When Robert Pattinson’s character finally “spills the beans” to Willem Dafoe’s character in Robert Egger’s grim, grimy and sea-battered The Lighthouse, he claims to be a former timber worker who killed his boss, wrestling now with his guilt at the remote coastal outpost of the film’s title. I thought, however, that he was more likely the soul of one of those dead sailors Dafoe claimed are living inside seagulls. A particular seagull, with one eye, is one of the key antagonists (along with Dafoe), but all three characters (young man, old man, and gull) might very well be one in the same in this Persona-like decent into male madness.
There are elements of The Lighthouse I admired: Dafoe’s over-the-top salty seadog ranting, the claustrophobic aspect ratio, the Nova Scotia setting, the bleak black-and-white cinematography, the seagull, and the surreal visions (a harpy of a mermaid, a slithering Neptune).
There are elements of The Lighthouse I could’ve done without: the focus on bodily functions, the insular white male insanity, the fate of the seagull, the seagull’s ultimate revenge.
There’s nothing that was particularly scary, but certain scenes and images were fittingly disturbing. Some parts were played so absurdly straight (a seemingly endless fall down twisting stairs) as to elicit laughter.
I could’ve used more story…more characters…more of the sea.
Much like Eggers’ first film, the equally grim The Witch, I can’t say I liked the film, nor would I recommend it to anyone. But I know there are many out there who would watch this and relish every stinking bit of it. So if you’re one them, enjoy.
The best types of entertainment hold a mirror up to society. Ava DuVernay’s When They See Us and Susannah Grant’s Unbelievable, both on streaming at Neflix, are so good, so entertaining, so shocking and illuminating and sobering, as to move viewers to tears. Both limited series take the old idea of setting yourself an appointment to watch great TV and spin it on its head in this era of streaming everything. No, you don’t just binge watch these…you make the time to sit down (hopefully with a loved one you can then later discuss and unpack each episode with) and give these powerful true stories your undivided attention.
In When They See Us, the lives of the Central Park Five (innocent teenagers unjustly convicted of raping a jogger in Central Park) unfold before our eyes, and the tradgedy of a racist system that railroads innocent children is laid bare. In Unbelievable, we see firsthand the ripple effects of what happens (to both the victim and society at large) when young women who are raped are not believed. The fact that both series are also acting (holy hell those kids in When They See Us), writing (ohhhhh that character development in Unbelievable), and directing (damn, Ava DuVernay, my wife and I became full on fangirl and fanboy for that artistry you displayed!) tour-de-forces is just icing on the cake.
As tragic as both stories are, they give us glimmers of hope. In When They See Us, it’s the love of the boys’ family and community that help see them through…while in Unbelievable, it’s the dedicated work of passionate female detectives who eventually bring a serial rapist to justice. Yes, even in a criminal justice institution systematically rigged against the marginalized, justice can still eek its way through the unfathomably deep and dark muck…but only if good people take action…and in the case of When They See Us…bad people take responsibility for their actions.
If you have not watched these series yet, you need to make an appointment to do so. Make the popcorn, and bring a therapist. Watch. Discuss. Get Angry. Be Inspired. Take Action.
I’ve been on a big historical fiction kick lately. All three of the novels I’ve read recently in this genre jumped off the page and played like movie reels in my mind. There’s something about the genre (when done well) that naturally lends itself to adaptation for both big and small screens. In this golden era of “limited series” on TV and in streaming services, I couldn’t help but imagine how these novels would play.
Darktown by Thomas Mullen – This crime drama about the first African-American cops in Atlanta in the 1940s and the corruption and racism they had to battle would seem a perfect fit for TNT or FX. I could see it playing out similarly to the recent limited series from Patty Jenkins, I Am the Night. Heck, that series’ own Carl Franklin would be a fantastic choice to direct.
When It’s Over by Barbara Ridley – This tale of refugees from the Czech Republic and Germany fleeing to England during WWII would make a splendid PBS Masterpiece Theater series.
