Amoeblog > Tag > realism

The Return of the Real Aesthetic: Friday The 13th 3D (1982)

Posted by Charles Reece, January 31, 2009 04:54pm | Comments (3)

The quarrel over realism in art stems from a misunderstanding, from a confusion between the aesthetic and the psychological; between true realism, the need that is to give significant expression to the world both concretely and in its essence and the pseudorealism of a deception aimed at fooling the eye (or for that matter the mind); a pseudorealism content in other words with illusory appearances. -- André Bazin, The Ontology of the Photographic Image

[Please note: Ontological Enhancement Device (OCE) is required for the proper reception of the life-enhancing images that follow. Click on images for full lifeworld experience.]

If kids played baseball on the street, this is what it would look like:

Or if housewives watched TV, this is what it would look like:

I'm told that smoking reefer is something akin to the following:

Before September 28, 1987 -- when the holodeck went online -- kids used to do this:

I always felt the problem with Max Ophüls was that his objects lay dormant on the screen:

Did Robert Bresson ever achieve this level of realism?

friday the 13th jason kills with cleaver

Jean Renoir is famous for using depth of field, but he's "quadrophonic" vinyl compared to the 5.1 surround of the following:

Home Movies: Rachel Getting Married (2008)

Posted by Charles Reece, October 12, 2008 09:25am | Post a Comment

Life sucks, Brendon. That's your lesson. Go enjoy it. -- Coach McGuirk

So, I'll go ahead and use the fussy distinction of my esteemed colleague, Mr. Brightwell, and call Jonathan Demme's new film cinéma direct, rather than cinéma vérité. It's grueling enough to deserve the t rachel getting married

hree accent marks, however. Unlike the use of the shaky-cam in Blair Witch Project or Cloverfield, Demme and his cinematographer, Declan Quinn, always keep the camera in the objective, 3rd-person tense. They also thankfully keep it more transparent than the nauseating narcissism of Paul Greengrass's camera work. While moving room to room, the audience floats along, but when the wedding party guests are talking, Demme and Quinn fix the shot, even remembering that modern cameras can re-focus on stuff in the background without having to move. Contrariwise, I remain skeptical of any definitive ability to distinguish between direct and vérité when it comes to fictional films. The direct documentary is akin to the transparency of classical Hollywood, I suppose, but expert editing, grainy textures, and perfect-looking people tend to call attention to the artifacts in a realist drama. Whatever you call it, Rachel Getting Married is realism at its squirm-inducing most direct.

Jenny Lumet's script rarely hits a wrong note in analyzing a particular bourgeois Connecticut family's power struggles that are inherent to most families. Whereas my family get-togethers center on frito-pie and football, Rachel's wedding involves Indian attire and cuisine with Robyn Hitchcock and Cyro Baptista supplying the entertainment. All attention is being paid to Rachel until her younger sister, Kym, shows up with a weekend pass from court-mandated rehab. What follows is the gentrified version of the Oedipal Complex. The sisters compete for dad's affection using what they have: Rachel is the perfect daughter with some undefined perfect job, perfect friends (successful musicians and writers) and a perfect fiancé, whereas Kym is the classic second-child fuckup, with drug addiction being her defining characteristic. As with the thespian drug addicts in Hollywood who regularly meet at a little café on Vine, just South of Sunset Blvd., Kym's addiction isn't so much a cry for help as an egotistic need to be noticed. Hers is the kind of bottoming out that leads to a memoir featured on Oprah or as a writer of forgettable sitcoms; i.e., dependency as a privilege of the leisure class. Her sister isn't any less egocentric or any more likable: just as Kym is trying to get the family to acknowledge the way they all play into her addiction, Rachel interrupts with the announcement that she's going to have a baby. Score one for sis, and the cycle repeats. Mom got sick of their shit some time ago and left to live her own life; every narcissistic flower has roots. Dad's so castrated that he's always on the verge of singing, "mairzy doats and dozy doats and liddle lamzy divey."

Anne Hatheway Rosemarie DeWitt Rachel Getting Married

The squeamishness comes from the way the mise-en-scène makes you one of the guests, eavesdropping on conversations that you shouldn't be hearing. As with real weddings, you're sometimes placed at the center of attention only to recede into the background in another scene. Sitting through a friend's wedding is bad enough, but two hours at a stranger's is debilitating. And Demme's film is so formally precise that you really feel like you're there. After twenty minutes of family friends talking about the bride and groom at the rehearsal dinner, I felt like covering my eyes when Kym brings attention back to herself by bringing up her drugged exploits in a 5 minute toast to her sister. It's not as uncomfortable as Capturing the Friedmans, but I don't plan on ever sitting through either film again. In scene after scene, the family refuses to properly address a past tragedy that structures much of its current crises, but the familial dynamic is never simply reduced to the tragedy. Anyway, kudos to the filmmakers for creating pitch-perfect quotidian misery. This is a good character study, even if I don't see much of a point to realistic character studies. Life itself already has enough pointless empathy without aesthetic realism giving us more.

What Do You Call A Commercial That Sells Only Itself? The Fall (2008)

Posted by Charles Reece, May 23, 2008 03:08pm | Comments (8)

The opening credit sequence to Tarsem Singh's The Fall looks like a Calvin Klein ad: shot in black & white, pretty and elliptical, a dead horse is pulled out of a river with a crane attached to railroad bridge. And, boy howdy, the critics don't much like the film! It received a 58/100 from both Metacritic and Rotten Tomatoes. Without exception, every negative review mentions the commercial and music video background of Tarsem (as he is credited). That's a cudgel that's been used on Ridley Scott, David Fincher and other directors coming out of the commercial video world, often with good reason. For example, Se7en wasn't much more than an overly long Nine Inch Nails video. The problem isn't that commercial and video works lack craft or aestheticism (as they once did), but that their instrumental value as shills for products culturally diminishes any value they might otherwise have as art. Iggy Pop once asked rhetorically what did it matter how he used his songs so long as he initially created them for himself. Well, is it possible for anyone under 50 to watch Alain Resnais and Marguerite Duras' meditation of time and memory, Hiroshima mon amour:

Without having the experience diminished by having seen tons of Calvin Klein ads like the following?

Resnais' visual style has been corrupted -- maybe not forever, but for as long as ad agencies continue to rip him off. Thus, as long as Tarsem continues to blow his aesthetic load during the commercial breaks for Lost (its viewers being the target audience for the type of commodities his visuals sell), his films will be taken about as meaningfully as "Lust For Life" or Moby's entire oeuvre. Still, it takes a lot of skill and knowledge to make something that looks and plays like this:

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