In the wake of today’s announcement that the Muslim Brotherhood‘s Mohamed Morsi has won Egypt’s first competitive presidential election and has, given the opposition to his agenda by the Egyptian military, a limited grip on power, the question is this: given the autocratic tendencies of Muslim leaders in other Middle-Eastern countries, is it in the cards for Morsi and his team to play it straight and fair and operate as guys who really believe in a democratic form of government, or is there something in the Muslim psychology that inevitably submits to Islamic absolutism, Mullah-ism and all the rest of that primitive yahoo jazz?
“I haven’t gotten the big idea,” director David Lynch told L.A. Times/”24 Frames” guy Steven Zeitchik in this 6.22 piece. “I’ve got some fragments that are coming, but not the big idea. If I got an idea that I fell in love with, I’d go to work tomorrow. I just haven’t.”
Okay, here’s an obvious suggestion: Lynch needs to buy the remake rights to Leos Carax‘s Holy Motors, easily the best Lynch film I’ve seen in ages, and do it his way. Set it in L.A. and throw in some local wackitude, create his own dream episodes, his own ending…whatever. But you know 80% of the American hipsters who should definitely see and would certainly appreciate Carax’s film won’t go because of the subtitles (because so many allegedly “cool” people are lazy, not wild, at heart, and because even the adventurous won’t be able to find their way into it with Denis Lavant as the maestro/tour guide), but will buy a ticket to Lynch’s English-language version in a second, especially if Johnny Depp, say, plays Lavant’s role.
Are you going to tell me this part, if and when someone remakes Holy Motors for the U.S. market, doesn’t have Depp’s name on it?
I know — Lynch is a visionary and it wouldn’t be right for him to remake someone else’s surrealistic loonscape…right? But Lynch wouldn’t able to remake Carax’s film — he just needs to start on it and something else will just flow out in his own way. Maybe he’ll wind up making Son of Holy Motors — a companion film that ignores the Carax particulars but expands upon the basic idea or weirds it up in some fashion.
“If only an American filmmaker was this mad, this imaginative, this unchained, this willing to leap,” I wrote in my 5.23 Holy Motors review. “I wonder if any American has it in him or her to create something like this. If he or she did, Americans would probably say ‘what the fuck?’ and stay away in droves. It’s in the realm but well beyond anything David Lynch has ever done. It’s so perfect to have seen this in Cannes, and to be among a crowd clapping and cheering on their feet, and then to come onto a street filled with sun and warmth.”
The boys and I visited the Dachau concentration camp memorial early yesterday afternoon. It’s located 9 miles to the northwest of Munich. You take a subway (about a 20 minute ride) and then grab a bus or a taxi when you hit town. It’s surprising when you reach the entrance, which is located on a fragrant, curving, tree-lined street. Maybe 150 visitors were there, some with tour guides. At first it feels like you’re walking into a large, well-tended city park. It’s attractive. And then you get to the main gate.
The words on the base of the statue, translated into English: “To honor the dead, to admonish the living.”
How can you visit a place like this and not feel sickened and somewhat depleted? I felt like I wanted to nap minutes after I began walking around the grounds. My system was feeling the odious signals and just wanted to shut down and escape, I guess. Obviously going there was not about me but about them. But I was thinking all kinds of tedious and banal thoughts. Some kind of blocking mechanism?
The main pebble-covered yard separating the German command and SS barracks and the area where the prisoner barracks stood is flat and wide and quite vast. Only two barracks — simulations of the actuals — remain on the grounds; only the gravel-based foundations of the rest remain. We saw it all and felt as much as we were able. Some 31,000 people were killed there. I was imagining what it might have felt like to be stuck at Dachau in the ’30s and ’40s, and how it might’ve felt to survive on a day-to-day basis. I can never know, of course, but my imagination was aflame and then some.
