Domestic, without bliss : Dialogues with despair and distraction

This is a review of The Long Way Home (2014) (for Cambridge Film Festival 2015)

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
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2 September

This is a pre-Festival review of El camí més llarg per tornar a casa (The Long Way Home) (2014) (for Cambridge Film Festival 2015)

For those who found Locke (2013) relatively pretentious (and unnecessarily grounded in and by its central conceit), El camí més llarg per tornar a casa (The Long Way Home) (2014) may cure (or else kill) : hardly limiting himself to the niceties of the grades of concrete, Tom Hardy’s paper-thin character on a mission as Locke can, as the embodiment of empirical thinking at the wheel, grate through his seemingly having an explanatory plaster for everything (if maybe not for those who esteem the contrary presentation of a grand, value-based gesture that uproots everything).

Not in any On The Road (2012) sense, but, with The Long Way Home (2014) at @camfilmfest, What matters is not arriving, but the travelling

— THE AGENT APSLEY (@THEAGENTAPSLEY) September 3, 2015

Important referents here are as follows :

* The Out of Towners (1970) – not as a tour de force for Jack Lemmon (though the film is one), or for its comedy, but for its relentless reliance on What can go wrong, going wrong [it almost has the existential joy, in pessimism, of Beckettt’s two mimes called Act Without Words [I or II] (Acte sans paroles [I ou II])]

* From there, a little look back to George Bailey, in It’s a Wonderful Life (1946)

* Sprinkle some Paul Hackett (Griffin Dunne) in After Hours (1985), and some significant allusions to Paddy Considine’s re-working of Peter Mullan, in Ken Loach / Paul Laverty’s My Name is Joe (1998) in Tyrannosaur (2011) [but one need not do more than acknowledge what Miranda July was poorly trying to do with Paw-Paw [~3,800 page-views for this posting] in The Future (2011)…]


* Principally, however, what Borja Espinosa gives us (leading in the role of Joel Reguera) is a more nuanced take on what rock bottom is like than even Marion Cotillard’s very impressive performance in Two Days, One Night (Deux Jours, Une Nuit) (2014)


Unlike the Dardennes brothers’ film, this is one where little is explained (in Two Days, One Night, it is essential to the film that we understand what is facing Cotillard’s Sandra : as, also, witness how her character is urged Tu existes, Sandra !), and as if we are invisibly there, in the room, as Joel wakes, is in the car (whose music is our soundtrack), or in various locations such as a café, its toilet, or bits of waste or track-side land – right from the opening, we are used to the camera tunnelling into the shot, and to blurrings [form as shape], or blackenings [darkness visible], which distort our perception, and then are reversed, or enhanced [light as pattern] :

In Locke, it is as if it is de rigueur for us to have the perception of everything as contingent packets of sense-data, thrust home by the pixellated, out-of-focus lamps, and the reflections, that we do not avoid seeing : is the distinction that El camí més llarg per tornar a casa (The Long Way Home) wants us to look at them, or into Joel’s beard (at fifty-seven minutes in), and just be with, and in, the camera-image ?


Another type of connection is, then, with the domesticity of a reflective, observational film such as Mohammad-Ali Talebi’s Bag of Rice (Kiseye Berendj) (1998) (or The White Balloon (Badkonake sefid) (1995), both promoted by Mark Cousins’ (@markcousinsfilm’s) A Story of Children and Film (2013)), except that, again, the nature of the film needs us to grasp ‘the story’ (even if those of Talebi's films are at a level that, to some, might appear artless, or inconsequential).

Unlike C. S. Lewis’ A Grief Observed (which, via Nigel Hawthorne on stage, became Anthony Hopkins – and Debora Winger – in Shadowlands (1993)), or our observing Cotillard’s Sandra, that observation is neither central to El camí, nor peripheral to it, it just is : if we were at an uncomfortable remove from Frances Ha, we would probably have related better to Blue Jasmine (2013) [the link is to 'Who is Woody Allen in Blue Jasmine ?' (with >7,200 page-views)], but El camí is located further still in a direction beyond Noah Baumbach and Greta Gerwig’s Frances, where we just need to be with Joel (Borja Espinosa), not pathologize his experience (or him) :

[Mainstream] cinema can, too often, want to sensationalize such experiences (as in the image above), but director Sergi Pérez* just wants us to be with Joel where he is**, and not judge him in relation to seeing him with Elvis*** (or ??)…


End-notes

* As with Tots els camins de Déu (All The Ways of God) (2014), also in this year's Cambridge Film Festival’s Camera Catalonia.

