Nathan Lee’s Film Comment writeup is the one.
Tag: advertising
One, Two, Three (1961, Billy Wilder)
Cagney is a Serious Fast Talking Businessman who yells all his lines in Cold War Germany. He’s a Coca Cola executive (which means a lotta references to Atlanta), pitting pop culture and business against commie mentality. The German language jokes are sharp and funny, from former Berliner Wilder. Oscar nominated b&w cinematography by Daniel Fapp, who shot color oscar winner West Side Story the same year. The jokes and politics are good, as is most of the farce stuff, but Cagney is a disaster.
The daughter is with beau Horst Buchholz, just off The Magnificent Seven:
“You want the papers in triplicate or the blonde in triplicate?”
“See what you can do.”
Sexy secretary Ingeborg was in Rivette’s The Nun, the boss’s Southern party-girl daughter was in the following year’s State Fair, and her dad had been in Shockproof. The boss isn’t doing a Southern accent, exactly, but I like that all you can see out the window of his Atlanta office is parking lots. References to Omaha, La Dolce Vita, and Playboy.
Atlanta:
Commies:
Misc Shorts watched March 2021
Cold Meridian (2020, Peter Strickland)
Rehearsal footage from a recent dance piece never publicly performed, edited with a shampoo-hair ASMR lady whispering to her online viewers about their previous site activity. Nice thing to watch while drowsy on a plane – as far as the ASMR stuff goes, the shampoo thing is interesting at least, the whispering is nice, and I don’t get the crinkling paper/cellophane thing at all.
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De Natura (2018, Lucile Hadzihalilovic)
Beautiful little film. Two girls are out in nature, and we get shots of sky and trees and mushrooms, all more rapidly edited than the Strickland until it gets dark and chills out at a campfire in the end. Streams and waterfalls much nicer than crinkling paper.
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Olla (2019, Ariane Labed)
Very red-haired Olla is visiting a guy she met online for the first time. He speaks French, she doesn’t know it, but practices while cleaning the house in high heels while he’s at work… so she’s a servant/gf? Nice looking movie, shot on 16mm. She carefully removes his mother from the apartment before blowing it up in the end.
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Which is Witch (2020, Marie Losier)
A man in fancy military dress is frozen stiff, gets dragged into a cave by a deer woman. Then three women wearing statue of liberty crowns dance around him, and he’s released… but still frozen, so I’m not sure what this accomplished. My first Losier, not the Guy Maddin collab, but still the kind of hazy costumed maximalism I enjoy. Thanks to Mandico in the credits, that makes sense.
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Elektra (2020, Asia Argento)
Like a music video montage of scenes from a longer film, which I appreciate in a way since the longer film doesn’t look very good. A daughter is resentful of her mother, both of them in glamorous feather dresses from the company that commissioned this short, until matricide ensues, then a straight-up fashion show in an abandoned palace (Guadagnino hid his movie’s advertising origins better). It’s at least better than the last movie I saw that Argento directed.
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The Little Story of Gwen from French Brittany (2008, Agnes Varda)
Promo-looking movie about an LA film programmer from Varda’s own neighborhood who moved out to the states and made it work. Shout out to Marker’s Immemory!
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After Before (2016, Athina Rachel Tsangari)
Hangout behind-the-scenes and rehearsal and shoot footage isn’t usually terribly interesting, but we are suckers for the Linklater/Delpy/Hawke trio.
Strawberry Mansion (2021, Albert Birney & Kentucker Audley)
It was a twitter post by director/star Kentucker Audley which first alerted me to the online nature of Sundance this year, both that he had a cool-sounding new movie, and that ordinary punters like myself could watch its premiere for a reasonable cost, so I felt I owed it to him to watch this… though at this point in the late afternoon, an overall Sundance skepticism had set in, and I’d lost my hopes that it would be great. Thankfully, it was great, or at least good enough to seem great after Mayday – a hundred times wackier than that movie, beautifully imaginative and very fun to watch.
A year-2035 dream auditor has to visit an offline old woman who still stores her dreams on analog tape, to calculate how much she owes in taxes based on the objects her subconscious summons – or how much her estate owes, since she passes away while he’s on the job. Her VHS dreams start bleeding into his own life, and are more pure than the auditor’s own dreams. This is because she knows that companies beam advertisements into dreams, and has developed a protective helmet as an ad-blocker.
The woman knows about the dream-ads because her son is in charge of the ad agency, and when he arrives after her death he determines that the auditor knows too much, and tries to burn him alive in mom’s pink house to destroy all evidence. Asleep in the flames, he bonds with a young dream-Bella on a small island, making this my second movie in a row about an island-bound dreamer needing to awaken to their dangerous real life. Scenes from earlier that felt randomly eccentric return as sense warnings. Despite his meaningless job working for the man, the auditor deserves happiness because he stops to save a pet turtle on his way out of the burning house.
