Stanley Kubrick’s 1968 interview for Playboy Magazine
Read the whole thing
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Stanley Kubrick: A Life in Pictures (2001)
142 min – Documentary
Stanley Kubrick’s 1968 interview for Playboy Magazine
Read the whole thing
* * * * *
Stanley Kubrick: A Life in Pictures (2001)
142 min – Documentary
“Lars Von Trier – genius or fraud?” – asks a May 2009 Guardian Arts Diary poll. Its subject is arguably world cinema’s most confrontational and polarizing figure, and the results: 60.3% genius, 39,7% fraud.
Trier takes risks no other filmmaker would conceive of (…) and willfully devastates audiences. Scandinavia’s foremost auteur since Ingmar Bergman, the Danish director is “the unabashed prince of the European avant-garde” (IndieWIRE).
Challenging conventional limitations and imposing his own rules (changing them with each film), he restlessly reinvents the language of cinema.
Personally he is as challenging as his films. After having written some of the most compelling heroines in recent cinema and elicited stunning, career-topping performances from Emily Watson, Björk, Nicole Kidman, and Charlotte Gainsbourg (photo), he is reputed to be a misogynist who bullies actresses and abuses his female characters in cinematic reinstatements of depleted sexist clichés.
He is notorious at Cannes for his provocations and insults, as in 1991, when he thanked “the midget” (Jury President Roman Polanski) for awarding his film Europa third, rather than first, prize. Some years later, at Cannes, in a scene worthy of Michael Moore, he called U.S. President George W. Bush an “idiot” and an “asshole”, lending vituperation to the already divisive Manderlay (2005), his film about an Alabama plantation practising slavery into the 1930s…
Coming from a small country infiltrated by America’s media-driven cultural imperialism, he has found it not merely his right or duty to make films about the United States but impossible to do otherwise. Despite that, Von Trier is known for his celebrated refusal or inability (he has a fear of flying) to set foot in the United States…
A similar effrontery had provided the catalyst for Dogme95, the Danish collective and global movement that took on Hollywood in the 1990s and continues to be well served by the punk impertinence of the Dogme logo: a large, staring eye that flickers from the rear end of a bulldog (or is it a pig?).
Dogme shows where the provocateur and auteur come together. Claiming a new democracy in which (in the manifesto’s words) “anybody can make films”, Trier and the Dogme “brothers” market out a space for independent filmmaking beyond the global mass entertainment industry. Although he rarely leaves Denmark, he has cultivated a European and uniquely global cinema. Making his first films in English, he quickly found a niche in the international festival circuit. He drew inspiration from a wide swath – from the genius of Andrei Tarkovsky to movements such as Italian neorealism and the international New Waves of the 1960s-1970s, to American auteurs Stanley Kubrick and David Lynch…
Trier’s long-term affinity with German culture – from expressionism and New German cinema to the writings of Karl Marx, Franz Kafka, and Friedrich Nietzsche – extends to equal passions for Wagnerian opera and anti-Wagnerian (Brechtian) theater… In spite of his flaunted internationalism, Trier has become the standard-bearer for Nordic cinema. Like Bergman and Carl Th. Dreyer, whose visions transcended nationality, he has exploited Scandinavian “imaginary” – bleak landscapes, Lutheran austerity and self-denial, the explosive release of repressed emotions – to project it elsewhere. He has similarly appropriated the Northern European Kammerspiel (chamber play) that Henrik Ibsen and August Strindberg had condensed into a charged medium.
Reincarnating Dreyer’s martyrs (The Passion of Joan of Arc, 1928; Ordet, 1955) and the anguished female performances of Bergman’s films for the present era, he has invented a form of psycho-drama that traumatizes audiences while challenging them to respond to cinema in new ways.
His interest in theater goes back to his youth, and his films are theatrical in several senses: stylized, emotionally intense, and provocative. His features have invoked 20th century theatrical initiatives clustered under the heading of the performative: especially Antonin Artaud’s Theatre of Cruelty, Allen Kaprow’s “happenings”, and Guy Debord’s situationism, which reformulated Marxist-Brechtian aesthetics for the age of the “spectacle” in which power, concentrated in the media image, turns individuals into passive consumers. In 1952, Debord called for an art that would “create situations rather than reproduce already existing ones” and through the performance of “lived experience” disrupt an expose the spectacle.
