« September 2005 | Main | November 2005 »
I am starting a new feature called Windowlicker, from the French for window shopping: faire du lèche-vitrine, to go "window-licking".
After today, Windowlicker will appear on Tuesday and Thursday mornings at 10:00am EST.
Today's selections:
previously: paper doll: the antwerp six
Later: a full report on my El Dia de los Muertos (Day of the Dead) visit to the New York branch of the National Museum of the American Indian.
Today, Emma and I saw Shopgirl:
Lauren: Shopgirl: are you a lover? Or a hater? And most importantly, to tie in with the film's marketing campaign: What were you looking for? And did you find it?
Emma: I am a lover, most definitely. What I was looking for was a sensitive and faithful adaptation of the book, which was accomplished, no doubt in large part because Steve Martin wrote the screenplay himself.
Lauren: His writing and performance were key -- the film is his story, literally. I found myself quite surprised by the veracity of the characters. How real, and flawed, and willing to be hurt they all seemed.
Emma: The characters' amazing complexity - subtle, real and heartfelt - was absolutely what made the film such a success.
Lauren: Completely, because as I mentioned, there were a few icky things.
Emma: Right - go on...
Lauren: Like the cinematography. It felt like the mise-en-scene was hardly a consideration.
Emma: I wasn't as horrified by that as you, but I'm prepared to be convinced!
Lauren: Sure, the actors carried the weight of such a complex, humanistic film, but it could have easily been beautiful to watch as well as beautifully acted. For instance, the opening credits were given an inspired treatment that was poorly executed. While watching a camera scroll over cosmetics, I don't want to think, "Oooh, a camera scrolling over cosmetics." I want to think, "Wow, what a gorgeous and unusual setting." It just felt a little obvious, and then the first scene, the camera was actually shaking.
Emma: I agree with that, definitely.
Lauren: And later in the film, when Mirabelle has that freakout session in the store. It's so obvious that she's kind of rolling away, literally and that cheesy, ham-handed shot is supposed to convey her emotional fragility. Sorry, no - a complete lack of technical facility, maybe, on the part of the director and crew.
Emma: Oh, I was so moved by that scene. I think it was conveyed well! I was suspending my critical faculties overly, perhaps, so engaged was I by the emotional content. What did you think of the sky metaphor, continually employed via the skyline etc?
Lauren: I liked the sky metaphor a lot. It was one more thing that established the LA setting. We don't think much about the sky in New York. And it had kind of a dreamy California feel to it as well.
Emma: Certainly, the twinkling lights of the landscape as viewed from high up felt very LA-specific.
Lauren: Marcy mentioned to me last week that she hated the sweeping theme music, which ebbed and flowed between "major movement" and "crescendo" but I think you and I thought it wasn't so bad. It's that kind of a story.
Emma: There was one song I felt hit a slightly false note: when she's first in love with Ray, it was a sixties love song, what was it?
Lauren: It was “I Only Want To Be With You,” as sung by Dusty Springfield.
Emma: I agree that the score overall was a little "on the nose", and in the case of that song, it was overly so. But generally I think the music worked. As you say it was that kind of a film.
Lauren: The soundtrack could have been much more original, but they're not really original characters: the unmotivated artist toiling in retail, the rich tech exec, the slacker dude…
Emma: It could have, definitely. I suppose they're not original as characters superficially, but we got an original level of access to them as people.
Lauren: No definitely - that's why I didn't mind the un-original songs, though. Emotions aren't really original. Falling in love is universal, or at least the aspiration to make that kind of connection with another human being, and the film did a marvelous job of conveying that ache. I was thinking on the way home that the film was like a red glass heart that had been broken and glued back together again and presented as being only exactly what it is. There were so many scenes where my mouth just fell open, and I was like, "That's going to hurt." SO many!
Emma: That's exactly it! I was holding back the sobs. And I was skeptical, but Danes did an exquisite job of conveying Mirabelle's fragility. She's the opposite of fragile, herself, so it was quite a feat.
Lauren: She's wonderful at playing those birds with a broken wing.
Emma: She is. How did you feel about the veracity of a Claire Danes falling for - an albeit very rich - Steve Martin?
Lauren: It was so realistic. She's what, 28, waiting for someone to give her permission to live her life...and then he just shows up and seems to know everything. It's a very beguiling premise.
Emma: I'm not sure if it was so much give her permission as financially assist in, though. Not that I'm suggesting Mirabelle's motivation was anything other than pure. But I think we're supposed to see her as straitened by poverty.
