Inverting A Classic

by James Hansen @ Out 1 Film Journal


Ever since Ed Halter ever so briefly mentioned the video in his 2007 Year in Experimental Film article for The Village Voice, I have been looking forward to Jennifer Montgomery’s Deliver, an all-female video “remake” (really an inversion) of Deliverance. Although Deliverance was popularized by the classic 1972 film, Montgomery makes it clear that it is not the film, but the book that is her main source of inspiration.

My guess is the near sell out at Deliver’s world premiere at BAM had more to do with John Boorman’s Deliverance (the film) than with James Dickey’s Deliverance (the book), not that it matters all that much. However, the people expecting a Hollywood-esque estrogen driven remake of Deliverance were likely disappointed and will continue to be as Deliver makes the small rounds to other experimental film venues across the country. Deliver is deeply problematic, just as it is meant to be. But, if you ask me, it is fascinating, frustrating, and thrilling, in its own distanced way, all at once.

Montgomery, a terrific, award winning video artist, (her recent work Notes on the Death of Kodachrome (1990-2006) was shown at the 2008 Whitney Biennial) is obviously not interested in the action aspects that dominate Deliverance and make it what it ends up being (for better or, if you agree with Montgomery, worse.) Deliver is undeniably more interested in social construction and the overriding forces that shape historical identities. Despite being shot in high def video (Montgomery’s prior work has very predominantly been shot on Super 8), it has the same personal extension and feeling that has been a highlight of her past work. It is ripe with contradictions and paradoxes, particularly in the pivotal rape scene, which will dominate any discussion of the video.

While plenty of people will undoubtedly strike Deliver down for various choices that it makes (assuming people unfamiliar with Montgomery will stick with it once they realize this is not a Hollywood action remake), each choice adds to the video’s identity and manage to confound pretty much every issue that Dickey’s novel and Boorman’s film proposes. In attempting to reconstruct and question the cultural history of a classic literary and filmic text, not to mention gender, homosexuality, and sexual violence, Montgomery forces Deliver to confront a lot of major issues in a short amount of time. That it feels like a totally completed work-in-progress goes to show the ever-contracting depths to which Montgomery’s art, highlighted in Deliver, reaches.

I plan to think about this more and post a deeper, more specific analysis at Out 1 sometime in the future. Just want to mention that, while I have the chance, in case anyone out there is super interested.

Anecdote of the Week: "How do you score an orgasm?"

Hello, Self-Styled Siren here, popping in while Nathaniel is out. Over at my place I often post a Hollywood Anecdote of the Week, because after all, nobody gives anecdote like Hollywood. This is one of the Siren's favorites, and she's posting it here for Nathaniel in hopes his faithful readers will appreciate it. It's from one of the best books ever written about Hollywood, Otto Friedrich's City of Nets.

Duel in the Sun, that 1946 milestone in the history of camp, was one of David O. Selznick's many attempts throughout his life to add something to his obituary besides "produced Gone with the Wind." Selznick attacked the project with the same pill-popping OCD energy that he did all his projects. When time came to compose the score, Selznick went through six composers before giving Russian émigré Dimitri Tiomkin a call.

[Selznick] wanted, he said, eleven main themes: a Spanish theme, a ranch theme, a love theme, an orgasm theme--

"Orgasm?" Tiomkin said. "How do you score an orgasm?"

"Try," said Selznick. "I want a really good shtump."

Tiomkin did try, for weeks, and finally presented the score to Selznick.

Selznick...asked Tiomkin to whistle the love theme for him. Tiomkin whistled.

"Fine, fine," said Selznick. "Now the orgasm theme."

Tiomkin whistled. Selznick shook his head somberly.

"That isn't it," Selznick said. "That's just not an orgasm."

Tiomkin went away and worked some more. He combined the sighing of cellos and a brassy stirring of trombones, all in the rhythm of what he later described as a handsaw cutting through wood. Once again, he was summoned to Selznick's studio, once again the orchestra assembled...Everything seemed to go splendidly until the orgasm theme, which Selznick wanted repeated, and then repeated again.

"You're going to hate me for this, but it won't do," he finally said to Tiomkin. "It's too beautiful."

"Mr. Selznick, what is troubling you?" Tiomkin protested. "What don't you like about it?"

"I like it, but it isn't orgasm music," Selznick said. "It's not shtump. It's not the way I fuck."

"Mr. Selznick, you fuck your way, I fuck my way," cried Tiomkin. "To me, that is fucking music."

Revolutionary Romeo + Juliet

Adam from Club Silencio here. I'm pretty excited about the impending reunion between Kate and Leo in Revolutionary Road, even though their suburban serenade looks to go south faster than you can say Don and Betty Draper.

But once upon a time they truly had stars in their eyes as the ultimate in star-crossed lovers. Long before they sailed the open seas as King and Queen of the world, they were Romeo and Juliet...


Not to each other, however. (Sorry to ruin the moment.) Icebergs, snooty class politics, powerful families... It seems the ever-cruel hand of fate has done nothing to keep Kate and Leo together. In this case they were divided by being in completely different movies!

