Griff the Invisible [2010)

A superhero movie for people who hate superhero movies.

Like me.

And equally, a superhero movie for people who love superhero movies.

This is quite simply the finest bit of Australian cinema I’ve seen in a good long while.

Kudos to director Leon Ford!

Ryan Kwanten starts out in Anna Karina’s primary rain slicker.

At the bus stop.  Yellow paint over posters torn leaving stuck strips.

Invisibility.  The pervert superpower.

But Griff (Kwanten) has a rough life.

Clark Kent in excelsis.

There are movies like this which fail.

Man-child obsessed with toys.  Blah blah blah.

But that’s not the vibe of Griff the Invisible.

No.  This is a special film.

It’s about fuckups finding each other.

Enter fuckup #2:  the lovely Maeve Dermody.

Dermody is the redemption of this film.

Everything; everyone wants to knock this film off the rails.

It gets close.  The plot twists enough to almost sink the film.

Woozy helmet…sniffy woe.

But Dermody keeps her quiet wonder alive.

An angel with dusty feet.

Necklace of uranium from W.A.C.O.

Marie Curie.

Believing in questions.

The slipstream.

Be in love.  Crazy.

Not easy.  Rambunctious.

Particles.  Sucking black hole.

Light.  Giving us problems.

Bumping.  God willing.

Trinity.  Just a test.

I have become Deathwish.

Wilde.  Masked and anonymous.

Henry Miller.  Caesar shift cipher.

Hymn of praise for a girl

Came into our lives

Coming.  Soon.

Will.  Willing.

Have mercy on the homeless.

NY.

Don’t aggregate yourself to death.

Point at which film review ended, and.

Miracle that we can believe in.

Human abilities.  Accomplished.

Through endless repetition.

Playing.  Imagination.

Slip in and out of dimensions.

Consciousness.

Then you’ll feel the hazy feeling to live this poem.

Down by the Seine.

And into the Passages with the rain.

Mort à credit.

Nerval’s last drink, and then to hang himself.

Not sad.  More Camus.

Where the focus is on the drink.

Impossible now.

Created from impressions.

Without eliminating dimensionality.

“Mister Trouble never hangs around
When he hears this Mighty sound.

‘Here I come to save the day’

That means that Mighty Mouse is on his way.
Yes sir, when there is a wrong to right
Mighty Mouse will join the fight.
On the sea or on the land,
He gets the situation well in hand.”

 

-PD

 

 

Sauve qui peut /la vie/ [1980)

12 seconds.  5 minutes.  2 fortnights.  a jiffy.

Really, I shouldn’t have to comment on the commodification of time.  Is that not the essence of capitalism?

Into your busy lives cram another blog post.  Another sloppy film review.  A film.

A more professional critic would start by alluding to the copious literature which points to this film as Godard’s return to form.

A strange phrase.  Which form?

Because really, for me, Godard begins here.  The known Godard is Parisian Godard…la nouvelle vague.

The unknown Godard is everything else.  As an American consumer it is rather inconvenient to obtain all but the classic films from our auteur.  After Week-end (1967), the DVDs become exponentially harder to come by.

But, as a rule, I digress.  Liberally.  Often.  Without fail.

This, then, would seem to be Godard emerging from the black forest of political filmmaking and ethical soul-searching to find the inklings of his mature style.

It is not an original thought.  The English-language biographies cover this thoroughly.  The device in question is (for lack of a more exact term) slow-motion.

It is the playful wonder of a man who still has the curiosity of a boy.

Technology changing.  New idiosyncrasies to each bit of gear on the market.

It is the same now.  Stash your camera on the top shelf and soon you will not know how to make films.

Your equipment will be obsolete and your knowledge outdated.

But that is all tertiary (tertiary?) in importance.

To our film.

We have characters; plot.  A walk in the wilderness and Godard (with the indispensable Anne-Marie Miéville) returned to a somewhat recognizable form.  As always, however, the form is highly subverted.  One might even say perverted in this particular instance.  It is a strange beauty.  Incomparable.  A triumph.  A mere glimpse of things to come.

Always playing on archetypes, Godard casts singer Jacques Dutronc as Paul Godard.  There can be little doubt that this character is meant to represent the filmmaker himself.  Every marker is there:  the ubiquitous cigar, the glasses, the mannerisms, the disheveled college professor sartorial ensembles…

The stunning Nathalie Baye plays Denise Rimbaud.  Here is where the ark types.  Arc-en-ciel.  A panorama of wispy clouds.  Yes, Arthur is never far…nor Baudelaire…nor Sartre and Duras.  And Marguerite?  Faust.  Your soul for a job.

Yes, prostitution returns.  The grand Godardian theme.  Isabelle Huppert plays the role of the sex worker Isabelle Rivière.

The setting?  Switzerland.  We see the signs at the station.  Nyon.  Not Lyon, Nyon.  It brings us back to that area we visited in Godard’s second film (though it was banned and thus delayed in release) Le Petit Soldat.

The famous scenes are of Baye on a bicycle–of Dutronc in a classroom before a chalkboard reading “Cain et Abel” and “Film et video.”

Yes, the sexual aspects of this film are heavy.  This perhaps proves that Godard’s return to mainstream filmmaking was not the end of his rebellious period.

Though there is a plot and there are discernible characters, it is not always clear what is going on.  What cannot be disputed is the sadness which Godard brings to light with yet another exposé of whoring.  Likewise, it might be gathered that the filmmaker is commenting on the perception of rural Switzerland as pristine and bucolic.  The perverse element of our film echoes previous erotic episodes of Pasolini and Buñuel.

Finally, one can’t help wondering whether the film in question had a formative effect on the Iranian director Kiarostami.  As in the later Taste of Cherry, Godard has one last trick up his sleeve to end out Sauve qui peut (la vie).

Indeed, Jean-Luc Godard was starting to find his magic touch again with this film…and its traces attested to a talent which was richer and better than ever before.

-PD