Review: Pontypool

On Sunday, I saw an atypical vampire movie. The weekend prior, I saw an atypical zombie movie.*  Next up: atypical werewolf movie! I’ve no idea which one, though, so please comment with your suggestions, and in the meantime, let me tell you about Pontypool.

Were you to say “Hmm, you don’t strike me as a zombie movie watcher,” you would be quite correct. But Pontypool is a zombie movie the way Signs is an alien movie, which is to say that the plague-monsters themselves don’t get a lot of screen time. In an hour and a half of film, there are perhaps twelve minutes of shuffling revenants, and fewer of gore. There is neither a shotgun nor a cricket bat to be seen, and only a few splashes of red against a subdued background of bluish grays.

That said, there’s a lot to hear. The film is set in a radio broadcast studio built in the basement of an abandoned church, and most of the suspense and horror comes from what information can be gleaned from people calling in to the station, sometimes mid-attack, reporting a mob of people converging on the doctor’s office or a car being buried under a “herd” of people. Since none of it is shown, the mind is free to imagine just how awful those attacks might be. The responses and actions of announcer Grant Mazzy, his manager Sydney Briar, and assistant Laurel-Ann Drummond underscore the terror of ignorance and the slowly-dawning horror of understanding.

Even the former shock-jock is creeped out.

Even the former shock-jock is weirded out.

That creeping comprehension makes the movie. From the first two minutes, shown below, each little word is significant. The missing cat and its name; the people speaking French; the BBC broadcaster; the Valentine’s Day cards: all of it matters, and it takes watching and re-watching to understand why.

The pacing, the music (curse you, creepy violins!), the language, and silence all put the viewer in thrall. I had to talk to bring myself out of it a bit, had to eat my popcorn with determination, had to hug the friend sitting next to me whilst watching it. I’m no nail-biter, but it’s full of nail-biting tension anyway. There are those moments when one is left hollering at the screen, Don’t call him! No, hang up your phone! Such is the way of suspenseful movies: they mess with you as they draw you further in.

More thoughts and some spoilers under the cut.

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Review: Only Lovers Left Alive

My housemate Cecilia and I went to see this film the other night.  We did so in flagrant disregard of the Benedict Cumberbatch rule, namely “Do not watch a movie, TV episode, or miniseries for no other reason other than one actor you like is in it.”  The one actor in question is, unsurprisingly, Tom Hiddleston; we’re fans of his, nor are we opposed to Tilda Swinton, John Hurt, or the rest.  Sadly, none of them could save Only Lovers Left Alive from a deadly (undeadly?) slow pace.

Only Lovers Left Alive

First, the good:  as a whole, the movie certainly catches a quality, a flavor.  It’s dark, coppery, and not very pleasant, but it’s certainly there in Eve’s brisk walk through Tangier (the most feminine I’ve ever seen Swinton), in the grungy melancholy of Adam’s house, in the streets of Detroit.  Cecilia found this depiction of Detroit rather refreshing: instead of focusing on the city as the capital of crime and corruption, the movie focuses on its musical contributions, the grittiness of its urban blight, and its hope for better things.  Eve notes the importance of the lakes all around, saying “This city will rise again.”  Why she doesn’t go for the original Latin, Jim Jarmusch only knows.  But then, Adam is the one in residence there.  Caught in the 1970s as he is, his affinity for the city indicates that both hope for better, but neither really changes.

The benefit of unending existence is the opportunity to read ALL the books.

The benefit of unending existence is the opportunity to read ALL the books.

That stagnant quality of endless days might account for the sluggish plot.  This is the most charitable explanation that comes to mind: that vampires, having spent centuries of darkness watching all that the “zombies” (ie, humanity) have to show – all the art, the music, the scientific advances – are doomed to ennui, to anomie, to acedia, and (should no sunlight, contaminated blood, or immortal beloved interfere) to suicide.  The story arc, such as it is, might just be one more postmodern conceit for human lives with no overarching narrative, no implicit meaning.  The lack of chemistry between Adam and Eve might have been intentional, depicting the natural consequence of being married for some 200 years.  Sparks, fire, fizzle, distance, regroup.  They try to patch it over with allusions to quantum entanglement, Adam describing them as particles which affect each other though they be a universe apart.  Perhaps Donne could make that metaphor work; this script can’t.

