A poem from the archives: HOLLYWOOD

HOLLYWOOD

 

heavy verbs

like a rocky coast, slowly shedding into the

ocean                                                   wet

pronouns                             sand of adjectives

scattered

on the side of the road, a

small world devouring the motorists

why write well?

buy

what you need to achieve                    just

change the

bitter subtext of other

people’s

misdirected                          words

against me us him you

our group

I’ll fight

fire

with fire                                                twist & churn

that false overcoat of language

into

kind                                  a

of

sustained narrative

of

your

life                                                      will

it play in

pas

a

de

na

?

 

 

26 October 1999

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3 things about Andrei Tarkovsky’s STALKER

Stalker [1979]

1. Train passes by. The drinking glass jitters on the seat of the chair.
2. A tableaux of bits and pieces of a broken civilization, frozen in time, lying just beneath the water’s surface.
3. Next, she concentrates on the jar. It begins to slide across the tabletop.

Mostly definitely Tarkovsky’s best film. Truly, utterly mesmerizing. For me, it just blows SOLARIS out of the water. And there’s only one more screening at the Siskel! Tuesday night. Don’t miss it.

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3 things about Mike Leigh’s HAPPY-GO-LUCKY

Happy-Go-Lucky [2008]

1. This movie gets bonus points for a Paul Auster reference. Mr. Vertigo.
2. Her catchphrase: “Isn’t it just.”
3. While walking down the hall, the schoolteacher pauses to practice a few flamenco steps.

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3 things about Wim Wenders’ WINGS OF DESIRE

Wings of Desire [1987]

1. At the library, the old man sits in a room surrounded by globes of various sizes. He watches a small model of the solar system, the planets orbiting the sun.
2. They shake hands without touching.
3. From a balcony a group of girls chant, “Columbo! Columbo! Columbo!”

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3 things about Guy Hamilton’s GOLDFINGER

Goldfinger [1964]

1. He emerges wearing a waterfowl headpiece.
2. “Auric Goldfinger? Sounds like a French nail varnish.”
3. Soldiers falling, falling, falling.

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3 things about Alain Resnais’ WILD GRASS

Wild Grass [2009]

1. All in the same shot: red hair, purple shutters, yellow car.
2. Suddenly he heaves his bare foot onto the table, displaying his bruised big toe. The policemen examine it discreetly.
3. “After the cinema, nothing surprises you. Anything can happen.”

Dunno why, but this strongly reminded me of Claire Denis’ FRIDAY NIGHT. Equally slippery. They’d make an interesting double bill.

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3 things about Jean Vigo’s L’ATALANTE

L’Atalante [1934]

1. By the scruff of its neck, he hoists the kitten onto his shoulders. And there it stays, even when he begins to dance around.
2. He uses his finger as a stylus and plays the record.
3. She slowly twists in bed, her right hand creeping towards her breast.

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3 things about Alex Proyas’ DARK CITY

Dark City [1998]

1. The dining room table lengthens and grows plates, food platters.
2. Hmm. Spirals like in Saw?
3. Shell Beach is rather narrow.

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3 things about Lotte Reiniger’s THE ADVENTURES OF PRICE ACHMED

The Adventures of Prince Achmed [1926]

1. The princess in her canopy is oddly reminiscent of H.R. Giger.
2. Achmed climbs out of the gorge using the snake as a rope.
3. The magician hunches over, transforming into a bat.

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3 things about Paul Verhoeven’s TOTAL RECALL

Total Recall [1990]

1. He shoots her in the forehead and says, “Consider that a divorce.”
2. The pill. Later lifted for The Matrix.
3. Spots of rust on the reactor.

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