My Film Course

From Fellini's "8 1/2."

By David Ross. Constructing literature courses is relatively easy, because literary history is so coherent and clearly marked – its nodes are so inarguable. You can no more bypass Austen or Dickens in a course on the British novel than you can bypass London on a trip to the UK.

Film, which I will teach for the first time in the Spring, is different. Unlike poetry or even the novel, film is a living form. It continues to unfold and redefine itself, and it forces one constantly to reconsider what seemed fixed. Bergman, for example, may be the greatest director of all time, but his kind of filmmaking – let’s call it filmed theater – seems everyday less relevant, while Godard, who cannot compare as a directorial talent or philosopher, seems to have put his finger on the future. Whom to prefer? Did Mssrs. Lucas and Spielberg reinvent American mythmaking (Mr. Apuzzo’s view, if I’ve understood him correctly these twenty years), or did they infantilize our popular entertainment (my view)?

And what of those beloved heirlooms of Hollywood’s golden age that are neither entirely art nor merely entertainment, and that, in any case, nobody younger than fifty has particularly bothered to see? Are they historical artifacts, national treasures, charming baubles, or inadvertent masterpieces? In teaching them, do we chronicle the American Spirit or do we dumb down the curriculum? In general, is film high art or popular art – a belated expression of the old Renaissance aspiration, or a symptom of capitalist energy and mass consumption?

From Godard's "A Woman is a Woman."

Designing my course – “Film and Society” – was a two-tablet headache due to the unanswerable questions above. I was not sure what a film course should be, because I have only a confused idea what film is and what it’s for. In the end, I treated film as high art on the model of literature, not because this makes the most or best sense of film as a medium, but because students have so little exposure to the old Renaissance aspiration, and because no opportunity to complicate their sense of the sufficiency of Avatar and Twilight can be passed up. At the same time, one must make certain concessions (Miyazaki for example) in order to avoid civil unrest and student evaluations drenched in one’s own blood (see here).

Not long ago, I described Into Great Silence (2005), a documentary about life in a Carthusian monastery in the mountains of France, as “one of the more difficult and beautiful films ever made, and perhaps film’s most sincere and respectful attempt to portray the life of religious devotion.” It occurs to me that Ordet (1955), even more so, knows how to bend its Medieval knees (to borrow a phrase from Yeats).

I would have liked to teach the Tykwer-directed, Kieslowski-penned Heaven (2002) in conjunction with A Serious Man (2009). The films are fascinatingly obverse. The former concerns a seemingly compromised woman who experiences a mysterious and miraculous beatitude; the latter, a seemingly righteous man who suffers endless punishment.

My syllabus is still germinal. I would, of course, appreciate any advice. One thing to keep in mind is that the course is already busting a seam. Adding necessarily entails subtracting.

The Palace of Art

  • The Mystery of Picasso (1956, Henri-Georges Clouzot)
  • 8 1/2 (1963, Federico Fellini)
  • Russian Ark (2002, Aleksandr Sokurov)
  • Hero (2003, Zhang Yimou)

Masculin/Feminin

  • A Woman is a Woman (1961, Jean Luc Godard)
  • Woman of the Dunes (1964, Hiroshi Teshigahara)
  • My Night at Maud’s (1969, Eric Rohmer)
  • Annie Hall (1977, Woody Allen)

God in the Dock

  • Ordet (1955, Carl Theodor Dreyer)
  • Aguirre: The Wrath of God (1972, Werner Herzog)
  • Fanny and Alexander (1983, Ingmar Bergman)
  • A Serious Man (2009, Coen Brothers)

The Smell of Napalm in the Morning

  • The Grand Illusion (1937, Jean Renoir)
  • The Battle of Algiers (1965, Gillo Pontecorvo)
  • Shame (1968, Ingmar Bergman)
  • Apocalypse Now (1979, Francis Ford Coppola)

Earth Abides

  • Derzu Uzala (1975, Akira Kurosawa)
  • Stalker (1979, Andrei Tarkovsky)
  • My Neighbor Totoro (1988, Hayao Miyazaki)
  • Maboroshi No Hikari (1995, Hirokazu Koreeda)

Utopias and Dystopias

  • Smiles of a Summer Evening (1955, Ingmar Bergman)
  • Raise the Red Lantern (1991, Zhang Yimou)
  • Koyaanisqatsi (1982, Godfrey Reggio)
  • The Lives of Others (2007, Florian Henckel von Donnersmarck)

Brave New World

  • 2001: A Space Odyssey (1968, Stanley Kubrick)
  • Solaris (1972, Andrei Tarkovsky)
  • Cache (2005, Michael Haneke)
  • Encounters at the End of the World (Werner Herzog, 2007)
From Tarkovsky's "Solaris."

