Thursday, October 25, 2007

Clint Eastwood, The French Connection and Art.





Watching Flags of Our Fathers, I noticed that Clint Eastwood appears to have a taste for stories that examine the truth behind the myth. As Flags of Our Fathers spends its 2 plus hours detailing the story behind a photograph, Eastwood's earlier film The Unforgiven spends about 5 minutes revealing the reality behind the myth of living legend English Bob. After receiving a sever beating at the hands of Little Bill Daggett, Bob is further humiliated when Daggett proceeds to tell Bob's biographer the sordid facts behind Bob's alleged triumphs. Perhaps this would carry greater weight, if the film didn't end with Eastwoods character proving that he's every bit the legend that's surrounded him - killing all who've wronged him and setting back housing construction for sheriffs by one life.

The joys of viewing one bio-pic led me to another, The French Connection inspired by the real life drug bust made by Eddie Egan and Sonny "Cloudy" Grosso. Inspired in that Eddie Egan (now Popeye Doyle) didn't shoot a French assassin in the back and didn't chase the B train through Brooklyn with his car; amongst several other liberties. Reality being pushed to the side in order to get the crowd roaring, and to outdo the car chase scene in Bullitt. Cinema looking to pathos as the deciding factor in determining dollar grosses perhaps.

Pulitzer Prize winner Art Spiegelman, writer of Maus, mentioned in the Hirsch article, is one of the brains behind the popular bubble gum card series Garbage Pail Kids and Wacky Packages. I've attached a few examples

Sunday, October 14, 2007

Cinema sway




Saw The Darjeeling Limited and The Assassination of Jesse James by the Coward Robert Ford this weekend.



The Darjeeling Limited has become something of a hot topic. In it Owen Wilson plays a character, Francis, one of three brothers, who has attempted suicide. Another of his brothers Jack (Jason Schwartzman) is a writer who writes stories about his own life and tries to pass them off as fiction. The hot topic angle, is that Owen Wilson, one of three Wilson brothers, who has been accused of writing about his own life under the guise of fiction, has recently tried to kill himself.
On a warmer note, the film has three great songs by the Kinks in it and a very pleasant color scheme.
The Assassination of Jesse James by the Coward Robert Ford is a fictionalized account of, well the events leading up to and following the action described in the title. Based on the book of the same name by Ron Hansen.

What I found most interesting about this poetic film - that visually attempts to replicate the blur of old photographs now and then - is how close the assassination is portrayed as according to Robert Ford's own confession as written in a letter to Governor Thomas Crittenden.

A nice blurring of fiction and reality.

Spoiler.

Jesse James Wikipedia article
"On the morning of April 3, Jess and I went downtown, as usual, before breakfast, for the papers. We got to the house about eight o'clock and sat down in the front room. Jess was sitting with his back to me, reading the St. Louis Republican. I picked up the Times, and the first thing I saw in big headlines was the story about Dick Liddil's surrender. Just then Mrs. James came in and said breakfast was ready. Beside me was a chair with a shawl on it, and as quick as a flash I lifted it and shoved the paper under. Jess couldn't have seen me, but he got up, walked over to the chair, picked up the shawl and threw it on the bed, and taking the paper, went out to the kitchen. I felt that the jig was up, but I followed and sat down at the table opposite Jess.

Mrs. James poured out the coffee and then sat down at one end of the table. Jesse spread the paper on the table in front of him and began to look over the headlines. All at once Jess said: "Hello, here. The surrender of Dick Liddil." And he looked across at me with a glare in his eyes.

"Young man, I thought you told me you didn't know that Dick Liddil had surrendered," he said.

I told him I didn't know it.

"'Well," he said, "it's very strange. He surrendered three weeks ago and you was right there in the neighborhood. It looks fishy."

He continued to glare at me, and I got up and went into the front room. In a minute I heard Jess push his chair back and walk to the door. He came in smiling, and said pleasantly: "Well, Bob, it's all right, anyway."

Instantly his real purpose flashed upon my mind. I knew I had not fooled him. He was too sharp for that. He knew at that moment as well as I did that I was there to betray him. But he was not going to kill me in the presence of his wife and children. He walked over to the bed, and deliberately unbuckled his belt, with four revolvers in it, and threw it on the bed. It was the first time in my life I had seen him without that belt on, and I knew that he threw it off to further quiet any suspicions I might have. He seemed to want to busy himself with something to make an impression on my mind that he had forgotten the incident at the breakfast table, and said: "That picture is awful dusty." There wasn't a speck of dust that I could see on the picture, but he stood a chair beneath it and then got upon it and began to dust the picture on the wall.

As he stood there, unarmed, with his back to me, it came to me suddenly, 'Now or never is your chance. If you don't get him now he'll get you tonight.' Without further thought or a moment's delay I pulled my revolver and leveled it as I sat. He heard the hammer click as I cocked it with my thumb and started to turn as I pulled the trigger. The ball struck him just behind the ear and he fell like a log, dead."

Sunday, October 7, 2007

Racially Sensative Entertainment




Halloween is my time to indulge in vintage horror, be it Cat People (1943), Curse of the Cat People, The 7th Victim, Viy, I Walked with a Zombie, White Zombie or the million other titles my fingers are too tired to type. Yesterday I watched The Mask of Fu Manchu, a 1932 Boris Karloff/Myrna Loy MGM picture noted for its extreme pre-code sadism and Xenophobia. Apparently the film was considered so offensive that it was edited down 40 years after its release and only recently has been restored to its full offensive nature - which amounts to restoring a lot of Asia bashing.
These types of restorations - reinserting the racially insensitive - are becoming rather popular nowadays.
Is this a good thing? A way to address our past?
Some I've talked to have expressed that there is a need to have this material out there, but it must be presented in the proper context. If it's out there, can it ever be assured that it will be presented in its proper context?
What is its proper context?

Do films like All This And Rabbit Stew need to be returned to the public for mass consumption?

Since they've been returned already, is this sort of debate moot?