The War in Our Hearts by Eva Seyler – When I first read started reading this melodrama about Scots on the Western Front of France during WWI, it initially made me think about those searingly romantic mini-series of classic 1980’s TV (think The Thornbirds or North and South). But the novel ended on such an achingly poetic note that I couldn’t help but picture it as a cinematic moodpiece by Terence Davies.
What have you read lately that begs for a big or small screen adaptation?
In Ad Astra, lonely astronaut Roy McBride is married to his physically and psychologically draining job, which predicatably ends his marriage, and has followed in the footsteps of dear old dad, who decades earlier headed up the infamous Lima Mission to Neptune to search for extraterrestial life. The mission was assumed lost, until some crazy anti-matter flares make their way to Earth with disasterous results from – you guessed it – out Neptune way. Oh yeah, and old daddy may be the one who created this mess. So, of course, sonny boy has to go out there to see what the heck is going on, save the solar system, and wrestle with his deep-seeded father issues.
Despite Hoyte Van Hoytema’s stunning and sometimes vertigo inducing celestial cinematography and a few good stand alone sequences, James Gray’s emotionally drab and tired father-and-son / man-is-a-lonely-beast space opera is one of the biggest cinematic disappointments of recent memory.
Everyone in the film looks exhausted (Brad Pitt, Donald Sutherland, Tommy Lee Jones, Liv Tyler…even the normaly bright-eyed Ruth Negga) and it’s no surprise given the broad strokes with which all the characters are painted and the shocking banality of space travel and colonization on display. In James Gray’s near-future universe, human beings just keep getting caught up in the same old mistakes, trite archetypes, and psychological hang-ups.
Oh, look, an Applebees and Subway on the lunar colony. And pirates fighting over mines. Mars is just one giant underground bunker that looks like it was designed with cardboard packing material from Amazon.com. Out in the middle of nowhere near some random asteroid, humans are experimenting on primates, who go maliciously bonkers in an oddly thrilling sequence that plays like a revival of an abandonded sequence from Gray’s last curiosity about human exploration, The Lost City of Z. Why were we messing with primates in space? Well, it’s just because, you know, animal torture is what humans always do. And hell, it is boring as hell out there, so why not?
One of the most irritating elements of the film is Brad Pitt’s near constant, and woefully undercooked voice-over that is strung together from routine psychological check-ups and philosophy 101 inner monologue. The Tree of Life this is not. Underscoring the voice-over and anti-action are Max Richter’s minimalist tones, pale echoes of Hans Zimmer and Justin Hurwitz’s work from the superior in every way First Man. The aformentioned cinematography of Van Hoytema is technically stunning and beautiful to look at it, but it’s not married to anything of deep substance. Interstellarthis is also not.
I don’t blame Gray for tapping into classic thematic tropes. Some of the best stories of all-time deal with father-and-son drama and the loneliness of human existence, but if you are going down that well tread path you need to have either something new to say or do it in an interesting way. Sadly, in his attempt to hang these tropes inside his musings on the empitness of space, Gray shows how tired and empty these ideas can sometimes be.
With summer winding down, Hollywood is gearing up for their prestige film season. And with a one-year-old at home it has become increasingly difficult to get out to a movie theater, so this new trend started by Netflix to stream Oscar bait couldn’t have come at a better time for me. My thirty-year-old cinematic purist self would’ve screamed, “You’re tarnishing the purity of the experience!” but my almost forty-year-old self is like, “Let’s stream everything! Who’s got time to go to a theater?”
Here are my most anticipated films of the 2019 Fall Movie season:
The Irishman – Oh thank heaven for Netflix! I don’t think I could find the time to escape to a theater for over three hours, and I’ll likely have to watch this one in chunks. Scorsese, DeNiro, Pacino, Pesci all in their element and Anna Paquin primed for a mid-career revival. I have high, high, hopes for this one.