Both actor's careers gained infinite momentum after these startling turns. By the time of Romeo + Juliet, Leo DiCaprio was already about to board that doomed (but oh so profitable) ship, and was prepping for that tragic romance by starring in THE ultimate. My wishes that Leo play the role of Romeo by reprising his character of Arnie Grape were quickly vanquished, but I can't say it didn't work out in his favor. Young girls (and me) were swooning over his every hyper-articulated word.


Kate Winslet's career began with her turn as the ever-imaginative Juliet in Peter Jackson's divine Heavenly Creatures. She'd already mastered her ravishing blend of comedy and dramatic poignancy by her debut film! And talk about star-crossed lovers, Juliet's lesbian love affair with Pauline is forced apart by their families and doctors. Big mistake. This generation's couples are a bit more proactive. They takes drastic measures with a meddling mom in order to assure their dreamlife continue.

Kate as Juliet puts it best, "All the best people have bad chests and bone diseases. It's all frightfully romantic!" That's a good way to describe Kate and Leo actually: frightfully romantic. The pairing looks so perfect on the surface, but we all know better. If Revolutionary Road doesn't end in a double suicide or matricide, we can consider it their happy ending.

Mystery Women Revealed!!!!!!

Posted by Thombeau von Fabulon.


Thanks to everyone who played our little game. Above are the women we featured, as more or less themselves. Will any of them end up as iconic as the legends they portrayed? Discuss.

Stuck In A Hall Of Mirrors With Catherine Deneuve

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JA from MNPP here again. I can't decide if finding one's self in the situation the title of this post describes would be a blessing or a curse. Would the extreme level of beauty one would encounter by seeing Catherine Deneuve's face reflected all around you drive one to bliss or to madness? Or would the former simply presage the latter? I feel as if I would see my own reflection besides Deneuve's and realize how unfortunate I am to have ever thought anyone would want to look at me when there is someone like her to be looked at. Ya know?

Anyway, a happy 65th birthday to Cathy and stuff. I think I'll go home, lock myself inside, let a rabbit's flayed body rot beside me, and stab the first person to come a'knockin' all in her honor. How about y'all?
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How Much Daisy Could A Daisy-Pusher Push...

Howdy, y'all. JA from MNPP here, popping my head in from a busy day at the-home-blog... why am I so busy, you ask? Well it's a Pushing Daisies Wednesday it is, and I'm just downright obsessed with that show. So obsessed in fact that I've gone and interviewed the man behind the show, the lovely Mr. Bryan Fuller, twice now!

Nat was already kind enough to personally link to the first half which appeared last week, and today I've got the second half up and... it has absolutely nothing to do with Pushing Daisies this time. But it does have to do with movies! Scary movies, mostly. It's October after all, tis the month.

So y'all should check that out, since I know we've got some Daisies fans here. And if you're not a fan, become one right this very second. The show needs the ratings, and I can't take any more shows I adore being axed. Do it for me! Someone you don't know! If you're not willing to give up a portion of your life for strangers, than for who, I ask? Who???

Ahem. Pushing Daisies is on ABC, Wednesdays at 8pm.

(I am being shameless with plugs for myself
and for this show, I am aware. Forgive me.
Lee Pace forgives me. See him forgiving me up there?)

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The Best of Everything

Posted by Thombeau of FABULON.

"You and your rabbit-faced wife can go to hell!" exclaims a pissed-off Joan Crawford, in just one of the many precious moments this big-screen soap has to offer. As publishing executive Amanda Farrow, Joan steals the show in what was her first supporting role since becoming a star. And what a show it is!

The Best of Everything, from 1959, is one of the last "three chicks seeking dicks" flicks, a genre that came crashing to an end with Valley of the Dolls. Both movies were based on popular and trashy novels, yet whereas the latter film is nothing but trash, Best of Everything maintains the decorum that the 1950s demanded. That said, it must have been considered rather daring back in the day.


Director Jean Negulesco never reaches the melodramatic heights that Douglas Sirk specialized in; there's little symbolism and no arty pretensions. Direction and screenplay are straightforward and without subtlety. Any nuances are provided by the large and able cast. The under-rated Hope Lange grows from simple secretary to cold, calculating career woman; Diane Baker is perfectly cast as a naive, small-town girl who learns some hard lessons; and the fabulous Suzy Parker adds a touch of glamour and psychosis that is a joy to watch. Of the men, gorgeous Stephen Boyd charms as a dreamy alcoholic; even more gorgeous Louis Jourdan is, well, Louis Jourdan; and Robert Evans, in his last onscreen role, plays a smooth and heartless cad. Then there is La Crawford, who is simultaneously hurtful and hurt.

Very much of its day, The Best of Everything is a perfect time capsule, capturing mid-century American ideals before they all imploded. The themes, sets and costumes, acting styles, even the smarmy title song (crooned by Johnny Mathis) make this all one could want in a fifties movie. Whether taken on its own terms, or enjoyed strictly for camp value, in many ways it really is the best of everything.

Sorry, I couldn't resist.


(See related post here. The entire film can be seen here)

"Grab the shovel, Harold."