In 1996, Trier similarly explained his view of cinema-as-provocation: “A provocation’s purpose is to get people to think. If you subject people to a provocation, you allow them the possibility of their own interpretation.” (Tranceformer) (…) The films bear witness, make proclamations, issue commands, pose questions, provoke responses… Thus his films have had an impact on their surrounding contexts, affecting audiences, producing controversies, and changing the aesthetic, cultural, and political climate of the late 1990s and the 2000s.”
By Linda Badley.
“Making The Waves: Cinema As Performance”.
University of Illinois Press. 2010.
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Thomas Vinterberg is the co-creator, together with Lars Von Trier, of Dogme 95. Linda Badley remembers that Dogme 95 “required abstinence from Hollywood-style high tech cosmetics, calling for an oppositional movement with its own doctrine and ten-rule “Vow of Chastity”. Coming up with the infamous rules was “easy”, claims Vinterberg: “We asked ourselves what we most hated about film today, and then we drew up a list banning it all. The idea was to put a mirror in front of the movie industry and say we can do it another way as well.”
by Darren Aronofsky (2010)
Download Bluray Rip: http://bit.ly/1huolJ4
“The swan sings on the water,
floats up and down the wave,
and singing ever softer
dives to his watery grave…”
HEINRICH HEINE, Selected Poems, p. 426.
* * * * *
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Tchaikovsky’s “Swan Lake” – The Kirov Ballet:
Previously on Awestruck Wanderer:
#01 – The U.S. Against John Lennon (documentary)
#02 – David Cronenberg: an overview of his carreer
#03 – The Coen Brothers’s Big Lebowski
#04 – Recommended films
#05 – Woody Allen’s Blue Jasmine
#06 – Luis Buñuel’s Los Olvidados (article by André Bazin)
#07 – Alex Cox’s Walker (starring Ed Harris)
DEVILS THAT CAN QUOTE SCRIPTURE
by Eduardo Carli de Moraes
Unfortunately, ours ears nowadays continue to be used as toilet seats by demagogues and warmongers who have shit for brains. They talk righteously about their intentions of exporting Democracy and Humanitarianism, when they actually mean Imperial Power and Mass Robbery Of Foreign Natural Resources. But I’m not even gonna start giving vent to my fury against the Yankee’s Petroleum Wars that followed the September 11th attacks, nor will I comment on the use of such techniques of interrogation used in Abu Ghraibs and Guantánamos; nor I’ll waste much time denouncing once again the fact that the Bush administration justified the Iraq War with a lie (no, the whole thing had nothing to do with Sadam’s weapons of mass destruction! And, by the way, it’s the U.S. Army who is written down in history as the only one ever to drop an atom bomb another country’s civil population…). But I won’t even get started on the theme of Hiroshima and Nagasaki being bombed to ashes at the end of the II World War, for what I intend to express here is something else, tough closely related to all these horrors here briefly refered to – here I would like to attempt to explain why I deem Alan Cox’s Walker to be an awesome, deeply provocative film, excellent both as an historical depiction of U.S. Imperialism in the 19th century and as a witty satire of a dangerous neurosis that can turn a man into a Fascist pig. This is a film that continues to have a lot to say to us at the dawn of the 21st century A.D.
