Viewing Log #55: September highlights

by Ryland Walker Knight

• demonlover [Olivier Assayas, 2002] Look at this twitpic, and then read Glenn's thing maybe. Here, again, I risk the wrath of GK, and Kent Jones: it's a hoot, and largely fascinating, but also the owner of a rather empty punchline.
  
• The Social Network [David Fincher, 2010] A problematic, thoroughly entertaining film I hope I never have to talk to anybody about ever again.
  
• The Thin Red Line [Terrence Malick, 1998] # Here's some gushing and here's some mush-mouth. It's important to me.
  
• The Last Picture Show [Peter Bogdonavich, 1971] As formal as it gets and so, so apt to anybody with an ear for confusion. You know, everybody.
  
• A Brighter Summer Day [Edward Yang, 1991] Worth every minute. Loved how much of it's specifically about light, and shining lights (on things) and not seeing because of the lack of light, and how all the big acts of violence happen at night, in low light. If I see it again (and hopefully in a theatre again), I'll take real notes and maybe write a real poem about it.
  
• Pretty much every single episode of Tim & Eric Awesome Show Great Job [T+E, 2007-2010] # Cuz I had to. And cuz I love it. Cuz they're the best. (Sure, it gets/got tiresome; but who gives a turd ya dingus?)
  
• The Tim & Eric Awesome Show Great Job Crimbus Special and Tour Promo [T+E, 2010] The best thing in the world. Everything.
  
• Enter The Void [Gaspar Noé, 2009] I tried to be positive at this joint and largely failed.
  
• The first half of Season Three of The Sopranos [David Chase?, 2001] #, which is absolutely brutal and absolutely fantastic and rather often absolutely hilarious.
  
• Danny Perez's visuals at the Panda Bear show; especially the wave and its square spots at the end.
  
• Oedipus Wrecks [Woody Allen, 1989] A lot of fun, in part because it's "on the nose."
  
• Life Lessons [Martin Scorsese, 1989] Rituals, process, it's all a lie to try to cover your patterns.
  
• Will Success Spoil Rock Hunter? [Frank Tashlin, 1957] At the Castro, with Brian. The opening is my favorite part.

Viewing Log #10: Tally up the alley cat aggression [8/31/09 - 9/6/09]

by Ryland Walker Knight

—Enter the void.

• Nickelodeon [Peter Bogdanovich, 1976] Before I fell asleep I was enjoying this goofy run-on sentence of an homage. It's got the right tone, even if, Barry Lyndon aside, I often feel Ryan O'Neal is a rather tone-deaf performer. I probably won't make an extreme effort to see the second hour.
  
• Le Pont du Nord [Jacques Rivette, 1981] I've been watching this in pieces, just as I've been reading Don Quixote kind of slowly. This picture is more grim, though it has its laughs. And it has plenty to marvel at, like the spiderweb gun or the eye-slashing bit with Pascale attacking posters.
  
  
• Little Murders [Alan Arkin, 1971] Motherfucker this movie is dark. And hilarious. And smart. Gould has to be one of the greatest, coolest actors ever. Arkin's cameo is insane, a gut buster. Thought of Charlie Kaufman a lot, and I almost want to watch Synecdoche again, somehow.
  
• Boudu Saved From Drowning [Jean Renoir, 1932] Watched it twice, and it's kind of perfect, a film teeming with contradictions, with activity abutting stability. But I don't think it's as simple as freedom is the disregard for appearance. I think it's bigger, it's a process and a river; freedom is to not ignore the bank along your float.
  
  
• The Princess Bride [Rob Reiner, 1987] # I guffawed twice, and generally smiled. Andre The Giant is great, maybe perfect; Faulk can do no wrong. It's so easy.
  
• The Lower Depths [Jean Renoir, 1936] It fits: if Gabin is a pauper king, Jouvet is a royal bum. Despite the perpetually open world, there's always something dropping out from beneath people in a Renoir film. Further, the fairy tale of these worlds (still "realist") only opens one happy ending and its invariably clouded, however ebullient. Maybe the weakest I've seen, but it holds life all the same. Lots of mobility.
  
  
• The Story of Marie and Julien [Jacques Rivette, 2003] Watched it twice in two days. Wanted to pay better attention to that cat, and how the clocks were used. Also, Béart is really great on top of really great looking. Not sure if it can equal Duelle or Noroit, though it has a delicious ending.
  
  
• Grand Illusion [Jean Renoir, 1937] # Made me want to just watch Renoir films for a little while. Talk about timing, and teams, and a screen teeming. Still, I get the feeling he's better than this elsewhere (besides Rules).

I work on what I love, I work the service on my vertince
And I work till this here little flat line closes the curtains