When I finally got around to watching The Irishman, I had still been isolated from conventional and amateur critique about the film.
As a spectator, I formed the opinion pretty quickly that this was a love story. A salute to friendships between Hollywood legends who knew they might never work together again. Perhaps not even see each other again, all in the one place and time. And maybe it was also a tip of the hat to us, the audience, for making these artists into living legends, and coming back this one more time.
To put it another way, The Irishman is a gangster film the way Homer’s Odyssey is a gangster story. Or is the Odyssey a travelogue? Meaning that the Odyssey is both. And much more. Odysseus and his men were indeed roving bandits whose travels were recounted. There’s plenty of theft, murder, and gadding about the ancient world to lay it to waste. But along with it also comes a meditation on personal integrity, spirituality and the caprice of the gods (or fortune, as the case may be), on patriotism and duty as much as the lure of lust, gluttony, and narcissism.
Continue reading “Scorsese’s Irishman: sad farewell to an era”
Frankfurt School and Heidegger infuse von Donnersmarck’s film
The distraction of almost obtusely misleading subtitles aside, I was pretty much mesmerised by the first 45 minutes of the film, which had me close to tears on several occasions. Elisabeth May’s (Saskia Rosendahl) composition for Hitler, her desperate pleas with the stony SS doctor, Herr Professor Carl Seeband (Sebastian Koch), and the shower sequence, condemned as gratuitous and in bad taste by some reviewers (the New Yorker’s Antony Lane showed a rare lack of judgement in joining that choir).
Perhaps in writing and shooting the disputed sequences von Donnersmarck was concerned that we, as a contemporary audience far removed from the reality of such deeds, might miss the complete lack of empathy and human decency he was trying to express. It seems to me von Donnersmarck is right. Even those of us sensitive to such messages in film mostly do not see the real consequences of contemporary red pencil annotations, despite reading daily about shocking child abuse, suicide rates, drug addiction, homelessness, and the privations of poverty. We do not connect these with deliberate actions whose agents pretend they are only doing their jobs. Or who actually believe that some people should be made to suffer for the good of others.
Continue reading “Werk ohne Autor / Never Look Away (2018)”
This was going to be a film review. And it is. Kind of.
Actually, it’s probably got more in common with a potty old geezer messing around in an overgrown backyard, pretending he’s gardening, muttering to himself, and occasionally actually pulling a weed or two.
And so … I came across a preposterous ranking of Michael Caine’s films in the Guardian this weekend. Some plonker with the title of film editor at the UK branch demonstrated a serious lack of taste and insight into Caine’s films by putting Harry Palmer in the middle, Alfie at the front, and giving the number one slot to The Man Who Would Be King. Utter tosh.
Continue reading “The Fourth Protocol (1987) … sort of”
SSince early December I have been reading my way through Jack Higgins’s novels. He had first used the character Martin Fallon in 1960 (Cry of the Hunter), reprising him in 1973 for the novel A Prayer for the Dying.
It’s a mournful story of an IRA soldier, haunted by the innocents he’s killed, trying to get out, but finding it hard to quarantine his particular skills from the bargains he must strike to escape.
Continue reading “A Prayer for the Dying (1987)”
Christmas excesses usually require some recuperation, and binge-watching back-to-back television episodes is a reliable pastime for the waking hours, while digesting too much food and sweating out too much booze in the heat of the season.
Continue reading “Ray Donovan (2013-2017)”
Peter Landesman’s film Mark Felt: The Man Who Brought Down the White House (2017) annoyed the hell out of me. So much that I felt compelled to isolate the elements that motivated my displeasure. And whether these were of my own confection. Or whether they lay in the structure and content of the film. After being annoyed long enough, I concluded the film is likely to become more significant as time passes. With hindsight. With the Trump administration in the rear-view.
My mistake, at first instance, had been to expect a story about Watergate. Or Nixon’s FBI. Or a G-Man.
That’s what Landesman’s script led me to believe. On the surface. Because I fell into the trap of an idiotic literalism in my interpretation. A literalism of the kind I despise in the last two generations.
Continue reading “Mark Felt: extended metaphor”
CONTENTS PART ONE: APERÇU | DIRECTORY | GESTALT: PROPAGANDA | GESTALT WELTANSCHAUUNG | GESTALT: EXCEPTIONALISM | GESTALT: CIVIL WAR
CONTENTS PART TWO: GESTALT: AUDIENCE | GESTALT: MULTIPLICITY | GESTALT: COMPARISONS | DIFFERENCES: TIẾNG VIỆT | DIFFERENCES: WOMEN | DIFFERENCES: CONFESSIONS
CONTENTS PART THREE: DIFFERENCES: BARBARITY | SPELLBOUND: FERRIZZI | SPELLBOUND: BEATLES | UNRESOLVED: McNAMARA | UNRESOLVED: KISSINGER | FRAMEWORK: SUBJECTIVITY | FRAMEWORK: MYTHIFICATION | DISPATCHES: BEZOS
CONTENTS PART FOUR: DISPATCHES: PARTISANS | VERDICT: CHỢ ĐEN | VERDICT: ABSOLUTION | VERDICT: ALIENS | VERDICT: VALEDICTION | SELECT BIBLIOGRAPHY
One of the things I learnt in the war is that we’re not the top species on the planet because we’re nice. We are a very aggressive species. It is in us. And people talk a lot about how, ‘well the military turns,’ you know, ‘kids into killing machines’ and stuff. And I’ll always argue that it’s just finishing school.
What we do with civilization is that we learn to inhibit and rope in these aggressive tendencies. And we have to recognise them. I worry about a whole country that doesn’t recognise it. ‘Cause you think of many times we get ourselves in scrapes as a nation because we’re always the good guys.
Sometimes I think if we thought that we weren’t always the good guys we might actually get in less wars.
– Karl Marlantes, former Marine, about 48 minutes into episode five.
Continue reading “THE VIETNAM WAR (2017) part 3 of 4”
‘Come around. I’ll cook steak with mushroom sauce … the way you like it,’ Giovanna said with that alluring Italian lilt. ‘We can watch the rest of Big Little Lies.’
The offer of steak was pretty well irresistible, so I knew there had to be a catch.
‘Can we do the steak without indigestion afterwards?’ I moped at her over the phone. I would have turned up on her doorstep without the offer of any dinner or entertainment. I think she knew it, but we conspired to play the game regardless.
Continue reading “Big Little Lies (2017)”