The reason that explains why Walker isn’t so widely recognized as a masterpiece of cinema in the 1980s, as I think it deserves to be, has to do with its very punkish depiction of a Yankee Fascist Pig. Audiences in the U.S. can’t find here any reason to be proud and patriotic. Watching it, one becomes acquainted with crimes against humanity so great that can rob someone of sleep: the bloody scenes may be filmed in Spaghetti-Western style, but they have the power to communicate to the audience the stature of this tragedy (and it’s huge). This is an unusual picture because it doesn’t have a hero as its protagonist, but much to the contrary: Walker is starred by a villanous mass-murderer and a Imperialist filibuster. Actually, according to Wikipedia, “the English term FILIBUSTER is derived from the Spanish filibustero, itself deriving originally from the Dutch vrijbuiter, and means “privateer, pirate, robber” (also the root of English “freebooter”). The Spanish form entered the English language in the 1850s, as applied to military adventurers from the United States then operating in Central America and the Spanish West Indies such as William Walker…”. Behind Ed Harris’s blue eyes and blond hair and mild manners, there’s a “crazy gringo”, as many people in Nicaragua referred to him.
Possessed by delusions of grandeur, Walker believes that’s it’s a God-given duty for the United States of America to be leaders of the whole continent, to expand their way-of-life was widely as possible – and by the American Way he means a system quite similar to the one then dominant in U.S.’s South in the years leading up to the American Civil War (1861-1865). Walker is pro-slavery, but not only that: he thinks Slavery is so great an institution that the United States should export it. God up in the heavens wanted the U.S. to use military force, invasion of foreign countries with tanks and bombs, and the burning down of whole villages, believes Walker, in order that the “primitive” people of Nicaragua or Guatemala could be “enlightened” by a Superior Civilization. Alex Cox’s film is a satire because it shows how ridiculous this man’s ambitions and ideals are – he poses as a righteous man-of-God, but he’s in favour of a system of slavery, racial segregation, obscene economical inequalities etc. The Nicaraguans, when they discovered what sort of shit the gringos were trying to enforce upon them, fought against it with all their might. The film permits us to see that, in the perspective of the Nicaraguans, the invasion of the Americans, “the crazy gringos”, was similar to the sudden arrival of a plague of destructive insects, or an attack by a savage horde of barbarians.
British director Alex Cox previous movie had been the bio-pic Sid & Nancy (1986), in which he captured quite authentically the downward spiral of The Sex Pistols’s musician Sid Vicious and his groupie-girlfriend Nancy Spungen, embodiments of the “live fast, die young” motto. For his next project after Sid & Nancy, Cox teamed-up with Joe Strummer, who composed the original soundtrack of the film, in one of his greatest works after The Clash had disbanded and The Mescaleros hadn’t yet been born. Ed Harris played the lead role as William Walker (1824-1860) and as usually displayed his high excellence in acting. If Cox’s film can be called punk it’s not because its production is cheap or faulty – on the contrary, this is was a 5-million-dollar budget film, and technically it looks so great as Sergio Leone’s or Gillo Pontecorvo’s films did. It is quite punk for its courageous and rebellious attitude of denouncing, and covering in ridicule, an authoritarian war-criminal such as Walker. In other words: this is punkish left-wing cinema that portrays The Enemy. Walker is a guy devoted to the dogma of Yankee superiority, and to the right of the United States to rule the whole world, and who puts his neurosis to practice in such murderous ways that I hope that you, dear readers, will agree with me in calling him by the un-polite but very fitting term “Fascist Pig”.
But one may ask: why make a movie, in the mid 1980s, about the international relations between the United States and Nicaragu ? Well, it was then a very urgent and pulsating theme in the public debate and on the media, and director Alex Cox remembers as follows the situation when Walker was made – the era of Ronald Reagan (in the U.S.) and Margaret Tatcher (in the U.K.):
“Reagan and Thatcher’s maniac front was working overtime to destroy the Sandinista revolution by any means. Thatcher had even attempted to criminalize the word ‘Sandinista’ – hence The Clash album of the same name. It would be a mistake to underestimate the power of the punk movement at that time. The Clash, The Jam, The Pistols, and their successors were almost the only beachhead many of us had against a tidal wave of reactionary politics.” (ALEX COX, in Let Fury Have The Hour, pg. 80)
That’s what makes Walker such an interesting and exciting movie: it feels like a manifesto written by British punks, in which they make a very powerful political statement about Imperialism and War Crimes. Even tough The Clash’s Sandinista was regarded by many as a lousy follow-up to one of the greatest albums in the history of popular music (1979’s London Calling), it was also a political statement right from its title: “sandinista” was then a forbidden word, and the sandinistas were painted by Reagan and Tatcher’s obedient dogs at the commercial media as dangerous and deadly “commies”. By doing an album like Sandinista, The Clash was trying to make several statements: firstly, they refused to record commercial bullshit only to sell records and honour contracts with CBS; they wouldn’t accept being censored in their language or themes, not they would accept quietly all the lies that were being spread about Nicaragua and the Sandinistas and the need for an Humanitarian Military Intervention by the Yankee’s armies; The Clash would stay rooted in rebellion against a establishment that, after Vietnam and Camboja, after spreading Military Dictatorships all over Latin America (Chile in 1973, Brazil in 1964…), was acting once again with murderous villany against other countries.
