The French Connection #1

C'est décidé. I'm going to initiate myself to French culture—something I've managed to avoid for twenty years despite the fact that I've been living in the country for all that time.

But I don’t mean French high culture. I already enjoy French literature, French painting, French classical music, French kissing and French cancan. I mean French popular culture. It's something I've always snubbed.

I'm starting with cinema. I've always found modern French acting to be, well, frankly, terrible. And most of the French films I've seen (apart from a few exceptions) I didn't like, either because it wasn't my type of humour, either because they've been the kind of films with scenes where you see a close up of a man washing his hands in the sink for five minutes straight (as one friend from Norn Iron once put it). But I decided to give it another chance. I thought I'd start with the nouvelle vague, an influential movement in cinema which started in France in the 1960s.

So last week I watched Jean-Luc Godard's 1965 film Alphaville. I thought it would be an easy start, since it's science fiction: I wasn't disappointed. It was brilliant. It wasn't like the American sci-fi B-movies of the time. No airships, no spacesuits, nothing extra-terrestrial; the setting was a French city in a not too distant fascist future. (Everything was shot in real locations in Paris.) There were a lot of themes apparently inspired from 1984 and Brave New World, but with a distinctive French touch. It was exciting, and fun to watch, but there were some very interesting shots, which had an experimental feel to them that hasn't been lost, even when being viewed today. And the acting... well, I was expecting bad, affected acting. But the actors were really talented, especially Anna Karina (pictured left), a sort of French Diana Rigg or Audrey Hepburn. (I actually found out afterwards that she was Danish-born, and that the lead male actor, Eddie Constantine, was born in LA, but I don't know if that has anything to do with the acting style).

Anyway I think I'm a convert, and I'm ready to see my next 1960s French movie... Probably Godard's Breathless. I'll keep you posted!

By the way, here's the most famous scene from Alphaville:

The Go-Getter

I'd never heard of the Go-Getter until I checked out Zooey Deschanel's filmography ; it's an indie road movie which was released in the beginning of 2007 and only ran for three days, grossing less than $12,000. Most of the cast (which is quite small), I'd never heard of before. Apart from Zooey Deschanel, the only recognisable face was Jena Malone (Donnie Darko, Into the Wild).
I loved the movie. I mentioned this in one of my last posts, but I'm a sucker for those kind of "indie" films. All the ingredients were there : an introspective anti-hero, a couple quirky characters, understated acting, the classic road movie "drive-by" scenes, and of course the trademark indie folk music (M. Ward, Animal Collective, Elliot Smith, the Black Keys).
Unoriginal, probably. Clichéd, no doubt. But it does the trick.


It's funny how different people respond so differently to works of art, be it painting, movies, music or literature. I don't think it's only to do with upbringing or education or peer influence. I can't help thinking that it has a huge deal to do with personality. I know it has its limits, but I think personality psychology could provide some answers, or at least some clues. (I've been interested in the Myers-Briggs Type Indicator and the "Enneagram" theories lately.) For example, I wonder if certain types prefer to watch (or to work on) certain films. Maybe SP types ("Artisans") prefer quicker-paced, action and sometimes violence-orientated) movies ; and NFs ("Idealists") maybe opt for slower, more introspective films.

Sunshine Cleaning

I went to see Sunshine Cleaning yesterday ; I hadn't been to the cinema for a while. I'd missed it. It's so different from watching DVDs. I don't know if it's because of the "collective experience" side to it, or the bright silver screen, or the dusty tattered old seats, but there's definitely something magic to the cinema... A bit like in Terry Pratchett's Moving Pictures. The cinema I go to in Reims is privately owned ; it's set in an old opera-house, and it often shows "indie" films and foreign movies, subtitled and in the original language instead of dubbed as in most French cinemas.

I was really looking forward to Sunshine Cleaning. I'm a sucker for all those Sundance festival films. I'm aware that that type of "indie" film isn't original anymore. The humour is often dark, the characters are offbeat, and the soundtrack is always made up of indie pop or folk bands. But I love those films. I go to the cinema for the entertainment, not for highbrow pseudo-intellectual arroganza—I spend enough time reading that sort of stuff for uni, thank you very much. The Sundance films maybe aren't original, but they're entertaining, and more often than not, refreshing.

