Take Me Somewhere Nice [2019)

Sara Luna Zorić.

The world is fucked up.

For two years we fought against medical tyranny.

We fought against killer vaccines.

And suddenly the narrative changed.

Completely.

The plandemic/scamdemic wiped out.

Like chalk off a blackboard.

This is a flawed masterpiece.

Like the dent in Sara Luna Zorić’s forehead.

This film is a masterpiece.

This film is an utter masterpiece.

And it is carried by Sara Luna Zorić’s breasts.

And legs.

And scowl.

And sadness.

And dented forehead.

This film is a masterpiece.

It ends like Pierrot le fou, in some ways.

It ends like Contempt.

It ends like Ghost World.

So can I be in love with Sara Luna Zorić now?

Yes.

Because the world is shit.

We must pick sides.

I pick Russia.

Fuck Ukraine.

IMG_7667

There is not a more propagandistic website on Earth than Drudge Report.

Screen Shot 2022-03-05 at 4.32.23 AM

Do you know what propaganda looks like?

“Putin doesn’t want his people to see images of the war.”

“Russian Air Force incapable of complex military operations (invasion failing).”

“Zelensky is the reincarnation of Rasputin.”

“Russian soldiers raping Ukrainian women.”

“Russia [who secured both Chernobyl and Zaporizhzhia] are nuclear ‘terrorists'”. [For securing the facilities. All while the facilities are undamaged and not showing a rise in radiation leakage.]

“Russia is planning public executions.”

Might as well throw in some chestnut like “Russia shish-kebabbing Ukrainian infants on bayonets”.

Do you see where this is going?

“Two more top Russian commanders kiled.”

DO YOU BELIEVE ANY OF THIS BULLSHIT???

The same media that lied to you for two years about COVID and masks and vaccines and lab leaks now wants you to TRUST THEM and #StandWithUkraine .

FUUUUUUUUUUUUUCKKKKK THAT!

What are the possibilities that Putin is beholden to Klaus Schwab?

I’d say 1%.

What is the possibility that Putin is doing the right thing.

I’d say 99%.

But the only problem is this: it completely overshadows the exceedingly-successful “freedom convoys” of truckers and also makes it impossible for any news about COVID duplicity to make it on any mainstream news.

So the timing is, one may see, unfortunate.

The whole COVID narrative was rapidly collapsing.

The virus was burning out with Omicron.

Serious, serious questions about impropriety from Moderna and Pfizer were arising.

And they CONTINUE to arise.

But you won’t hear about them.

The Ukraine war is like a giant school shooting.

This will be THE ONLY STORY in the news for months.

Perhaps years.

There are two reasons that people do things.

The “good” reason and the real reason.

Why did Putin invade Ukraine?

Because Zelensky announced 11 months ago that his intention was to retake Crimea by force.

And why else did Putin invade?

Because Zelensky announced seven months ago that Ukraine’s desire and intention was to join NATO.

Any other possible reasons?

Zbigniew Brzezinski called Ukraine the “bread basket” of the former Soviet Union.

What is the only thing which could rival oil right now in terms of astronomical inflation and actual scarcity?

Food.

Wheat.

Food security.

Putin may be securing this bread basket for Russia.

And I don’t blame him.

But let’s look at some attack scenarios.

Ukraine –> Moldova.

No NATO territory crossed.

Finland –> Sweden.

No NATO territory crossed.

Azerbaijan/Georgia (or vice versa) –> Armenia –> Iran (joins Russian Federation?) –> Iraq –> Syria (joins Russian Federation?)

No NATO territory crossed.

Monaco invasion.

And finally:

Bosnia and Herzegovina –> Serbia –> Kosovo.

I save this one for last because it is the most germane to our film.

This film’s action largely takes place in Bosnia.

Language: Bosnian.

Invasion from the sea.

Order of battle as above.

If you like Romanian New Wave, you will love Take Me Somewhere Nice.

I cannot understate the importance of this film.

Ena Sendijarević did a phenomenal job directing this.

Shades of Kiarostami.

Sonic Youth.

Tu dors Nicole.

Taste of Cherry.

This is dark humor.

But there is no punchline.

That’s how dark it is.

Dark, deadpan humor.

Dark absurdity.

Banality.

Warts and all.

Balkans.

The forgotten parts of Europe.

Where it is a curse to grow up.

I always pray for the children and the elderly of Ukraine.

And the fucking Ukrainian morons who didn’t get involved in politics and prevent corrupt Joe Biden from becoming the U.S. President.

They bear some blame.

But we do not want civilian casualties.

Putin asked the Ukrainian military to overthrow Zelensky.

They have been very foolish to not heed Putin’s suggestion.

And Mark Milley was indeed at the Ukrainian border with 15+ wide-body planes full of Javelins and Stingers.

How exceedingly-foolish.

Russia has been unequivocal: provide weapons to Ukraine which are used against our troops and we will consider this an act of war.

Milley’s panties were wedged in his vagina over the “white rage” of Jan6, but here he is personally handing out missiles to Ukraine.

Why?

We have no defense treaty with Ukraine.

Our Congress has not declared war on Russia.

WHAT THE FUCK IS GOING ON?!?

It’s the same faggots: Mark Milley, Lloyd Austin, Michael Gilday, Bishop Garrison…

The military is not coming to save us.

And Trump became a moron ever since he uttered the words “I got the Pfizer”.

Putin is the best leader in the world.

And this film is magnificent.

-PD

chthonic [2021)

So Pauly Deathwish comes out with a Sonic Youth cover.

“Schizophrenia”.

Sounds like Sade and Yoshimi-era Lips.

Like mental illness is no big deal.

Strange.

Almost bossa nova.

Like an elevator music rendition.

I dig it, though.

Bachelor pad music for hipsters.

Sounds like the chord progression is totally different.

This bloke gonna be locked up with Stravinsky in Boston.

Kinda Herbie Hancock doing Nirvana.

William Shatner.

But then that fucking piano comes in.

Like “Time” from Aladdin Sane.

Fucking hell.

Beautiful and fucked up.

Ratchet up Conlon Nancarrow.

Something Charlie Parker about this.

Impossible arpeggiator.

Talking the Kim Gordon lines.

Muted.

Lou Reed.

Leonard Cohen.

This is good shit.

Gets all ’80s.

Public Image.

Finally Thurston and Ranaldo drop in.

Shit gets real.

The harmonies on this song are insane.

Like Messiaen.

Definitely fits the scordatura.

Something Brian Wilson about this progression too.

Like fuzzed-out Smile.

My fiancee dumped me 12 days ago without even telling me why.

Four year relationship gone.

NEXT SONG!

Suzanne Ciani.

Real guitar?

Sounds a little Built to Spill.

Very circumspect.

Great harmonies again.

This dude didn’t cheat his Fux.

Creeping automation.

Ambient.

What will it do?

Some sad shit like Godspeed.

Silver Mt. Zion.

Hats get going.

In a Silent Way.

Bass drum drops in.

It is obvious Pauly loves “A New Career in a New Town”.

This vibe resurfaces in many of his songs.

But THIS song!