Marriage Story– the buzz on this one is strong, and the trailers have been excellent. Noah Baumbach is long overdue for a big popular breakthrough as his films have always been niche, and Adam Driver and Scarlett Johansson look to be at the top of their game. This has the feel of Kramer vs. Kramer by way of Woody Allen if he had a millienial’s EQ. Again, thank heaven for Netflix, as I would otherwise not likely be able to get out to this one and its domestic drama looks well suited to emmerse yourself in at home.
1917– Sam Mendes looks to do for WWI here what Christopher Nolan did for WWII in Dunkirk. This looks like an immaculately shot, edited and staged piece of tick-tock wartime suspense with some big emotional payoff. This has Oscars written all over it, and will probably worth the trip to the theater for the experience.
A Hidden Life – Terrence Malick is back, and this three-hour biopic looks to be more like The New World in style than his more recent contemporary endeavors. The buzz on this is his best in years…but it’s still three hours long, and man, do I wish this was streaming, though arguably you’d want to see these images on the biggest screen possible.
Ad Astra – Of all the film’s on the list this one I am most skeptical about. Could it be an Interstellar style masterpiece, or a boring chore? James Gray is one of the best directors yet to make a great film. Brad Pitt is the star power. It’s nice to see Ruth Negga is also onboard, but the rest of the cast all seem a bit tired: Donald Sutherland, Tommy Lee Jones, and Liv Tyler. The trailers have been hit or miss, but there’s still tons of promise here.
The weather couldn’t have been nicer, Melora thought, as she stood at Central Bank’s kiosk at the D. C. Cherry Blossom Festival parade. Central Bank was one of the co-sponsors of the event, and she, the branch manager of the location closest to the parade route, was there with a few young and eager interns from corporate marketing. They were handing out swag and signing up people for new accounts on a tablet device. Yes, the weather was beautiful, but in her mind chaotic thoughts still stormed…or was that just a hangover? Last night she had driven nearly an hour out into the suburbs to a place called the Bier Mrkt (What happened to the vowels in Mrkt? We might never know.) to watch Carrie’s boyfriend’s band play. The band called themselves Dirty Coconut Water…
…That headache from last night had stuck with Melora all morning. Though it was sunny with highs in the sixties, tall buildings created shade, and it was still brisk and cold when they started setting up. Melora’s face felt frozen in a permanent smile, and her hands were still chapped from running around in the cold just days earlier, frantically searching for her runaway dog. Last night when she got home from the Bier Mrkt, someone posted a photo on the neighborhood Facebook page in response to her lost dog notice. “Is this your dog?” Sure enough, it was Calliope Anastasia, her labradoodle, living it up with two kids in presumably their front yard. The dog looked like she lived there, and maybe had all along, living a double life away from Melora with a family of four. Calliope looked happier, Melora decided. The dog had gotten loose three times before and was always dragged back, but this time, maybe she was finally going to let that dog live her best life.
And I am all the things I have ever loved: scuppernong wine, cool baptisms in silent water, dream books and number playing. – Toni Morrison
I was the only (dumb) white guy in the class. Maye the only wannabe writer, too. 1999. African American Literature at Elon College. I thought I was cool being the minority. We had to read Jazz by Toni Morrison. From the very first line…Sth, I know that woman…I was transported, and changed. It was, and still is, to this day, unlike any other novel I have ever experienced. It was wholly unique, a novel written like music…a looping chorus of tortured souls, a deepdown, spooky jazz song about people and places I had never thought about before…voices I had never heard and feelings I would never forget.
It was also composed in a way that broke every rule of
writing. Jazz is the reason all of my novels have roving, shifting, intertwined
POV’s.
Morrison shunned the idea of writing something universal…but
in her specificity and focus on the African-American reality, she tapped into
the timelessness of the human experience. The human frailty and strength she evoked
is universal.
Margalit Fox of The New York Time’s wrote: “Ms.
