Thursday, November 15, 2018

The Words: Body Parts





It’s nice to have a body of knowledge—and comforting too. To be conversant with the in and outs of just about anything and to have a deep kinship with it, whether it’s arcane like numismatics, philately or fly fishing or something more global like the history of SALT  creates a kind of confidence. At least in one area of the barnyard you’re not walking around like chicken with its head cut off. It’s also nice to have a good body, but that’s something like horticulture, a discipline burdened with a built-on ephemerality. Bodies like flower petals wilt. The body politic is another matter since humans are migratory animals and the decline of one demographic leads to the rise of another. Body Double was the l984 Brian De Palma film that was a homage to many such Hitchcock classics as Rear Window and Vertigo. But the theme of the double has its own venerable history going back to a novella by Dostoevsky that was eventually appropriated by Borges in "The Other." Of course it’s always a habeas corpus matter since you have to have a body to make a case. Body parts are what eventually leads investigators to missing persons, although you might find them in the kind of garage you go to when your old Impala needs some body work. Calling a crash, "a fender bender" is an example of synecdoche since it employs the part for the whole. 

Wednesday, November 14, 2018

The Final Solution: Getting Away With Murder



It’s not only the things the President does. It’s the fact that he gets away with them. Living through the Trump presidency is a little like high school. There were always these kids who could hit you in the stomach or knee you in the groin and get away with it, but more often than not they had names like Earl rather than Donald, who one associated with goofy characters like Donald Duck. Camus said the "only one really serious philosophical problem" was suicide. Well the only real question posed by the Trump years is, why some people get away with things and others don’t? It’s a little like a flurry of punches that ends a title bout before it even gets started. Trump’s chief method of deferring criticism is to do something so horrible on the top of the thing that he’s already done (the most recent, putting the onus on California for the fires being a little like blaming someone for having cancer) so that the earlier infraction (the attempt to rescind transgender rights), which may be illegal as well as an abuse of power, is totally forgotten. Trump isn’t the only person who's capable of such impunity. Everyone has had their own personal brush with sociopaths. Everyone knows somebody who can do things that are an insult to civilized behavior, whether they involve venality, cruelty or even malfeasance, and get away with it. Further most people learn that when they try to imitate the kind of conscienceless behavior they have a grudging admiration for, they fall flat on their faces. Without endorsing it, one has to respect the fact that Trump’s brand of evil is not in the purview of anybody. Getting away with murder is a gift, that may only be available to the select few.

Tuesday, November 13, 2018

Can You Ever Forgive Me?


Comedy is an aggressive activity. Its hilarity is bought at the expense of others. Look at Adam Sandler, Jim Carrey and Steve Martin. But even amongst bristly comedians Melissa McCarthy has always stood out. Her comic persona which is often that of the loner who's getting  revenge (in Identity Thief she literally robbed other people of their lives) can be over the top. McCarthy’s latest outing Can You Ever Forgive Me?, based on the story of Lee Israel, a female Clifford Irving, is ur-McCarthy. It’s the comedian without the comic embellishment. Moviegoers expecting laughs were going to be sorely disappointed by the portrait of a lonely alcoholic biographer who forges Dorothy Parker and Noel Coward letters to pay the bills. In reality, Israel who died in 2014, might have done well to simply sell these witty impersonations for what they were. Instead, she ended up in federal court. The relationship between fraud and art was famously explored by Gide in The Counterfeiters and of course Picasso famously said that “art is a lie that tells the truth.” There's something almost emetic about Can You Ever Forgive Me?The character McCarthy plays is totally unappealing and you can’t help thinking that the movie is a kind of ars poetica in which the comedian is showing the pain residing at the core of her own being. These are enormous presumptions, but when you view a number of movies starring a particular actor or actress who time and after time communicates a similar persona you begin to feel the presence of something ineffable that’s not just a role. Seeing McCarthy's character turning the vagaries of her personality  into art, you can’t help thinking you're watching a double header, with McCarthy playing both Israel and herself.

Monday, November 12, 2018

The Ballad of Buster Scruggs




Joel and Ethan Coen’s The Ballad of Buster Scruggs is a compendium movie. It’s a succession of stories literally popping out of the picture book that's used as a device. They’re set pieces that have no particular relation to each other from a narrative point of view. One unifying theme, however, is the filmmakers’ signature brand of grotesquery. In their usual outings the sense of the absurd is countermanded by humor. In this case it’s just misery. The Ballad of Buster Scruggs is a primer on unadulterated and unpolished human suffering. For instance in the first piece Buster Scruggs (Tim Blake Nelson) is a singing cowboy. In one scene of classic Coen brothers invention, you literally see the world from the inside of his guitar. Scruggs kills with a smile on his face. Then one day he meets his match and that’s it. In another a bank robber (James Franco) is outsmarted by a crafty teller. He escapes a lynch mob only to run into series of dead ends, including one, where alone in the middle of nowhere, the rope which was originally being used to hang him slowly tightens around his neck as he attempts to escape. In another vignette Liam Neeson, who runs a traveling freak show, replaces his quadriplegic soliloquist (Harry Melling) with a chicken. In one more a prospector (Tom Waits) digging for gold is also digging a grave. Gratuitous violence and irredeemable cruelty are the salient characteristics of the Coens' contribution to the Western genre. The Ballad of Buster Scruggs has all the blood of Fargo, the Beckettian finality of Barton Fink, the country music of Inside Llewlyn Davis and the visual flare of The Big Lebowski, but ultimately it falls flat. It’s film noir minus the suspense, which is to say, just noir.