Very “Mayonaise” by Smashing Pumpkins.

Like Glenn Branca with a better childhood.

A long instrumental.

Slow, simmering fire.

Anger.

Sadness.

Mixed together.

Catharsis.

SLOW-LY building.

Arpeggiator about to get wild again.

Mothersbaugh.

Fuzz bass drops in.

Soft Bulletin.

Wow.

What a guitar tone!

Sounds like a fucking harmonica.

Great lo-fi…Devendra Banhart vibe.

But this is straight Velvet Underground.

BRMC.

An instrumental with ooohs and ahhhs.

Bottom drops out.

Drums chugging away like Primal Scream.

Fucking glockenspiel!

A’ight, mate.

Interesting touch, there.

Little bit Mercury Rev.

See You on the Other Side.

Chugging away.

Guitars enjoying themselves.

Ghost of Sterling Morrison.

Tune called “Catharsiss” [sic].

Must be some weird Godard reference.

And the last song of this maxi.

Similar start as track 2.

Strange flange/phase Shepard scale weirdness.

Truly chilled-out, mellow bathtub guitar.

Like Yo La Tengo.

Those fucking pricks.

Why did they block Pauly Deathwish on Twitter?

That’s uncalled for.

Bloke’s just a struggling musician.

But they are holier than thou.

Well, Pauly’s played Maxwell’s in Hoboken too.

YLT never hit a vibe this good except on “Pablo and Andrea”.

Fucking unblock Pauly Deathwish, you losers.

Twitter.

Cymbals Eat Guitars vibe.

Very chilled out.

A little “All Cats Are Grey” feel.

Good guitar noodling.

In a Verlaine/Lloyd way.

Why did my fiancee dump me?

She won’t even tell me why.

12 days ago.

The day before thanksgiving.

Drums kick in.

Good beat.

MBV would have gone for this.

Similar guitar underneath.

A little J. Mascis.

Living with my parents.

Are you in therapy?

Haha.

FUCK THAT.

Yes, I review my own albums.

Because no one else will review them.

And because I have put out 16 albums in one year.

I don’t have time for people to catch on.

I worked hard on this shit.

I’m the same age Alan Vega when he started.

About to be 45.

Old as fuck.

So, I have a lot in common with Pauly Deathwish.

I feel his pain.

His fiancee dumped him too.

12 days ago as well.

She also didn’t tell him why.

She just started ignoring him like he was some piece of shit.

So I feel totally justified in helping Pauly out with this review.

To help get his music a wider audience.

Young Heart Attack feedback.

Radiohead clank.

“Creep”.

Back to the Badalamenti synths.

She just turned off her heart.

Maybe she doesn’t realize how much she is hurting me.

But I think she’s just a vindictive bitch.

-PD

bucolic [2021)

It starts just like Charlotte Gainsbourg.

5:55.

Air.

Nigel Godrich.

But there is something different.

A shruti box?

A little distorto guitar.

Ah, yes.

Chuchotements.

Françoise Hardy.

A little Yo La Tengo.

Built to Spill.

Guitar carries it for a second.

Good lyrics.

All mood.

And then into an Amon Düül II warble.

Like Marc Bolan.

Jim Carrey.

Most annoying sound in the world.

Into Pink Floyd.

David Gilmour.

Circa The Wall.

Strange sadness.

Almost a premonition of impending doom.

Calm before the storm.

J. Spaceman telephony.

Floating with no highs and no lows.

All mids.

Strong opening track.

Very slow-moving.

Luxurious.

Immediate Delgados shift.

Paul Savage.

Pauly Deathwish.

Glasgow effect.

Great counterpoint for a pop musician.

But if you check this bloke’s CV…

You’ll know he went through Fux.

Gonna have to say Elliott Smith.

Gorky’s Zygotic Mynci.

Megan Childs violin.

Around the warm fire.

Welsh.

Expansive.

Strings open up.

Hate.

More Fridmann.

Pointillism.

Schoenberg.

Timbre.

Richard James.

GZM.

Beethoven.

Another Welshman.

John Cale.

Orchestral bass that Lou loved.

This guy’s a bastard.

Jaded.

Hurt.

Is this a breakup album?

I thought the last one was a breakup album?

Ahhh…

Into Gorwel Owen.

1968.

Floyd.

Atom.

Mad cow.

The last GZM album.

Rockfield.

Bohemian.

String band.

Money never runs out.

Cheap air organ.

Tubes?

Fan.

A very apropos album title.

Woody.

Tobacco.

Spring water Scotch.

And then the Great Reset arrives.

Like a fucking spaceship.

Dark shit.

What is this glitch business?

Thom Yorke blasts upon the scene.

Drums James Brown.

Good groove.

Savvy.

Whoa!

Marching band.

Drumline.

Snares.

Caught by Lee “Scratch”.

Guitar all mangled.

Melodies solid.

Mogwai?

Bert Jansch out of fucking nowhere.

Definitely Lips.

Pet Sounds.

Track rejected by Bond franchise.

Convincing.

Acoustic to electric.

Now it’s Serge.

Requiem.

Stereolab.

Break beat.

Absolutely boffo.

BOF.

More Brian Wilson.

Van Dyke Parks.

Phil Spector.

High Llamas.

Still a sadness.

That the old world is passing away.

FUCK!!!

Right into some Leonard Cohen shit!

Scott Walker.

How the FUCK was this recorded?

Sounds like 2″ tape.

Question:

how has this Pauly Deathwish released three albums in two months?

I can’t even keep up with this guy.

Mercury Rev.

Deserter’s Songs.

Levon Helm.

Chamberlin.

Mellotron?

Like a Christmas album.

See You on the Other Side.

David Fricke.

A review in the liner notes.

“Everlasting Arm”.

Definite vibe.

Record pillaging wizard.

Baritone.

Lots of fucking glockenspiel on this record.

But it’s nice.

Like Ennio Morricone.

Cinema Paradiso.

Mandolins.

Jackie Gleason.

Dean Martin.

Herb Alpert.

Tchaikovsky.

Again with sugar plum.

Slick!

Very light.

Chiaroscuro.

Fresher than the sweetness in water.

Hearing Dungen.

IV Thieves.

Makes sense.

“Frenchie” Smith.

Dig CV.

Light, British, airy.

Good hook.

Hooky.

Is this the single?

A little neo-psych Hendrix moment.

It’s definitely GZM.

Repetition until transcend.

Stereolab first album.

Not looped.

Manuel.

Carpenters.

Messiaen.

Definitely some breakup here.

Sonic Youth.

Sister.

Experimental.

Thurston.

Lots of drum machine.

Drum and bass.

Panning.

Definitely holds up with Radiohead.

How the fuck was this made?

PD tells us that it was all made on an iPhone with only a Telecaster.

That is some serious trickery.

Ear fooling.

This is COMPLEX music.

Mixes sound polished.

Clarity.

Some Chinese stuff.

Noise floor fucked for the first time ever.

Bacon?

Rollerskate Skinny.

It’s THAT good.

Shoulder Voices.

How was this made?

This heralds a new talent.

But this bloke is 44.

Tour sponsored by Ensure.