Other films I seriously – yearningly in some cases – considered, but in the end could find no place for:

  • La Ronde (1950, Max Ophuls)
  • Diary of a Country Priest (1950, Robert Bresson)
  • Secrets of Women (1952, Ingmar Bergman)
  • The Earrings of Madam de … (1953, Max Ophuls)
  • Cleo from 5 to 7 (1961, Agnes Varda)
  • Woman of the Dunes (Hiroshi Teshigahara, 1964)
  • A Clockwork Orange (1971, Stanley Kubrick)
  • The Sorrow and the Pity (1972, Marcel Ophuls)
  • Yellow Earth (Chen Kaige, 1984)
  • Wings of Desire (1988, Wim Wenders)
  • Lessons in Darkness (1992, Werner Herzog)
  • After Life (1999, Hirokazu Koreeda)
  • Heaven (2002, Tom Tykwer)
  • Grizzly Man (2005, Werner Herzog)
  • 24 City (2008, Zhang Ke Jia)

Posted on September 14th, 2010 at 11:22am.

Living with the Infidels Episode 2 – “Voracious Virgins”

PLEASE NOTE: Living with the Infidels Episode 2 – “Voracious Virgins” features raw language and salty situations. If that might offend you, please don’t watch the webisode. Otherwise, enjoy.

Here is Episode 2 of Living with the Infidels. We hope you enjoy the series.

Posted on September 14th, 2010 at 10:12am.

Hollywood Round-up, 9/13

Milla Jovovitch at the Tokyo "Resident Evil" premiere.

By Jason Apuzzo.Resident Evil: Afterlife was tops at the box office this past weekend, taking in about $27 million. Frankly I was surprised at how good the film was, and now Milla Jovovich is saying there will definitely be another sequel. I’m there. Please set it in Washington, D.C., if that hasn’t already been done. The undead certainly seem to be living large in our nation’s capitol – at our expense.

Sofia Coppola’s Somewhere won the Golden Lion award at the Venice Film Festival this past weekend, and some wags are commenting on the fact that the festival jury was headed by her ex-boyfriend, Quentin Tarantino. I think such speculation is a bit tacky; those two are long-ago Splitsville, and we all know Sofia’s got the filmmaking chops. Give the lady her due, please.

• Speaking of Italian American women, Camille Paglia conducts a marvelous takedown of Lady Gaga in the latest issue of London’s Sunday Times. I’m in complete agreement with Camille: Gaga is such a nothing, an ersatz celebrity if there ever was one.

Mao’s Last Dancer continues to do nicely at the indie box office. The film recently expanded to 102 screens, and has now taken in over $2 million. These are great numbers, given how the film is being completely ignored by the media outlets who would presumably appreciate its message the most.

• My friend Patrick Goldstein at the LA Times has a wonderful piece out about Werner Herzog’s new 3D documentary Cave of Forgotten Dreams, a film covering the 32,000 year old cave paintings at Chauvet-Pont-d’Arc. I will freely say that I am green with envy at Patrick’s opportunity to see 30 minutes’ worth of this film before it heads to Toronto! I worship the ground Herzog walks on, and volunteer to carry his shoes the next time he travels underground, or to the Arctic, or out into Loch Ness or grizzly country, or wherever he next makes a film. In related news, Carla Bruni and her husband recently made a splash in Montignac where they were commemorating the 70th anniversary of the discovery of the Lascaux cave paintings.

Brooklyn Decker of "Battleship."

• On the sci fi front … the words “Khan” and “Klingons” were suggestively dropped in a recent interview with the screenwriters of J.J. Abrams’ next Star Trek movie. Goodie.

Also: Disney’s forthcoming alien-flick Oblivion has a screenwriter; and some more footage of Tron has been released. I’m still irked by what I reported about that film on Friday. Also: I’m troubled by how vacuous the film’s looking.

• AND IN TODAY’S MOST IMPORTANT NEWS … Battleships’s Brooklyn Decker tells The New York Post today that she’s not anorexic enough, or grungy enough, to be a runway model. “I have boobs. I’m very all-American.”

I’m puzzled by this fixation on her looks, because I thought she landed the Battleship role as Liam Neeson’s daughter due to her idiosyncratic, off-Broadway turn as Anya in The Cherry Orchard. Shows you what I know!

And that’s what’s happening today in the wonderful world of Hollywood.

Posted on September 13th, 2010 at 3:20pm.

Kevin McCarthy, 1914-2010

By Jason Apuzzo. • Actor Kevin McCarthy of Invasion of the Body Snatchers fame has died, at age 96. You can read about his life and career at The Washington Post and at The LA Times. McCarthy was a very fine stage and television actor, but he will certainly be best remembered for his role as Dr. Miles Bennell in Body Snatchers. His performance in that film – which modulates from warmth and good humor, to the outer edges of hysteria and terror – may actually be the iconic performance of 1950s sci-fi cinema, and is in large measure what gives that film its dramatic credibility. The ‘invasion’ works so well in that film in large measure because of how, as an actor, he sells it. He will be greatly missed, and we pass along our condolences to his family and friends.

