Tag Archives: Impressionistic

263. ROMA (1972)

AKA Fellini’s Roma

“Rome was a poem pressed into service as a city.”–Anatole Broyard

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DIRECTED BY:

FEATURING: Peter Gonzales Falcon

PLOT: Roma is a series of vignettes, some relatively realistic and some fantastic, about the city of Rome. The closest thing to a plot are the scenes involving Fellini himself, who dreams about the city as a young man, comes there as a teen, and then is seen making a movie about the city as an adult. Other segments involve a bawdy street meal, a vaudeville show during World War II, modern hippies drifting through Rome, a pair of brothels, and the infamous ecclesiastical fashion show.

Still from Roma (1972)

BACKGROUND:

  • Fellini came to Rome from Rimini as an 18-year old to go to law school, although he quickly abandoned that pretense to pursue an artistic career path. Although it seems clear that Fellini means for the young provincial boy who dreams of Rome and the young man who steps off the train and into a Roman pensione to be his stand-ins, the director never makes this explicit. United Artists asked for voiceover narration to make this identification clear in the version that played in the U.S.
  • The film was shortened by nine minutes (to a running time of two hours) for its international release, and some changes were made for different markets. Slightly different cuts have circulated for years, and there is no restored print of the original Italian version, although the extra footage survives in workprints. Among the deleted scenes was one where appeared as himself.

INDELIBLE IMAGE: The star image here could not be something other than an offering from the ecclesiastical fashion show. Candidates include the bishops’ uniforms with blinking stained glass patterns and a shrouded skeletal “memento mori” carriage that shows up the end of the procession. We’ll select the grand finale, the appearance of a glowing, flying Pope cast as a pagan sun god, with electronic sunbeams streaming behind his beatifically beaming countenance.

THREE WEIRD THINGS: Horse on the highway; fading frescoes; light-up miter

WHAT MAKES IT WEIRD: The speedy editing of the U.S. release trailer misleadingly emphasizes the decadent aspects of Fellini’s Roma, making it look like a trippy sequel to Satyricon for the pot-smoking college midnight movie crowd. In truth, while Roma is experimental and disorientingly non-linear, it’s greatly restrained compared to its psychedelic predecessor. Most of the sequences are only subtly strange, pitched in the almost-realistic register of Fellini’s next film, Amarcord. Or at least, that’s the case up until the fashion show, when Fellini ignites the film with a surreal, blasphemous brand. This grand vaudeville sequence, which lasts over 15 minutes, catapults the film from a borderline curiosity from an innovative master to an acknowledged staple of the weird canon.


American release trailer for Roma

COMMENTS: Rome is the eternal city, once the seat of Europe’s Continue reading 263. ROMA (1972)

CAPSULE: KNIGHT OF CUPS (2015)

DIRECTED BY:

FEATURING: , , , Brian Dennehy, Wes Bentley

PLOT: A successful, hedonistic screenwriter lost in the indulgences and vacuity of Hollywood searches for love and meaning.

Still from Knight of Cups (2015)

WHY IT WONT MAKE THE LIST: While Malick’s approach to cinema remains characteristically unconventional, despite the philosophical narration and existential questions, the film still charts as a fairly standard dramatic narrative.

COMMENTS: “To be a philistine or not to be a philistine?” That is the question that troubles reviewers when approaching the films of Terrence Malick. When a film maker is consciously addressing questions such as the meaning of life –a question in which every person on this planet has a stake—if the reviewer’s response isn’t positive, they can find themselves asking the questions: did the film not speak to me because it was poorlyexecuted, or because the message was over my head? Is it a load of pretentious rubbish, or did I simply not get it?

All questions of framing, scripting and pacing aside, the answer––particularly when it comes to films that address existential concerns like those of Malick, or —is always subjective. The film either meant something to you, or it didn’t. (I am thinking of this site’s controversial review for Possession, a film I personally loved but which the reviewer hated). Where I saw a visceral film with an impassioned performance from and unsettling, demonic imagery depicting a relationship imploding, the reviewer saw a pretentious, vapid stream of hollow images. Technique aside—which thankfully isn’t so subjective and can be argued—the film either spoke to you, or didn’t.

Did Knight of Cups speak to me? To perfectly honest, no. Does this mean I simply didn’t “get it”? Possibly, but again, considering how subjective a film experience is, not to mention how subjective and open-ended Malick’s images are, does it matter? Every filmgoer brings their own meanings to a film based on their own experiences, very often bringing associations that are far removed from the filmmaker’s original intent, if they’re even prepared to talk about that (and we all know how Malick has addressed this question: radio silence). Is Cups a load of pretentious rubbish? Again, the question of meaning-making is entirely dependent on the viewer. I was able to find meanings and recurring messages in the film, even if I didn’t particularly respond to the actual film experience.