Not hearing a sophomore slump here.

Two albums in two months.

Review third forthcoming.

This dude is emo as fuck.

I dig it.

This guy is a mystery.

What is his deal?

This sounds more like a cohesive album that Introversion.

Introversion sounds like a debut album…in all the best ways.

Songs saved up.

A greatest hits.

Go big or go home.

This album deals much more in subtlety.

Not every song here is a home run.

This album breathes.

Ambiance.

Negative space.

More Beach Boys vibes.

70s.

Sad.

Bathrobe.

But mentally sharp.

A spark of genius.

A little bluegrass.

Bill Monroe.

Dock Boggs.

The old world is passing away.

Jonny Greenwood.

Georges Bizet.

Live forever.

Nonesuch.

Elektra.

Hoyt Ming.

Incredible String Band.

Wales, Scotland.

Back and forth.

And across to Ireland.

Oh, no.

There’s the single.

“Makes Me Wanna Stay in Bed”.

Emma Pollock.

Hate is all you need.

Coming in from the cold.

New Radicals.

Delayed bass from The Wall.

Pavement.

Spoon.

Good fucking song!

Eisteddfod.

All Is Dream.

Hard following up.

Unenviable.

Emma Pollock solo.

With Alun Woodward singing.

The Great Eastern.

New Spiritualized.

Banjo.

Let It Come Down.

Abbey Road.

Coldplay.

A Rush of Blood to the Head.

This bloke is serious as fuck.

Sad eyes.

I’m sensing a Jandek promotional strategy.

Final track Richter.

Ravel.

Emperor.

Philip Glass.

Conlon Nancarrow.

City/country dichotomy.

Urban/rural.

Urban encroaching.

Something felt.

Big symphony night.

Excitement of New York Phil.

The fucking french horns!

Automation.

A story in dynamics.

Lesson.

A folk album.

bucolic.

Pauly Deathwish.

iTunes.

Spotify.

-PD

Introversion [2021)

Teenage Fanclub.

That glow in The World’s End.

But a sadness.

THE sadness.

Emily Dickinson.

Unrequited.

Unattainable.

My Bloody Valentine.

Sloshy grunge hats.

Edge echo.

Chris Bell.

I Am the Cosmos.

Yerself Is Steam.

Slowdive.

Rutti.

Brian Eno.

The disappearance of Madeleine McCann.

Tom Petty.

You don’t know how it feels.

J. Spaceman.

Abbey Road.

Air.

George Martin.

Beck.

Badfinger suicides.

Loser.

Spiritualized.

Royal Albert.

I can only give you everything.

Rick Danko.

Loping.

The Delgados.

Dave Fridmann.

Black magic warded off by honesty.

Good timing.

Divine.

Sigur Rós.

Nigel Godrich.

Pocket symphonies.

Charlotte Gainsbourg.

Serge on the way.

Lenny Bruce, even.

Hit to Death in the Future Head.

Wait at least until track three to break it down.

Southern Harmony and Musical Companion.

Gorecki.

Arvo Pärt.

Deserter’s Songs.

Absolutely.

The confusion of ridiculous counterpoint.

Aaron Copland.

Tonal, yet dissonant.

Thick Billy Corgan.

Siamese Dream.

Definitely a sadness here.

Dawn Upshaw.

Tabula rasa.

Death.

Immense Mellotron.

Tchaikovsky.

Abrupt modulation.

Sugar plum.

Lou Reed.

Ennio Morricone.

Cinema Paradiso.

All you need is hate.

Upstate.

Chaliapin.

Basso profundo.

Jussi Björling.

Dvořák.

Memorial day.

The Inflated Tear.

Columbus, Ohio with duct tape.

Debussy.

Posing with a bass clarinet.

Primal Scream.

Get Duffy.

Rock ferry.

Smokey Robinson.

Sad clown.

Dead clown.

Kinks.

Grasshopper.

Suzanne.

Woodwind quintet.

Did I ever write one?

Yes, I did.

César Franck.

Saint-Saëns.

Organ symphony.

Or is it contrabassoon?

Nadia Boulanger can tell you.

My teacher’s teacher (twice over).

The Left Banke.

LSD.

Herb Alpert?

Hummel.

Handel.

Strawberry fields.

Stereolab.

Unequivocally.

Transient Random-Noise Bursts with Announcements.

A little lo-fi.

Vocal doubled.

Vox continental.

Great hook.

Changes that pull at your heartstrings.

More melancholy.

A fucking marimba solo?!?

Are you kidding me???

Makes sense.

Pauly Deathwish collaboration with Gordon Gano of Violent Femmes.

Lost Bayou Ramblers.

Gordon knew him as Death.

I have become death.

96 Tears.

Farfisa.

Partials.

Tim Gane tone.

Faust IV.

Doogie Howser?

Scary.

Impending.

Suspense.

Rock bass.

Ozzy.

Black Sabbath.

Amazing Grace.

Pete Townshend.

Front.

Back to J. Spaceman.

Dirty ass rock and roll with pristine horns.

Expensive drugs.

Sophisticated changes.

Éminence grise?

Is this the artist we’ve been waiting for?

Rodriguez?

R. Stevie Moore?

Wesley Willis?

Sounds like Jack Nitzsche.

Major Velvet vibes.

Suck-ceed twice.

Dylan with P-bass.

Mick Taylor.

Too much attitude.

Keith Richards.

Let it Come Down.

Shakespeare.

Fucker kicked the bucket.

First to be vaxxed.

Maricopa.

First Suicide album.

Bossa nova.

The Soft Bulletin.

Ladies and Gentlemen We Are Floating in Space.

Gimme some lovin’?

Steve Winwood?

How old?

La Monte Young.

Slow changes.

First rehearsal tapes.

Alan Vega.

Martin Rev.

New York City heroin.

Warhol Factory torn down.

Across from YMCA.

Trump dances.

Great throwaway lyrics.

George Harrison.

Sound of universe.

Spacemen 3.

Savage tone.

Revolution.

Direct into mixing console.

Fried signal.

White album.

Sonic Youth.

Derek Bailey.

Lou ecstacy.

Late Lou.

European son.

Blood pressure rising.

Brutal.

Frankie Teardrop.

I think I’m in love.

Dub bass.

Will the circle remain unbroken?

When I had dinner with Roky.

13th Floor.

First Velvets album.

Heroin.

Drug rush.

Invincible.

But you gotta buy it.

Dirty Baltimore.

Cop shoot cop.

Cheree.

On the jukebox.

Eat at the gas station.

On tour.

First time in Texas.

American Supreme.

Iceland.

13 Angels.

It’s definitely Bowie.

New career.

Same town.

New old.

Old is new again.

Mercury Rev.

Savvy programming.

Dynamics.

Break beat.

A fuck ton of flutes.

Flute loops literally.

Bowie sax.

Little fluffy clouds.

Every drop.

Gay glam chorus.

Tony Visconti.

Don’t underestimate.

Pere Ubu.

First album.

Méliès.

Boys peel out.

Boces.

Inspector Clouseau.

Phone.

French ambulance.

Pants.

