Gervaise

“With almost superhuman strength she seized Virginie by the waist, bent her forward with her face to the brick floor and, notwithstanding her struggles, lifted her skirts and showed the white and naked skin. Then she brought her beater down as she had formerly done at Plassans under the trees on the riverside, where her employer had washed the linen of the garrison.

Each blow of the beater fell on the soft flesh with a dull thud, leaving a scarlet mark.”

Emile Zola, L’Assommoir

 

Yesterday I finished Zola’s L’Assommoir and enjoyed it a lot. In doing some online research about the book I discovered it had been made into a 1956 French film called Gervaise that wasn’t supposed to be too bad. It was directed by René Clément and starred Maria Schell (sister of Maximilian). I was able to find a copy of the film and waited until I finished the book – then sat down to watch it.

L’Assommoir is a big, complicated, 500 page book and I knew they would have to slim it down to get the story into a movie. They did, but remained faithful to the spirit of the Zola novel. The movie concentrates on Gervaise – not surprisingly – and leaves out a lot of the tumult around her. I really liked the film – despite being over sixty years old (a year older than me) it holds up well. Gervaise’s decent into abject poverty, despair, and destruction is rushed as compared to the book – she is still alive at the end of the film and the book conveys the horrors of her descent better. There is a political subplot added to the movie that wasn’t in the book – and I didn’t think it added much. But otherwise, I thought the movie did a good job and illustrated the look of a lot of the story that I had trouble imagining (having never been to Paris of the Second Empire myself).

Like the book, the movie suffered from prudish editing – luckily the version I found seems mostly uncut (it was 116 minutes long). The biggest difference seems to be in the fight in the wash house between Gervaise and her arch-rival Virginie at the beginning of the story – the version I saw had a bloody scene of Gervaise tearing off Virginie’s earring and then beating her bare bottom with a wooden paddle. Tame by modern standards – those scenes were too much for the 1950’s.

The movie is one of the most expensive (in modern currency) foreign films ever made. The sets are extensive, detailed, and realistic.

And the best thing is that many of the memorable set pieces of the book are preserved. The wedding party and its visit to the Louvre, the horrifying fall her husband takes off a roof on the day she is to buy her shop, Gervaise’s Name-Day feast, Coupou’s alcoholic madness (though transferred from an asylum to Gervaise’s shop – probably more dramatic that way), and most of all the famous fight between Gervaise and Virginie in the wash house – all were giving loving care and exciting treatment.

Gervaise and Virginie going at it in the wash house. Gervaise’s man, Lantier, has just run off with Virginie’s prostitute sister, Adèle.

Virginie about to hit Gervaise with the wooden paddle.

Gervaise has reversed the fight and is about to give Virginie a vicious paddling.

This scene was apparently too much for the censors. Virginie is about to get hers.

The wedding party goes to the Louvre, here Gervaise and Goujet are standing in front of Delacroix’s Liberty Leading the People.

Delacroix’s Liberty Leading the People

Gervaise singing at her Name Day party – the high point of her life.

A ruined and despairing Gervaise at the end of the film.

Compare this scene to:

L’Absinthe (detail) by Edgar Degas

At least Degas’ woman still has her hat (Gervaise has pawned hers).

 

Reviews of Gervaise:

Adapting Emile Zola’s L’Assommoir, René Clément’s Gervaise (1956)

Gervaise: True Grit

GERVAISE – ESSENTIAL ART HOUSE

 

Jellyfish In the Sun

“But how can I put a name to what it is that I want? How am I to know that I really don’t want what I want, or that I really don’t want what I don’t want? These are intangibles that the moment you name them their meaning evaporates like jellyfish in the sun.”
Andrei Tarkovsky, Stalker: un film de Andreï Tarkovski

Broken Concrete and Rebar, Dallas, Texas

 

I took a day of PTO today (I am still working, I am essential) to try and heal my knee which I hurt in a fall outside my shower on Sunday. Someone reminded me of RICE – Rest, Ice, Compression, and Elevation (Would like to try RICED – with the addition of Drugs… but no luck there) and that sounded good for me. I made a spot where I could stretch out with a flexible ice pack on my knee. To kill the time I watched a movie on my laptop which I had seen over three decades ago – Stalker by Andre Tarkovsky.

Tarkovsky is, as I’m sure you know, an unmitigated genius – a master of idiosyncratic film making.  I’m glad I saw the film again – I noticed a lot that I missed the first time.

One aspect is the Russian technique of adding very deep philosophical soliloquies spouted by characters in the story – the plot becomes a scaffold to present these musings on faith, desire, and humanity. It is like Dostoevsky or Tolstoy where dramatic action illustrates deeper issues.

