Catching Up

Tuesday, December 28, 2021

Movie: Paper Moon (Peter Bogdanovich, 1973) (TCM).

Book: William Shakespeare, Troilus and Cressida, ed. Kenneth Palmer. 

TV: Station Eleven: Rosencrantz and Guildenstern Aren't Dead; The Severn City Airport (Netflix).

Wednesday, December 29, 2021

Movie: Mind Game (Masaayuki Yuasa, 2004) (Criterion Collection). 

Book: D.H. Lawrence, St. Mawr.

TV: Chopped: Pasta, Pasta, Pasta (Food Network); The Book of Boba Fett: Stranger in a Strange Land (Disney+); Death to 2021 (Netflix). 

In quick succession, Peter Bogdanovich made three terrific movies: The Last Picture Show (1971), What's Up, Doc? (1972), and Paper Moon. And then ... who knows what happened? Some blame his abrupt career decline on his infatuation with Cybill Shepherd, whom he miscast in Daisy Miller (1974) and the musical At Long Last Love (1975), after which he never recovered his status as a director. Whatever the reason for Bogdanovich's decline, there's something valedictory about Paper Moon when we watch it today, and not only because it was the precipice from which he was to fall, but also because it launched the troubled career of Tatum O'Neal, who won an Oscar for her debut performance, but became fuel for gossip as she grew p. It also marked the peak of her father's career: Ryan O'Neal went from being a star of the magnitude of contemporaries like Robert Redford and Al Pacino to fodder for tabloids, winding up as a supporting player on TV series like Bones. But set aside all that, and appreciate the crispness of the black-and-white cinematography of László Kovács, the skill with which Bogdanovich brings Alvin Sargent's screenplay to life, the cherishable Trixie Delight of the great Madeline Kahn, the superb work of Polly Platt in recreating small-town Kansas in the 1930s, and the easy rapport of the two O'Neals. One quibble about the closed captioning on the movie: In the diner scene below, Moses orders what the captions call "a knee-high and a Coney Island" for Addie. The "knee-high" is actually a Nehi, a now-defunct soft drink, as you can see on the label in the film.

Tatum O'Neal and Ryan O'Neal in Paper Moon (Peter Bogdanovich, 1973)

After finishing Troilus and Cressida, I have to conclude that the only way it could be staged today is as a knockabout bitter comedy. Taking it seriously is to endorse either the antidemocratic politics of Ulysses's speech on order or the nihilism of Thersites. A problem play indeed. 

The two episodes of Station Eleven I watched Tuesday night brought me up to date, but left me still confused about where it's going. So far, the series has alternated scenes from the immediate outbreak of the virus and scenes from 20 years later, the group of survivors it has chosen to follow continue their journey as traveling players. The function of Station Eleven itself, the graphic novel created by Miranda Carroll and cherished by Kirsten, remains one of the more intriguing mysteries of the series. I'm beginning to glimpse how things connect: Kirsten and the Traveling Symphony, and Clark (David Wilmot), the Rosencrantz to Arthur Leander's Guildenstern, and his outpost at the Severn City airport, but there are so many characters that it's hard to keep them in mind. Thank god for IMDb. 

I've always been fascinated by the Japanese imagination, which seems to bridge surrealism and pop culture with ease. I'm no devotee of manga or anime, so I can't speak with any confidence on the subject other than to express my appreciation of what bits of it I encounter, usually filtered through the films of Hayao Miyazaki or the novels of Haruki Murakami. I stumbled last night on Mind Game, the 2004 animated film by Masaaki Yuasa which is somewhat about the afterlife, and was left grasping for stability. I can't say I enjoyed it -- the film induced eyestrain as I tried to keep the images whole -- but I can see where its cult status came from. It's certainly a barrage of styles of animation, so much so that I can't choose any one image to represent it. The one below is from a "realistic" moment in the film.

A quiet moment in Mind Game (Masaaki Yuasa, 2004)

From Shakespeare to D.H. Lawrence. St. Mawr is a short novel (or a long short story) about Lou Witt, one of Lawrence's sexually frustrated women, who buys a beautiful but high-spirited stallion named St. Mawr. There doesn't seem to be any canonical saint by that name, and Wikipedia tells me that mawr just means "large" in Welsh. I've only just begun the story, so no reliable opinions yet, other than it seems to be following the author's familiar pattern of conflict between the civilized and the wild. 

The first episode of The Book of Boba Fett was promising, setting up the characters of the bounty hunter (Temuera Morrison) and his sidekick Fennec Shand (Ming-Na Wen), but not giving us much clue as to the direction of the story. I also watched Death to 2021, a spoof of year-in-review shows featuring some very funny performances by actors like Lucy Liu, Stockard Channing, and William Jackson Harper playing commentators, the standouts being Hugh Grant as an über-Tory Brit outraged by what he sees as the decline of everything that made Britain great, and Tracey Ullman as a Fox News-style personality.