"I'll meet you under the words". There's a large building in Cardiff, Wales with a poem embedded directly into its front wall. The poem is written half in Welsh and half in English by Gwyneth Lewis, who is part of a vibrant Welsh-speaking renaissance that draws in families, musicians, writers, artists, hipsters and academics all across this ancient land. Welsh began to disappear centuries ago when Wales became part of England, but some have managed to generate a significant new sense of community by striving to keep the language alive. When these folks gather for festivals, dances, hip-hop beatbox sessions and poetry slams, they really are meeting under words.
Gwyneth Lewis is profiled in Language Matters, a delightful and captivating two-hour documentary currently running on PBS. The documentary is directed by David Grubin and hosted by poetry raconteur Bob Holman, who visits three locations around the world where great languages are in danger of disappearing: northern Australia, Wales and Hawaii. The films make the case that irreplaceable cultural knowledge is entwined into these regional languages, and that every time a regional language is lost, a way of thinking is lost as well.
As Mike Leigh's majestic new movie Mr. Turner begins, the famous British artist J. M. W. Turner's father buys pigments for his son in a dusty London shop. The vast psychedelic arrays of glass jars filled with powders of viridian, chrome, cobalt, barium and ultramarine seem as magical as Diagon Alley in Harry Potter or the Cheese Shop in Monty Python. The pure pleasure of this visual moment is a happy indication that Mike Leigh intends to luxuriate in the beauty of 19th Century England as joyously as he did in Topsy-Turvy, his previous biographical epic, and for Mike Leigh fans this is very good news.
It's a telling fact that as I settled in to watch a movie starring the great actor Timothy Spall as the influential British painter J. M. W. Turner, the artist I was mostly thinking about was Mike Leigh. He is one of my favorite living film directors, but he mostly turns out sensitive modest-budget films about regular people in contemporary settings (I wrote about one of these, Happy Go Lucky, last year). He is known for a low-key natural style, but when he delves into grand history (as he did in Topsy-Turvy, in which Gilbert and Sullivan debut The Mikado at the Savoy) he spares no expense on sets, costumes and period detail. I can think of no other historical film director who achieves such a convincing sensation of realism. When Mr. Turner strolls the riverfront at Margate, we can practically feel the refreshing spray on our cheeks.
In 2002, filmmaker Richard Linklater selected a six-year-old actor named Ellar Coltrane to be the star of his new movie Boyhood, which was expected to take twelve years to film.
Linklater also cast seasoned actors Patricia Arquette and Ethan Hawke to play the boy’s divorcing parents, and signed his own eight-year-old daughter Lorelei Linklater on as the older sister. Big sister Lorelei steals the show in the movie's first couple of scenes, first with a Britney Spears dance number, and then with a temper tantrum at a family meal. This is where Boyhood’s journey begins. When the movie is over, twelve years or two hours and forty-five minutes later, all of the characters has been transformed, and the audience has been transformed too.
I’m a Richard Linklater fan — sure, I love Slacker and Dazed and Confused, though I never got to see the Trilogy. I'm probably in the minority among Linklater fans because I like School of Rock better than Dazed and Confused. But I have a new favorite Richard Linklater film today. Boyhood is his masterpiece, the most fully realized work of his career.
"Wizard of Oz is on again", I noticed recently while flipping through my favorite classic movie channels. Then I spotted the year on the movie listing: 1925.
Here it was, the early version I'd always been curious to see! This silent-era Wizard came out fourteen years before the great Judy Garland classic, and even though I'd heard the 1925 version was a box-office dud and an artistic failure, I'd long been curious what this interpretation of L. Frank Baum's children's book contained.
Every once in a while I find myself wondering why I run a blog series called Philosophy Weekend that doesn't necessarily resemble anybody else's idea of what philosophy is, and maybe also doesn't necessarily resemble anyone's idea of what a weekend is.
I was in one of these questioning moods a few days ago when I watched an excellent film on late-night cable TV that gave me the insight I needed at the moment: Happy-Go-Lucky by Mike Leigh.
