Following last night’s Academy screening of Todd Field‘s TAR, Cate Blanchett and costars Nina Hoss and Sophie Kauer joined The Frame‘s John Horn for an on-stage discussion.

The immediate reaction in the room was “what’s with Blanchett and Hoss wearing identical Mondrian outfits?” But according to an HE friendo who attended, Horn never even mentioned the identical outfits, much less asked what was behind the coordination.

HE to friendo: Tar is a fascinating if infuriating film, and Average Joes and Janes are going to find it mystifying and irksome. It refuses to tip its hand or lay its cards on the table. It’s a high-toned tease.

The almost uniformly rave reviews for this elegant but annoyingly oblique film are why people don’t trust critics.

I was totally shattered when I saw it in Telluride. I was expecting to be turned on and perhaps illuminated or even levitated, but it was so reluctant to offer specific comprehensions and tie it all together for the sake of the dumb-asses that it damn near broke my heart.

It’s going to die when it opens wide.

Friendo to HE: I was transported by the paranoia. Totally had me in fear.

HE to friendo: That was excellent, I agree. A very palpable sense of paranoia. But what had actually happened with the girl who [redacted]? Who had rejected whom?

Friendo to HE: The trailer was completely a lie.

HE to friendo: In what sense a lie?

Friendo to HE: It sold a completely different film experience. Bald-faced lie.

HE to Friendo: But it looked and felt so ravishing…the flush autumnal vibes of Berlin and New York were intoxicating.

Friendo to HE: But I loved the film.

HE to friendo: What was with the big black dog? And the attractive Russian cello player wasn’t even attracted to Lydia, and who ate her lunch like a peasant?

Friendo to HE: The dog was her paranoia. She knew she’d done stuff that was going to catch up to her.

HE to friendo: Not one single erotic scene. Not so much as a slight hint of sex. In that sense a curiously barren experience.

Friendo to HE: Lydia was clearly grooming her.

HE to friendo: But to no avail. So who cares? It was a blind alley, a dead end.

Friendo to HE: I cared. Because there would be another Lydia + young woman relationship.

HE to friendo: Nearly ever powerful person in world history, especially the creatively powerful and world-famous, has used his or her power to persuade attractive young people to fuck or pleasure them or serve as arm-candy. They’ve all done it. Lydia Tar is no different. Way of the big, bad, grown-up world. And after you turn 20 you have to figure that stuff out.

Friendo to HE: Except now those powerful seducers will be destroyed by the New Puritanism.

HE to friendo: Lydia was a brilliant, arrogant, egoistic handful but she didn’t deserve career ruination.

Friendo to HE: The film is an anti-woke manifesto.

HE to friendo: It actually seemed to hesitate on that front. I thought it might be anti-woke but it held back.

Friendo to HE: Not sure it held back.

HE to friendo: Respectful disagreement.

Friendo to HE: It only held back because Lydia was as much a catalyst as a victim.

HE to friendo: Loved Blanchett, of course. But desiring various sexual conquests often goes hand in hand with being a genius or a powerful person. Geniuses want what they want, and they often get it. It’s been the way of the world for centuries.

Friendo to HE: It WAS the way of the world.

HE to friendo: So we’re all going to trudge through the freezing snow of the woke gulag for the rest of our lives? Terrific.

Friend to HE: It will pass with the nuclear winter.

HE to friendo: You think Mozart didn’t have his way? You think Leonard Bernstein didn’t go there? You think Isadora Duncan and Picasso and Tallulah Bankhead weren’t total hounds? You think Marlene Dietrich didn’t use her fame and power to seduce women and men left and right?

Friendo to HE: Of course. But this is now.

Partial transcript from Chris Gore comments in 10.3 YouTube conversation titled “Billy Eichner’s “Bros” DESERVED to FAIL”:

Gore #1: “I hope I’m not offending anyone by saying this, but the majority of people [in this country] are straight. That is just a fact, and that is the way things are.” HE modifier: Gore forgot to say the word “vast” before “majority.” Before Zoomers came along (and I mean as recently as the mid-to-late teens) the LGBTQ populations was somewhere in the vicinity of 3.8% nationwide. Now it’s in the vicinity of 7.1%, but you can chalk that up to trendy Zoomer identity issues and fluidity.