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Happy Birthday, Claudia Wilson Gator

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By whom I mean Melora Walters, the actress who played that character in Paul Thomas Anderson's Magnolia, who turns 40 today. I know PTA's films - and especially Magnolia - can be a divisive bunch, even around these parts, but Walters will forever and always be etched into my brain as Claudia, swooping across the dinner table to kiss John C. Reilly in a fit of coke-fueled abandon and then mere seconds later asking if he'd mind never seeing her again.

Of course, she might be etched into my memory as that character since, looking through the films she's made since then there are only two things she's been in that I've seen - The Butterfly Effect and Cold Mountain - both of which I have taken great efforts to wipe from my memory.

Apparently she's a recurring character on Big Love though? I do wish I watched that show.

Anyway, a very happy 40th birthday to Melora! I would mind it if I never saw you again! Maybe PTA will use some of his regulars again whenever he decides to make another movie and I can look forward to seeing you there.

PS - Happy Birthday, Princess Leia!

Who Are They Really?

Posted by Thombeau of Fabulon...




Kevin Aucoin, the late, great makeup-artist to the stars, had a gift for changing faces. Featured here are a few prime examples; well-known actresses portraying legends of another era. Can you tell who they are and who they're paying tribute to? (If you're already familiar with Aucoin's books, please keep their identities to yourself and let others have a guess. It'll be fun!) The answers will be given in a later post. No prizes, but if you name them all correctly you can feel pretty damn good about yourself because you are fabulous, darling!

(answers!)

The Passion & the Prurience: Water Lilies (2007)

by Erich Kuersten of Acidemic


Art house cinema has always relished depicting roundelays of unrequited love ala the novels of Carson McCullers or the films of Wong Kar Wai. With their low budget focus on a handful of faces emoting before desolate landscapes, indie film has become synonymous with the emptiness and tortuously prolonged hook-ups (it saves money on extras). 2007's Naissance des pieuvres (English title: Water Lilies) uses this undernourished mis en scene to its benefit, centering the action around "synchronized water ballet" swim meets at the pool, where the unrequited love daisy chain moves freely without the presence of a single visible adult, and boys way to the side. In other words, there's lots of beautiful faces here, lips unmarked by kisses, as ze French like it.

Marie (Pauline Aquart), the beautifully soft-butch Gallic protagonist, looks like a young thinner Scarlett Johansson and acts like Marlon Brando in Reflections in a Golden Eye. The probably straight Floriane (Adele Haenel) is the object of Marie's McCullersy fetishizing: she rummages through Floraine's trash, eating her discarded apples, and of course never misses a swim meet, all the while afraid to bust a move when Floriane is clearly sending signals, but maybe her signals are too clear, as in manipulation alert, and maybe we're over-thinking! God why are we so stupid! (she doesn't say that, but you feel it in your aching unresolved loves still waiting at home in the closet bones). At any rate, Marie chokes in over-proximity to her desire (the Lacanian objet petit a!)and at the same time, our prurient interests are kept dangling by fade outs and oblique references. Meanwhile, Marie's still childish--vaguely Shelly Wintersish--buddy (Louise Blachere) is left in the dust.

Like Reflections in a Golden Eye and its ilk, a lot is left unsaid here, but unspoken aches and pangs come across just fine, in the way Marie freezes up when Floriane's pouty lips come centimetres close to kissing her, only to whirl away in favor of some "normie" lothario hopped up on his own juices. We long for Marie to bust a move on Floriane, but we know from pained recollections how hard that is at that age, no matter how much like Scarlett Johansson you may look, it's hard even if you're straight. Zoot alors!

Directed Celine Sciamma brings an Eric Rohmer touch to the film; all the playful interaction and subtle flirting is allowed to take its time and when the romantic kisses finally come--if they ever do--you can feel yourself swoon after all that anticipation. But the brilliance here is how Sciamma ricochets her McCullers ideas off our prurient expectations, capitalizing on our unfulfilled desire as viewers--the sublimated guilt at our rapture over underage nymphettes--and commandeering it towards an epiphany-style realization that a "happy ending" is an oxymoron; and no necklace, declaration or physical act can adequately quench what by definition cannot survive quenching.


Of course there's always been a rich vein of "unfulfillability" in onscreen lesbian relationships over the years, High Art and Heavenly Creatures and Gasoline come to mind, as does Henry & June. Why is it lesbians who get such a bad break in the movies? . Anytime a lesbian couple makes it out of a film in one piece, I want to stand up and cheer! Perhaps just as the "sparse emptiness" of the landscapes in indie films is both symbolic of alienation AND cost-effective, so this ephemeral sapphistry is both a meditation on the pains of growing up AND so it can play the American south. I can imagine my mom for example watching this film and never making the connection these girls were gay. Meanwhile, if you told me they weren't, I'd have to punch you. Go figure the mysteries of life, and put this on your list. And for another great saga of French girls in "dangerous" friendship, see Kim Morgan's review of the sweet and sacreligious Don't Deliver Us From Evil. And might I also recommend Poison Ivy? And My Summer of Love? Mon dieu! Maybe the core of every old straight male is a young French lesbian trying to get out. C'est la morte!