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Obama: Recollections of a Premonition

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This piece - originally titled "Obama: Premonitions of a new epoch" - was written and published four years ago, when the events it describes transpired. It is being re-presented today for obvious reasons. Do I stand by everything I wrote? Not exactly. Much has changed. More to the point, much didn't change. But this makes, among other things, a fascinating time capsule.

The essay is also re-appearing in the midst of a month devoted to my recently completed short film "Class of 2002", a fictional photo-memoir focusing on five young people in the past decade. Therefore I'm using the occasion to encourage you to watch the movie if you haven't yet, and would also note that the film actually provides an interesting complement/counterpoint to the following essay; while touching on many themes addressed below, the film's tone is far more pessimistic and melancholy. 

Like many in my generation, I've seesawed between a sense of disappointment and frustration on the one hand, and on the other a yearning for, well, hope and change, which Obama represented so vividly in 2008. Since then, there have been disappointments and frustrations aplenty, with him and others, in politics and elsewhere. Yet perhaps by reflecting on the worried but still vivid optimism of that freezing cold winter day, we can at least momentarily cultivate a feeling of positivity.

I arrived in New York around midnight. This was already the third leg of a long, overnight trip to Washington, D.C. but it was only here that I began to see evidence of the gathering storm. There had been hints when I boarded in Boston - my 7:30 bus was cancelled and they were boarding people whenever they had the chance. But in New York they were boarding in relays, one bus after another after another, and a line stretched through the entire area and around the corner. I would say the majority of the crowd was African-American, and about half was young - with some, but not an overwhelming, overlap between the two.

Earlier that morning, I'd attended an annual NAACP breakfast in honor of Dr. King, who would have turned 80 this year. On everyone's lips, but especially those of the black attendees, there was an emotional, almost overwhelmed tone, a sense of still pent-up disbelief slowly releasing itself, coalescing into an unbearable excitement. There are so many aspects to Obama's newness - his youth, his name, his style, his savvy, his intelligence, his politics - but the most potent and poignant is his color. And the genuine (and genuinely non-exclusive) pride that the black population, young and old, male and female, liberal and conservative, seems to feel at his accomplishment has been palpable. As I've noted, most of those flocking to D.C. (at least who I saw: considering the numbers, this is extremely anecdotal evidence, folks) were young whites and somewhat older African-Americans, probably majority in their thirties and forties, sometimes bringing kids along, sometimes bringing along their folks - meaning those old enough to remember when a black person couldn't even sit at the front of the bus, let alone take one to see a black president getting sworn in.

The line moved swiftly, leaving just enough time for the buzzing crowd to get acquainted, and giving people working at the Port Authority a chance to shout their support and share their enthusiasm. The buses left 42nd street in one big contingent, zooming down the highway while passengers tried to get some rest - which was only possible intermittently. After about an hour, we pulled over to the side of the highway and the driver shut off the engine, restarted it, shut it off, restarted it, stepped outside to check the problem, returned, shut it off, restarted it, shut it off...a monotonous description? Believe me, it was even worse experiencing it.

This went on for about twenty minutes until he finally admitted that something was wrong with the "air brake" (I don't really know what this is), and the bus was stuck. Meanwhile trucks and other buses zoomed by on our left every few seconds, rattling and shaking our coach as they passed. Occasionally, as we waited for rescue, a bus would pull over in front of us and let people on in groups of ten. After about an hour, I escaped, tramping through the snowy banks on the edge of a Jersey highway, flopping down in my new seat and trying to get what little sleep I could manage over the next 24 hours. This would not be the last setback, the last experience of the tedium of waiting, en masse, for something to happen. But for the meantime, I drifted off in my cramped quarters, leg dangling over the aisle, as we barrelled south, destined for our Mecca, the capital of our Union, south of the Mason-Dixon line.


Around five or six am, the bus pulled into a dingy little parking lot located at the mangy rear end of Union Station, and we shuffled out into the early-morning streets. Some took the subway, others avoided the trouble and walked, up towards the gleaming white dome of the Capitol. We got about as close as we could, where ticket-holders stood in long lines (they had been waiting for hours and one section had already been closed off at six, filled to capacity). I ended up in a growing group of general-admission (read: ticketless) attendees who waited behind a barrier, the cops promising us that it would be opened promptly at seven.

By seven-thirty, the sky bright with the rising sun, we remained, patiently waiting for permission to proceed. Eventually the police officer emerged with his bullhorn to yell at the crowd impatiently (as if he had been the one waiting, not us) but nobody lost their temper and the Guardsmen standing around the perimeter were friendly and answered what questions they could. Of course, even once the barrier was opened and we entered the central zone in groups of fifty, the Guardsmen - from all over the country - could not tell us how to get to the Mall. Nor, it turned out, could the metropolitan police.

We walked north, then south, back and forth as new sets of directions were given (this was, as I was coming to realize, a terribly organized event). As a result we passed several times the only group of protesters, an angry clot of about eight or nine people, mostly women, with angry faces, holding signs which read, among other niceties, "Obama loves fags," "God hates all countries," "Thank God for dead troops" (supposedly because the military allows gays in, even in cognito) and, most tastefully of all, "Hell to the Chief" with the outline of stick figures sodomizing each other in front of the American flag. They were greeted with disbelief, more amused than outraged, by the passerby, which often gleefully shouted back in their face, "O-bam-a! O-bam-a!"

I continued to wander up and down the avenues, frustratingly able to see where I wanted to go, but unable to get there until finally the border was breached. After hours of approaching my destination (which had been, the whole time, less than a mile or so away) I finally reached the Mall, where - supposedly - millions were gathered (I believe it). I found a spot directly in front of the Capitol, though extremely far back, so I could at least see the event, even if the figures were too small to recognize. (By the way, did I mention how cold it was? It was freezing, freezing - and I was wearing a woolen hat, gloves, and several layers. Most cold of all, however, were my toes, scantily clad in black Adidas sneakers - next Inauguration I'll remember to wear boots. It was a little warmer in the crowd, what with all the body heat, but it still wasn't any "day in the park"- even if it was that, literally speaking.)

Jumbotrons were stationed around the Mall and the crowd responded boisterously to the celebrities and politicians as they appeared on the screen. (Beyonce got cheered, Diddy was booed.) Some snarky young folks traded anti-U2 jokes and chanted enthusiastically, "Ah-nold! Ah-nold!" when the governor of California was shown (there were scattered boos, but mostly by women, I think). However, this flippancy (perhaps best embodied by the throaty "We want Blago!" shouts which went up intermittently) seemed undergirded by a sincere enthusiasm about the event - and it was also part and parcel of the youthful crowd's energy (an air-filled globe was bounced around atop outstretched hands and had it been warmer, I'm sure there would have been crowd-surfing too).

If the cheering and jeering of show-biz celebs and show-biz celebs/governors was playful, there were louder and often more serious-sounding responses to the straight-up politicians as they emerged onto the rotunda. McCain got warm, respectful applause, the Clintons received pretty enthusiastic cheering, while Lieberman got an overwhelmingly negative jeer. But the most enthusiastic response - prior to the emergence of the new vice-president and the first family - greeted Colin Powell as the crowd waved and cheered with unbridled enthusiasm for the former Bush official who loudly (and more forcefully than most) endorsed Obama and condemned anti-Obama rhetoric last fall.

When Laura Bush and Lynne Cheney stepped out, there was some scattered booing, countered by a few cries of, "Leave them alone, they didn't do anything" (true enough in the former case, not so much in the latter). But unrestrained hostility greeted the spouses of these women. Already, every time Bush's picture appeared or the announcer mentioned his name, the crowd booed. Dick Cheney was the first to show up, rolled out in a wheelchair, and his suddenly pitiful state reminded me of several occasions in The Godfather: Hyman Roth, weakened by age and illness, ambling through the airport before he's cut down, and the Sicilian Don Ciccio who, years after killing Vito Corleone's mother, is feebly ensconced in a wheelchair where he's gutted by the returning Vito. In other words, the pitifulness, the palpable enfeeblement of corrupt power as it exits the stage. From day one, Cheney has played the role of villain to the hilt and he bowed out accordingly.

