Sunday, June 16, 2013

50. Piano Man &...
















Lyrics

It's nine o'clock on a Saturday
The regular crowd shuffles in
There's an old man sitting next to me
Makin' love to his tonic and gin

He says, "Son, can you play me a memory
I'm not really sure how it goes
But it's sad and it's sweet and I knew it complete
When I wore a younger man's clothes."

la la la, di da da
La la, di di da da dum

Chorus:
Sing us a song, you're the piano man
Sing us a song tonight
Well, we're all in the mood for a melody
And you've got us all feelin' all right

Now John at the bar is a friend of mine
He gets me my drinks for free
And he's quick with a joke and he'll light up your smoke
But there's some place that he'd rather be
He says, "Bill, I believe this is killing me."
As his smile ran away from his face
"Well I'm sure that I could be a movie star
If I could get out of this place"

Oh, la la la, di da da
La la, di da da da dum

Now Paul is a real estate novelist
Who never had time for a wife
And he's talkin' with Davy, who's still in the Navy
And probably will be for life

And the waitress is practicing politics
As the businessman slowly gets stoned
Yes, they're sharing a drink they call loneliness
But it's better than drinkin' alone

Chorus
sing us a song you're the piano man
sing us a song tonight
well we're all in the mood for a melody
and you got us all feeling alright

It's a pretty good crowd for a Saturday
And the manager gives me a smile
'Cause he knows that it's me they've been comin' to see
To forget about their life for a while
And the piano, it sounds like a carnival
And the microphone smells like a beer
And they sit at the bar and put bread in my jar
And say, "Man, what are you doin' here?"

Oh, la la la, di da da
La la, di da da da dum

Chorus:
sing us a song you're the piano man
sing us a song tonight
well we're all in the mood for a melody
and you got us all feeling alright


Having not seen the video clip made for this song in a long time, I was actually surprised to see it was in color. I remembered it being in black and white. Which would have been appropriate considering the melancholy and depressive nature of this song. It is in fact a bit too melancholy and depressive. That doesn't mean I don't like the song. But I like it a lot less than I used to. Surprisingly I really liked the movie I've linked this song to though.

The Movie: The Fabulous Baker Boys (Steve Kloves, 1989)

The Fabolous Baker Boys is a downright pleasant and relaxed movie. That's even more remarkable because it is about disillusionment and regret. There is hardly a moment in this movie in which one of the characters doesn't seem to be profoundly dissatisfied with her or his life. Jeff Bridges is one of the main reasons why the movie is still such a joy to watch. He is Jack Baker, a pianist who together with his brother Frank (Beau Bridges, Jeff Bridges'  real life brother) plays the piano in small clubs and restaurants. They do this for fifteen years, playing nice, classy, but not very complicated tunes. Not very complicated, because Frank is much less talented than his brother. Frank is mostly important because he takes care of the money and the schedule. Jack Baker can be best described as a piano-playing Dr. House. He is a cynic curmudgeon who doesn't seem to experience much fun and seems sick and tired of playing the same old tunes with his brother. Although he doesn't have much better things to do. He lives alone in a loft with his old dog, only being accompanied sometimes by a girl whose single mom is constantly sleeping with different guys. Naturally, more and more clubs start to reject the two brothers and they decide to refresh their act by bringing in a female singer. In a quite funny scene they audition some horrific singers, only to be saved by Susie Diamond (Michelle Pfeiffer). She comes in one and a half hour late and is a prostitute. But she can sing!

As you  can see there is nothing really groundbreaking about this plot. But, not unsurprisingly, Jeff and Beau Bridges have really great chemistry together and are very believable as hardworking pianists. It is made very clear that neither brother thinks that what they are doing is great art. It is simply work and they have to approach it in a pragmatic way. And the movie fully supports this. There are a lot of American movies about great mavericks who aspire to do great things. It is nice to see a movie once in a while about simple pragmatists who just want to make a decent living. knowing that they'll probably never be big-time musicians. This is made even clearer when Susie eventually leaves them. She, a great singer, doesn't do this to make a great career as a singer, but to sing silly songs in commercials about vegetables. This leads to the great line, near the end of the film, when she says that she only sings about the unimportant vegetables. The relaxed mood of the film is also enhanced by the great cinematography. There is hardly an ugly shot in the movie and we see everything in very 'warm' colors. The editing is also very relaxed. There are slightly longer takes than usual, making the movie seem completely un-rushed.

