Monthly Archives: November 2016

En Movimiento: The Man Who Would Be King

My latest column for Caiman Cuadernos de Cine, written November 16. — J.R.

En Movimiento:  The Man Who Would Be King

 

Errol Morris: “If you could give Charles Foster Kane advice, what would you say to him?”                                                                                                                                   

Donald J. Trump: “Get yourself a different woman.”

— from a 2003 interview

 Citizen Kane

It isn’t surprising that Citizen Kane is Donald Trump’s favorite movie. Thanks to the input of Herman J. Mankiewicz, an unhappy cynic, Orson Welles’ first feature is the only one he ever made that views corruption from a corrupted viewpoint; all the others see corruption from a vantage point of baffled innocence. As an actor who specialized in playing corrupt authoritarian figures — tycoons (Kane, Arkadin, Charles Clay), racists (Kindler, Quinlan), conniving magicians (Cagliostro, Welles himself in Follow the Boys and F for Fake), power-mad officials (Colonel Haki in Journey into Fear, Cesare Borgia in Prince of Foxes, the Advocate in The Trial), a sly racketeer (Harry Lime), and several dissolute rulers—before achieving his best role as Falstaff, an innocently jovial jester to a prince, which failed to engage the mass audience to the same degree (as did his more innocent heroes in The Lady from Shanghai and Othello) — Welles as an anti-authoritarian writer and director only confused matters for the general public by undermining what he celebrated as a performer.… Read more »

The Potent Manic-Depressiveness of LA LA LAND

emma-stone-ryan-gosling-la-la-land

I was too late in catching up with La La Land to have included it in my best-of-the-year lists for Sight and Sound and Film Comment, where it likely would have figured in both cases. But one telling aspect of the movie that I find missing from the reviews that I’ve read is just how desperate its euphoria turns out to be — which is not an argument against this euphoria but a statement of what gives rise to it and what makes it so poignant. Of course this is a fact about many of the greatest musicals (and greatest post-musicals, such as those of Jacques Demy that Damien Chazelle is so obviously emulating) that characteristically gets overlooked, which is how much the elation of song and dance is only half of a dialectic that also highlights failure, hopelessness, and defeat. The most salient thing about the musical numbers here is how they figure as interruptions to misery and diverse irritations and frustrations — interruptions that are typically interrupted in turn by the hell of a freeway traffic jam or the anguish of a failed audition.  

La-La-Land

This is what makes the singing and dancing seem absolutely necessary, not merely a simple flight from unpleasantness.… Read more »