Steven Soderbergh on making choices, and how easily it all can go wrong

“I value the ability to stage something well because when it’s done well its pleasures are huge, and most people don’t do it well, which indicates it must not be easy to master (it’s frightening how many opportunities there are to do something wrong in a sequence or a group of scenes. Minefields EVERYWHERE. Fincher said it: there’s potentially a hundred different ways to shoot something but at the end of the day there’s really only two, and one of them is wrong). Of course understanding story, character, and performance are crucial to directing well, but I operate under the theory a movie should work with the sound off, and under that theory, staging becomes paramount.”

– Steven Soderbergh

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Review: Last Looks (2022)

Last Looks is an old-fashioned shaggy P.I. murder-mystery, featuring a nice big cast, all of whom give eccentric and entertaining performances. I really liked it! It’s FUNNY. Sad that funny is rare. I reviewed for Ebert.

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R.I.P. Monica Vitti

One of those rare actresses who could hold the screen just by standing there. Literally. She just stood there and you are afraid to move or avert your eyes because you don’t want to miss anything. Of her just standing there.

Of course she did more than just stand there. In the films she made in the ’60s, primarily with her partner Michelangelo Antonioni, she was a chameleon. His mysterious masterpieces – heavily debated at the time – a series of films coming one after the other, presenting “alienation” in all its disturbing guises, and all starring Vitti – L’Avventura, La Notte, and L’Eclisse – turned her into an international superstar. Red Desert, also intriguing – and the only one in color – is a kind of Coda to the alienation project.

She was so associated with these films – and will be forever – that her career afterwards suffered in comparison, although she continued to work, of course! You can read more about her journey in the excellent obit in the New York Times, which ends with a fascinating quote I had never heard before. She was constantly asked – as was Antonioni – about the unsolved mystery in L’Avventura about the missing Anna. Where did she go? Did she fall off that rocky island? Why was the body never found?

What was Antonioni trying to say? It was MADDENING to audiences and critics that the film refused to provide the answer. Vitti was asked about it right before the film was released and here is her perfect reply:

That’s the one question the audience isn’t supposed to ask. It isn’t important. What is important is that Anna was carrying two books before she disappeared — the Bible and F. Scott Fitzgerald’s Tender Is the Night. One suggests our concern with morality; the other was a literary experiment in which the heroine disappears halfway through the book and is replaced by another protagonist.

You can see why Antonioni considered her a muse.

Asghar Farhadi, the Iranian master, was inspired by L’Avventura and its mystery to make what is practically a remake (or at least heavily inspired by), 2009’s About Elly. The astonishingly beautiful and excellent Golshifteh Farahani (maybe more familiar to American audiences for her role in Jim Jarmusch’s Paterson) in the Vitti-esque role.

Vitti’s inspiration is worldwide.

You know how I love scenes where people are alone with themselves and their reflection in the mirror: in L’Avventura, Monica Vitti has a great one: It’s exactly the kind of mirror moment that obsesses me. And it’s even more striking since that movie is so tormented and mysterious and terrible. Like … out of that landscape and emotional atmosphere, suddenly comes …. this.

What does a movie goddess do when she looks in the mirror? She doesn’t necessarily primp and preen. Sometimes she makes funny faces. Even surrounded by the “sick soul of Europe”, as Pauline Kael called it.

Vitti could sometimes blend into the background so totally she’d almost vanish (which was amazing, considering her beauty), but you look at her face and you’d see this constant flickering montage of emotions. In La Notte, where she’s first seen at a party, goading and teasing the moody hero (Marcello Mastroianni) across a room-size board game (bocce? sorry, it’s been a while), she has pitch-black hair, not blonde, and she seems totally changed from who she presented as in L’Avventura. It’s a reminder that she’s a great beauty and a great actress. Captivating, but in a very different way.

In La Notte, you were never quite sure where she was at, emotionally, who she was, particularly in comparison with his restless insomniac depressive wife, played by Jeanne Moreau.

Vitti could be intriguingly blank, which makes her pairing with the Master of Blankness, Alain Delon, in L’Eclisse so intriguing. They ooze unease, psychological and even existential restlessness.

Two more gorgeous movie stars cannot even be imagined, and they are overwhelming together onscreen. When the blankness arrives in L’Eclisse, and it arrives in such a total way that it empties the whole entire world in the most eerie final sequence in cinema. The blankness starts within the two characters and radiates out into the universe, just the mushroom cloud and its annihilating radiation. Incredible film.

But let’s go back to her blankness. Blankness has always intrigued me, and I was writing about it here long before I ever got a real gig as a writer. Vitti’s intermittent blankness is a perfect projector screen for what we out here in the dark THINK she’s thinking. We fill in her blanks. This ability is one of the hallmarks of a great movie star. They all have a version of it. There are no exceptions.

Don’t give us TOO much. Leave some of the work to US, because in that “work” pours our dreams and fantasties, our self-projections and unfinished business … and THAT’S how you hold an audience’s attention. There’s a reason Monica Vitti has remained a beloved star for decades, long after she stopped working. We will never get to the bottom of her (or, at least, her onscreen persona).

Also, side note: her hair has always filled me with envy. She and Gena Rowlands are the Two Pillars of Great Hair, which I – and my thin hair, which resists curling or even full body – could never achieve.

Movie Goddesses aren’t made like Monica Vitti anymore. She was wholly European, emerging from the ravages of war, dissociated, blank with inexpressible trauma, emblematic of the hopelessness of the time, of the rise of the atomic age, the memory of the mushroom clouds over Japan, the sense that humanity was doomed.