But it all wouldn't work without the actors here. Although they are very much helped by the sharp and snappy dialogue, filled with quite some humor. American movies (and TV-shows) are very good at giving cynic curmudgeons wonderful things to say, and this one is no different. And Jeff Bridges sure knows his way around such dialogue. He may be playing a disillusioned, unhappy character (with a good heart of course!), but he plays his character as someone who is slightly amused by his own unhappiness and the dullness of his job, and by his brother who seems to take everything way too seriously. He never makes Jack Baker a depressing character. And I don't think he could do it. There are few actors who seem to enjoy themselves so much while acting and who seem to be so relaxed to doing it. It's no surprise he plays The Dude in The Big Lebowski. These qualities make us care much more about him when near the end of the movie he does finally snap a couple of times and gets really angry at both his brother and Susie. But the real star of the movie is Michelle Pfeiffer. Her role basically consists of being sexy and flirting with Jack. She got an Oscar nomination for it and it is absolutely earned. She is damn good at being sexy and flirting with Jack. Her performance culminates with one of the most sexy scenes I have ever seen. It is pointless to write about it. Just watch this scene.   

http://vimeo.com/47799871

   

Saturday, June 8, 2013

49. Let It Be &...
















Lyrics

When I find myself in times of trouble, Mother Mary comes to me
Speaking words of wisdom, let it be
And in my hour of darkness she is standing right in front of me
Speaking words of wisdom, let it be
Let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be

And when the broken hearted people living in the world agree
There will be an answer, let it be
For though they may be parted, there is still a chance that they will see
There will be an answer, let it be
Let it be, let it be, let it be, let it be
There will be an answer, let it be
Let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be
Let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be

And when the night is cloudy there is still a light that shines on me
Shine until tomorrow, let it be
I wake up to the sound of music, Mother Mary comes to me
Speaking words of wisdom, let it be
Let it be, let it be, let it be, yeah, let it be
There will be an answer, let it be
Let it be, let it be, let it be, yeah, let it be
Whisper words of wisdom, let it be



One of the better Beatles songs. I like this one quite a bit. The Beatles are actually the rare band whose 'sadder', calmer songs I like more than their happy, joyful ones. I didn't know much what to do with the lyrics, so I focused on the on the Mother Mary part and chose a movie about Jesus. 

The Movie: The Last Temptation of Christ (Martin Scorsese, 1988)

Watching The Last Temptation of Christ made me truly realize how important the idea of Jesus is for Scorsese. Of course I've often read about how his faith is one of the main keys to understanding his movies. But as an atheist I've never really watched his movies through the prism of his (catholic) faith and still have loved pretty much everything I've seen by him. In any case, while watching this movie I found it quite interesting that Scorsese followed this up with Goodfellas. In that movie Henry Hill was tempted to live a life of crime, believing that would bring him great fortunes and glory. He certainly did not want to live life as an ordinary family man. For a while his choice of crime, proved to be exactly what he wanted. At the end though all of it came crashing down and he was forced to live a normal family life in a witness protection program. In the the Last Temptation of Christ, it is exactly that kind of normal family life that Satan tempts Jesus with. While Jesus is on the cross Satan 'sends' him a hallucination, making Jesus see how life would be if he rejected God's plan for him and went on to live a normal life. It is only when Jesus rejects this hallucination that he dies on the cross and accomplishes his mission. 

And it is very much possible to see Taxi Driver's Travis Bickle as a sort of delusional messiah, who thinks it is his duty and calling to not only be Jodie Foster's savior, but of whole New York. In the end, he actually does this in sacrificial manner. Scorsese's Jesus here is basically the opposite of Bickle. Jesus is actually the messiah, but he himself has doubts whether it's surely God's voice he hears or whether he is delusional. And even if it is truly God's voice, Jesus has doubts whether following him is the right thing to do. Willem Dafoe who plays Jesus manages to show very well how confused and even surprised Jesus is by all the miracles he performs and the words God says through him. It is why the temptations of a normal life (can) bother him. He and Mary Magdalene love each other. He can abandon God's mission and form a family with Mary Magdalene and live a perfectly happy life as Satan shows him. 

