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

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Saturday, May 3, 2025

Strange Days (Kathryn Bigelow, 1995)

Angela Bassett and Ralph Fiennes in Strange Days

Cast: Ralph Fiennes, Angela Bassett, Juliette Lewis, Tom Sizemore, Michael Wincott, Vincent D'Onofrio, Glenn Plummer, Brigitte Bako, Richard Edson, William Fichtner, Josef Sommer. Screenplay: James Cameron, Jay Cocks. Cinematography: Matthew F. Leonetti. Production design: Lilly Kilvert. Film editing: Howard E. Smith, James Cameron. Music: Graeme Revell. 

Kathryn Bigelow's Strange Days contains one of the most painful and disturbing scenes I've ever witnessed. In it a woman, through a perversion of technology, is forced to experience her rape through the eyes and sensations of her rapist. The film was a box office failure, usually ascribed to poor marketing, but I suspect that word-of-mouth about that scene has a lot to do with keeping audiences away. It makes the protagonist, played well by Ralph Fiennes, vomit when he experiences it through a virtual reality recording device that plays back not only the visual but also the physical sensations that the recorder experienced while wearing it. Bigelow was the right director for the film, conceived by her then-partner James Cameron. Making such a scene virtually demands that a woman be responsible for it, but Bigelow is also a master of the hyperactive thriller, which Strange Days wants to be when it's not being so outrageously transgressive. It's well-acted, particularly by Fiennes and Angela Bassett, and it builds to a smashing, noisy climax on New Year's Eve at the dawn of the millennium, but it's overlong, and to my mind its over-the-top violence dissipates the points it wants to make about police brutality, racial injustice, and the dangers of invasive technology.