by ·Comments Off on Two Diaries of a Chambermaid

Diary of a Chambermaid (1946, Jean Renoir)

New maid Paulette Goddard (Modern Times) gets off on the wrong foot with mistress Judith Anderson (a chambermaid herself in Rebecca) by joking with the bearded master (Reginald Owen, the 1938 Scrooge), not realizing who he is. She meets desperate maid Louise, cook Marianne, and asshole valet Joseph, and gets to work. But this place is annoying and creepy: the valet (Francis Lederer, who started out in Pandora’s Box) is after her, the mistress is dressing her up for a visit from long-lost son George (sickly, secretive Dorian Gray), and the next door neighbor (Goddard’s husband Burgess Meredith) keeps breaking the family’s windows and eating their flowers. She announces she’s quitting and the valet goes mad, announces that he’s stealing the family’s treasures, then robs and murders the neighbor while the police are having their annual parade. Weird that I’d follow up Murder a la Mod with another movie that opens with a diary and features icepick murders.

Paulette, Burgess, and squirrel:

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Diary of a Chambermaid (1964, Luis Buñuel)

The French director had made an American film, then the Spanish director makes a French one. Now the maid is less headstrong, and has been hired to care for Madame’s dad, who wants to grab her leg while she wears special boots and reads to him. For Buñuel’s whole career everyone blabbered about surrealism, while he just wanted to put women’s legs on the big screen.

Everything is darker and more explicit in this version – Master Piccoli is allowed to sleep with the maids as long as he doesn’t get them pregnant, and Valet Joseph wants to open a Cherbourg cafe and pimp out the maid to soldiers. The valet is still a celebrated bird torturer, also a racist activist, whose 1934 “down with the republic” march gets the movie’s final words (while Renoir’s parade featured “vive la republique” fireworks). Instead of robbing the neighbor, he rapes and kills a local girl, the same day the old man dies. The maid works on helping the cops convict Joseph (and fails), but there’s no son to swoop in and save her from these awful men, so she ends up marrying the neighbor – no escape, no justice.

Madame in her laboratory:

Unlike the Renoir this one has no pet squirrel, but we do see a mouse, a frog, ants, a boar, a rabbit, a basket of snails. Supposedly Buñuel’s only anamorphic widescreen movie – maybe he regretted its mind-warping effect whenever he moved the camera. Starring Jeanne Moreau the year after Bay of Angels, and Master Piccoli after Contempt… Valet Joseph is also in A Quiet Place in the Country, Madame in Chabrol’s Bluebeard. Watched these on oscar night… they won no oscars, but Moreau got best actress at Karlovy Vary.

The Mirbeau novel was adapted again in France with Lea Seydoux, but directed by a notorious pedophile, so it’s both tempting and not tempting to watch. The book has the girl’s (not the neighbor’s) murder and Joseph stealing the family silver, then unlike both of these movies, the maid marries him and moves to Cherbourg. Randall Conrad in Film Quarterly compares the films, championing the Bunuel over the Renoir (which has no eroticism and a “deficiency in conception”):

At the least, Celestine is a moral witness to the bestiality of Joseph, something she tried to stop and couldn’t. But perhaps her secret attraction, her fear of it, and her individual powerlessness make her an accomplice to Joseph’s rise. In that case, Joseph’s assertion – “You and I are alike, in our souls” – takes on full meaning … [Buñuel] returned in his film to the France he left in the thirties, and created its portrait … The film has the closed structure characteristic of Buñuel: the end is a beginning. An individual’s gesture toward freedom not only fails but lays the ground for still worse oppression. The era that has begun, as the [fascist] demonstrators turn the corner and march up a street in Cherbourg, is the one we are still living in.

by ·Comments Off on Fistful / Sucker (Sergio Leone)

A Fistful of Dollars (1964)

What a picture. Clint comes to town and meets the grey-haired bartender next door to the busy coffin carpenter, proceeds to get paid by both sides of the warring criminal families, then after Clint does a good deed by rescuing an imprisoned girl, he and his bartender are tortured. The coffin maker secrets Clint away to a cavern so he can recover then return and slaughter everybody.