Gives me pants.

Videogames.

Cutting hole.

Pink Panther.

Herbert Lom.

A Shot in the Dark.

Grandaddy.

Under the Western Freeway.

Weeping willow.

Under that.

With Sean Mackowiak.

Square waves.

WarGames.

Tympani.

Rollerskate Skinny.

Dublin.

Kevin Shields.

Comes back loud.

One song mastered soft.

Definitely Low.

The main influence of Pauly Deathwish’s debut album.

Honegger.

Pacific 231.

Chariots of fire.

Vangelis.

Such a groove.

Nancarrow.

Polyrhythm.

Immense sadness.

By the side of a freeway.

Under an underpass.

Not like RHCP.

Much darker.

Like Godspeed.

Philip Glass.

Eno.

Blackstar.

How did a Trump supporter make this album?!?

I thought all Trump supporters were redneck morons???

This is way fucking better than Ariel Pink’s dabblings.

This sounds like a debut album.

Songs saved up.

Like The Strokes.

Cinematic as fuck.

Glitch Radiohead.

Trail of Dead.

Makes sense.

Because Pauly wrote the string arrangement on IX.

Dark.

Killers.

Disco compression.

Distressed.

These lyrics!

Johnny Rotten.

Trump 2021.

Snot on the crowd.

Arcade Fire.

Makes sense.

Lost Bayou Ramblers lost sessions.

Montreal studio.

This was all made on an iPhone?!?

Guy Debord.

Aladdin Sane.

Time.

Rick Wakeman?

Olivier Messiaen.

Major 7ths in uppermost range of piano.

Almost indistinguishable from octaves.

Eerie.

Slight.

Only for the sensuous ear.

The Wall.

Waters delayed bass.

No nonsense drums.

Humble Pie reference?!?

Ha!

Great lyrics!!

Predating new Bob Dylan album.

Check SoundCloud timestamp.

This is definitely the QAnon anthem.

This hook should be on a million conspiracy videos.

“10 Days of Darkness”.

Tell ’em Large Marge sent ya!

My end is my beginning is my end.

Grinderman.

No pussy.

Early-’90s.

Nirvana’s wake.

Finnegans Wake.

Great debut album (if I do say so myself).

Usual suspects.

Spotify.

iTunes.

Pauly Deathwish.

-PD

Rambo: Last Blood [2019)

Here is the jewel in the crown of the Rambo franchise.

Truly.

This is the best Rambo film.

Just as Casino Royale (2006) is the best Bond film.

And it’s an appropriate reference…because Rambo: Last Blood is equal parts Sicario and Skyfall.

Sure, First Blood can never really be topped.

Hell, Rambo III is an amazing movie!

But to mix franchises again, Dr. No can never be topped.

And yet, every franchise has a best film.

And for Sylvester Stallone’s Rambo franchise, this is the one.

#AllEyesOnMaricopa

It’s all about the knife.

Variable.

Human trafficking.

Sex trafficking.

Slave labor.

Forced prostitution.

Kidnapping.

Stallone’s acting is amazing in this film.

He has honed his craft.

He is untouchable here.

Completely authentic.

A master of understatement.

Small movements.

Subtle intonations.

Interrogations.

Driver’s license.

I think they throw it back on him.

Such a taut film.

One detail only with slack.

A little bit of The Punisher.

All he needs is a hammer.

Green Beret.

Sadness of time invested.

Sadness of family lost.

Sadness of best friend gone.

The acting.

Scene with Paz Vega.

True, raw emotion.

Samuel Fuller would have respected.

And loved it.

Setting a trap.

Mother Of All Traps.

Decaffeinated?

Shocker.

Side of beef.

Memorial Day.

With General Flynn.

Michael Flynn.

May we prove to be worthy of their sacrifice.

My colonel may be long gone.

Reporting to flag officer.

You are watching a movie.

This film is a masterpiece.

-PD

Redoubtable [2017)

Formidable.

Inspiring fear and respect.

Impressive.

Intense.

Capable.

That Swiss-Maoist asshole is my hero.

In many ways.

But which Godard?

If I were to say “late Godard” (and that would be my natural, truthful answer), Monsieur Godard would likely point out the merits of his early films…just to annoy me.

If I spoke lovingly of Vivre sa vie, he would probably proclaim that it is shit.

Jean-Luc Godard is a very complex individual.

And I can wholeheartedly identify with that.

A walking civil war.

This film never makes reference to Cahiers du cinéma.  

It doesn’t need to.

This film covers a period of time which Wikipedia classifies as Godard’s “revolutionary period”.

When did Godard stop writing for Cahiers?

He never stopped being a critic.

We know that.

And I see his point.

This is shit.

Because we want to invent new forms.

Breathless was like his “I Wanna Hold Your Hand”.

Or his Bolero.

He couldn’t escape it.

Couldn’t lose it.

Must be nice.

But maybe not.

“Play the hits!”

Did politics ruin Jean-Luc Godard?

Sure.

But it was necessary.

It was his process of growing up.

His process of attaining wisdom.

Trial and error.

Formative years.

But not the last word.

I don’t agree with Godard’s politics.

Perhaps at some point in my youth I did.

But not very much.

Because I never really understood them.

I dabbled.

But I too am a revolutionary.

In these days.

After the 2020 election.

You may call me a reactionary.

I don’t care what you call me.

I think George Washington is cool.

I think the United States of America is worth saving.

And the American Revolution has recommenced.

Same goals as the founders had.

Love it or leave it.

Godard did not show up in 2010 to receive his honorary Academy Award.

Good for him.

Fuck Hollywood!

Give me the old stuff.

Hitchcock.

Howard Hawks.

Not this new crap.

Tripe.

Perhaps you see where me and Godard overlap?

Too rashes like a Venn diagram…with a particularly-irritated common ground.

The skin is red and peeling.

Weeping.

Scratching.

Itching.

I scratch my arms.

I’m running out of real estate on my body for these nicotine patches.

Yes.

You thought it was something more interesting?

More taboo?

No.

Where does the former President of Peru come in?

Pedro Pablo Kuczynski.

Godard’s first cousin.

I too had cousins.

Who are as far off as Peru.

But always close in my heart.

Kuczynski is 82.

Godard will be 90 in one week.

I will be 44 when the Electoral College meets.

Anna Karina died on my birthday last year.

She was 79.

But this film doesn’t deal with the wonderful Ms. Karina.

No, this film deals with another stunning beauty:  Anne Wiazemsky.

Wiazemsky died three years ago.

The same year Redoubtable came out.

In the English-speaking world, we know it (ironically) as Godard Mon Amour.

Sounds more sophisticated to have the subtitled film with a more commercial FRENCH product label.

Redoubtable is too vague.

Godard Mon Amour sells itself.

[that’s what the advertising guys must have said]

Godard and Wiazemsky were married for 12 years.

Godard and Karina married for a mere 4.

I’ve never read Mauriac.

I have nothing against Catholics.

I adore Olivier Messiaen’s music.

So it bears mentioning that one of the smartest, most unique artists in the history of the world was a French Catholic [Messiaen].

