Month: February 2005

circumlocutory pleonastic flibbertigibbet!

Having already exposed Chuck Palahniuk as a (gasp!) hack, Laura Miller, Salon‘s guardian of the literary citadel, now aims to dethrone H.P. Lovecraft (and neither Cthulhu nor a number of readers are pleased). C’mon now…is that really necessary? It’s not as if Lovecraft is some endlessly promoted sacred cow of the literati — he’s just an early 20th-century spinner of pulp yarns with some cachet among the fanboy nation, one with some very Cronenberg-like hang-ups and a better flair than most at evoking unfathomable dread. What with all the goofy adjectives and leaps of hyperbole, Lovecraft is obviously an easy caricature — so why bother? Miller seems to be something of a Tolkienite and generally sympathetic to fantasy writing, so her hit here is all the more surprising. Frankly, I’d find her criticism more scintillating if she didn’t resort to shooting fish in a barrel.

Jedis, Muggles, & Bats.

Coming Soon points the way to a number of 2005 tentpole pics, including this EW shot from Episode III, another from Harry Potter and the Goblet of Fire, and a smattering of new images from Batman Begins.

Love Songs.

I’m off early this morning to catch up with college friends for one of our semi-annual reunions, so I expect it’ll be quiet around here until next week. But, since it’s a holiday weekend of sorts, and since I’ve been perusing a number of MP3 blogs lately, I figured I wouldn’t leave on a jet plane before regaling you, my dear readers, with the Valentine’s gift of music. (The usual mp3blog rules apply: the files will be up this weekend and this weekend only, and please do not link to them.) So, without further ado:

You’ll be given love
You have to trust it,
Maybe not from the sources
you have poured yours
maybe not from the directions
you are staring at,

Twist your head around
it’s all around you

As y’all know, iconography from the stunning video to Bjork’s “All is Full of Love” has graced this site for years now, so it seemed a logical choice for GitM‘s Valentine. It’d be hard for me to introduce the song any better than Bjork did herself: “That song’s from a moment when I’d had a pretty rough winter and then it was a spring morning and I walked outside and the birds were singing: Spring is here! I wrote the song and recorded in half a day. It just clicked – you know: you’re being too stubborn, don’t be so silly, there is love everywhere. The feeling, the emotion of the song was like completely melting and loving everything and feeling like everything loved you, after a long time of not having that. The song, in essence, is actually about believing in love.“

Strangely enough, I experienced a very similar revelatory moment, traipsing around outside after a blizzard several years ago, while listening to this “Plaid” version of the song. It’s missing the languorous beat that’s so memorable in the single version, but I adore the fugue-like intro and textured, contrapuntal rhythms of this mix — They lend it a timeless, ethereal beauty that perfectly matches the celestial coo and growl of its Icelandic muse. I don’t want to hate on Love, Actually for too many posts in a row, but to my mind this song brilliantly encapsulates what that movie tried and failed to get at — Even in our loneliest moments, love surrounds us and binds us.


All is Full of Love (Plaid Mix) — Bjork (5.88MB, 4:17)
(song removed)
Original version on Homogenic.

[Update:]

***

I want you
I’m not ashamed to say I cried for you
I want you
I want to know the things you did that we do too
I want you
I want to hear he pleases you more than I do
I want you
I might as well be useless for all it means to you…

Bjork too sappy? Well, if, on the other hand, you prefer to spend Valentine’s Day prodding scars and excavating the thin line between love and hate, then here’s a streetlight serenade for you — a blistering-hot live version of Elvis Costello’s most savage, searing slow burn. Much of the resonance of the original “I Want You” lies in how what starts off as a run-of-the-mill torch song slowly degenerates into something much more complicated and sinister. This spooky, haunted-house version from the 2002 tour skips the set-up, but it’s nevertheless a poisonous mirrorball of rage and regret, bitterness and betrayal, loss and (self-)loathing…all those quintessential consequences of a love implosion that they just don’t seem to make Hallmark cards for (and it’s all topped off with a brief twinge of Yankee Power.) Our man Costello may be enthralled with Diana Krall these days, but as this song makes emphatically clear, there are still some things you just don’t wanna know about his dark life.


I Want You (Live in Nashville 2002) — Elvis Costello (15.1MB, 8:15)
(song removed)
Original version on Blood and Chocolate.