The ceiling on the gas chamber in the main crematorium building, located on the extreme southwest corner of the grounds, is quite low. The gas-dispensing “shower” holes on the ceiling were only eight or nine inches from the top of my head. There was one small window near the cement floor, covered with hard-metal chicken wire.
I couldn’t take any shots. The thought of raising my camera occured two or three times, and then it went away. At the end I forced myself to take a shot of a statue of an inmate (the model was Kurt Lange, a gay guy who served two “rehabilitation” sentences), and then one of the entrance.
Last night I read about the Dachau massacre, and I felt very, very gratified to read that after the camp was liberated in late April 1945, some U.S. soldiers gave handguns to some of the prisoners and allowed them to go to town on some of the SS guards.
We met a young Turkish guy at a food stand near the Dachau train/subway station, and his friendly personality and general vibe were really nice. “You from California?,” he asked. “Yeah, Los Angeles.” He has a brother in California, he said. “What town?,” I asked. “I don’t know, just California,” he said with a shrug and a smile. He’d obviously love to visit. It could have been anyone, but it was just beautiful on a certain level to meet and talk with him a bit. Some people just have an aura.
I scour the web and YouTube every weekend during Real Time‘s too-short seasons, and I’ve never found an entire show, HD start-to-finish, on YouTube 36 hours later. Clips, yes, but never the whole thing. Anyway, you can’t get HBOGo in Europe (it’s only good for the continental U.S.) and it was a nice surprise, sitting here in a Munich hotel room on a Sunday afternoon. One of Bill Maher‘s best shows in a long stretch.
From Matt Taibbi‘s 6.21 Rolling Stone piece about the parallels between Wall Street finaglers and the Al Capone mob of the 1920s, figuratively speaking:
“Someday, it will go down in history as the first trial of the modern American mafia. Of course, you won’t hear the recent financial corruption case, United States of America v. Carollo, Goldberg and Grimm, called anything like that. If you heard about it at all, you’re probably either in the municipal bond business or married to an antitrust lawyer. Even then, all you probably heard was that a threesome of bit players on Wall Street got convicted of obscure antitrust violations in one of the most inscrutable, jargon-packed legal snoozefests since the government’s massive case against Microsoft in the Nineties – not exactly the thrilling courtroom drama offered by the famed trials of old-school mobsters like Al Capone or Anthony “Tony Ducks” Corallo.
“But this just-completed trial in downtown New York against three faceless financial executives really was historic. Over 10 years in the making, the case allowed federal prosecutors to make public for the first time the astonishing inner workings of the reigning American crime syndicate, which now operates not out of Little Italy and Las Vegas, but out of Wall Street.
“The defendants in the case – Dominick Carollo, Steven Goldberg and Peter Grimm — worked for GE Capital, the finance arm of General Electric. Along with virtually every major bank and finance company on Wall Street – not just GE, but J.P. Morgan Chase, Bank of America, UBS, Lehman Brothers, Bear Stearns, Wachovia and more – these three Wall Street wiseguys spent the past decade taking part in a breathtakingly broad scheme to skim billions of dollars from the coffers of cities and small towns across America.
“The banks achieved this gigantic rip-off by secretly colluding to rig the public bids on municipal bonds, a business worth $3.7 trillion. By conspiring to lower the interest rates that towns earn on these investments, the banks systematically stole from schools, hospitals, libraries and nursing homes – from “virtually every state, district and territory in the United States,” according to one settlement. And they did it so cleverly that the victims never even knew they were being -cheated. No thumbs were broken, and nobody ended up in a landfill in New Jersey, but money disappeared, lots and lots of it, and its manner of disappearance had a familiar name: organized crime.
“In fact, stripped of all the camouflaging financial verbiage, the crimes the defendants and their co-conspirators committed were virtually indistinguishable from the kind of thuggery practiced for decades by the Mafia, which has long made manipulation of public bids for things like garbage collection and construction contracts a cornerstone of its business.
