Deep Meditative Dives

I didn’t feel merely seized by episode #2 of Howard Suber’s The Power of Film series (TCM, 1.4 through 2.8). I felt transformed, understood, opened up.

The episode is called “Trapped”, and it’s about more, I would say, than just cinematic instruction. It’s about me and my whole damn life…the whole journey and then some.

There are four key optionals, Suber says, that define characters who have mattered the most to audiences over the decades — destiny, fate, courage, defiance.

Fate is what you are — what you’re born with and will be with you until you die — whereas destiny is a choice that you need to act upon. It’s seizing life and refusing to be victimized or marginalized.

Not “changing the world” but changing your relationship to the world that you’re dealing with.

Society wants the bad guys dispensed with, but the heroic vanquisher, it often seems, must be exiled, isolated and made into a scapegoat. But we will remember him or her forever. And to live in the memory is one of the greatest powers of all.

We’re all trapped. Trapped by bad jobs, by our families, by our ethnicity, trapped by indecision and by cowardice, trapped in our schools, trapped in bad relationships, trapped by our friendships.

“Trapped”, Suber says, could be the title of nearly all memorable films. Because people go to these films to have a persistent question answered — “how do I get out of this?”

Movies say over and over you can escape the traps and fulfill your destiny — but what you have to do is act.

Here’s a credit-crawl rundown of clips used in this episode:

There are six Power of Film episodes — two down and four to go (“Character Relationships”, “Heroes and Villains”, “The Power of Paradox”, “Love and Meaning”).

Pregnant Pause

Vasectomy four months ago, sex five months ago…

“Now that’s what I call cutting it close” — final line, spoken by hospital orderly, in Lover Come Back (‘62).

“Tonight you WERE the father” regarding a pregnancy that began FIVE MONTHS AGO…I get it but on the other hand I don’t. I would have written “five months ago you became a full partner in the creation of a child”…something like that. Even if it didn’t actually happen, according to Keith.

Reading “Erotic Vagrancy” at 3:30 Ayem

And after 100-plus minutes, feeling exhausted by this extremely wordy proximity…this lavishly written deep dive into the madness of excess — ferocious, insatiable and particularly owned by Elizabeth Taylor.…good God in heaven. Surface-skimming wasn’t the half of it.

I’m not letting partner-in-crime Richard Burton off the hook, but at least his difficult Welsh upbringing and actor-of-great-promise burden (his glory years began in ‘49 and pretty much ended with Cleopatra) left him occasionally guilt-stricken.

I’ll always love the title, however, and to think it came from a condemning 1962 editorial in L’Osservatore della Domenica, the Vatican newspaper.

Three guesses who doesn’t have clue #1 about the Burton-Taylor legend, and the first two don’t count.

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Not Again

I’m sorry but I never want to watch another video of anyone doing any kind of X-treme jumping from cliffs, mountaintops, supertall bridges…no more skydiving or flying-squirrel gliding or free-falling or parachuting or bungee-jumping…I’m imaging that I’ve watched hundreds of these things and henceforth am only interested in wipe-out scenarios, which of course I’m being facetious about as I wouldn’t wish injury or tragedy upon anyone…it’s just the relentless sameness, the monotony, the repetition, the X-treme plague of it all.

All Hail DGA Noms for Payne, Lanthimos

And a tough break for Maestro’s Bradley Cooper, who absolutely delivered a more dynamic, reach-for-the-skies dazzler than…well. Scorsese anyway. KOTFM is a reasonably good film, but it saddles us with an idiot and drags on and on. HE commenter Mike: “Scorsese is [one of the five] because his film is about indigenous struggle.”

Inexplicable Charles Melton Momentum Stalls Out with SAG Nominations…Sigh of Relief

May December has been snubbed, snubbed, snubbed by the SAG Awards nominations. It’s not that I’ve been against Charles Melton as much as unable to understand the bizarre enthusiasm for his sufficient but no-great-shakes performance by Gotham Award suck-ups, New York Film Critics Circle, etc. Now, alas, it’s all gone south. No SAG-AFTRA support, no Oscar nom.