And then there was Bush. One could almost feel sorry for him as the announcer declared the arrival of the 43rd president and the angry crowd began to chant, "Nah-nah-nah-nah, nah-nah-nah-nah, hey hey hey, good-bye!" Though he often seemed so obtuse, one could almost sense a slight surprise and embarrassment in his face as he emerged to a probable majority of boos over cheers. For so long, he's been propped up in front of diminishing crowds of supporters and here he was before the American people, his presidency coming to an end, and the crowd was more or less calling him a failure, telling him he'd done a terrible job in the most important work of his life, that his eight years had been a disaster for which he was responsible. Just as Nixon grew in poignancy as Watergate faded in the public consciousness, so I suspect the pathetic figure of Bush will as well - but without the dignity that Nixon's intelligence and political cunning conferred upon him.

My own feelings at Bush veer closer to bitter disappointment than unbridled anger. This was a time once when I thought it possible for him to be a good leader, and when I felt an instinctive liking for the amiable fellow. I met him once, briefly, nine years ago, and he was genial and charismatic, compulsively likable. But if he may not have had sinister motives, if his horrible judgement and general incompetence and extremely poor judge of character is not enough to condemn him angrily as a failure, than his unbridled arrogance, his stubborn refusal to admit mistakes and correct course, is more than ample evidence for his forceful condemnation. In my opinion, he earned every boo in that audience, and then some.

Meanwhile, an older black women stood next to me, defending the Bushes, who were roundly booed, and shouting, "No more pigs! No more pork-barrel spending!" as a counterpoint to the angry chorus surrounding her. This would seem an odd counterpoint (it sounds more like a complement) to the Bush-jeering, and she also said, in Bush's defense, "At least he respected the Constitution." The young man standing next to her, who spoke in Bush Sr.'s favor ("he's a nice guy, a war hero") could only respond with respectful silence and lip-biting to "George W. Bush is a nice guy too. He was a good president!" Meanwhile, her daughters, stationed beside us, laughed and shook their heads: "Stop it, Mom, you're embarrassing us!" Later this same woman, who expressed a disgust with a Carter and Clinton coupled with her affection for the Bush family, cheered Obama enthusiastically, especially after some lines which were not-so-veiled jabs at the now-ex-president sitting at his side.

Indeed, the hostility which greeted Bush quickly dissipated as Obama was announced and he was greeted more like a rock star than an incoming president. Again the chants of "O-bam-a!" and "Yes - we - can!" Who could resist? My generation has had little to tie us together. There was the trauma of 9/11, quickly repressed, and tenuous tentacles of a new youth culture - Facebook, You Tube, AIM - which promise some sort of connectivity but haven't delivered it yet. Music? Compare to the sixties, in which dozens of uniquely talented artists were followed by millions and names like "Bob Dylan," "the Beatles," and "Jimi Hendrix" could tie together the tastes, dreams, and attitudes of so many kids. We don't have even one artist of that magnitude today, not even one with half, or a quarter, or a hundredth, of that magnitude. Movies? There was nothing that reached the masses with the force of an "Easy Rider" or "The Graduate," nothing that captures the effervescent zeitgeist of a generation, if there even was an effervescent zeitgeist to capture.

So how shocking, surprising, and heartening, that we get our unifying principle, and it isn't lodged in the culture, or in technology, but in politics, and at the very head of the country which has been unravelling. The president as rock star? After 8 or 9 years in the wilderness - political, cultural, spiritual - it's astonishing that it should come to this. I am sure I will have plenty of disagreements with and doubts about Obama in the years to come, but I will always be thankful that he offered us a unifying experience, a chance to be tied together after existing, dispersed, in our own little holes for so long, for longer than eight years.

I thought he gave an excellent speech, a reiteration of previous points but elegantly weaved and containing a thoughtful power. There were no original lines which can stand aside "The only thing we have to fear is fear itself" or "Ask not what your country can do for you, but what you can do for your country," but there was one quote, from Scriptures, from St. Paul to be exact, which resonated. "The time has come to put away childish things," he warned. This was the fatal flaw, the Achilles' heel among heels of the Bush years, the childish self-absorption which the country embraced in lieu of a real grappling with the problems of the country and the world. I've written about this elsewhere, but to hear Obama say as much in his speech was inspiring.

Yes, there was an overwhelming sense of the "new" on January 20. I've only experienced it twice in my life, once spurred by an arbitrary change (the dawn of the millennium in 2000, which ultimately underwhelmed) and once spurred by tragedy (9/11, which, as I've previously stated, did not lead to the transformation it should have). We are not living in the same world we were a few years, a few months, even a few days ago. Something fundamental has changed. Those of you who are older have a better sense of the shifts history brings with it, but keep in mind that for my generation, raised after the fall of the Cold War, experiencing in recent years events which had great impact but virtually none close to home, this shift in the public consciousness is something new and unfamiliar.

As I walked in the vast crowds across the mall, past the tall obelisk of the Washington Monument, I was walking into a future which is unmapped, an unnavigable sea of doubt and risk and hope, most enticingly and frighteningly of all, mystery. The ways in which our mind frames things will have to change, because the dull patina which the Bush years placed over our consciousness has begun to be lifted. We will have to face the world as it really is, as the consequences of our actions and the actions of others catches up with us. Surrounded by cheering throngs, faced with a spectacle of transformation and ascension which was inspiring, listening to the uplifting words of Obama, it was easy to feel that the challenges he described were almost abstract, something like the obstacles a movie hero faces on his way to victory, something we experience vicariously without taking in deeply.

But as the hordes of American citizens milled about the capital, trying to find a way home, as I stood atop the hill of the Washington monument, looking out over the hundreds of thousands of people - each individuals, each participants in the American dream, each stars, not extras, in their own lives, and part of an ensemble cast which constitutes the American character - I could feel the fear and uncertainty welling up. This was the future we were marching into and it wasn't, it isn't a game or a movie - it's our lives, it's lived history, it's mass experience. One can condemn the solitude of the iPod, the immersion in virtual reality, the splintering of consciousness, and then faced with the daunting challenges of reality, long again for the dissatisfying yet secure comforts of superficiality once again. But there is no going back, only a wandering, a striving for the truth.

As the crowd lumbered up the streets of Washington, blocked here, squeezed there, faced with officials who didn't seem to have a clue where we were going, this reality seemed more tangible than ever. As one girl said, speaking aloud the suppressed fears of many, "I hope they don't try to use this is a metaphor for Obama's presidency!" And indeed, after hearing those inspiring words, one hopes we aren't let out into the streets, wandering a maze of sterile bureaucracy, drifting from one dead-end to another, trapped in the claustrophobic crowd (somewhere, in the distance, an inspiring official parade marching along in efficiency, but nowhere near us), looking for someone or something to show us the way. Metaphorically speaking, of course.

After three hours, I finally found my way to Union Station. (It was, of course, pretty close to where I'd originally been, though the city would not let us travel such an obvious route.) I stood at a bistro to order a hot dog (my first food since the night before) and listened to a radio show - the host was saying he still had trouble believing what he'd seen, not just a black president but this black president, and that - ultimately - we had Bush to thank for it, so "thanks, Bush." This is when many of these thoughts, which I'm recording now, about the page turning, about the blank future before us, occurred to me so forcefully. Though I'd been there watching, now the truth really sank in.

Barack Obama is now, right now, the president of the United States of America. One era is over. Another has begun.

I entered the station and immediately boarded a bus. For hours, trying to find my way back (and listening to the contradictory directions of different cops, who always made it sound like the station was just around the corner) I'd felt like the greyhound chasing the rabbit, realizing only afterwards that - even though it looked so close - it was on a wire racing before me, always remaining the same distance away. Now I shot through the station onto another Greyhound, like the missile from a slingshot, flopping into my seat. Those of us on the same bus were also on the same boat - I kept hearing people, looking at each other in disbelief, proclaiming with a sort of giggly awe, "I can't believe we did it!"

We pulled out of the station, three hours earlier than expected, and began the trip home. Later our bus would come to a dead halt in immobile traffic, the highway shut down for several hours because of a bomb threat (though we didn't find that out till later) and we sat still for about two and a half hours without explanation, bus chugging with nowhere to go.

But that's a story for another day. 







