“There are stories the man recites quietly into the room which slip from level to level like a hawk…She entered the story knowing she would emerge from it feeling she had been immersed in the lives of others, in plots that stretched back twenty years, her body full of sentences and moments, as if awaking from sleep with heaviness caused by unremembered dreams.” – Michael Ondaatje, The English Patient
The desert of the mind is a seductive place.
At age sixteen he was just beginning to learn of the world. There were things beyond…art houses in the city where stories from foreign lands and birthed in independence flickered in the animated darkness before communities of the willing. Amongst the suburban sprawl of his homeland across the river, the purveyors of these urban establishments spawned a megaplex like no other where established fare mingled with independent films and cross continental tongues whispered hotly in the darkness of small air-conditioned screening rooms smartly furnished. It was here his parents took him one night to see The English Patient.
Closing in on his 34th year on this earth and looking back (somehow having circled back to this suburban sprawl now naming a spot his adjacent to that very megaplex which has passed through as many hands as he has homes), he longs for those innocent days…that wonder of experiencing something on-screen he had never experienced before – a painterly, carefully constructed, flawed and blistering work of art splashed across a silver screen. A romance with the cinema was born then as he watched the elliptical tale of human frailty and survival against the backdrop of the world’s greatest war.
We thought we were watching TV, but the TV was watching Film.
“I hope you’re watching the clothes, Elaine – because I can’t take my eyes off the passion.” – J. Peterman on The English Patient
And no show in the history of the television medium has been more passionate about film than Seinfeld – yet another reason the sitcom has weathered the test of time and is still funny to this day. Tied to its central conceit of being a show based on observational humor surrounding the minutia of ordinary lives, Seinfeld‘s keen observations on how film defines a culture, has the ability to rescue us from our own suffocating mediocrity, and how one’s taste in film can shape their character is one of the big reasons I still watch in endless re-loop episode after episode after episode. And I dare you to name another defunct show that is still quoted and discussed on a near daily basis in offices across the country. It’s because like the greatest of films (or the worst deserving of ridicule), through Seinfeld, we learn about ourselves – and more importantly – how to laugh at ourselves.
Seinfeld‘s greatest running gag was its references to fake movies – the most famous of which was probably Rochelle, Rochelle – an art-film about “a young woman’s strange erotic journey from Milan to Minsk.” It was first featured in one of my favorite episodes of all-time, the charming almost now period-piece-like, “The Movie” where the gang haplessly tries to meet up at the cinema for a showing of CheckMate (a high-class thriller of political intrigue we are to assume). Continue reading →