The less charitable and possibly more realistic explanation for the film’s torpidity is poor writing and an undeveloped plot.  At some points it was like watching Catcher in the Rye but with vampires in.  There are amusing moments - Adam burying his head under the pillow to avoid Eva, Eve’s iPhone calling Adam’s curious corded setup, the wrinkle of disgust that crosses Eve’s face on watching a body dissolve – but for the most part, neither Adam nor Eve compel me to care much about their undead existence or their butter-scraped-thin romance.  By far the most interesting character was Eva, Eve’s younger sister.  She is obnoxious, she is careless, she drinks them out of their fugue-inducing O-negative – and she somehow remains lively, as Adam and Eve do not.  We left the theater wondering how she spent her time in LA, how she’d offended Adam in 1925 in Paris, what bloodletting would attend her trip back west.

Possibly devotees of artistic films would appreciate details that I missed.  There are a number of overhead shots, a heavy-handed motif which attempts to connect the spinning of the stars, of records, and the eponymous lovers.  Adam takes a look at all manner of classic guitars, so perhaps Gibson fanboys would be into that.  Those with a dog in the fight over the author of Shakespeare’s plays might be amused when Christopher Marlowe turns up.  But for my own part?  Speraveram meliora.  I’d hoped for better.  They’re hardly lovers, and barely alive.

Review: Captain America: The Winter Soldier

My housemates and I went to see Captain America: The Winter Soldier yesternight. Having set some kind of precedent by reviewing Frozen two months after it came out, I’ve decided not to feel too weird about reviewing The Winter Soldier a month and three days in.

Spoilers aheadBE YE WARY.

Considering that it’s called The Winter Soldier, I felt that the Winter Soldier himself was not tremendously important. A good deal more time was spent on the question of whom to trust, how different it looks for someone like Steve Rogers to fight for the side of good nowadays, and what to do when everyone you know is trying to kill you.  Admittedly, it’s not like they could call it “Captain America: Second Head of Hydra” or something, since that would iron out a fair few plot twists.

Captain America and Black Widow: Bromance of Our Time

I’m rooting for Captain America and Black Widow: Bromance of Our Time

Whilst watching the STRIKE team’s mission to rescue hostages from pirates aboard the Lemurian Star, I was struck by the swiftness of it all. It isn’t shocking for me to think of SHIELD taking decisive action against threats, but the thought of Steve Rogers killing a couple dozen men as “janitor for Fury” gives me pause. Is this cognitive dissonance mostly borne out of semantics? Possibly. It was something of a relief to be distracted by the choreography of the fight scene between Rogers and Georges Betroc, which evidently involves savate or French kickboxing; it was so graceful.

Also graceful: the game of ultimate frisbee they've got going on

Also graceful: the game of ultimate frisbee they’ve got going on

That was a welcome reprieve before everything went to heck and all the shots were fired.  I was touched by the post-surgery bit. Don’t do this to me, don’t do this to me.  And then they went and did it anyway.  I guess I have not yet watched enough Marvel movies, because I believed them.  But no – that’s not how comic book stories work.  No one actually dies and stays dead, except for redshirts on both sides. This means you have to take a good bit of care when dispatching your enemies, because they might creep off and then infiltrate your ranks and take over everything.

“Taking over everything,” in this case, is partly about firepower, but mostly about information. Hydra’s algorithm, which sifts data about individuals in order to predict which will eventually prove an obstacle to Hydra’s goals reminded me, unsurprisingly, of Minority Report. Though the firepower of Project Insight’s helicarriers was removed, presumably the information still remains out there somewhere.  Eeeep.

Also out there somewhere: Bucky Barnes on a voyage of self-discovery and metal arm maintenance; thousands of tons of destroyed helicarrier (on one hand, a profound relief; on the other, such a lamentable waste of taxpayer money); and everyone’s favorite, alien technology in the hands of power-hungry scientists.  Age of Ultron‘s gonna be chock-full!

Other things I wondered about, because of course I did
- How long ago is Iron Man 3 in all of this?  How much time has passed since Thor 2: The Dark World?  Obviously they can’t just summon all the actors for every Marvel film, but you’d at least think they could allude to it, e.g. “These Insight helicarriers are great against insurgents and attacking Chitauri!”
- Who gets the royalties for putting the SHIELD eagle on everything, including their jump drives?
- How safe is it to drive with an eye patch? How safe is it when there aren’t a couple dozen people trying to shoot you?
- Wait, how did they acquire the Falcon wingpack, or Pierce’s phone to call Sitwell, or a magical Council disguise? Any one of those could have been its own subplot.
- Likewise: what exactly has Hydra done to Bucky? How many other people could they control in like manner? Maybe instead of killing all their threats, they should reprogram them.  Maybe they already are.
- What do the three replacement chips for the helicarriers do, exactly? Like, gosh-darned convenient for lovers of freedom and haters of Hydra, but why do they even HAVE that lever?

