Hello all! In order to make sure the new website is as amazing as possible, the publish date will be pushed out to March 7, 2016. Sorry for any delays.
Have a great month of March!
Greetings all and hope this January Day finds you well!
The Studio Concrete website is under construction, to be published on February 29, 2016 (just six weeks away!) In the meantime, please enjoy the blog site, with a fresh look and upcoming content.
You may have been routed here by entering studioconcrete.com. The current company website is under construction. The publish date for the new site will be Leap Year Day: 2/29/2016. You can view the countdown timer in the footer of this blog.
In the meanwhile, feel free to browse the Studio Concrete blog!
1966 – Directed by Hiroshi Teshigahara
Random thoughts. These Sunday posts are often about fighting the urge to rigidly catalogue things but not always being successful. Sorry if this just sounds like a rough taxonomy of key points.
The Face of Another is an oddly cold but sedutive allegorical piece of science fiction: presented in a harsh, graphical style that appears to constantly alert us to surfaces.
I want to start off by presenting the segment around which the movie seems to pivot:
I don’t think that there is an accident that the song has a vaguely Kurt Weill-ish feel. (Who wrote this?) The emphasis on facades and artifices in the film is similarly Brechtian. The beaded curtain in the home of Okuyama and his wife echo the Langer’s Lines in the doctor’s office. Body parts become detached and inanimate parts become part of the body. The scars on the face of the girl in the parallel story flit in and out of the field of vision for both ourselves and observers within the film.
Teshigahara is clearly telling a tale from a moral standpoint: it could be interesting to compare this to Stray Dog as far as being a critique of post war Japan and the dissolution of identity: perhaps a project for the future. It is certainly also an interesting idea to think about masks as mode of transcending identity from our own historical period, in which we seem to, from our online identities at least, have no corporeality at all. Again, for another time.
(One question: why does the soundtrack music when Okuyama is seducing his wife sound so familiar? I would love some feedback on this.)
1936 – Directed by Charles Chaplin
One of the things that is difficult about this project is the prospect of taking on movies that have been written about to death. I had actually never seen Modern Times before. What to say about it? The location shooting is gorgeous, the themes are timeless, the sets are awe-inspiring, Paulette Goddard is completely charming (though I didn’t believe for a minute she was a teenager, which, in itself, was a bit weird), the music is beautiful and Charlie Chaplin has no match.
My impulse is to just say, “enjoy it”. I don’t really want to analyze it: I want to just be here now and savor this perfect object.
Perhaps I’m just wanting to let myself off the hook it being Friday night: my being exhausted and having a lot going on.
It certainly was a lovely movie to end the workweek with.
Do want to mention though how eerie Chaplin’s prediction of pervasive video monitoring was, even if we stop short of our boss yelling at us in the bathroom. Isn’t that much of a stretch.
1984 – Directed by Wim Wenders
I got inspired to go back and watch Paris, Texas again. The movie struck me quite a bit when it came out, and I was obsessed with the Ry Cooder soundtrack. There are obviously a lot of parallels between this film and the 10 years earlier Alice in the Cities. Again, we see the mediation of the direct experience through photographic images. Again we see lost and disconnected people. Also again we see semi-abandoned children, which set off alarm bells to us now, and are difficult to watch without judging, or at least fretting. No seat belts? Eek.
This is another road movie, of course, and constantly presented with a contrast not just between the direct experience and the captured image but the contrast between wide-open spaces and flattened spaces. The Dean Stockwell character, interestingly, creates billboards. the Nasstasja Kinski character, Jane, also interestingly works in a very odd strip club consisting of these strange foreshortened rooms resembling familiar public spaces.
The movie, then, as now, has a slight “ick” factor to me: i’ve never cared for the romantic depiction of what was obviously an abusive and possible even statutory rape situation between the Harry Dean Stanton character, Travis, and Jane. Our gaze upon her remains problematic. The rest of the relationships are more intriguing, such as between the child, Hunter, and Travis.
The movie doesn’t hold up quite as well as it could over time, and it times it lingers a bit too long on the idea of American vastness and emptiness. Still the geography is captivating, if, at times, inaccurate. Having now lived in Houston, can assure you that the place the Jane character turns off to after getting off the Interstate is absolutely not the neighborhood where the strip club is depicted to be.
That neighborhood, were we to see it, is one of those typical Houston suburban-y areas filled with tract homes and cookie-cutter apartment complexes and little shack-like mom and pop businesses: not an urbanized back alley with murals and parking lots.
Below is the neighborhood near Shepherd off of I-10 (the Katy Freeway):
Versus the movie:
That neighborhood is apparently near US Highway 59 and State Highway 288, near downtown, which is about 12 miles southeast from where we think we are, though I cannot find the exact intersections. We are definitely looking at a hybridized, fictionalized, perhaps mythologized, city.
1974 – Directed by Wim Wenders
Some movies just feel right. What they might lack in complex plot points, cinematographic innovation or intense studies of character, they make up with a vibe or tone that resonates with lived experience. In the case of Alice in the Cities, Wenders manages to quite simply and clearly capture pure loneliness and disconnection. Maybe I just love road movies, maybe I just miss the 70s. Not sure: it doesn’t really matter.
Wenders is obsessed with the way the mediated image changes the direct experience. This is especially evident in the pervasive display of the televisions in lonely motel rooms. The Polariod photos as well create a distance between the immediate and the mediated. The photographer, Phil, seems happier experiencing his trip though his growing stack of snapshots, and seems incapable of finding anything to say about his actual journey. He is trapped.
The child, Alice, whom is dumped on him by her distracted and heartbroken mother before they travel back to Europe from New York City, does not “free” him or “transform” him or make life more immediate. She is in a world she has even less control over than he. She’d rather watch television at the little pay booth at the airport than deal with her reluctant and disgruntled caregiver. At least she can control this image. Yet, somehow, they manage to move through this world driven by images (the quest for grandmother’s house, the early presence of the John Ford film in one of the indistinguishable seedy motels, followed later by the news of his death, the overall sense that the world flattens and dies by by our ability to caputre it) in a manner that we start to belive, ever so slightly, in the power of motion, of movement and the chance to transcend, if not change: what we ultimately hope for in a road movie.