Which is to say, believing in God does not make you boring.

I believe in God.

The same God.

The Christian God.

God who gave us Jesus.

God who gave us synesthesia.

Combat didn’t like La Chinoise.

De Gaulle withdrew from NATO.

Will Trump win?

De Gaulle supported sovereignty.

The European Union is the antithesis of what de Gaulle wanted.

De Gaulle criticized America’s war in Vietnam.

But that wasn’t enough for revolutionaries like Godard.

Too lukewarm.

De Gaulle wanted Québec to be free from Canada.

If you’ve ever been to Québec, you might see why.

It is unlike the rest of Canada.

Except for New Brunswick and Nova Scotia.

But not really.

Île de Chêne?

1755-1764.

Conservatism.

De Gaulle.

Biography.

Mauriac.

Wiazemsky.

Mauriac’s granddaughter.

Starring in a Maoist film directed by Jean-Luc Godard.

La Chinoise.

And then they married.

Godard was correct.

Au Hasard Balthazar is the antithesis of the Central Intelligence Agency.

But Godard never said that.

I did.

So Anne Wiazemsky wrote a book called Un An Après which was published in 2015.

She died two years later.

The same year her book was adapted for film as Redoubtable.

She died of breast cancer.

Less than a month after Redoubtable was released in France.

This film proves that Michel Hazanavicius is a very talented filmmaker.

It proves that he knows his Godard.

But it is flawed.

Aren’t all masterpieces?

Maybe not.

Is Redoubtable a masterpiece?

In some ways, yes.

In some ways, no.

It is probably most similar to Sacha Gervasi’s Hitchcock.

Both of them are films of “exorbitant privilege”.

Which is to say, a little out of touch with their subject matter.

Was Pablo Picasso ever called an asshole?

Not if we take Jonathan Richman at his word.

Art contains deeper layers of meaning.

Usually.

Unless you’re Warhol.

In which case, the meaning MAY be found closer to the surface.

Stravinsky liked this too.

Music has no meaning.

It is just tones.

Timbres.

Rhythms.

Harmonies.

Little dots on a page.

So we are told.

By Igor.

Jean-Luc Godard and Igor Stravinsky both embraced MANY different approaches to their craft over their long careers.

Because they loved their crafts.

They were addicted.

It was a compulsion.

And, for Godard, it remains so.

Godard married the girl who rejected Robert Bresson.

Do not underestimate the thrill of this.

The thrill of it all.

Bresson was a genius too.

But she was only 18 when Bresson made his advances.

Girls want to live.

Bresson was 65.

Bold.

Numbers can lie.

Godard and Wiazemsky were only together as man and wife for three years.

Though they were married for 12.

Three years was enough, apparently.

The divorce appears to have been more a formality.

Anna.

Anne.

Anne-Marie.

I spoke to Anne-Marie on the phone once.

In exceedingly-broken French.

She was saintly in her patience.

All I wished to convey, as I called Rolle (Switzerland) on my flip phone, was that Godard was my intellectual hero.  [it is true]  And that his LATE films mattered.  That they mattered THE MOST.  That he had created beauty.  That he had plumbed the depths.  I owed it to my master to deliver this message before I (or he) died (God forbid).

I was compelled.

Jean-Luc Godard is my favorite creator this side of heaven.

Even though I don’t agree with his politics.

Bob Dylan is neck-and-neck for this honor.

Dylan is, no doubt, my favorite musician to have ever lived.

Neck-and-neck with Roland Kirk (perhaps).

My favorite jazz artist.

My favorite instrumentalist.

It is never noted that Wiazemsky was in Les Gauloises bleues.

And Godard could be an asshole.

So can I.

So can Trump.

Trump is my ideological hero.

My political hero.

I DO agree with his political philosophy.

Wholeheartedly.

And yet, my favorite film director (auteur) remains Godard.

No one is even neck-and-neck with JLG for me.

Brakhage is a distant second.

Welles is formidable.

But they do not hit the mark like Jean-Luc.

Il seme dell’uomo.

Nothing suggestive there.

Global plague.

Marco Ferreri.

Marco Margine?

Shot-reverse shot.

And then I gave Jacques Demy’s grandson piano lessons.

Or Agnès Varda’s grandson.

Same difference.

More like organ lessons.

Booker T.

You should use Belmondo again.

Funny films.

We see Coutard’s hair early.

Politics entered soon.

Le Petit soldat.

Shadow war.

The perfection of Vivre sa vie.

The jaunty, carefree, playful anarchy of Breathless.

And a sadness tied to beauty.

Politics again with Les Carabiniers.

An attempt at commercialism with Contempt.

Equivalent to Nirvana’s In Utero album.

Big-budget negation.

Nihilism.

A thorough disdain for the Hollywood system.

And the “tradition of quality” in France.

But something deeper…and more bitter.

Bande à part more like Breathless.

A little like Vivre sa vie.

Dancing.

Pinball.

Billiards.

Cafe culture.

Down and out in Paris.

Life at the margin of society.

YOUTH!

Hazanavicius first really gets going with Une Femme mariée.

Stacy Martin in the nude.

Stunning.

Cinematography.

Grabbing the bedsheets.

Clutch.

Brace brace brace.

The resemblance to Charlotte Gainsbourg is striking.

A little Alphaville.

Someone who nibbles Godard’s neck.

The Samuel Fuller scene from Pierrot le fou turned into a fistfight.

Politics.

Don’t insult me!

A bit of Macha Méril in the hair.

And a bit more of Chantal Goya.

Getting shouted down by a situationist during the May ’68 occupation of the Sorbonne.  Lumped in with Coca-Cola.

Things go dark with insults.

Swiss-Maoist jerk.

On the blink.

“Ruby’s Arms”.

It hurts.

Made in U.S.A.

Two or Three Things I Know About Her.

Urbanism.

“You ruined my shot!”

Ciné-tracts.

Eating Chinese food.

A rather unfortunate outburst directed at a war hero.

And his wife.

These are the things we do.

When we’re young.

And stupid.

And fiery.

What is striking is the humor in Redoubtable.

The broken eyeglasses.

The slipping shoes.

And their replacement.

I must give credit to Louis Garrel.

He really does convey the mania and eccentricity of Godard.

While Stacy Martin is very good here, it is a shame that Hazanavicius chose to lovingly evoke every detail of Godard’s life…except Wiazemsky’s red hair.

 

-PD

Lovelace [2013)

“I know it when I see it”

Supreme Court Justice Potter Stewart.

Obscene.

Pornography.

What is pornography?

As of two years ago, the sixth most visited site by American internet users was Pornhub.

https://www.businessinsider.com/internet-users-access-porn-more-than-twitter-wikipedia-and-netflix-2018-9

Two of the other top 15 sites for American internet users:  XNXX and XVideos.

The latter two sites are both owned by WGCZ Holding.

Pornhub is owned by MindGeek.

WGCZ Holding’s “country of origin” (?) is France, yet their headquarters is in Prague.

MindGeek’s “country of origin” [I suppose this means “where the company started”] is Canada, but its headquarters is in the country of Cyprus.