Overall, I’d say The Winter Soldier was a fun and interesting addition to the Marvelverse, and a good setup for films to come.  Have you seen Marvel’s latest?  What did you think?

Review: Coriolanus

On Sunday, my roommates and I headed down to the Michigan Theater to see the National Theatre Live broadcast of Coriolanus.

I was a muddle of expectations: on one hand, I expected good things because it had Tom Hiddleston and Mark Gatiss at the very least.  On the other hand, the bits of the play I’d read (or read about) suggested that it involved a lot of politics (bleah) and Coriolanus being a jerk (which…could be interesting, but might just be annoying).  On the other other hand, I’d heard good things from Em about it.

So I went, braced for a bit of gore, some speeches I couldn’t hear very well, the possibility of boredom.

And?

I was blown away.

Why?  The reasons include, but are not limited to, the following:

Set.  We watched it on-screen, of course, but it still had the without-a-net feeling live theater gives – no editing, nothing between you and the players.  The set was spare: a red wall with graffiti projected on it, a ladder, some chairs.  Some explanation was given beforehand about the effects they sought to achieve with the red wall and graffiti; it’s a way of lampshading both ancient Rome and modern political discontent.  The space was dedicated to the players, to movement, dynamic and compelling.  The set changes were strangely electric.  The costumes were a great mix of old and new – modern shirts and trousers, accented with leather cuffs and breastplates and carefully chosen jewelry.

Suspense.  Despite knowing more or less how the play would end, I was on the edge of my seat.  Virgilia’s anxiety over her husband somehow renders the possibility of grave injury to him as more probable and pressing.  The discussions amongst Menenius, Brutus, Sicinius, and Cominius keep the question of consulship open, not a foregone conclusion.  It even seemed possible that Coriolanus might kill Aufidius early on, or be killed in Aufidius’s household.

Clearly the servant is ready to stab him at a word from Aufidius.

Clearly the servant is ready to stab him at a word from Aufidius.

Sympathy.  Throughout the whole play, each character made understandable choices and acted in consistent ways.  Though it turned out badly, it’s hard to castigate Cominius and Volumnia for encouraging Coriolanus to become consul.  It’s impossible to assign all the culpability to Coriolanus either.  One could blame the tribunes Brutus and Sicinius, but at least some portion of their double-tongued talk rings true.

Tom Hiddleston as Caius Marcius Coriolanus.  As noted, this is hardly a sympathetic role.  Caius is a successful general who takes over a city, thereby winning the name Coriolanus, but he’s rather less successful at public office.  His campaign for consul – encouraged by his commander Cominius and his glory-hungry mother Volumnia – ends in a lot of yelling, since Coriolanus doesn’t think much of the citizens and doesn’t ever try to hide it.  People lambaste him for his pride, for rudeness, for harsh speech, etc., and yet it’s easy to see why Coriolanus is proud of his military service, guarded with his scars, impatient with the easily led rabble, and angry when accused of treason.  He goes from hollering in the streets to covering himself in blood in battle to clean-cut mama’s boy to smirking voice-stealer, and that’s just in the first couple acts.

Coriolanus hips

Mark Gatiss as Menenius.  For the bulk of the play, he alternates between encouraging everyone to behave reasonably (you can almost hear “Sherlock Holmes, put your trousers on,” except it’s more a “Coriolanus, take your shirt off so everyone can see your battle scars”) and being a master of sass:

Men.  Our very priests must become mockers if they shall encounter such ridiculous subjects as you are. When you speak best unto the purpose it is not worth the wagging of your beards; and your beards deserve not so honourable a grave as to stuff a botcher’s cushion, or to be entombed in an ass’s pack-saddle. Yet you must be saying Marcius is proud; who, in a cheap estimation, is worth all your predecessors since Deucalion, though peradventure some of the best of ’em were hereditary hangmen. Good den to your worships: more of your conversation would infect my brain, being the herdsmen of the beastly plebeians: I will be bold to take my leave of you.

