Chinatown

‘Chinatown’ again last night.

New(ish) TV. New Blu-Ray player (though couldn’t watch the ‘Chinatown’ disc on it - my copy’s region 2 and haven’t figured out how to de-code Sylvania; so watched it on my perfectly acceptable forty-two dollar Phillips multi-region machine). No RGB cable (it’s connecting the Blu-Ray player). No HDMI cable (guy in the shop offered it to me first at $80, then said the cheapest he could do was $50. Went home, clicked three times, got one on amazon marketplace for less than two bucks. Should arrive tomorrow.) So, Region 2 ‘Chinatown’ using one awful lead - picture quality therefore reminded me of ‘Grindhouse’. Didn’t want to be reminded of ‘Grindhouse’.

‘Chinatown’. Probably for the tenth time. First time was a pan and scan late night ITV screening in about 1991. Second time was when I bought an early widescreen VHS copy, all gauzey - like when they put Vaseline on the lens to make an older actor look youthful, or to pretend that they’re dreaming. Got three or four viewings out of that tape. Then it was one of the first DVDs I ever owned. Now it’s the second generation UK DVD, apparently with a new transfer - though with one lead you can’t tell - but that’s my fault.

Ten times with a film is enough to make you complacent; but when it’s ‘Chinatown’ you could go on watching forever. I see new things in it every time. What I saw last night?

Politics.

Sex.

Violence.

The American Dream.

Cars.

Ambition.

Venetian blinds.

Sunshine.

Fish.

Throw in a bit of religion and you’d have the Great American Novel. Which is not far off saying that you might have America.

John

My friend John died a year ago today. I have been comforted, in the midst of grief, at the gift of knowing him; and I am re-posting below words that I wrote at the time, to bear witness to the love and life of this man.

January 4th 2008: John O’Donohue was my friend. We had been getting to know each other for almost four years now – a lifetime in our transient world – the very world that John’s words sought to slow down. I felt that we had in some sense adopted each other as compadres on the spiritual journey – a 50-something former priest taking into his life a 30-something former evangelical; both of us bound by our common Irish heritage, love of cinema, and fondness for sipping what he insisted on referring to as ‘firewater’. We spent many hours talking on the phone, eating together, and engaging in two of our favourite pursuits: whiskey and talking about movies.

He had a way with words that made you feel whole again – he created a space with language, both spoken and written, that felt like the home you never knew you were missing, but now never wanted to leave.

His work on retrieving the earthiness of celtic spirituality and helping make sense of it in a postmodern world is so profound that its impact has not yet been fully felt, and it represents something rare in a consumerist, post-Britart culture: a work of art that will outlast its author.

He managed also to write with the utmost seriousness and care for language, making his books the kind that you read slowly, savouring each page; meanwhile, his public talks were characterised by an indelicate Irish charm and the kind of wit that leads to laughter so deep it makes you feel like you belong.

What many may not know is that in addition to his ministry in the Catholic priesthood, and latterly as a writer and speaker, he was a serious environmental activist, helping to spearhead a small group that successfully prevented the despoilment of the Burren, one of Ireland’s most stunning natural landscapes. He put his reputation on the line to save something worth preserving, even being prepared to go to prison to do so.

In his activism, as well as his writing and speaking, and most of all, in his life, he wanted people to have shelter from the storms their lives would bring; when I once told him of my own struggles with serious depression and anxiety he clapped his hands together in a gesture of defiance and almost shouted at me: ‘May those feckin devils stay far from your door and NEVER TOUCH YOU AGAIN. You are worth far more than you think.’ His presence in my life made me believe it.

John knew that we live in the intersection of the sacred and the profane, and he wanted to nudge us in the direction of understanding that holiness has more to do with being aware of the light around us than moral puritanism. In the introduction to his most recent book ‘Benedictus’, published only a couple of months ago, he writes of how in any given day, some of us humans will experience the shock of being told of the sudden death of a friend. John wanted us to be tender to the fact that the faces of strangers we meet every day all hide secrets that are both divine and tragic. We do not always know who among us is suffering some unnameable torment, nor who is rejoicing at the blessing of a lifetime.

Last night, I became one of the people he wrote about – when I received an email (another manifestation of this world’s transience) informing me of his peaceful death, while asleep, on holiday in France. It is bewildering to note that a man who brought so much life around him is dead. But it is also vital to remember that he saw death as a path to freedom. He had spent so much time ministering with the dying – one of the greatest privileges of ministry, as far as he was concerned – that I felt he was, while totally committed to living life to the full, somehow also looking forward to his own death. Not in a morbid sense, but simply because he did believe that our own death is a step forward. He often said ‘when you enter into freedom, possibility comes to meet you’ – I imagine that he is, right now, experiencing a kind of freedom about which he would – at the very least - write some pretty marvellous poetry. It is hard to begrudge him his death when part of him was so ready for it.

I wonder how he’d describe it. For those of us left behind, well, we miss him dearly, and are grateful for the spaces he opened in our lives. I find it almost impossible to believe that he is gone; but if he was right about his own future, we will meet again.