I love Mike Leigh's humble, amusing movies, which are almost always about ordinary British people dealing with ordinary problems. In Secrets and Lies, an adult woman finds the mother who gave her up for adoption. Nuts in May takes place in a nature camp where a boisterous partier sets up a tent next to two stern hippies. Vera Drake is about a woman who secretly performs illegal abortions. Leigh's masterwork Topsy-Turvy imagines the backstage action behind Gilbert and Sullivan's premiere of "The Mikado".
A Mike Leigh movie doesn't look or feel like anybody else's movie. The sets and performances aim to be completely natural, and his sensitive performers don't overact for the cameras but rather move and speak like real people do: polite, hesitant, often unsure of themselves. In a typical schlocky Hollywood movie, a married couple having an argument will often yell at the tops of their lungs, even when they're standing face-to-face only inches away from each other. In a Mike Leigh movie, a married couple having an argument looks like a real married couple having an argument. When a Mike Leigh film suddenly explodes into a sneaky emotional climax (as they tend to do) we are reminded of the communicative power of a quiet speaking voice.
Happy-Go-Lucky is a classic Mike Leigh setup. Poppy, a London schoolteacher played by Sally Hawkins, has a strange quirk: she's relentlessly cheerful, gabby, upbeat. Everywhere she goes, she compulsively cracks jokes, breaks rules, calls attention to herself. She knows that people find her energy level odd amd annoying, and she also knows that her manic style amounts to one of many life choices she's implicitly made that have not worked out particularly well.
She finds her opposite when she signs up for driving lessons with a tense driving instructor played by Eddie Marsan. He objects to her chattiness, asks her to wear proper footwear, makes racist remarks about other drivers. The confrontation that finally erupts between this dour man and this ebullient woman is the transformative event in this film, as Poppy learns the full impact of her behavior on others, and comes to realize what her quirky commitment to joyful living is grounded in.
It's because I respect musicians who bravely venture into the dark literary territory of autobiography that I am so fascinated by musical memoirs. It's also why I'm sometimes critical of them. I have high standards regarding what a good memoir should be.
My standards are high but simple. An autobiography of a musician or any other artist must be written in a voice that feels distinct and artistic. It must tell a coherent story in chronological form. Most importantly, a good memoir must tell the truth.
On these terms, I criticized Neil Young's Waging Heavy Peace for lacking story coherence, and for substituting undercooked present-tense for thoughtful past-tense. I knocked Steve Tyler's Does The Noise In My Head Bother You? for an inconsistent voice: the first few chapters about Steve's childhood and teenage years were very well written, but once Steve grew up and got famous the book shifted in tone to something like a People magazine interview about his rock star lifestyle. That ain't memoir.
Today I'm going to tell you about a memoir that I bet you never heard of, even though there's a good chance you dearly love the legendary rock band the author of this autobiography played drums for.
It's probably the best tween book of the modern era; at least it's the best one I can think of. Well, hell, everybody loves Harriet the Spy by Louise Fitzhugh, which was published fifty years ago this year.
The anniversary is already getting so much attention -- an event on March 15 at the 92nd Street Y on Harriet's own beloved Manhattan island featuring Gregory Maguire, Leonard Marcus and Rebecca Stead, a Booktrib appreciation featuring crime writers like Laura Lippman, Alafair Burke and Sarah Weinman -- that I almost want to skip mentioning it on Litkicks. Except for one thing: I love the book as much as everyone else. I can't not say so.
Harriet is about a churlish, opinionated 11-year-old who tears bravely through New York City's varied neighborhoods looking for trouble, and finally finds worse trouble than she ever wanted in the trivial atmosphere of her own schoolyard. I value the story for its emotional sophistication, its appreciation for the delicacy of a kid's emotional stability, and for the drama of the devastation that occurs when it breaks. The break in Harriet M. Welsch's swirling life of urban adventure occurs, of course, when her private notebook falls into someone else's hands. All the kids in her school read what she's written about them. The revelations hurt Harriet's own closest friends the worst, and Harriet is shocked to discover that even the dull kids in school that she never bothered to care about suddenly have the power to hurt her back, and badly.