** Those in the film seem not to be able to do so (or, maybe, do not wish to, or do not know how to), but typically make / repeat self-interested demands to know more, ‘out of concern’, which we can recognize as the express message behind saying, not without accusation, that it has been Four days without knowing anything about you.

*** The name also reminds us of Aureli in La Nit Que Va Morir L’Elvis (The Night Elvis Died) (2010) ?



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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

The skeletal aspect of cinema

This is a pre-Festival review of Tots els camins de Déu (2014)

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

23 August

This is a pre-Festival review of Tots els camins de Déu (All The Ways of God) (2014) (for Cambridge Film Festival 2015)

A long-form look at Tots els camins de Déu (All The Ways of God) (2014) is headed This is an hard saying ; who can hear it ? (quoting John’s gospel, just after the crowd has been told that it has to eat Jesus’ flesh and drink his blood to have eternal life (King James’ Version)).

That review (which is perhaps more of an essay) is available here, following the screening (and Q&A with director (and co-writer) Gemma Ferraté) on Tuesday 8 September at 8.00 p.m., and begins by quoting Dante’s Inferno (in Longfellow’s translation (as below)) :

‘Now go, for one sole will is in us both,
Thou Leader, and thou Lord, and Master, thou.’
Thus said I to him ; and, when he had moved,

I entered on the deep and savage way.

Inferno, Canto II, 139–142

A Catalan film for @camfilmfest will be amazing full size : its atmosphere, tension, uncertainty, and reminders of Beckettt, Dante, Borges !

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 16, 2015

The Tweet tells truth, whereas – with a desire not to say too much, or just (as some reviewers like to do) tell the story – describing this film as Two men in a forest does not sound as though it might have significant filmic possibilities.

Yet one could say that about the essential premise of other circumscribed films such as Dial M for Murder (1954) (with Hitchcock deliberately being stagey, in the same year as Rear Window (1954)), 12 Angry Men (1957), or Glengarry Glen Ross (1992), but give the wrong impression. Also, at this time, (essentially) two-handed plays such as En attendant Godot and The Dumb Waiter were already being written by, respectively, Beckettt and Pinter*, concentrating on the skeletal aspect of drama / theatre.

For now, though, the best thing to say about Tots els camins de Déu probably lies somewhere between all the literary resonances that it brings out, such as with Dante, and these plays and films that have narrowed down to a few figures. That comes down to the notion of the dramatic and what that says to us about cinematic treatments of it, where Sokurov, before the masses employed in Russian Ark (2002), had made Father and Son (2003), and Mother and Son (1997), in the latter of which it is just those two named figures.

Both of those films by Sokurov look at a reality that is not so much distorted as curved, and where he meditates on the relationship between the two sons and the parent, through memory, and physical proximity – and sleep, and dream. In Tots els camins de Déu, it is what happens between men who seem to see each other for the first time when one’s shadow falls on the face of the other, just as he is sleeping on the ground, following emotional rupture and turmoil.

We are then with them in various situations, where patience, trust and nerve are tested, and we are invited to bear with them, not on the journey that they make, as such, within the forest, but in their exploration of each other’s psyches. It is resolutely not a film that is filled with action, and it simply does not engage with the stock cinematic cliché of establishing character-types, presenting a crisis or challenge, and seeing how the character-types deal with / overcome it.

