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Showing posts with label <b>Film</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Tuesday, January 28, 2014</span></h2>

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<a href="//3.bp.blogspot.com/-_ZLZRWQJnCo/Us9TBeQhSKI/AAAAAAAADhc/SyXS1ummyUg/s1600/Many%2BAllen%2BGinsbergs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="388" src="//3.bp.blogspot.com/-_ZLZRWQJnCo/Us9TBeQhSKI/AAAAAAAADhc/SyXS1ummyUg/s1600/Many%2BAllen%2BGinsbergs.jpg" width="400"></a></div>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: xx-small;">Many Allen Ginsbergs - only the middle row is real</span></i></span></div>
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</div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">In
2008, the late Carolyn Cassady, one-time wife of Neal &#8211; Jack Kerouac&#8217;s
trickster muse &#8211; revealed some lingering bitterness in an interview when she
remarked that as &#8220;far as I&#39;m concerned, the Beat Generation was something made
up by the media and Allen Ginsberg.&quot; That&#8217;s an unfair dig at Ginsberg.
When Lawrence Ferlinghetti &amp; Shig Murao were prosecuted for the sale of <i style="mso-bidi-font-style: normal;">Howl, </i>Ginsberg &#8211; who became a household
name from the resulting media coverage &#8211; stayed as far away from the trial as
he could. It would have been a far better &#8211; even obvious &#8211; career move for him
to have been sat in the front row of the courtroom in support of Ferlinghetti
&amp; Murao. Instead, he stayed as far away as he could &amp;, when the chance
presented itself, didn&#8217;t take a victory lap after the City Lights publisher
&amp; his book seller were vindicated, but instead hightailed it to India. </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">This
was well before Ginsberg got to watch fame, alcohol &amp; the media celebrity
machine tear Jack Kerouac limb from limb, a painful public process that led to the
novelist&#8217;s demise first as a writer &amp; then as a person. Indeed, it might
not have been until Ginsberg&#8217;s stint as Kraj Mahales, the King of the May, in
1965 Czechoslovakia &#8211; to which Ginsberg had been deported from Cuba of all
places after protesting Castro&#8217;s persecution of gays &#8211; that the author of <i style="mso-bidi-font-style: normal;">Howl</i> seemed fully to appreciate his own
potential as a symbolic public figure. But even then other poets rolled their
eyes &amp; looked askance. Jack Spicer&#8217;s very last poem, written just weeks
after Ginsberg expulsion from Czechoslovakia, accuses Ginsberg of not
understanding that &#8220;people are starving.&#8221;</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">That
was 48 years ago &amp;, if anything, the mythos of Ginsberg &amp; radical beat
culture as a forerunner of all things liberational has intensified over the
past half century. In a five-day span late last fall, I saw three separate
motion pictures, either current or very recent, that each included Ginsberg:</span></div>
<br>
<ul>
<li><span style="color: black; font-family: Symbol; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-themecolor: text1;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">John
Krokidas&#8217; </span><a href="http://www.imdb.com/title/tt1311071/?ref_=nv_sr_1"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Kill
Your Darlings</span></i></a><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">, </span></i><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">starring Daniel Radcliffe as the future author of <i style="mso-bidi-font-style: normal;">Howl</i>, Jack Huston as Kerouac &amp; Ben Foster as William S.
Burroughs, which may still be in some theaters<br style="mso-special-character: line-break;">
<br style="mso-special-character: line-break;">
</span></li>
<li><span style="color: black; font-family: Symbol; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-themecolor: text1;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Walter
Salles&#8217; </span><a href="http://www.imdb.com/title/tt0337692/?ref_=nv_sr_1"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">On the
Road</span></i></a><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">, </span></i><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">an attempt to contain Kerouac&#8217;s sprawling autobiographical novel as an
intelligible film narrative starring Sam Riley as Sal Paradise (Jack Kerouac),
Tom Sturridge (like Radcliffe, a British actor) as Carlo Marx (Ginsberg) &amp;
Viggo Mortensen as (as Bull Lee, Burroughs), relatively new to the Netflix
&amp; DVD round after a modest theater run<br style="mso-special-character: line-break;">
<br style="mso-special-character: line-break;">
</span></li>
<li>

