[...]PRACTICE — AVITAL 3.0

[...] practice: Woman of the Hour (2024)

Dir: Anna Kendrick

[published 10/25/2024]

IN THESE ESSAYS, I REALLY DON'T WANT TO JUST GIVE YOU A BREAKDOWN OF THE MOVIE. YOU CAN DO THAT ON YOUR OWN.

WHAT I DO WHAT TO DO IS FIGURE OUT WHERE THE PSYCHOLOGY LIES. IT CAN BE IN A SPECIFIC CHARACTER, IN THE SETS, THE COLOR DESIGN, THE MUSIC.

ANY ASPECT OF A FILM CAN CONTAIN IT. MY GOAL IS TO FIND IT AND REPORT MY FINDINGS TO YOU.

BUT, BEFORE I GET INTO WHERE THE PSYCHOLOGY IS (OR ISN’T, AS THE CASE MAY BE) I WANT TO ADDRESS SOME MISC PRODUCTION NOTES THAT OCCURRED TO ME.

IN ANNA KENDRICK’S DIRECTORIAL DEBUT, WE ARE TOLD THE STORY OF THE SADISTIC SERIAL RAPIST AND KILLER RODENY ALCALA WHO’S CLAIM TO FAME AS FAR AS THIS MOVIE IS CONCERNED AND WHAT THE MEDIA LATCHED ON TO AT THE TIME THIS ALL HAPPENED, WAS GOING ON A DATING SHOW.

THEY USED THE DEVICE OF TIMELINE MIXING TO SHOW THE SERIAL KILLER’S PROGRESSION. HOWEVER, SINCE THE ACTOR LOOKS AND DRESSES EXACTLY THE SAME FROM ONE YEAR TO ANOTHER, WE REALLY CAN’T TELL WHEN WE ARE.

THE SHOTS OF THE ACTUAL KILLINGS ARE VERY CLOSE UP, ALMOST PORN-LIKE. WHILE THE SHOTS OF THE LANDSCAPES WHERE THE CRIMES TOOK PLACE ARE WIDE, LIKE THEY ARE A SILENT WITNESS.

ANNA KENDRICK IS STIFF AND NOT IN THE "I MEANT TO DO THAT BECAUSE THAT'S WHAT MY CHARACTER WANTED.” WAY SHE’S JUST NOT VERY GOOD.

THE BEST ACTING, HOWEVER, GOES TO THE COSTA RICAN DANIEL ZOVATTO OUTSHINING EVERYONE ELSE, INCLUDING TONY HALE.

AND, I DO THINK ANNA KENDRICK HAS QUITE THE FUTURE AS A DIRECTOR.

SO, WHERE IS THE PSYCHOLOGY FOUND IN THIS MOVIE? THE DATING SHOW PART OF THE STORY AND THEREFORE ANNA KENDRICK’S CHARACTER ARE A RED HERRING, THOUGH THEY TAKE UP ALMOST ALL OF THE MOVIE.

THE ONLY THING THIS ACCOMPLISHES IS TO DISTRACT US FROM THE HORROR THAT WAS RODNEY ALCALA AND THE ACTUAL MEAT OF THE STORY - WHICH IS THE WOMEN VICTIMS VS A SYSTEM THAT IGNORES THEM, AND THE EXTREME MISOGYNY OF THE 1970s (AND BEYOND, LET’S BE HONEST.)

THERE ARE TWO QUICK SCENES WHERE THEY KINDA OF ADDRESS THIS MEAT THAT I SPEAK OF. I WONDER IF YOU CAN SPOT THEM. SHOUT THEM OUT IN THE COMMENTS IF YOU THINK YOU KNOW. I’LL GIVE YOU A HINT THEY ARE BOTH IN THE FINAL ACT. NEVERTHELESS, THE WRITER CHOSE TO FOCUS ON THE MUCH GLAMORIZED TV SHOW INCIDENT. THUS, GIVING IN TO THE POPULAR APPETITE FOR FETISHIZING SERIAL KILLERS, RATHER THAN TELLING A DEEP AND MEANINGFUL STORY.

THE TITLE, HOWEVER, SUCCEEDS IN CONVEYING THE PSYCHOLOGY OF THIS STORY. ON THE SURFACE LEVEL, WOMAN OF THE HOUR SEEMS TO BE REFERRING TO THE WOMAN WHO WENT ON THE DATING SHOW AND SELECTED RODNEY, BUT ON A DEEPER LEVEL WOMAN OF THE HOUR IS REFERRING TO ALL OF THE WOMEN AND GIRLS THAT RODENY RAPED, TORTURED AND KILLED. EACH AS UNIMPORTANT AS THE NEXT ONLY AROUND LONG ENOUGH TO SATISIFY HIS SADISTIC CRAVINGS. SO EACH ONE WAS A WOMAN OF THE HOUR TO HIM.

