NYFF: De Palma

Brian de Palma. The man behind: Passion, Mission to Mars, Body Double, Scarface, Carrie, Sisters, Blow Out, Dressed to Kill, and many more.Jason reporting from the New York Film Festival.

Noah Baumbach and Jake Paltrow's documentary De Palma is, at a basic level, just a sit-down walk-through with the director Brian De Palma across the length of his entire movie career. The co-directors had previously gotten this tour on a personal level, having weekly dinners with the man, and decided, for awesomeness' sake, to capture for future generations of movie-geeks' sake. I saw De Palma only a week and a half ago, and I feel like it needs to be known that not only have I been forced, literally forced, in the wake of it to go and watch three of De Palma's movies in the time between watching the doc and writing this review, but it's also colored every single thing I've written in the time since, and if you follow my hyperactive blog then you know I write a whole lot in a week and a half. A ton. And Brian De Palma, he done swallowed me whole. I can only see things through his eyes now.

I mean, I'm an easy mark, the easiest of easies: I've vigorously defended the likes of Snake Eyes or Femme Fatale at dinner parties; I've drunkenly slurred out verbal love-letters to Fiona Shaw's three miles passed the mark performance in The Black Dahlia; I've had more nightmares scarred by Angie Dickinson's elevator experience than most people have had nightmares, period.

Paltrow, de Palma, and Baumbach

I love sleaze and I love Hitchcock and in Brian De Palma the twain they meet and they meet like fireworks bursting over a triumphantly dead Nancy Allen, and it's like roadhouse whiskey to me -- I like it, I like it!!!

He is New York's Verhoeven -- fun and dirty and adult, dumb and genius in equal gasping measure. I'll go down with his ship, lapping up every red drop. And De Palma, The Film, captures the the man's madness in glorious measure. It is indeed like sitting down to dinner with the man who could dream up both Holly Body's cum speech and "Say hello to my little friend" and poking him in the belly for more. He is ready able and willing to spill more or more still for us, and it's this geek's idea of paradise. I could've watched fifteen full hours of De Palma.

De Palma is screening at the NYFF on Wednesday, September 30th and will eventually be distributed by A24.  Previous NYFF reviews here. For more Jason De Palma love, you need to visit My New Plaid Pants.

Curio: For the Love of VHS

Alexa here with your weekly arts and crafts. My VHS collection in the late 90s rivaled any film collection I would ever have. Before the days of streaming, a large collection of VHS tapes was essential to my viewing habits. How else would I support a sudden need to see Parting Glances or My Man Godfrey with only a local Blockbuster to serve me? A brief foray into ungainly LaserDiscs passed in the blink of an eye, and soon I had a wall of 800+ tapes.  Alas, those days have passed, and all those tapes made their way to various thrift stores where, apparently, people are making new use of them.

Upcycled VHS products are all over etsy, as are other crafty odes to the tapes. After the jump, some more favorite curios to make those of you as old as me nostalgic for the plastic rectangles...

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NYFF: Cemetery Of Splendour

Jason on the the latest from beloved Thai director Apichatpong "Joe" Weerasethakul.

From what I gather, Weerasethakul is a filmmaker easiest approached with a road-map - an iconography of expectations, of mood and mise-en-scene, to guide you gently into the good night of his magical thinking. That is to say it's best to know what you're getting into. You're best served with a reference point, a friendly little ghost to hold your hand and lead you through the invisible world he's maneuvering his camera through.

It's a world that's not just off frame, to the left or right as you might expect. It's more as if it's sitting in the seats both left and right of you in the theater, occasionally grabbing at your popcorn, maybe whispering a lightly dirty joke in your ear before resting its head on your shoulder. It's comforting... but also a little invasive. He wants all of you.

I went in alone. Cemetery of Splendour, Weerasethakul's newest film, was my first. Hey, everybody had a first at one point, right? That's what makes it first. And just like losing one's virginity I found myself bewildered, a little bit sweaty, and ultimately ashamed at myself for putting it off for so long. That's what I was afraid of? Yeah it was a little bit weird but it went down fine, and I look forward to another spin.