In our current coronavirus pandemic, it is not hard to find information about the world-wide INCREASE in pornographic viewing.

So it seems only fitting that we come to this wonderful film.

It is a beautiful film.

As beautiful as Amanda Seyfried.

But also a sad film.

Reminiscent at times of Requiem for a Dream.

There are moments, in both of these films, when their respective sadnesses could be viewed as “loss of the soul”.

In Requiem for a Dream, heroin steals souls.

In Lovelace, the porn industry threatens to steal Linda Lovelace’s soul.

But what we get in the movie Lovelace is something more specific.

Spousal abuse.

Domestic violence.

Human trafficking.

Sex slavery.

Spousal sexual abuse.

It’s not very titillating stuff.

It turns the stomach.

It’s like watching Ike and Tina as a fly on the wall.

I’ve seen Deep Throat.

I think it’s an excellent film.

But there is a dark underbelly.

Linda, it appears, was coerced (to put it mildly) into making the picture.

Lovelace (Seyfried) states near the end of our film that she was only in the porn industry for 17 days.

Yet she is probably the most famous porn star ever.

And not without good reason.

Whether it is accurate or not, Chuck Traynor (Linda’s husband) is portrayed as a scumbag.

A creep.

A really bad dude.

There is agenda setting in Lovelace.

We are SUPPOSED to see Traynor as bad.

Which makes me suspicious.

The subtlety of Dostoyevsky is nowhere to be found.

Linda good.  Chuck bad.

Perhaps that is the whole story, but it would be an unlikely black and white moment in a world of gray.

But let’s enter the world of color for a moment.

Amanda Seyfried is so beautiful in this film.

And it is beautifully shot by cinematographer Eric Alan Edwards.

Interestingly, we have two directors on record as having helmed Lovelace:

Rob Epstein and

Jeffrey Friedman.

Which brings us to a familiar story.

Jeffrey Epstein.

If we go further, we realize that Hugh Hefner is played in Lovelace by James Franco.

There’s something going on here.

I can’t quite put my finger on it.

Chloë Sevigny plays a brief role in Lovelace.

Sevigny performs actual oral sex on actor/director Vincent Gallo in his film The Brown Bunny.

What are we seeing here?

How long has this been going on?

It’s clear by this wonderful movie, Lovelace, that Deep Throat brought pornography into the mainstream.

But since then, it has still hidden…and peeked around corners.

It is everywhere.

It is pervasive.

Perhaps it has lost some of its taboo.

But it is still widely regulated.

And ACTUAL hardcore PORNOGRAPHY is still rarely seen in Hollywood films.

So what do we have here?

We have Amanda Seyfried looking beautiful.

We have actors reminiscing on older actors.

We have a major industry paying homage to a minor industry which is itself becoming a major industry (especially during the coronavirus pandemic).

But I’m here to talk cinema.

Lovelace is cinema.

It skirts in and out of being a masterpiece.

Some scenes are timeless.

Others are a little clumsy.

I would say it is well worth a view.

What is particularly interesting is the role that parental judgement plays in Lovelace and Requiem for a Dream.

In Requiem…, the parental element is more of a reference.

But both movies evoke sadness.

Parents want the best for their children.

Most parents probably don’t want their children to grow up to be heroin addicts or porn actors.

There is genuine heartbreak in both of these films.

Kudos to Robert Patrick for playing Linda’s father.

He verges on a caricature of Chris Cooper in American Beauty.

But Patrick is better.  Warmer.  More human.

Wes Bentley is here in Lovelace.

As he was in American Beauty.

Then there was Kevin Spacey…in American Beauty.

And flying around with Jeffrey Epstein.

And Thora Birch was in American Beauty.

And her mom was in Deep Throat.

Are you seeing a pattern here?

It is a very weird spiral.

An almost-invisible web.

What does it mean?

If Trump wins the next election, we have a chance of finding out.

We are ready to unleash hell.

 

-PD

Good Morning, Vietnam [1987)

Things are sad here.

This is a war.

Pieczenik has outlined it as both biological warfare and psychological warfare.

Morale.

How to keep morale high?

Maybe you love someone.

Or maybe you’re just attracted to them.

But as you see them leave in a hurry, you wonder whether it might be the last time.

Are we winning?

Are we gonna make it back home?

Everything is shot to shit.

Destroyed.

The DJ is lonely.

Daft.

But quite possibly a genius.

And so you can see how Robin Williams might have committed suicide.

The Great Pretender.

Tears of a Clown.

Death of a Clown.

Drugs have taken hold.

Not the gentle breasts of the opium den, but the annihilation of heroin.

Even the General smokes.

Because you don’t know how many days you have left.

One minute you’re fine.

The next you get blown up by the Vietcong.

Or the virus gets in your lungs.

In times of great distress (to paraphrase), comedians are needed.

“We are the music makers and we are the dreamers of dreams.”

Willy Wonka said that.

As he grabbed Veruca Salt’s impudent mouth.

Cash is getting low.

Grapes of Wrath.

But we hang on.

With our radios.

And our MacBooks.

To have a zany DJ.

A “maniac”!

Yes.

On a boring street.

In a tense environment.

Theater of war.

Conflict.

Bittersweet.

Perhaps with more knowledge comes more sadness.

But the heart needs to heal.

The psychic energy has been vomited up.

The emetic was psychological.

Autobiographical.

And now I feel wasted.

Limp.

Fatigued.

But hopeful.

I will press on.

I am 43 years old.

There are good things about me.

I recognize what society sees as my shortcomings.

But I am on ice.

And yet it is temporary.

I was never cut out for the military.

And neither was Adrian Cronauer.

But there are many subgroups in the military.

Many ingenious ways by which to put creative individuals to work.

If the totality of war is fully understood.

Outcast.

Freak.

Break the rules.

Skirt the rules.

Play.

Emphasis on play.

Whimsy.

Quixotic.

Cronauer is a bit like Alex Jones.

Which makes sense.

When one sees the admiration Steve Pieczenik has for Alex Jones.

Not just anyone can get in front of a mic and do that.

We get a bit of Stripes here (rehashed).

Do the right thing.

Make true friends.

Long-lasting connections.

Be a good person.

Watch how your life achieves harmony.

Censorship.

Gimme Some Truth.

The pointless pursuit of the unattainable.

Sadness in human history.

In a foreign land.

Where no shops are open.

Where there are no places to congregate.

Our job is important.

We fall into a niche which is not easily defined.

The creators.

Of content.

And happiness.

The most electric scenes here directed by Barry Levinson are those of Robin Williams at work.

Spinning records.

Dancing.

You can feel the energy.

He plays off the reactions of his crew.

And the camera captures the frenzy with a shaking electricity.

Back in the real world, we must decide whether to go on being DJs and clowns.

Many dead ends.

And a broken heart.

A heavy heart.

But God says, “I got you, dawg.”

And we take this as gospel truth.

 

-PD

Willy Wonka & the Chocolate Factory [1971)

Now we come to a crucial crossroads.

30,665 deaths so far in the United States from COVID-19.

Over a month ago, on or about March 12th, my girlfriend broke up with me.