Lauren: Well, it seemed pretty clear by the end that their break-up was the best thing that ever happened to her. It was only after their relationship ended that she got interesting. Sure, the money was extremely central in their affair. And much more so in the book!
Emma: Right! But it was dealt with in an interesting way, not simply rich dude splashing money on a girl.
Lauren: But I just felt like, a guy like Ray, if he wasn't rich, he would still find some other way to be available every other way than emotionally, e.g. fixing things around her house, or helping make some art world connections. I mean, money was just the thing he was most willing to offer so freely and so it became the language of their interaction.
Emma: I'm not sure about that! I see exactly what you mean, but I think he is one of those men whose raison d'etre can't be separated from his wealth. As you say, it was his mode of interaction.
Lauren: It's true - he can't really be separated from his money because that is one of the factors that both frees and isolates him from other people.
Emma: Although, the scene where he takes her to the doctor and takes care of her after she has anti-depressant withdrawal is very touching. And shows his love for her.
Lauren: Yes, but a little bit in an icky paternal way.
Emma: Yes! But that was totally one of the subtexts of their relationship.
Lauren: If even a subtext!
Emma: Right! Whereas Jason Schwartzman as Jeremy was presented as her male equivalent - flawed and struggling but with a beautiful soul.
Lauren: Oh yes, let's talk about Jason Schwartzman - he stole the show! I was amazed by how much he could amaze me.
Emma: What a revelation!
Lauren: In any other hands, that character would have been slapstick. And yet his performance is probably the brightest light in the film.
Emma: We were hooting with laughter during most of his scenes - yes, he never overplayed it. Fabulous comic timing.
Lauren: Really fabulous. It was obvious that he never fit in but was absolutely too oblivious to care, whereas with Mirabelle, the challenge seemed to be to stand out.
Emma: You're right. Not fade into the background like could so easily happen.
But Jeremy was just adorable. It killed me when he said to Mirabelle "I will protect you!"
Lauren: That was quite a declaration, made at the perfect moment. Now, what about Lisa's character? Her character, also archetypal, was really slimmed down in the film to what is essentially one comic scene.
Emma: Wow! Lisa! She was brilliantly done by Bridget Wilson-Sampras. So loathsome.
Lauren: Bridget did a great job of mastering the facial expressions of a slightly dim, conniving sexual & social climber.
Emma: It was absolutely in the facial expressions. And in the hair tossing.
Lauren: And really conveying what it would be like to only consider your outward appearance as your worth. It was a part that required an intense physical presence. And she did that well.
Emma: Your outward appearance and your fellatio technique.
Lauren: Her apartment was so vulgar I wanted to die of shame for her. With the fake flowers on the nightstand.
Emma: The candles! The sex toys!
Lauren: And the "dictator's bordello" deco scheme.
Emma: I think Bobby Trendy should offer a scheme with precisely that name.
Lauren: He's probably already got the glue gun and the fake feathers in hand.
Emma: Hee. So, you mentioned before that you thought it was highly autobiographical on Martin's part. Yet, he showed quite impressive insight into the character of Ray.
Lauren: Well yes, the narrative was obviously written by a wealthy connoisseur of fucking senseless women half his age.
Emma: Ugh!
Lauren: I mean, YEARS of observation (and... field work) had to have gone into developing the ability to tell that story flawlessly.
Emma: Gross but true.
Lauren: And it's entirely told from his perspective. Mirabelle is an astonishingly clueless person seen from the vantage point of someone who's been alive twice as long.
Emma: Indeed. I wouldn't be surprised if some on the therapist's couch analysis had informed some of his more insightful glimpses into the psyche of an aging player.
Lauren: Absolutely - it's remarkably self-aware.
Emma: When he says to Mirabelle he's bought a three-bedroom apartment "In case I meet someone and have kids." It's one of those moments you labeled kick-in-the-stomach.
Lauren: So casually tossed off, and yet so obviously nearly satirical…
Emma: But sadly men are that insensitive.
Lauren: I mean, it just seemed like another line he used to keep everything beyond his immediate needs at arms length. But god, yes - “anyone-but-you, darling” is a killer.
Emma: And when she responds, "Why don't you love me?" It's the simplicity that's heart-wrenching.
Lauren: Right - and who hasn't wanted to say precisely that in a situation where the emotional stakes are that high?
Emma: I know. It's such a delicate piece of acting on Danes' part, too.