Splendour tells the story of a somnambulist pack of soldiers, mysteriously struck sleepy-time by their surroundings, housed in a former school and taken care of by both some friendly local women (never unfriendly enough to not give a giggling poke at their engorged dream members) as well as a series of glowing candy-cane-shaped lamps, arcing gracefully over their beds while offering the jungle (and the film) a singular neon surrealism. It's rumored that the soldiers were digging up the earth for fiber-optics cables when they were struck ill and these lamps are like living heads of those wires, War of the Worlds-style, risen up to keep a slow colorful creepy watch over their slumber.

The film slowly (I'll have to bust out my thesaurus to find variations on "slowly" and "dreamily" for this review) closes in, in its medium-to-long-shot manner, on one sleeping soldier, and one nurse-type - Itt and Jen, who manage to form a sweet and easy rapport in between the comatose moments. He usually wakes up to her massaging some part of him, which is really the quickest way to a man's heart, no matter what the foodies say.

I don't want to trace out the road-map for you any further. I think if you've already wandered in Weerasethakul-Land you basically know your way around, and you know the journey - one taken half-drifting along just an inch or two above the ground as if you, like Jen, have one leg shorter than the other - itself is the destination. What a lovely journey though - a series of small escalating emotional catharses that moves through like clouds, like a slight breeze through the fanned trees, giving prayer to the benevolent specters milling about in the underbrush.

Cemetery of Splendour is screening at the New York Film Festival on Wednesday, September 30 and Thursday, October 1. If you're interested in Weerasethakul, check out Nathaniel's reviews of his Palme d'or winner Uncle Boonmee.

Beige & Slate Blue: Nancy Myer's "The Intern"

Kyle Stevens, author of Mike Nichols: Sex, Language and the Reinvention of Psychological Realism is here to review Anne Hathaway's latest.

 The Intern follows 70-year-old and retired Ben, played by Robert de Niro (who has never seemed more like a Bobby). Having enjoyed a happy and prosperous life, Ben now finds himself so uninspired by endless leisure activities that he decides he deserves another go on the merry-go-round. He lands the film’s titular position at a women’s clothing startup created and run by Anne Hathaway’s Jules, who, we are told, is a difficult woman to work for despite all evidence to the contrary. Ben and Jules become friends, as Jules realizes that even an old be-suited, briefcased, handkerchief carrying man—the icon of conservative, 1950s patriarchy—may have worth. Disturbing as this is, especially at first, The Intern gives us a real man-woman friendship—that rarest of on-screen sights, even if it is here rendered “safe” by Ben’s age.

De Niro and Hathaway shine, particularly in a hotel scene that gives them time to plumb the depth of writer and director Nancy Meyers’ characters. Meyers is one of our best character writers, but The Intern’s frenzied workplace setting doesn’t afford us time to fall in love with her creations as we did in, say, Something’s Gotta Give (2003), where Meyers simply put the camera in front of Diane Keaton and let her go. [more...]

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Beauty vs Beast: Fourth Rock From the Sun

Hi there everybody, Jason from MNPP here with this week's edition of "Beauty vs Beast," wherein we ask you to choose your poison -- good against bad, hero versus villain. Well... except this week. We're using the occasion of Ridley Scott's film The Martian, which is out in theaters on Friday, to take a look back at two of my favorite movie visitors from Mars...

And as it turns out they're all positively wicked, the lot of 'em. Whatcha gonna do? Man and movie-kind's been almost always terrified of that red dot in the sky since time immemorial. So I guess think of this week's question this way -- who do you think you'd stand a better chance against? The Tripods from War of the Worlds (you're fine with either version) or the Martians from Tim Burton's Mars Attacks? And tell us why in the comments...

PREVIOUSLY Last week we wandered dreamily around a Tokyo hotel with Bill Murray and Scarlett Johansson in Lost in Translation - but who'd we end up bringing back to our room? By the narrowest of margins (less than 2%) it was Bill we wanted whispering in our ears. Said STinG:

"I feel like when a movie that is semi-autobiographical to Sofia Coppola still intellectually favors the Bill Murray character for his unspoken existential pains than her still interesting surrogate in Charlotte. Well, it's no contest for me. Bobs all the way!"