Tag Archives: The Canyons

Thursday’s Child — Caravaggio, Poverty P*rn, and Superhero Wardrobes

Thursday’s Child is what happens when Wednesday Collective runs long or gets pushed a day. The only requirement is that it features a David Bowie song in the opening paragraph. Let’s go with that time he told Trent Reznor how he feels about Americans.

ARTICLE OF THE WEEK
Get to Know Filmmaking’s Most Influential Painter

Stephen Akey

Caravaggio

A big part of filmmaking (and critiquing) is knowing your art history. Hell, we wouldn’t have the establishing shot as we know it without Impressionism. Even as a viewer, you never know when that knowledge is going to enhance a movie. Hieronymus Bosch’s carnally oppressive, otherworldly madhouses pop up in thankfully brief, soul-scathing moments of Noah. The first Hunger Games owes its incredibly immediate sense of place to the Depression-era photography of Dorothea Lange.

War photography – especially from failed wars like Vietnam – has heavily influenced the Mexican-Spanish pulp resurgence. I suspect it reflects the lost wars that led to decades of Fascist rule under the PRI in Mexico and under Franco (after the Spanish Civil War) in Spain. Everything from Alfonso Cuaron’s Children of Men to Guillermo Del Toro’s Pacific Rim has found glum, terrifying moments to reflect on their personal ideas of loss, ones that never fail to horrify more than any battle or monster can.

Perhaps no single painter has influenced filmmaking more than Caravaggio: the stark close-ups of Carl Dreyer’s formative 1928 The Passion of Joan of Arc; the matter-of-fact, sometimes uncomfortably foregrounded violence of Akira Kurosawa’s samurai epics; the precise arrangement of players and light in Francis Ford Coppola’s The Godfather; all the way through to the striking use of color and composition of Zack Snyder’s 300. Shekhar Kapur’s Elizabeth, Tarsem Singh’s Immortals, Guillermo Del Toro’s Pan’s Labyrinth, the list goes on and on.

Martin Scorsese might be the filmmaker who, early in his career, embraced him the most. Caravaggio seeped through the seediest moments of Mean Streets and Taxi Driver. The painter was, as Scorsese once told Caravaggio biographer Andrew Graham-Dixon, the entire reason for doing The Last Temptation of Christ.

Caravaggio himself had an interesting life. Not unlike a Scorsese character, Caravaggio had been formed by a violent, hardscrabble upbringing that was both key to his many successes and his strange, historical mystery of a downfall. He found more comfort with gangs, beggars, and prostitutes than he did with high society, and he was exceptionally clever at revealing – both in life and in his paintings – that high society played at that very same, cutthroat level.

Thanks to Chris Braak over at Threat Quality Press for pointing this article out.

What is Poverty Porn?
Tom Roston

Rich Hill

Don’t worry, it’s safe for work. I’ve talked a lot about the ‘genre of excess’ that Izzy Black proposed a few months ago. It seeks to make an accounting of at-any-cost stories of social and financial success, but it refuses to judge the characters therein (think The Wolf of Wall Street, Spring Breakers, The Bling Ring).

The inevitable corollary of that is “poverty porn.” As Roston writes, it’s used to describe an image of the poor “that takes on an almost fetishistic quality, wherein the audience savors how miserable people can get. This can happen even with the best intentions, like those extended commercials for charities in which barefoot children from a third world country stare into the camera.” It takes shape in large part when documentary filmmakers each seek to out-bleak each other in the pursuit of funding.

Roston suggests a “poverty porn clean-up crew,” and has an interesting proposition to form it.

Work It, Superman
Lauren Davis

Supermidriff

That’s quite a get-up Superman has there. You wouldn’t take him seriously. I wouldn’t take him seriously. Yet it’s pretty standard for women in superhero comics. Why does what superheroes wear matter? What does it tell the youth being brought up on them?