The world has changed so much. She was part of her specific world and time and era, but she translates into all times and places. And so, we won’t see her like again. Lightning doesn’t strike twice in the same place, or in the same way. But at least we have her, and she – like Greta Garbo, like Marlene Dietrich – is still a projector screen for everything swirling around in our own psyches. That is eternal.

Update: I was hoping my friend Dan Callahan would write on Monica Vitti, and he has over at Ebert.

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Happy Birthday, John Ford: Doorways in The Searchers

Are you going in or are you staying out? In the world of John Ford’s The Searchers you must choose. You can’t have both. The Searchers takes place on the threshold of that choice, in the abyss of the borderlands, external and internal. For some of the characters, going in or staying out isn’t a choice at all, it’s just the way things work. Everything you want, everything you search for, is “out there”, or, on the flipside, everything you want is “in there”. There is a giant gap between “in” and “out”. Unbridgeable gap. Characters are seen standing a bit away from the house, with people clustered in the doorway, and it seems like anything, anything can happen in that small gap. There is no white-picket-fence safety of a little front yard. Slaughter can happen in that 20-foot gap, swift and terrible. So you must choose. As the terrifying Judge shows in Cormac McCarthy’s Blood Meridian, there are things that happen in life, choices you make, that forever banish you from the world of the indoor, from civilization itself. There is a point of no turning back. Looking through a doorway, at something going on through yet another doorway, is an image that repeats throughout The Searchers. Whatever happens through a door, whatever is glimpsed, is the “substance of things hoped for,” it’s the truth of the matter, a truth usually unspoken and private. So private that the famous final shot, unfolding in silence, is a man turning away from the door and walking away, with the slightest of stumbles at first, a knee buckling under him slightly, because he knows … he knows that he can no longer go “in there.” It’s not that he’s not welcome. It’s that he has traveled too far, seen too much, been too much. The threshold is now forbidden to him. In there is warmth, safety, domestic comforts, family. It is no longer possible for him to participate and he knows it. In the final moment, the door closes, for the last time.

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The Snow Is General

An oldie. Posted in honor of the blizzard whirling outside my window.

How on earth it was possible to get so lost in the middle of Dublin, I will never know. I know my way around the city, but somehow, at 11 p.m. on that November night, I lost my bearings. Home was in Ranelagh, a hop-skip-and one-stop-on-the-train away from St. Stephen’s Green, but it was late, it was raining, and I wanted a cab. The pubs had emptied out, en masse, and the streets were clogged with people, moving on to late-night venues, or queuing up for cabs. I wandered past the coliseum of Trinity College, hoping I could catch a cab from the other side, but when I saw the block-long line of people already waiting, I knew that it was hopeless.

I moved on to Plan B. If I got myself to Grafton Street, and headed south, on foot, I would be in Ranelagh in half an hour. Grafton Street was key, because eventually it turned into Ranelagh Road, which was the way home. It was not ideal, but nothing was ideal on that rainy night.

Okay. So. Grafton Street. Onward. March. Clomp, clomp, clomp, over the wet sidewalks. I made it across Trinity’s death-trap intersection, dodging the cars coming at me from all directions, keeping my eyes set on that warm bed in the garret-room in Ranelagh.

Grafton Street runs right through Dublin, on the south side of the Liffey. It is a wide brick avenue lined with shops and hung with white Christmas lights at that time of year. There is also a McDonalds on Grafton, open during the wee small hours, so it is, naturally, a busy area. Besides O’Connell Street, it is the street in Dublin. You cannot miss it. Unless you are me on that night. Then you will most definitely miss it.

After some time walking I realized, dismayed, that Grafton Street was not where it was supposed to be. The accordion-folds of the space-time continuum had clamped shut or something, and I could not find it. It took me about fifteen minutes of walking to recognize this, because I was so certain, in my head, of the street’s location that I could not accept the reality of its obvious disappearance. I walked and walked and walked, sure that the next street would be Grafton, only to find that the next street was not and never had been Grafton. Meanwhile, the rain kept coming down. It wasn’t an out-and-out downpour, but it was enough to make the entire experience unpleasant.

Unlike the college-party atmosphere outside Trinity, these streets were darker, emptier. I had no map because, after all, I knew Dublin, right? Why would I need a map?

The slippery streets were now shadowed, closed up, almost residential. A narrow line of townhouses, with darkened windows, drawn white curtains. Wherever Grafton Street was, it was no longer in front of me. I would have to turn back.

Then I saw him.

He stood on a corner, his collar up. He wasn’t waiting to cross the street. There was no traffic to wait for. He was just standing there, in the rain, without an umbrella. I decided to throw myself on his mercy and ask the ridiculous question: “Where is Grafton Street?” This would be like a tourist in Times Square asking, “Can you tell me where Broadway is?” I will never roll my eyes at such questions again because now I know their disorientation.

Determined, I crossed the street, walked up to the guy and said to him, “This is so embarrassing, but can you tell me where Grafton Street is?”

He looked stunned. “Are ya serious?”

“Yes. Sadly. I am dead serious. I’m lost. I need to find Grafton.”

He wasn’t listening. He was, as most Irish were, with me anyway, struck by my accent. I look like I belong there. Until I speak.

“You’re from America then, are you?”

I was tired and cranky. “Yes. I’m from America.”

“And you need Grafton?”

“I thought it was back that way. And now it’s raining and I have no idea where I am.”

Up close, I saw that he was little more than a boy. In his early twenties. He had thick black hair slicked up into a pompadour (I am not making this up), and he was wearing a black leather jacket, jeans, and big black motorcycle boots. He looked like he was coming from a dress rehearsal of a community theatre production of Grease. He had pale white skin, thick black eyebrows, and a baby-face.