A BLESSING FOR EQUILIBRIUM.
BY JOHN O’DONOHUE, from ‘Benedictus – A Book of Blessings’

Like the joy of the sea coming home to shore,
May the music of laughter break through your soul.

As the wind wants to make everything dance,
May your gravity be lightened by grace.

Like the freedom of the monastery bell,
May clarity of mind make your eyes smile.

As water takes whatever shape it is in,
So free may you be about who you become.

As silence smiles on the other side of what’s said,
May a sense of irony give you perspective.

As time remains free of all that it frames,
May fear or worry never put you in chains.

May your prayer of listening deepen enough
To hear in the distance the laughter of God.

Slumdog Millionaire & Frost/Nixon


In the interests of being comprehensive, now that I've seen them, I can happily say that, for me, 'Slumdog Millionaire' is one of the year's best films, and 'Frost/Nixon' is not.

'Slumdog' is an astonishing array of Bollywood parody/homage mingled with a story of childhood trauma that bears comparison with 'City of God' or 'Schindler's List' and one of the most interesting treatments of 'money doesn't conquer all but love might' I've ever seen. My first viewing was colonised by the fact that the movie has been marketed as a feelgood fantasy, when in fact it plumbs the depths of modern day child slavery, and features, about forty minutes in, one of the most distressing images I've ever seen in a film; the rest of the film could not recover. This was a good thing, an indicator of how powerful the first act had been. I returned a couple of days later, partly because I wanted to get the distressing parts of the film out of my system, partly because I knew it deserved a second look. Going in knowing the emotional terrain of the movie meant that I didn't spend most of its running time squirming; and ultimately I found it utterly exhilirating. Danny Boyle has fused the rapid fire editing chic of 'Trainspotting' with a Simon Beaufoy script about globalisation, poverty, how the largest city in the world swallows up the most vulnerable, and the power of a TV show to monopolise the public imagination. There's even a bit of comment about religious sectarianism, and a glance cast at Islam - I'm not sure this is entirely successful, as it's not clear on first viewing just what is being said - but this might be the point: Boyle and Beaufoy are just showing us what Mumbai is like, not telling us what to think, except when it comes to how consumerism, at best, is its own reward; at worst, it kills people. 'Slumdog Millionaire' is a magnificent film.

'Frost/Nixon', on the other hand, is a well-directed story that I have seen before. Lovely to watch the actors - Michael Sheen and Frank Langella in particular - do their thing, but I felt that there was less to this than the sum of its parts. Presidents are vulnerable human beings too; interviewers have mixed motives. But - and I'll go out on a limb here - I've always been a defender of Ron Howard, and will continue to say that he knows how to make entertaining movies. If someone could erase 'A Beautiful Mind' from the lexicon of film history I'd make that statement even stronger.

Films of the Year: The Top Ten

I’m always somewhat suspicious of “top 10″ lists, despite the fact that I’ve written one. Too often they become reasons for people not to see films that aren’t included, but I suppose I err on the side of offering the following list of the movies I liked most in the past year not because I have any special right to do so, but because I hope some of the films might get seen by people who might not otherwise check them out. That’s what I find most helpful about other people’s lists, so in the same spirit, here’s mine.

10. My Winnipeg. A crazy poem about director Guy Maddin’s love for his home city; a dream-like interaction with the people and places that shaped and formed him that will inspire audiences to remember what gives them a firm place to stand; and a reminder that there is a conservative principle that deserves renewing — saving the sense of community we had as children is worth almost any cost.

9. Shine a Light and U2-3D — two concert films. One is the most authentic recorded representation yet of a band that is far more than the sum of its parts, and who, under Bono’s spiritual authority, manages to do nothing less than lead a megachurch service in a Buenos Aires stadium. Their God is big and real, and among the broken; to be in the audience for this film is a surreal exhilaration. The other movie is Martin Scorsese’s depiction of the Rolling Stones playing—by their standards—a tiny venue, and revealing the secret of the band’s nearly 50-year history: They love what they do, and they keep doing it (and get paid pretty well, of course). It’s more than a film with music; when Mick Jagger’s gyrations are married to his lyrics, it’s clear that the question the Stones ask remains the same as always: how can men make sense of women? (Whether or not they have a good answer is, alas, not addressed.)

8. Happy Go Lucky. Mike Leigh’s film whose central character is so full of joy that you expect in this cynical age that she will be revealed as profoundly broken, or to come to grief in the course of the plot. Instead, Leigh and his lead actor, Sally Hawkins, have faith in the potential of human beings to bring more light than heat, and to find happiness not through changed circumstances, but changed perspective.

7. The Dark Knight. A coruscating and thrilling deconstruction of the war on terror, or George W. Bush’s retirement tribute video? The genius (or biggest failing) of this film is that it doesn’t decide for us. (And Heath Ledger’s Tom Waits impersonation isn’t too bad either.)