In “Washington Bullets”, one of Sandinista’s greatest songs, Joe Strummer asks The Clash’s audience to remember, among other things, the plots to kill Fidel Castro and to sabotage the Cuban Revolution, and also depicts what happened in Chile, in September 11th, 1973, when Salvador Allende’s regime came tumbling down (with lots of Washington Bullets and CIA agents helping out the installment of Pinochet’s dictartorship). “Eevery prison cell in Chile will tell”, sings Strummer, “the cries of tortured men…”. Chile, after 3 years under the yoke of democratically-elected president Allende, was plunged in dark times while Pinochet’s system killed and tortured all around, in order to be able to enforce all the policies that Mr. Milton Friedman and the Chicago Boys deemed excellent for profitable markets (Naomi Klein’s The Shock Doctrine tells the whole history quite well).
Joe Strummer, in the 1980s, was moving away from the mainstream arena, venturing into of a shadowy underground where music and social activism were together as one: he didn’t want much to do with the music industry and its hit-producing machinery. Strummer was interested in radical political films – such as Gillo’s Pontecorvo’s The Battle of Algiers and Burn! – and he wanted music to act as a helping hand in the struggles for social justice around the world. Strummer wanted to be punk’s Woody Guthrie and in Sandinista, for example, he took his characters from recent History – in “Washington Bullets”, he was singing in memory of Chilean singer, songwriter, poet and teacher Victor Jara (1922-1973), who had been murdered by the fascists in Santiago, September 11th, 1973. With “Washington Bullets”!
William Walker is the embodiment of a very dangerous characteristic, that some insist on calling a virtue, but that should be looked upon with skepticism and suspicious, methinks: Walker is a deeply righteous and arrogant man. He believes he’s on the side of Civilization, of Goodness, of God. But in reality he acts like a mad assassin who won’t refrain from shooting his own brother down. Anyone who dares question his authority is treated like a beast that deserves to be spanked or shot dead. He invades Nicaragua backed-up materially by big-money, big capitalist interests, greedy Yankee businessmen wanting to rule over Central America and control the territory that links the oceans. But he always tries to pretends he’s a saint and a god-send, who has just descended from Heaven to help the ignorant and uncivilized peoples of Central American (actually, Walker didn’t descend from Eden, but came out of Nashville, Tennessee…). Even tough he preaches lofty sermons as if he was the Messiah, the Chosen One that will lead his sheep to salvation, what he actually does is only to bring disaster and death to all those around him, including himself. Thus Alan Cox’s intermingles satire with tragedy – to impressive aesthetic effects.
Maddened by his Messiah Complex, delusional like those Insane Asylum Napoleons, Walker acts as if he is a Roman Emperor (he has even his moments of Nero-like incendiary behavior). Deeply racist, he tries to enforce slavery into Nicaragua and be the tyrant of an enslaved nation. He stinks of hypocrisy and agressiveness, and yet he seems to think of himself as a lofty idealist, a revolutionary of a New Enlightenment… He can’t see how blind and dumb he has become by his faithful obedience to his ideals: his righteousness is in fact an embodiment of Right-Wing politics, of Imperial Power acting to enslave and rob other nations. Smells like Bush, right? Walker calls himself a “social democrat”, but the democracy which he wishes to impose on Nicaragua is a bloody bad joke: after ordering the firing squad to get rid of the opposition to his presence in Nicaragua, he decrees himself president without any need for elections. He “democratically” proclaims himself president of Nicaragua, a country he had just invaded with murdering soldiers and mercenaries, and orders the newspapers to print that he has been elected (with only one vote – his own).