“What’s more, in the manner of old mob trials, Wall Street’s secret machinations were revealed during the Carollo trial through crackling wiretap recordings and the lurid testimony of cooperating witnesses, who came into court with bowed heads, pointing fingers at their accomplices.
“The new-age gangsters even invented an elaborate code to hide their crimes. Like Elizabethan highway robbers who spoke in thieves’ cant, or Italian mobsters who talked about ‘getting a button man to clip the capo,’ on tape after tape these Wall Street crooks coughed up phrases like ‘pull a nickel out’ or ‘get to the right level’ or ‘you’re hanging out there’ — all code words used to manipulate the interest rates on municipal bonds. The only thing that made this trial different from a typical mob trial was the scale of the crime.”
Yesterday’s press release about Warner Home Video’s upcoming release of a 3D Bluray of Alfred Hitchcock‘s Dial M for Murder (streeting on 10.9) has made me dream for the very first time about owning a 3D TV. I won’t pop for one, of course — 3D TVs are mostly ridiculous. I’ll just ask a friend who has one to let me watch it on his/her set.
It’s bothersome that the press release doesn’t say if the aspect ratio of the Dial M Bluray will be Furmanek-ed at 1.85, or if WHV will go with the 1.33 or 1.37 aspect ratio that audiences have been watching on TVs and DVDs and in revival houses for the last 55 years or so. I’m guessing it’ll be the former.
I realize that Dial M was shown to 1954 first-run, big-city audiences at 1.85, but eff that noise — most Hitchcock fans have never watched it with any other aspect ratio but 1.33/1.37 so to hell with the historical record, which is absolutely dead meaningless in an eternal Movie Godz context. Boxy is beautiful, what’s right is right and Bob Furmanek and his purist brethren be damned.
WHV’s intention to also release a Strangers on a Train Bluray on 10.9 is very gratifying. I can’t wait.
Furmanek and his ilk will never admit it, but you can bet they’re shedding a little tear that they can’t crop Strangers down to 1.85 or at least 1.66. Once the impulse to reduce visual information settles into the system it’s hard to put a stop on it. I honestly believe that Furmanek’s intelligent and meticulous advocacy of MEAT-CLEAVERING some of my favorite ’50s films (including Criterion’s forthcoming On The Waterfront Bluray) makes him one of the worst guys on the home-video planet right now. He’s technically “right” but so wrong in a broader sense…don’t get me started.
I’ll never forget an extended interview I did with Kirk Douglas in Laredo, Texas, between takes of Eddie Macon’s Run (’82). I was doing a set-visit piece for the N.Y. Post, and since Run wasn’t much more than a servicable B-level programmer we mostly talked about his career hallmarks, and to my enormous satisfaction Douglas realized early on that I knew a lot about each of his good films, chapter and verse. All those years and years of watching Douglas’s older films, and now all that TV time was paying off like a slot machine.
I told him I half-loved the foyer freakout scene with Lana Turner in The Bad and the Beautiful. And much of The Devil’s Disciple. And almost all of Champion. And every frame of Paths of Glory and The Big Sky and Lonely Are The Brave. And then I made an attempt at quoting his “eight spindly trees in Rockefeller Center” speech from Ace in the Hole. Douglas was drinking a bourbon (or something fairly stiff), and I remember his leaning forward at this point and saying, “You’ve really done your homework.”
Douglas was on Real Time with Bill Maher Friday night to promote his new book, “I Am Spartacus.” I haven’t read it, but it’s partly a rhetorical reminder about one of Douglas’s proudest moments — his giving blacklisted screenwriter Dalton Trumbo full screen credit on Spartacus (’60), and thereby breaking the Hollywood blacklist. (Otto Preminger did Trumbo the same courtesy on Exodus, but we’ll let that slide.)
If I was Douglas I would take the opportunity during his book tour to publicly scold Universal Home Video for issuing that shiny Spartacus Bluray. Restoration guru Robert Harris, who restored Spartacus with Jim Katz in ’91, has called for a new digital harvest that would more closely represent the film as it appeared in its early 70mm Technirama engagements.