[Update]:

Either path you choose, have a safe and happy weekend, and I’ll catch y’all next week.

Luck be a Lady.


“I’m on a roll, I’m on a roll, this time. I feel my luck could change.” Just as it seemed that I’d have to settle into Valentine’s Day weekend with the cloying miasma of Love Actually still wafting in the air, along came Wayne Kramer’s The Cooler (by way of my local Blockbuster.) Stacked with quality performances by William H. Macy, Maria Bello, Alec Baldwin, Paul Sorvino, and Ron Livingston, The Cooler is an enchanting magical realist tale about the transformative power of love that I found passionate, poignant, and poetic (and not in the Vogon sense.) I thought it managed to capture that first, giddy and glorious flush of a new romance in spades.

The film begins with Bernie (Macy), a guy beat down so low by life he makes Jerry Lundegaard seem like Tony Robbins, ambling around the once-fabulous Shangri-La casino, bestowing bad mojo like a benediction upon any unfortunate gambler in his wake. Y’see, Bernie is such a hard luck case that he infects everyone around him with his awful fortune, and has thus been hired as a “cooler” by Old Vegas mob boss Shelley Kaplow (Baldwin, well-deserving of his Supporting Actor nomination.) But, when Bernie encounters cocktail waitress and amateur astrologist Natalie (Bello), Cupid works some mojo of his own, and soon enough a revitalized, invincible Bernie inexplicably has the Midas Touch, which may not sit well with his employers…

True, you can guess where this is basically going from the opening moments. The Cooler is ultimately a brief genre exercise in noir romance – It’s not reinventing the wheel. But the wry script takes a few jags I wasn’t expecting, and Kramer, Macy, and Bello succeed in fashioning two lovebirds who veer from playful to amorous to desperate for each other in a way that belies the cookie cutter courtship of so many other films. (And while it at first seems that The Cooler has a Sideways problem, it doesn’t, for spoilerish reasons which will be evident if you see the movie.) In sum, if you can stomach the occasional burst of Old Vegas-style mob brutality (usually at the hands of Baldwin), The Cooler is a testament to the notion that even perennial losers can sometimes catch a lucky break, and a touching character-driven romance well worth checking out.

> Enjoy Poetry.


Some big, swollen, vaguely tumescent Hitchhiker’s news today — IGN obtains several pics of the Vogons (designed by the Henson Company — as one AICN wag put, “OMG! Rygel ate Harry!“), including this one at left of unwitting poetry-enthusiasts Arthur (Martin Freeman) and Ford (Mos Def) in the clutches of Prostetnic Vogon Jeltz. (The Intergalactic Highway Bypass Planning Room is also worth a gander.) Very nice.

Triumph of the Swan.

“In the dual role of the enslaved Odette and controlling Odile, Gillian Murphy employed her nearly faultless technique in clear, if uncomplicated, portrayals. Her Odette was skittish and trembly; her Odile a self-satisfied center of attention…Murphy possessed an air of coolness that underscored her technical strength.” Gill’s current Swan Lake run in DC is reviewed by the Post and, while I have some issues with their take (Big Brother protectiveness aside, I think this piece falls into the all-too-common rut in dance criticism of being ever-so-slightly catty to the female lead while unapologetically fawning over the male), it does think well of Gill’s performance and of the production overall, and includes this striking picture above the fold. (Pointed out by Scully of Terrapin Gardens…thanks much!)

Class Dismissed.

“‘It’s a bill that’s going to significantly harm small consumers who want to hold large companies accountable for defrauding them,’ said Frank Clemente, director of the Congress Watch division of the consumer group Public Citizen.” So guess which side Dubya and the GOP were on? In the name of “tort reform” (and at the behest of their corporate overlords), the Senate GOP pass the Class Action Fairness Act, which moves state class action suits into the (less favorably disposed) federal court system. They did so after gunning down a series of Democratic amendments that tried to strike a more stable balance between private power and public accountability. Or would it have been too litigious to exempt cases brought by state attorneys general? We wouldn’t want some aspiring Mr. Smith cutting in to Old Man Potter’s profit margin, now, would we?

All the President’s Men.

Journalism then and now: As Slate writer and Nixon historian David Greenberg reports in from the opening of the Watergate papers, Salon‘s Eric Boehlert surveys the strange case of “Jeff Gannon”, a.k.a. James Guckert, fake newsman for Dubya.