one, two, three, four, FIVE!!!!!!!!!!!




OR, just have a totally Goldfrapp'd weekend! (it's the best kind! Just don't end up in Accident & Emergency!

Or, just let THE SINGER sing her song!

Have a great weekend, my very handsome friend in NYC!

Kisses, matty

WEIRD ON TOP

"...this whole world's wild at heart and weird on top."

David Lynch's WILD AT HEART is one of my favorite films. I often dread "sharing" it with a friend or suggesting to a friend because I sort of wear it on my sleeve -- which is unusual. Trust me -- when you're an eight year old kid who loves Woody Allen and Barbra Streisand movies and you're growing up in a small town in Texas you develop a thick skin and a sense of humor. ...fast!

But, this is just one of those movies I love so much I often feel the need to defend it when someone knocks it. I think it is one of those movies a person either loves or hates. I don't think a person could just "like" or think that WILD AT HEART is "ok" --- it demands more.

Lately a lot of those exaggerated moments Lynch created have been crashing about in my head.

I never cared much for the book so I remembering being all the more surprised at how much I loved the film. However, both the book and the movie give forth that central idea about our world. ...which is beautiful, dangerous, crazy, scary, filled with love, hate, passion and secrets. A world that really is wild at heart and weird on top.


I've never been quite cool enough to work a snake skin jacket, but if I were you'd bet I'd take to letting people know that the jacket, for me, is "...a symbol of my individuality, and my belief in personal freedom"

And, I would say this wrought with meaning and good intention. I think we all have a snake skin jacket lurking somewhere in our closets. It might not be made of animal, but it reflects us ...and, it matters.

IRA & ABBY'S FAILURE TO GEL

An exceptional cast of actors, some interesting ideas for specific scenes and low-fi production values... I wanted to like it. As the credits began to roll I found myself trying to come up with excuses for it having failed to come together to form a good movie. It should work, but it just doesn't. So many lame stereotypes I've seen so many times before --- actually, each character felt like she/he had shown up on the screen freshly arrived from Woody Allen's cutting room floor of an ever-expanding volume of limp work.
However, no one says "spa" like Judith Light. No one.
...it's too bad they didn't give her a more fleshed-out character.

A TOOTH IN THE WALL...

I don't know if Roman Polanski's 1976 film, THE TENANT was a hit or not. I do remember seeing it when it came out, but I also remember mainly being impressed that we were shown the preview for CARRIE. As a kid I was bored by this film. As an adult I see it in a whole other light. True, it is a horror film filled with tension and a sort of un-nerving quality that Polanski used to be so exceptional at creating. However, the "pay-off" is not typical horror film fare. In fact, there is nothing "normal" about this film. However, if you're a movie fan --- you will note that it has had a most definite impact on other filmmakers.

If you've a taste for the unusual or challenging cinema and you've not ever seen this film --- you would be well advised to check it out. I will not give any spoilers. But this film is much more than a study of a disturbed psyche or a surreal horror movie. I actually think it shares a great deal of relation to Polanski's later and more traditional film, THE PIANIST.

I think this experimental film is actually a study on alienation, isolation and the unforgivable impact of the Holocaust....To be different is to be suspect. ...To be different is a threat. In many ways, to be different is the worst of all crimes ...To be different can set one up to be viewed as the ultimate evil -- and victimized beyond any reason. ...And, to eyes too far removed --- it can be too difficult to believe. And, to dare to be different and defy those who would judge of punish you for it requires a great deal of bravery and can be reduced to paranoia. This scenario is really the ultimate human horror.

Just like THE EXORCIST is far more than a movie about a little girl possessed by a demon --- it, in many ways, is a product of it's odd time in the US's socio-political history. All social norms were being questioned and religion was at the top of the list. And, if ever there was a time that parents felt their children to be beyond their control it would have been during the late 60's and into the early 70's. THE EXORCIST takes a parental fear and turns it on its head. The impact of that idea/message has been somewhat lost over the years. However -- racism, fascism and sex intolerance is sadly on the upswing.

Society has always condemned those who are too far outside its social-political norms. And, anyone perceived as possibly having the potential to assert power is a threat. Polanski has never shy'd away from presenting women as smart, tough and unwilling victims of circumstance. In THE TENANT this idea is very present.

There are actually several "female leads" in this movie. (you would need to see the film to understand that statement) ...Isabelle Adjani was an unusual choice for one of these "leads", but a good choice. If you're familiar with French accents --- switch the DVD to "French Audio" to hear Adjani's real voice ---- she plays the role with what sounds like a heavy Belgium accent. ...An outsider in Paris. ...Different. Even in the theatrically released version (another actress dub'd in English) --- she speaks in a manner ill-suited to her circumstances. It works quite well.

Actually, I feel the only real flaw with this film is in the dubbing. Due to Polanski's controversial run from the US --- this film was shot in France. (I don't want to "go there" regarding that run --- that would be more than a blog post!) However, he opted to shoot this film in English using a large roster of famous old-time Hollywood film stars (Melvin Douglas, Shelley Winters and Jo Van Fleet) and mixing them with a lot of French actors. Some actors are speaking English and some are speaking French. It appears that Polanski alternates. Sometimes his lips match his voice and sometimes they don't. Switching to the French track will not help because then all the American actors are off. ...It is particularly odd to see Shelley Winters off-dub with a French actress' voice. The only dub which actually works is the one used for Adjani. I suppose this was before Adjani had mastered English.

Even still, this is really not a big deal. Once you adjust to this world of odd dubs --- it actually works with Polanski's surreal vision.

And, of course, you can't go wrong when Ingmar Bergman's DP --- The Great Sven Nykvist --- is behind the camera -- you can anticipate visual magic. Sven Nykvist was simply one of if not the best artist to touch cinematography thus far. And, his work for this film is amazing!


I'm far too lazy to do any on-line research. (sorry) --- but if you know more about the production of this film or if I've misunderstood some of what Polanski was trying to do -- please feel free to correct me! But, if you've not seen it -- give it a shot! It is available on DVD everywhere in the world! NetFlix it!

LIVING ROOM SECRETS -- NUE PROPRIETE

Several weeks ago I was walking home from work and passed The Roxie Cinema. As I walked passed this cool, chic and decaying theatre I noticed a French movie poster. Imagine my surprise when I realized it was THE Isabelle Huppert on that poster! Yes! It was an film staring Ms. Huppert and I hadn't even known it was here!!!

So, I pulled out the cell phone and called an emergency cinema summit! These meeting of great minds consisted of me, Ing, Alan and Mr. C. B was unable to join as he had a work commitment. So, the four of us sat in the tiny cinema and were soon engulfed into something that I don't think any of us had expected.

As always, Isabelle H was extraordinary. But, what made the experience all the better was the fact that the film was exceptional on all levels!! If I had to sum up the film's plot -- I would say it was about the family secrets behind closed doors kept.

Having thought a great deal about this film, that old essential element of creativity kept ringing in my inner-ear: Tell what you know! ...Every single one of us has more stories to tell than could ever be translated to book, film or record in a lifetime. But, these stories are seldom put to use. They go away with us. ...our memories. ...and our lives. ...they remain hidden away.

And, some of the most amazing of stories are the simplest ones. -- The ones that happen every day. The ones we choose not to share because they are too personal and far too private to simply let out for the world to see, hear or read. This little film from France by Belgium filmmaker, Joachim Lafosse, is one such story.