But she didn’t do it in any sort of clearcut way.

I committed a transgression.

I wrote a very unflattering song about her.

Musically speaking, it was a very good song.

And so, out of blind pride, I posted it on my SoundCloud page.

It was written out of frustration.

I did not feel that I could discuss anything of substance with my girlfriend.

But I must qualify that statement.

I was unable to give her criticism…at all…ever.

No matter how tactfully I phrased it, she was not open to critique.

And she was always this way.

I will let the psychiatrists in the room now give their opinions as to the reason why.

[             ]

Thank you, good sirs.

You see, my girlfriend used to be my fiancée.

And before that she was my girlfriend.

My beginning is my end.

Understand that I waited 41 years to propose to a girl.

And propose I did.

And she accepted.

It was a joyful day.

I wore my best (only) suit.

I brought flowers (as I did every time I saw her).

We were happy.

I thought that giving her the reassurance of engagement would improve her attitude.

While I was never allowed to give her criticism (without a resulting emotional explosion from her), she was allowed to give me criticism.

And she did.

From the moment I met her.

Her very first words to me when we first met in person were a CORRECTION of my faux pas.

I didn’t stand when she entered the room and approached my table.

I admit that I was in error.

But I was enraptured by her beauty.

And that was the first of many, MANY criticisms I would receive from her over the ensuing four months until our engagement.

Perhaps my optimism was misguided.

After a brief “honeymoon period”, the criticisms came back.

But I must give some “back story” to fill in her character profile.

She had lost a child mid-pregnancy just two years prior.

And less than one year before meeting me, she had lost her husband in a tragic traffic collision.

I was very compassionate to the special needs of this truly unique child of God.

My fiancée.

I wanted to help.

I overlooked many of her character flaws…attributing them to her PTSD and depression.

But every anniversary was like an eruption.

The date when her child died.

The date when her child was supposed to have been born.

The date when her husband died.

Her and her late-husband’s wedding anniversary.

Amidst all this struggle, she wanted to have another child.

Her one child had been lost.

Before ever really entering the world.

I obliged.

I loved her.

I was scared.

“What kind of father material am I?,” I thought.

But I pressed on.

I always acquiesced to her demands.

We did things HER WAY.

ALWAYS.

And it was stressful.

“Let’s go to a fertility clinic.”

Yadayadayada.

All while I am working to make ends meet.

“I will soon be too old to have children.”

A frantic pace.

Interspersed with bouts of her extreme depression.

Lovely stuff, I assure you.

It drove me back to tobacco.

And it drove me nuts.

Everything snapped for me.

One day I woke up and realized I couldn’t go to work.

I was done.

And so for 9 months, I had to be reborn.

I had to detox.

To her credit, she stuck by me (more or less).

And then tragedy struck again.

Her mother died.

I frantically tried to get my old job back (though I was not quite fully healed).

And I did.

I wanted to help her save her apartment which she loved.

But she got sick.

And sicker.

And sicker.

I kept the job.

But the apartment was lost.

And now she lives with her dad.

Just as I live with my parents (a situation she gave me grief about many times).

“Many who are first shall be last, and the last shall be first.”

Jesus spoke of karma.

And I’m sure I have a lifetime of wrecked karma ready to crash down on ME at any moment.

But sometimes the irony is too dripping.

There was the hospitalization.

Six days she was there.

I came every night (five nights).

After working until midnight sometimes.

But it was not enough.

She wasn’t satisfied.

After the hospital, she got worse (in many ways).

Finally, I was asked by her family not to contact her anymore.

Not to cause her “grief”.

And like that, our engagement vanished into thin air.

For 17 days I lived in a darkness.

And so did she.

She was very sick.

I heard nothing from her.

And then she slipped back into my life.

Slowly.

But it was so confusing.

She didn’t want to be engaged anymore (she said).

She wanted to take a (big) step backwards.

I wasn’t too happy about this, but I accepted.

And so we made it several months.

A nice Valentine’s Day.

But something was worse than before.

There was absolutely no reciprocation.

If I complimented her (which I did often), she would not compliment me.

If I did something nice for her (which I often did), it was very soon forgotten (and certainly not answered with a loving action from her).

I wanted to say something, but I couldn’t.

She was still too sick, she said.

And so things dragged on thusly.

And then I wrote that song which changed my life.

That song of frustration.

I am not proud of it.

Though it be musically a good composition, it caused her sadness.

When she happened to find it.

You see, I would write songs for this girl of mine.

I recorded 183 songs for her over the course of two years.

Some covers.

Some original instrumentals.

Some original songs.

Many of these gifts barely got a word of thanks in return.

Same for the thousands of dollars of flowers I bought for her over the same time period.

There’s even one song that she appears to have never bothered even listening to.

And it’s a good one.

After six months, it shows that it has zero listens.

Well, no one is perfect.

There were probably (almost certainly) other songs she never heard.

It just wasn’t what she needed at the time.

I can attest.

She was very, very sick.

183 songs.

Some she never got around to listening to.

In my frustration, I sang to the world.

I wrote…and put it in a bottle.

Like putting a leaf in a flowing stream.

To get rid of that care.

But of course, she found that particular leaf.

She interrogated me about it.

“No,” I said (trying to be tactful), “it’s not about you.”

But my conscience got to me.

And so the next day I came clean.

Yes, the song is about you.

I apologized sincerely.

I made no excuses whatsoever.

I didn’t plead my case.

She didn’t ask (never has) how I came to a place of such frustration.

But that was the last I heard from her.

For 10 days.

The first 10 days of this coronavirus pandemic in the United States.

I went through it alone.

I sent texts.

I sent emails.

All went unanswered for 10 days.

And when we came out, she was less than my girlfriend.

I told her I loved her…and got no response.

That was five weeks ago.

And so we have been winding things down.

We still talk.

But she is incapable of discussing our former relationship.

It stresses her out to much.

And she never even bothered breaking up with me.

So we are “just friends” now.

And I have tried to be there for her during this coronavirus crisis.

Which brings us to Willy Wonka.

This was one of the most formative movies of my life.

Perhaps THE most formative.

In elementary school, when the teachers were too lazy to teach, they’d put this film on.

And I would sit enraptured.

No matter how many times they showed it.

And they showed it to us MANY times.

It must have been one of the few VHS tapes which was approved for them to screen.

So what does this all mean?

Coronavirus, a wrecked romantic relationship, Willy Wonka…

Here is a partial answer:

a film reviewer should be cognizant of what is going on in their life and how that affects their “reading” of a certain film.

I rewatched this film tonight (for the umpteenth time) and saw stuff I had never seen before.

New details noticed.

But I was watching it with the sadness of romantic loss.

And with the stress of total societal isolation.

I have worked on the front lines of the service industry all throughout this crisis.

Precisely for the mental health BENEFIT it gave me.

Exercise.

Ersatz social interaction (with coworkers and customers).

But now, my store has been hit with a close encounter.

And so our hours have been shaved.

No more midnight.

Midnight shifted to 10 p.m.

And now, abruptly, 10 p.m has shifted to 2 p.m.

Can you imagine a coffee shop closing at 2 p.m.?

