Finding myself with an unexpectedly free afternoon, I went to see The Favourite at the Arclight,
You rarely see elderly people in central Hollywood, but they’re there at the movies at 2pm. While we waited for the movie to start, there was an audible electrical hum. The Arclight person introduced the film, and then one of the audience members shouted out “what’re you gonna do about the grounding hum?”
The use of the phrase “grounding hum” rather than just “that humming sound” seemed to baffle the Arclight worker. Panicked, she said she’d look into it, and if we wanted, we could be “set up with another movie.”
After like one minute I took the option to be set up with another movie because the hum was really annoying. Playing soon was Mary Queen of Scots.
Reminded as I thought about it of John Ford’s quote about Monument Valley. John Ford assembles the crew and says, we’re out here to shoot the most interesting thing in the world: the human face.
Both Saoirse Ronan and Margot Robbie have incredible faces. It’s glorious to see them. The best parts of this movie were closeups.
Next I saw Schindler’s List.
This movie has been re-released, with an intro from Spielberg, about the dangers of racism.
This movie knocked my socks off. I forgot, since the last time I saw it, what this movie accomplished.
When the movie first came out, the context in which people were prepared for it, discussed it, saw it, were shown it in school etc took it beyond the realm of like “a movie” and into some other world of experience and meaning.
I feel like I saw this movie for the first time on VHS tapes from the public library, although I believe we were shown the shower scene at school.
My idea in seeing it this time was to see it as a movie.
How did they make it? How does it work? What’s accomplished on the level of craft? Once we’ve handled the fact that we’re seeing a representation of the Holocaust, how does this work as a movie?
It’s incredible. The craft level accomplishment is on the absolute highest level.
Take away the weight with which this movie first reached us, with what it was attempting. Just approach it as “a filmmaker made this, put this together.”
Long, enormous shots of huge numbers of people, presented in ways that feel real, alive. Liam Neeson’s performance, his mysteries, his charisma, his ambiguity. We don’t actually learn that much about Oscar Schindler. So much is hidden.
Ralph Fiennes performance, the humanity, the realness he brings to someone whose crimes just overload the brain’s ability to process.
The moving parts, the train shots, the wide city shots. Unreal accomplishment of filmmaking.
- water, recurring as an image, theme in the movie.
- there are a bunch of scenes of just factory action, people making things with tools and machines. that was the cover. was not the Holocaust an event of the factory age, a twisted branch of Industrial Revolution and efficiency metric spirit?
- reminded that people didn’t know, when it began, “we’re in The Holocaust, this is the Holocaust.” It built. It got worse and worse. there were steps and stages along the way.
- what happened in the the Holocaust happened in a particular time and place in history, focused in an area of central and eastern Europe that had its own, centuries long, context for what you were, who belonged where, history, which tribes go where, what race or nationality meant, how these were understood. Göth’s speech about how the centuries of Jewish history in Kraków will become a rumor. I felt like this movie kind of captured and helped explain some of that, without a ton of extra labor.
- In a way Schindler could almost be seen as like a comic character. He didn’t start his company to save Jews. He starts it to make money from cheap labor. He’s a schemer who sees an opportunity. A rascal out to make a quick buck, a con man and shady dealer who ended up in the worst crime in history, an honest crook who finds he’s in something of vastness and evil beyond his ability to even comprehend.
- There is a scene in this movie that could almost be called funny, or at least comic, when Oscar Schindler (Neeson) tries to explain to Stern (Ben Kingsley) the good qualities of the concentration camp commandant Göth that nobody ever seems to mention!
- Kenneally’s story of how he heard about Schindler:
- The theme of sexuality, Goth’s sexuality, Schindler’s, what it means to love and express your nature versus trying to suppress and kill. Spielberg is not really known for having tough explorations of sexuality in his films but I’d say he took this one pretty square on with a lot bravery?
- if I had a criticism it was maybe that the text on the little intermediary passages that appear on screen a few times and explain the context felt not that clear and kind of unnecessary.
- I feared this movie would have a kind of ’90s whitewash, I felt maybe takes exist, the “actually Schindler’s List is BAD” take is out there, with the idea being that Spielberg put in too much sugar with the medicine which when we talk about the Shoah, unspeakable, unaddressable, is somehow wrong, but damn. I was glad for the sugar myself and I don’t think Spielberg looked away. The Holocaust occurred in a human context, and human contexts, no matter how dark, always have absurdity.
- the scene, for instance, were the Nazis burn in an enormous pyre the months-buried, now exhumed bodies of thousands of people executed during the liquidation of the Krakow ghetto, Spielberg took us as close to the mouth of the abyss as you’re gonna see at a regular movie theater.
What does it mean that Spielberg made a movie about the Holocaust and the two leads are both handsome Nazis?