Cleverly and almost statically filmed --- as if the camera (we, the viewers) are flies on walls. ...or flies flitting about potted plants. We flit about unnoticed as this simple -- yet, complex story unfolds. And, it unfolds in those most intimate of places. The places where life does unfold: the dining room, the living room, the bathroom and the heart. And, as viewers hiding behind the plants and in the shadows we feel the awkwardness of what we see. And, we know that what we see is often just inappropriate. However, we hesitate to toss too many stones at the characters because we all know that these inappropriate moments in ordinary lives are, in many ways, all too familiar to us. Perhaps not familiar in the sense that what we see has happened to us, but we all have secrets from our living rooms, bedrooms, bathrooms and dining rooms that we know were odd, incorrect, inappropriate and very private. Strange as it feels, there is something within this film to which we relate and fear.

There is musical score until the final moments of the movie -- Final moments which are emotionally raw, tragic and unforgettable. We fly away from this private story of family secrets which are grim, strange and unsettling. We fly away because that is exactly what the director's camera does. Or, is it that we run from the sick truth of the situation as it has unfolded? The lack of music makes the film all the more believable, but it is with the sudden jarring effect of violent music which arrives with the devastating final tracking shot packs quite a punch to the gut. I am not sure. I want to say that the music is taken from composer Carl Orff, but I don't really know.

The acting is amazing. I read a review which called Huppert's work in it as a "flawlessly calibrated performance" --- I wish I could remember where I read that and who wrote it. But, for me, that really sums of the film.

I suppose the film's title could be viewed as a reference to not only what has gone on in the lives of this family for which the parents failed to set any boundaries --- and the dire need for them. But, it could also refer to the heart of the central character -- the mother. ...who seems to be fighting with all her power to avoid being cut up into emotional and literal private property for her children, her lover, her ex-husband and her employer. Why is it that films like this are so rare? Truth is much stranger than fiction. And the weirdest things are happening right near you. ...Maybe even to you. Yet, artists seem to strain to make things horrific. Horror films and scary stories do not have to be about monsters hiding in the closet or knife wielding psychos.

Most horrors are committed in the seemingly most innocent of ways. And, without much notice. And, there is no need for flash editing, spooky lighting or 90 minutes worth of shrieking violins.

...all you need is the strength to tell the story -- no matter how unsettling. I think that is a major part of art.

MAGIC & ECSTASY IN CINEMA

Ever see a film that you loved but were unable to articulate why you loved it? No? That's what I thought, but there are a few for me. Come on! Open up! I'm sure that there are a few for you, too! CELINE AND JULIE GO BOATING is one of the films I love but don't really understand why. I just watched it for about the 15th time last night and decided I would try to articulate why I love it so. An experimental attempt about an experimental French film. Starring the late Juliet Berto as Celine and Dominique Labourier as Julie and brought to the screen by one of the original of the French Avant Garde Film Artistes, Jacques Rivette, in 1974 --- this is one of the most unusual and fascinating films I have ever seen. I guess, because I have a hard time understanding why I love it so --- I've avoided reading too much about it.

As I was watching the three hour film last night, I decided that I will pursue more knowledge about the movie. I decided this last night. However, I decided I will write about first. I hope someone reading this has seen the film and will offer their knowledge and understanding of it. And, certainly, let me know if he/she thinks I'm incorrect.

I am familiar with French film history and am familiar with with Jacques Rivette. This is the only film I've seen by him that I think is worth seeing. I have sought several out over the years and have been disappointed each time. But, every time I see this film it blows me away -- and, it touches me. It gives me hope and it makes me smile --- a lot. I guess my love of this film grows from my belief that a small action, an encounter, a quick choice to simply dare to jump off can lead to an amazing adventure and new chapter in life. These "little" choices or actions can push you to the very boundaries not yet imagined. Or, possibly, the idea of THE incredible power of fantasy and friendship. The idea that the possibilities of all these things are without limit --- and, in the end, are so extraordinary that they become ordinary. For me, this movie goes out of its way to tell us that our ordinary lives are outstandingly extra-ordinary. And, there is a bit of Alice in all of us. That, in many ways, we are all just sitting bored with a book waiting for our rabbit to lead us to lead us to a wonderland.