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Watch Class of 2002, my short film



Here are some of the original comments left under the Obama piece in 2009, definitely worth reading:
Joseph "Jon" Lanthiersaid...
An excellent and superlatively written diary, many good points in there and I do wish, now, that I had made more of an effort to experience this epochal ceremony in the flesh. Ah, well. I watched it on television with friends and neighbors, several of whom wept.

You make a lot of trenchant assertions that ring very true to me, since you and I are more or less a part of the same generation (although in a way our communicating here via this blog somewhat combats your assessment that the "tenuous tentacles" of social media haven't connected us, however subtly. That's also a likable metaphor -- I once considered rewriting/updating Frank Norris' Octopus with the cataclysm of the railroad converted to online traffic, but it seemed like far too much work.) In any case, the image of the isolated individual in his or her little hole is one I identify with strongly -- I tried to describe that in my own blog post about Obama yesterday (yours dwarfs it in both size and analytical prowess, of course). I got the sensation watching the inauguration that millions of young, bright, hopeful people were awakening from hibernation, stretching their limbs and rubbing their eyes and preparing to get down to serious work.

And one last point -- I find it interesting that you only spent a paragraph on Obama's speech. I found it eloquent, inspiring, and evocative of all the correct "sacred" texts, be they canonical in the biblical or American sense. But it seemed somewhat insignificant when compared to the occasion itself, and to the monolithic task looming over the citizenry. Then again, I think that the same could have been said about any speech, no matter how verbally and emotionally accomplished. To put it plainly, there are some things we simply don't have words for.

I sincerely hope that Obama can utilize his uncanny ability to inspire generational cohesion and ideological unity into something monumentally useful. Not an easy task, but I doubt there's a better man for the job at this point in history, and for the first time in my life I may be able to follow politics without becoming unspeakably angry every 10 seconds.
Tony D'Ambrasaid...
As Jon said, "an excellent and superlatively written diary", which deserves a much wider audience. Not being an American, I cannot see the event or share the feelings as you and other Americans have, but I certainly share your hope.

Your disappointment with absence of resonant cultural icons is also shared, but I heard a very interesting song on the eve of the Inauguration. The haunting theme song by Bruce Springsteen over the closing credits of 'The Wrestler', I feel, is a fitting epitaph to the Bush years:

"Have you ever seen a one trick pony in the field so happy and free?
If you've ever seen a one trick pony then you've seen me
Have you ever seen a one-legged dog making his way down the street?
If you've ever seen a one-legged dog then you've seen me

Then you've seen me, I come and stand at every door
Then you've seen me, I always leave with less than I had before
Then you've seen me, bet I can make you smile when the blood, it hits the floor
Tell me, friend, can you ask for anything more?
Tell me can you ask for anything more?

Have you ever seen a scarecrow filled with nothing but dust and wheat?
If you've ever seen that scarecrow then you've seen me
Have you ever seen a one-armed man punching at nothing but the breeze?
If you've ever seen a one-armed man then you've seen me

Then you've seen me, I come and stand at every door
Then you've seen me, I always leave with less than I had before
Then you've seen me, bet I can make you smile when the blood, it hits the floor
Tell me, friend, can you ask for anything more?
Tell me can you ask for anything more?

These things that have comforted me, I drive away
This place that is my home I cannot stay
My only faith's in the broken bones and bruises I display

Have you ever seen a one-legged man trying to dance his way free?
If you've ever seen a one-legged man then you've seen me"
Jason Bellamysaid...
Wow, man. And to think I woke up an hour's walk from the location I took on the Mall and actually paused for a second to wonder if I wanted to deal with the hassle.

Just a few points ...

1) If it took you that long to get from Union Station to the Mall, the fuzz gave you very bad information. Then again, in their slight defense, the angle you took to get there was most problematic because of all the shut-downs in that area for both the Capitol and the parade.

2) At my position further west (away from the Capitol), reactions were somewhat similar to yours: big cheers for Powell, for example. But, thankfully, not much booing for Bush. Because, really, what's the point now. It's done.

3) In the awesome documentary "When We Were Kings," George Plimpton has a great line about how a defeated fighter is always suddenly dwarfed. Wasn't that Bush on Tuesday?

4) Next time you're in town, lunch is on me.
Daniel Getahunsaid...
I thought I saw you there!

Haha, just kidding. Yes, I was there among the millions with you, but I would have been lucky to find my left hand in that crowd, let alone another person. My girlfriend and I had to literally link up anytime we moved.


Pictures of Memory: Images & Words from Class of 2002

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A taste of my short film, "Class of 2002", in quotes and screen-caps

Often, I've heard about a movie and thought vaguely in my head, "I'll see that at one point." Only when enticed by extracts - an image, maybe a clip, sometimes just quote or even a description - have I then truly been tempted to take the plunge. This post is intended in that spirit, for lurkers or newbies who haven't watched my movie yet (although those who've seen it may appreciate the post as well). Perhaps these somewhat mysterious extracts will lure you in

The film is embedded at the end of the postor click to watch Class of 2002 right now.


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"She asked me who they were."









"This came at the end of a long Indian summer day spent at the beach."





"Maybe I was always a little bit in love with Rachel Jacobs, but then - who wasn't?"







"I was haunted by bad dreams, in which she had vanished into thin air..."








"There's not much fourth-graders won't talk about."









"Jules was the funniest serious person I've ever known."








"In the midst of hysterical babbling, I noticed he was sitting frozen in his seat..."








"She had gotten me drunk, and plopped one of her mom's wigs right on my head."

"Her mother was a debutante turned sixties bombthrower."

"I'm sure those teeth never looked sharper."


 "I have to admit, I didn't like Jared Esaw."                       "He was always primarily hurting himself."
 "I always wanted to catch it, but there was only one per ride."


"She dumped me days before the senior prom."
 "We had a tense reconciliation the last week of school, allowing me to graduate with something like a free conscience."






"We suspect the nightmare is more real than the sunny day."












"I was experiencing vivid, almost hallucinatory dreams on a nightly basis."











"I forgot the dream entirely until a few days later, when I saw Rachel's picture on TV."



"And so David Isak he was again, although I always thought of him as Jules."











"No one saw him leave. At one point his seat was just empty, a few dollar bills and some change on the counter."








"The childish things are what keep us alive, even after they've become dead weight."



















"Her first diagnosis was met, I understand, with a stubborn refusal to play the game."





"This photo was the last she ever allowed to be taken."





"I didn't even have the guts to return the gesture."













"...In Melrose - still a dry town back then - I was trying to turn my life around."










"Jared kept circling back to images of Noah and the flood."





"Lit, the waves toss me around, but I've still got my head above water."








"...leaving her promising job for her family's sake. Or rather, for her husband's."





"All smiles, talking about Disney World, and not having to shovel snow any more..."






"I even forgot to kiss the bride."











"...knowing what it was like to hear those fights through paper-thin walls."


 "Me, already grizzled in my thirties."


"Despite the flood of memories, that day remains a thankful blur."





"I took Dinah with me to California."



"She's already a bright student, full of curiosity."
"I didn't know how to answer her."






Watch Class of 2002, my short film:

Class of 2002

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In January 2013, I unveiled a short film called Class of 2002, several months in the making, which told the story of several young lives against the backdrop of the past decade. Mostly using photos, narration, and stock footage I was able to create characters and evoke a mood. I am proud of my accomplishment, but my work is only beginning, because I see this as the first step on a long path, winding out of view in the distance.

I also hope that the film will gain viewers as time goes on, and that those viewers (i.e. you!) will share the film if they like it. Right now, that's the only "marketing campaign" I've got, your word of mouth. So please spread the word!

Today I'm offering up the film one more time, along with all the posts featuring or related to my movie. If you're not ready to watch the movie yet - don't think you have time, or aren't in the mood - I hope you'll follow a few of these links just to whet your appetite before returning.

My movie, Class of 2002:





*(keep in mind, the full edition featured above is a revised version of these chapters)

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That's it. Now it's up to you!

These pictures speak 747,000 words

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Whenever I hit a transitional moment on my blog, I like to consolidate everything before moving on. In that spirit, today I updated my picture gallery with screen-caps from the past couple months, including some from my own film, Class of 2002 (which you can see here).

For those who haven't scrolled through my picture gallery in a while, it's a good time to revisit. For those who haven't visited yet...what are you waiting for? If you love soaking in diverse images, albeit randomly (these are organized alphabetically by title rather than any visual system), you will truly dig this page.