So that was quite entertaining enough on its own.  But then I watched him bid Coriolanus farewell in Act IV, and approach his camp to beg Coriolanus to spare his erstwhile home from destruction in Act V.  Terribly moving, even more in my estimation than the tears of Virgilia or the clamorous exhortation of Volumnia.

All in all, I went away flooded with thoughts and reeling with emotion.  Somehow I didn’t expect that.  It’s been a while since a Shakespearian play has been such a surprise for me.  This, I kept thinking, this is why Shakespeare is still a big deal.

This is what theater should be.

This is what art ought to do.

Catch an encore performance if you possibly can, and prepare thy brow to crease in laughter, to frown, to furrow in sadness.

Review: August, Osage County

Wednesday was $5 day at my local theater, so after watching Frozen, I set out to give myself emotional whiplash by heading straight into August: Osage County.

Okay, that’s a lie.  I set out to watch Benedict Cumberbatch in one of his five movie projects released in 2013, and perhaps to see what Meryl Streep, Julia Roberts, Ewan MacGregor, et al. brought to it.  The emotional whiplash was just a side effect.

August is the time of year, Osage county in northern Oklahoma the place.  Plot summary: author Beverly Weston disappears from his home (and, incidentally, puzzles me, because who names their son Beverly?  I bet he had a brother named Sue Not-Appearing-In-This-Film).  His family – 3 daughters, a sister-in-law, and their respective spouses/children – come home to empathize with his wife Violet while waiting for him to turn up, and are thus ideally placed for the funeral when he turns up drowned.  And then, the players having congregated on the board, family dynamics drive each person hither and yon again.

At first, I thought “This is one of the realest stories I have seen in a while.” The rural Oklahoma setting, for one, reminds me of my familial home down in southern Illinois in so many ways. It has the flat land, the oil wells, the unforgiving heat and the shimmer of the air, the small town nearby, even the left turn from the highway onto the dirt road heading home. The cars they drive, the style and decoration of the house, the casserole dishes: it all felt familiar, more familiar than I’ve seen in a film before.

You may be focusing on the knock-down brawl going on, but I am looking at those wooden pillars at the sides of the room. My grandparents’ house has pillars just like that!

Then there’s Meryl Streep as Violet Weston.  She’s phenomenal.  She stumbles in as Beverly interviews a young woman, Johnna, to be housekeeper.  “You an injun?” Violet asks, with the casual racism of the woman too old to care about political correctness (or too apathetic until she can attack someone else for alluding to childhood games of “cowboys and Indians”).  The way her voice alternately sweetens and sharpens as she asks Johnna about herself, addresses her husband, and gives some details about herself and her mouth cancer – I have seen that before, mostly in my grandmother as her own dementia began to progress.

Bev disappears.  The girls come home from Colorado and Miami, everyone bemoans the heat, the sheriff arrives with news and a body that needs to be identified, the funeral is followed by the most painful funeral lunch you ever saw.  Violet’s speech, her swift changes of mood, her not-always-appropriate anecdotes, her occasional lapses into bitterness over her children and what she sacrificed for them – these all prompt the other characters to react accordingly, also true-to-life.

Then it all goes a bit…screwy.  No, more than a bit.  The Weston family is far more dysfunctional than mine: there’s more divorce, the lone teenager is angstier (shame she doesn’t have siblings or cousins), there’s such distance between everyone…not to mention suicide, a touch of drug use (prescription and otherwise), and a soupçon of accidental incest.  Possibly more than a soupcon, actually.  There’s also far less religious observance – you can tell by the awkwardness of the mealtime prayer – which helps explain why no one ever seems to have heard of forgiving, forgetting, or wishing for another’s good more than one’s own.  Toss that all in a room together, and it becomes one big powder keg.

Here’s where the post-Frozen whiplash gets bad: whereas Anna trusts her sister Elsa unstintingly despite years of isolation (and that one time with the ice spikes), and Elsa protects Anna the best she can after conquering her fears, the Weston ladies are, as Ivy puts it, “Just people accidentally connected by genetics.”  You can’t pick your family, it says, though Charles Aiken (Bev and Violet’s brother-in-law) reminds everyone in word and deed that you can choose how to regard your family.

