Feb 10 2017

La La Land: Conflicting Dreams

maureen


La La Land is about contrasts and choices. The film starts with lots of light, a bright color palate, and an energetic, upbeat a song and dance…hopes and dreams. The film ends in a dimly lit club, with bluesy jazz…regret and acceptance. The film communicates a contrast between the pure joy of developing a talent and engaging in art and the self-aggrandizing, greedy, prideful world that promotes and monetizes art. It juxtaposes homages to mid-20th century musicals with modern-day challenges of pursuing an artistic career in L.A. The story centers around relationship of an actress and a musician who meet and fall in love in L.A. and on the tension created as they try to balance their relationship with pursuing their separate career dreams. La La Land considers the difference between the romance of dreams pursued with the reality the dreams realized. Continue reading


May 31 2014

Searching for Sugarman encourages creativity

maureen


Searching for Sugarman is a story about one unique man, Rodriguez, but it is an encouragement for the rest of the observers and interpreters among us, the writers with a thousand posts and sixty followers, the musicians posting amazing songs with a couple of likes on Soundcloud, the artists whose gallery wall is Facebook, the creatives who work day jobs and create because they need to and want to even if they never get a check or an audience. Poets and philosophers write because they have something to say. not because they have something to gain. They have already gained, or they are in the process of gaining, some elusive but personally important thing that is the impetus for creating. When we cast our bread upon the water we have no idea when and how it might return. For Rodriguez it comes floating back nearly thirty years later. Continue reading


May 2 2014

The Grand Budapest Hotel was just the story I wanted to be told

maureen

 

The Grand Budapest Hotel is a lovely, funny tale told as meta-narrative, a story about a story being told. It takes place in an almost real land in an almost historical setting. I’m always tempted to wear pajamas to Wes Anderson movies because he makes me feel like a kid who is about to hear a story. Even though his themes and tone are definitely for grown-ups, his story telling style demands the suspension of disbelief that makes hearing a yarn as a child so delightful.  It’s not realistic but the story is consistent to it’s own set of rules and the themes are accessible and universal. It was an enchanting hundred minutes.

The Grand Budapest Hotel is populated with zany characters played by the usual suspects in an Anderson film: Bill Murray, Owen Wilson, Jason Schwartzman, Adrien Brody, Willem Dafoe, Jude Law, and newcomers to Anderson’s films: Ralph Fiennes, Saorise Ronan and Tony Revolori. The characters take themselves seriously in the midst of the surreal silliness of the plot. The deep sincerity of Gustave and Zero plays in stark contrast to the slapstick situations in which they find themselves. As concierge Gustave is the picture of solicitous perfection. Acting as mentor to young Zero, Gustave passes on his philosophy of service and his love for the grandeur of Grand Budapest Hotel.

One aspect of Gustave’s service is “taking care” of the needs of rich, elderly women who are guests of the hotel. His devotion to one such lady lands him in an inheritance battle with her children. Throw in a stolen art piece, greed and poverty, evil Nazi-ish cops, and romantic adventure  for Zero and oh, yes, a train; and the funny-sad-exciting-reflective story unfolds as told by Zero to the unnamed Author in 1968 whose book is being read on a bench by a teenage girl in present day. (Summarizing this requires several run-on sentences, so get over it grammar freaks.)

In addition to the financial appreciations, Gustave does seem to have a certain attachment to these older ladies, perhaps because they hold to the manners and customs of the age that is quickly slipping away. Years later, as Zero tells the story to another guest, he says of Gustave, “I think his world had vanished long before he even entered it.” The first few decades of the twentieth century marked a slow death to an era of manners and pretenses. It was a time when fortunes were made and flaunted and a time when people dressed up for dinner. Gustave and Zero’s story takes place in a similar time. Formality is beginning to relax in their world too, but Gustave is having none of it. The Grand Budapest clings to its shabby formality as it slowly wears out over the decades between the 1930’s and 1968 when Zero tells the story to the author.

Ultimately my take-away was a mood of  nostalgia for the times when  I sat cross legged on the floor, entranced as someone read me a story, or, better yet, embellished one told from memory. I remember visualizing unfamiliar settings and characters with the license of imagination. What I saw in my head skewed a bit from what the authors intended or what might eventually appear on screen when the story was made into a movie. Anderson has a way of making me feel like I’m reading a book and seeing it in my head but getting to share his skew. Like imagination inception.

 


Mar 6 2014

Reflections on Monument Men and the preservation of the creative arts

maureen

Monument Men is about a group of art scholars who are trying to chase down caches of art taken by the Nazis before it is destroyed. Though I thought the film itself dragged a bit in places, it raised the compelling question whether preserving civilization’s art during a war was worth spending lives and using resources. The film’s answer was a resounding “yes.”

Statements at the end of the film outlined art and architecture that was lost, not only to Nazi pillaging, but to bombing by both Allies and Axis forces. It made me think of the loss of literature during the Middle Ages. Invasions and the resulting battles all over Europe, North Africa, and the Middle East resulted in destruction of literature. Goths and Franks, Huns and Muslims, Vikings and Normans, and Christian Crusaders all contributed to the destruction of classical and Biblical literature. On top of that, scribes themselves sometimes made a call of scrape off writings and reuse the paper since paper was scarce and everything had to be painstakingly copied by hand. As lives crumbled and cities burned some scholars, many of them monks, predominantly Irish, decided that preserving art and literature was worth the effort. Many important texts of Western culture survived to be studied by the likes of Washington and Jefferson. Reading Euclid influenced Lincoln’s phrasing in his Gettysburg Address. To a great extent centuries of scholars studied the same collection of literature known as the Western Canon.

American education over the last century formed a common cultural canon. A liberal education meant students were exposed to roughly the same set of pieces. With the ability to digitize, massive amounts of literature, arts, music is being preserved for the next generation. The question is whether the next generation will find it relevant and worth looking at it, much less sacrificing to save it. Through education and culture there does still seem to be a collection of literature, art, music, and film that provides a sort of post-modern canon, a collection of works experienced by most of us. With the variety of schooling options and subcultures, along with the trend toward personalization, over time, as a culture, we may have fewer and fewer pieces in common. I suspect each of us will form a personal canon based on individual values. Continue reading