Its business is with how time allows a burden to be shared between them – the cause of all that rupture and turmoil at the start of the film. But it really does do so in a way that is informed by :

* The opening of Dante’s Inferno, when he meets Virgil, also in a forest, and learns that his beloved, deceased Beatrice (already waiting to meet him in Paradiso) wants him to grasp God’s purposes, now that he is Nel mezzo del cammin di nostra vita (Midway upon the journey of our life)

* Who one of these figures is (written about endlessly, but also by Dante and Borges), and what troubles him so

* How the burden of it – whose tangible reminder is so closely related to what he did, because it is partly what he did it for – alters him, so that his mood or attitude can just switch for the worse

* So there is humour, and also fun, and yet we have seen it snatched away by feelings that are heavy and painful


Ultimately, in this exact situation, we are thrown back on words such as these :

Come unto me, all ye that labour and are heavy laden, and I will give you rest.

Take my yoke upon you, and learn of me ; for I am meek and lowly in heart : and ye shall find rest unto your souls.

For my yoke is easy, and my burden is light.

Matthew 11 : 28-30 (King James’ Version)


End-notes

* Earlier, Strindberg and Ibsen (and others after them) could not only write works on an epic scale, and with huge casts (e.g. Strindberg’s multi-part To Damascus and Ibsen’s Peer Gynt), but also focus on a few actors : respectively, Miss Julie and A Master Builder (in the latter of which, it is, out of the cast of seven, with Solness and Hilda Wangel that the play busies itself).

** Before them, possibly most remarkably, Georg Büchner, a scientist with a fascination for Jakob Lenz (he worked on a novella called Lenz), a sort of precursor – in Büchner’s extremely short life – to Woyzeck.

Sixty years before Chekhov (who, as a medic, was also to be an observer of life), his Danton (in Dantons Tod (Danton’s Death)) already seemed alone in a crowd – and so, despite disguising it and / or submitting to a sense of duty, do many of Chekhov’s stage characters. (Can one think of a major play of his without a gun-shot ?) It is that lostness, and the sense of being surrounded by silence, uncertainty, despair and death, that comes through into dramatists such as Beckettt and Pinter – the pauses, hesitations, and the heightened awareness that language can be as a sort of reification to fill or deny the void (L'Être et le Néant ?) – and which we experience here in Tots els camins de Déu.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

This is an hard saying; who can hear it ?¹

This is a pre-Festival review of Tots els camins de Déu (All The Ways of God) (2014)

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

16 August

This is the original pre-Festival review [ahead of what was published] of Tots els camins de Déu (All The Ways of God) (2014) (for Cambridge Film Festival 2015)

‘Now go, for one sole will is in us both,
Thou Leader, and thou Lord, and Master, thou.’
Thus said I to him ; and, when he had moved,

I entered on the deep and savage way.

Inferno², Canto II, 139–142

Two men in a forest does not sound as though it has significant filmic possibilities. [Sadly, in the case of Prince Avalanche (2013), one would be right (because one yearned for what makes The Odd Couple (1968) alive).]

A Catalan film for @camfilmfest will be amazing full size : its atmosphere, tension, uncertainty, and reminders of Beckettt, Dante, Borges !

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 16, 2015

In the case of Tots els camins de Déu (All The Ways of God) (2014), though, one’s cultural resonance is not even with that play about which, in 1955, Philip Hope-Wallace thought himself drily observing that if about anything, [it] is ostensibly about two tramps who spend the two acts, two evenings long, under a tree on a bit of waste ground ‘waiting for Godot’. What it evokes more is Molloy, the two-character first part of the trilogy of Samuel Beckettt’s great mature novels (to which we return below), regarding which Beckettt described En attendant Godot (Waiting for Godot) : written as a relaxation from the rather awful³ prose I was writing at the time :

In our being with Judes (Marc García Coté) and Oriol Pla (Iu), we know, if not from the opening scene of the film (Jan Cornet’s sole appearance, with Coté), then from the quotation from The Bible that directly follows (Matthew 27 : 3–5), that, taking us from The Mount of Olives onwards, there is a scriptural grounding for what we see : as one will, it is exegesis, re-imagining, or re-interpretation of Judas, betraying Christ with a kiss for money, and how those pieces of silver weigh on him (in English, we refer to 'pieces of silver', because of the King James’ Version). (At times, they fascinate, horrify or even seem to reassure Judes (though he wanted to repel them), yet he also fears them being taken, so they give him care about losing them.) And, with cultures where there is a Spanish-speaking tradition, even if the language of the film is firmly Catalan, one is never far from Jorge Luis Borges – thinking, most immediately, of his daring short-story-cum-scholarly-paper from 1944, ‘Tres versiones de Judas’ (‘Three versions of Judas’) [the link here is to the Wikipedia® web-page for the story, and here to an English translation].