In Rivette's film -- which is influenced by everything from Lewis Carroll to Henry Miller to Louis Feuillade's classic silent serial LES VAMPYRES --- is hard to encapsulate into an easy synopsis. Essentially, the film is a playful and comedic look at the strange and magical friendship of two women. However, there is more going than that. I first saw this film when I was in college. I remember discussing it with my French teacher. I could, then, read and write in French but I was never able to understand it in spoken form. He was patient. He knew of this film and explained to me that the English translation of the title failed to really capture the intended meaning. There is a very significant boat ride near the film's final moments but as I remember my professor's explanation -- the title is actually referring to a colloquiel French phrase which means to spin a wild tale, story or yarn. So, there is a dual meaning to the title.

Once the two women discover each other --- Julie, a bored and sad librarian, who seems to be trying to find control in life thru the use of magical spells. And, Celine, a gorgeous/glam waif of a woman out of control and always late for her only point in life -- to sing and perform lame magic at a very strange cabaret. One day -- as the film tells us thru the use of silent film frame stills, they begin. Julie chases the confused Celine down a hole into the realm fantasy and adventure. They become lost in their adventure. The lines between reality and fantasy blur. And, with the assistance of magic --- Julie and Celine discover a dual reality. And, in this dual plane of existence a possible explanation of 'self' and 'identity' ---- and lacking of both. Men are of little importance in their world. Depending upon one's point of view the film might take place over the course of a year or the course of two or three days. It is never clear.

As their identities begin to blur, their adventure(s) take a rather dark turn. Each finds their way to a mysterious estate which may or may not have been next door to where the sad Julie grew up. Each goes in. We, as viewers catch small glimpses at what each might have done or seen in the house but we never know for sure because both Julie and Celine are unable to remember what has happened. It takes them both a little while to remember that each time they emerge from the house they are exhausted and have to spit out a pretty piece of candy. The pretty candies turn out to be magical. And, when they suck on them --- they become an audience...to their own 'story' ...their own 'yarn' ...they've gone a-boating and taken us with them.

The story of the house and the evil spirits that possess it comes to us slowly. The pacing seems deliberate. The feel is improvisational, but this seems like a feeling to me vs a reality of Rivette's film style. And, it is in their discovered/shared/vision/story that I think I might gain the fullest understanding of what I love about the film. The friends, thru the use of Julie's witch-like magical powers and the candy find ways to invade their story/fiction/fantasy/dual reality and take control of it. ...to save a child from certain death at the hands of evil. The question that is never answered for us is if this is some form of memory from which Celine is helping to save Julie or if they have simply fallen so far into fantasy that it is madness?
...never trust a spirit who appears to be in love with Barbet Schroeder! And, don't ever look at a fish! ...You might get amnesia!

All, I know is that the story doesn't stop there. It never stops. Like all of our lives, there seems to be a full circle Rivette weaves for Celine and Julie. And, I firmly believe that the key to this magical and happy little big film is to never allow those chances to chase adventure or friendship or relationship by --- chase after it and allow yourself to fall! I love that in concept. In reality, it is not so easy. But, one can always try. One can always dream.
...and, one can always go boating. If only I knew how to get on Celine and Julies' boat!!! If only!

I want to show this movie to people, but I never do. I once did and he hated it. I guess you take a risk when sharing something which is special to you and might not be special to another. It can feel bad when it holds no impact for the other. But, I'm sure I'm not alone. I know this film is loved.

Now, if you live in the US and Canada --- you can only see this film on VHS. If you live in the UK, The British Film Institute recently released it to DVD! And, it is certainly easily available in France. It was on DVD in the early 90's but is no longer being pressed. I read that Criterion was looking into it, but that was several years ago.

And, now, I shall begin my research on what the world's critics think!