These occurrences that Alex Cox’s films depicts so well are also a interesting portrayal of an archetype, of a paradigm. What I mean is this: in many Historical occasions, methinks, men acted very similarly to Walker. If we push the forward button of the remote control of History’s Newsreel, and take a look some years ahead, we’ll discover very similar episodes – for example, as I tried to express in the previous paragraphs, Salvador Allende’s death in 1973 and the beginning of Pinochet’s dictartorship in Chile. But Walker still has a lot to say about much more contemporary events like The War on Terror. Walker is a great historical epic with a punkish mood and filled with witty satire. It’s a film that will be particularly tasty to those who enjoy violent Westerns such as Leone’s or Peckinpahs’s. But its great value lies in its denounciation of the inner machineries and outer actions of an archetypical fascist pig. Behind his blue eyes, this blondie is a “crazy gringo” that invades, plunders, murders and burns while always clinging to the belief that God is on his side and that he knows what’s better for the peoples of the whole globe. He’s just one more example of that archetypical figure, so common in History, of a human devil that can quote Scripture.
“Old habits die hard”, so the saying goes. It may be said that here lies one of the explanations for why comedy and tragedy are both so abundand in human existence: our psyches have a tendency to stick to behaviours learnt in the past, while the challenges we have to face are often new and unprecedented. I’m not simply stating the obvious – the “Freudian” thesis about how we’re necessarily “shaped”or “sculpted” by our first childhood experience, when our characters are formed (and deformed…). What I meant to point out is something similar to Marshall McLuhan’s statement that “we look at the present through a rear-view mirror”. Or, as Kierkegaard said it: “Life can only be understood backwards; but it must be lived forwards.”
In Woody Allen’s Blue Jasmine I get the impression a woman who looks at her rearviewmirror with a mixture of nostalgia and disgust, while she drives into the future to see what joys and catastrophes he’s got in store. Jasmine has lost a lot – her husband is dead, her big-money is gone, her son hates her guts… – but she’s still striving to recover what she has lost. What the film does really well is to transport us into a story in which we’re provoked to reflect upon Jasmine’s unfortunate fate, but she’s never merely a victim – she’s also someone who causes herself the disasters because of her unwise choices, her greed and arrogance, her belief that she belongs to a class of people above the rest. She’s diseased with the elite’s myopia: she believes to be part of the Special Caste. It’s a character that wasn’t made for an audience to love, much less idolize: Jasmine is at the same time a comical figure (a caricature of snobbish behaviour, a socialite-poseur who’s all about cheap tricks and bought glamour…), and a tragic one (a flesh-and-bone creature whose Psyche is being shattered to pieces).
The film, it seems to me, feels somewhat closer to the “dramatic” section of Allen’s oeuvre, belonging in the illustrious company of Crimes and Misdemeanors, Husbands and Wives, Match Point, among others. There’s an artistic statement being made here, and, if I hear it well, is an alarm call against a peculiar brand of cultural madness that gets ahold of Jasmine – this character that Cate Blanchett brings to life so magnificently. The character may seem kind of typical of Woody Allen’s immense gallery of made-up-people: one more cheated wife who tries to start her life anew after the wrecking disaster of her marriage. But Blanchett manages to transform this character in something quite unique, into a multi-dimensional fictional creature.
It’s perhaps one of the greatest characters Woody Allen has created since Melinda and Melinda (2005). When Blue Jasmine ended, I had the impression that Woody Allen had achieved – at least for 30 seconds… – something as powerful and emotionally engaging as John Cassevetes did, in several unforgetable scenes, on the masterpiece of cinema A Woman Under The Influence (1974). If, throughout the film, Blanchett appears to be trying her skills on the art of comedy, as the reel rolls we marvel to see madness stepping in, and Blanchett portraying it in her flesh with a performance that would make Gena Rowlands proud.