Each pictures leads directly, with one click, to the original post that featured it. Speaking of which, since the question had been posed, I've also updated Island of Lost Pictures, my December image post so that now at the bottom it features links to every post those images were intended for.

I will return Monday with fresh material, perhaps a review of a current release making waves (no promises!) and from now on the blog will chug along at its usual pace. I'll resume The Favorites series next Wednesday too, and have to figure out something new for Fridays, because Neon Genesis Evangelion is being put on hold while I write new pieces and include a new, very interesting member in the discussions which follow each piece. I also have ideas for Tuesday, Thursday, and Saturday posts but let's not get ahead of ourselves.

In the mean time, here are a few tasty morsels of the picture gallery to whet your appetite, but it's best seen against a black page, spread out as far as the margins allow, shooting off in a million directions. Not just movies, but paintings and a few photographs are featured, so it's a visual treat, and a very fun way to explore my blog to boot.






Cheers, and see you next week.

Lost in the Movies Status Update

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On Friday, I mentioned that I'd be returning to form by Monday, with a fresh post followed by a resumption of the Favorites series. Overly optimistic, as it turns out. Too many real-world demands on my attention to make this feasible - nonetheless, I will be posting at least once a week from now on (and no, this doesn't count as my weekly post) and I would like to pick up where I left off on the Favorites series sooner rather than later. I'd also like to figure out how to actually use Twitter beyond the once-every-couple-weeks link post, and try to expand the blog's reach via Pinterest and other viral tools. All of which will probably be more manageable when I'm not working 60 hours a week and entertaining visitors. But I've got ideas aplenty for this blog for 2013. So as they say, watch this space. And, well you're at it, watch my movie! (You didn't think I'd let that opportunity slip by, did you?)

Oh, and for the curious, you can follow me on Twitter - and thus encourage me to take better advantage of the damn thing, whatever it is - here.

Paper vs. Plastic

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A visual tribute to old and new technologies in The Social Network


Read my 2010 discussion of The Social Network, composed in the form of a Facebook page.

Why you should follow me on Twitter (#WatchlistScreenCaps)

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As some of you may know (a dozen of you, to be exact), I've taken to Twitter in the past week. So far I've mixed some retweets, original musings, and responses to other tweets with the usual linking of new pieces on my blog. I've also just added a sidebar to the blog where you can see my new tweets as they arrive.*

And why should you care? Well, here's why: I've just come up with a fun new feature, Twitter-exclusive, simple but hopefully enjoyable: #WatchlistScreenCaps. Every time I watch a DVD, I will take an interesting screen-cap and link it up on Twitter. No title, just a link to an arresting image from the film in question, and maybe some brief thoughts on said film. Respond with your own thoughts, if you are so inclined!

May even be fun guessing the movie, since it will not always be obvious - this will be a bit of a game at times as well (like the long-departed "Guess the Pic" feature on Wonders in the Dark, or Filmbrain's equally defunct screen-cap contests, except with no prize). I'll be happy to reveal the title, but only if anyone cares enough to ask, so there's incentive for ya. That said, the first one will not be very tricky.

Should be fun. See you there. And follow me here. I'm thinking a baker's dozen might be nice...

And no, the picture up top is not my first entry in the feature (you'll have to click the above link for that). It's just a bunch of blue birds, which seemed appropriate for a post on Twitter. Although bonus points if you can identify the film it comes from as well.

*Cannot, for the life of me, get a Twitter feed to show up on the sidebar. Cut and pasted the widget embed code from the Twitter website, where it previews fine, but here all I get is "Follow @LostInTheMovies". No feed of recent tweets. Anyone with advice on the subject, please please comment below. Argh.

The Hangman's Puzzle

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A visual tribute to Death by Hanging (1968)







































Recommended Cinema: Hulu, Criterion & Beyond

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Many of you know (and the rest of you should know) that The Criterion Collection has offered all of its content for free on HuluPlus between Valentine's and President's Day. This treasure trove of films includes many not available in their DVD catalog. With only two days left, choices must be made.

I add my voice to the cacophony of recommendations, with the proviso that I've chosen films a tad more overlooked than, say, Breathless, Modern Times, or Seventh Seal (that said, some of my picks are hardly obscure). Needless to say, I hope this guide remains useful long after the Hulu promotion has ended.

As for myself, I've flirted with the notion of a 12-hour marathon on Monday (I don't work until evening, my sad equivalent to a day off), exploring films that I haven't seen yet and live-tweeting screen-caps from each movie I view, perhaps with brief comments. Would anyone be interested in following this exercise? I have other tasks I should prioritize, but I hope you'll encourage me to be irresponsible. ;)

Anyway, on with my dozen recommendations for Hulu/Criterion bliss. I've included excerpts from previous reviews or fresh thoughts on films I haven't discussed before. It's up to you, of course, which ones you want to watch.

Except for Paris Belongs to Us.

That one's mandatory.

Evocatively capturing the moment when innocence dies, Pialat's film sets itself up as a sexual memoir, an adolescent coming-of-age, but slyly subverts this motif by showing only the foreplay and aftermath of each encounter. As the story progresses, the happy young teenager who opens the film slowly transforms into a wise and frustrated young adult, grown up less through her amorous adventures than the collapse of her family which surrounds these desperate attempts at intimacy and escape. The director doubles as her father onscreen and barges into the dining room during one startling sequence that was improvised on the spot. Pialat had told the cast that his character was dead, only to interrupt their meal in mid-shot; their astonished reactions are less acting than reacting. The movie is full of such moments, rich with invention and poignant emotion; A Nos Amours is one of cinema's saddest, truest portraits of tumultuous youth. In its jagged scenes, we catch glimpses of reality like light caught in the fragments of a broken mirror.

The film is featured as a video clip in Searching for Answers


"This is a film to be experienced more than 'understood' - a wild ride through colors, cuts, iconic images, jagged suggestions, lavish set pieces, roundabout dialogue, and alarmingly incessant and aggressive noises ... Daisies is one of the true gems of the decade, an aesthetically radical film that sums up the era both stylistically and thematically. Chytilova employs an intensely irrational, non-narrative approach to her screenplay - these 'characters' do not exist in a world of plot, motivation, or development, but rather in a series of gestures, expressions, and impulses. The unfolding of sequences is dictated by a pictorial/kinesthetic sense of the flow of images, with the tempo set by a musical spirit rather than a dramaturgical mind."

Entries on this, the second-most featured film on this blog: A dirty dozen (imaginary double feature with Pandora's Box), No Such Thing as a Free Lunch (visual tribute), The Sunday Matinee - Daisies (full review of the film), There's Something Happening Here (video clip), 100 of My Favorite Films (brief capsule at #40), Island of Lost Pictures (bonus screen-caps left off visual tribute)


"From its earliest scenes, there's an uneasiness to the restless, impatient energy onscreen, manifested both in the lurching performance of Castel and the film's own aesthetic, filled with rumbling handheld shots, fluid but pushy camera movements, and cuts loaded with spatial and temporal ambiguity. We aren't sure if we're watching a tragedy or a black comedy, because what we see is often very funny. You are never quite certain where the film will go next - and this uncertainty puts you on the edge of your seat, allowing you to laugh, but simultaneously filling you with anxiety."

Entries on this, the most featured film on this blog: Shaking the Foundations (visual tribute), The Sunday Matinee - Fists in the Pocket (full review of the film), That Total Film (video clip), 100 of My Favorite Films (brief capsule at #28), Lovely Paola (visual tribute to star Paola Pitagora), I am My Brother's Reaper (my first video essay)






I found this tale of British boot shops and booze hounds on television, while visiting my grandmother in Florida. We were both thoroughly entertained. David Lean is a filmmaker of more diverse talents than is usually credited, and  his greatest work - from the epic and exotic Lawrence of Arabia to the slice-of-life Hobson's Choice - exhibits both a romantic engagement with life (conveyed wonderfully in the sequence when Laughton drunkenly pursues the moon in a midnight puddle) and a keen interest in sharp personalities and psychological forces. Laughton's great but the top performer here may be Brenda de Banzie as his shrewd daughter. Her seduction - if it can be called that - of John Mills is at once hilarious and poignant. The film even contains touches of Powell & Pressburgeresque surrealism (the giant white rat sees, matches, and tops the towering bottles in Small Back Room) alongside Lean's ever-present fascination with dreamers and romantics, however hardnosed and workaday.