Here’s an example – the long monologue by the character known only as Writer after he narrowly escaped death in the room of dunes (you’ll have to click through and watch it on YouTube).

Look at this closely… who is he talking to?

And, like all of Tarkovsky’s films… what images! I hadn’t noticed (or remembered) the Wizard of Oz trick of having the day to day life in black and white (or at least de-saturated sepia tones)   and only have the full luscious color spring out in the Zone itself (when you see the film note carefully what other subject is shown in color). The burning rocks on the shore. The room of dunes. The dust devils on the dried up undulating swamp (apparently this scene and others involved carcinogenic chemical wastelands that may have eventually led to the death of the director and others involved in the film). The catalog of items in the long shot through the shallow water. The stalactite festooned tunnel of horror, the meat grinder. The way he films faces….

It is a feast for the eyes as well as the brain.

Let everything that’s been planned come true. Let them believe. And let them have a laugh at their passions. Because what they call passion actually is not some emotional energy, but just the friction between their souls and the outside world. And most important, let them believe in themselves. Let them be helpless like children, because weakness is a great thing, and strength is nothing. When a man is just born, he is weak and flexible. When he dies, he is hard and insensitive. When a tree is growing, it’s tender and pliant. But when it’s dry and hard, it dies. Hardness and strength are death’s companions. Pliancy and weakness are expressions of the freshness of being. Because what has hardened will never win.

Andrei Tarkovsky, Stalker

Lawrence of Arabia

The trick, William Potter, is not minding that it hurts.

—-Lawrence of Arabia

One thing that I like is Fathom Events. It’s a company that shows special screenings on modern theaters. I usually go to their opera events – they stream the New York Metropolitan Opera to movie theaters everywhere.

Upcoming Fathom Events come to me in my email and one caught my eye. They were going to show Lawrence of Arabia. I have seen the film on television now and then – but I’m not sure I had ever watched it start to finish in one setting. I’m quite sure I had never seen it in a theater – especially not in a large modern screen with comfortable seats and food delivered to your seat… and beer.

“I’ve always wanted to see Lawrence of Arabia in a theater,” I told Candy.

“I’ve never heard anyone say that,” was her reply.

So I bought a ticket. I was worried that it would sell out so I bought it a week ahead, and chose a good seat.

On the day I settled in, ordered some chicken wings and a beer. Two guys came in, they had the two seats to the left of me. Another couple was behind us a few rows and a group of four off to the side.

That was it. I can’t believe more people didn’t want to see such a classic film in such a setting. The guy right next to me said, “Um, I’m going to move, nothing personal, but we might as well have some room.” He moved down a few seats on the other side of his friend. I wasn’t offended, of course, but it wrecked havoc with the waiters and the food and the bills and such.

The movie was great, of course. The desert scenes were the real heart of the film, spread out in glorious color across the vast curved screen. The movie is so unique, too. There are no female parts in the movie at all. It doesn’t have the usual epic arc – it’s really a personal story told across an enormous canvas. Key parts of the film are mysterious – it’s hard to say exactly what happened – and that’s another part of the genius.

All in all, a nice afternoon.

Get the Whiskey

So has everybody. Shit happens. Get the whiskey.

—-Bad Times at the El Royale

Bad Times at the El Royale

 

There is nothing better to make the time go by on an airplane than watching a movie on the little screen on the headrest of the seat in front of you. It’s even better than reading – I have trouble reading on the airplane – there are too many interruptions and I can’t really read when I’m that uncomfortable.

On the way out to Boston, all I wanted to do was sleep – so I chose Aquaman. That did the trick, I kept nodding off.

But on the way back I put a little more thought into it. There were some excellent movies to choose from – some I had wanted to see. But I didn’t really want to see those on the little tiny screen with the wonky headphone jack that I had to push on the wire a certain way to get the sound.

I wanted something that wasn’t bad… but wasn’t too good. Something entertaining without having to think too much.

I chose Bad Times at the El Royale.

I chose well.

I remember when that movie came out – it looked very interesting – and was surprised at its lack of box office. It came and went in a flash without leaving much of a trace. Sometimes these can be hidden gens when they make it to streaming. Bad Times at the El Royale isn’t a gem, not by a long shot, but it is an enjoyable way to kill a few miles between La Guardia and DFW.