Well, that’s us right now.

And I am fairly certain I have delayed sleep phase disorder.

My “availability” starts at 4 p.m. each day.

So I have AT LEAST the next eight days off.

And I have had the past two off as well.

But five of my coworkers are home self-isolating…because they had potential second-hand exposure to COVID-19.

I miss them.  I’m making them music playlists.  I’m buying them groceries.  I’m sending them texts and emojis.

What a horrible situation to be in.

I myself was homebound today because of my asthma.

And that is our world.

Every sniffle.

Every sneeze.

Every sore throat.

As the mold floats on the breeze.

And the oaks bloom.

As particle pollution undulates.

Along with ozone.

Is it ‘rona?

If I need to take a Tylenol, is it ‘rona?

If I were to get coronavirus, it would be very bad indeed.

I live with my two elderly parents.

I have asthma.

I have high blood pressure.

And I have a whole bevy of mental problems.

But I chose to work.

I ran towards the sound of gunfire.

Whether it was stupid or brave, that is for others to decide.

And so now, here I sit with this masterpiece:

Willy Wonka & the Chocolate Factory.

Mel Stuart may be an auteur whose time is yet to come.

But the secret weapon is Walter Scharf.

Did he write the music?

No.

But he orchestrated it.

And such gossamer orchestration it is!

We start poor.

Shaggy dog.

Charlie Bucket.

A peasant’s name if there ever was one.

Crazy man plants the seeds of conspiracy.

About the factory.

*Charlie lives with his parents (as most young boys do).

But he also lives with all four of his grandparents.

And his father is deceased.

Willy Wonka is certainly a film about espionage.

Economic espionage.

Business espionage.

With overtones of state espionage.

International espionage.

Remnants of war.  England.  Germany.

Wonka’s factory is like Area 51.

But this film is unique in that it delineates a search.

A search by a man.

Or an organization.

Or agency.

Or entity.

A search for that one special person.

[decades before The Matrix]

God tested Abraham.

“…kill me a son/Abe said, ‘Man, you must be puttin’ me on!’/

God said, ‘No.’/Abe said, ‘What?’/God said, ‘You can do what you want Abe, but…uh/

next time you see me comin’ you better run.’/Abe said, ‘Where you want this killin’ done?’/  God said, ‘Out on Highway 61.'”

God, of course, STOPPED Abraham from killing his son.

But only AFTER Abraham had committed fully…knife in hand…to slit his son’s throat.

Great reading, that.

The Bible.

And this is a very biblical tale, Willy Wonka.

The eccentric Jesus.

God the Father…in the Heavens…with his Inventing Room.

The chocolate factory is heaven.

And only those who become like a child can enter…and stay.

Only those who are born again (made pure like a child) can inherit this chocolate factory.

God wants to pass on his greatest creation.

Heaven.

And God tests us.

But there is grace.

Charlie and Grandpa Joe mess up.

They drink the fizzy lifting drink.

They hang suspended like Icarus and Daedalus.

Their wings don’t melt.

They have the opposite problem.

They are on a collision course with the edge of ether.

Until they learn how to burp.

Stephen Dedalus…

Cicada 3301.

GCHQ recruiting.

Puzzles.

QAnon.

NSA.

Kryptos.

Who can solve the final part?

Right there at Langley.

Some might say I was engaged to Veruca Salt.

Wonka running counterespionage.

Counterintelligence.

Slugworth in Switzerland.

For Your Eyes Only.

Octagonal.

And hope.

Get out of bed.

Go back to work.

Warning strictly against “frippery”.

Again with Roger Moore in A View to a Kill.

Sideways fan.

Spoiled brat.

Always got what she wanted.

Cautionary tale of poor parenting.

God is merciful.

All is dream.

But God cannot be mocked.

His word is eternal.

Jesus was the Word made flesh.

Superseding the Ten Commandments.

There is freedom in Christ, but we are not to go on sinning.

We will mess up.

But it is by grace that we are saved.

So that no man may boast.

It is not by good works.

But the heart must be contrite.

And, above all, pure.

Made pure by the Holy Spirit.

When one invites God into ones life.

A little bit of divinity in each of us.

And quite a bit of divinity in this film.

By this logic, Satan (created by God) may be a Slugworth to be unmasked in the end times.

Lucifer…with that scar on his face.

The mark of Cain.

The murderer.

Finally, this is Gene Wilder’s best work.

He channels something here which is otherworldly.

Wilder became immortal with this film.

And he lives on.

As long as there is goodness in this world, we have a chance.

I want to thank my friend, the great writer Chris Lindsay, for encouraging me to write onwards during these dark times.

Thank you, Chris.

 

-PD

Djam [2017)

What a deeply-moving film.

I would like to talk about Tony Gatlif, the director.

You might know him from Latcho Drom.

Or from the Asia Argento film Transylvania.

Let me assure you of one thing.

Djam (known as Journey from Greece in English) is MUCH BETTER than Transylvania.

Which brings me to the crux.

The star, Daphné Patakia (truly a star!), is MUCH MORE TALENTED AND BEAUTIFUL than Asia Argento.

Mark my words.

This young lady is amazing!!!

Which is not to denigrate Asia Argento.

She’s a very good looking lady.

Her film Incompresa (which she directed) is amazing.

But Daphné Patakia is in another league altogether.

Simon Abkarian does a wonderful job here.

Maryne Cayon is indispensable.

But Daphné Patakia sends this film into orbit!

How can I describe it?

Rebetika.  Rebetiko.

Like “the blues”.

Daphné’s eyes.

Very much like:

djam1

Do you remember?

1984?

National Geographic?

Which brings us back to Greek-French.

Adèle Exarchopoulos.

Another fantastic actress.

Yes, Djam approaches the artistry of La Vie d’Adèle–Chapitres 1 & 2, but Djam is more special somehow to me.

Sure, there’s some nudity, but not much.

And we feel that this film might go the lesbian route, but instead it goes Lesbos.

It’s hard for me to overstate how important Daphné Patakia is to this film…and to film in general.

Very few actresses have done what she’s done.

It is, in truth, BEYOND our favorites in Hollywood:

-Thora Birch

-Saoirse Ronan

-Kat Dennings

Because it is done from left field.

And most related to these brilliant actresses:

-Anamaria Marinca

-Dorotheea Petre

and

-Julianne Côté

And less-so to:

-Adèle Exarchopoulos

-Pauline Étienne

One might even make a comparison to Moran Rosenblatt.

But I think the comparisons to Marinca and Petre are most apt.

Patakia is plumbing some serious depths in Djam.

And doing it with the joie de vivre of Anna Karina in Vivre sa vie.

One senses even a bit of Audrey Hepburn here.

That Funny Face bohemian dance routine.

But mixed with Anna Karina’s famous jukebox strut:

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New era.

Film clips.

Keep up.

Text can be extracted (if there’s anything worthwhile).

But images moving make it flow.

People want everything all at once.

But sadness can be healed.

When we care for the crazy.

God does not ignore our efforts.

And the world knows and recognizes mental illness.

Reach out a hand and console.

An essential film.

 

-PD