*As a boy I was attracted to the history of Britain and Ireland as well as Celtic and Anglo-Saxon peoples in America. The peoples of those islands recorded a dramatic history that I felt connected to. They also developed a compelling tradition of telling these history stories with as much drama and excitement as possible eg. Shakespeare.
At a library book sale, I bought, for 50 cents a volume, three biographies from a numbered set from like 1920 of “notable personages,” something like that.
These just looked like the kind of books that a cool gentleman had. Books that indicated status and intelligence.
One of this set that I got was Hernando Cortes. I started that one, but even at that tender age I perceived Cortes was not someone to get behind. The biography had a pro-Cortes slant I found distasteful.
Another volume was about Mary Queen of Scots.
Just on her name, really, I started reading that one.
Mary Queen of Scots’ life was a thrilling story, and this one was melodramatically told. Affairs, murder plots, insults, rumor, execution.
Sometime thereafter, at school, we were all assigned like a book report. To read a biography, any biography, and write a report about it.
Since I’d already read Mary’s biography, I picked her.
As it happened, I overheard my dad confusedly ask my mom why, of all people on Earth, I’d chosen Mary Queen of Scots as the topic for my biography project. My dad did not know the backstory, which my mom patiently explained.
My dad’s reaction on hearing I’d picked Mary Queen of Scots, while not as harsh as Kevin Hart’s imagined reaction on hearing his son had a dollhouse, helps me to understand where Kevin Hart was coming from. Confusion, for starters. Upsetness.
At the time the guys I thought were really heroes were probably like JFK and Hemingway.
if you read about Nietzsche there’s always this idea that at some point he “went” insane. A funny idea is trying to determine where the line is there, exactly.
This Columbus day, I renew my call for Los Angeles to return to its original name, Yang-Na
I made the syllabus!
Reading up on him on Wikipedia:
He went on to study at Princeton University (receiving an A.B. in 1966), where he continued to play lacrosse; he has cited his teammate David Spencer Hackett’s death in the Vietnam War as an influence on his decision to pursue military service. Hackett was a Marine Corps First Lieutenant in the infantry and was killed in 1967 by small arms fire.
Mueller earned an M.A. in international relations from New York University in 1967 and a Juris Doctor from the University of Virginia School of Law in 1973, where he served on the Virginia Law Review.
Mueller enlisted in the United States Marine Corps in 1968, attending officer candidate school, Army Ranger School and Army jump school. He then served as an officer leading a rifle platoon of the 3rd Marine Division during the Vietnam War; he eventually became aide-de-camp to 3rd Marine Division’s commanding general. He received the Bronze Star, two Commendation Medals, the Purple Heart and the Vietnamese Cross of Gallantry.
If my friend was killed in Vietnam I don’t think my reaction would be I should go to Vietnam.
From the Heritage Foundation, about as conservative as it gets:
Similarly, the Framers intended the Emoluments Clause to protect the republican character of American political institutions. “One of the weak sides of republics, among their numerous advantages, is that they afford too easy an inlet to foreign corruption.” The Federalist No. 22 (Alexander Hamilton). The delegates at the Constitutional Convention specifically designed the clause as an antidote to potentially corrupting foreign practices of a kind that the Framers had observed during the period of the Confederation. Louis XVI had the custom of presenting expensive gifts to departing ministers who had signed treaties with France, including American diplomats. In 1780, the King gave Arthur Lee a portrait of the King set in diamonds above a gold snuff box; and in 1785, he gave Benjamin Franklin a similar miniature portrait, also set in diamonds. Likewise, the King of Spain presented John Jay (during negotiations with Spain) with the gift of a horse. All these gifts were reported to Congress, which in each case accorded permission to the recipients to accept them. Wary, however, of the possibility that such gestures might unduly influence American officials in their dealings with foreign states, the Framers institutionalized the practice of requiring the consent of Congress before one could accept “any present, Emolument, Office, or Title, of any kind whatever, from…[a] foreign State.”
Meanwhile I read the news:
(A fun aspect to the Trump deal is: feels like every Joe and Josephine on Twitter is rapidly presenting themselves as a self-taught expert on like intelligence practices and the Ninth Circuit and what “emoluments” means.)
A thing I don’t understand: there must be at least one or two of the 248 Republican congressmen who’ve fantasized since youth about a chance to go full Profiles In Courage.
Here’s your chance bro! Take on your scumbag President, go down for it, live on! Are they all too lame? (Update: a possible candidate)
Anyway. A chance to revisit famous mills of my youth:
If you enjoy Ed Harris in Westworld, as I do, you may be curious to have a look at his role in Walker (1987) in which he plays a similarly attired character:
Harris plays the real life William Walker who went down to Nicaragua with some armed guys and declared himself president there from 1856-1857.
I went down to Nicaragua and visited some of the places Walker shot up.
I tell the story of Walker, and of Nicaragua, and of the troubled film