It’s one of those retro, noir-y thrillers with a simple story made complex by careful manipulation of point-of-view, time-shifting, and vital information not made available to the audience until the proper amount of confusion is generated. There are twists and turns a-plenty and plenty of unexpected, sudden violence. The good guys aren’t going to win in the end because there aren’t really any good guys (well, maybe one). There are listening devices, hidden corridors with one-way mirrors and a big bag of cash hidden in a most clever way.

It all takes place in the El Royale, an almost bankrupt fleabag hotel/motel located right on the border between two states – you can choose a room in the Nevada wing or the California. A cast of misfits check in and are ultimately faced with a fatal game of roulette with the most handsome Manson-like cult leader of all time (a very buff Chris Hemsworth). I read that Matthew McConaughey was originally going to play that part – that might have catapulted the film into greatness.

As it is, greatness isn’t catapulted into – but it is a fun bit of diversion. Especially for someone trapped in a crowded metal tube hurtling along at unimaginable speed thousands of feet in the air.

 

The Trash Can Is A Treasure Trove

“For the first three months, I place each student at a table with a thousand pieces of white paper and a trash can underneath. Every day they have to sit at the table for several hours and write ideas. They put the ideas they like on the right side of the table; the ones they don’t like, they put in the trash. But we don’t throw out the trash. After three months, I only take the ideas from the trash can. I don’t even look at the ideas they liked. Because the trash can is a treasure trove of things they’re afraid to do.”
― Marina Abramović, Walk Through Walls: Becoming Marina Abramovic

Cate Blanchett in “Waiting for the Artist”

I have always loved documentaries. Now in this age of streaming – documentary watching has become like drinking from a firehose.

One time, I can’t remember where… probably a college film festival in the 70’s I saw a documentary by Stan Woodward about grits. This was probably the first transformative documentary I saw – I was a different person (at least slightly) after I saw it. I wrote about this years later, many years ago, in my first blog and lamented the fact that I couldn’t find the thing anywhere and had to be satisfied with only seeing it once. A kind reader mailed me a VHS copy.

Of course, it wasn’t as good as I remembered.

Now, in this best of all possible worlds, we don’t only have documentaries… we have mockumentaries. If done well these too can be… if not transformative at least moderately entertaining. That might be all we can ask for anymore.

There is even a series of mockumentaries, “Documentary Now!“, on IFC. A new season is under way, and the latest one is brilliant. It is called “Waiting for the Artist” and is a riff (a very close one at that) on the famous work “The Artist Is Present” about the famous (and famously insane) performance artist Marina Abramović.

Somehow, they convinced Cate Blanchett to portray Marina Abramović – and she is spot on.

If you have IFC, be sure and check out “Waiting for the Artist” – it hits the perfect place between lunacy and pathos and even has a bit of a point to it.

And the ending is really, really funny.

Youtube has a copy of the original Marina Abramović documentary. Marina is even crazier than the character in the mockumentary.

Never Cursed

Welsh rarebit with a poached egg on top. Bacon. Scones, butter, cream, jam. A pot of Lapsang souchong tea…. And some sausages.

—- Reynolds Woodcock, Phantom Thread

 

 

One of the ideas that I had when we decided to Cut the Cord (eliminate cable television) is to rent movies from the library. Free and easy. Our library has a huge selection of DVDs – movies on the ground floor and instructional/educational on the third. I see people, especially families with children, checking out monstrous piles of DVDs – I don’t know how they can watch that many in the seven day allotted period. I used to check out movies, but haven’t in a decade or so.

I can’t believe that I hadn’t seen Phantom Thread yet – a variety of reasons, mostly related to sloth in its various forms. It’s been a year. But as I was at the library on the last day of 2018, returning a stack of books, I looked along the long rows of DVD offerings (shocked at how many I had already seen) until I chose Phantom Thread. It’s Paul Thomas Anderson’s latest film and Daniel Day-Lewis’ last. It was in the running for a number of Oscars – and I don’t give a shit.

I’m a big fan of Paul Thomas Anderson. His work is a gift to the world.

Phantom Thread was reviewed better than his last full film, Inherent Vice. However, I loved Inherent Vice – of course, if you didn’t like it, or you think it was a piece of crap… I won’t argue with you. Paul Thomas Anderson does not know who I am – I have never met him and never will, but somehow he made a film, Inherent Vice, for me individually. If he scanned my dusty noggin and extracted whatever is in there and then made a movie that would resonate… it would be Inherent Vice. Well, actually it would be Gravity’s Rainbow, but it’s impossible to put that on celluloid or nitrate or bits-n-bytes. Inherent Vice is as close as you can get in the real world.