Morrison animated that reality in a style resembling that of no other
writer in English. Her prose, often luminous and incantatory, rings with the
cadences of black oral tradition. Her plots are dreamlike and nonlinear,
spooling backward and forward in time as though characters bring the entire
weight of history to bear on their every act.”
I loved to hear her talk, her voice like a cool babbling
brook gossiping about the world it snaked through, and read her thoughts on the
craft. I basked in her wisdom.
If you don’t see the book you want to read out there, go
write it. Damn it.
I loved her thoughts on freedom.
Once you’re free, you gotta free somebody else…otherwise
what’s the point?
Her thoughts on leadership were no different…set the bar
high, and when you get some real power, use it to empower others.
I was lucky enough to see her speak and meet her in person
at the Free Library of Philadelphia with my wife in 2015. She was everything I
knew she always was.
Toni Morrison is, and always will be, all the things I have
ever loved.
She is the Greatest American Novelist, and she has left
behind a legacy of words and wisdom we are hardly worthy of. She is the best of
us. She is all of us.
I’d like to imagine that a thousand years from now when all musical
recordings are lost, the internet is unplugged, and the only clouds are those
in the sky…someone might wonder, what was jazz?
The only answer will be her book, whose opening paragraph
was sung like this…
Sth, I know that woman. She used to live with a flock of birds on Lenox Avenue. Know her husband, too. He fell for an eighteen-year-old girl with one of those deepdown, spooky loves that made him so sad and happy he shot her just to keep the feeling going. When the woman, her name is Violet, went to the funeral to see the girl and to cut her dead face they threw her to the floor and out of the church. She ran, then, through all that snow, and when she got back to her apartment she took the birds from their cages and set them out the windows to freeze or fly, including the parrot that said, “I love you.”
I’ve been reading Thomas Mullen’s Darktown (which has been fascinating thus far) while staying at Keuka Lake in Upstate New York. I will be tackling Ron Rash’s The Risen next.
Of course I’ll be leaving personally autographed copies of my own Then Came Darkness at the summer rental and the Little after Library up the street.
“Most of the time in our world, truth is opinion.” – pg 101, Anil’s Ghost
In the chaos of war-torn Sri Lanka in the 1980’s, a Sri Lankan born forensic anthropologist trained in Britain and America, returns to her homeland on behalf of a human rights group and teams up with an archaeologist to solve the mysteries of unidentified skeletons, as likely to be remains from an ancient burial site as they are to be the recently desecrated and burned corpses of victims of terrorism left in a jungle ditch.
While reading Michael Ondaatje’s Anil’s Ghost, a novel so rich in immutable sadness and beauty I’m not even sure what happened at the end, only that it was beautiful and sad and unforgettable like the very best and weird dreams are, I started to think about the run Ondaatje was on when he published it. Most artists are lucky if they produce one great work in their lifetime, and the masters can typically eek out three great works if they are prolific enough over many decades. It’s absolutely staggering to think that Anil’s Ghost came directly on the heels of In the Skin of a Lion and The English Patient. There is absolutely no doubt that this tryptic represents Ondaatje at the very height of his literary prowess, and his ability to churn out these three masterpieces one right after the other is something of a miracle. How many novelists or film auteurs have performed this hat trick, having produced their three greatest works sequentially? I scanned across my favorite authors and filmmakers to see if anyone matched Ondaatje (realizing of course this would be a highly subjective exercise based on my own opinions), and I would dare my fellow writers, readers, and film buffs to do the same and see what they come up with… Continue reading →
When you have an almost-one-year-old, it becomes increasingly difficult to find time to go to the movies. I’ve had to be very selective this year.
When I heard there was a new “killer gators in a hurricane” flick, I knew I had to run to see Crawl (not to be mistaken for the dramatic film adaptation of my son’s latest milestone achieved).
Imagine someone had taken the Sharknado concept dead seriously, and replaced the sharks with gators and the tornado with a hurricane. As if I needed another reminder to never move to Florida…
Part of the fun (and success) of Crawl is the film’s earnestly suspenseful and humane tone. Continue reading →