Jasmine’s a woman that experiences an earthquake on her life, and the film chronicles the process of her downfall (from high-class to unnemployed tramp, from happily-married to a widowed single who’s “available”…). Woody Allen shows us lots of signs of her position in society’s classes: she’s rottenly rich, buys only fancy clothes and dresses all doll-like. To sum things up: she’s Barbie on Zanax. She’s somewhat similar to women in Lolita Pille’s Hell. She’s hooked on a drug called greed (she perhaps calls it “a comfortable life” and believes it can’t be bought with less than a billion dollars.) Woody Allen portrays her with a marvellous attitude of “no mercy”: she’s shown as someone full of vices and neurosis, a pouseur that acts like she’s a big-shot, refusing to acknowledge that she’s no longer part of the social pyramid’s top-floor. She’s a girl who once was rich and now has been thrown into the gutter, but who is still posing as a princess.
And one the most interesting things, in this movie, is the reason that explains Barbie’s downfall from privilege into the commonest of gutter-lives. Jasmine was married for years with a big-shot of Corporate Capitalism. Alec Baldwin’s character is an embodiment of what’s rotten on the behaviour – increasingly questioned in the streets of urban centers worldwide – of Wall Street, banksters, CEOs, and similar sharks and bulls of our present political and economical landscape. After the 2008 crisis and the Ocuppy Wall Street Movement, there seems to be another political wind in the air that’s also being captured in camera by some of the boldest filmmakers in North America. And Woody Allen and Alec Baldwin, it seems to me, were bold, and not so polite, when they portrayed, in Blue Jasmide, a lying-and-cheatin’ figure, which robbed his way into the top. In Cronenberg’s Cosmopolis we had another similar experience of utter disgust while we witnessed the day of a millionaire, in his limousine, while the riots flooded the streets around him, and a funeral procession for a dead rapper was being followed by thousands… Our are messy times. And perhaps they’re bound to get messier.
I really enjoyed Blue Jasmine because of it’s down-to-earth feel, of it’s refusal to indulge in the propaganda of a way-of-life. In fact, Woody Allen’s has used comedy as a weapon here in such a way that surprised me – I wasn’t expecting it, after Midnight in Paris, a movie that belongs to that category I usually call: “too cute to be true.” It may be said that, in Blue Jasmine, Woody Allen is not so interested in beauty than in truth: by the end of the movie, we see how much Blanchett’s body and facial expression have lost all that top-model-posing-for-papparazis look of her “glory days”. By the end of the movie, she’s a wreck, a walking disaster, and you’re suspecting she might kill herself with a Zanax overdose or throw herself from the bridge. It’s a great ending, pessimistic as it may seem, and – If you ask me – way better than any happy ending could have been.
It may be said that Woody Allen gives vent to his sarcasm against Jasmine – she’s described as somewhat stupid, un-educated, an economically priviledged woman who never payed no mind to her own education and enlightnement. After her husband is jailed, and all the wealth is gone, she discovers herself not only empoverished in money; her whole identity is shattered and cracked. Her psyche is like a broken mirror. And yet she ventures into the new experiences always looking at the rearviewmirror – a shattered one. Her habits sure die hard: she’s hooked on fancy clothes and expensive jewels, but the money to afford them has been flushed down the toilet by her rich husband (Alec Baldwin), who turned out to be both an excellent money-maker and a criminal (doesn’t this happen quite often?). Now, her plan for survival is this: “to learn about computers and to study interior decoration on-line.” Yeah: I’m quite sure that Allen’s relation to Jasmine has a lot to do with sarcastic remarks about a figure he’s aiming to ridicule.
But that’s not all. Of course Jasmine experiences not only a revearsal of economical fortune, but also a personal tragedy – and this is truly where the merit of Woody Allen’s film lies. Jasmine is an object of sarcasm, ridicule, and disgust; but she also has something almost tragic about her. Because we see her in the process of losing all her previous comforts and securities – both material and emotional. She’s lost much more than money: her family has crumbled apart, her wealth has turned to ashes, her American Dream has revealed its true face: that of a nightmare.
