3 things about Alain Resnais’ LAST YEAR AT MARIENBAD

Last Year at Marienbad [1961]

1. The woman slowly tears up the letter. She then puts the fragments on the tabletop in front of her, piece by piece. Later, when X arrives, she puts the fragments into an ashtray.
2. She flees her room and runs out onto the balcony. The camera follows her and the shot becomes brilliantly overexposed. It almost looks solarized. Her face lingers in the bottom half of the frame; she has her arm raised in her habitual gesture. The rest of the frame is white.
3.  The waiter kneeling, carefully picking up the shards of broken glass and putting them on a cloth-covered tray.

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3 Things

Advise & Consent [1962]

1. The Senator informs everyone that Brick has just died. The room clears. Except for Charles Laughton. He sits alone, taking a long puff off his cigarette, the most enigmatic expression in human history on his face.
2. Betty White as a senator from Kansas. Yes, that Betty White. She has one short speech. At the end she votes against the confirmation.
3. We only see the gay bar for about 90 seconds, but it’s fascinating. Also incredibly fantastic. Fantasy. Of course it’s not a glimpse of what gay bars were actually like in 1962. It’s a glimpse of what Hollywood thought they were like. Every man with a limp wrist, a weird hungry sneer on every face. Half-closed eyes all around. The oddest touch is having Frank Sinatra crooning on the soundtrack during the scene, supposedly a song that’s playing on the jukebox.

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3 Things

Love Crazy [1941]

1. William Powell has his head stuck between the elevator doors. The dog comes up to him and starts licking his face.
2. William Powell in drag looks distinctly like Alec Guinness in drag.
3. At the dinner in the beginning, they’re served apple pie with slices of cheese.

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3 things about David Cronenberg’s VIDEODROME

Videodrome [1982]

1. Max sticks the pin through Nicki’s earlobe, leaves it there. They kiss.
2. MS Max entering Spectacular Optical for the first time: to the right of the doorway is a small hand-written sign, “please turn off all lights before leaving.”
3. The amazingly unattractive waiter at the restaurant that Masha flirts with. The amazingly unattractive dancer in the Medici production number.

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3 things about Thom Eberhardt’s NIGHT OF THE COMET

Night of the Comet [1984]

1. In the department store, the countertop mannequin: a hand and arm from the elbow up supporting a head. Used as a hat display.
2. The red dust being washed away by the rain, running into the gutters and down the sewer. Random pieces of clothing and shoes being carried away.
3. Sam picks up the empty dog collar even as she calls out for the dog.

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Looptopia

I’m really glad I went. There were some weird, brief downpours early in the evening but aside from that the weather was perfect. Hovering around 60 degrees with just the slightest hint of a breeze.

I met up with Jim outside of the Emerald, which was a madhouse. So we strolled over to the river and got some Looptopia maps. We descended a set of stairs and went along the riverwalk; under Wacker the artists from Around The Coyote had set up a gallery, and there was artwork everywhere. Some of it was so-so, but some of it was damn good. I had a fleeting fantasy of what it would be like to have thousands of dollars in my pocket, able to buy whatever grabbed my eye. Then of course I’d have to have a great many walls to put everything on. Overall I’d say that the photographers had the strongest work. One artist’s pictures consisted of various outdoor tableaux shot at night with a spotlight. It gave everything a fresh, almost alien quality.

The Emerald was still jammed so instead we went over to a Mexican restaurant on Lake between Wabash and Michigan. It’s one of those places you’ve been by a million times but have never actually been inside. It was very noisy but the high ceilings meant at least that it wasn’t claustrophobic. The food was fine. Very quick. My margarita was mild. I don’t think I got much of a buzz. I couldn’t stop eating chips though.

When we finished eating it was raining cats and dogs outside. But we left anyway. It didn’t last very long. We went over to 55 E. Jackson.  The band was slow in setting up. Meanwhile it was a good chance to check out the crowd of bystanders. There were easily a few hundred people. It sort of felt like a huge outdoor college party, it was that age range; but there were some eccentric older people too. I felt a bit old. The band came out finally, dressed up as various foodstuffs: a guitarist was a slice of pizza, the drummer was a grape, the bassist was a banana. They got going and played the entire album More Songs about Buildings and Food.  Behind them on the windows of the building, which had been covered up by white sheets, there were various projections: stock footage of buildings, people at the lakefront, psychedelic colored washes.

The band had rehearsed a lot, that was clear. Except they kept getting the lyrics wrong. But it really didn’t matter. The music was tight. It was awesome to hear all those songs played live. Brought out just how timeless they are: they sounded like a cutting-edge band playing new and exciting music. They turned “Stay Hungry” and “The Good Thing” into metalesque raveups, and the crowd got whipped into a frenzy. The biggest eye-opener was “Take Me to the River,” which became a greasy slow-grind grunge number. Delightful.

It was well worth the trip down there and, for at least a few moments, I was ecstatic and completely at peace.

After that we wandered over to the DePaul Center, checked out a poetry slam type thing and some videos being shown on a loop. Then headed north on State. The same living tableaux as last year here and there on the street. The funniest was a woman in a karate robe, using chopsticks to slowly transfer gummy bears from one bowl to another.

Turning onto Monroe we sighted a tall drag queen in thigh-high vinyl platform boots. She was talking through a megaphone, a twink in a vest at her side. She told the story of how she became Christmas Kissinger. She ended by doing a dance routine while lip-synching to “Downtown.” It was a riot. There were some members of the crowd who had obviously never seen a drag queen in the flesh before, totally cracking up.

Over at Daley Plaza there was some kind of elaborate circus. Acrobats, clowns and the like. Jim was tuckered out and bid me goodnight. I proceeded to the Cultural Center. There was a solid jazz combo with a torch singer performing. They did “You’d Be So Nice to Come Home To,” and “Twisted.” Lots of other stuff. I loved it. I was lucky enough to get a seat. Place was packed, like last year. They were letting people come in a few at a time, not all at once; crowd control.

I was getting sleepy and went to catch the bus home. It was 11:20 and still 60 degrees. Heading home on Lake Shore Drive I stared at all the lights, the tall buildings, the branches on the trees swaying in the wind, the back water of the lake, the dull orange glow on the sand. I thought, “Who can say this isn’t beautiful?”

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Differences Between The Old Job and The New One #1

Yesterday, coming back from lunch, I let my boss know that I was back at my desk. Her response: “Oh, you don’t really have to tell me when you’re going on your lunch.”

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First Day

As with any first day somewhere, it was mildly bewildering, exciting, dull, anxiety-inducing, and easy. It’s hard to find yourself stuck into a new place. I’ll be fine though. People seem very at ease. It will easily be the largest office I’ve ever worked at and I think that’ll be the hardest thing to adjust to. Time for Day 2.

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3 Things

Away from Her [2006]

1. Fiona is leaving her examination. She looks at the people gathered in the waiting room. Then she says, "What an ugly baby!"
2. Marian closes her front door after Grant leaves. She says, "What a jerk." Shaking her head. It’s a brilliant moment because you can’t be sure if she’s talking about Grant, or her husband Aubrey, or herself.
3. Aubrey sees Fiona with Grant and drops his cards. Fiona excuses herself and picks up the cards.

Amazing movie, and amazing first film from Sarah Polley. Oddly enough, it was just what I needed to see after my first day at the new job. This would make a great, extremely depressing double-feature with The Savages.

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Alright: today’s the first day at the new job. Wish me luck!

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