“I know the way to Grafton,” he informed me proudly.

“Good for you. Which way.”

“Do ya mind if I walk with ya?”

This was not unexpected, due to the general gregariousness of Irish men, which is normally a pleasant change for me from the glum distracted workaholics in New York, but I was in no mood. I didn’t need to be chatted up. I needed him to say, “Go that way” and call it a night. But in order for me to get blunt no-nonsense directions, I would have to visit a different country.

“Can’t you just tell me the way?”

He wheedled. “Please let me walk with ya a bit?”

“Fine. Let’s GO then. Let’s walk already.”

And off we went.

Silence reigned. He led the way but I set the pace. I drove us through the dark empty streets like a bossy sheep-herding dog. In my mind, with my map of Dublin in my head, he was taking me the wrong way. I was pretty sure we were going south, so that meant Grafton should have been to the west of us. But I decided to trust Danny Zuko.

He asked, “Do ya mind if I talk with ya as we walk?”

I don’t blame him for asking, considering the SPECTACLE I was making of my unavailability. There was something disarmingly gentle about him, though. My “crazy person” alarm bells were not going off, although I reminded myself that Ted Bundy was probably disarmingly gentle, too. At first.

“Fine. Talk.”

We were in some weird intimate other-world where it was normal that he would be so nice and I would be so rude.

“What’s your name?” he asked.

I sighed. Rolled my eyes. “Sheila. Okay?”

“I’m Rory.”

“Hi, Rory. Is Grafton close?”

“Oh, sure. It’s right up here.”

“Really, dude? Because it seems like we should be going that way.”

“And where are you from in America.”

“I live in New Jersey. Near New York City. All right?”

Clomp, clomp, clomp. Nothing looked familiar. We careened south. I felt like at any moment we would hit the Wicklow Gap.

“New York City, then?” His face lit up. “I’ve always wanted to go there.”

“Everyone wants to go there, Rory.”

“I have some cousins in Boston.”

“Every Irish person has cousins in Boston, Rory.”

Silence. Again, I don’t blame him. But it was 1 in the morning. Maybe he would assault and kill me. I felt strangely distant from the possibility, but continued to maintain my forcefield.

We were in a landscape of concrete, cobblestone, and cement. A palette of black and grey. The rain had let up. It was cold.

I exploded. “Rory. Where the hell are we?”

“We’ll turn right up here.”

Right sounded right. Right meant west. We needed to be going west.

I was clamped shut against this thug. He wouldn’t work his charm on me. No way, buddy! You got the wrong girl!

But Rory, bless his heart, kept trying.

“So what do you do, Sheila?” Saying my name back to me.

“I’m a writer, Rory. I do other stuff, too, but mainly, right now, I write.”

“Really! You write!” The information thrilled him. He turned to me, looking at me with an open impressed face. In spite of myself, I melted. A little bit. I didn’t want to give in, I wanted him to know who was boss, but I thought it wouldn’t hurt to ask him a question.

“And what about you.” I fired at him, in the least friendly tone possible. “What do you do?”

“I’m an accountant.”

I burst into laughter. This rebel without a cause? “You??” I felt the need to be mean to him – so that if he killed me, at LEAST I would die knowing I went down fighting – and he continued to not seem to mind.

He made us turn right down a cobblestone side street. We walked by a line of darkened windows, a gallery of closed-dark doors, all good people at home in their beds. Except for us. We were not good. We were not home. We were not in our beds.

“Sorry,” I relented. “I don’t mean to laugh. You just don’t strike me as the accountant type.”

Clomp clomp, I was driving us west across Ireland.

“I don’t really enjoy it though, Sheila,” he confessed, opening up all of his problems to me.

“Really.” I made a display of disinterest.

“No. I don’t. You know what I really want to do?” he said, his face glowing with excitement.

“Oh, Jesus, Rory. Where is Grafton?”

“It’s up here.”

“Sure it is. Sure.”

“No, but what I really want to do –” he said, as though I hadn’t cut him off, “is be an air traffic controller.”

For whatever reason, this admission made it through the coat of armor. It was so specific. Who is this person? I continued to push us along the cobblestones, but suddenly I wanted to hear more.

“An air traffic controller?”

“Oh God, Sheila. If I could be an air traffic controller, I feel like I could be happy.”

“Then – sorry to be rude – but why aren’t you an air traffic controller then?”

“Well, it’s very competitive, you know. You have to apply, and they only pick so many people every year in Ireland to even qualify—”

“You’ve applied though, right?”

“Oh yes. A couple times, Sheila.”

“Good for you. Keep at it.”

“I really want it, Sheila.”

People become interesting when they are passionate about something. Rory was passionate about air traffic control. I found this interesting. I had known him ten minutes. It was one o’clock in the morning.

“Why do you want to be an air traffic controller?”

“Because I think it would be so challenging, y’know? Also, every day I’d know that I was helping people. I’d be adding to society. You know?”

I was about ten years older than Rory, and I suddenly became his Life Coach as we tromped through the silent odd city.

“Listen to me, Rory. Keep applying. This is what you want. As far as we know, you only live once. So don’t give up.”

“Thank you, Sheila. You’re very kind.”

“I’m not being kind. I’m being straight with you.”

“The odds are against me, you know.”

Grafton Street nowhere in sight.

“That’s okay, Rory. If it weren’t worth doing, it wouldn’t be difficult.”

“You know, there’s a lot of truth to what you say, Sheila.”

Suddenly I was a wise sage. Still impatient to get to Ranelagh, to be sure, but let’s just say I was less impatient by this point.

“Can I ask you a question?” Rory asked.

