie (which Chaplin bought from Welles) isn't really up to the quality of Chaplin's talent. It seems insubstantial to me, a trifling comedy of manners that Chaplin tries to turn into a fable about capitalism and morality.
Woo-hoo! My very own day! (Happy Father's Day to those of you who meet the requirements.)
Our family activity for today was going to be a drive down to the shore and playing on the beach; but alas, the weather is not such as to make that work out well. So instead, we're going to take the train into town this afternoon and watch Monsieur Verdoux at the Flim Forum.
So it was, to be clear up front, not a great movie, certainly not in a class with Herzog's great works. It had a lot of visual beauty, and occasional arresting moments of clarity; but it felt to me like Herzog stumbled aimlessly into these moments, like his heart was not in this movie. Still I would recommend the movie, just for the visuals, and the cute fluffy seals. (The portions of the soundtrack which were recordings of seal grunts were fantastically good; the music portions were hit or miss.)
One of the first things I thought of in response to Dave's post about authoritarian "followers", was Michael Verhöven's 1991 movie, The Nasty Girl. Reacquainted myself with it through the providence of Wikipædia; I had forgotten it was based on a true story. The woman whose experience was the basis for the movie wrote (in 1985) a book about her town's history, Widerstand und Erfolgung Am Beispiel Passaus 1933-1939, which I am a little shocked to see has never been printed in English (that I can find).
So I might well be heading in to the city Friday night, to see Herzog's Encounters at the End of the World, at the Flim Forum. If you'd be interested to see it then, drop me a line.
A beautiful but flawed movie, I think -- the flaw is in the plot, which is not interesting enough to keep me in my seat for 2½ hours. The beauty is (of course) to be found in the dancing, but this brings up a question for me: why is the main ballet sequence shot with special effects that could not happen on stage?
Filming stage presentations seems to me like a great idea; I really like e.g. what Bergman did with it in The Magic Flute. When Craster is conducting the overture and the camera is showing the confusion backstage, that was what I thought was going to happen -- self-aware cinematography of the company's presentation of The Red Shoes. Instead I got a fantasia of what the ballet might look like in a movie, and I'm not sure what to do with it. Is this a depiction of what is going on in the dancers' heads? In the audience's head? In the director's head? It's definitely not what's going on on stage and I think that takes away from the movie.
Werner Herzog's latest movie, a documentary of Antarctica called Encounters at the End of the World, will be opening at the Film Forum next Wednesday. Leonard Lopate interviewed Herzog on his WNYC show yesterday:
Update: A harsh (in a believable way) pan from David Meyer of the Brooklyn Rail. "Grandpa came to town, found what amused and repelled him and looked no further." I'm still looking forward to seeing the movie, but with some caveats now.
Agnès Varda has her 80th birthday today. What a great life she has led these 80 years. (And oh boy! A new movie in post-production! Click on the picture for more info.) If any of you have not seen her movies, check my archives for some recommendations. One of the greatest (though hardly the most prolific) filmmakers of the 20th Century.
I see from a cursory look at the Internet, that people (or anyway, "nationalistic Turks") are comparing the acceptance speech given by filmmaker Nuri Bilge Ceylan at Cannes, with that given by Pamuk at Stockholm (or well, rather with Pamuk's failure to acknowledge his motherland and with his reference before the Nobel was awarded, to the Armenian genocide), and finding fault with Pamuk's lack of patriotism. I don't know how widespread this is -- I've only read the Turkish Daily News article I linked above, which references some other articles and columnists, and a couple of Turkish bloggers. But it seems terrible to me -- every speech I have heard of Pamuk's has made reference to the importance of Turkey in his writing and in his mental life.*
My first thought was, Well this seems sort of like American right-wing radio hosts bitching about Obama not wearing the lapel pin, or whatever their cause du jour is. But then I remembered Pamuk is currently living in exile, which makes his situation seem a lot worse than (obviously) Obama's. The nationalists in Turkey have a lot more power than the right wing here -- scary to think about when I'm so often outraged by how much power the right wing has here.
* (Reading this I see I was not quite clear in my expression -- this derogation of Pamuk for inadequate patriotism would be terrible whether or not he spoke as often and as passionately as he does about his homeland.)
posted evening of May 28th, 2008: Respond ➳ More posts about Orhan Pamuk
Susan Faludi has a really interesting op-ed piece in today's NY Times, about gender roles and the presidency. I did not know about the Daniel Boone sculpture she references.
So it was, to be clear up front, not a great movie, certainly not in a class with Herzog's great works. It had a lot of visual beauty, and occasional arresting moments of clarity; but it felt to me like Herzog stumbled aimlessly into these moments, like his heart was not in this movie. Still I would recommend the movie, just for the visuals, and the cute fluffy seals. (The portions of the soundtrack which were recordings of seal grunts were fantastically good; the music portions were hit or miss.)
Dr. Holbo came up with a 
interesting 