Scorsese has been criticized by religious fundamentalists for not portraying Jesus as a saint. For portraying Jesus as someone who doubts his mission and his believes and contemplates living a life as a normal man, a life of sin in other words. Mostly Scorsese was criticized because during Jesus'hallucination on the cross, he is portrayed having sex with Mary Magdalene. This criticism misses the point in many ways. First of all Scorsese has written a title card at the beginning stating explicitly that this is not a story based on the gospels, but on a book by Nikos Kazantsakis. While we are shown many familiar episodes of Jesus' life ('He who is without sin may cast the first stone' for example) the story explicitly doesn't follow the Bible in many other cases. Judas remains Jesus best friend until the end here. He only 'betrays' him because Jesus asks him to. Secondly Scorsese tells this story of Jesus with great respect for his protagonist. This may be Scorsese's most restrained movie. The style is fully in the service of portraying Jesus' life as clearly and respectfully as possible. There is a cameo by David Bowie as Pontius Pilate and even he is restrained. 

But the most important reason why this criticism of Scorsese is so stupid is because it completely misunderstands that Scorsese, by not portraying Jesus as a saint, actually makes Jesus' (alleged) achievements greater.  As I've written in the first post on this blog, on Paradise Now, it is not courageous to do things for/in the name of God, if you are certain you'll be rewarded for it. The fact that Jesus did not have any certainty in what would happen to him if he committed to his mission, and the fact that he could have chosen to live another life just as easily, makes his achievements greater and shows even better the importance of him and his mission. By providing us with a doubting, questioning Jesus, Scorsese makes the case for engaging in serious debates on religion. People should be able to make up their own mind about how and whether they believe in anything. Only like that can religion be truly valuable for believers and non-believers. 



Saturday, June 1, 2013

48. Stil in Mij &...
















Lyrics



Kom bij me zitten
(Come sit next to me)
Sla je arm om me heen en houd me stevig vast
(Put your arm around me and hold me tight)
Al die gezichten, bekend maar beleefd of ik een vreemde was
(All these faces, familiar, but polite, as if I were a stranger)
En vanavond, toont het leven z'n ware gezicht
(And tonight life shows its true face)

Kom bij me liggen
(Come lie next to me)
Sla je lijf om me heen, ik heb het koud gehad
(Put your body around mine, I was feeling cold)
We moeten winnen, de schijn is gemeen het wordt van ons verwacht
(We must win, the semblance is mean, it is expected of us)
En Vanavond, toont de liefde haar ware gezicht
(And tonight life shows its true face)

En het is zo stil in mij
(And it is so silent inside of me)
Ik heb nergens woorden voor
(I have no words for anything)
Het is zo stil in mij
(It is so silent inside of me)
En de wereld draait maar door
(And the world keeps turning)
Het is zo stil in mij
(It is so silent inside of me)
Ik heb nergens woorden voor
(I have no words for anything)
Het is zo stil in mij
(It is so silent inside of me)

Kom bij me zitten
(Come sit next to me)
Sla je arm om me heen en houd me stevig vast
(Put your arm around me and hold me tight)
Al die gezichten en jij alleen zoals je gister was
(All these faces and only you like you were yesterday)
En vanavond, toonde jij je ware gezicht
(And tonight you showed your true face)

Kom bij me liggen
(Come lie next to me)
Sla je lijf om me heen, ik heb het koud gehad
(Put your body around mine, I was feeling cold)
Je hoeft niets meer te zeggen, de waarheid spreekt al uit ons oogcontact
(You don't need to speak anymore, the truth speaks trough our eyes)
En vanavond, tonen wij ons ware gezicht
(And tonight, we show our true face)

En het is zo stil in mij
(And it is so silent inside of me)
Ik heb nergens woorden voor
(I have no words for anything)
Het is zo stil in mij
(It is so silent inside of me)
En de wereld draait maar door
(And the world keeps turning)
Het is zo stil in mij
(It is so silent inside of me)
Ik heb nergens woorden voor
(I have no words for anything)
Het is zo stil in mij
(It is so silent inside of me)

Iedereen kijkt, maar niemand zegt wat hij denkt
(Everybody's watching, but nobody says what he thinks)
Iedereen lijkt, maar niemand is wie je denkt
(Everybody appears, but nobody is who you think)

Stil in mij,
(Silent inside of me)
Zo stil in mij (x5)
(So silent inside of me)


I find it perfectly normal that there is some bias towards Dutch songs in this list. While artists like Boudewijn de Groot would never be placed on such a list in any other country, I completely understand his (high) placements here. I don't understand though what this song, by Van Dik Hout, is doing here. I can't see anything special about it. It is pretty dull. Anyway, considering it's name and lyrics in the chorus, and considering the fact that it is a love song, I chose to link it to a (rather famous) romance movie involving a deaf-mute person.