“What is it.”

“Do ya have a boyfriend?”

“Yes,” I lied.

Rory took this in silently. There were no words between us for a bit. We were fully caught in the tesseract by then, a black-and-grey netherworld of midnight connection, of spirits meeting. Dublin did not look like itself at all. I could feel Rory thinking. About my American boyfriend.

Then Rory ventured, “It doesn’t matter though that we’re havin’ a bit of a flirt, does it?”

The phraseology. It killed me. A bit of a flirt.

“Is that what we’re havin’, Rory? A bit of a flirt? I thought we were looking for FUCKING GRAFTON STREET!!” I shouted into the night air.

“Well, sure, that’s true – but a bit of a flirt, too? Would that be all right?”

“Rory, you get me to Grafton, who knows what will happen.”

Eventually, we emerged into some sort of square. There was a fountain, a statue, and a huge church. We came to a standstill in the chill wet night, staring up at the stark grey walls of the church.

I asked in an ominous tone, “Is that Christchurch Cathedral, Rory?”

Rory was befuddled, looking up at the spire. He admitted, “I don’t know what the fuck that is.”

“Whatever it is, it is NOT GRAFTON STREET!” I shouted.

Rory mumbled, “No, indeed. It certainly is not.”

And then, I got it. I was onto him. It took me a long time to get it, I admit. I blame the tesseract. When I next spoke, my voice was calm and dangerous. “Rory. Tell me the truth. Have you been taking me on a wild goose chase through Dublin?”

He scuffed his feet, looking down shamefaced. I am not exaggerating. He scuffed his feet. He then said, “I guess I just wanted to talk to ya, y’know?”

“Oh, for God’s sake. This is INFURIATING!”

I tried to speak in a patient voice: “Rory, it’s late. I want to go home. Your behavior has been outRAG—”

“Can I ask you a question?”

“Huh?”

“Can I ask you a question?”

“It better be good.”

“Can I kiss you?” He winced uncertainly, because obviously from my behavior I was highly volatile and also clearly insane.

“No, Rory. You cannot kiss me. This is ridiculous.”

“Just a little one?”

“Rory, I am about to kick your Irish ass into that fountain.”

“What would one little kiss hurt, though?”

The raindrops sparkled on his long eyelashes.

In a strange way, I was enjoying berating him. It wasn’t quite real, my rage. It was, but it also wasn’t. Except for my brief stint as his career counselor, I had been playing a part, out of self-protection, because I didn’t want to be nice to a potential axe murderer. But this kid with the pudgy face, the slicked pompadour, and the raindrop-bejewelled eyelashes, who had just led me on a purposefully misleading 10-mile hike … he was no axe murderer. I know this all probably sounds very sketchy, and that this Rory chap, standing on the random silent street corner in the rain, had obviously been thrilled when the lost American girl with the wild red hair approached him, and his one goal, in making her even more lost, was to find his way into her pants. But somehow I didn’t resent him for giving it his best shot. In fact, I found his strategy to be rather admirable and creative.

So basically all of that stands as my justification for what happened next.

Rory asked, “What would one little kiss hurt, though?” and then I noticed the raindrops on his eyelashes.

Suddenly I found myself thinking, “What would one kiss hurt, Sheila? I mean really … what would it hurt?”

It was a cold wet night, and we were a long way from the known world. Also, if the moment is right, I am, frankly, a floozy. I said to him flatly, “Okay. One kiss.” He leaned in, excited, about to eat my face off and I shouted, right in his face “HANG ON!” He stopped. I said, “Rory.” He waited, seeming almost eager about whatever it was I about to tell him to do.

I informed him, “Please kiss me on the cheek first. And I want you to make the kiss long and slow and sweet. I want you to linger over the kiss on the cheek. No quick pecks allowed. Do you understand what I want?”

My loneliness literally woke me up in the middle of the night in those days. So I figured it wouldn’t hurt to ask him for what I really wanted. Or I should say needed. Needed like I needed air.

He nodded that he understood my instructions, and I said, “Okay. Go.”

And so Rory, the accountant who dreamt of the air, kissed me on the cheek. We didn’t hold each other, we didn’t attack each other. We stood separate, autonomous figures in the rain … and he did exactly what I asked him to do. Tenderness was unexpected on such a night with such a man. But there it was.

It was – like so few things in life – perfect.

And then, something happened. Something that, I realize, will be difficult to believe.

Rory pulled back from the kiss, and we looked at each other, smiling wordlessly. Before anything else could happen, all of a sudden it started to snow. Not a couple of fluttering snowflakes, but a heavy whirling storm. He stopped kissing me, and in that same exact moment – as if on cue – the air filled with snow. It was like we were in an opera.

We both gaped at the blizzard, astonished.

Rory exclaimed, holding out his hands to the flakes, laughing up into the snow, “What the fuck is goin’ on? I kiss a crazy American girl and now it’s snowing??”

I laughed out loud, because I totally WAS a crazy American girl, I cop to that, and I circled where I stood, staring up into the snow falling down on us, on the wet black streets, on the fountain, on the statue, on the church spire. Snow streaming through the Wicklow Gap somewhere south, and falling on the silent waiting avenues of Ranelagh. The snow fell on Grafton Street too, wherever it lay hidden.

I gasped at Rory, breathless, “I can’t believe this!” Then I hollered, in a loud declamatory voice, “‘THE SNOW IS GENERAL ALL OVER IRELAND!'”

Rory groaned. “Oh Jaysus, now she’s quotin’ Joyce, for fuck’s sake!”

And it was in that moment I knew I would be kissing him more, who was I kidding. I threw in my lot with Rory for the night when he recognized the quote from “The Dead”. You can’t fight destiny.

