Posts Tagged ‘film’
February 10, 2015 | by Dan Piepenbring
- It’s one thing to be well read—quite another to be well reread. Stephen Marche has coined the term centireading, i.e., reading something a hundred times. He’s accomplished only two feats of centireading (Hamlet and The Inimitable Jeeves), but they effectively restored the purity of his reading experience: “The main effect of reading Hamlet a 100 times was, counter-intuitively, that it lost its sense of cliché. ‘To be or not to be’ is the Stairway to Heaven of theatre; it settles over the crowd like a slightly funky blanket knitted by a favorite aunt. Eventually, if you read Hamlet often enough, every soliloquy takes on that same familiarity. And so ‘To be or not to be’ resumes its natural place in the play, as just another speech. Which renders its power and its beauty of a piece with the rest of the work.”
- As a moneymaking device, the book is obsolete, as we all know. Of course it is—it’s very, very old. What you might not have heard yet is that Web sites are obsolete, too, and that your mere presence on this page renders you a technological dinosaur. It’s okay. I’m one, too. This man is not: “In his weird zone of the internet, he said, the concept of a large publication seemed utterly hopeless. The only thing that keeps people coming back to apps in great enough numbers over time to make real money is the presence of other people. So the only apps that people use in the way publications want their readers to behave—with growing loyalty that can be turned into money—are communications services. The near-future internet puts the publishing and communications industries in competition with each other for the same confused advertising dollars, and it’s not even close.”
- From the makers of the flaneur, meet the crónica: “a crónica is both ‘a history that obeys the order of the times’ and ‘a journalistic piece … about current events.’ But it is more. Starting in the nineteenth century, crónica and urban life became inseparable; to the mere recording of a city life for posterity, the genre added flânerie and modern investigative reporting. Together, crónica and la ciudad (the city) inform a typology of ‘essaying’ a pie (on foot), in which walking is to thinking what seeing is to reading, and cities’ ‘intensification of nervous stimulation’ becomes social and cultural criticism.”
- In France, even illicit, politically scandalous affairs play out like fairy tales: “It was not until his press attaché phoned Valérie and informed her that François was ‘madly in love with you’ that Valérie recognized the current of passion that roiled beneath their professional rapport … They were committed to others—Ségolène and Denis—and they had more than half a dozen children between them, but how could they refuse love’s call? Over crêpes and waffles, Valérie and François confessed their feelings, which led to, she wrote, ‘a kiss like no other kiss I’d ever shared with anyone. A kiss that had been held back for nearly fifteen years, in the middle of a crossroads.’”
- William Greaves’s Symbiopsychotaxiplasm: Take One is one of the most daring movies of the sixties, which may be why no one saw it until 1991. Now his film is finally getting its due: “Greaves was up there with John Cassavetes and Shirley Clarke in the blend of sophisticated modernism and emotional fury, of self-implication and formal innovation, of self-revelation and revelation of the heart of the times.”
February 5, 2015 | by J. D. Daniels
Being the last man on Earth.
On a recent Sunday evening, trying to relax, I turned on the television and saw an ad for a new comedy series called The Last Man on Earth. It wasn’t clear how everyone else had died.
I had learned what I needed to know, or had remembered it: television does not relax me. I turned the television off, took an Ativan, and listened to The Teddy Charles Tentet, a terrific jazz record.
Phil Miller is the last man on earth—which makes him the world’s greatest handyman—world’s greatest athlete—[etc.]
The last man on earth.
But of course one is not the Last Man on Earth. There are other people, equal claimants to the Earth. It can be vexing to share it with them. Read More »
December 19, 2014 | by Noah Isenberg
Budd Schulberg’s centennial.
“My problem,” novelist and screenwriter Budd Schulberg told Kurt Vonnegut at the close of a 2001 interview published in these pages, “is that I’m not going to live long enough to do all the different things I want to do. My time is beginning to run out a bit.” Then eighty-seven years old, Schulberg—whose credits include the Oscar-winning script for On the Waterfront (1954), a handful of widely acclaimed novels, a Hollywood memoir, a collection of short stories, a biography of Muhammad Ali, and volumes of essays and magazine articles on boxing—was working with Spike Lee on a screenplay about the epic 1930s battles between heavyweight world champions Joe Louis and Max Schmeling and collaborating with Ben Stiller on a film adaptation of his best-known novel What Makes Sammy Run? (1941). Eight years later, he bid his final farewell before either of these projects could be realized. He would have turned one hundred this year.
Early last month, I attended a two-day celebration of his centennial in Hanover, New Hampshire, at Dartmouth College, from which Schulberg graduated in 1936 and whose Rauner Special Collections Library holds his papers. The event began with the unveiling of a library exhibition—“Budd Schulberg and the Scripting of Social Change,” which runs through the end of next month—charting the writer’s numerous engagements with political events that spanned much of the twentieth century. As editor of The Dartmouth, the college’s daily paper, in 1935, he covered a quarry workers’ strike in Proctor, Vermont, anticipating the preproduction research he would undertake on the mafia infiltration of the dockworkers’ union for On the Waterfront. Read More »
October 29, 2014 | by Adam Sobsey
Finding a Hall of Fame for Dock Ellis.
Let’s get Dock Ellis into the Hall of Fame. Oh, not really, of course—by the Hall’s statistical criteria, he isn’t even close. But after a visit to Cooperstown in September, I found myself imagining a Hall of Fame that would enshrine him.
