The Bye Bye Man
The Bye Bye Man is the kind of film that is so boring and bereft of anything of possible interest that it becomes infuriating.
We've all heard of reverse engineering, but reverse engineering all the way to the 17th Century, that's something else. There's also the question of why one would want to do such a thing, given the state of indoor plumbing during that time. But a glory of the 17th Century that found no equal in the centuries since was the simply stunning painting of the Dutch master Johannes Vermeer. Vermeer's unique visions of light have inspired and baffled artists for hundreds of years. The greatness of his paintings is twofold: the marvelous symmetry of his scenes, which do not depict epic moments in religion and history but rather (divinely, it seems) illuminated everyday-life doings, and the incredibly acute detail and color, almost a photorealism before its time.
To say, of Vermeer's work, that there necessarily had to be some kind of trick to it, initially seems insulting to both the painter himself and to certain mythologized notions concerning artistic talent versus artistic genius and a lot of other things. But painting, like writing, like almost anything really, is not entirely a "creative" exercise; it's also a technical one. No great novel ever got written by mere force of inspiration, nor has any great painting merely been willed into being. And so, for years, certain artists and scientists have devoted a great deal of time and energy to the question: "How did Vermeer do it?"
Tim Jenison, the inventor and entrepreneur (I well remember in my '80s days as a consumer electronics journalist, how his software bundle called "Video Toaster," which was the foundation for his fortune, shook things up in the world of pro AND home video) put himself in a unique position to find out. An inveterate tinkerer with an insatiable curiosity and the financial and temporal resources to execute a project with pretty much no practical benefit to anybody, Jenison was intrigued several years ago by the speculations, from artist David Hockney and academic Philip Steadman, that Vermeer's vision had some kind of assist—possibly a camera obscura, a room-size optical device that projects a reflected image on to a wall. The supposition, then, was that the beautiful canvases the artist produced were in fact the result of something like a paint-by-numbers technique. Jenison decided to take things out of the speculative realm and actually try to physically recreate the conditions under which Vermeer worked, with the endgame being to produce a "new" Vermeer painting.
"Tim's Vermeer," directed by Teller and narrated by Penn Jillette—the performing duo that I dubbed "the philosopher kings of stage magic" about thirty years ago and am happy to note that the first part of the title still applies as they explore other modes and other media—chronicles Jenison's years-long quest, during which time he learns Dutch, masters the art of pigment-making, and nearly asphyxiates himself. The movie is straightforward, brisk, engaging, and sometimes even moving.
Meryl Streep and other awards recipients shared their thoughts on an America under Donald Trump during last night's G...
This message came to me from a reader named Peter Svensland. He and a fr...
A review of Netflix's new series, Lemony Snicket's "A Series of Unfortunate Events," which premieres January 13.
A look at highlights from the career of the great Peter Cushing.