Archive for July, 2006

De Palma Image of the Day #05

Posted by Eric on July 28th, 2006

from Hi, Mom! (1970)

Just a friendly reminder — following another reactionary, disappointing (and, to me, irrelevant) reiteration* that there are still many otherwise open-minded cinephiles who will continue to refuse the director access into the canon — that De Palma’s cinema is a rogue, renegade element that uses the language of the “oppressor” to its advantage. In Hi, Mom!, he even does so to take the piss out of the countercultural movement. (Now that’s funny!)

This frame is nothing if not obvious, it practically screams “look at the little lower layer, mate” and wears its irony like a traffic light. There’s rarely a confusing moment in a De Palma film, even when the surface is telling you to ignore your emotional investment which is, in turn, contradicting your critical faculties which are, in turn, convinced they’re getting soft and flabby from all the eye candy which is… et al, ad nauseum. One of the things I think it’s pretty safe to say is that De Palma makes movies whose intelligence is proportional to that of each audience member. And I’m just dumb enough to say it. Actually, I’m dumb enough to paraphrase the self-referential words of another artist whose name slips my mind.

Anyway, I’ll get the shot to jumpstart my enthusiasm and reassess my take on De Palma in the next couple months, as I’ve gotten something like a go-ahead from Ed Gonzalez at Slant to work on a feature that will place De Palma in the company of Dario Argento, Frank Borzage, Luis Buñuel, R.W. Fassbinder, Elem Klimov & Larisa Shepitko, Jerry Lewis, Mikio Naruse and Jacques Tourneur.

* Note: I’m not saying Girish’s post is the reactionary element. His post is fantastic, as are many of the comments. Just not some of the comments. I’d gladly welcome skepticism, as opposed to outright dirision, over De Palma’s worth as a filmmaker if the latter weren’t the given in most discussions. As it is, I read rejections of his flossiness and I tune out. Maybe some interesting formal-political points are made after I’ve packed my bags, but I don’t need them.

Formerly Happy Pups

Posted by Eric on July 22nd, 2006

Every year, I (with occasional help from my sisters) put together a calendar for my parents as a joint Mother’s/Father’s Day gift. We used to go to Proex and have them put it together, but I think it turns out even better when I do it myself on Photoshop. It looks a little bit more tacky with my love for putting the month’s name all over the picture, but at least that tackiness reflects that some thought went into the process, rather than someone feeding pictures into a machine.

We put my family’s last dog down on my birthday this year, and so it was sort of a relief that I had procrastinated on putting this year’s edition to paper, since the calendars usually start with July. (Miles was taken to the vet on July 3.) I decided that it would be an all-dog revue — which is sort of fitting since I’ve given the calendar the purposefully saccharine title “Happy Pups” Calendar for the last three years … Since I recycled the cover of the year that inspired the title, you can probably see why. It didn’t quite make as much sense the year I put a shot of Oreo taking a crap in our backyard on the cover, but I explained the juxtaposition made me a happy pup. Obviously, I’d probably have a hard time writing copy for Hallmark, as I’ve got about as much reverence and decorum as a dog.

I say Miles was our last dog, but I’m not exactly positive that’s the case. The moment we got home from the vets, my parents began searching for adoption agency Web sites for giant schnauzers. They even inquired about one that had, (un)fortunately, already been adopted.

Anyway, here’s this year’s calendar, for any other schnauzer-lovers out there who need a fix as bad as I have this past month.

Happy = stinking, panting hot.

July’s shot is, incidentally, the single best picture of me I know of. Not only is it cute, but it almost looks like I’m giving birth to a puppy. Awesome.

Miles, last year at Leech Lake. He’d already had his near-death experience, so I’m guessing he spent the last year of his life cognizant of the fact that it wouldn’t last forever.

I took this shot before going off to college, so I could stick it up on my wall. I probably made Miles wait for doggie-minutes on end before actually taking the pictures, bastard that I am.

I don’t rightly know if this is actually puppy Miles. It was in a set that the breeders sent to us after we’d indicated our interest in buying a pure-bred standard. Of all the pictures they gave us, this is the one we’re most convinced actually looks like Miles. I suppose it could be one of his brothers or sisters in the “M” litter. (We had to name the dog something beginning with that letter so, presumably, the breeders could keep track of family trees. My dad says he chose Miles because we had to drive so many “miles” to Duluth to pick him up. If you ask me, the dog could’ve easily ended up named Jaco, Kannonball, L-Vin Jones or Nerbie Nancock.)