Ellis is unquestionably famous, after all—infamous, too. He is the subject of No No: A Dockumentary, which headlined the Hall of Fame Film Festival I attended last month; a Society for American Baseball Research panel event a few weeks later; a psychedelic song, recorded in 1993, by Barbara Manning; and, especially, an excellent book, published in 1976, by The Paris Review’s own Donald Hall, Dock Ellis in the Country of Baseball. Evidence keeps mounting that Dock—always flamboyant, often controversial—was the emblematic player of his era, the seventies, with its dubious introduction of such artificialities as the designated hitter and Astroturf; the acrimonious battle for free agency; and all those drugs.
Ah, yes, drugs. Ellis, who died in 2008, is best known as the pitcher who, in 1970, threw a no-hitter while tripping on acid—appropriately, his name in a box score reads, “Ellis, D.”—but that freak feat is a red herring, and it’s not even his most freakish. On May 1, 1974, Dock decided to send a message to the Pirates’ archrivals, the intimidating Cincinnati Reds, who had cowed Pittsburgh into competitive docility. “We gonna get down,” Dock decided. “We gonna do the do. I’m going to hit these motherfuckers.” Donald Hall recounts Ellis’s plan and its execution. The first guy Dock hit was Pete Rose (who should also be in the Hall of Fame, though for very different and far more genuine reasons). After he hit three batters, walked another who ducked and dodged four pitches, and threw two beanballs at future Hall of Famer Johnny Bench, Ellis was mercifully removed from the game with this remarkable stat line: zero innings pitched, no hits, no strikes thrown, three hit batsmen, one walk, one run allowed. “Dock Ellis faced four batters in the first inning,” the box score decorously explains. Dock’s own explanation of himself in No No says more: “It’s not that you’ve got to watch how I pitch,” he insists. “You’ve got to watch how I play.” Read More »
October 6, 2014 | by Gary Lippman
In Just Kids, Patti Smith calls the painter and singer-songwriter Bob Neuwirth “a catalyst for action,” and she should know—it was Neuwirth, “trusted confidant to many of the great minds of his generation,” who urged her to write her first song. In a recent interview with Smith, Neil Young said that Neuwirth is “almost a Biblical figure … It’s just amazing that this guy has been shadowing through all these artistic communities.”
Down the decades, Neuwirth, now seventy-five, has made the scene in Cambridge, Massachusetts, Berkeley, Paris, Nashville, Santa Monica, and Austin, stopping in at the fabled festivals of Newport, Monterey, and Woodstock and associating along the way with Janis Joplin, Lou Reed, the Coen Brothers, Brice Marden, T Bone Burnett, Joan Baez, Shel Silverstein, Elvis Costello, Sam Shepard, Kris Kristofferson, Larry Poons, The Band, and The Band’s former front man, Bob Dylan. In Chronicles: Volume One, Dylan recalled the decades when he and Neuwirth were especially close: “Like Kerouac had immortalized Neal Cassady in On the Road, somebody should have immortalized Neuwirth … If ever there was a renaissance man leaping in and out of things, he would have to be it.”
For someone on the receiving end of such high praise from the famous, though, Neuwirth has a rather low view of fame itself. “Being famous is a full-time job,” he told me over lunch recently in the West Village. “You can get more done being anonymous. I know how people can get famous, but they have to want to do that … It has to tickle the G-spot of their minds, because being anonymous is so much more powerful. You can get so much more done if you’re not worried about fame and fortune. You can get a lot done.”
Since he came out of Akron, Ohio, in the early sixties, Neuwirth has focused primarily on painting, but he’s equally as well known for his music. He cowrote Joplin’s song “Mercedes Benz”; put out five mostly excellent solo records (including Last Day on Earth, a collaboration with John Cale); appeared as Dylan’s running buddy in D.A. Pennebaker’s 1967 documentary, Don’t Look Back; had his songs recorded by the likes of Jerry Lee Lewis, Roger McGuinn, and Peter Case; and worked with everyone from the Welsh filmmaker Sara Sugarman to rockabilly legend Rosie Flores.
Later this month, Neuwirth and his small band will join the journalist David Felton for “Stories and Songs” at Manhattan’s Dixon Place on October 15 and at McCabe’s Guitar Shop in Santa Monica on October 19. We spoke about these upcoming shows, among many other diversions.
What can the audience expect from “Stories and Songs”?
I’m interested in the living-room, intimate atmosphere of it. The whole point is, what happens when somebody shows up in a performance space without a preset agenda and has to bring something to the table, much in the way Keith Jarrett approaches a concert in which he doesn’t know what the first note is going to be? It’s almost unbelievable to hear his Koln Concert and think that Jarrett just cleared his mind before he walked onto that stage—it’s sublime. That’s our ideal. It’s 95 percent improv—aside from a couple of anchor songs, touchstones that I can rely on if things get too hideous.
Has that backfired? Do you ever get scorched by embarrassment?
Daily. On or off the stage. I’m scorched by embarrassment every time I look in the mirror. Especially when I’m trying on a bathing suit. Read More »
September 10, 2014 | by Dan Piepenbring
Though she’s known mainly for her poetry, H.D. was a cineaste, too, in both senses of the word—in the late twenties she formed the Pool Group with Kenneth Macpherson and Bryher (the pen name of Annie Winifred Ellerman). They published a film journal, Close Up, to which H.D. frequently contributed, and they made a number of films, only one of which survives in full. It’s 1930’s Borderline, starring Paul Robeson opposite H.D. herself, credited here as Helga Doorn. It’s about an interracial, bisexual love affair—not so much a love triangle as a love quadrilateral—and, yes, it’s available in toto on YouTube. As the Criterion Collection says, the film “boldly blends Eisensteinian montage and domestic melodrama.”