Welcome back to the Homestead. Today I will talk about a print from the DIA, and a few recent films we have watched. But first, a photo that was posted on FB by a friend. Amusing, and better than many posts of recent vintage.
In my hurry to bring you the latest news, I often make silly spelling and grammar mistakes. Ideally, Blogger should catch them, but, alas, it doesn't. And if my trusty proof reader (Deb) doesn't have time to read the blog, they usually don't get corrected. But I always mean to do it correctly, and that's what counts.
Maxime Lalanne was a French artist who specialized in prints and etchings, of which the DIA has several examples. At least one has been featured here before. But there is something exceptional about Le Pont Des Arts et L'Institut, as can easily be seen. For one thing, that sky is just too amazing, giving an unsettling feel to the cityscape depicted. Also, the way he uses the lighted lamp posts and their reflections in the river is unique, and very effective. The moonlight itself is reflected in front of the boats approaching the bridge. And by having only two people out on a moonlit night, enjoying the bridge and view of the river all to themselves, we feel as if we are peeking into a private world, glimpsing something that normally would be beyond human perception. A rare work, filled with a most strange beauty.
Turning to recent film viewing, there are three to report. First up was Querelle. From 1982, this was Fassbinder's final film. From the Criterion description: Director Rainer Werner Fassbinder’s final film is a deliriously stylized tale of hothouse lust and simmering violence. Set amid an expressionistic soundstage vision of a French sea port, this daring adaptation of a novel by Jean Genet recounts the tragedy of a handsome sailor (Brad Davis) as he is drawn into a vortex of sibling rivalry, murder, and explosive sexuality. Completed just before Fassbinder’s sudden death at age thirty-seven, QUERELLE finds the director pushing his embrace of artifice and taboo-shattering depiction of queer desire to new extremes.
The film is visually quite seductive, and feels at first a bit like watching a queer version of a Gilbert and Sullivan opera. The action is limited to a very small area, mostly in a seaside bar owned and run by Jeanne Moreau. In one of the low points of cinema music, she sings (twice) possibly the worst song ever written. It is quite embarrassing. Apparently Fassbinder does not follow the book very much, claiming it was just a third rate crime novel. Not having read it, I can't comment on that comment. But he does create something unique, at least stylistically and visually. I always have difficulty with novels and films in which I feel no sympathy or empathy with the main character. And if the main character is a murderer, and a person who takes advantage of his comrades, and a drunken sot who is also a misogynist, then I know I will have difficulty with the film. The gay scenes are pretty tame by today's standards, but no doubt the film opened up the possibilities for the art of queer cinema. So, what does one do with a drunken sailor? Do not star him in a film.
With the Fassbinder films now all viewed, I will have to seek out another director project. My choice for leaving this month was called Trouble Man, from 1972. Directed by Ivan Dixon (of Hogan's Heroes fame), this sleeper film features Robert Hooks in a Shaft type of role. He plays a private eye out to investigate a murder when he is set up for the crime. Mr. T, as he is called, is admired by friends and feared by foes. The body count goes pretty high, similar to a samurai film. Fun to watch.
Thank you for waiting for the vampire film discussion, which tricked you into reading this blog in the first place. Deb chose another film from the Roku Channel (ads, but not many), and it turned into a big winner. Somehow we had missed Jim Jarmusch's 2013 film called Only Lovers Left Alive. With mesmerizing performances by Tilda Swinton and Tom Hiddleston, they are both too perfect in their roles as nearly burned out, aging vampires. John Hurt stars as well, in a small but key role as Christopher Marlowe. Adam (Tom H.) lives in a run down mansion in Brush Park, Detroit, while his wife, Eve (Tilda S.) lives in an apartment in Tangier, Morocco. They each have reliable sources for blood, and we get to see some of their life before they come back together. This is certainly one of the best vampire pics ever put to film, with rich nocturnal atmosphere, a music soundtrack to die for, and an unhurried pace that perfectly captures their current outlook on life. Filmed in both of those cities, the choices could not have been better. This is a must see film, and one worth several views.
A full moon celebration is coming up, and this time will feature the first of a new 5-game tournament of Middle Earth: The Wizards card game. Happy Full Moon to all! And next week, or course, is the Solstice, where we get to turn our clocks towards winter once again. See you all soon.
Mapman Mike
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