So, I pulled out the DVD player, blew off the thick layer of dust and plopped the library disc in. It took some playing with the various remotes but I managed to get it to play in surprisingly good quality.  Excellent film – really needs to be seen twice because, like all truly good films, the first time through you sit there going “What the fuck is this?” Once you realize it’s a twisted rom-com you can enjoy the belly laughs.

I’ll let you enjoy the humor of a persnickety and slightly effeminate dress designer of a main character with mommy issues and surrounded by women (customers, seamstresses, and his sister) lugging the name Reynolds Woodcock around London. Chekhov’s gun makes an early appearance in a book about mushrooms. And the surface beauty masks the perverse melodrama simmering underneath.

So now – a trip back to the library and the return chute and another walk along the DVD aisle. I can’t plan ahead because the films churn quite a bit. Old-School baby!

 

The Screaming Skull

Jenni Whitlock:
Eric, when you found me, what else was there?

Eric Whitlock:
What do you mean, ‘What else?’

Jenni Whitlock:
A skull?

—-from The Screaming Skull

 

As I learn to adjust to a life without cable television, I explored the nether regions of the hundreds of free streaming channels available on the Roku. I haven’t researched it – but it looks like anyone can cobble their own Roku channel together – and there are lots of them. Unfortunately (but unsurprisingly) these are mostly poorly done and colossal time sucks.

I did stumble across a collection of old, bad, out-of-copyright horror films. These always bring back memories of when I was in sixth grade or so and discovered what that odd round wire antenna-thing that came in the box with new televisions was used for. I had discovered the UHF channels that my parents knew nothing about. I would crawl out of bed after the family was asleep and creep into the darkened kitchen and tune in what I could find on the little portable TV. This included channels dedicated at night to grade Z horror films.

Now, a half-century later, I like to look for these horrid memories from long ago. I thought I remembered one called The Screaming Skull and chose it. Turn’s out I had never seen it – and my life isn’t enriched by seeing it now.

I’m not going to review The Screaming Skull… take my word for it – it’s bad.

 

You know it’s bad from the first scene… a cheap plastic skull rises from a bucket of water bubbling with dry ice and you get:

Narrator:
“The Screaming Skull” is a motion picture that reaches its climax in shocking horror. It’s impact is so terrifying that it may have an unforeseen effect. It may *kill* you! Therefore it’s  producers feel they must assure free burial services to anyone that dies of fright while seeing The Screaming Skull.

I’m sure they didn’t have to pay out… ever. The movie is simply not scary.

The only good thing is that the main character, despite being poor, drives a seriously cool car, a mid-’50s Mercedes-Benz 190SL Gullwing. The movie brightens every time this car appears. I would love to learn the story about how such an exquisite expensive hunk of steel made in into such a low-budget film.

Mercedes-Benz 190SL from The Screaming Skull

And that’s about it. All the rest sucks.

Looking up information on the film – I didn’t realize that it was satirized on Mystery Science Theater 3000. Going to have to watch that… when I have a lot of free time.

Oh, and it is very loosely based on a short story. I found it online here. Not sure if the story is any better than the film….

Struggle: The Life and Lost Art of Szukalski

 

“Thus, when I say about myself that I am a genius, it is not self-praise, but a statement to describe a type of mind that: whatever it does in any field, it does well. A mind that peruses in many fields will comprehend better, and many things more, than one that is absorbed in only one. It becomes a universal mind.”

—–Stanislav Szukalski

Struggle, a sculpture by Stanislav Szukalski

 

We cut the cord today. Bye Bye to cable television. Good riddance. I have watched the Boob Tube… the Idiot Box too much all my life.

I still watched too much – there is still Netflix… and Amazon Prime Video…. and Sling… and a multitude of crazy channels available through the Roku … and even the antenna. I finished off an episode of Doctor Who (I have a strange yet slight crush on the New Doctor, as long as I don’t watch too much) and an episode of The Alienist.

Then, checking the documentary section of Netflix, I chose a Netflix Original Documentary, Struggle: The Life and Lost Art of Szukalski.

Holy Moly… what a rabbit hole.

Stanislav Szukalski was a sculptural prodigy born in Poland in the late eighteen hundreds who showed great promise even though he was partially blind from staring at the sun. At 12 he moved with his family to Chicago.

This began a bifurcated life – of an eccentric artist in the United States and a fervent nationalist in Poland. He developed an unfortunate streak of racism and anti-antisemitism in Poland in the 1930’s. He became well known and successful until everything was destroyed in the German bombing of Warsaw in 1939. Other than a few small sculptures in American hands – his entire body of work, thousands of sculptures, drawings, and other artworks – was destroyed. He and his wife escaped at the last minute with only two suitcases and moved to Los Angeles.