Been a while since I saw the not-really-sequel – this is just as good, though it suffers from lack of Lee Van Cleef. The girl was in Franju’s Spotlight on a Murderer, the lead Rojo gangster in Le Cercle Rouge, his main brute in Dead Pigeon, and at least two others are from Viridiana. If nobody has yet made a supercut of atrociously dubbed children in Italian movies, nobody ever should.

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Duck, You Sucker (1971)

Real class-warfare pervert stuff, right from the start. “He doesn’t know anything” says the white man’s mouth in grotesque Svankmajer-esque extreme closeup about the peasant their coach picks up, unaware they’ve picked up bandito Rod Steiger. The bandits next encounter a fellow criminal, explosives-rigged James Coburn, so they team up. Coburn is fighting for a cause, Steiger for cash, but after the idiot bandito gets pulled into the revolution and the government slaughters his family he becomes a true believer.

Steiger is the Run of the Arrow guy, and Coburn is the oscar winner for Affliction who was also in 100 other movies I haven’t seen. I’d preferred the alternate title A Fistful of Dynamite but once you hear Irish Coburn say his catchphrase moments before his bombs go off, you realize Duck, You Sucker is correct. He drops the accent almost immediately, but Steiger lays his on so thick I had to turn on subtitles – at long last the Italians are working with sync sound, and it’s actually worse than before. Ultimately the movie gets tedious, and the Leone apologists out there making excuses for Steiger are wrong, but some stuff blows up real good.

Coburn + parakeets:

by ·Comments Off on Flannery & Wildcat

Flannery (2019, Coffman & Bosco)

PBS bio-doc about fellow Georgian O’Connor. A couple of crazy details in here. She was terrified of catching lupus, the disease that killed her beloved father, so when she did catch it, her doctors and family told her she had arthritis. And attending the Iowa Writers Workshop, Southern fiction and Faulkner were all the rage, yet the students there mocked her accent. Movie trips over itself trying to explicate her racism, otherwise a good introduction.

“I know they’re stupid and all, but they have a lot to be proud of”

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Wildcat (2023, Ethan Hawke)

Some wild visuals, much weirder than it seems from outside. Not a mild prestige biopic drama, but something more prickly, a Flannery Naked Lunch, spinning the stories into the biography. So this is my second movie in a week to combine artist biography with adaptation of their work, and Hawke easily beats Guadagnino. I’m not saying it always works, but it’s refreshing.

Some of the same quotes used in the doc. Flannery likes Cal, the suicidal environmentalist of First Reformed, and holds out hope of living a normal life until rejection and disease send her into writing seclusion. The Licorice Pizza kid looks too Elonesque in this, and I hate to say but Laura Linney is the weak point. It sure is fun to try on a new accent, and I know it’s stupid to ask this, but why not cast southerners in the role of southerners?

by ·Comments Off on Rock Docs: 20 Feet & Trances

20 Feet from Stardom (2013, Morgan Neville)

Expertly put together, a great show. Attempts a late swerve into pathos because all of their solo stardom didn’t take off, which clashes with the early sentiments about being all about the music. In the discussion of who treated the singers better or worse, Jonathan Demme and Joe Cocker and Sting and Luther Vandross come out well, Ike Turner and Phil Spector less so. I thought about Kelly Hogan at least every couple minutes.

“Rock and roll… saved our lives.”
“You get hooked on music, you’re fucked.”

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Trances (1981, Ahmed El Maanouni)

An ambient rock doc – if it’s not self-evident that the music is good, if you don’t know why these guys are big, nobody’s gonna tell you. The band is called Nass El Ghiwane, and we get a mix of performance, rehearsal, and, not exactly interview, but pointing the camera at a band member until he starts talking.

I dunno about “a free-form audiovisual experiment” or “pure cinematic poetry” per the Criterion press, but it’s got nicely edited archive film and some really good closeups. The group (with two original members) was still playing as recently as last year.

by ·Comments Off on Flesh + Blood (1985, Paul Verhoeven) +2

Oddball adventure movie post-Conan the Barbarian with modern slang/language, setting up a love triangle for young JJ Leigh between dim warlord Rutger Hauer and rich wannabe-scholar Tom Burlinson (title role in The Time Guardian), both of whom are dicks to her anyway. Sure it’s full of raping and pillaging, and a nun gets conked in the brain, and plague meat is catapulted over the walls, but most of the fun is in guessing Leigh’s intentions as she goes from captor to queen of the gang after they conquer a castle, earning Rutger’s respect by teaching him to eat with a fork, then trying to rescue both of her men during the final showdown.