We need more movies about philosophers. I can only think of very few examples to mention, but David Cronenberg's A Dangerous Method, a 2011 film about the rivalry between early psychologists Sigmund Freud and Carl Jung, shows that the format can work. This is an intelligent and straightforward narrative work, based on Christopher Hampton's play The Talking Cure which was itself based on the book A Most Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein by John Kerr.
A Dangerous Method stars Michael Fassbender as Carl Jung, Viggo Mortensen as Sigmund Freud, and Keira Knightley as a severely disturbed young psychoanalytic patient named Sabina Spielrein who would eventually defeat her demons and become Jung's illicit lover, Jung and Freud's intellectual partner, and an innovative psychologist in her own right.
Dave Van Ronk's The Mayor of MacDougal Street is a constructed autobiography, pieced together by the singer's friend and admirer Elijah Wald after Van Ronk died of cancer in 2002. Elijah Wald is a roots-music scholar who has also written books like How the Beatles Destroyed Rock 'n' Roll: An Alternative History of American Popular Music. Eleven years later, the book he produced from interview recordings and memoir fragments would have given Van Ronk the pleasure of seeing his name pop up in lights as a primary source for the new Coen Brothers movie Inside Llewyn Davis.
Dave Van Ronk would have relished the irony, because his failed flirtations with fame became legendary by the time he died. Flirtation with fame provides the primary plotline for Inside Llewyn Davis, a movie I got excited about when I first heard of its Dave Van Ronk connection, and enjoyed very much when I finally got to see it.
I don't always love a Coen Brothers movie (especially, for instance, when it's a Coen Brothers movie of a Cormac McCarthy novel), but I do always love the music in a Coen Brothers movie. Inside Llewyn Davis is a bonanza of great folk tunes, and the soundtrack is especially rewarding for displaying the wide variety of musical styles of the early 1960s folk boom: Irish brother groups, sea shanty singers, "early music" experts, Appalachian authentics, Beat poets, corny comedians, harmony crewcut groups. Despite the great music, Inside LLewyn Davis isn't quite as spectacular a snapshot of 1960s Greenwich Village culture as their previous O Brother Where Art Thou? was of 1930s Mississippi Delta blues and bluegrass culture. It's a sadder and smaller movie than O Brother, but the film's connection to Van Ronk's Mayor of MacDougal Street amounts to a surprising honor for this little-known but important musician.
I hope my pick for the most significant book of 2013 will surprise you. It surprises me. For one thing, it's not a book. It wasn't published in 2013. And I've never mentioned it on Litkicks before.
Before I explain, here's a quick wrap-up of my year of reading and blogging. There was a lot of philosophy, history and politics. Early in 2013, I got into Jacques Derrida. This was for me a belated discovery (isn't Derrida supposed to be sophomoric? I'm no sophomore) but a happy one. In July I took a trip to Gettysburg, Pennsylvania for the 150th anniversary of that amazing Civil War battle, and then went back home to begin obsessively reading a whole lot of books about the American Civil War. I'm planning to write more about the literary legacy of the Civil War as the battlefield sesquicentennials of Wilderness and Spotsylvania loom. Continuing my weird march through what may seem to my readers to be randomly assorted moments (ahh, but they're not!) in American history, I also read and blogged extensively about disgraced Vice-President Spiro Agnew this year.
I wrote a lot about music and film in 2013. The death of Lou Reed, one of my all time favorite singer-songwriters, inspired in me a vast blast of sudden blogging, which was exhausting. As I mentioned in a comment to one of the above posts, I sure hope Bob Dylan has a good doctor, because I don't want to blog that much again anytime soon. I also continued my series of articles about musical memoirs, because it pleases me to do so, and I hope it pleases some of you too. The next installment in the "Great Lost Rock Memoir" series drops in January.