We walked around the deserted square together, watching in wonder as the snow fell in stark flurrying lines, blotting out the cathedral, the bare ranks of trees beyond. (The next morning all the snow had melted, and it was as though it had never happened. I said to a friend at breakfast, “It snowed last night!” and she refused to believe me. But I saw it. And Rory saw it.) We stood there, reveling in the rarity, the rarity and magic of a snowfall in Ireland.

And there my story ends.

I suppose I could tell about how Rory and I went into a hotel on the square and asked the stunned receptionist (who looked at the two of us, with the midnight snow caught in our hair, as though we were nuts) to call a cab for us.

I suppose I could tell about how Rory shared my cab-ride back to Ranelagh.

I suppose I could tell about how he and I stood on the front steps of my house talking for a while about his job, my job, movies, music, as the snow gathered on the black wrought-iron fences. It was a bit of a flirt.

I suppose I could tell about how I eventually invited him inside, with the stern command, “You can come in for a bit, but I will not sleep with you!” and how he protested, all insulted innocence, “Sheila! Of course not!”

I suppose I could also tell about how we tiptoed into the silent sleeping house, and he promptly wiped out on the slippery floor of the foyer, his legs flying out from under him, and how he landed in a full split on the linoleum, gaping up at me in utter horror and dismay.

I suppose I could tell about sitting on the bed with Rory in my garret room, as the snow whited-out the world outside. We messed around like we were Sandy and Danny during the prologue of Grease, before the world lost its innocence. It was a blast.

And then I suppose I could tell how he left, in the hour before dawn, and I walked him to the door, saying good-bye, and then watched as he trudged off through the darkness and snow, hands in his pockets, collar up to the wind.

But all of that, while still very entertaining, isn’t really part of the story, because all of that happened in real-time, once Dublin straightened itself out and became itself again.

For me, the real story is how I lost my way, how Grafton Street vanished, and how I then encountered a strange boy who took me on a romp through the unfamiliar streets of a city I thought I knew well; the real story is the clomp of our feet, my strident voice echoing off the stones, and the tender perfect kiss on the cheek. For me, the real story is the snowstorm, and Rory recognizing the shouted quote from “The Dead”. The two of us looking up, and it was unspoken between us: we felt like we had made it start to snow.

And perhaps it’s just a silly sentimental fantasy, but I like to imagine that the next time I go to Ireland, as the plane flies in from the west, it will be Rory, hair slicked up, eyes blue and serious, voice soft and calm, clearing the runway for my safe return.

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The delicate and effective Something, Anything (2015)

Who has seen the wind?
Neither you nor I;
But when the trees bow down their heads,
The wind is passing by.

— Christina Rossetti

Something, Anything, Paul Harrill’s debut feature, opens with that quote from Christina Rossetti’s poem “Who Has Seen the Wind?”, and it’s a perfect opener for this quiet film where the big events of life – the major shifts – are like the wind: invisible but undeniably there. I should probably say “so-called quiet film” because … there’s nothing “quiet” about what the very quiet lead character experiences.

I tripped over Something, Anything yesterday on Mubi, watched it, and found myself deeply moved, almost surprisingly so. I somehow missed it in 2015.

Not much out of the ordinary happens in Something, Anything, and yet in the process of the film a whole life is changed. The big events that go down happen on the inside, showing a woman’s deep shift in perspective after she suffers a miscarriage. She is not the same person she was before the miscarriage and no one in her life understands what is going on. Her husband, also grieving the loss of their child, has no idea why his wife is SO changed. There’s very little dialogue suggesting “what is going on with her”. She doesn’t explain herself. People ask her what is going on, and she can’t put it into words. Whatever it is is beyond words.

Peggy (or “Margaret” – after the miscarriage, she asks to be called by her full name) is played by Ashley Shelton in a super controlled performance. I didn’t realize how controlled until the final scene, which knocked me flat. She doesn’t cry, she doesn’t emote, she doesn’t fall apart. Peggy is not that kind of person. Very late in the film, there’s a moment where she is overcome by sudden tears, and it’s shocking. That’s when I fully realized just how good Shelton is, how much she doesn’t betray her character. Peggy speaks softly, and seems not to know what to say half the time.

In the opening scene, her boyfriend (Bryce Johnson) proposes marriage to her at a dinner party. All she says is “Yes” – and she has to be prompted to respond. The smile on her face looks almost panicked. Deer in the headlights. She is maybe embarrassed at being the center of attention, and she’s smiling, but something is maybe a little bit “off” here. Peggy was clearly raised in a certain kind of Southern milieu. In high school she was a competitive cheerleader (she drops this tidbit halfway through the film, and at first it may seem like it doesn’t “fit” – she seems so retiring and shy – but if you think about it for two seconds it is perfectly plausible.) She always has a smile on her face, even if the smile doesn’t reach her eyes.

Peggy is a very shy woman, and she’s not expressive (except in her journal), but after the miscarriage everything has shifted inside of her. She’s AWAKE now, and she can’t stop the process once it starts. That’s what happens in the film. And what that “awakening” looks like is unexpected.

I was so impressed by Linds Edwards, who plays Tim, a guy she went to high school with, someone she knew casually (he was the brother of a friend of hers). He sends her a kindly postcard after hearing about her miscarriage. This contact is out of the blue. She hasn’t seen or heard about him in years. He’s the only one who displays any kind of care for what she is going through. She then learns that – unbelievably (to her, anyway) – Tim has become a Trappist monk. She becomes curious about this life choice. What does it mean? Her female friends are openly frustrated with her, and the problems in her marriage resulting from the miscarriage. The film is very smart on how HARD women are on each other, particularly in the personal/domestic realm, where another woman’s choices somehow reflect on your own (even though they DON’T. Not everyone is the same, bitches.) Her behavior is WAY too unconventional for her friends. But this guy Tim from her past reaches out out of the blue, and expresses condolences, wishing her peace and happiness. This changes her. And again, once she is changed, she can’t change back, even if the change is not visible to the naked eye.