In Sunshine Cleaning, as in Little Miss Sunshine, all the characters are "broken", they are all "losers". Rose (Amy Adam) is an ex-cheerleader who is now a cleaner-lady, who hasn't the strength to put an end to an affair with her high school sweetheart who decided to marry another girl. Rose's little boy, Oscar, is a gifted but "special needs" child who keeps getting kicked out of school because of his OCD behaviour. Rose's younger sister, Norah (Emily Blunt), is a thrill-seeking immature young adult who can't hold a job, and tries to drown her grief in anything she can. The girls' mother committed suicide when they were very young, and they've never managed to get over it ; their father (Alan Arkin) keeps making promises he never keeps, and, convinced that he has "business acumen", constantly plans new and unsuccessful business ventures. All the characters need redemption, and they find it by helping others. Rose and Norah feel a special connection to the people they clean up after (they start a crime scene cleanup business). Their father takes care of Oscar while they're at work. A one-armed shopkeeper looks after Oscar at one stage during the film. And yet all these "helpers" are never "rewarded" in any obvious way. Rose takes care of the whole immature bunch (son, sister and father) and never gets any recognition for it. The one-armed shopkeeper who seems to like Rose doesn't even get a "thank you" from her for looking after her son. Norah tries to help a young woman by reconciling her with her dead mother, and it doesn't work out ; she even accidentally burns down a house while working alone to let Rose go to a high scool reunion party. The grandfather fails to raise enough money to buy Oscar a gift he promised to give him for his birthday.
None of the characters are "rewarded" in any conventional way. Instead, they find love. Not eros, not romantic love, but agape, unconditional love. They grow closer to one another. They may be broken, and yes, they may be losers in the eyes of the world, but together, they are able to "cope", to live, to find joy.

Sorry I'm Late

I haven't much time to blog these days, but I'll try to get back to it soon... In the meantime here's another cool stop-motion video by Tomas Mankovsky.

Furry Happy Monsters

Me and You and Everyone We Know

Me and You and Everyone We Know came out four years ago but I only got round to seeing it now. It was directed by Miranda July, who also plays the lead role. Her quirky character, Christine, provides taxi services for old people. She's also a video artist, and she tries to get her work exhibited in a museum. She falls in love with Richard, a shoes salesman who has just got divorced. He tries to raise his kids and connect with them, but in vain - to try to get their attention, he even sets his hand alight and waves at them.
And that's one of the main themes of the film : connecting in the age of the internet. This is mostly developed in the subplots involving Richard's two boys, two teenage schoolgirls and a curator of a museum of contemporary art. The boys' first experience of sex takes the form of a scatological online chat with a complete stranger. A middle-aged man flirts with two schoolgirls, but when things might actually get physical, he hides from them. The curator views Christine's video artwork, and at the end of the cassette is a kind of pre-recorded interview of Christine : another delayed, indirect and virtual exchange. And although the exhibition the curator is preparing is a reflexion about the alienation caused by virtual communication, she herself has no one in her life. What's interesting is that the film came out just before the boom of networking sites (Myspace, Facebook, et al), but it brings some interesting insights. Even though technology and the Internet make it much easier, cheaper and quicker to communicate, humans are unable to connect in the computer age. The computer screen has become a barrier - an actual screen, if we want to play with semantics - between people. There is a breakdown of intimacy - whether platonic or sexual. Intimacy is replaced by an unhealthy type of fantasy - fantasy has always existed, and there's nothing wrong with it in itself, but the division created by the screen means that it's never acted out, there is never any real contact or sharing or exchange.
The film has some uncomfortable moments in it (the scene where a 8 year old kid sex-chats online with a stranger without even knowing what sex is is quite disturbing) and might be too quirky for the taste of some people, but it's one of the best I've seen in a while. Miranda July and John Hawkes (Richard) are great performers, some of the lines are memorable, the strange music fits the film perfectly, and there's some beautiful camera shots (the film actually won the Caméra d'Or at Cannes in 2005). But again, I don't think it's a film which will speak to everyone. Some people might think it's too pretentious, or just not get it. But it's probably like a good red wine. If you swallow it too quickly, you'll only taste the vinegary bits. If you let your tongue savour all the flavours it has to offer, you'll most likely love it!

Books

I was just browsing Youtube videos and found this short stop-motion, which I thought was very sweet and cleverly-done. Bravo to Molly Green for making it.

A Really Inconvenient Truth

A Really Inconvenient Truth is an analysis of Al Gore's An Inconvenient Truth and a critique of capitalism by American eco-socialist Joel Kovel, who ran against Ralph Nader for the Green Party's Presidential nomination in 2000 .
If you're a hardened capitalist, you'll probably hate this video. Otherwise you should have a look.



The main point Kovel makes is that you can't try to stop environmental crisis and the thrashing of our planet without challenging the capitalist system, and all that it entails.
I really appreciated the fact that Kovel makes it clear that we, as individuals, have to change our lifestyle of unabashed consumerism. Too many socialists are busy attacking capitalism (which is a good thing in itself) but aren't ready to change any of their own habits.

Eagle vs Shark

I enjoyed watching Eagle vs Shark a few days ago. It's a kiwi rom com featuring Jemaine Clement (Flight of the Conchords), with a quirky, offbeat feel to it, in many ways comparable to Napoleon Dynamite : it has nunchucks, weird animal drawings, and strange dialogue.
The soundtrack is great, most of the tracks are by New Zealand indie band the Phoenix Foundation.

If you want to check it out, you'll find the link at the bottom of this post, but hurry! Movies uploaded to Youtube usually don't last long these days.