Tyler Davis’s Vanity Fair review is good at noting what makes this movie special, while accidentally summarizing my own Sundance experience:
Like Ham On Rye, another recent fantastical low-budget film, Strawberry Mansion puts modern dread at the fore through a series of dynamic set pieces that reveal just how many obstacles are placed between us and our inner lives … The boundaries between our imagined lives and the ones we try to lead in the midst of never ending sales pitches has thinned to a sliver … It’s easy to mistake Strawberry Mansion for a simple parable about advertising and the federal government. But ultimately, it’s a strange film about art and its conditions … Increasingly, as we’re asked to look at more and more yet with less and less of our minds activated, all the watching becomes unbearable. Strawberry Mansion takes a wild swing at yanking its protagonist—and us—out of this predicament.
Television and Fashion Ads and Company, 2020
The Staggering Girl (2019, Luca Guadagnino)
Luca’s follow-up to Suspiria Remake is… a fashion ad, and from the writer of The Current War, weirdly. I’ve watched other attempts at taking the fashion money and making a short film. This one lacks the nudity of the Carax and the creepy coolness of the Martel, and is overall not very interesting – but at least in this one I really noticed the clothes, so it arguably does its job better than the others. The Tsangari museum ad still beats ’em all.
Anyway, I barely remember this, but took some notes at least:
Julianne comes home with flowers to an empty apt, talks with Kyle on phone
The woman in yellow disappears
Nice whispery horror soundtrack
I think Kyle is Julianne’s painter mom’s assistant.
Now the woman who disappears is in pink.
Mia Goth with whoever plays Young Julianne:
Proper Julianne:
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Original Cast Album: Company (1970, DA Pennebaker)
We watched this doc on Criterion because it’s newly available after being hard to see for years, and it’s talked-about online… but mostly because I wanted to do my homework for the next season of Documentary Now! Stephen Sondheim wrote some overcomplicated songs, he and the recording engineers fret over the performances, especially Elaine Stritch, who is saved till late night, then convinced to come back the next day and re-record.
We also watched a couple of shorts on Criterion… I think Michigan Avenue, and a jazz short, possibly A Rhapsody in Black and Blue, but I’d better not count those, since I can’t even recall for sure which ones they were.
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Hamilton (2020)
It would’ve been cool to see this live, but our $480 tickets to see the touring company from the Fox balcony were refunded, and instead we watched the original cast up close in HD for free, and I’m not complaining. After all the Clipping I’ve been listening to, I’d hoped Daveed Diggs would be cooler as Lafayette… but then in the second half he’s super cool as Jefferson.
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Cowboy Bebop (1998)
Firefly ripped this off quite a bit, eh? When it originally aired I thought this show wasn’t for me… in my defense, that might’ve been a knee-jerk stance from being surrounded by anime kids in college. Pretty excellent, our two main dudes accumulating shipmates, each with their own skills, competing for bounties, then finally the gang breaks up.
I’ve gotta see Cowboy Bebop: The Movie, which I’m just now learning about. The same team worked on Macross Plus, Samurai Champloo, Wolf’s Rain, and Space Dandy.
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Fleabag season 1 (2016)
Really good, short series, based on a stand-up show that I tried to watch afterwards but it’s the same stories told in the same way, so I bailed after a half hour. Phoebe Waller-Bridge runs the guinea pig-themed cafe she co-owned with her late friend Boo, steals from her stepmother Olivia Colman, and torments her dad (Bill Paterson, who I just saw in Colin Burstead) and sister (Sian Clifford).
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Superjail! season 3 (2012)
Opens in Ultrajail with the Warden as inmate, so I thought this season might end up having some kind of stakes, but nope, that was a one-off, then we’re back to the usual ultraviolence. This show is a LOT – I can’t even look directly at the screen the whole time or else my brain and eyes get overloaded, but it’s a good thing to half-watch while reading the news.
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Rick & Morty season 4 (2020)
401: Akira, fascism, holograms, crystals that show you how you’ll die
402: Rick defends his private toilet from intruders, Jerry develops matchmaking app with an alien
403: R&M visit a heist convention, put a crew together, and pit Heistotron vs. Randotron
404: R gets M a dragon, Jerry has a talking cat
405: Morty interrupts a society of racist snakes causing time-travel chaos, Jerry floats
406: Narrative train!
407: Alien facehugger mind control
408: Vat of acid, Morty gets ability to save his place, vat of acid
409: “I fucked a planet”
410: star wars episode with an unexpected Don’t Look Now reference
Bonus: Samurai & Shogun anime short mashing up R&M with Lone Wolf & Cub.