Yes, I’ve written that I’m half-cool with the shiny version, but then I’m a bit of a peon in this respect — I’ve admitted this over and over. I respect and support grainy-ish or mildly grainy Blurays, but I hate it when the Iraqi grainstorm effect takes over. I don’t “respect” shiny Blurays, and yet my inner primitive slow-witted goon responds excitedly when I watch one. Put me in jail but I adore the sharpness. I really love seeing the tiny little creases in Douglas’s face in those Spartacus closeups. I’m truly sorry, but the shiny Spartacus Bluray looks 10 times better than Criterion’s DVD version.
One of my favorite passages from Trumbo’s Spartacus script:
Gracchus (i.e., Charles Laughton): I’ve arranged for Spartacus to escape from ltaly.
Ceasar (i.e., John Gavin): You’ve done what?
Gracchus: I’ve made a little deal with the Silician pirates. I’ve assured them that we won’t interfere if they transport Spartacus and his slaves out of ltaly.
Ceasar: So now we deal with pirates? We bargain with criminals!
Ceasar: And don’t you be so stiff-necked about it. Politics is a practical profession. If a criminal has what you want, you do business with him.
“The Eisbach (German for ‘ice brook’) is a small man-made river in Munich. Just past a bridge near the Haus der Kunst art museum, the river forms a standing wave about one metre high, which is a popular river surfing spot. The water is cold and shallow, making it suitable only for experienced surfers. The wave has been surfed since 1972.” — from the Eisbach Wiki page. (Videos taken this evening around 8:30 pm.)
I for one am limited in being able to enjoy or even appreciate a relationship movie that’s based upon one or both partners failing to understand, much less come to terms with, their core emotional longings. Everyone succumbs to denial now and then, but to live in that state week after week and month after month is pathetic. That said, this looks somewhat appealing. I missed it at Sundance.
Abraham Lincoln: Vampire Hunter “constructs a fantasy scenario that relentlessly trivializes the Civil War, slavery, the Emancipation Proclamation and the cultural divide,” MSN’s Glenn Kenny notes.
“[It] posits, for instance, that slavery itself was not the creation of human beings just like you and me but the work of blood-drinking undead beings intent on world domination. And that the bloodshed at Gettysburg was at least in part the work of vampire Confederate soldiers who could make themselves invisible and pierce through the hearts of Union soldiers without them even knowing it. And that one of the most genuinely tormented and morally acute leaders the United States has ever known as an ax-wielding avenger and destroyer of supernatural beings.
“Well, that’s kind of a dicey proposition. And Abraham Lincoln: Vampire Hunter, written by Seth Grahame-Smith, adapting his own popular novel, and directed by Russian master of action excess Timur Bekmambetov, does not make good on it. It constitutes a moral sin, if not an outright moral crime, and commits a grave insult against history.”
Give it to ’em, Glenn!
Abraham Lincoln: Vampire Hunter is currently running at 33% positive at Rotten Tomatoes. I would quote the Metacritic score but the shitty wifi in this cabin refuses to bring up the page.
My favorite AL:VH quote is from Village Voice critic Nick Pinkerton: “The logical outer limit of the whole horror-as-metaphor thing, Abraham Lincoln: Vampire Hunter shoehorns the entire personal history of the 16th president into mega-budget The Legend of the 7 Golden Vampires chop-socky/grindhouse schlock, and casts the seditious South as a nation of slave-sucking undead. Possible resulting ‘fun’ is only slightly mitigated by contemplation of the wearisome decadence of American popular culture.”
Imagine walking out your front door every morning and seeing this, only in IMAX 3D on a 120-foot-wide and 90-foot-tall screen. It’s pretty close to impossible not to be in a fairly good mood with Staubbach Falls in front of you 24-7. But now we’re saying goodbye to this splendor and heading for Munich.
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