121. Beautiful Day &...

Lyrics

The heart is a bloom
Shoots up through the stony ground
There's no room
No space to rent in this town

You're out of luck
And the reason that you had to care
The traffic is stuck
And you're not moving anywhere

You thought you'd found a friend
To take you out of this place
Someone you could lend a hand
In return for grace

It's a beautiful day
Sky falls, you feel like
It's a beautiful day
Don't let it get away

You're on the road
But you've got no destination
You're in the mud
In the maze of her imagination

You're lovin' this town
Even if that doesn't ring true
You've been all over
And it's been all over you

It's a beautiful day
Don't let it get away
It's a beautiful day

Touch me
Take me to that other place
Teach me
I know I'm not a hopeless case

See the world in green and blue
See China right in front of you
See the canyons broken by cloud
See the tuna fleets clearing the sea out
See the Bedouin fires at night
See the oil fields at first light
And see the bird with a leaf in her mouth
After the flood all the colors came out

It was a beautiful day
Don't let it get away
Beautiful day

Touch me
Take me to that other place
Reach me
I know I'm not a hopeless case

What you don't have you don't need it now
What you don't know you can feel it somehow
What you don't have you don't need it now
Don't need it now
Was a beautiful day

The most annoying thing about U2 may be that their best music is informed by Bono's pretensions/white savior complex. This song is nearly completely devoid of that, and it's awful, It's also quite amazing they made this song in 2000, when U2 was a long established institution. It feels like the work of some mediocre up and coming band that has yet to find its own sound and vision. Even the accompanying clip is bland and ugly as hell.  Luckily Bono cannot help but add some seemingly meaningful lyrics signifying nothing but his awareness that there is some stuff happening in Asia, possibly Iran. After all, China is in front of it, and it has oil fields. So I linked the song to a movie about driving around Iran. 

The Movie: Taste of Cherry (Ta'm e guilass) (Abbas Kiarostami, 1997)

Taste of Cherry won the Golden Palm in 1997. The Cannes jury that year was presided by French actress Isabelle Adjani, but Kiarostami may have profited most from Mike Leigh's presence. Leigh is of course famous for not really writing screenplays but, coming up with a broad outline/idea and fleshing it out with his actors while making the film. After seeing Taste of Cherry I wasn't surprised to learn Kiarostami works in a very similar way. I think Leigh is more successful; his approach does produce coherent, engaging stories. Kiarostami's does not (at least not here, I have not seen his other films), and many critics, most famously Roger Ebert, took issue with all the praise this film has gotten. In Cannes Taste of Cherry competed with, among others, L.A. Confidential and The Sweet Hereafter, two films that are unquestionably better than it. Nevertheless I think there is a lot of value to be found in this film, an I do not think it's at all bad.

It's nice to see a film about an existentially depressed Iranian. We are getting more and more nuanced portrayals of the Middle East. Hollywood is slowly learning to present the region in less stereotypical way, and more importantly films made in the region are increasingly reaching the west. Even so, most of the characters we meet in these films are entirely presented in the context of the turmoil in the region, or even defined by it. Moreover, the characters/plots are often used to teach us something about the historical, religious and/or political complexities in the region, and to make us understand these societies better. This approach certainly can produce some great films, look at Marjane Satrapi, but it doesn't always allow room for much individuality. Watching Taste of Cherry, you will not learn anything very significant about Iran. It's merely about Mr. Badii (Homayoun Ershadi) battling his own personal demons. He is depressed and wants to commit suicide. He has already dug a grave, and now he is looking for someone to bury him. I would have preferred if Mr. Badii was provided with even a little bit of a backstory, but I can see why Kiarostami decided not to do this. Mr. Badii is now free from any burden of representation.