The Movie: Children of A Lesser God (Randa Haines, 1986)  

There are scenes in Children of A Lesser God that are small masterpieces. There are also scenes which are unbelievable misfires. I liked it quite a bit, but I am not really sure what to think of it. I think the movie is very kindhearted and even quite ambitious for what is at essence a relatively straightforward romantic drama. It has quite some interesting ideas about deafness, but it doesn't seem to know how to fully express them. It may also be that it doesn't have the guts to fully follow them. But even if that's true the movie does succeed in other areas. It creates a lot of likable characters and makes us care about them, especially the two romantic leads. And there are times when its energy and unexpected humor are contagious. 

But the movie is kind of odd from the start. We see James Leeds (William Hurt) applying for a job as a speech teacher at a school for the deaf. His references are great and he has worked in many great school, so the school's director is quite surprised that James chose to work for them, a school for which he is clearly overqualified. This is the setup of many movies. What follows in those movies thought, is that we usually find out some (dark) secret from the protagonist's past. And that by doing this job for which he/she is overqualified our protagonists hopes to get away from or amend for his past. So from the start of this movie we are waiting for the reveal of James' secret. Which never comes. The movie never makes clear why James sought a job at this particular school. This is not a big problem, but it makes those opening scenes unnecessary (and unnecessarily weird) in hindsight. Anyway, we do see that James really is a great teacher. The deaf-mute children make great progress under him and in an astonishingly great scene we see them performing a song in front of an audience. Not only does that scene manage elate us with its energy and the obvious happiness and progress of the students, it also manages to make clear exactly how it is possible for them to perform this song. If that's not enough, director Haines also manages to perfectly fit in one of the funniest moments of the film in this scene. And lastly the scene, without needing to provide stupid expository dialogue, manages to deepen the conflict between James and his lover. Which actually is the core of the movie.

I usually don't really have problems with dumb expository dialogue, but this movie overdoes it so much that it nearly undermines itself and becomes parodist. James' lover is the amazingly beautiful Sarah Norman (Marlee Matlin). She is born deaf-mute and refuses to learn to speak or to read lips, preferring to only communicate through sign language. She is a very intelligent woman and her first contact with James is because he wants to teach her speaking and lip-reading. She refuses (and keeps on refusing) but they gradually fall in love, and James adapts to her sign language, though he remains frustrated that she refuses to learn to speak. Obviously if two people talk in sign language most of the people wouldn't understand it. The logical thing to do would be to subtitle the sign language. The movie doesn't do this, but it lets James repeat out loud nearly everything Sarah signs to him. And he repeats out loud everything he signs to Sarah. There comes a point when this becomes ridiculous. Sure, James states that he likes to hear himself talk, but come on. The movie basically breaks the fourth wall, accidentally. This device not only pulls us out of this movie therefore, it also makes James seem like a stupid and condescending character. When it is pretty clear he is not.


The ending is perhaps where the movie falters the most though. Throughout the film, the filmmakers seem to argue that, with a lot of effort, deaf-mute people can become able to hear or at least discern sounds and also to speak (perhaps not perfectly, but still it's better than nothing). And not only can deaf people do this, they also should. I don't know how scientifically reliable these views are. But if they are, the movie's assertion that deaf people should put in this effort, isn't very unreasonable. It''s unfortunate that the movie doesn't (dare?) follow on these convictions in the portrayal of James and Sarah's romance. This romance follows pretty much the cliched pattern of many film romances. James and Sarah love each other, they enter in a relationship, then they break up for some reason (in this case the fact that Sarah only wants to communicate through signing) and than they find common ground and reconcile. I expected that they would reconcile here because Sarah would agree to learn to at least read lips. That doesn't happen here. They reconcile because James finally learns to accept Sarah on her own terms. This is a bit odd when throughout the movie, the case is being made that James is right.