That’s more or less the upshot of it.  Violet and her oldest daughter, Barbara, might provide grim amusement with their increasingly vicious, obscene, and histrionic hollering, but I reckon they’re more important as an all-too-realistic cautionary tale.  I’ve read that Tracy Letts, the playwright and screenplay writer, is preoccupied with the question of “whether it’s ever possible to overcome the dysfunction passed down through generations.”  Of course, yes, it’s possible – but not alone. You need grace for that.  And grace, like Sue, is not appearing in this film.

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Review Part 2: Disney’s Frozen

Now that it’s nearly two months since it came out, I went to see Frozen.  Twice.  It is still the season for it, after all, and it hasn’t left the theaters quite yet.  So it was my turn to be delighted by the magic of animation and music and storytelling.  Here are some thoughts about it, a few of them in response to Melpomene’s earlier post.  In no particular order:

- The music is beautiful.  I particularly enjoyed “Frozen Heart,” the song of the ice harvesters at the start of the movie, as well as “Heimr Arnadalr,” the choral coronation piece which translates from Old Norse approximately as follows:

Worthy Queen of greatness
The heart of Gold shines
We crown thee with hope, love and faith.
Beautiful, stony land, home Arendelle
Follow the Queen of light/ the Queen’s light

Of course, it’s hard to sing a choral piece (or antiphonal yoiking) alone, so I’ve also had “Let it Go” and “Love is an Open Door” running through my head on repeat.  It’s lovely having a song of defiance against the Polar Vortex weather.

- Hullo, unexpected poignancy.  “Do You Want to Build a Snowman?” sounds so lighthearted, and then it struck me with feelings.  Even worse is the thought that Elsa and Anna didn’t need to spend so long isolated from each other; Anna trusted her sister all along, and the utter lack of communication didn’t protect either of them.

Pardon me while I go do some gross sobbing in the corner.

Pardon me while I go do some gross sobbing in the corner.

- Nothing separates a guy from his reindeer.  Kristoff and Sven are precious, like a friendlier version of Flynn and Maximus from Tangled.  There were lots of moments that made me giggle, and those two probably accounted for most of them.

- Someone finally said it.

Marry Prudently yallThank GOD.

- Additional background would be groovy.  We don’t really need to know where Elsa’s power comes from, for the sake of the story, but I would love to know more about her as well as the erstwhile king and queen.  Is Elsa like a Muggle-born cryokinetic witch, or is Anna like a Squib who missed out on the elemental control?  Also, if I were a nerdier person, I would love to calculate how much energy is getting thrown around when, say, the entire fjord is frozen.  See a bit more commentary on that here.

- Darlin’, I don’t know why you go to extremes.  My brother and I wondered if, perhaps, the well-intentioned Love Experts actually gave the worst advice: concealing the source of the problem and counseling Elsa to beware of fear in no way encouraged her toward the positive virtue of being more loving.  “Conceal, don’t feel” was never a viable option, and when Elsa does finally let it go, she swings to the other extreme so hard that editorials on the dangers of repression write themselves.  Thankfully things reach a sort of equilibrium; it’s fortunate (and kind of weird) that she is able to undo her enchanted winter quicker than Aslan brings spring to Narnia.

- True love sacrifices.  Love is not summed up in kisses, but consists of all manner of heart-thawing actions.  Love forgives the pains one has suffered.  Love runs to the aid of the beloved, love throws itself between the beloved and the sword, and love binds people together whether they’re parents and children, siblings, romantic couples, or friends.

All in all, Frozen is a beautiful movie, and its depiction of sororal love the most beautiful thing about it.huggiiiiingNow, if only I could thaw the frozen wasteland outside with my own sororal love…

Review Part 1: Disney’s Frozen

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Did you read The Snow Queen? It is my favorite Hans Christian Andersen fairy tales. And I grew up on fairy tales: Andrew Lang’s books, many beautiful picture books, and sundry collections of various folklore! (For some reason, Grimm’s fairy tales were not so big in my home. It might have been the R rating most of the originals have.)

Andersen’s “The Snow Queen”, is a tale of true love saving an icy heart through hard work and sacrifice. I loved the edition my family had, as it was gorgeously illustrated, highlighting the sharp, biting beauty of Ice and Snow.

 

When I heard that Disney was “reimagining” Andersen’s tale, I was both worried and intrigued. Frozen premiered yesterday, and my housemate and I went to see it.