Not uniquely for him, Borges mixes fact and fabrication, bogusly ascribing quotations at the same time as presenting real ones (many a short story of his is headed with quoted words, such as ‘El milago secreto’ (‘The Secret Miracle’), citing The Koran). Yet there is also the level on which, not just through the transmission of thought down the centuries, different times merge and become confused in his canon : in ‘El milago secreto’, the miracle is the relativity of Time, where the writer Jaromir Hladík’s divine petition is answered by its stopping for one group of people, but not for him). So it is that, towards the end of the third of the learned footnotes to ‘Tres versiones de Judas’ (Borges, in – and in spite of – his academic poise and style, is always prompting us to consider How much is jest, and how much am I in earnest ?), we read the passage that probably connects Borges most to Tots els camins de Déu⁴ :

He [Erik Erfjord] writes that the crucifying of God has not ceased, for anything which has happened once in time is repeated ceaselessly through all eternity. Judas, now, continues to receive the pieces of silver ; he continues to hurl the pieces of silver in the temple ; he continues to knot the hangman's noose on the field of blood.


And the foot-note ends with a comment in parentheses : (Erfjord, to justify this affirmation, invokes the last chapter of the first volume of the Vindication of Eternity, by Jaromir Hladík.) Yes, Borges (through this [real or imagined] Erik Erfjord, is relying on the same Jaromir Hladík who, in ‘El milago secreto’, prayed for a miracle concerning Time, and was granted one…



Self-referentially, whether this work by Borges was per se known to, and prompted, director Gemma Ferraté and her co-writer Eduard Sola then becomes immaterial, because the patterns of ideas themselves, as of events, will be subject to circularity, repetitiousness, even recursivity… Regarding the place that their film partly inhabits, Judas, as Borges’ quoted words have it, ceaselessly through all eternity […] continues to hurl the pieces of silver in the temple. And, in the same way, the spirit of Dante is present here.

For, in his great Divina Commedìa, right at the start of Inferno (and within just the first of a further thirty-three Canti) his personified self, too, finds himself within a forest dark, / For the straightforward pathway had been lost, meets Virgil, his guide through Inferno and Purgatorio (as far as Canto XXX), and learns that he will be enlightened as to God’s perspective on his and other human lives. In the title of the work, the word ‘Commedìa’ is better understood as a cosmological, rather than a comedic, view [even if Dante does, of course, also delight in settling scores with political and other opponents in what he presents (e.g. in Canto XXXIII)] :

‘Through me the way is to the city dolent ;
Through me the way is to eternal dole ;
Through me the way among the people lost.’

Inferno², Canto III, 1–3

Those who know their Dante will know that the most lost of all – not exactly an Orwellian All animals are equal, but some animals are more equal than others – are beheld in Canto XXXIV, in the three mouths of Cocytus. They are those who betrayed : Brutus, Cassius, and our own Judas Iscariot, so, in recursive terms, the film feels Dante-esque, and, by invoking Dante, leads us back to Judas ?

But also back to Beckettt, a talented linguist³, who relished Dante, and some of whose texts from the 1950s to the 1970s deliberately conjure up hellish place (or spaces, one even being called The Lost Ones¹ (Le Dépeupleur )), and whose two narrators, in his novel Molloy, are inextricably linked with each other [and with those of Malone Dies (Malone meurt) and The Unnamable (L’Innomable)] : Moran is sent to bring Molloy back, and Molloy has an other-worldly awareness that help is on its way. Both travel on foot (or end up travelling thus – both had bicycles at one point), if not, becoming more and more decrepit, crawling. Both have sinister encounters with others, en route, that feel close to the sometimes taut interplay between Judes and Iu, but there is also the more explicit co-dependency of Vladimir (Didi) and Estragon (Gogo) in Godot, although they do struggle with a desire for freedom / separation [as foreshadowed in Mercier et Camier].