The film is featured as a video clip in The Restless Fifties


"Il Posto is a film of youth; not a film of restless, ruthless rebellion nor exuberant romanticism (Fists in the Pocket and Before the Revolution would arrive on the scene soon enough) but a film of youth nonetheless. It belongs to the Italy of the early 60s rather than the mid 60s, when the tendrils of neorealism still clung to the visions of Fellini and Antonioni, when postwar Italy was still warming to the fact of its economic recovery and development, when filmmakers were moving past the portraits of desperation and a yearning for security, into the realm of dissatisfaction and alienation - indeed, Il Posto hovers uneasily between those two sensibilities, mostly conversant with the first but hinting at the approach of the second. It is a film of youth not just because Domenico Cantoni (played with a wonderful wide-eyed, unpresuming soulfulness by Sandro Panseri) is young, but because he embodies youth."

-from my review of Il Posto

The film is also featured as a video clip in Sixties Rising


Way underrated, this is a raw, nervy, thrilling, operatic, and nakedly emotional work by Pasolini. The ending remains, to me, one of the most powerful in all of cinema, featuring a devastating cut from Magnani's frenetic energy to the immobile, imposing cityscape out the window, but I won't spoil the context here. Another scene that lingers in memory arrives much earlier in the film, as the title character's (a retired middle-aged prostitute's) son wanders amidst rock formations on the outskirts of Rome. The aching strings on the soundtrack seem at once to evoke a substream of myth and history, capture the effervescent engagement of the present moment (a moment that perhaps teenagers know how to live in better than anyone), and a feeling of impending tragedy as if the future is already foretold. That's the magic of filmmaking in a nutshell: fusing past, present, and future into the magical moment onscreen, pregnant with possibility, resonant with meaning, and as heartbreaking as it is beautiful.

The film is featured in a brief capsule at #25 on 100 of My Favorite Films, and as a video clip in Runaway Cinema.


"Notably, he does not place their resistance in the context of what they are resisting... (Not for nothing does he screen the 'Babel' sequence from Metropolis near the end of the movie; even if the world seemed to make sense twenty years ago, Rivette seems to be saying, it has disintegrated into an impenetrable web of cross-talk and cross-purposes.) In Rivette's universe, political commitment becomes a matter of existentialism rather than pragmatism. These revolutionaries are not fighting for the proletariat, but for themselves. This is perhaps the strongest way in which Paris Belongs to Us foreshadows the sixties. If the narrowness of the film's focus makes an odd fit with the breadth of its concern, this combination nonetheless remains compelling, exciting, and intriguing. The film's ethos is summed up by the opening Peguy quotation: 'Paris belongs to no one' - and yet through the adventurism of its style and the ambition of its vision, Paris Belongs to Us earns the ironic affirmation of its title."

-from my review of Paris Belongs to Us



Like Mamma Roma, the moment in The River I remember best is a transition, in this case a dissolve rather than a straight cut. It also revolves around a character's sorrow, contrasting it with a worldly coldness. The dissolve demonstrates both Renoir's humanism - a sophisticated spiritual explanation of death's value makes way for a simpler, purer expression of grief - but also his ambiguity: while I interpret this moment one way, it's by no means clear that Renoir himself shares my opinion. Even beyond its colorful surface (this is the director's first film in color, and hence the one in which he gets to fully claim his father's visual legacy) and fascinating information (an outsider's view of India in all its exoticism and excitement), the film is rich in character and story. In its own way as revealing as Rules of the Game, it is to me a much warmer experience. The acting's a bit ropey at times, but somehow that's part of the charm, and the film's sincerity is very winsome.

The film is featured in a brief capsule at #77 on 100 of My Favorite Films, a comment in Fragments of Cinephilia, and as a video clip in A Violent Release


The Maysles' view of their salesmen subjects, a Boston bestiary - a Badger, a Bull, a Rabbit, and, um, a Gipper ("one of these things is not like the others...") - is at once admiring and alarmed. Or maybe that's our view since, as always, these most talented documentarians step back and let their subjects talk and act, choosing - along with equally talented editor/collaborator Charlotte Zwerin - what we will see and hear, but with a subtle pattern and structure which builds ambiguity rather than resolution. The excitement of selling is here along with the misery, the way the world can alternately seem the wind at one's back in one moment, and the impenetrable barrier in one's path the next. Traipsing from the sludgy working-class neighborhoods of New England to the sunburnt retirement villas of Florida, hawking bulky Catholic Bibles to the distorted warbling of Beatles records and against the patter of ethnic jokes, we get a rich, troubling, and fascinating portrait of American life.

The film is featured as a video clip in Shadows of '68



"I was always unable to take the raggedness of his work in stride, to embrace it as not just a necessary evil but somehow fundamental to the work's appeal. All of which is preface to my enthusiastic viewing of Stromboli. Rossellini's first film with his new (and newly controversial) wife Ingrid Bergman, it's bursting with energy, invention, and showmanship. The film ripples with rich tensions, between its desire to simply document village life and its allegorical overtones, between frustration with Bergman's spoiled character and sympathy with her own frustrations, between the melodramatic extremes (heightened by the literally incessant music which at one point pounded consistently for about half an hour!) and documentary naturalism. Certainly between Bergman's professionalism and glamor and the untrained 'performances' of the nonactors in the movie - a healthy balance is struck here, with the real people convincingly inhabiting their characters and a terrific Bergman dialing down her polish while turning up her acting chops. The provincial folks and the Hollywood goddess gel remarkably well."

-from my review of Stromboli


Really a trip, with its raw, almost French New Wave-y feel - no coincidence, as the movie had a huge impact on Cahiers du cinema critics-turned-filmmakers (take Pierrot le fou for example). And not just on them: Wes Anderson's recent Moonrise Kingdom is obvious riff (and twist) on the young-love-on-deserted-coastline theme. Harriet Andersson oozes sex appeal, which is one of those cliched pullquotes that just happens to be true. The "summer" in the title is key; much like the earlier Summer Interlude (also a gem) the characters' joy and passion pass with the season and we are reminded how the movie fits in well with Bergman's early oeuvre after all, stuffed as it is with anxiety over draining work, parental restrictions, unexpected pregnancy, and restless frustration. All of this would eventually be transmuted into more cosmic, metaphysical concerns as Bergman hit middle age, and a more mature grappling with aging, disease, death, and loneliness as he grew into an elder statesman of art cinema. Monika serves as a reminder of his roots, and his unexpected ties to other youthful, romantic filmmakers.

The film is featured as a video clip in The Restless Fifties


A very unusual Ozu, touching on tragedy, nervier and more on-edge than most of his work I've seen. The heroine, unlike usual Ozu protagonists (often played by Setsuko Hara, here relegated to support), cannot subsume her suffering or yearning beneath a stoic exterior and she is lost in a way his other characters may be as well, but could never admit to. It's been a long time since I've seen this movie and I remember fragments more than a whole - many games of mah-jong (or dominoes?) in upstairs game rooms, a girl sitting beside her lover by the still sea having just shared devastating news (we see the reactions rather than hear the revelation), a moment of startling violence so rare in Ozu's work. Above all, I remember a mood which I found moving - not the regular stoic acceptance which characterizes the director's sensibility, but something more unsettled and upsetting. Tokyo Twilight is an outlier in Ozu's oeuvre, as if visited by an alien who couldn't fit into the normal Ozu universe and who perhaps the director himself empathized with.

This is the first appearance of Tokyo Twilight on Lost in the Movies, although it is briefly mentioned in contrast to Tokyo Story.


And here are some others that popped out at me, as if you didn't already have your hands full:

F for Fake, La Haine, Claire's Knee, My Dinner with Andre, Stranger Than Paradise, Valerie and Her Week of Wonders, The Spirit of the Beehive, Andrei Rublev, I Married a Witch, Pandora's Box, Socrates, Masculin Feminin, Bergman Island, A King in New York, Through a Glass Darkly, The Virgin Spring, I Vitelloni, My Night at Maud's, Juliet of the Spirits, Gertrud, Capricious Summer, The Devil and Daniel Webster, Summer Interlude, WR: Mysteries of the Organism, Hearts & Minds. 

Tomorrow I will live-blog/tweet a Criterion marathon

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I've decided to go ahead with my plan to watch all the Criterion uploads I can between 6am and 6pm tomorrow, in honor of Hulu hosting the online Collection for free between two holidays. This morning I offered my own suggestions, but tomorrow I'll be exploring uncharted territory and will only view films I haven't seen, focusing - at least initially - on those unavailable through Netflix, You Tube, or other online services. I'm excited to see what new films I discover, and as soon as I've watched one I will upload a screen-cap to Twitter and to a post on this blog which I will continuously update all day, along with a brief capsule capturing my immediate thoughts. A lot of the stuff is short, so I'm hoping I can fit in 7 or 8 films in my 12-hour session, but at bare minimum I'll watch at least 5 - the same number of films I viewed in all of January, so this will be a nice change of pace for me. If you haven't yet, follow me on Twitter to keep up. See you tomorrow...

The Criterion Marathon live-blog

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7:30pm. If all you need to make a movie is a girl and a gun, Emotion is all set: it's got two girls, and two guns, and a hell of a lot more all squeezed into 40 minutes. A wild experiment shot while director Obayashi was also shooting a TV commercial, it fuses A Hard Day's Night with Dracula, climaxes like The Good, the Bad, and the Ugly, created by a Japanese cast and crew and dedicated to Roger Vadim. A million tangents of thought and feeling enter into the picture, but ultimately this is an exercise is stylistic energy above all - a celebration of youth, filmmaking, sex, and violence on a "mystical afternoon" as the mile-a-minute titles have it. It makes me want to grab whatever I can and rush out onto the street to shoot something myself. Which is a great way to end this whole exercise.

At the end, Obayashi quotes Vadim: "You can't leave in dreams forever." Goodnight, and thanks for following.



6:05pm. Rossellini was known as a simple filmmaker but this film has a wildly inventive premise (with myriad social and cinematic implications), and a wry execution. A village photographer is given the ability to kill people by taking pictures of their pictures (they will die in the same pose as the captured photo: for example, to kill one person he duplicates a snapshot of them as an infant and they expire with their thumb in their mouth). The film is at once a humorous exaggeration of media's soul-crushing power (something Rossellini would have experienced himself with the negative publicity from his romance with Ingrid Bergman), a parable about good intentions gone wrong (I wonder what the Italian Communists made of this movie), and a metatextual wink about cinema's awe-inspiring and dangerous abilities. The film seems to be winding toward an uncharacteristically cynical conclusion but, Rossellini being Rossellini, he finds the good in everyone...even the devil himself.


4pm. This is a coming-of-age film to, in a sense, or a coming-into-age...when the movie begins Taro is a newborn and we shift back and forth between his thoughts and his parents' responses. By the end of the film, they have gone from being a family in theory to a family in fact, united by accidents, moves, sickness, arguments, and death. Little by little, the mother and father come to see their boy as something other than an object to be looked after, but as a little person in his own right. Director Kon Ichikawa and the film's screenplay detail all the chores and traumas of childrearing with at-times tedious rigor, and initially it seemed too much like an informational film with a high budget. But the languors and weariness are a part of the mosiac, along with the inventive, delightful moments like the animated banana-moon or the zoo-animal montage, painting a portrait of family life that remains remarkably identifiable over fifty years ago and across half the world.

1:50pm. And now for something completely different. The last three films were all from the exact some time, 1964-65, and centered on a male viewpoint. Emporte-Moi is a Jewish Quebecois 13-year-old girl's coming-of-age, and it was released in 1999. It does, however, have a connection to the mid-sixties, because the young adolescent Hanna idolizes Anna Karina in Vivre sa vie, and seeks to model her looks, philosophy, and behavior on the iconic Godard film, with troublesome results. As is usually the case with such films, the story is episodic and the style impressionistic (warm but not particularly distinctive, until the final minutes when we ostensibly see the world through Hanna's new 8mm camera, all wobbly framing and oversaturated colors). What works for the film is its humanistic investment in the characters (don't know anything about director Lea Pool, except that she would have been the same age as Hanna in 1962, but I would guess many of the elements are autobiographical) and its unsensationalistic approach to teen sexuality, dysfunctional families, and growing pains. I will definitely be seeking out more of Pool's and lead actress Karine Vanasse's films.


11:55am. Looking for something short (after taking a long time figuring out just what was only on Hulu), I continued the Czech New Wave film with this 30-minute romp. If the previous entry represents one extreme of that movement, its naturalistic look at everyday life, than this one represents the other extreme: its penchant for fantastical surrealism. There may be a social message of shorts in the film's imagery, which includes sawed-up statues of saints, children buried in scraps of paper and locked in compressers, and mustachioed old women waving pictures of themselves as circus dancers. However, it feels more like a lark, a burst of liberation which the regime may have regarded as subversive enough on its own terms. Certainly this is about as far from social realism as one can get, and it often plays like a live-action cartoon (at times incorporating actual animation, as in the Svankmajeresque dance of chopped-out statues, or when the saint's eyes roll in the screen-cap above). The junk shop assistant, with his squinting eyes, bulbous nose, and missing teeth, looks and acts like a comic-strip character and one sense that director Juraj Herz shares his anarchic glee in playing with the dialogue, the set, and the picture itself.

10:10am. "I am fascinated by people who do not succeed in life," says one characters. "So I'm interested in everyone." I like a lot of things about this movie: I like that the English translation of the title, rather than the brave Everyday Courage, is the more grueling Courage Every Day. Of course I love the mid-sixties aesthetic (thought: if one general image could capture all the European New Waves in a nutshell, it would be a girl looking over her shoulder as she crosses a busy street, captured by a handheld camera with a telephoto lens, in black-and-white of course). And I like the ties to the Angry Young Man films of the recently crested British New Wave, which are very noticeably strong, much more so than in later Czech New Wave films, even Evald Schold's subsequent The Prodigal Son Returns, which shares many of the same cast members and themes but follows an engineer suffering a nervous breakdown rather than a educated factory worker troubled as much by social stagnation as inner turmoil. Really, this film deserves a longer review so maybe I'll return to it at some point. An excellent slice of kitchen sink with Kafkaesque touches, before Czechoslovakia had thawed into the Prague Spring, but with premonitions that even that brief flowering would not last very long.

7:45am. A documentary on the screen "love goddesses" (flexibly defined enough to include Shirley Temple and Hayley Mills, but generally focused on vamps, ice queens, and sundry sex kittens) created just before the floodgates opened in the late sixties. There's a certain irony that only in 1965 could the cinema's historic sexuality be flaunted so openly. Full of many great clips - I was especially enticed by the hard-to-see Griffith Faust adaptation The Sorrows of Satan and the seductive ingenue Bette Davis in Cabin in the Cotton - the film has some chronological head-scratchers (somehow it's set up that the Depression occurred after the pre-Code talkies) and odd omissions (nice to see Brooks in Diary, but no Pandora's Box?!) but is generally enjoyable, and a great reminder that even in the sixties, screen sex was nothing new.

In which the author watches all the Criterion uploads on Hulu that he can in twelve hours, and logs his viewing as he goes. Read more here.

6am. It begins. After each film, I will upload a screen cap and compose a quick capsule at this spot. I will update this post accordingly, and retitle it each time until at the end of the day it assumes its final form. I'll also be tweeting. First up...

#WatchlistScreenCaps 2/12 - 2/24

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Every time I watch a DVD or stream a film online, I'm going to screen-cap it, and share the link on Twitter. You can read about this new feature here, and all my #WatchlistScreenCap tags, including ones following this post, will be gathered here.

I'll leave it to readers/followers to guess the film (sometimes it will be obvious) but after I've seen ten, I will round up all the recent screen-caps in a blog post, this time with attribution. Here is my first entry, covering the DVDs or online videos watched between February 12 and February 24.



Silver Linings Playbook (2012), dir. David O. Russell
viewed February 12, 2013
"Dug mellow-funk Philly vibe. Not entirely convinced, but low expectations exceeded."