I’m thankful Marvel’s had the sense to mostly skip this sort of fetishism in their film adaptations. For Black Widow’s co-leading role in Captain America: The Winter Soldier, she’s mostly portrayed wearing something sensible with a leather jacket. As I’ve said before, her most notable accessory is an assault rifle with an underslung grenade launcher. It’s Captain America who appears in various states of undress and just has to break into the Smithsonian when every federal agency is looking for him. Why? To get the right piece of fashion for saving the world. It’s a refreshing and humorous twist.

What Captain America, RoboCop, and Her Say About Surveillance
Willie Osterweil

Captain Military Industrialism 2

I don’t entirely agree with this piece. First of all, never ever start an article off by insulting a large group of people (in this case, liberals) – it signals you’re either playing to a base, or you’re too narrow-minded to consider your opponent as anything other than a hive-mind. Both mean that anyone sitting on the fence, as well as many sensible people who are already on your side, will consider you shrill and discount both your opinion and your effectiveness as someone who can influence others.

Secondly, I don’t agree with many of Osterweil’s points. But that’s no reason not to highlight someone else’s work if he makes those points intelligently.

Osterweil ultimately presents a challenging article about the use and interplay of surveillance and gender dynamics in Captain America, the RoboCop remake, and the Oscar-winning Her.

As an aside that this article touches on, I myself have become increasingly on-the-fence about Spike Jonze as a director. Critical kryptonite, I know. It’s not because of any fault in his abilities – if anything, he might be the best American director when it comes to marrying the various technical elements of film (visual structure, production design, costume, cinematography, editing) to pure artistic flair. More than anything else, perhaps no director has ever used sound as expertly and emotionally as he has. But man, his films’ views of women as creatures too erratic to think of others and as the cause and solution of every problem in a man’s life, no matter how young or old…it grates.

Throw onto that his production and story roles in the Jackass films, which increasingly think hidden camera is meant to be an excuse to sexually harass and abuse women without repercussions, and I have some serious reservations about many of Jonze’s values as a storyteller.

The Price of Rebooting a Successful Franchise
Scott Mendelson

Spidey Fight

Forbes is a terrible magazine when it comes to knowing what the real world is like. It’s also not often very good at analyzing economic policy, but when it comes to analyzing individual industries, it can actually be quite on-the-money (in this way, it’s the exact inversion of The Economist).

Here’s a rather good article on how Sony originally planned to reboot Spider-Man as a smaller, more personal story focusing on secret identity Peter Parker’s school life, with the action being less extravagant and more intimate. Now, I quite liked The Amazing Spider-Man 2, which could deliver fantastic individual scenes but not an entire, cogent story. The best moments undeniably involved Andrew Garfield’s interplay with Emma Stone and Dane DeHaan, when their characters were just bumming around New York and working out their personal issues. A Spider-Man focused on that? Brave, but with this group I have no doubts they could have made it special.

Instead, Sony (just like Warner Bros. is) got jealous of Marvel’s Avengers canon and – instead of blazing their own path – decided the best financial option would be to copy Marvel wholesale and go as big and multiple as possible. The result is…well, it’s certainly not the windfall Sony imagined, and the franchise may not even have the financial success it could’ve if they’d just stuck with Sam Raimi at the helm and Tobey Maguire as Spider-Man another few films.

On a personal note, Spider-Man got rebooted after five years. It’s been 10 years since the last Blade movie. Get on it, New Line.

Screw the Movie, We’re Making a Production

Lohan The Canyons

One of the most successful movies of last year was the critically reviled The Canyons. Now, this takes some explaining. The Canyons was not a good movie. Written by Bret Easton Ellis, directed by Paul Schrader, and promised a film about the future of movies, we imagined the possibility of a searing assault on the conscience similar to Ellis’s previous American Psycho. Instead, The Canyons was a wooden collection of uninteresting psycho-drama, soap opera filmmaking, and borderline soft-core. It cast Lindsay Lohan opposite adult film star James Deen.

One of the most intriguing – and accurate – theories about the film is that the entire production was a piece of performance art by Ellis, that the process of putting the movie together – recorded in painstaking detail by journalists and tabloid reporters alike – was the real commentary. The performance lies in those details and in our obsession and reaction to them, not in anything put on-screen. That a movie was made was just an unavoidable side effect. In that way, The Canyons may be one of the most important efforts in filmmaking we’ve seen in years. It’s just not one of the most important films.