So what is Cups about? On the surface, this is a straightforward tale of a successful screenwriter Rick (who doesn’t do a lick of actual writing in the film, mind you), who experiences inertia and nihilism among various mansion parties and trappings of Hollywood. He has relationships with six women, including his ex-wife (Cate Continue reading CAPSULE: KNIGHT OF CUPS (2015)

FELLINI’S ROMA (1972)

“The name in the title doesn’t seem conceited or affected, as it might from another director (Peckinpah’s Albuquerque?) This is Fellini’s Rome and nobody else’s, just as all of his films since La Dolce Vita have been autobiographical musings and confessions from the most personal, and the, best director of his time.”–Roger Ebert.

Despite taking the prize at Cannes, Roma (1972) has often fallen under the radar among ‘s oeuvre and it has been dismissed, by some, as the director at the apex of his “self-indulgence”—code for “non-linearity.”

One might see Roma as a private scrapbook containing overstuffed images cut out with dull scissors. Too much glue is used and it oozes out from behind pictures, making the pages stick together and tear. Naturally, it has far more personality than anything done by a professional scrapbooker, despite not being a complete success. Fellini’s Roma is so personally visual that the dialogue is intrusive.

Fellini inserts himself into the film, played as a young man out of time in 1939 by Peter Gonzales, adorned in white. The director prophetically steps in himself to personify his later self in 1972, but acts opposite no one, merely ushering us into his gaudy compositions, purposefully taking us nowhere.

The narrative as tainted whisper follows Fellini through fantasy page after fantasy page of his Roman imagery and we quickly realize this is a metropolis seen through a celestial lens. Expectedly, the director’s interpretation of “celestial” involves high camp, calmly fusing the erotic with the pious as if it is the most pragmatic marriage since ravioli and cheese. In typical Fellini fashion, Magdalena, the erroneously-labeled garish whore, symbolizes Rome herself.

Still from Fellini's Roma (1972)Through a series of evocative vignettes Fellini, overwhelmed with wistful sights (courtesy Director of Photography Giuseppe Rotunno) including a majestic traffic jam encircling the coliseums in an infernal rain storm, visits a brusque vaudeville show and frequents both underground and chic bordellos. Designer Danilo Donati and set director Andrea Fantacci alchemically fashion a voguish parochial pageant with skating padres and nuns adorned like Christmas trees.

Fellini, unlike , is able to express anti-clerical sentiments without provoking religious institutions, perhaps because of his ability to transform what on the surface would seem banal into something majestic. Additionally, Fellini, despite the primordial excesses, locates the maternity of Rome. She casts a  spell on her sons.

Composer Nino Rota’s score is among his most majestic, romantically ranging from folk music through 1940s big band sounds and, finally, ecstatically echoing the loud, tainted 70s with apocalyptic air raid sirens. In addition to the sounds, we are inundated with visions of groped, fleshy backsides and the smells of food gorging.

Princesses and popes of the past give way to bohemian ideology (a young Elvira—AKA Cassandra Peterson—is one of the beatniks) with Fellini and film crew vapidly chasing down Gore Vidal for an interview. The cameos, in the second half of the film, are jarringly out of place. Aptly, there are no standout performances, except for Fellini himself. The contrast between Rome of past and present is alternately phantasmagoric and obscure.

As we come to the final mercurial pages of Fellini’s Roma sketch-like scrapbook, we find the pulse of his requiem valentine to his sooty mother city seen through the rear-view mirrors of departing, spectral choppers.

CAPSULE: MEMPHIS (2013)

DIRECTED BY: Tim Sutton

FEATURING: Willis Earl Beal

PLOT: An R&B singer wanders through Memphis, Tennessee, struggling to find inspiration to complete a second album after a successful debut.

Still from Memphis (2013)
WHY IT WON’T MAKE THE LIST: It’s only slightly weird, and while there are moments of unquestionable beauty, its vast empty spaces make it a real wristwatch checker.

COMMENTS: Although anyone who’s ever worked in any creative medium can identify with its torments, writer’s (or musician’s) block is a hard thing to convey to an audience in a fascinating way. Although the cinematography here is sublime, and Willis Earl Beal has a weird funky charisma, Memphis is not up to the challenge of engaging us with this artist’s disengagement. What Memphis is best at is depicting the African American communities of it’s title city as a throwback to the ancient world of the blues, a place where men still wear felt hats and play dominoes and drink out of paper bags (I know men still play dominoes and drink out of paper bags, but not while wearing porkpie hats). With tree boughs hanging over the boulevards and weed-choked lots separating the bars from the churches, these neighborhoods look simultaneously urban and rural, like postcards from a pre-smart phone era.