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A Touch of Cloth (2012)
Looking for something lightweight to watch, I found this TV movie cowritten by Charlie Brooker, and it was just the trick. All visual puns and word games delivered straight-faced, a la Police Squad or Airplane. It’s a cop mystery, and I think their boss (guy from The Hour) ends up being the culprit. Director Jim O’Hanlon did the Romola Garai/Jonny Lee Miller Emma. A few weeks later I made it a half hour into the second of three Cloth movies, but pulled the plug, only writing “oh noooo it’s all the same jokes.”
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Lodge 49 season 1 (2018)
Ex-pool-guy Dud (Wyatt Russell from the fear-VR Black Mirror) and restaurant worker Liz (Sonya Cassidy of a bunch of UK miniseries) are in the dumps after their deeply-in-debt father apparently killed himself, until Dud finds a new sense of purpose at the local (also doomed by debt) Lynx lodge. I picked up this show after reading Vikram in Vulture, and loved about every minute of it. Dud sees signs everywhere, thinks everything is fate, and it’s never clear whether he’s delusional or on to something big – shades of Inherent Vice and Under the Silver Lake.
Lynxes:
Sovereign Protector Larry: Kenneth Welsh, a boss in Survival of the Dead, Windom Earle in Twin Peaks
Future S.P. and Dud’s reluctant mentor Ernie: Brent Jennings (Moneyball, The Serpent and the Rainbow)
Ernie’s secret squeeze Connie: professional mom Linda Emond (Ryan Gosling’s mom in Song to Song, Evan Rachel Wood’s mom in Across the Universe, Logan Lerman’s mom in Indignation)
Connie’s husband Scott: Eric Kramer, Little John in the Mel Brooks Robin Hood
New Age Blaise: David Pasquesi, Veep’s ex-husband
Notable non-Lynxes: Pawnbroker Burt… Brian Doyle-Murray as Ernie’s Boss… Bruce Campbell as Captain… Ernie’s coworker Beautiful Jeff… Dud’s depressed temp boss Gloria… Hot Librarian Emily… Liz’s fling “Corporate”… Surfer Alice… Fake Lodge agent Avery (lead singer of All-American Rejects)… and Real Lodge agent Jocelyn.
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Tim & Eric’s Bedtime Stories season 2 (2017)
Piano salesman Eric’s boss Tim is obsessed with baklava.
Scratchoff gambler/mesmer Ray Wise steals Jorge Garcia’s wife Rhea Pearlman
The return of angelboy Scotty, featuring Bubbles
Very bad air traffic controller Will Forte takes a break, feat. Veep’s daughter and aww, Fred Willard
Gross dude gets a free trial workout at an auto-gym.
And T&E play lesbians Belle & Bonnie, whose adopted son is sold to a rich guy.
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Alan Partridge’s Scissored Isle (2016)
Alan goes to different parts of Britain to try to bring harmony to the people… something like that, anyway. I forget how he gets locked into a warehouse over a weekend, but I recall that the whole adventure was started after someone filmed him attempting an insult joke. “The footage went viral,” he tells us, while the screen says 150 views. This was after the great Partridge movie, between Mid Morning Matters and This Time.
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Also watched an episode each of Sherman’s Showcase, Final Space,
Avenue 5, and The Last O.G., none of which seems essential.
We enjoyed the quarantine reunion special of Parks & Rec.
Katy and I checked out each other’s shows in which characters burst into song, but I didn’t love Zoey’s Extraordinary Playlist and she couldn’t stand Lipstick On Your Collar. We settled on Crazy Ex-Girlfriend, but now it’s been three months since episode one…
After reading reviews I decided to watch half of The Twilight Zone 2019 season 1. Nightmare at 30,000 Feet confirmed my worst fears: instead of a goblin on the flight, it’s a podcast. Fun to watch Adam Scott anyway, so I made it through, but then the next two episodes I tried opened with cops, and that’s not the kind of story I was looking for that particular week.
Century of the Self (2002, Adam Curtis)
Quoth a banker: “We must shift America from a needs- to a desires-culture. People must be trained to desire, to want new things, even before the old have been entirely consumed.”
Another Adam Curtis miracle. Katy and I are pleased as punch by the film’s research, structure and presentation, while being terrified by its content.
Curtis tells how Freud’s theories were pitched in the States by his nephew Edward Bernays, who thought to use his uncle’s psychological techniques in advertising and public relations, a field he effectively started. Freud’s theories are thought to explain the rise of naziism, so the American power elite looks to his daughter Anna for ideas on how to control the peoples’ minds. Former Freud student Wilhelm Reich who became a sex hippie (see also W.R.: Mysteries of the Organism), is the godfather of the opposite side: freeing your mind from conformity, and while Reich himself is imprisoned, his work destroyed by the U.S. government, his ideas inspire industry to promote self-identity through spending. Still later, Tony Blair and Bill Clinton (so apparently well-meaning, yet so deflated by the Adam Curtis docs) use focus groups to turn government and politics into a kind of marketing. And Curtis uses the same language that he’d return to in The Trap: what our leaders and big business presented as a new form of freedom became instead a form of control.