Gore #2: “And that trailer…I saw that trailer in a theatre, and it ends with a character asking ‘do you remember straight people?’ and another saying ‘yeah, they had a nice run.’ People in the audience cringed. You could hear audible groans. Or silence. When your trailer for a romantic comedy…it should end with your biggest laugh, and yet they basically ended it with a ‘fuck you’ [to straight people]. It is never a winning strategy to insult your audience.”

Gore #3: “This movie is all about being gay…all about [Billy Eichner‘s] sexuality. If Eichner had made this movie for a million dollars and it had made $5 million dollars, we would be having a different conversation.”

Gore #4: “There are parts of the movie that I found offensive. [Eicher and Luke MacFarlane] are having dinner with Luke’s parents, and there’s a conflict with Luke’s mother, a second-grade teacher, who says ‘I think second graders are too young to be exposed to or educated about LGBTQ issues.” Which Eichner disagrees with. It turns into a huge argument, and also drives the third act of the movie. The scene is effectively commenting on the parental rights bill in Florida, described in [woke circles] as the ‘Don’t Say Gay’ bill…it’a a comment on that [Florida law]. The movie ends with the mother bringing her second graders to the LBGTQ museum that Eichner is the top administrator of, and I don’t know if this is a conversation that we need to be having…a plot point written by and made by people WHO DON’T HAVE FUCKING CHILDREN! I was offended and pissed off when I saw that.”

When I think of Blonde, I don’t think of Ana de Armas‘ impressive, open-veined performance or the mostly black-and-white cinematography or the 1.37 aspect ratio or the expert craft levels or Andrew Dominik‘s ambition to create a serious art film. (Which he’s obviously done.)

What I think of is the cruelty. Whatever the degree of actual psychological anguish and emotional abrasion that the real Norma Jean Baker suffered through in her actual life, Blonde doubles if not triples the ante. It re-brutalizes and re-exploits the poor woman all over again, and more than earns its reputation of being a cruel, sadistic, bludgeoning film.

What other noteworthy films could be fairly described as cruel, heartless and sadistic toward their main protagonists?

Off the top of my head I would say Pier Paolo Pasolini‘s Salo, or the 120 Days of Sodom. And certainly Lars von Trier‘s Dancer in the Dark. Not to mention Robert Bresson‘s Au hazard Balthazar, Mel Gibson‘s The Passion of the Christ, Vaclav Malhoul‘s The Painted Bird (“a highbrow art film for elite critics and cineastes who have the fence-straddling ability to enjoy magnificent b&w cinematography (all hail dp Vladimir Smutny) and austere visual compositions while savoring the utmost in human cruelty and heartless perversion“), Hostel, Irreversible, A Clockwork Orange, Funny Games (both versions), Inglourious Basterds…what others?

Christian Bale has been exceptional or certainly admired in several roles over the last 30 years. His finest performances, HE feels, are, in this order, the following: Dicky Eklund in The Fighter (’10), Patrick Bateman in American Psycho (’00), Dick Cheney in Vice (’18), and Bruce Wayne in his three Batman films (Batman Begins, The Dark Knight, The Dark Knight Rises).

But the Bale “performance” that made the strongest and most lasting impression, hands down, is “Bale Out: RevoLucian’s Christian Bale Remix!“, which popped in early ’09. A satirical dance remix of Bale’s Terminator Salvation rant (which happened for real in July 2008), it’s absolutely real, brilliant and unforgettable in a relentless sort of way. Every angry word is 110% genuine.

As you begin to watch Park Chan-wook‘s Decision to Leave (MUBI, 10.14), there’s no denying that you’re being carried along by a masterful visual composer. Every shot is exquisite, a painting, an eye bath…and so perfectly balanced.

And during the first 30 to 40 minutes you can’t help saying to yourself “wow, this guy is really good” while at the same time hoping that it’ll amount to more than just a delicious film noir by way of a haunting mood trip.

And of course it doesn’t. As the first hour comes to an end it begins to hit you. This film is all visual swoon and superficial noir strokes, you realize — it’s not going to build or pivot or dovetail into anything. But it’ll look great every step of the way.

And then you look at your watch and go “oh Jesus Mary mother of God, there’s another 70 or 80 minutes to go!” And you realize that you’re stuck, and you descend into a feeling of being locked in an animal cage filled with straw. And you realize, of course, that the minutes are just going to drag on and on. You’d like to leave but you can’t because you’re watching a film by the great Park Chan-wook, and only a rank philistine would do such a thing.

I’m just saying that Decision to Leave is opening on a week from Friday, and that…oh, hell, do what you want. Some critics are nuts for this guy. But this film should ideally be called Decision to Avoid.