Kevin McCarthy.

I had the pleasure of meeting Kevin McCarthy years ago at a party hosted by the Russian dissident poet Yevgeny Yevtushenko. Oddly enough, Mr. McCarthy and I spent much of the evening in conversation together over by the punch bowl(!). He was every bit as warm, gracious and amusing in private as he appeared in public. Mr. McCarthy was quite old at the time, yet robust, and he had a boyish charm and impishness to him even in advanced age; I had the sense that if I asked him to step out on the lawn and throw a baseball around, he’d happily do it. He was quite unpretentious, and drily amused by the unexpected success of Body Snatchers.

As you can imagine, I asked Mr. McCarthy about the controversy over the years regarding the ‘meaning’ of Body Snatchers. Was it an anti-communist metaphor? Was it about anti-communist paranoia? Or just small town life? He politely demurred, and said that the intention of everybody involved with the film was chiefly to make a good thriller.

At the same time, I could not help but notice his presence at the party we were both attending – held in honor of a prominent anti-Soviet dissident. His attendance at this event quietly spoke volumes.

For those of you, by the way, who enjoyed Kevin McCarthy’s turn in Body Snatchers, make sure to check out his guest appearance on the old Invaders TV series, in the 1978 Body Snatchers remake, on Hawaii Five-O, and in Joe Dante’s original Piranha. Those are some of my personal favorites. He also gave a nice performance in Raquel Welch’s Kansas City Bomber, and does a nice (if brief) turn as Marilyn Monroe’s husband in John Huston’s The Misfits. We’ll miss him.

[UPDATE: Ironically, the Blu-ray edition of 1978’s Invasion of the Body Snatchers remake comes out this week, a film in which Kevin McCarthy makes a brief but memorable cameo appearance, riffing off his original character from the 1956 version of the film.]

Posted on September 13th, 2010 at 1:13pm.

Tomorrow, When the War Began (Aussie Red Dawn) to Get Back-to-Back Sequels

By Jason Apuzzo. A few weeks ago we reported to you about a new Australian film called Tomorrow, When the War Began, that was set to unspool for distributors at the (ongoing) Toronto Film Festival. The film is a kind of Australian Red Dawn, based on the hit novel series Tomorrow, When the War Began by Australian novelist John Marsden. The film was written and directed by Stuart Beattie, whose screenwriting credits include Pirates of the Caribbean: The Curse of the Black Pearl, Collateral, Australia and G.I. Joe: The Rise of Cobra.

Caitlin Stasey of "Tomorrow."

A lot of Australian readers wrote in after that post and offered their own thoughts on the film. I encourage everyone to check out the comments section of that post for some very interesting discussion and background on that project – not to mention some of the more interesting reviews of the film that I’ve read.

Word now comes today from the Hollywood Reporter’s HeatVision blog that plans are already underway for two sequels to the film, based on its early success at the Australian box office. This certainly makes sense, given the overall length of Marsden’s original novel series – which I believe extends to seven books.

Based on what’s in the comments section of our original post, all of this should excite our Australian readers … and hopefully North American distribution rights for this film will be settled in the near future so the rest of can see it. The movie was just screened for distributors in Toronto yesterday.

Posted on September 13th, 2010 at 10:10am.

SPOILER ALERT: NBC’s Politically Charged The Event is … Another Alien Invasion Thriller?

By Jason Apuzzo. A few weeks ago we posted about NBC’s new series The Event, which seems to feature a variety of narrative elements with political overtones.  Specifically, we analyzed the extended trailer for the series (above), and picked out these prominent elements from it:

• Heroic, charismatic young black President.

• CIA conspiracy involving illegal detainees.

• A secret detention facility in Alaska

• Some sort of 9/11-type event (i.e., world-changing, clash-of-civilizations-type encounter)

• A 9/11-type suicide attack with a plane targeting the President

Since that time, there’s been a considerable amount of on-line speculation on the series.  Much of this has to do with the fact that NBC showed the pilot episode of The Event at Comic-Con. See reviews of the pilot episode here, and a review of the pilot screenplay here.

***SPOILERS AHEAD***

'Sophia Macguire' from NBC's "The Event."

The most interesting thing that’s been ‘spoiled’ about the series is that The Event may be another of the many sci fi invasion projects we’ve been posting about here all summer. New York Magazine recently let the cat out of the bag on this one (see here and here). The key element tipping everybody off to the sci-fi component of the series seems to be that the airplane seen hurtling, kamikaze-style toward the President at the end of the trailer above (and at the end of the pilot episode) apparently vanishes into thin air, ostensibly as a result of some advanced/alien sci-fi-type technology. This mid-air vanishing of the plane, however, is not the series’ ‘event’ itself according to the show’s producer, but merely indicative of things to come. For more details, you can find out a lot about the show at a new site called The Event Log.