I also wish the film was more dynamic. This is very much a slow art film. It mostly consists of Mr. Badii driving around a large construction site in Teheran, and having philosophical conversations with the people he picks up. It reminded me to some extent of Richard Linklater's Slacker, but there the conversations were both 'deeper' and more playful. Mr. Badii's co-passengers try to dissuade him from suicide and sometimes do so with rather cliche arguments. 'Won't you miss the taste of cherries'? I did find it interesting that none of the people he meets are ethnic Iranians. The first is a Kurd, the second is from Afghanistan, and the third is from Turkey. Moreover I really liked the way this film is shot. For example, when we follow the conversations in the car, we hardly ever see passengers in the same shot, The camera always focuses on one side of the car, showing us not only the person inside, but also the outer world the car is passing. As the car is driving around a construction site, we are constantly aware of people moving around, trucks delivering goods, work being done, etc. This allows for some really wonderful, fantastically choreographed, shots. It's also an effective way to visualize Mr. Badii's issues. Mr. Badii is stuck in a monotonous loop, while outside life goes on. Lastly, I don't know why Kiarostami choose to end this film the way he did and I think any interpretation of it is irrelevant and would give Kiarostami too much credit. Nevertheless it was my favorite part of the film, and I found it oddly moving.

120. Sebastian &...

Lyrics

Radiate simply the candle is burning so low for me 
Generate me limply can't seem to place your name cherie 
To rearrange all these thoughts in a moment is suicide 
Come to a strange place we'll talk over old times we never smile 


Sebastian 
Somebody called me Sebastian 
Work out a rhyme - toss me the time - lay me you're mine 
We all know, oh yeah 

Your Persian eyes sparkle your lips ruby blue never speak a sound 
And you oh so gay with Parisian demands you can run around 
Your view of society screws up my mind like you'll never know 
Lead me away come inside see my mind in kaleidoscope

Somebody called me Sebastian 
Somebody called me Sebastian 
Dance on my heart - laugh swoop and dart - la-di-di-da 
Now we all know you, yeah 

La-di-di-da .



It's been a long time since I've seen Cruel Intentions. I liked it enough to remember that Ryan Phillippe's character was called Sebastian Valmont. As Cruel Intentions is based on the novel/play Les liaisons dangereux I thought Valmont's name in there really was Sebastian. It turns out that's not the case. Nevertheless connecting Cockney Rebel's song to a story about sex, power and manipulation in Parisian aristocracy isn't that far-fetched. As for the song itself, I don't actually remember hearing it before and I am mostly amused that this is not at all the kind of song you'd expect to hear from a band called Cockney Rebel.  

The Movie: Dangerous Liaisons (Stephen Frears, 1988)

I wish all actors could enjoy their job half as much as John Malkovich enjoys playing Vicomte de Valmont here. In the space of two years both Stephen Frears and Milos Forman made a film based on this story. I have not seen Forman's film, Valmont, but there the 'vicomte' is played by Colin Firth. I think Firth is a very good actor, but I cannot imagine him being as convincing in the role as Malkovich is. Even if Forman's intentions are different from Frears' it seems to me it's hard to escape Valmont's sleazy intelligence. Valmont is a master manipulator, because he is both ruthless and more intelligent than anyone else in the film, at least until a certain point. These characteristics don't seem to play to Firth's strengths as an actor, at least not as I know him. I haven't seen any Firth film from before Bridget Jones' Diary. 

Valmont's characteristics of course do play to Malkovich's strengths as an actor.. Watching this film, I though playing Valmont fits Malkovich better than even playing himself in Being John Malkovich. It also helps that he clearly loves the dialogue he's been given. There are moments when you can see Malkovich gleefully anticipating his next line, and knowing that he will absolutely nail it. As Valmont is an arrogantly confident man, who is aware of, and takes pleasure, in his arrogant confidence, this may be the best way to portray him. Glenn Close should not be discounted though. As Valmont's lover/rival Marquise de Merteuil she is every bit Malkovich's equal. Unfortunately that cannot be said about Michelle Pfeiffer, playing Madame de Tourvel, the latest victim of Valmont's manipulations. Pfeiffer should not play fragile, prudish damsels in distress, but the opposite of that. She is not bad, but it kind of feels like a waste of her talent.