Rutger vs. Octopus:

Untrustworthy bounty hunter Jack Thompson is in all the big Australian movies I haven’t seen (Breaker Morant, Wake in Fright, Jimmie Blacksmith), Rutger’s ex-pregnant ex-queen Susan Tyrrell specialized in weirdo comedies (Forbidden Zone, Cry-Baby, Big Top Pee-Wee). Brion James pops up a fair amount. Matt Lynch: “an incredibly skeptical story of superstition & tradition giving way to pragmatism & capital. Money, religion, love, sex, class; spoiler alert: power is power, everyone’s full of shit, survival is the only cause.”

Displaced Barbarian Queen Susan:

Brion James fate foretold:

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Starship Troopers (1997)

“Oh Johnny it’s us… it’s home.” All the kids are supposedly South American but no two people can agree how to pronounce “Ibanez.” Holds up, never looks cheap, Verhoeven firing on more cylinders than on the 1985 movie. Neil Bahadur: “One gets the sense that Verhoeven took this god-awful script and flipped it without changing a word.”

Where’d these people end up? Jake “Son of Gary” Busey played murderers in The Frighteners and Contact. Dizzy was a cop in the first four Saw movies. Caspar has only ever appeared in two other movies: Sleepy Hollow and Alita, both of which are due a rewatch, and Denise was in Edmond and Wild Things, which, same. Sgt Clancy “Mr. Krabs” Brown has achieved Vaguely Recognizable status after I’ve seen him in twelve movies. Michael Ironside is so cool that I might actually watch that Bob Odenkirk revenge movie now that I know he’s in it.

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Mission: Impossible III (2006)

Semi-rewatch while assembling furniture, really much better than part two if you’re not looking directly at the screen, despite tediously starting with the final showdown instead of making up a cool secondary pre-credits adventure.

by ·Comments Off on Blade I & II

Blade (1998, Stephen Norrington)

I didn’t intend to watch Blade within a week of The Blade, but when you need a Kris Kristofferson memorial screening in SHOCKtober it’s either this or The Jacket. Snipes and Kris hella cool, perfect genre writing by Goyer, and expensive-looking, New Line’s money put to good use. Wesley’s stunt double gets a good sword fight, even some wire jumping. The hair and music is very 1998 (complimentary) and so is the cutting (derogatory), with judicious use of instantly-dated CG in the finale.

Donal Logue gets set on fire in the first fight and the movie makes a running joke of destroying him over and over. He’s a henchman for sneery Stephen Dorff (who hasn’t been in a good movie since Public Enemies but as the kid from The Gate he will always be a horror prince), who disagrees with vampire lord Udo Kier’s strategy of lurking in the shadows, preferring to rise and enslave humanity. Dorff uses a PowerMac with OS7 to AI-translate the ancient texts to enable his plan.

Meanwhile Blade and Kris gruffly help prevent a hot Donal-victim (N’Bushe Wright of Fresh and Dead Presidents) from vamping out while sleuthing Dorff’s plan. Unfortunately Blade turns out to be the plan, his daywalker-blood required to bring about an apocalypse. Dorff sunrises Kier to death, and bullet-dodges (the year before The Matrix came out). Movie portrays police as the dumbest people on the planet. Norrington went on to direct The League of Extraordinary Gentlemen, and after that travesty he deservedly never worked again.

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Blade II (2002, Guillermo del Toro)

Guillermo’s fourth feature and it’s still showy-expensive, a harsh transition from the practical 1998 to the CG 2002. Worse and less coherent than part 1, more of a horror. The lighting and colors are cooler anyway, but it’s got overstuff’d sequilitis (adding ten new characters and giving short shrift to Snipes-Kristofferson).