We’ve been talking all summer here at Libertas about how science fiction projects are currently becoming the ‘accepted’ medium by which filmmakers in both Hollywood and the indie world are dealing with our current wars, and domestic political anxieties. Indeed, I had what I considered to be a very interesting exchange recently on this subject with my friend Patrick Goldstein over at the LA Times. It appears that The Event may be continuing this overall trend of ‘politicized’ sci-fi.

NBC flacks handing out 'secret dossiers' about "The Event" at Comic-Con.

One of the really interesting bits of speculation on the new series concerns the nature of the ‘detainees’ in the series’ Alaska detention center – the same center that our heroic young President fights the CIA in order to open. [I’m trying to image where NBC got that plotline … but I just can’t think of any real world examples. :)] Much of the speculation centers around whether the detainees are either: human visitors from the future, aliens, or human visitors from the future who’ve had contact with aliens.

The leader of this group of detainees is a sober-looking, middle-aged woman named ‘Sophia Macguire’ (played by actress Laura Innes; she’s in the trailer above). Here’s a little insight, from someone who’s written a few screenplays: whenever you have a sober-looking, middle-aged female character named ‘Sophia’ (a name meaning ‘wisdom’) you can rest assured that this character will be used within the storyline to impart some choice nugget of wisdom to the main hero – in this case the President. It’s usually a sure thing in these types of stories.

So expect The Event to present a scenario for its viewers in which the ‘wisest’ character in the show, who knows the most, is a detainee at a secret CIA facility. Well! Isn’t that an interesting plotline in our post-Guantanamo world?

We don’t know many details about this Sophia Macguire character other than what’s in the trailer, but below is a very interesting transcript of a fake, ‘top secret’ document on The Event that some NBC employees (dressed as Secret Service Agents) were handing out at Comic-Con. This is apparently to be considered the ‘official’ backstory for The Event [emphasis below mine]:

TOP SECRET UMBRA

Date: July 21, 2007

To: Agent Simon Lee

From: Blake Sterling, Director

Bureau of Intelligence and Research

Department of State

Subject: Inostranka

The facility at Mount Inostranka remains a top priority to our national security. Recent events surrounding the facility must be remedied immediately.

Handle the first with extreme urgency. A breach of protocol has resulted in the escape of …….. The Agency must seek and extract the escapee to trade for information. The Mission allows for acceptable collateral damage.

Ever since 1944, ……. them, The Agency has maintained complete secrecy surrounding the detainees and the facility;….survivors that were apprehended, one demonstrated to be their leader and is……….. Sophia Macguire can not be allowed to communicate with anyone from outside the facility and must be monitored at all times. She must be questioned about the disappearance of……

Even though we have suspected substantial differences…..the source……have we been able to pinpoint to believe the detainees are…..leads the Agency……but we need further information. For this cause,…….

Valid information is still required to confirm……must not allow any further information to be leaked.

Execute orders immediately. A team led by General Whitman will be joining you in Alaska tomorrow.

No action is to be taken in updating the President. This information is on a need-to-know basis and the President should not be briefed on the existence of the facility. This must remain a matter for the intelligence services, which have been managing this without interference for decades. And as you know, we have our reasons.

These recent developments are all unquestionably related to increased activity among the detainees. The Agency needs you to address this, immediately.

By authority of: Blake Sterling

Signature: B. Sterling

Note that this Sophia character “can not be allowed to communicate with anyone from outside the facility” and “must be questioned about the disappearance of” something/someone. In other words: she knows a lot.

Blair Underwood as The President.

My guess here? Looking beyond the series pilot, my sense is that Sophia Macguire and her fellow detainees, who have apparently been in captivity in Alaska since 1944, are some sort of human time travelers who’ve had alien contact. [I assume they’re human because if they were aliens they presumably wouldn’t let themselves be captive for 60+ years!] As a result of this contact, they have insight into advanced technologies that allow them to do things or comprehend things like … planes vanishing, and perhaps the extending of lifespans.

So what we have here, ultimately, is the following: the mythologizing of people in a CIA detention facility, who might actually be ‘wiser’ than we are, and who are possessed of esoteric insights we cannot fathom – i.e., how planes vaporize in thin air, so to speak. And the heroic Obama stand-in is there on the spot to free them.

What a charming gift NBC’s giving us, just on the heels of the 9/11 anniversary. Thanks, NBC, but I think I’ll be watching V instead.

Posted on September 12th, 2010 at 2:10pm.