The movie leaves space for the random, the small moments in life with huge significance. This can be dancing to a bar band in a little dive bar surrounded by people she doesn’t know, or it could be getting a quick glimpse of an ESL class going on in the local public library. She’s noticing things. She’s alive. (The film is strong in resisting the implication that her husband is the one who “kept her down” or silenced her. Something, Anything is not about that.)

Scanning the bios of the cast and crew, it looks like it’s a mostly Tennessee-based group. The film takes place in Knoxville. Harrill is the co-chair of the University of Tennessee’s Cinema Studies program, and before Something, Anything he directed a number of shorts. This is an extremely confident feature debut, showing his sensitivity and understanding (coming from curiosity, perhaps) of a woman’s point of view. Imaginative empathy is a real thing. Some of the best art comes from this kind of curiosity: “What would it be like to be this person so different from me? What would happen next?” The whole “write what you know” thing is so limited. Harrill is a man, and Peggy is a woman, but you can feel how personal Something, Anything is. Harrill doesn’t impose too much. He lets things unfold. He doesn’t craft a self-conscious narrative that makes too many demands on its main character. He’s interested in the subtle shifts of her outlook, and how a woman wakes up – not in the stereotypical “I don’t need a man, I’m gonna be an empowered girlboss now!!” way (often the normal stand-in for female liberation). Peggy wakes up to herself, yes, but she wakes up to something else, something more profound, a yearning for “something else”. She tries to explain to a completely baffled and mildly judgmental friend at a baby shower. Whatever that “something else” is that she is looking for she doesn’t even know. It’s “something, anything”.

Maybe what she’s looking for is to be alert to the mystery of the world, to the mystery of other people, of nature, of herself, to taking every day as it comes, to gratitude, to maybe even real love. Grace, really, is what we are talking about. She wants there to be room in her life for grace.

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Stuff I’ve Been Reading

Been a while since I’ve done one of these.

The Collected Essays of Elizabeth Hardwick

I had never read her before. I was familiar with her as “Robert Lowell’s wife” – she shows up repeatedly in his correspondence with Elizabeth Bishop (which I read last year? The year before? The last two years, awful as they have been, blend together). I knew Hardwick was formidable, and I knew of her formation of the now-legendary New York Review of Books, where she perched for many years – her main outlet. But I had never read her. I am loving it. These essays are wide-ranging, literate, often bracing – she’s fearless in putting her opinion out there with no asides like “in my opinion” which would weaken her assertions. She writes about Hart Crane, Norman Mailer, Elizabeth Bishop (whom she knew, of course), she writes about wives/mistresses of famous men, she writes about Henry James and Delmore Schwartz. There are essays about real-world events – the Watts riots, the assassination of Martin Luther King – and also broader cultural commentary. One essay called “Domestic Manners” looks at all the changes going on in society in the ’70s – the weary transition from the idealistic ’60s – and how that manifested itself in people’s behavior, their “manners”, their relationships. Hardwick is a Boomer, of course, and it was really interesting to read her on-the-ground analysis of what was going on – and as a Gen-Xer, the child of Boomers, it made a lot of sense. I was like “No wonder we – the forgotten generation – are the way we are (in general).” Things unfold in patterns, and there are reactions and counter-reactions. Hardwick often wields imagery in making her points – she’ll compare something to something else – and the metaphor is perfectly constructed, perfectly illustrating her point, making you see it before your mind. There’s also a pan of a book about English writers who spent time in America – Oscar Wilde (well, Irish), Dickens, Mrs. Trollope – and her pan is so intelligent and air-tight there’s no escape. I’m very impressed and very glad I have now “met” her, outside the reminiscences of her famous troubled husband.

A Place of Greater Safety: A Novel, by Hilary Mantel

A re-read. An 800-page “novel” on the French Revolution and its three major stars – Danton, Robespierre and Camille Desmoulins. Peppered with famous people – I mean, they’re all famous now. Marat. St. Just. Charlotte Corday. Rene Hebert. and “the Capet family”. There’s barely anyone in here who is made up. I know I can’t expect people to be like, “Oooh, this book sounds super fun” – even people who “love to read” might balk at this one – and I don’t know anyone else who has read it – but all I can say is it is phenomenal and, in its way, superior to her famous Wolf Hall trilogy (although there are so many similarities in theme and approach). Wolf Hall centers around one man and this one skips back and forth and over among the three protagonists, through which you can see all of the events unfold, since they were each so central in their own sphere of influence. She has done her research. The book is so daunting and not for a regular audience (like Wolf Hall – if the trilogy had been all put into one volume, then there might be a comparison.) Mantel could not find a publisher willing to take on A Place of Greater Safety. It just sat around unpublished for years. Imagine devoting your life to years of research – and then finding no one wants it. Finally, though, it saw the light of day. So yes. I re-read it. It’s overwhelming the first time around. The number of characters you have to keep track of runs into the hundreds (just like with Wolf Hall, she lists out a Cast of Characters in the opening pages – extremely helpful). A Place of Greater Safety is an extraordinary book about power and revolution, about revolutions eating their young, and how once that process starts it is impossible to stop. The fall of Robespierre was the end of the Terror – at least it’s understood as such – but it’s pure madness, what went on. The rapacious lust to bring everyone down. Through its pages you get to know such people as the Duke of Orleans, Herault de Sechelles, Legendre the butcher, the Duplay family, all the women in these men’s lives – who played crucial roles in the revolution themselves (none so deeply as Lucile Duplessis, wife of Camille Desmoulins – who was executed right around the time her husband was). Anyway. If you’re a big reader, and if you loved Wolf Hall, I will let my recommendation stand. This is a great book.