In these terms, then, several dimensions away from the connotations of Prince Avalanche, and rather, in its cinematic resemblance, close both to the emotional darkness of the work of another Catalan director, Hammudi Al-Rahmoun Font, with Otel.lo (Othello) (2012), and to its intriguing approach to an established text. [Before Preti Taneja’s (@PretiTaneja’s) article appreciative of the film appeared in The Guardian (@guardian), Al-Rahmoun Font (@Al_RahmounFont) was interviewed at last year’s Cambridge Film Festival (@camfilmfest / #CamFF) (before, of course, having a punting lesson)].

Despite the physicality of Judes’ journeying⁵, this film is less like others such as How I Live Now (2013) and Lore (2012), though, where what we see Eddie and Lore, respectively, endure is part of what changes who they are when they get ‘home’ (but at least as big a part is reacting to what war does to them). Nor is it the Everyman-type temporal and scenic progress of Mick Travis in Lindsay Anderson’s O Lucky Man ! (1973), but rather a voyage in the inner territory of the mind :

Nearly at the very end of the film, there is an exchange of dialogue, which the film, to begin with, makes us keep out of except to see it develop through gesture and body language. Then, when we are able to hear their utterances, we find that Judes and Iu have touched now on eschatological topics that have been present to our mind all along, and which a closing image, quoting Michelangelo, makes clear : Dante, Borges, Beckettt are all part of it, but there is also confirmation of how relevant, in some of the locations and the overall feel, all along has been the remarkable piece of film-making that is Hors Satan (2011).

‘Thee it behoves to take another road,’
Responded he, when he beheld me weeping,
‘If, from this savage place, thou wouldst escape […]’

Inferno**, Canto I, 91–93


The music of the film has been sparing and subtle [from two instrumentalists (Jens Neumaier / Maik Alemany) on guitars and keyboards (piano / synthesizers), and Sandrine Robillard on cello], but it is used to prevent us being in the early part of that conversation between Judes and Iu. At the start of the film, it only emerges, as snatches of sound that we catch at whether we have heard, and marking the first real point of contact between the men.

Previously, we have seen Judes, hesitating as to whether someone is really there behind him, and with long shots that linger until, from his point of view, maybe we see movement. At two other significant moments, which signal the place where a change of heart / mind then occurs, the kinds of motion are mirrored differently, first with a degree of energy by guitar and synthesizer, and, then with tentative elegiacism of keyboard arpeggios, against which the cello weaves its line. All in keeping with a film that is not so much meditative as contemplative – a reflection, as the literary parallels are, on life and its mysteries, and an encouragement to give due heed to the latter in evaluating the former.


Let the wicked forsake his way, and the unrighteous man his thoughts: and let him return unto the Lord, and he will have mercy upon him ; and to our God, for he will abundantly pardon.

For my thoughts are not your thoughts, neither are your ways my ways, saith the Lord

Isaiah 55 : 7–8 (King James' Version)



End-notes

¹ John 6 : 60, in the King James’ Version, which both ends the section that began with 6 : 25 (at 6 : 44, No man can come to me, except the Father which hath sent me draw him: and I will raise him up at the last day), and links with 6 : 61–71, which concludes with a parenthetical mention of ‘Judas Iscariot, the son of Simon’.

² The first part of Dante Alighieri’s Divina Commedìa, in Longfellow’s translation.

³ Not least since Beckettt begrudged deriving recognition for his works from Godot, it is unlikely that he meant ‘awful’ to mean bad in the sense of ‘of poor quality’ (and maybe actually in that of full of awe) ? He may well have written these words originally in French, his preferred language (although he was Anglo-Irish), since he had a master’s degree in foreign languages from Trinity College, Dublin, where he had studied Dante. (In Beckettt’s early prose work More Pricks Than Kicks, one of the stories / sections is even called ‘Dante and the Lobster’.)

⁴ Though there is also the poem ‘Matthew XXVII : 9’.

⁵ In the passages of rough-going, we are right there (through use of a close microphone and hand-holding the camera without a stabilizer) with Marc García Coté’s breathing, and the ups, downs and stumbles of the way, whereas we are more steady, and at a distance, for some shots when he seeks repose.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)