Monday, April 18, 2011

Poetry Monday


Woman Police Officer in Elevator

by James Lasdun


Not that I’d ever noticed
Either a taste or a distaste
For that supposedly arousing
Rebus of pain and desire, the uniformed woman,
Whether as Dietrich in epaulettes,
Or armored like Penthesileia, or in thigh boots
And cocked hat, straddling the Atlantic,
Fishing for campesinos
With live torpedoes,

But when the rattling, john-sized
Tenement elevator paused
Mid-fall to blink a female housing cop
Into its humid cranium, I felt her presence
Spooling through me like a Mobius strip,
Splicing her spilling curls, nightstick, the gun at her hip,
Chrome shield, the breast it emblazoned,
Seamlessly into the same
Restless continuum …

I caught – was it possible? –
The scent of some sweet-tinctured oil;
Troubling, alluring; and looked away
The glanced back obliquely: had I imagined it,
The sudden scimitar-glint of danger,
Or had some forbidden impulse – longing, lust, anger –
Tumid inside me like a hidden
Semiautomatic
In a schoolkid’s lunch  pack,

Triggered the blue-lashed, tiny
Metal detector of her eye?
I backed against my corner, watching
The numerals slowly swallow their green gulp of light;
Interminable! And as we fell,
Our little locked cube of stale air seemed to bristle
With a strange menace … I thought of harms;
My own and not my own,
Contemplated or done;

Betrayals, infidelities,
Coercions, seductions, lies,
Ready to confess them all, and more,
As if in her firm indifference she’d regressed me
Inward down some atavistic line
To the original essence, the masculine
Criminal salt; a frieze of victims
Paneled in my own skull
Like a lit cathedral hell …

A shudder, and then stillness;
Avoidance of each other’s eyes
As in some bedroom fiasco’s wake,
The air too brimful with disclosure, till the door
Opened and we parted, the clamped rift
Between us widening like a continental drift
Of the sexes; she to the butcher, the breaker,
The ripper, the rapist,
I to my therapist.

Sunday, April 17, 2011

Cracks

Set at an all-girls boarding school in some isolated part of England during the 1930s, Cracks is a composite of all sorts of movies I love: 1930s English boarding school dramas, psychological thrillers, a metaphysical mystery (maybe, I don't know). It's got elements from Lord of the Flies, Black Narcissus, The Prime of Miss Jean Brodie, and Basic Instinct. Unfortunately, it's the type of  movie that falls a little too squarely between a sensible, explain-the-psychosis, thriller and something a little more out there. It left me with too many unanswered questions, and not in the good way, a la David Lynch. And Eva Green brought a little too much crazy to her role as a free-wheeling teacher, plus diving coach, who first mesmerizes her students, then ... well, you'll just have to watch it. It really wasn't terrible, just that it was both too silly and not silly enough.

Thursday, April 14, 2011

Notorious: the Life of Ingrid Bergman

I never knew the extent of the public beating that Ingrid Bergman took for her decision to leave an unhappy marriage to be with director Roberto Rosselini. She was practically barred from returning to the United States. It was so bad that when she finally returned to New York in the 1970s to do theater work, the United States actually offered an official apology. Anyway, this is another solid, if too-fawning, work of biography from Donald Spoto. Spoto, who knew Bergman, was enamored, and who can exactly blame him. My favorite sections, of course, were the 1940s, when she did her work in Hollywood, including one of the greatest Hollywood studio films of all time, Notorious.

Wednesday, April 13, 2011

Cold Weather

A mumblecore mystery film that feels exactly the way you'd expect a mumblecore mystery to feel. Nothing happens for about thirty minutes, except that low-ambition layabout (Cris Lankenau) has returned to his native city of Portland to live with his sister (Trieste Kelly Dunn) and work in an ice-factory. Then the brother's ex-girlfriend disappears and he decides to find her. Hence the mystery. Along the way there are numerous beautiful shots of Portland, almost always blanketed by dark clouds. Toward the end of the film there is a sequence that is so superbly done that it makes you wish that the movie didn't try so hard to be pokey and ambiguous. I wasn't looking for Michael Bay but a little bit of W. S. Van Dyke wouldn't have hurt.

Trieste Kelly Dunn was particularly good as the sister and I wouldn't be surprised to see her again in bigger budget affairs.

Tuesday, April 12, 2011

Jane Eyre

A very good adaptation of Bronte's Jane Eyre. Mia Wasikowska is perfect as plain Jane, nailing her combination of submission and steeliness, and Michael Fassbender is a Byronic and arrogant Rochester. Their scenes together, especially the conversations in which Rochester tries to needle Jane, are brilliant. Everything else works well, from Judi Dench as lonely Miss Fairfax to the physical, raw feel of the setting, to Dario Marianelli's score. It's not a particularly original take but that's a good thing.

Monday, April 11, 2011

Poetry Monday

Coming

by Philip Larkin


On longer evenings,
Light, chill and yellow,
Bathes the serene
Foreheads of houses.
A thrush sings,
Laurel-surrounded
In the deep bare garden,
Its fresh-peeled voice
Astonishing the brickwork.
It will be spring soon,
It will be spring soon—
And I, whose childhood
Is a forgotten boredom,
Feel like a child
Who comes on a scene
Of adult reconciling,
And can understand nothing
But the unusual laughter,
And starts to be happy.