John Patterson at The Guardian writes about The Canyonscontemplation on the wreckage of cinema.

Adam Batty at the beautifully titled Hope Lies at 24 Frames a Second writes about Schrader’s transcendental style.

And, of course, here’s Lili Anolik’s brilliant original article, Post-Empire Strikes Back, which lays out the argument for Ellis’s the-production-is-art, screw-the-movie approach to what he wants to say. This article in particular is for mature audiences only.

Dr. Strangelove, or How I Learned That the Most Outlandish Ideas in That Film Were True
Erich Schlosser

Dr Strangelove

Dr. Strangelove is Stanley Kubrick’s 1964 black comedy about the dangers of nuclear war. It posited a number of ridiculous contrivances – that a general who up and lost it one day could single-handedly launch a nuclear attack with no authorization. That the Soviets had built a “dead hand” system wherein nuclear weapons would be launched automatically if the Kremlin couldn’t be reached.

These were all insane and ribald concepts as to how the military of both countries really worked. Right? They were exaggerations Kubrick and crew made to make a point. Right? Turns out not so much – the reality was far riskier than the insanity Dr. Strangelove proposed.

Wednesday Collective — Cyberpunk, Women Direct, Britain Whitewashes, and the Sharni Vinson Rule

There are so many articles for this week’s Wednesday Collective that we’re going to split it into two parts: today’s and tomorrow’s, which I’ll dub Thursday’s Child because it will be posted on Thursday and I’m a David Bowie fan.

ARTICLE OF THE WEEK
Cyberpunk Gets Old, Files Reverse Mortgage
Molly Osberg

WedCol cyberpunk lead

Cyberpunk isn’t just a component of my generation’s artistic outlook, it’s half the foundation. The post-industrial, dystopian narrative movement whose bones were laid out in 1979’s Alien and 1982’s Blade Runner finally muscled out in William Gibson’s 1984 novel Neuromancer. It’s re-formed the fashion and movie industries of Japan, changed Hollywood, and completely defined the video games industry, but – in recent years – technology has caught up to cyberpunk’s vision of a permanently jacked-in populace leading a real life and an online one. Perhaps more damningly, we’ve caught up to the future it once predicted, one characterized by lawless corporate feudalism and inanimate national goverments.

Molly Osberg writes at The Verge about how Cyberpunk’s evolved from social movement to aesthetic fascination, but also defines how its popular dissemination has clipped its social gravitas. What’s most interesting, and I’m projecting my own views onto this now, is how she touches on some of Gibson’s later obsessions, particularly in Pattern Recognition and Spook Country – a pursuit of iconography that borders on the religious, cultivated and refined by international groups of collectors into a borderless social Animism, forming unique languages of data and image to define views of the world that can only be completely understood by those who comprehend how the data connects.

After all, if the corporation-state is now borderless, and the nation-state has grown useless, it won’t be long before we’ll need a people-state. If Mitt Romney’s right that “Corporations are people, my friend,” then the correlation is that people are becoming less so. Maybe cyberpunk’s not quite done. Maybe we’re mistaking its teenage years, as it finds its footing in a changing world, for its retirement. Maybe its most powerful statements have yet to be made.

Female Filmmakers: Film’s Loss, Television’s Gain
Katie Walsh

Jill Soloway

Some directors have a harder time getting studios and indie investors to faithfully pony up the money for feature films. These directors are colloquially known as “women.” You see, women are considered more of a risk to helm a movie than men. Anyone who could give you a reason why could simultaneously give you a reason why he’s a fearful chauvinist living in a bygone era.

Katie Walsh at Indiewire describes the subsequent migration of women over to television directing. I can’t help but wonder whether limiting themselves to half the talent pool is why the range of viewpoints and styles in mainstream film tends toward repetition, while the range of popular TV narratives has grown braver, stranger, and more extensive. Actually, I can help but wonder, since we already know the answer.