A Gentleman in Moscow: A Novel, by Amor Towles

Reading Amor Towles’ second novel, A Gentlemen in Moscow, and I’m so into it I’m actually nervous. I read his first novel Rules of Civility and got so into it I missed my stop on the train and had to spend the night in a cheap scary motel in another state. Who IS this Amor guy?? Rules of Civility was published when he was almost 50. He had this whole other life in the financial sector and then out of the blue he came out with THAT? (I realize it’s not “out of the blue” to HIM, but to US it is.) Rules of Civility takes place in Manhattan in 1938, and it’s written in the tone/manner of a 1930s screwball, taking place among the high society of New York, with incursions from the “lower” society – just like in screwballs, but the book is organized around Walker Evans’ famous surreptitiously-taken subway photographs … All of these different things make the book practically tailor-made for me. (Because it’s all about me, you understand.)

Gentlemen in Moscow is – if anything – even more up my alley, because it has to do with the first decade after the Russian Revolution and the changes it wrought upon society. It’s about a Russian Count, who in 1922 falls out of favor with the newly-in-power Bolsheviks (falling out of favor with that humorless lot wasn’t too hard to do). However, because he wrote a poem in 1913 that had been an anthem for the Revolution, the Bolsheviks decide not to kill him. He could live, but they would silence his voice. (This is exactly what they did to the great poet Anna Akhmatova.) When the Revolution broke out, the Count had been living in Paris. He raced home to 1. help his family get out of Russia and 2. secure his possessions on the family estate before the Bolsheviks commandeered all of it, grifters that they were. The Count moved into a palatial suite at the famous Metropol Hotel in Moscow and has been living there for a couple of years, undisturbed. Finally, though, like everybody else in the damn country, he was arrested and interrogated about his aristocratic past. Because punishing someone for being born into a certain class makes so much sense. (Lots of similarity with the whole sansculottes thing in the French Revolution). The Bolsheviks allow him to live but with one stipulation: he must never leave the Metropol. He will live out the rest of his days in one building.

This is the premise. What I just described is laid out in the first three pages of the book. The rest of the book is what happens after that.

Along with the character study of the Count (I love him so much), you get the social/cultural history too. The book is clearly well researched but he doesn’t wear his research on his sleeve (cough Michael Chabon cough) – it’s woven into the book. And it’s small details like the flower shop in the lobby of the Metropol – there for years, a part of the hotel’s social life – suddenly closing down after the Revolution. No more use for flowers. How the extensive wine list in the restaurant is cut down to either “white” or “red”, all the bottle labels removed – since good wine is seen as a vestige of the old order. I have no idea if these things are true but they RING true. The Count strolls through the Metropol, doing all the things he used to do, getting his hair cut, having dinner, conversing with Bolshoi ballerinas at the bar… but … what would it be like if you knew that was what you were going to be doing for the rest of your life?

I love how subtly and almost by stealth Towles walks you through the Metropol until now I am so familiar with it I bet I could draw up a floor plan. The layout of the lobby, the restaurants and their different ambiance and where they are located, the stairway, etc. I can see it all in my head.

I’m trying to slow the pace of my reading because I’m enjoying it so much.

That’s the other thing: Towles writes page-turners. This is why I missed my Amtrak stop and found myself in a darkened city at midnight, having to book a motel across state lines. I literally was lost to the current world, and living in 1938 Manhattan. I was literally *not in the present*. Things can be figurative and literal at the same time, you know.

The Damned: The Films of Elaine May, by Dan Callahan
Mae West: Pleasure Woman, by Dan Callahan

My good friend Dan Callahan was on a roll this month. Elaine May is being given an honorary Oscar this year, and Dan wrote a must-read piece about her work as a director (and actor/comedian) for Ebert. He also wrote about Mae West for Bright Lights Film Journal. Dan’s writing is always worth reading. I’m reading his Hitchcock book right now too!

Bridges, by Kelly Sedinger

My blogging-pal Kelly has been blogging since 2002 – same year I started! And he beat me to the punch by about 9 months. Early adopters. And we are both still here, still at it (along with our other writing. Kelly writes novels.) I love checking in with him – his scope of reference is vast (Beethoven, football, etc.) – and you never know what he’s going to write about on any given day. I have tried to keep that up here myself. Mostly for my own amusement but also for those who visit here on a regular basis. If you haven’t visited his blog, do yourself a favor!

The other day he wrote a really wonderful piece about the short time in his life bookended by books with “Bridge” in the title: Bridge Across Forever and Bridges of Madison County. Kelly and I have discussed Richard Bach’s work here extensively – I think my posts about soulmates (soooo long ago) encouraged Kelly to comment – we had similar journeys with Richard Bach: devotion and then disillusionment. People who start off hating Richard Bach – or who refuse to read him at all but have an opinion on him nonetheless – are not interesting to talk to. What’s interesting is to examine your own journey with authors you maybe outgrew – without disavowing the fact that once upon a time these books meant the world to you. Kelly really understands that. Anyway, his post on Bridge Across Forever and then Bridges of Madison County is so good!! He also gets into the writing itself, the prose of these two writers, its appeal and its … non-appeal.

