A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Tuesday, January 14, 2020

The Souvenir (Joanna Hogg, 2019)

Honor Swinton Byrne and Tom Burke in The Souvenir
Cast: Honor Swinton Byrne, Tom Burke, Tilda Swinton, Richard Ayoade, Jaygann Ayeh, Jack McMullen, Hannah Ashby Ward, Frankie Wilson, Barbara Peirson, James Dodds, Ariane Labed. Screenplay: Joanna Hogg. Cinematography: David Raedeker. Production design: Stéphane Collonge. Film editing: Helle le Fevre. 

From the moment we hear the George Sanders purr of Tom Burke's voice, we know that the character he's playing is a bit of a cad and that the slightly awkward and slightly androgynous Julie (Honor Swinton Byrne) should be on her guard. But as it turns out, Julie gets the best of a relationship in which he's mostly in it for her (or her family's) money. She gets the experience she will need to become a filmmaker. The Souvenir ends with the promise of a "Part II," which is not what we usually expect of our arty, thoughtful movies these days, but which is probably something of a necessity to complete the thoughts that Joanna Hogg implants with this semi-autobiographical story, drawn from her own early days as a film student. The callow Julie has a big idea: make a serious drama about an impoverished working-class  boy growing up with a sick mother in a blighted British industrial city. Considering that she's from a family that's anything but impoverished and working-class, she's advised that she should stick to what she knows. But since she doesn't know much of anything about life, that's a problem. Hogg was a late bloomer as a filmmaker: She made her first feature film, Unrelated, in 2007, when she was 47. The Souvenir is a reflection on coming of age in Thatcherite Britain, and it forms part of a slowly growing corpus of films about British artists and intellectuals that demonstrate Hogg's mature and melancholy vision of the state of the world. 

No comments: