Wednesday, March 22, 2017
I'd forgotten, if I'd ever known, that Loach was responsible for The Big Flame, a Liverpool film that inspired the inception of the 'Libertarian Marxist' organisation that I hung around in the early 1980s.
There's quite a long section on the 'Perdition' affair, and no sign that anyone learned anything from it. At the time I rather uncomfortably assumed that people who I otherwise admired were contaminated with anti-semitism. I have a rather more nuanced view now, not least because of a rather good documentary about the Kastner affair on which Perdition, and the earlier right wing Zionist 'Perfidy', were based. But I still feel uncomfortable about the stance and the tone of Jim Allen's diatribe against Zionism.
A few observations: Loach appears to feel no irony at being an engaged Marxist on the side of the really poor and wretched, and being lauded by the luvvies at Cannes; and the film has an odd slip into regular luvvie bio-pic with an account of his early career as an actor, complete with dressing-room shots etc. And didn't everyone smoke a lot!
Watched at the Landsdowne Film Club in Stroud.
Sunday, March 12, 2017
Monday, March 06, 2017
It's a film about dreams, but maybe the characters don't stay true to their dreams, and maybe it isn't so important to do that. I think that's the thing that chimed with me at this moment - what if I was able to pursue my own dreams? Is it really what I want to do, or just a thought to distract me from what I am doing at the moment?
Seb (Ryan Gosling's character) has a dream of having his own Jazz club that will be really true to the spirit of the music, but he seems to abandon the dream for a steady job playing in a band that gets recording and touring contracts. It isn't his dream...but maybe the dream is just something you need to help you get through the drudgery of everyday life (earlier, he's a jobbing musician playing stuff that he really despises). And Emily Stone's character almost gives up on her dream of being an actor, and it's only his persistence in dragging her back to one more audition that makes it come true.
I note in passing that the music isn't great, but it's not awful either - I can still remember at least some of the tunes.
Watched on a tablet on train.
A bit more horror than I was expecting; perhaps I am too easily upset by depictions of children losing their eyes, though surely everyone thinks that's upsetting...
There's actually a bit of seriousness in the way it represents the origins of German conservative romanticism as a response to the French invasion. I note in passing that the German village, which is beautifully depicted, looks more Slavic than German, as does the depiction of peasant culture - I'd swear they are dancing to Klezmer at the end rather than something that feels German. Still, whatever.
But I was aware of how little attention it actually gave to the politics. We see that Diego Rivera is a bit of a radical, and that he enjoys pissing off the man as well as sleeping with lots of women, but there's no sense that the politics is actually important to him or to Frida. We see a few seconds of demonstration footage, but there isn't any sense that Mexico was a ferment of genuine revolutionary fervour at this time, or that there was a real civil war going on. Trotksy is a lovely old bloke, but not a very convincing revolutionary, and there is similarly no sense that in giving him refuge the Cardenas government was making a very definite political commitment. It wouldn't have hurt to have given some sight of how huge his funeral procession was.
Not a bad film, but not a great one.
Watched in the Middle Floor at Springhill, from a legitimate DVD,