Stop Saying “I Feel Like”, by Molly Worthen
Somehow I had never read this piece before. My friend Charlie includes it in his syllabus for the non-fiction-writing classes he teaches at NYU. Or maybe it’s not in the syllabus – it’s a requirement that potential students read it before the class even starts, just so they are prepared for his criteria. I don’t know how I had never read it before, but she puts into words so many things I’ve noticed about the current writing trends – something I am comfortable weighing in on because I’ve been at it for so long. The primacy of “feelings” as opposed to “thought” … this is connected to one of my pet peeves, the new use of the words “lived experience”. What other kinds of personal experiences are there? UN-lived? And it’s meant to be unassailable – it’s designed as an airtight stopper against any response, because who are you to argue with someone else’s “lived experience”? On the flipside, I have had people here comment on my personal essays with criticisms of my behavior described in the essay, or weighing in on what THEY think the story means. It’s irritating, but I recognize it as an inevitable consequence of trying to share these things. You need to own what you put out there. And saying “You can’t comment on my lived experience” … It’s understandable from SOME people, everyday people – non-public figures or, for example, the sharing that goes on in a therapy group. I’ve been in those groups and you’re supposed to listen and support, not weigh in with suggestions or judgments. It’s just not done in such groups. So it’s understandable on a private person level, in private interactions, etc., but I do not at all understand this tendency in writers. You’re putting yourself out there. People will respond. That’s the gig. People will respond in ways you can’t control. Find a way to deal with it (not reading comments is a good start). People criticize my “lived experience” all the time. Fuck ’em. I prefer to say “life” rather than the unwieldy and redundant “lived experience”. Words matter. Anyway, it’s a very thought-provoking piece and it’s made me think (and FEEL, lol) things about my own writing. It’s always good to keep a close eye on how you are putting your life – and your thoughts – into words.

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Some say love it is a river.

Not enough is made of the fact that on the song “Arose”, off Eminem’s 2017 album Revival, where Eminem re-lives his 2007 overdose and near-death experience, he samples Bette Midler’s “The Rose”. Eminem samples Bette Midler – respectfully – and the sample deepens the experience of the song .

He hasn’t chosen “The Rose” for the beat, obviously. It’s the lyrics and the context he’s interested in. He wants you to think about what she is saying, he understands what she’s talking about and uses the sample to support his own story.

I’ve seen YouTube reactors reacting to this song. It stops everyone in their tracks. It’s just that kind of song. I skip over it if it comes up on Shuffle, it’s too intense for a casual listen. (It’s one hell of an acting performance as well.) Maybe because the reactors don’t know Bette Midler or the movie, or what the movie is about, they don’t get the connections he’s making in the sample.

“The Rose” is the theme song of a movie about a self-destructive rock star with a drug/alcohol problem who may very well might not make it. There’s a thematic connection. But the connection is also in the title of his song, so simple you might miss it. Or you wouldn’t pick up on it if you didn’t get the connection in the first place.

“Arose.” “A Rose.”

When Eminem ODd, he came so close to dying he saw his dead best friend across the room and left his own body and floated towards him all while his ex-wife and daughters were crying over his body. He could sense all of it, but he couldn’t move or speak. His liver and kidneys shut down. It was the end. The doctor told him if he had gotten to the hospital 2 hours later he would have been dead, or at least it would have been too late to save. “Arose” is a monologue about what it was like for him on the table in the ER, frozen, dying, and how this moment ultimately was what made him decide to get clean (14 years now). In the song he literally “arose” from the dead.

The Midler sample is so extensive it’s really not accurate to call it a sample. Her song plays through the whole thing, accompanied only by the sound of the breathing machines they had him on.

Midler tweeted about it when the album dropped. “Yes. That is me.”

What a nice tribute to her song and its staying power!

The way Eminem puts it all together makes it a harrowing listen. Rick Rubin produced Revival so maybe the sample was his choice, but the title of Eminem’s song suggests Eminem wrote it as a nod to Midler’s song.

Eminem and Bette Midler. The world is sometimes a magical and mysterious place where weird things happen but they make sense.

 
 
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Mirrors #10

Jean Harlow giving herself a pep talk in the wonderful Reckless, where she marries a deeply unhappy man (Franchot Tone), while being best buddies (and something more?) with William Powell. In this mirror moment, she feels herself getting hot and bothered on a moonlit night, with Franchot makin’ the moves on her, and thinks it prudent to put the brakes on. So she gives herself a stern talking-to in the mirror. It’s charming.

There’s another mirror scene in Reckless, where she and Franchot Tone wander into a fun-house mirror and can’t find their way out.

Directed by Victor Fleming, Reckless is a fantastic showcase for Harlow – in a way, even more so than the amoral character she plays in Red-headed Woman (although she’s great there, too). Reckless is about what most Harlow movies are about: she’s a platinum-blonde showgirl and so everybody has the wrong idea about her. They project onto her their dirty minds. They are suspicious of her. (Interestingly, the woman Franchot ditched to take up with Harlow is played by Rosalind Russell, in a sneakily moving performance.) Everyone always thinks the Harlow character is this bad bad girl. But she’s really not. She’s a practical girl who likes to have fun. She’s a hard worker, and a go-getter. She’s unsentimental. She looks out for herself. She’s nobody’s fool.

And so she feels herself being seduced in the moonlight, and draws herself back from the abyss, not allowing herself to get swept away. She whips out her mirror. And speaks very sternly to herself. Re-establishing her own ground rules, her own boundaries. Everyone else might get the wrong idea about her, but she knows who she is.

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Review: The King’s Daughter (2022)

I reviewed for Ebert.

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