I wouldn't say Dangerous Liaisons is a great film, but I enjoyed every second of it, not just because of Malkovich and Close. I like that its screenplay (earning Christopher Hampton an Oscar) doesn't feel the need to conceal anything from the audience. Too often a film like this will start out by presenting Valmont and de Merteuil as virtuous characters, only to 'surprise' the audience by revealing their depravity later on. Here these characters are right away presented as shameless manipulators, who manipulate not so much for material, but for emotional gain. Their games are basically an expression of their love and respect for each other. The performative aspects of these games are very much foregrounded, right from the opening scene, which crosscuts between Valmont and de Merteuil dressing up, and putting on wigs and make-up. It reminds a bit of the way sports films present their heroes preparing for the game. Only Dangerous Liaisons is not actually interested in the outcome of the game, just in the way it's played. At least until, near the end of the film, Valmont does actually fall in love with Madame de Tourvel.  

  

119. Als Ze Er Niet Is &...

Lyrics

tien tegen een dat ik mijn mond hou 

(Ten to one, I'll keep my mouth shut)
als ik je weer zie 

(When I see you again)
ik ken mezelf zo onderhand

(I know myself by now) 
een prater ben ik niet 

(I am not a talker)
hoe was het hier 

(How was het here)
zal je vragen 

(You'll ask)
en ik zal zeggen

(And I'l say) 
goed 

(Fine)
maar ik zeg je niet wat ik nu denk 

(But I don't tell you what I am thinking now)
dat ik je eigenlijk zeggen moet 

(That what I actually should tell you)

een man weet niet wat hij mist 

(A man doesn't know what he is missing)
weet niet wat hij mist 

(Doesn't know what he is missing)
weet niet wat hij mist 

(Doesn't know what he is missing)
een man weet niet wat hij mist 

(A man doesn't know what he's missing)
maar als ze er niet is 

(But only when she's not there)
als ze er niet is 

(Only when she's not there)
weet een man pas wat hij mist

(Does a man know what he's missing) 

jij praat honderduit over hoe het was 

(You talk nineteen to the dozen)
over hoe je het hebt gehad 

(About how you were doing)
en misschien als ik op dreef ben 

(And maybe, when I am on a roll)
zeg ik een keertje schat 

(I say darling once)
dan vraag je mij 

(Then you'll ask me)
hoe was het bij jou

(How was your life) 
hooguit zeg ik dan 

(At the most I'll say)
stil 

(Quiet)
en ik zeg je weer niet wat ik nu denk 

(And again, I don't tell you what I am thinking right now)
dat ik je eindelijk zeggen wil 
(That what I actually want to say to you)

een man weet niet wat hij mist 

(A man doesn't know what he is missing)
weet niet wat hij mist 

(Doesn't know what he is missing)
weet niet wat hij mist 

(Doesn't know what he is missing)
een man weet niet wat hij mist 

(A man doesn't know what he's missing)
maar als ze er niet is 

(But only when she's not there)
als ze er niet is 

(Only when she's not there)
weet een man pas wat hij mist

(Does a man know what he's missing) 

pas nu je hier niet bent 

(Only now, when you are not here)
nu voel ik het in mij 

(Now do I feel it inside me)
nu je mij niet hoort 

(Now you don't hear me)
voel ik het woord voor woord

(I feel it word for word) 
voor woord 

(For word)

een man weet niet wat hij mist 

(A man doesn't know what he is missing)
weet niet wat hij mist 

(Doesn't know what he is missing)
weet niet wat hij mist 

(Doesn't know what he is missing)
een man weet niet wat hij mist 

(A man doesn't know what he's missing)
maar als ze er niet is 

(But only when she's not there)
als ze er niet is 

(Only when she's not there)
weet een man pas wat hij mist

(Does a man know what he's missing) 

This is a fine song, though I don't like the sudden switch into present tense at the end of the first and third verse. I don't think it's poetic freedom, just sloppy writing. In any case I've linked this song to one of my favorite films, about a man regretfully looking back at his failed relationship. Although not being able to talk has never been a problem for Woody Allen.