ROBERT ALTMAN'S PERFECT COUPLE

So, I've basically been sort of 'layed up' this weekend. I'm in a sort of overly medicated fog and trying to hide from a migraine which seems to be trying to catch me when I'm not looking. With the exception of a fun visit from my Ing and Miss. S, it has been me and DVD's all weekend. Actually, I guess I nap'd mostly, but I did watch some DVD's.

One which I watched was the 1979 Robert Altman film, A PERFECT COUPLE. I saw this movie when it came out. I remember loving the music and thinking that the two male singers were so cute --- and that one was actually gay in the movie! My little 12 year old gay heart went crazy when I saw it. And, it was cool to see Marta Heflin in a staring role. Marta Heflin was too skinny, but I don't remember thinking that when I was a kid. I thought she was cool and hot! ...and she was naked in A STAR IS BORN in Barbra's swimming pool so I thought she was the coolest!

But, I remember thinking the story in the movie was dull but that the musical group, Keepin' 'Em Off The Streets, was sooooooo good and cool! I wanted the soundtrack but there was never one that I could find. ...but a quick 'google" search reveals that there was an LP by the "group" which was essentially created for the movie but it was not a soundtrack as such. How could a 12 year old in a little town in Texas have figured that one out?!?!!? Anyway, imagine my surprise today when I realized that one of the cute guys in the band is the same cute guy who played Jesus in JESUS CHRIST SUPERSTAR!?!!? ...he is still cute in the movie but way-dated and the other cute (and gay) guy is actually thinner than Marta Heflin which is pretty scary.

Anyway, when I discovered that this lost Altman film had made its way to DVD I couldn't wait to revisit it! So, re-visit it I did.

(sigh)

OK. We all know that what appears cool to us as a child can often be lame as an adult. The music in this movie is so bad it actually hurts my feelings! I mean, this music is bad and it is more than half the film!!!!?!?!?! How could the genius behind MASH, NASHVILLE, 3 WOMEN and McGABE & MRS. MILLER have made this movie??!?!

...Well, actually, it is easy to see that it is his film. Classic Altman framing and over-lapping dialog. Clearly improvised moments between the actors. Moments when you suspect the actors have no idea if the camera is on them. But, what is up with the music? How did I ever like it?!?!? ...I'm glad they were kept off the streets!

What is interesting is my perception on the story and acting in the film itself at 40 vs. 12. I almost liked the actual plot of this rambling plot-less film. The concept to present two actors who look like real people who have real problems and who are both desperate to find love before they get too old. ...It is a feeling we all know all too well and it was so nice to see a film where two characters meet and actually fall in love via awkward dating moments, a dating service, clashing friends/family -- it was all painfully real and sweet. And, interestingly, sad. The two leading characters are sad and lonely. ...they are not perfect, but by the film's end you know that they will actually form a perfect couple. And, in that rarest of movie moments -- you actually believe that these two characters would fall for each other.

...I can remember thinking that it just wasn't funny, but it has a few funny moments. Adult moments. And, I can remember thinking that Paul Dooley was so ugly and that there was no way Marta Heflin would go for him. ...but now, he seems cute and she is not as cool as she once seemed.

I learned that Altman had wanted Sandy Dennis in the Marta role but Sandy insisted on bringing all 35 of her cats to the set and Paul Dooley was allergic and ended up in the hospital -- so Marta got Dennis' role. Originally, the film was going to be about a "moma's boy" meeting an aging "flower child" --- but, Altman liked this band (?) and knew that Marta could sing so he changed the film to showcase the band which then "re-invented" itself to include Marta and Jesus.

Ugh. The music just hurt. And, the film is not great. Only bother if you totally adore Robert Altman. ...or if you were a 12 year old who used to love the music that fills the entire film. Time for a wake-up call, kid!

...I think I need to watch this to cleanse my soul. I keep meaning to watch it with Altman's commentary. So, maybe I will have some soup, climb into bed and do just that. ...and, this Robert Altman film is one of the greatest American films ever made -- and one of my all-time personal favorites!