The Man:

After a rescue operation, Blade works on rehabilitating vamped Kris, while Kris’s old job is being filled by vamp-spy Scud (Cigarette Burns), a fan of Powerpuff Girls and Krispy Kremes, making me wonder which production designer was from Atlanta. Meanwhile some new immortal vampire-hunting creatures are running amok out there. Either Resident Evil 4 (game) ripped off the head-splitting creature design of Blade II (movie), or vice versa, or they both ripped off a third thing. Our guys team up with way too many elite vampires (including Ron Perlman and Donnie Yen) to fight the new beasts, tables are turned and poor Wesley’s blood gets harvested again, nearly everyone dies, and thus far I have avoided literally every Ryan Reynolds movie so let’s keep that going and not watch part three. In the Elm Street tradition, the only blu extra I watched was the Cypress Hill video.

Ron explodes someone using pure love and light:

by ·Comments Off on U.S. Go Home / Nénette and Boni (Claire Denis)

U.S. Go Home (1994)
Nénette and Boni (1996)

Two early Denis movies where Alice Houri and Gregoire Colin play siblings. The earlier is a downright rock party, full of popular songs which probably ensure the TV bootleg version I watched is all we’re ever going to get. Teenage longing for experience, for cooler parties, and for soldier Vincent Gallo.

As Boni, Colin works a food truck and sells stolen goods then comes home to his late mom’s house where he shoots cats in the yard and has rape fantasies, until his pregnant little sister comes to crash. I liked the two movies about equally, but between 1994-1996 you can witness how Denis and company are moving from narrative cinema to pure visual poetry.

by ·Comments Off on Peppers & Garlic double-feature (Les Blank)

Hot Pepper (1973)

Rock doc about accordionist Clifton Chenier, made two decades into his recording career, and one decade before he’d win a grammy. No awards or recording studios in sight here, it’s more front porches and basement parties. Interviews with locals about their thoughts on racial integration (they’re for it). No fly on the wall, everybody waves at Les while he’s filming street scenes, and his camera is attentive to passers-by and animals and clouds, as usual. I imagine the interview with Chenier’s grandma would’ve killed with a crowd. Made the same year as another Louisiana music doc Dry Wood, and right before the Leon Russell movie.

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Garlic Is As Good As Ten Mothers (1980)

Just a doc about garlic and its many uses and the people who are into it, but this is Les Blank so of course it’s a musical. Glad to see the featured Oakland barbecue joint is still family owned and sort-of in business. He digs up Werner Herzog for a sound bite about why his Nosferatu didn’t have a garlic subplot (this was pre-Fitzcarraldo/Burden of Dreams). Wim Wenders did some camerawork for this – why?

Garlic & Flamenco:

by ·Comments Off on The Suspended Vocation & Of Great Events (1978, Raoul Ruiz)

The Suspended Vocation

Very nice photography of a monk in a black-and-white film crosscut with his counterpart in a color film. Unfortunately “interchurch quarrels over dogma and religious practice” is not a topic that keeps me alert and engaged. The lead monk is played by Cahiers critic Pascal Bonitzer in color, and Didier Flamand (one of the Dalis in the new Dupieux) in b/w. Based on a novel from Pierre Klossowski, a biographer of Nietzsche and de Sade.

Ruiz in Rouge:

This book talks about all the quarrels inside the church, of different factions in the Catholic church. This was not very different from the discussions and quarrels inside the Left movement in Latin America. Which is not so strange when you think that this movement was composed of ex-Catholics. They transposed old Catholic quarrels into the Left; this is one of the ways you can read the political movements in Latin America.

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Of Great Events and Ordinary People

That’s more like it – the truefalsiest movie. It announces itself as a doc on Paris’s 12th during election season, but it’s really a doc about making that doc, then a doc about making docs in general, as it gradually swallows itself.

I think Ruiz has seen News From Home, since he opens a slow 360+ degree pan on its poster, and Adrian Martin points out the movie’s closing Le Joli Mai parody.

Martin:

Ruiz increasingly spices up this cubist lesson in documentary deconstruction with surreal elaborations – such as progressively shorter re-edits of the entire film, avant-garde decentrings of image and sound, and crazy runs of ‘secondary elements’ such as particular colours, angles, gestures and camera movements (collect all shots that pan to the right …). The critical agenda tends to merrily lose itself – which is a mercy in our remorseless age of rigidly theory-driven essay-films.