Jasmine, once a wealthy high-class figure of New York’s economical elite, finds herself thrown down the ladder. She discovers she’s been married to a corporate criminal, who could only buy them such an easy-living with money earned by illicit means. And while her husband rots in jail, and finally chooses to cut his miseries short with a rope around his neck, Jasmine moves to San Francisco aiming to start a new life. But old habits die hard. She doesn’t want her new life to be much different than the previous (and privileged) one. So she does what mortals such as we so often do: she won’t learn with experience, and she’ll tread a similar path to the one that has lead her to disaster; she’s gonna commit the same mistake twice. Instead of changing herself and her ways, she tries to follow in the same direction she once took: she wants to go back to her former “happy life”, but is constantly discovering that it’s dead and gone. Her glory days are buried.
But nothing can convince her desire to change. She wants the fancy, wealthy, trés chic lifestyle back. She’s hooked on consuming expensive trash and sparkling jewels, and she’s not gonna refrain from a lying-and-cheating behaviour to get what she wants. She wants to be married to a rich guy again, and when she meets a candidate, well… she doesn’t even bother herself asking: “how did he get so goddamn rich?” He might turn out to be another rich criminal – who knows? But it’s as if she doesn’t care a bit about that. In order to seduce the rich-guy into a marriage proposal, she sets her trap and leads him into it with the aid of an invented past, a fictitious construction of yersterdays that never were actually lived. In other worlds: she’s acting like a pathological liar. She’s selling to another person a falsified image of her own past – but this past won’t stay quietly buried. It will come back to life and demand that its truth must be recognized. That’s a theme that also propels Cronenberg’s narrative in A History of Violence, as I attempted to show on this article.
Jasmine, if she was wise, would have truly learned from experience and changed her route. Instead, she followed the path that Woody Allen so frequently portrays his characters following: the comical and tragic tendency to repeat the same mistakes and also manage to discover ways to make brand-new ones. In mood, Blue Jasmine is quite similar a Coen Brothers’ comedy of errors. But its relevance, it seems to me, lies much more in its psychological insight and its commentary on society, culture and politcs. As I’ve said before, in this movie Woody Allen and Cate Blanchett really achieved, working together, an artistic result that brings to mind some of the best elements in the work of John Cassavetes. Jasmine’s descent into the maesltrom of madness is depicted in a truly multi-dimensional way – she’s deeply wounded by past experiences, and almost choking because of too many traumas, but she’s never only a victim of others peoples’ misdeeds: she’s also a victim of herself.
She’s almost like a junkie, but one who’s hooked on wealth and status and is dying from its withdrawal. And, it seems to me, it’s a cultural madness that Jasmine embodies, one that could be summed up by this tendency of uncontrollable greed for material goods, especially those denoting superiority of class. In Blue Jasmine, I believe Allen has made one statement of impressive power. The film provides what we expect from his witty creativity – smart dialogue, good jokes, fast-paced narrative… – and leaves us astonished at Woody’s capacity to continue crafting such marvellous original screenplays at his already advanced age (he’s brain, born in 1935, is still quite sharp!). Someday, after he’s gone to the grave, and after all the clouds of gossip and scandal settle down, perhaps Woody Allen’s ouevre will be deservingly praised as one of the greatest artistic bodies-of-work that North America’s cinema has produced in the last decades.
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PHILIP SEYMOUR HOFFMAN
(July 23,1967 – February 2, 2014)
One of the most talented and versatile artists of our era, Philip Seymour Hoffman, was found dead in his Greenwich Village apartment today: http://bit.ly/1kyZi60. The police has informed that Hoffman’s body was found with a needle in his arm and that a heroin overdose is the most likely causa mortis. This shocking premature demise (he was only 46) cripples cinema from one of its shiniest stars (similarly to what happened some years ago with Heath Ledger) – and will surely be mourned worldwidely by the admirers of his career.To remember some of the greatest moments of this life devoted to acting, here’s some of the highlights of Philip Seymour Hoffman’s artistic legacy (including download links)
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