And I like it. Maybe more than “like”. The more I think about it, it gets higher on my list of favorite movies. I want to share it with people I love.  Starting with you. You should go see Frozen.

It is not perfect by any means, so I am wary of overselling.  But I need to talk about it! My compromise is to make a list of pros and cons for the movie. (If you are fearful of spoilers, read carefully. A few might slip in.)

 

The Story

Cons: It is not the original Andersen story. There are significant changes, mainly shifting the focus from a boy-girl pair to a pair of sisters.

Pros: It works. The heart of the story is figuring out what True Love is, and removing the possibility of romantic mushy feelings from the central pair certainly crystallizes our definition. 

 

The Plot

Cons: There are a few holes. Mainly, the sudden ability to control magical icy powers.

Pros: The holes are not in important parts. The magical abilities are a part of the setting, not the focus. And the story telling does a good job of making that clear.

 

The Art

Cons: It is a cartoon. Which means round faces and unlikely body proportions for all living things. Maybe I am spoiled, but I expect animated characters to make better use of  facial expressions.

Pros: It is a cartoon. Which means stunning closeups of snowflakes an ice and an ICE PALACE that will take away your breath. (Not to mention an ice dress.) And there are a few good faces. Also, there is a pretty scene of Anna imitating classical works of art that are hung around her palace.

 

 

The Music

Cons: It is not the Lion King. Or Prince of Egypt.

Pros: HARMONY! CHOIRS! SOARING NOTES! Songs than capture the moment and plot and emotions! Background music that works with the story so well I barely noticed it! Melodies that work with the lyrics, lyrics that appreciate pretty words! (“Frozen fractals”!!!)  But seriously, how long has it been since Disney actually used harmony and choirs? And lyrics that have united and developed the narrative themes and motifs? You can listen for yourself, if you wish.

 

Our Protagonist Sisters

Cons:  . . . . None

Pros: SISTERS! Their relationship is the center of the story, and . . . I can’t say more without spoilers. I really want my own sisters now.

 

The Side Characters

Cons: There is an annoying talking snowman named Olaf.

Pros: Other than Olaf, all the side characters are excellently crafted, acted, and used. Each has a purpose AND a personality. Even the snowman. (Supposedly he is the personification of the sisterly bond. But he is still annoying.)

The Wit

Cons: Not so witty. There is a tad bit of mild potty humor. And the kind of things that 5-year-olds find funny.

Pros: Fortunately, it has enough substance that it doesn’t need wit.

 

The Villain

Cons: There is no villain! There is a cad, but he is easily spotted, serves an important narrative purpose, and get his boring comeuppance.

Pros: There is no villain! Our two protagonist sisters face a true battle against FEAR. Yes, the real opposite of love is not hate, but fear. And this movie states that baldly. Which brings us to . . .

 

The Subtlety

Cons: Frozen has the subtlety of a sledgehammer. The themes, motifs and morals are so obvious, a five-year-old can identify them. Even the humor has big, blinking arrows pointing to it. (Not literally. But it may as have have.)

Pros: A five-year-old can identify the themes. Does a good fairy tale need subtlety? I have spent years looking at the art of literature, savoring the delicate images and tastes of humanity and truth. I appreciate those, but I recognize that sometimes bluntness is needed.

It is almost as if Disney is trying to reverse years of overly mushy ideas of romance and impractical ideas of love in one movie. It has the same theme as all real, important, fairy tales: True Love. It even correctly identifies the true opposite of love as fear! (I really can’t get over that.) The motifs (storms, doors, creation vs. control, etc.) are well chosen and well used.

To be fair, our modern society has stopped using or understanding  subtlety well. Those who do look for subtlety are the academics, most of whom tend to read their own insane symbols and agendas into the work. The frankness of Frozen does forestall this misunderstanding or misinterpretations.

While Frozen might have appealed to a more adult audience had it used subtlety, it adheres to the structure of old fairy tales and is accessible to all ages. It is blunt, but I can forgive that when it is blunt about Truth and gives the theological definition of love.

The Theology

Cons: Shockingly, there are no cons. There was a moment when I thought there might be, but then the characters very helpfully and carefully explained themselves, and all was well.

Pros: There must have been a solid Christian crafting this story. It is possible for  clever and thoughtful agnostic to have written it, but my instinct says otherwise. This movie not dares to ask and answer the question “what is love?” Their answer (as closely as I can remember) is “Love is wanting what is good for another person, and acting on it no matter what the cost for another person“. What does the Catholic Catechism say about love?  “To love is to will the good of another.’” Brilliant.