Lauren: She does such a fantastic job of holding it all together and then just completely falling apart, with no visible cracks or fissures in her demeanor beforehand.
Emma: God, that's exactly it. She puts supreme effort into staying in control, most of the time, but then it just becomes too much.
Lauren: And it's so real, because there's no other way she could sustain her existence as Mirabelle if it wasn't all buried so deeply within her. But when Ray drops that line about, getting a place in New York – big in case he meets someone and has kids.... What else would Mirabelle do but fall apart?
Emma: I know, but what else would ANYONE do? This was part of the power of the film, I thought: we got these very particularized glimpses into people's souls, while they experienced stuff universally true.
Lauren: Universal truth is such a great way of putting it. It was a very soulful film.
Emma: And Martin shows such strange understanding of people and their flaws and frailties.
Lauren: Well, I wouldn't be surprised if he were more than a bit like Ray Porter in real life: alone, outside looking in, observing more than participating….
Emma: I think you must be right.
Lauren: It just came across as a very nuanced in an unsettingly authentic way.
Emma: Nuanced is it. And it never felt like the characters were being patronized, despite the close scrutiny they were placed under.
Lauren: Absolutely. It was like the Japanese philosophy of wabi-sabi, where if a cup breaks, you glue it and get gold painted on the line where it cracked, with the idea being that it's more valuable now. It's imperfect, which is an essential truth.
Emma: Imperfect, and therefore practically perfect as a work of art. I would like to give this five out of five! Am I delirious?
Lauren: No - or I am delirious, too! Let's do it -- our first perfect score. Shopgirl deserves it.
Emma: Five out of five for the masterpiece that is Shopgirl!
Le Cineclub Rating:
(five out of a possible five peonies)
Previously: Kiss Kiss Bang Bang, Nine Lives, Dandelion, Going Shopping, Green Street Hooligans.
Kevin Smokler is the author of Bookmark Now: Writing in Unreaderly Times, an excellent collection of essays that came out earlier this year. He and I collaborated on a New York event for the book. A highlight of that project: Kevin's interview with global trendspotting site, PSFK.
Kevin's promotion for the book is wrapping up, but his publisher is exploring one more innovative approach for connecting Bookmark Now with the larger cultural conversation.
Click on the image and send a list of your favorite books to friends in order to be entered into a random drawing for 15 books recommended by contributors of Bookmark Now. Brilliant.
I'm undecided about whether or not to send holiday cards, and it's not a tradition I invest in heavily. This year, I've given myself a deadline to make an official decision around November 1st (my instinct is that there are other things the time and money could be applied to - going through a stack of prospects for 2006, a plane ticket to Paris etc etc)... At any rate, here are some clever and worthwhile options that I thought I'd share:
I am so in love, love, love with this (life-like!) pillow from Salvor Fauna:
Title, from "Minerva Jones" by Edgar Lee Masters.
Andre Banks, never one to disappoint, has posted two provocative new pieces he wrote for the new issue of Colorlines at his blog, writewhatilike. Both are very much smack center at the intersection of art, politics, and style, and your essential reading for today: "No Poser Here: Kehinde Wiley Paints Black Masculinity Anew", and a review of Scott Poulson-Bryant's "Hung: A Meditation on the Measure of Black Men in America.
Ron Hogan (author of this winter's white-hot The Stewardess is Flying the Plane: American Films of the 1970s) asked me to comment on a piece in the New York Times Book Review, for Mediabistro's Galleycat publishing blog, which, as always, I was happy to do. To wit:
"I find it hard to believe that savvy authors would wait until several weeks or months into the post-publication stage of the life of their book to consider hiring an independent publicist who can help balance their objectives and resources and map out a comprehensive, strategic campaign, but perhaps some do, and they're the ones that will find solace in this insipid article. I can't imagine any other reason for printing it."
There's definitely more to be said on the subject: "Perish" the Thought.
"Photos From Banksy's Crude Oils Show" [wooster collective]
"Designer Isabel Toledo and artist-husband Ruben were given the Fashion Design award by the National Design Museum, who sifted through over 800 nominations to find their winners...According to a statement, they were chosen because of Isabel’s 'appreciation of machinery, practicality, and comfort' and Ruben’s 'instinctive approach to art' and 'intensely surreal observations on fashion, beauty, and life.' [fashion week daily]
See also: "Isabel and Ruben Toledo: A Marriage of Art and Fashion"
Chic is Where You Find It: The Bonnie Cashin Collection of Theater, Film and Fashion Design [UCLA]
