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

Monday, July 29, 2024

The Canyons (Paul Schrader, 2013)

 

Cast: Lindsay Lohan, James Deen, Nolan Gerard Funk, Amanda Brooks, Tenille Houston, Gus Van Sant, Jarod Einsohn, Danny Wylde, Victor of Aquitaine. Screenplay: Bret Easton Ellis. Cinematography: John Paul DeFazio. Production design: Stephanie J. Gordon. Film editing: Tom Silano. Music: Brendan Canning. 

Notoriety is a double-edged sword. Lindsay Lohan's tabloid headlines and James Deen's career in porn got them cast in a movie, The Canyons, by the respected director Paul Schrader. But the movie's own notoriety, its reputation for badness, did nothing to further a comeback for Lohan or an emergence into respectability for Deen. (Subsequent accusations that Deen was a serial rapist didn't help.) It's not, I think, quite as badly acted as some say: Lohan gives a more than competent performance and Deen has a wolfish presence that lends his character credibility. Schrader is skilled at creating an atmosphere of moral decay that almost makes the movie into the fable about contemporary Los Angeles that it wants to be and its title suggests. But it was made on the cheap with an inadequate supporting cast, and it never comes to life as either erotic drama or social commentary.