And because there is no subtlety, they even point out the in-movie examples. Just in case we missed them. But the examples are good, realistic, and, like all good theology, filled with common sense.

 

Conclusion

In his chapter, the Ethics of Elfland, G.K. Chesterton describes a fairy tale as being built on common sense and the ideals of eternal Truth and Reality. Frozen does fit this definition: it adhere to its internal logic, and is surprisingly well rooted in common sense. The characters ring true as portraits of humanity. The story is well crafted, if obvious, and holds fast to the heart of all good stories: love and sacrifice.

In short, go see Frozen.

And then come back and discuss it with me! When I have had time to percolate ideas, I will come back and expand on the themes and story telling. As obvious as it is, it might be a good teaching tool to point all those literary devices!

 

An Experiment in Art Criticism

A couple weeks ago (gosh, is it already that far past?), Thalia and the Brilliant Scrupulously Exact Physicist came to visit.  Having but limited time together, and the Scrupulously Exact Physicist having nixed the suggestion that we go busking with a plaid hat and a repertoire of hymns, we took ourselves down to the museum in town.

You know the one.  The one with a weird bit of iron out in front, and a weird bit of carved wood out back, and oddness in between.

We determined that it would be diverting to level our most withering wit at the works within, provided we were suitably fortified; Thalia had the further brainwave that we might tell the truth slant – in fact, not merely slant, but actually perpendicular to our normal mode of discourse.  All of which is to say that we gathered up our pens, notebooks, and a flask of bourbon, and rhapsodized in the blankest verse we could muster.

(Dear sweet teetotalers: surely even you understand the importance of fortification against the utter lack of metanarrative in postpostmodern art?  Have you not read your Walker Percy? Do you not know that “post-painterly abstraction” is an honest term used by an art critic to distinguish from earlier abstract expressionism?  Read this whole page  and tell me you don’t want a drink by the end of it.)

(N.B. that we were, at least, covert in our potation.  The Scrupulously Exact Physicist whose pockets guarded the flask ended up quaffing the lion’s share, which is to say, maybe an ounce or two more than the rest of us.)

So without further ado, here are the fruits of our labors.

First, the piece the Scrupulously Exact Physicist wrote on:  Smoke Rings, by Donald Sultan

Smoke Rings

“Thunderstorm in Purple No. 6”*

Spirit,
inspiration drawn,
flames of unity,
darkness spills through it.

A phoenix is promised to ignite from the ashes
its crimson mane flowing,
as the firefox turns
and peace is dislodged

How many times?
will an elder rise or fall?
a leaf
falling Adonis
Cut from the top
in a swirl of cloud.

I wrote on something by Richard Diebenkorn.  It might not have looked exactly like this, but it was…similar:

ocean-park-no-131

Re: un tarde de Julio…

an envelope not yet trimmed or folded
into
usefulness.
rain has worn down the lines
of division,
jagged door opening
revealing naught but beige beyond.
Three figures sit at the bottom of it,
soon to be cropped out
by demands of time,
the folds pulling upward and away.
That bleeding paper
(such it might be)
bled not from any meaningful word,
any knife of truth.
All is quiet

All is empty.
~~~~~
something wrong:
assayed beauty via truth
as assured by Keats of unity
and believing truth
simple to see
simple to sign

a veil drawn over drawn truths
or a wash over half-depicted figures

not sad empty hopeless being,
nor vacant past plains:
a slightly yellowed page
awaiting drawing of the future.

Lastly, Thalia peered up at Helen Frankenthaler’s Sunset Corner, wrote a while, then carefully removed a number of connecting words and threw a brick at her punctuation.  Seems apt. Sunset Corner

Venetian Earthquake by Candlelight*

Lofty Depth.
Sundered plain
(Cower, blood – Dry)
murk, jagged; lurk, snagged -
Possess, weigh, measure, despair
——-
Ache,  bile, blotch
Central – corrosive
Control, Knot, Vomit.
——-
Void,
Promising.
A template ?
Abrupt, the hope
(Absurd)
Hence therefore; hell.

*Credit must be given to our friend, the Doctrix M. Harrison, for pointing out that such poetic assays must be titled appropriately, and for her endeavor to find something appropriate.