 Nightfall: 100 Years of Vampire Films (2010), dir. J. Balazs
viewed February 13, 2013
"Tired last night, so went for this 60-min doc. Cheesy execution, cool clips."

 Nightmares in Red, White and Blue: The Evolution of the American Horror Film (2009), dir. Andrew Monument
viewed February 14, 2013
"Good clips, but Freddy Krueger = metaphor for National Debt? Color me skeptical."

 My Bloody Valentine (1981), dir. George Mihalka
viewed February 15, 2013
"Not many horror films can boast a Canadian country theme song. Apropos yesterday..."

 Superman: The Movie (1978), dir. Richard Donner
viewed February 15, 2013
"About 5 movies in 1. Overambitious perhaps, but I miss overambitious blockbusters."

On February 18, I watched seven films in a viewing marathon to celebrate Criterion's free streaming on Hulu. I screen-capped the movies and wrote paragraphs instead of sentences in a piece called "The Criterion-Hulu Marathon (live-blogging)"

Banjo: The Woodpile Cat (1979), dir. Don Bluth
viewed February 21, 2013
"Some solid animation, but story's more outline than plot. Feels like dry run for his 80s spree."

 Away From It All (1979), dir. John Cleese, Clare Taylor
viewed February 23, 2013
""Here certainly we have peace, and tranquility, and also, more of those fucking gondolas."

 Asparagus (1979), dir. Suzan Pitt
viewed February 23, 2013
"I suspect this film was made in an insane asylum. I will never look at asparagus the same way."

 A short film about solar energy (1979), dir. Elaine & Saul Bass
viewed February 23, 2013
"Despite title, more about industrialization & subsequent malaise than making case for solar."

 The Sun's Burial (1960), dir. Nagisa Oshima
viewed February 24, 2013
"Sweaty, violent look at lowlives and crooks. Hard to follow at 1st, but striking & vivid."

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The Favorites - Death by Hanging (#94)

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The Favorites is a series briefly exploring films I love to find out what makes them - and me - tick. Death by Hanging (1968/Japan/dir. Nagasi Oshima) appeared at #94 on my original list. After a 2-month break, the series will be appearing regularly on Wednesdays from now on.

What it is • Here, in this corner of industrial, postwar Japan we have our prison. On the grounds, detached yet enclosed, there is a small compound, complete with a garden and what looks like a little house, surrounded by a fence - to keep in, rather than to keep out. This is the execution chamber. Our narrator guides us through the open corridors and rooms of what will be our location for much of the next two hours, explaining in his matter-of-fact tone that this is where the prisoner goes to the bathroom, this is where prayer services are conducted - Buddhist or Christian, depending upon the faith of the condemned, and this, of course, is where the man is hanged. From this introduction, we proceed to watch the hanging of R., a young Korean convicted of raping and murdering two Japanese girls. He shudders as he is dragged to the trapdoor, the noose is placed around his neck, the door drops, the man falls, and he dies.

Except that he doesn't die.

A note appears onscreen - "The body of the condemned man, R., refuses execution." Why? With this question our story begins.

Why I like it •
Death of Hanging captures one of the most dazzling qualities of sixties cinema: its ability to maintain a strong sense of individual identity while embodying many different tones, styles, and perspectives. At times, Oshima seems to be treating us to a broad, farcical take on Japanese society with the buffoonish guards, priests, doctors, and bureaucrats re-enacting rapes and murders on one another in an effort to playact R.'s guilt so he'll understand who he is and why he must hang (considered a prerequisite for his execution's success). In other moments, the darkness of the comedy becomes genuinely tragic as when R. relives his home life and we see the miserable den of poverty and unhappiness from which he came (as well as the anti-Korean racism in the Japanese officials' interpretations). When R.'s sister appears, she voices a nationalist, left-wing interpretation of R. as the heroic criminal, a reading - given the times and Oshima's own radicalism - we might expect the film to embrace but it allows R. himself to shoot down this justification as he describes his own psychology and sorrow at re-discovering the humanity of his victims. By the end of the film, we have been reminded how many of these Japanese representatives of the law were themselves war criminals, and led to ask what R.'s "guilt" means: if he can't remember his crime or even who he is, is he guilty? If he remembers but has changed, is he? Death by Hanging stakes out a position clearly opposed to capital punishment, but it does so with open-ended questions rather than pat answers. I like it because it is visually controlled, philosophically compelling, humorous, sad, angry, and moving. Somehow, it fuses brilliant ridicule with genuine empathy; many films have trouble with either approach, so finding one that captures both is a genuine discovery.

How you can see it • Luckily, the film is available online here, though who knows for how long. The late Oshima (who passed away in January) has several films on Criterion or Eclipse label, but unfortunately this isn't one of them (nor my other favorite Oshima, The Ceremony, which - like this film - allegorically skewers postwar Japan using its rituals). You can see images from Death by Hanging in my visual tribute "The Hangman Puzzle" and a clip from the film opens "Shadow of '68", Chapter 18 of my video series.

What do you think? • Is this Oshma's greatest film? The best of the Japanese New Wave? Is it your first in each category, and if so, do you want to see more? Is R. guilty is the metaphysical sense? What does his sister represent, to him, to us, to Oshima? Does the film's portrait of Japanese-Korean relations hold true today? Does a film have an obligation to stake out a clear position on a controversial issue it addresses? What did you think of the mixture of tones in Death by Hanging, particularly as it addressed serious subjects, not only capital punishment and racism, but violence against women? What do you make of the public prosecutor's speech at the end of the movie?


________________

Previous week: Persona (1966)

Next week: All the President's Men (1976)

#WatchlistScreenCaps 2/26 - 3/4

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Here are the last ten films I watched, with a screen-captured image and quick sentence on the subject. Follow this feature on Twitter here, read about the kickoff here, and view the previous #WatchlistScreenCaps roundup here.



Mughal-E-Azam (1960), dir. K. Asif
viewed February 26, 2013
"Hallucinatory color & heightened artificiality at times anticipates (good) CGI spectacles."

Death by Hanging (1968), dir. Nagasi Oshima
viewed February 26, 2013
"Dark comedy, scathing satire, unsettling psychodrama, wrapped in newspaper & tied with a noose."

 Act of God (1980), dir. Peter Greenaway
viewed February 28, 2013
"Greenaway does a for-real doc (I think). Btw, I too was (almost?) struck by lightning."

 Fish Heads (1980), dir. Bill Paxton
viewed March 1, 2013
"Fish heads, fish heads, roly-poly fish heads, fish heads, fish heads, eat 'em up, yummm."

 The Fly (1980), dir. Ferenc Rofusz
viewed March 1, 2013
"Empathy for a fly - impressive. Wonder if there's allegorical element in there."

Atlantic City (1980), dir. Louis Malle
viewed March 1, 2013
"Wallace Shawn in a restaurant in a Louis Malle movie ... but this time as waiter, not diner."

Larissa (1980), dir. Elim Klimov
viewed March 2, 2013
"Moving tribute from one filmmaker to another, but also from a husband to his wife."

 Argo (2012), dir. Ben Affleck
viewed March 3, 2013
"And the Oscar for Most Facial Hair in a Single Film goes to..."

 Les Miserables (2012), dir. Tom Hooper
viewed March 4, 2013
"Many awkward bits and tedious passages, but some powerful moments as well."

 Charulata (1964), dir. Satyajit Ray
viewed March 4, 2013
"Terrible print, but emotions came through anyway - ennui, desire, jealousy, tenderness."

Lost in the Movies status update, March 2013

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My work on this blog is obviously affected by other circumstances, and unfortunately at the moment I have a lot of distractions and other priorities. I had promised regular appearances of the Favorites series every Wednesday, but instead they will have to appear sporadically, not on any regular schedule. Likewise with the occasional reviews, some of which I have begun and not completed.

At the present moment, which could mean a few weeks or months or a year or more, the blog will primarily serve as a viewing/reading/listening log. I am tweeting pictures of book covers, album covers, or screen-caps from DVDs/streaming videos I have completed. Whenever I reach ten titles in each category, I'll put up a post here (as I've been doing for the screen-caps). While I also want to occasionally write and create fresh content, with everything going on I won't be able to do much there. So then, simply keeping an attractive visual log of my film, book, and music explorations is probably the best I can do to maintain appearances and interest in this site for the time being.

