Tag Archives: 2005

Capsules

CAPSULE: EDMOND (2005)

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DIRECTED BY:

FEATURING:

PLOT:  A latently racist and mentally addled accountant leaves his wife, spends an impossibly long night touring the NYC commercial sex trade and meeting lost souls, and finally ends up in prison.

edmond (2005)

WHY IT WON’T MAKE THE LIST:  Edmond isn’t so much weird as terminally confused.  It’s true that foreboding Tarot cards keep popping up in impossible places, that Macy’s wild night out is almost impossibly long so the script can fit in all the necessary episodes, and that it’s extremely odd that the prison wardens would march new meat past inmates’ cells in the buff.  Still, even with these departures from reality, the movie still doesn’t seem in-your-bones weird so much as it feels like the author (playwright David Mamet) is trying to force events into a meaningful symbolic line, but failing to communicate that meaning to his audience.

COMMENTS:  Edmond is only for William H. Macy fans and for those who equate vagueness with profundity.  Macy creates some interest, though no sympathy, through his performance as a sad sack salaryman who thinks he’s found a temporary fix for existential bafflement by tapping into his tribal bloodlust.  After whoremongering, assaulting women and minorities, threatening old churchgoing ladies, and other more serious crimes, he finds himself under arrest.  In prison he’s forcibly stripped of his recently adopted macho facade, and spends his time in stammering attempts to articulate some profound philosophy of life (“every fear hides a wish”).  Unfortunately, Macy wanders through a script that doesn’t know what to make of Edmond any more than Edmond himself does.  Those recurring Tarot cards and the closing monologue suggest that it was all just fate anyway, and Edmond’s search for meaning and the choices he made never made a difference.  In the end, all that happens is we passively witness an inexplicable tragedy happen to an unlikeable man.

Although Edmond‘s angry white male sociopath seems like a faded nth-generation variation of Michael Douglas’ D-Fens from Falling Down (1993), Mamet’s original play was actually written during the first term of the Reagan administration.  The concept of the angry white male (who Democrats theorized jumped the fence to get Reagan elected) would have had more resonance in that era.  That theory may also explain why Edmond is named after Edmund Burke, the Irish philosopher/statesman who is looked upon as the father of modern conservatism.  Maybe that explains why both the character Edmond and the movie Edmond seem strange and unmotivated to us today, viewing the film in a different political context.  It also demonstrates why writers should not write to their times (or, at least, should not resurrect old pieces without revising them).

WHAT THE CRITICS SAY:

“…a surreal spiritual fable that riffs on a notion voiced by Edmond that every fear hides a wish. Mr. Mamet shows no interest in offering a tidy psychological explanation for Edmond’s behavior. Hurled at you like a knife, the movie is as reasonable as a panic attack.”–Stephen Holden, The New York Times (contemporaneous)

Canonically Weird (The List)

17. TIDELAND (2005)

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“[Producer] Jeremy [Thomas] knew [raising money to make Tideland] would be difficult, particularly because the film is very, very weird.”–Terry Gilliam

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DIRECTED BY: Terry Gilliam

FEATURING: Jodelle Ferland, Brendan Fletcher,

PLOT: Jeliza-Rose is a nine year old girl with an active imagination who is being raised by a pair of junkies. When her father spirits her away to a lonely, dilapidated farmhouse, then takes an extended “vacation” on heroin, Jeliza-Rose is left to her own devices. She retreats into an intricate fantasy world where her four doll’s heads are her closest companions, but reality is scarcely less bizarre than her imagination: her neighbors are a witch-like one-eyed woman with an unhealthy interest in taxidermy and a childlike mentally retarded man who also lives in his own fantasy world.

tideland


BACKGROUND:

  • Tideland was adapted from a critically praised novel by Mitch Cullin; ironically, this faithful movie adaptation was critically panned.
  • Gilliam made Tideland while on a six month hiatus from directing the big-budget commercial fantasy, The Brothers Grimm (2005).
  • Tideland was a commercial disaster, earning less than $100,000 in its initial domestic run.
  • According to Gilliam, the French distributor did not want to screen this film at Cannes because there is a scene involving farting, which the French find objectionable.

INDELIBLE IMAGE:  Many will remember Jeliza-Rose’s doll’s heads, who make memorably fantastic appearances in an underwater house and flying about inside a man’s ribcage.  But the more indelible image, because it’s repeated so many times, is the view of the broken down farmhouse in front of amber waves of grain.  The look was inspired by the Andrew Wyeth paining “Christina’s World,” and, though unacknowleged, also from the 1990 film The Reflecting Skin (which had an almost identical look as well as an eerily similarly child protagonist). Gilliam often emphasizes the tall gold grass towering over tiny Jeliza-Rose’s head, as if it were surf and she was living in an undersea world.  This ubiquitous aquatic imagery helps to explain the title “Tideland“.

WHAT MAKES IT WEIRD:  Gilliam has described the movie as a cross between “Alice in Wonderland” and Psycho, which sounds weird enough on its own terms. He pushes the envelope of weirdness even further with his trademark visual flair for phantasmagorical set pieces, for example, with a gloriously imaginative sequences of Jeliza-Rose falling down a rabbit hole full of tumbling syringes. But even if the audience wasn’t planted firmly inside the skull of the 9-year-old heroine, peering out onto this grotesque world through her child’s eyes, the scenario would have been weird, as the world of Tideland is peopled by grossly exaggerated lowlifes who live out their lives on the lonely fringes of plausibility.


Original trailer for Tideland

COMMENTS: Tideland is a misunderstood film, which is not automatically the same thing Continue reading 17. TIDELAND (2005) →