Penniless, he survived on doing odd jobs for the film industry, and became friends with famous screenwriter Ben Hecht and the family of George DiCaprio, Leonardo DiCaprio‘s father. In 1971 Glenn Bray, a publisher and collector of oddball art, became fascinated with the story and work of Szukalski and was stunned to find out he was not only still alive but living 5 miles away from him. They became fast friends, Bray introduced him to a circle of artists, mostly underground comics illustrators, and began to film extensive, lengthy interviews with him.

And now, all this has led to Leonardo DiCaprio producing this Netflix Documentary using a lot of Bray’s interview footage. It’s a wild and woolly tale, with references all the way from the Nazis to Zap Comics to The Church of the Subgenius to DiCaprio to Easter Island.

Yeah, Szukalski thought that all  human civilization originated in Easter Island and that all evil was the result of interbreeding with the Yeti. Really.

Not a big fan of his ideas here – but I love his art. There isn’t much out there – one bronze has been recently cast, but so much of his work was destroyed in the destruction of Warsaw. He whole life, ideas, and artistic output was warped beyond recognition by the terrors of the twentieth century.

Shame really – there is real talent there… eccentric talent, to be sure… but enough artistic genius to go around. I would like to see his work. Maybe a trip to Chicago – there is some stuff at the Polish Museum of America there.

No Intention of Revisiting Any Galaxy

Alec Guinness
“A refurbished Star Wars is on somewhere or everywhere. I have no intention of revisiting any galaxy. I shrivel inside each time it is mentioned. Twenty years ago, when the film was first shown, it had a freshness, also a sense of moral good and fun. Then I began to be uneasy at the influence it might be having. The first bad penny dropped in San Francisco when a sweet-faced boy of twelve told me proudly that he had seen Star Wars over a hundred times. His elegant mother nodded with approval. Looking into the boy’s eyes I thought I detected little star-shells of madness beginning to form and I guessed that one day they would explode.

‘I would love you to do something for me,’ I said.

‘Anything! Anything!’ the boy said rapturously.

‘You won’t like what I’m going to ask you to do,’ I said.

‘Anything, sir, anything!’

‘Well,’ I said, ‘do you think you could promise never to see Star Wars again?’

He burst into tears. His mother drew herself up to an immense height. ‘What a dreadful thing to say to a child!’ she barked, and dragged the poor kid away. Maybe she was right but I just hope the lad, now in his thirties, is not living in a fantasy world of secondhand, childish banalities.”
― Alec Guinness, A Positively Final Appearance

Metal Ostrich Sculpture, downtown McKinney, Texas

Oblique Strategy: Not building a wall but making a brick

The whole family is now here, one son in from New Orleans, his cat ensconced in one bedroom, the other son from Houston, his black Labrador retriever settled into another.

Our Ring smart doorbell makes our cellphones tinkle in a delightful way every time the delivery man brings another present, the new Internet of Things Santa Claus.

We were up at eight; I had to drag myself – feet hurting, mind reeling – from bed; to see a morning showing of The Last Jedi at the local Alamo Drafthouse (the best place in the world to see a movie). I love the no talking/no texting or you will be thrown out policy. I love the fact that at nine in the morning they will bring a milkshake with alcohol in it to your seat. I love the stuff they put on the screen before the movie.


(on this snippet – if you get the joke “A talent agent is sitting in his office, a family walks in…” you should be ashamed of yourself)

I liked the film a lot better than I was expecting.

There is something wonderfully odd about seeing a movie early in the morning, other than the discount tickets. I’m so used to going at night – to emerge to sunlight and the realization that you still have another day to live – is almost wonderful.

What I learned this week, October 21, 2017

Pond at Fair Park

A pond in Fair Park. The red paths are part of a massive sculpture by Patricia Johanson – http://patriciajohanson.com/fairpark/ I have always loved those red paths running through the water, weeds, and turtles. A neglected jewel in the city.

Mapping Dallas: 7 neighborhoods for food and fun

Spirit of the Centennial, Woman’s Building, Fair Park, Dallas, Texas


I usually am fine with being poor, and I have a nice Bose bluetooth speaker that I am perfectly happy with. But, still, I wish I had a spare three grand to drop on this bad boy.


25 Best Film Directors of the 21st Century (So Far)

20 Worst Film Directors of the 21st Century (So Far)


KINGWOOD BIKE MOM RESPONDS TO ONLINE CRITICISM


‘Walking to the Sky,’ a Dallas treasure, prepares for return almost eight years after it vanished


Complete Streets Come to Life in Dallas