Following the big Toronto Film festival debut, the U.S. premiere of Decision to Leave happened at Austin’s Fantastic Fest (9.22 to 9.29) — that should tell you something.

Posted from Cannes on 5.23: With all due respect for Park Chan-wook’s smoothly masterful filmmaking chops (no one has ever disputed this) and the unbridled passion that his cultish film critic fans have expressed time and again…

And with respect, also, for the time-worn film noir convention of the smart but doomed male protagonist (a big city homicide detective in this instance) falling head over heels for a Jane Greer-like femme fatale and a psychopathic wrong one from the get-go…

The labrynthian (read: convoluted) plotting of Park’s Decision To Leave, though initially intriguing, gradually swirls around the average-guy viewer (read: me) and instills a feeling of soporific resignation and “will Park just wrap this thing up and end it already?”

Jesus God in heaven, but what doth it profit an audience to endure this slow-drip, Gordian knot-like love story-slash-investigative puzzler (emphasis on the p word) if all that’s left at the end is “gee, what an expert directing display by an acknowledged grade-A filmmaker!”

Hearty congrats to Adam McKay (writer), Steven San Miguel (narrator), Bruce Herrman (editor) and Staci Roberts-Steele (producer).

Earlier today The View;s Whoopi Goldberg corrected a Daily Beast film reporter (i.e., the Baltimore-based Kyndall Cunningham) for saying she wore a “distracting fat suit” in Till.

I saw Till yesterday afternoon, and I’d be lying if I didn’t admit that Whoopi looks seriously overweight. But not because of a fat suit. Whoopi’s shape is authentically her own.

“I have to say something because there was a young lady who writes for one of the magazines, and she was distracted by my fat suit in her review,” Goldberg said on Monday’s View. “Now, and I’m just going to say this. I don’t really care how you felt about the movie, but you should know that was not a fat suit.”

If a white male film critic had complained about Whoopi’s fictitious fat suit rather than Cunningham, he would be out of a job as we speak. If a white female critic had been the culprit, she would be in trouble but possibly still employed. Cunningham is safe due to being Black and a total wokester — political protection at its most thorough and fortified.

Goldberg to Cunningham: “I assume you don’t watch the show or you would have known that that was not a fat suit, but I just want to let you know that it’s okay not to be a fan of a movie, but you want to leave people’s looks out. So just comment on the acting, and if you have a question, ask somebody because I’m sure you didn’t mean to be demeaning.”

.@WhoopiGoldberg speaks on the importance of her film 'Till,' which premiered at New York Film Festival, and she addresses a claim that she wore a fat suit in the film.

"You should know that was not a fat suit," she says. "Just comment on the acting." https://t.co/cVclFZQmjA pic.twitter.com/V7ULf3c8Pi

— The View (@TheView) October 3, 2022

The Ankler‘s Tatiana Siegel is reporting that Apple is seriously thinking about “crashing the Oscars” with Ridley Scott‘s Napoleon, if and when it opens in December. World of Reel‘s Jordan Ruimy has repeated the story sans paywall. If Scott brings the same intense historical realism to Napoleon that be brought to The Last Duel and especially The Duellists, his forthcoming Apple-distributed drama will almost certainly be a keeper.

Nationalist anti-immigrant sentiments have surfaced in several European countries over the last few years, and now Georgia Meloni, a hard-right, anti-immigrant politician whose principal affiliation is with the radical Brothers of Italy (Fratelli d’Italia), has been elected Italy’s prime minister.

It is fair to presume that Meloni’s’ victory is mostly about ground-level, Average Joe racism — wanting to protect traditional Italian culture from a feared flooding of the country and the culture by Middle Eastern and northern African immigrants.

The electoral ascension of the hard-right Sweden Democrats represents another cultural convulsion caused by this same concern.

N.Y. Times reporter Steven Erlanger: “European Union leaders are now watching [the Meloni] coalition’s comfortable victory in Italy…with caution and some trepidation, despite reassurances from Ms. Meloni, who would be the first far-right nationalist to govern Italy since Mussolini, that she has moderated her views.

“But it is hard for them to escape a degree of dread. Even given the bloc’s successes in recent years to agree on a groundbreaking pandemic recovery fund and to confront Russia’s aggression in Ukraine, the appeal of nationalists and populists remains strong — and is spreading, a potential threat to European ideals and cohesion.”