That said, I do expect other entries from time to time. I started a review of Zero Dark Thirty and never finished it, but may finish it yet. Next up in the Favorites is All the President's Men, and the template and picture are set to go, I just need to write something. I have other ideas which, during quiet and/or inspired moments, I may explore.

Meanwhile, an older video piece, the work I consider my best from 650+ posts and five years of blogging, has been invited to appear on the website PressPlay, an invitation that will be accepted in the next few weeks, accompanied by an interview with me. I will certainly link up to that when it occurs.

Most importantly, if circumstances allow (and that depends how the next few weeks go, among other things) I would like to create more video essays. I have ideas, and hopefully will have means as well. This not only something I enjoy, it's good practice for filmmaking which has always been and remains my biggest goal, and the most difficult to attain.

(side note: Though I haven't linked to it in a while, in part because after devoting so much attention I got kind of sick of it, my short film is still there for you to watch: Class of 2002, a fictional photo-memoir which, warts and all, is the only thing I can point to with any pride since my move to California a year ago. That's something.)

Over the years, I've made announcements, gone back on some of them, fulfilled others, renounced all future announcements, and then announced new ones. I've ended the blog and returned, almost lost everything in a technical glitch, made major changes and branched out in new directions. I know enough at this point just to say that some things will change and others remain the same without prescriptions, prophecies, or pronouncements. As an extension of what I said before, this site is the only solid accomplishment I can claim from the past five years. Which may be embarrassing to admit but hell, who am I trying to impress right now...

I hope you continue to enjoy my work, as I have enjoyed creating it.

Souvenirs from The Story of Film

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These screen-caps originally appeared as tweets, highlighting favorite moments from each episode.


1 • little girl attaching leaves to tree in Alice Guy's short.



2 • Buster Keaton stops and starts a choo-choo train.



3 • Lubitsch makes the snowmen dance.



 4 • three heroines grapple with escapism in Hollywood classics.



5 • Ford calls 'Cut!' when questions get too damn arty.



6 • the spirit takes hold in 100-yr-old Indian 'mythological'.



7 • right-wing anarchism & the greatest movie terrorist.



8 • the Hand that giveth, taketh away.


  
9 • Tashlin's possum smiles - or frowns - for the camera.



10 • "And then you open your eyes, and you have a story."



11 • the film starts like a fairy tale... 



12 • reaching across space in Scotland



13 • End of cinema, or: Video killed the celluloid strip.




14 • modernism & postmodernism in the movies



15 • Cinephilia 451: carrying movie memories in our hearts, heads & hands


the end?

 

#WatchlistScreenCaps 3/5 - 3/21

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Here are the last ten films I watched, with a screen-captured image and quick sentence on the subject. Follow this feature on Twitter here, read about the kickoff here, and view the previous #WatchlistScreenCaps roundup here.


Short Cuts (1993), dir. Robert Altman
viewed March 5, 2013
"Lemons, booze, soap, and blood in sunny LA."

 Body Heat (1981), dir. Lawrence Kasdan
viewed March 8, 2013
"Moment of truth, courtesy Mickey Rourke."

 Cutter's Way (1981), dir. Ivan Passer
viewed March 10, 2013
"Alone again, naturally."

The House of Yes (1997), dir. Mark Waters
viewed March 17, 2013
"Stormy night with a family that doesn't use the past tense." (*modified from original tweet)

 Mulholland Dr. (2001), dir. David Lynch
viewed March 17, 2013
"¿Donde estás?"

 My Childhood (1972), dir. Bill Douglas
viewed March 17, 2013
"Trapped in an oasis of steam."

On March 18, I completed a series of screen-caps from each episode of "Story of Film" which I had been re-watching since late February. I gathered the full lineup in a post entitled "Souvenirs from The Story of Film"

Affliction (1997), dir. Paul Schrader
viewed March 19, 2013
"A toast to the damned."

 My Ain Folk (1973), dir. Bill Douglas
viewed March 19, 2013
"All alone in this great cruel world."

Watership Down (1978), dir. Martin Rosen
viewed March 19, 2013
"Following the Black Rabbit down the Rabbit Hole."

Tender Mercies (1983), dir. Bruce Beresford
viewed March 21, 2013
"You see, I never trusted happiness. Never have. Never will."



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We'll meet again...

Lost in the Movies celebrates its 5th anniversary, starting now

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Tonight I kick off a four-month celebration of a half-decade of blogging, by introducing my new banner and announcing a feature which will launch in a few minutes. The idea is that I'd like to share my backlog with new readers and random stumblers; since kicking off Lost in the Movies in the summer of 2008 (as The Dancing Image), I've been disappointed or frustrated how many good posts get lost in the shuffle. Although it has improved over time, the blogging format tends to highlight whatever's most recent at the expense of burying the backlog.

While I hope to be introducing new content as well, in the months leading up to July 16 (this site's birthday) I will be linking each day to an oldie-but-goodie from the Lost in the Movies backlog. I will be tweeting the link and also putting up a temporary post with the intro from the given piece. First I'll do so chronologically with 50 random pieces from 2008 to today, and then I'll follow with the 62 posts I consider my strongest (see the "Top Posts" tab if you want to jump the gun). On the five-year anniversary, I'll post a retrospective look at where I've been as a blogger. Self-indulgent, perhaps, but hopefully fun as well.

The bigger ambition is that this encourages others to take similar actions, and me to explore their backlogs too. While it's always a good idea to be moving forward, we also don't want to abandon the past. As much as possible, I'd like to promote the idea of the blogosphere as unbound by chronology, so that one can stumble upon pieces from whenever; down with disposability, up with legacy! Or something like that.

I hope you enjoy exploring these backroads over the next 112 days. It begins tonight with a train pulling into a station...

My first post: Landmarks of Early Film & Be Kind Rewind

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I am highlighting my very first blog post, posted in July 2008, for the Anniversary Archive series. Comments are welcome on the original piece, linked after the intro.

Without intending to, I recently watched Landmarks of Early Filmand Be Kind Rewind back-to-back. The former is a disc collecting works by the pioneers of cinema, while the latter is French director Michel Gondry's latest film, featuring Jack Black and Mos Def as video clerks forced to create homemade versions of blockbuster films for their customers after the originals are accidentally erased. Both these works, the first rather inadvertently, the second very self-consciously, celebrate the imaginative power of film alongside its documentary capacity. Indeed, the primary charm of the video clerks' work is that the artifice is so transparent. Their mini-films are simultaneously journeys into a fantastic world of made-up stories and a couple guys goofing off in home movies. The films they make provide both an escape from and an affirmation of their lives.

This same fusion of reality and illusion was omnipresent in the early years of film. We all know the story of how spectators (supposedly) cowered in their seats as the Lumieres' train pulled into the station; today few would be compelled to do the same, yet the power of the images lingers. Why? Unlike their American contemporary, Thomas Edison, whose studio produced shorts that were little more than curios to be viewed through a peephole, and whose content was easily summed up by simple names (The Kiss, The Cock Fight, etc.), the French brothers always suggested a world outside the frame. They took their cameras out onto the street, using natural light and capturing images of middle-class domesticity and working-class public life. People walk in and out of the frame and the fixed view, rather than having a narrowing effect as in Edison's work, creates a curiously widened frame of references, enriching what we see by virtue of what we don't.

The problem with comic books (and movies)

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I am highlighting this essay, originally posted in August 2008, for the Anniversary Archive series. Comments are welcome on the original piece, linked after the intro.

In case you missed it, yesterday's entry covered the Lumiere films & Michel Gondry.


Over at scanners, Jim Emerson has posed a series of questions about superheroes, comic books, and movies. To answer the title of his post, "Do critics hate comic-book movies?" he surveys the collective critical reaction to movies like X-Men, 300, and The Dark Knight and resolutely answers, "No." He follows up by asking, "where did this idea that critics dislike them come from?" As I wrote in his comment section, it's a fact that most critics are condescending towards the genre, although the more rabid fanboys also fuel the perception of immaturity when they overreact to criticism.

But it's a third question, unasked yet hinted, which most intrigued me and carried over onto this blog:

Is there something fundamentally wrong with comic-book movies?

To which I respond resolutely, confidently, and without trepidation: yes, no, and maybe.

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