Nick didn’t wear age very well at all, but he did have a sense of humor about it.

There were only two Christmases where we had all three: Nick, Miles and Oreo (the nervous one my Mom’s looks as though she’s trying to becalm but, in actuality, is probably holding down against her will).

Oreo again. My family was, apparently, the type that included dogs in the tally of children and, thus, the scales of gender were tipped back towards equality between the girls and me with Nick and Miles.

My favorite “I’ve never seen this picture before” discovery made while digging through the two monster boxes of photos. Nick looks a little bit like he’s laughing or yawning, but he’s really just trying to bite that cone off his neck.

This is the Oreo I’ll always remember. She had attitude. She’s looking at her token Christmas gift like “What the fuck you think I’m gonna do with this? Give me some of that roast you were just eating a few minutes ago.”

Nick was a curmudgeonly dog for as long as I can remember. But this picture sort of shows that he may have been old his entire life, but at least part of that time was spent a classy old, like Fred Astaire.

I had just arrived home after my last day of high school class. Actually, I don’t remember that I had to take any finals, so maybe this was taken the day I dropped off my writing portfolio and drove back home. Which means my public school system was so damned good at their jobs that I wasn’t even smart enough to realize that I didn’t have to wear a backpack to drop off a portfolio. The companion shot to this one shows me stepping out of my banana boat first car, a 1985 Pontiac station wagon that smelled of fruity pipe tobacco. That smell would’ve covered anything else that might’ve entered the air in that vehicle. I could’ve been a huge pothead or died of carbon monoxide poisoning and I wouldn’t have ever known.

Again, the “M” litter. Since a lot of the owners had Germanic chauvinism (I remember vividly one massive woman had named Miles’ aunt “Lieben”), I’m guessing the other owners named their pups names like Moritz, Meinhard, Margit and Munchausen.

Morbid, yeah. But it’s the only picture I could find of our non-schnauzer dog, a stray my mom found on the street in Minneapolis and took in named Trygg. He was a cockapoo, which I understand is an accepted term for cocker spaniel/poodle mixes, though I can’t imagine the AKC approves. I sure don’t — it sounds like dirty talk gone horribly wrong.

What (Francis Scott) Key?!

Posted by Eric on July 8th, 2006

My patriotism lags far enough behind that I’m probably ahead of schedule to post this movie-related artifact that I’ve actually had sitting on my hard drive for nearly six months.

I recorded Brewster McCloud, still unavailable on DVD, on Turner Classic Movies some years back after missing it at the 2001 Altman festival at the Oak Street Cinema. (Oh, sorry … the late Oak Street Cinema. What a sorry, prideless pile of beaurocrat-shit-stained living death that place has turned into. Donnie Darko: The Director’s Cut? When that place gets turned into an expansion of the Washington Ave. Chipotle, I will be the first in line to buy a burrito, which I then plan on throwing at the first MFA director’s car that passes by.)

Didn’t personally think the movie stood up too well against the likes of 3 Women or McCabe & Mrs. Miller, but I liked it better than what I’ve seen of Altman’s other 1970 film, M*A*S*H (still one of the two most famous Altman movies I haven’t yet seen in its whole, the other being The Player). And, as an encapsulation of the countercultural revolution’s belligerent hangover, it was a great deal less embarrassing than something like Easy Rider.

But it peaks so early.

Nothing tops the opening credits, in which Margaret Hamilton (in an absolutely fantastic cameo, so dominant she has the power to force a scene to start over) plays some harridan benefactress of some type who apparently only diverts her funds to one of Houston’s budget-strapped high schools in order to provide herself a back-up orchestra to perform the national anthem at the Astrodome. Which they sort of do, but not without a few glitches…

[Apologies for the video quality, which is awful even by YouTube's flash standards ... It came from a VHS dub in SLP which was then digitized twice over, so it understandably looks like icy mud cubes.]

… all of which culminates in a marching riot to “Lift Ev’ry Voice and Sing” (the Black National Anthem) and a bird (standing in throughout the film for Brewster’s aspirations) dropping dropski on a newspaper headline “Agnew: Society Should Discard Some U.S. People.”

The obvious real-life coda to McCloud’s Astrodome setting.

De Palma Image of the Day #04

Posted by Eric on July 4th, 2006

from Blow Out (1981)

Yeah, it’s not a Fourth of July celebration, but rather Liberty Day in Philadelphia. I’ve (evidently) been a little rushed lately.