Friday, November 9, 2018

Robocaller


You may have to call in The Terminator if you find yourself in a film called Robocaller. Yes your warranty is expiring and no you don’t have a student loan or a low interest mortgage and um yes you, you may no you don’t want the chance to win a free Disney cruise to the Bahamas, but pause….hello, hello, who is this? Does anyone realize you were just in the process of taking a whizz when you stopped, held it in, thinking it was your thirty-year-old daughter, your sixty-year-old year old partner or your ninety-year- old uncle who all needed you, when the call came in from the Cyclides. You've never heard of them? They’re the recently discovered Pacific atoll whose major industry is offshore banking, phone banking that is. Acres and acres of the Cyclides are filled with phone banks whose workers are housed in complexes with their own modern malls in which those work stations are themselves receiving constant calls from the national association of police chiefs in countries you have never heard of or even games like Second Life, in which virtual industries pump out calls that come in staccato bursts, like machine gun fire. Have you serviced your car, your vacuum cleaner? Are you philanthropic or interested in philately? Do you know that for as little as $13 a month you can have final expenses insurance? Do you realize how expensive funerals can be? Do you want to leave your relatives with expenses that will kill them? Call now, call then if you don’t want to lose all your documents, files and connections to everything or if you want to help out a friend, you know whose wallet has been stolen in, you yourself said it, Gibraltar. Hello, Hello…hello, hello, Kemosabe…your order, your delivery, your peace is ready or threatened.

Thursday, November 8, 2018

The Final Solution: Death of a Salesman



It’s not just Trump. There’s a whole category of individual that doesn’t feel badly about things that would disturb most others. The Republicans lost the House of Representatives, but Trump has been exuberant about the election results basing his view of the midterms on the Republican control of the Senate. His glass is not only half full. His cup runneth over. Willy Loman, of Death of a Salesman fame, would not have felt the same way about the election results were he in Trump’s shoes. That’s why he’s a tragic and emblematic character who has left such an indelible impression on generations of theater goers. “Attention must be paid,” is the expression that the playwright employs in regard to his character’s plight. It’s not something anyone would worry about in relation to Mr. Trump, who gets plenty of coverage. The one thing that differs Willy Loman from Trump, for example, is the overactive conscience piece. While Willy is haunted and full of introspection, Trump walks out of defeat and declares himself the victor. It’s procrustean and unstoppable, a flow of words that literally buries anything that gets in its way. Even if you're someone who finds solace in Miller’s character, you might have a longing to be someone else, the successful salesman who’s undaunted by anything, the kind of person with a Midas touch who makes you want what he or she has. That may be the selling point for Trump's base.

Wednesday, November 7, 2018

The Price of Everything



At one point in the Nathaniel Kahn’s The Price of Everything, the 93 year art collector and former plastics manufacturer Stefan Edlis (who donated $500 million worth of art to The Art Institute of Chicago) quotes Oscar Wilde to the effect that "there are a lot of people who know the price of everything and the value of nothing." Brecht would have had a feast with the cast of Kahn’s documentary about the art world to the extent that you have what’s essentially value free economics applied to judgments relating to the beauty and value of artistic creation. Imagine Jeff Koons as a character in Mahagonny whose famous line “so gross war die achtung fur gelt in dieser zeit,” could easily appy here. Koons is the person every purist loves to hate, along with Damien Hirst, but the beauty of his work is that it’s so much about both the manufacturing and rape of art. A cut from The Wolf of Wall Street appears in the film and Koons is definitely a creature whose esthetic was formed at the trading desk. It’s really not hyperbole to compare his works to derivatives both literally and metaphorically. Nor is it being critical of the filmmaker to say that all the emotion that characterized Kahn’s previous film about his father, the elusive Louis Kahn, My Architect,” is absent from this documentary about the sterile way money and art have become inextricably tied together like as one of Kahn’s subjects says, “siamese twins.” You have neuro-economics. Is "economic esthetics" the term for this latest evolution of art history? Clement Greenberg  was the ideologist for abstract expressionism which he looked at as a necessary by-product of history much the way the withering away of the state would be for Marx in the dialectical materialism paradigm. Perhaps the art critic Barbara Rose, who appears Cassandra-like in the film, can be relied on as his alter ego. But here's a question that the film doesn’t pose. What would you prefer, a non-existent art market, in which artists had patrons like the Medicis (during the Renaissance) or the  present situation where conglomerates run galleries in a $56 billion dollar a year business that has little interest in or appreciation of the work of artists confronting demons in the solitude of their studios?