6. Rachel Getting Married – a small film of huge emotional depth, as two families gather to celebrate a wedding, while things fall apart and come together on the inside. Jonathan Demme has a lightness of touch that makes even one of the most completely unrealistic multi-ethnic nuptials sequences in all of cinema seem compelling to the point where you want to be invited to attend. Roger Ebert said that this film evokes what the U.S. is becoming at its best — a diverse nation of people who know that their future lies in learning to deal with difference. He might be optimistic, but he might also be right.

5. Milk. Sean Penn plays the first openly gay elected official in U.S. history, and Gus van Sant makes a brilliant film about the movement that brought him to office. But this is not just a gay rights movie — it’s a film about how social movements bring change and the cost to the individuals who lead them.

4. Heartbeat Detector — a film hardly anyone has seen, as it only received a limited release in one city. Now that it’s available on DVD, hopefully more people will experience this French existential thriller, which takes a long hard look at labor and employment practices in the post-modern corporate world and finds parallels in the most horrifying of places. When destroying a person’s livelihood can be called “downsizing,” the principles of dehumanization associated with despotic regimes have found their way into our daily bread.

3. Wall-E — not just the best animated film of the year, but the best film for the broadest audience. It’s a movie about the future with a sense of place comparable to Blade Runner and Lawrence of Arabia, and a moral vision of the present that deserves to be shouted from the rooftops: We are the makers of our own destiny, and time is running out to ensure that there is a planet for us to have a destiny on.

2. The Visitor — the smallest film on this list, with perhaps the largest emotional scope. A college professor hangs out with a couple of undocumented immigrants in the most cosmopolitan city in the world, the shadow of 9/11 and the wars in Iraq and Afghanistan loom large, while the meaning of community and the inflexibility of the law to exercise mercy are delicately portrayed. Richard Jenkins gives my favorite performance of the year. I hope the film’s reputation will last a long time.

1. Man on Wire — a documentary that asks “What could be more sublime than risking your life walking on a tightrope strung between the Twin Towers?” What could be more necessary than to restore our vision of the towers from one of barbarism to the immensity of human achievement? Philippe Petit, the French circus performer who carried out this amazing feat in 1974, may be touched by the spirit of Icarus, but he also stands as an icon of what the world needs now: human beings able to look up from their lives, to stop being defined by what has been called “the narrow circle of self,” and, to coin a phrase, do something beautiful.

Films of the Year: The runners-up


2008 Cinema Review: Joint Eleventh Place

Looking back on the year’s movies, I’m struck by how many of my favorites featured the theme of family and community – perhaps this reflects only my current personal concerns, or maybe there’s a bigger invisible hand at work. For what it’s worth, here’s my list of six movies that I really loved, but which don’t quite make it onto the top ten of 2008. That best-of list will follow soon.*

‘Quantum of Solace’, a James Bond film notable for featuring the rare instance in which he learns the futility of revenge, and advocates against a multi-national corporation in favor of the right of poor people to have clean drinking water. I know most critics were ambivalent about this movie, but trust me – it’s tightly edited, well-written, and plays more like an advert for a militarized peace and justice movement than the war on terror.

‘Surfwise’ – a rollicking documentary about a family so committed to living free that they unplugged themselves from the social grid and spent their lives in a motor home by a series of beaches. The patriarch is as gregarious as he is dictatorial, and the moral and psychological questions raised by his communitarian experiment deserve attention at any time, but perhaps especially in economic crisis.

‘Synecdoche, New York’, a mind-blowing dog-chasing-its-tail of a film; an aesthetically extraordinary, both troubling and hilarious story about art and its creation, about family and its dysfunction, and humanity and its relationship with itself – a film that gets bigger the more I think about it.

‘Indiana Jones and the Kingdom of the Crystal Skull’ – Another under-appreciated film; but look closely and you’ll see Steven Spielberg fusing wide-eyed wonderment with his darker side – this is a wildly entertaining movie about bruised people becoming a family, it has one of the wisest last lines spoken by a major character in any film, and in the nuclear test zone sequence features the most dramatic image Spielberg has ever created: the atomic bomb as the starting pistol for the second half of the twentieth century.

Australia – In which Baz Lurhmann proves that he doesn’t care what other people think – he just wants to make movies on his terms. And what a movie he’s made: the creation myth of a huge country, seeking to atone for the shallow representation of Aboriginal people, and suggesting that only when you see the world through the eyes of a child can you be truly human.

‘Son of Rambow’ – A delightful little movie which manages to be both a knowing representation of childhood, a critique of religious fundamentalism, and a love letter to cinema itself.

* One of the most disappointing aspects of film distribution is how difficult it’s becoming to get to see movies that lack a huge budget. So, in the interests of being comprehensive, I’ve listed below films that I imagine might have made this list or the one to follow, but that I haven’t seen, either because they haven’t yet been released or screened for critics, or they just haven’t made it to my part of the country.

Elegy
IOUSA
A Christmas Tale
Doubt
Frost/Nixon
The Reader
Revolutionary Road
Defiance
I’ve Loved you so Long
The Wrestler
The Curious Case of Benjamin Button
Slumdog Millionaire