OVERALL, THIS IS A DEAD MOVIE AND NOT BECAUSE IT HAS A SERIAL KILLER IN IT

AND GRATUITOUS KILLING SCENES. IT’S DEAD BECAUSE IT MISSES THE MARK ON THE TITLE IT PROMISES, BUT NEVER DELIVERS.

[...] practice: Kinds of Kindness (2024)

dir: Yorgos Lanthimos

[published 10/12/2024]

KINDS OF KINDNESS IS SPLIT IN THREE, WITH THE SAME CAST PLAYING DIFFERENT ROLES.

THE FIRST STORY TAKES US INTO THE LIFE OF A MAN [PLAYED BY JESSE PLEMONS] AND HIS BOSS WHO CONTROLS EVERY FACET OF THE MAN’S LIFE, FROM DINNER MENUS TO FORCED ABORTIONS. SO, WHEN THE MAN DISOBEYS AN ORDER, HE IS SHUNNED FROM THE BOSS’ TIGHT GRIP, AND GIVEN THE OPPORTUNITY TO BE COMPLETELY FREE. BUT, ALL THE MAN REALLY WANTS IS TO BE BACK IN THE WARM AND CONTROLLING EMBRACE OF HIS BOSS.

THE SECOND STORY REVOLVES AROUND ANOTHER MAN [STILL PLAYED BY JESSE PLEMONS] WHOSE MISSING WIFE HAS FINALLY RETURNED. BUT HE IS CONVINCED IT’S A FAKE VERSION OF HIS WIFE, AND BECOMES OBSESSED WITH CONFIRMING HIS SUSPICIONS.

AND FINALLY THE THIRD STORY, [AND MY FAVORITE] IS ABOUT CULT MEMBERS ON THE HUNT FOR A VERY SPECIFIC WOMAN WITH A VERY SPECIFIC SKILL SET.

SO, DID I LIKE IT?

WELL, I REALLY LIKE YORGOS LANTHIMOS. IN FACT, THE LOBSTER IS ONE OF MY FAVORITE MOVIES. AND WHEN I SAW DOGTOOTH, I WAS SPEECHLESS, WHICH, FOR ME, IS A VERY RARE THING.

THERE’S SOMETHING ABOUT THE EXISTENTIAL MALAISE, ABSURDITY, AND LANGUID APATHY IN HIS FILMS THAT FEELS LIKE THE MOST ACCURATE DEPICTION OF HUMANS.

KINDS OF KINDNESS WAS RELEASED ON THE HEELS OF POOR THINGS, AND IN A WAY, THEY ARE POLAR OPPOSITES. INSTEAD OF THE OVERLY LAVISH SETS AND WORLDS, IT IS THE ULTRA MUNDANE AND DRAB REALITY OR MUNICIPAL BUILDINGS AND CRAP MOTELS. INSTEAD OF A PERSON COMING INTO THEMSELVES AND LEARNING NEW THINGS ABOUT THE WORLD, IT’S A GROUP OF PEOPLE WHO ARE DEEPLY ENTRENCHED IN THEIR WAYS, WHERE THE TINIEST OF CHANGE IS DETRIMENTAL.

AND SO, THIS MOVIE, TO ME, IS VERY MUCH ALIVE IN ITS DEADNESS AND THAT IS A VERY GOOD THING.

I THINK IN ALL OF HIS MOVIES, HE IS TRYING TO FIND THE MONSTER. ASKING QUESTIONS LIKE: WHAT DEFINES MONSTROUS BEHAVIOR? AND ARE WE ALL CAPABLE OF BEING IT?

AND IN THIS MOVIE, HE IS SAYING NO ONE IS KIND FOR THE SAKE OF BEING KIND. AND HUMAN RELATIONSHIPS ARE ALWAYS TRANSACTIONAL. SO THE CONCEIT IS: IF SOMEONE IS BEING KIND TO YOU, BE VERY VERY WARY OF THEM.

I ALSO ENJOYED THE SOUNDTRACK. ESPECIALLY THE “NO" COMPOSITION WHICH WAS REMINISCENT OF A GREEK CHORUS COMMENTING ON THE ACTION, MORALIZING FROM AFAR.

THIS MOVIE, HOWEVER,DID MAKE ME WONDER ABOUT YORGOS’ RELATIONSHIP TO SEX. IS IT A BANAL ACTION, MUCH LIKE MAKING BREAKFAST? IS IT GROSS? AWKWARD? IN LANTHIMOS’ WORLD, IT CERTAINLY IS NOT SEXY. SO, IF THAT’S THE CASE, WHAT’S WITH ALL THE GRATUITOUS NUDITY? IT REALLY JUST SEEMS TO ME THAT HE WANTS TO SEE HOT WOMEN NAKED, AND IF SO, THAT’S PRETTY LAME.

