True Crime, The Last Dossier, and the Melancholia of Moving Paintings and Black and White Photography

David Grann’s Killers of the Flower Moon sounds like a rip-snorting true crime epic.  The labyrinthine conspiracy that lead to the murders of numerous Osage Indians for their oil headrights and the botched FBI investigation that followed is rife with terror and tragedy, but although Grann attempts a few passages of ponderous heft, most of the book is a dry by-the-numbers procedural that presents far too many names and suspects to keep coherent track of, never allowing us to latch on to any one person, and leaving us lost in the immense scope of the dastardly deeds.  The book is slated for a film adaptation to be directed by Martin Scorsese, and if there is anyone who can provide both focus and pep to the story, it’s probably him…though Eric “hit or miss” Roth is to pen screenplay, leaving me to worry the Osage might never get their due.

Though it’s presented like a true crime book, Mark Frost’s Twin Peaks: The Final Dossier couldn’t be more fantastical and “out there.”  Mercifully brief (compared to The Secret History of Twin Peaks), this dossier compiled by Special Agent Tammy Preston following the events of Showtime’s Twin Peaks: The Return is designed to feed the fans.  Continue reading

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Searching for Momentum in The Lost City of Z

The Lost City of Z

Writer/director James Gray’s latest cinematic tome, The Lost City of Z (based on David Grann’s┬ábestselling book about the incredible true story) unfolds like a long…very long…novel. It’s a curious think-piece about a man’s obsession with finding a lost civilization in the Amazonian rain forest that despite being handsomely mounted (among many other cinematic accomplishments) lacks momentum due to a decidedly old-fashioned pace. Yet, there is so much to admire here.

Witness the classical cinematography by Darius Khondji, exquisitely lit and painterly to highlight the sumptuous locales and pristine production design. Individually there are some amazing sequences staged by Gray and Khondji, including the film’s opening elk hunt done up in a thrilling manner that one wishes would’ve punctuated later moments in the epic narrative. While overall the film could’ve used some judicious editing (and script tightening), a series of amazing dissolves and scene transitions (witness liquor poured onto the uneven floorboard of a ship transition into steam from a train cutting across the Bolivian countryside…or wind through the Amazonian jungle transition to a seaside breeze in England fluttering white curtains inward over the desk of a wife reading her husband’s letters) create indelible moments one wishes to savor like a top shelf whiskey. Continue reading