The Movie: Annie Hall (Woody Allen, 1977)

Well, the timing of this just couldn't have been better. Woody Allen just had another of his, let's say, unfortunate interviews in which he credits himself in an incredibly chauvinistic and Orientalist way for the education and empowerment of his wife. In that same interviews he claims to admire what is happening in television, but has not seen either Mad Men or Breaking Bad. He has seen, and likes, Hannah Montana though, which is at the very least not a smart thing to admit if you are Woody Allen. It's quite easy to understand why Woody Allen is increasingly disliked, and why people are finding it harder and harder watch his films as they can't separate the art from the artist.

I was going to address this even before the interview was published, but I do think Woody Allen's art can be separated from the man. And I think Annie Hall makes a good case for this. I think Woody Allen's real life persona is utter bullshit. He presents himself as this insecure, existentially pessimistic, uncool, old-fashioned man, who doesn't really care about all the attention. In short, he presents himself as a character from his films. I have read quite a lot of interviews with Woody Allen, and never believed there is much truth in that self-characterization. He has a set of cliches which he knows exactly how to deploy to pander to journalists, and dodge questions he finds uncomfortable or boring. I think he is a much more well-adjusted, (self)confident person than he presents himself, who knows exactly what he is doing. Of course, this makes his behavior and statements such as those in the aforementioned interview even more inexcusable.

I genuinely think few things make this more clear than Annie Hall. Alvy Singer (Woody Allen's character here) would not be able to make this film. For him Anjelica Huston and Jack Nicholson are unattainable gods, only accessible if you belong to the fancy, flashy crowd of record producer Tony Lacey. Tony Lacey, by the way, is portrayed here by Paul Simon. Apart from him, Annie Hall has cameos by Jeff Goldblum, Shelley Duvall, Christopher Walken, Truman Capote, and, of course, Marshall McLuhan. Diane Keaton is so fantastic and so convincing as Annie Hall, you forget she was not some plucky upstart in 1977. She had played Al Pacino's/Michael Corleone's lover in The Godfather films. So yeah, Annie Hall does not make a very convincing argument for the fact that Woody Allen an insecure outsider, or felt like one. He was as much as Jack Nicholson part of the in crowd.

Apart from that, Annie Hall is quite simply one of the coolest films ever made. Sure, it is filled with references to high culture and existentialist philosophy, and there is indeed a great underlying sadness to the story. The film is as much fantasy of the perfect romance, as it is a deconstruction of that fantasy. That's all true, and adds to the film's greatness. But before all that, Annie Hall (both the film and the character) is cool as hell. And it's at all times clear that this is a film made by an extremely confident filmmaker who is putting on a show, knows it, and wants us to know it. Woody Allen is here dropping the mic in every other scene. When I first saw it I hardly knew who Fellini was, and I knew even less about McLuhan. Nevertheless, I was in awe by the sheer chutzpah of that theater scene. It's utterly clear that it is filmed by a man who doesn't give a damn about film conventions, who feels completely free to do whatever he wants.

There are countless other similar scenes in Annie Hall. The scenes where past and present collide, allowing Annie, Rob (Tony Roberts) and Alvy to have a conversation through time with Alvy's aunt; The scene where Allen uses split-screen to allow Annie's family and Alvy's family to interact with each other despite being in completely different places; Allen's flashback to his school days, giving children the chance to speak as adults; Christopher Walken's absurd monologue, probably one of the first times someone discovered that just letting Walken go off on a tangent is a sound strategy for your film;The first scene between Tony and Alvy where we hear them talk, but initially have no idea where the sound is coming from. We merely see an outstretched street, with far away two people standing beneath a tree. We assume these are Tony and Alvy, until we see them walking and talking down the street; The scene in which Alvy and Annie's real thoughts are subtitled while they are talking to each other, and falling in love in the process; Annie's spirit literally leaving her body during sex; Annie's deadpan monologue about her dead uncle.

There are more, but that's enough. For now, let's end by noting that this is not merely Woody Allen's film. Diane Keaton here gives one of the best performances in film history, I think. Apart from the fact that her comic timing is perfect, this may be the most convincing portrayal ever of a shy, slightly naive person, becoming  more confident, without changing their personality.  And although Allen sometimes adopts the same chauvinistic attitude as in the aforementioned interview, Keaton never lets Annie Hall lose her agency. She makes clear that she is always in charge of her life, and that she is only with Alvy, because she likes him.