Beale is a man out of time, too; he fits in better with the grizzled old men sitting on their porches than he does with folk his own age. As the movie progresses—to whatever degree such a deliberately static work can be said to progress—it becomes increasingly unclear whether the singer might actually be suffering from some form of mental illness. When he says in the opening scenes that he’s a wizard who conjures his own reality, it sounds like a metaphor for artistic creation, but the more he rambles about envying the trees or copulating with the dirt, the more you consider the frailty of the line between genius and madness. There are parallels between his alienation from his own creativity and alienation from God (and thus from his own church-centered culture). He refuses to sing at Sunday revival, and an old man’s midnight advice to him is chilling: “Using your talent is what God wants you to do. He gave it to you for a reason… I’d hate to be in your shoes, where you owe God.”

There are some very good shots in this sprawling, strange and obscure movie. Beale composes in a strange polygonal room with neural ductwork. He slow dances with his sweetie in a neon nightclub, continuing in a trance even when she withdraws. These are moment of poetry that will reward a certain breed of contemplative cinemagoer. Typical audiences are going to find this affair far too slow and inconclusive, however. Beale’s musical talent is only glimpsed in frustrating snatches. The movie is only seventy-five minutes long, but scenes of the melancholy protagonist walking around whistling or practicing his stick-fighting moves with a broom seem interminable. Memphis‘ non-story could have been conveyed with as much impact at a third of the length.

WHAT THE CRITICS SAY:

 “…Sutton at least keeps the running time trim. Perhaps he knew that the strange magic he and Beal occasionally conjured was destined to have a short shelf life. Better to leave the few audience members plugging into this cryptic oddity wanting more.”–Film Journal International (contemporaneous)

164. UPSTREAM COLOR (2013)

“We are conscious of an animal in us, which awakens in proportion as our higher nature slumbers. It is reptile and sensual, and perhaps cannot be wholly expelled; like the worms which, even in life and health, occupy our bodies.”–Henry David Thoreau, Walden

“We already know that weird things happen. So let’s just watch something happen, and let that be it. If a worm goes into Kris and then leaves her and then goes into a pig, and we see that there’s a connection and I execute it with music and cinematography and Amy’s performance, in such a way that conveys that transference of some deeply felt kind is taking place, that’s it.”–Shane Carruth on Upstream Color

DIRECTED BY:

FEATURING: , Shane Carruth, Andrew Sensenig, Thiago Martins

PLOT: Kris is poisoned by the Thief, who forces her to ingest a worm that sends her into a hypnotic trance, then empties her bank account. Waking up days later, and unable to cut the worm out from under her skin, she is drawn to a man (the Sampler) who surgically removes the organism and places it inside a pig. Suffering from hallucinations and delusions, Kirs then attempts to rebuild her shattered life with the assistance of Jeff, a financial analyst and recovering junkie.

Still from Upstream Color (2013)
BACKGROUND:

  • After scoring an independent hit in 2004 with the time travel puzzler Primer, made for a mere $7,000, director Shane Carruth went silent for nine years. In that time he worked on developing a script entitled A Topiary that never went into production (he referred to that project as “the thing I basically wasted my whole life on”). Carruth tried to get Hollywood backing for the project, but couldn’t get anywhere because he demanded to have final cut and final say on every aspect of the film’s production—conditions that no Hollywood producer would ever agree to.
  • After finally abandoning A Topiary after seven years of attempted development, Carruth conceived and shot Upstream Color in about a year, announcing the project in October 2011 and debuting it at the Sundance Film Festival in January 2103.
  • Besides writing, directing and acting in the film, Carruth is also credited with the music, cinematography and editing. He also handled distribution of the movie himself.

INDELIBLE IMAGE: “I have to apologize. I was born with a disfigurement where my head is made of the same material as the sun,” says the Thief, and a quick shot suggests his statement is true. Of course, you can only glance at the sun for the briefest of moments, and the camera observes this caution, so you may spend the rest of the movie wondering if you saw what you thought you did, or if it was just a result of a hypnotic suggestion.

WHAT MAKES IT WEIRD: Upstream Color is the movie that asks the question, “what if there was a psychoactive parasitic worm that could create a psychic link to a person if you surgically removed it and implanted in a pig? What would that be like?” It then proceeds to answer the question.


Shane Carruth discussing Upstream Color for Sundance Film Festival’s “Meet the Artist” promo

COMMENTS: In his negative review of Upstream Color, The Guardian‘s Jeremy Kay prefaced his synopsis with, “here’s the plot, such as it is. It’s Continue reading 164. UPSTREAM COLOR (2013)