[...] practice: The Cowboy and the Frenchman (1988)

dir: David Lynch

[published 10/03/2024]

HOW DAVID LYNCH MADE A BAD SHORT FILM BASED ON A GOOD IDEA FOR A FRENCH MAGAZINE

AFTER BEING APPROACHED TO MAKE A SHORT FILM FOR THE FRENCH MAGAZINE LE FIGARO DAVID LYNCH TURNED DOWN THE OFFER, BECAUSE HE SAID:“I DON'T HAVE ANY IDEAS FOR THIS AND I REALLY DON’T THINK SO”

THE SERIES WAS CALLED "THE FRENCH AS SEEN BY... “ WHICH IS ABOUT HOW FOREIGNERS SEE FRENCH PEOPLE. WERNER HERZOG DIRECTED ONE ABOUT WINE TASTING AND RUGBY PLAYING. AND FOR SOME REASON, JEAN-LUC GODARD MADE ONE AS WELL, THOUGH HOW HE IS A FOREIGNER, I CAN’T BE SURE.

NEVERTHELESS, ON HIS DRIVE BACK TO THE HOTEL, DAVID LYNCH WAS HIT BY A SPARK OF AN IDEA. AND WHEN HE REACHED BACK OUT TO THE PRODUCERS, THEY WERE THRILLED AND DESCRIBED HIS CONCEPT AS “TWO CLICHES IN ONE”, AND OFF TO SHOOTING IT LYNCH WENT.

A COOL SIDE NOTE ABOUT THIS SHORT IS THAT THIS WAS THE VERY FIRST TIME LYNCH WORKED WITH
HARRY DEAN STANTON. IT ALSO INCLUDED OTER NOTABLES AND USUAL LYNCH CAST LIKE JACK NANCE, TRACEY WALTER, AND MICHAEL HORSE.

THE MOVIE IS ABOUT COWBOYS “WHO DON'T TAKE KINDLY TO FOREIGNERS, INDIANS, OR BIRDS” WHO MEET A FRENCHMAN WHO DOESN'T SPEAK A LICK OF ENGLISH. EVENTUALLY, THEY HAVE SOMEWHAT OF A CULTURAL EXCHANGE, WITH THE PUNCHLINE BEING “WE CAN COME TOGETHER OVER WOMEN, BOOZE, AND MUSIC, BUT WE CAN NEVER AGREE ON SNAILS.”

IT’S A LYNCHIAN ATTEMPT AT A SATIRE OF A WESTERN, FULL OF REDUNDANT AND SILLY DIALOGUE AND ALL MANNER OF RANCH LIFE STEREOTYPES.

AT FIRST GLANCE, THE SHORT PRESENTS ITSELF AS A SHALLOW, STEREOTYPICAL TAKE ON HOW AMERICANS WHO WATCH WAY TOO MANY WESTERNS MIGHT SEE THE FRENCH. ON SECOND GLANCE, IT’S ACTUALLY MUCH DEEPER THAN THAT. IN USUAL DAVID LYNCH FASHION, THE CONCEPT HAS BEEN TURNED ON ITS HEAD, WHICH IS WHY THE PRODUCERS DESCRIBED IT AS TWO CLICHES IN ONE.

BECAUSE, YOU SEE, THE MOVIE IS ACTUALLY BEING TOLD FROM THE POINT OF VIEW OF THE FRENCHMAN. IT’S THE FRENCHMAN WHO IS HAVING A FEVER DREAM ABOUT HOW HE SEES AMERICANS SEEING HIM.

SO THE FLATNESS AND THE STEREOTYPES AND THE INCONSEQUENTIAL DIALOGUE IS REALLY DAVID LYNCH SAYING “I’M SHOWING YOU HOW YOU SEE US SEEING YOU,” AND THAT IS WONDERFUL LYNCH WORMHOLE TO DIVE INTO.

HOWEVER, THE MOVIE IS BAD. AND NOT ON PURPOSE BAD, IT’S JUST A BAD MOVIE. IT HAS A SUPER THIN PLOT LINE, THE ACTING (SAVE FOR JACK NANCE) IS ATROCIOUS, THE EDITING IS BAD AND THE SETS AND BLOCKING ARE QUITE FLAT. THE ONLY THING THAT ISN'T BAD ABOUT IT IS THE MUSIC.

SO THEN, WHAT'S THE TAKEWAY?

I THINK THAT EVEN THOUGH THE FINAL EXECUTION OF THE COWBOY AND THE FRENCHMAN IS CHOPPY AT BEST, THE MORAL OF THE STORY IS IF YOU HAVE A GOOD IDEA FOR A MOVIE, OR A PIECE OF ART, OR AN ESSAY (PERHAPS LIKE THIS ONE) JUST GO AHEAD AND MAKE IT. DON’T LET THE FEAR OF A PLOT THAT’S BARELY THERE OR THE LIKELIHOOD THAT IT WILL BE BAD STOP YOU.

DAVID LYNCH DIDN’T.