Editing for Chinese Audiences
Shandongxifu

The Karate Kid training

While doing some research for “How China Keeps Bruce Willis Alive” last week, I came across a description by blogger Shandongxifu of how China edited the remake for The Karate Kid. It’s a window into the priorities of the Chinese censorship process, and how filmmakers worked around it to create a completely new narrative.

Britain’s Theatrical Whitewashing
Tony Howard

Adrian Lester in Merlin

Government censorship isn’t the only kind. Pictured above is Adrian Lester in Merlin. He’s an accomplished Shakespearian actor who struggles to land the jobs less accomplished white actors are given. Tony Howard at The New Statesmen pens a scathing article on Lester and other minority actors, who routinely have trouble getting roles on British stage, film, and TV. It reflects a problem that we here in the States still have, but explains how Britain’s centralization of arts funding, as well as their choice to focus on classical repertoire over newer plays, exacerbates the problem to a state of cultural emergency.

Of Charlton Heston & Antonio Banderas
A. E. Larsen

The War Lord

An Historian Goes to the Movies is quickly becoming one of my favorite blogs, a go-to source for investigating the historical accuracy of films set in the past. This week, there’s an engrossing historical analysis on The War Lord, a little-known Medieval movie starring Charlton Heston, and a discussion on why intelligent costume designers consciously choose to include historically inaccurate armors in their historical films, using The 13th Warrior as a case study.

The Future of Chinese and Hong Kong Film
David Bordwell

The White Storm

David Bordwell gives a rundown of the annual Filmart festival in Hong Kong. It’s the single biggest film market in Asia. He sets the scene to make you feel like you’re there before discussing the new system of shared productions between Hong Kong and mainland China. He devotes the bulk of his article, however, to the most exciting new films from one of the most well-established yet fastest-growing film industries in the world.

The Sharni Vinson Rule
Jordan & Eddie

Shani Vinson in Patrick

This review of Australian suspense film Patrick isn’t about the industry or any specific technical craft, but it earns a place this week because it gives me a chance to champion two things:

Firstly, actress Sharni Vinson is something special and I don’t want to miss an opportunity to point people in her direction. She led last year’s You’re Next, which achieved the rare trifecta of being my favorite horror movie, comedy, and mumblecore film of the last several years. This gives rise to the Sharni Vinson Rule – One never needs an excuse to post about Sharni Vinson. In the interest of equality, let’s say it applies to Joseph Gordon-Levitt, too.

Secondly, Jordan & Eddie (The Movie Guys) is my favorite site to learn about Australian filmmaking. Australia has a creative and vibrant filmmaking industry that is too often overlooked. These two tend to see Australian movies 6-12 months before we do here in the States, and they have a particular fondness for my kind of suspense and horror.

SUPER SECRET ARTICLE OF THE WEEK
“Post-Empire Strikes Back”
Lili Anolik

The Canyons

If you’ve made it this far, you’re in for a treat. This would be up near the top, but some of the subject matter is raunchy and I want to be respectful to all of my readership.

Believer Magazine features an excellent story by Lili Anolik on the wreck of a film that was last year’s The Canyons, a movie which accomplished the rare feat of being relentlessly interesting and boring as can be. Anolik interviews controversial novelist and screenwriter Bret Easton Ellis (The Rules of Attraction, American Psycho) and director Paul Schrader (American Gigolo, Adam Resurrected) about a movie that Lindsay Lohan single-handedly pulls from pure dreck to semi-watchable.

Anolik examines a true piece of performance art by Ellis, a post-theatrical movie in which the art on display isn’t the film itself but the cultural commentary housed within the tale of its production. The story of the real movie adaptation of a fictional novel that Ellis’s fictional alter-ego never got around to writing, starring Lindsay Lohan, a male porn star, and controversial director Gus Van Sant as his psychiatrist, is by turns fascinating, hilarious, and chilling. The Canyons may have been terrible, but the performance art of making it may be the best thing Ellis has done yet.