How to Be Single
Think of "How to Be Single" as a cinematic Whitman’s Sampler: There are enough pieces that work to offset the pieces that don’t.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A report on "In Transit," "Of Men and War" and "Mavis!" at AFI Docs 2015.
Marie writes: you've all heard of Banksy. But do you know about JR...?(click to enlarge image)
Barbie as Karen in "Superstar."
Maybe there should just be a category in the right column for "Lists." Here's one from the film and music writers of Time Out London (which will always be the only real Time Out) called "50 greatest music films ever except for 'Spinal Tap'." No, I added those last four words, but the editors explain in their intro that "we’re celebrating great films – dramas and documentaries – about real musicians."
As if David St. Hubbins and Nigel Tufnel and Derek Smalls never actually toured in the flesh? As if they aren't at least as "real" as, say, KISS or the Monkees or Hootie and the Blowfish, which contained no one named "Hootie" and nobody named "Blowfish." (BTW, the Ramones weren't really "Ramones"! Those were just stage names!) Oh, and Gus Van Sant's "Last Days" was about a guy named "Blake." Michael Pitt looked like Kurt Cobain, but it was only about Cobain in the sense that "Velvet Goldmine" is about Bowie or Iggy Pop or Lou Reed, or "Grace of My Heart" is about Carole King or Brian Wilson or any of the Brill Building writers (even though a lot of them wrote songs for the movie). Then there's "'Round Midnight" (which is on the list) with Dexter Gordon playing Dale Turner, a fictionalized version of Bud Powell...
View image Downey, CA: "What happened?" Third shot of "Superstar." Compare to second shot of "Zodiac" -- establishing a neighborhood, from a car on the street...
So, OK: No "Spinal Tap." But no "I Am Trying to Break Your Heart: A Film About Wilco"? No "You're Gonna Miss Me: A Film About Roky Erickson"? No "Thelonious Monk: Straight, No Chaser"? No "X: The Unheard Music"? No "The Girl Can't Help It"? No "Wattstax"? No "Woodstock"? No "The Kids are Alright"? No "No Direction Home"? No "The Buddy Holly Story"? No "Theramin: An Electronic Odyssey"? No "Heart of Gold"? No "The Filth and the Fury"? No "We Jam Econo: The Story of the Minutemen"? No "La Bamba"? No "Kurt and Courtney"? See how much fun this is? Really, though, I'd substitute any of these for several of the selections on the list.
But, OK, many of my favorites are included: "24 Hour Party People," "Jazz on a Summer's Day," "Stop Making Sense," "DIG!," "Art Pepper: Notes from a Jazz Survivor" (his autobiography, "Straight Life," is the best account of addiction I've ever read), "The Decline of Western Civilization Parts I and II (The Metal Years)"...
View image No one here gets out alive.
At the toppermost of the poppermost: Todd Haynes' 1987 "Superstar: The Karen Carpenter Story," a 45-minute lo-fi "dramatization" that was never officially released because of music clearance troubles (that is, brother Richard wouldn't let Haynes use any Carpenters tunes). Still, after 20 years as an "underground" item, it's available from Google Video here. It's something you really need to see: a documentary-style biopic of Karen Carpenter performed mostly by Barbie dolls. Yes, its a parody (so are most musical biopics, including others on the list -- see the upcoming Jake Kasdan/Judd Apatow picture, "Walk Hard: The Dewey Cox Story" for more on that score). But it presents straightforward facts about anorexia that could have been excerpted from any PBS or 16mm educational doc of the period. It's also a formula showbiz melodrama. But for all the layers of artifice, like Haynes' Sirk opera "Far from Heaven," it becomes strangely, hypnotically -- and genuinely -- moving. Prepare yourself for Haynes' Dylan fantasia, "I'm Not There," by watching "Superstar" and "Velvet Goldmine."
ASIDE: From an interview with Haynes at The Reeler: I actually think that it's easier for people who know less about Dylan to go with it, if they're up for something different. Clearly, that's the first thing: Whether you know Dylan or not, you have to surrender to the movie to have a good time at all and get anything out of it. If you have a lot of Dylanisms in your head, it's kind of distracting, because you're sitting there with a whole second movie going on. You're annotating it as you go. It's kind of nice to sit back and let it take you. I think people get it: Even if you don't know which are the true facts and which are the fictional things, and when we're playing with fact and fiction, from the tone of it, you know that it's playing around with real life. In a way, that's what biopics always do. They just don't tell you that they're doing it, and they don't make it part of the fun. You have to follow the Johnny Cash story and just sort of think, "This is what really happened." Of course, you know it's being dramatized, but you're not in on the joke. You're not in on the game of that. In this movie, at least, you get tipped off to it.Oh yeah, but about that list. Here it is. Make of it what you will:
1 "Superstar: the Karen Carpenter Story" (Todd Haynes, 1987) 2 "Don't Look Back" (DA Pennebaker, 1967) -- Bob Dylan 3 "Gimme Shelter" (David Maysles/Albert Maysles/Charlotte Zwerin, 1970) --Rolling Stones 4 "24 Hour Party People" (Michael Winterbottom, 2002) -- Manchester scene 5 "Topsy-Turvy" (Mike Leigh, 1999) -- Gilbert and Sullivan 6 "Monterey Pop" (DA Pennebaker, 1968) -- concert 7 "Be Here to Love Me" (Margaret Brown, 2004) -- Townes Van Zandt 8 "Thirty Two Short Films about Glenn Gould" (Francois Girard, 1993) -- Glenn Gould 9 "Cocksucker Blues" (Robert Frank, 1972) -- Rolling Stones 10 "Bird" (Clint Eastwood, 1988) -- Charlie Parker 11 "The Last Waltz" (Martin Scorsese, 1978) -- The Band & Friends farewell concert 12 "Rude Boy" (Jack Hazan, David Mingay, 1980) -- The Clash 13 "Scott Walker: 30 Century Man" (Stephen Kijak, 2006) -- Scott Walker 14 "Bound for Glory" (Hal Ashby, 1976) -- Woody Guthrie 15 "The Decline of Western Civilization Parts I & II" (Penelope Spheeris, 1981, 1988) -- LA punk; '80s metal & hair bands 16 "The Devil and Daniel Johnston" (Jeff Feuerzeig, 2005) -- Daniel Johnston 17 "Sweet Dreams" (Karel Reisz, 1982) -- Patsy Cline 18 "Art Pepper: Notes from a Jazz Survivor" (Don McGlynn, 1982) -- Art Pepper 19 "Elgar" (Ken Russell, 1962) -- Edward Elgar 20 "Rust Never Sleeps" (Neil Young, 1979) -- Neil Young 21 "The Future is Unwritten" (Julien Temple, 2006) -- Joe Strummer 22 "DiG!" (Ondi Timoner, 2004) -- Brian Jonestown Massacre, Dandy Warhols 23 "Some Kind Of Monster" (Joe Berlinger, Bruce Sinofsky, 2004) -- Metallica 24 "A Hard Day's Night" (Richard Lester, 1964) -- The Beatles 25 "Jimi Hendrix" (Joe Boyd, 1973) -- Jimi Hendrix(more)
Godard is a contemptuous artist, too. Forget "Le Mepris." Ever see "Weekend"?
We heard a lot in 2006, as we do every year, about nasty filmmakers who were said to have viewed their characters (and, hence, their audiences) with contempt, or who "made fun of" them, or treated them with condescension, or who just don't seem to like them very much. Across time, such charges have been leveled at Stanley Kubrick, Robert Altman, Christopher Guest, the Coen Bros., Todd Solondz, Sacha Baron Cohen, and many other artists -- especially those whose work has tended toward the comic or caricaturish. And then there's all of film noir to consider, a whole kind of moviemaking that does not view the human animal with kindness or affection.
In answer to specific allegations of of alleged contempt (such as Jonathan Rosenbaum's characterization of Altman's attitude toward Lady Pearl in "Nashville"), I have tried to explain why I think such charges are false, or at least misguided. It seems to me, in these cases, that the contempt being expressed is more likely to be that of the critic for the director or film (or reader) than that of the director for the character or the audience (unless we're talking about a movie by, say, Alan Parker). But it's impossible (and futile) to argue with a blanket statement like: "The Coens mock everybody. They're laughing at the audience!" -- meaning, of course: "They're laughing at me!" (please read in the voice of Piper Laurie in "Carrie"). My response is: 1) that's a rather vague aspersion; 2) if you got the joke you wouldn't feel like you were being laughed at; and, 3) yeah, it's true. Many forms of comedy -- satire, parody, etc. -- contain an element of mockery. Even contempt.
So, I'm here to speak up for contempt! (How very contrarian of me!)
The rich, powerful and pretentious are obvious (and ripe) targets for humor and derision. Their problem is that they're just people, with flaws like everybody else, only magnified (and made more irritating and dangerous) by their position in society. They deserve to be knocked down a few notches. But you don't have to be rich, powerful or pretentious to be a hypocrite, or a boor, or a twit, or an oaf, or a cretin. You don't have to possess great wealth or celebrity or influence to be smug, stupid, petty, ignorant, pathetic, tasteless, crass, callous, crude, or just downright annoying -- and, thus, worthy of comic derision. Such people really exist! I've seen them with my own eyes! What's more, I've been them!
"Hey, look at those assholes over there. Ordinary f----in' people. I hate 'em." -- Bud (Harry Dean Stanton), "Repo Man" (1984)
"Hell is other people." -- Jean-Paul Sartre, "No Exit" (1944)
I sometimes wonder if those who worry about expressions of contempt for characters (particularly "ordinary people") in movies have ever had jobs in which they had to deal with the general public. Or have ever attended some kind of party or social function at which they have met some people they would rather not have met. Is this not part of the human experience? Don't most people have some pretty awful qualities? Why should an artist be expected concentrate on their benign or "sympathetic" traits -- or to come up with some kind of artificially "fair and balanced" view of them? Some people's most interesting characteristic is that they are idiots. Or worse. Did you like "Seinfeld"? Those characters were despicable in every way. Some people thought that was why they were funny.
Is misanthropy not the most universal and understandable of all sins? For all our achievements and evolutionary refinements, we are a pretty damnable species. And, as the only one capable of (and perhaps unwittingly committed to) destroying all life on our own planet, we are also the richest, most powerful and pretentious. Don't we deserve to have a laugh at ourselves -- or, at least, at those idiots right over there?
P.S. I am reminded of the words of Luther Ingram and Mack Rice, as sung by the incomparable Mavis Staples (and, yes, I'm going through one of my periodic obsessive Stax phases, so get used to it):
Keep talkin' 'bout the president won't stop air pollution Put your hand over your mouth when you cough, that'll help the solution
Mavis means you. And she's singing in the context of a Christian family gospel/soul group. Good gosh a'mighty, now -- even the Staple Singers aren't afraid to make the average person the butt of an occasional, rather contemptuous, joke. Amen to that.