<span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Robert
McTavish&#8217;s documentary, </span><a href="http://paulenelson.com/2013/03/23/line-has-shattered-van-po-conf/"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">The
Line Has Shattered</span></i></a><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">, </span></i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">recounting
the 1963 Vancouver Poetry Conference, during which 48 &#8220;students&#8221; took seminars
&amp; participated in readings over three weeks from Allen Ginsberg, Charles
Olson, Robert Creeley, Denise Levertov &amp; Margaret Avison &#8211; this film is
still rolling out via the art film / festival circuit </span></li>
</ul>
<div style="text-align: left;">
</div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">Ginsberg&#8217;s
stature on the curious fulcrum between public intellectual &amp; public
anti-intellectual is worth noting. In addition to Radcliffe &amp; Sturridge,
Ginsberg has also been portrayed by Roger Massih, Wade Williams, James Franco,
Charley Rossman, Hank Azaria, Yehuda Duenyas, David Cross, Tim Hickey, Jon
Schwartz, Ron Livingston, Bill Willens, John Turturro, Richard Cotovsky, David
Markey, Ron Rifkin, &amp; George Netesky. David Cross, who played Ginsberg in
in the Dylan anti-biopic <i style="mso-bidi-font-style: normal;">I&#8217;m Not There, </i>plays
Allen&#8217;s father Louis in <i style="mso-bidi-font-style: normal;">Kill Your
Darlings.</i>&#185;</span></div>
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<h2 class='date-header'><span>Saturday, August 10, 2013</span></h2>

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<pre id="line1"><pre id="line1" style="text-align: center;"><pre id="line1"><h2>
<iframe frameborder="0" height="384" scrolling="no" src="http://media.sas.upenn.edu/service.php?action=embed&amp;file_id=139546&amp;caption=&amp;poster=http://media.sas.upenn.edu/pennsound/misc/Images/Previews/139546.png&amp;width=480&amp;height=384&amp;autoplay=false&amp;start=0" width="480"></iframe></h2>
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<b style="line-height: 250%;"><span style="font-family: Arial, sans-serif; font-size: 20pt; line-height: 250%;"><a href="http://writing.upenn.edu/pennsound/x/Hunt.php"><span style="color: black; mso-themecolor: text1;">Erica</span></a> <a href="http://en.wikipedia.org/wiki/Erica_Hunt"><span style="color: black; mso-themecolor: text1;">Hunt</span></a></span></b></div>
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<b><i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 250%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Evidence<o:p></o:p></span></i></b></div>
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<span style="color: #0d0d0d; font-family: Arial, sans-serif; font-size: 10pt; line-height: 250%;">A film </span><span style="color: #0d0d0d; font-family: Arial, sans-serif; font-size: 10pt; line-height: 250%;">by </span><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 250%;"><a href="http://en.wikipedia.org/wiki/Phill_Niblock" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 250%;">Phill</a> </span><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 250%;"><a href="http://www.phillniblock.com/" style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 250%;">Niblock</a></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 250%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">1983<o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, June 13, 2013</span></h2>

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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Does an
unvarnished truth exist? And, if so, does it intersect, even slightly, with
what one might call good? Those questions are at the core of Margarethe von
Trotta&#8217;s <i><a href="http://www.zeitgeistfilms.com/hannaharendt/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Hannah Arendt</span></a></i></span><i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">, </span></i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">a heady film that is
only superficially a biopic of the famed political thinker, &#8220;Martin Heidegger&#8217;s
favorite student&#8221; and one-time lover, the first woman hired to teach at Princeton.
<i>Arendt </i>has opened in New York &amp;
Los Angeles, after having been nominated for &amp; won a number of awards, &#160;in Middle &amp; Eastern Europe, including two German
best actress nods for Barbara Sukowa as Arendt. <o:p></o:p></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Although
the film has flashbacks to Arendt&#8217;s days as a student in Marburg, von Trotta focuses
on the few short years of Arendt&#8217;s career in America after the capture of
Adolph Eichmann, whose trial she &#8220;covered&#8221; for <i>The New Yorker, </i>resulting in a series of articles published in book
form as <i><a href="http://books.google.com/books?id=ZwjNGDPUSPsC&amp;dq=eichmann+in+jerusalem&amp;pg=PP1&amp;ots=ZydCsQ3ypY&amp;sig=yaCw00r-iB5pq35NigydhycRmyQ&amp;hl=en&amp;prev=http://www.google.com/search%3Fhl%3Den%26rlz%3D%26q%3Deichmann%2Bin%2Bjerusalem%26btnG%3DGoogle%2BSearch&amp;sa=X&amp;oi=print&amp;ct=title&amp;cad=one-book-with-thumbnail"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Eichmann
in Jerusalem: A Report on the Banality of Evil</span></a></i></span><i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">. </span></i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">&#160;The drama of the film itself occurs not in
capture of Eichmann, which happens in the first 30 seconds, nor in Arendt&#8217;s
relationship with Heidegger, nor even in the trial itself &#8211; though this may
well be the heart of the movie &#8211; but in the revulsion with which Arendt&#8217;s
reporting is met by her closest friends at Princeton, in New York, and
especially in Israel.<o:p></o:p></span></div>
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<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">Arendt,
who fled to Paris as the Nazis came to power, was briefly interned in a French concentration
camp at Gurs near the Spanish border, from which she escaped and eventually
made her way to the US. Alluded to but not represented in the film itself
(which is more than can be said for much of her writing, her work with Karl
Jaspers, her friendship with Walter Benjamin, her first marriage, or her work
in Germany after the war), von Trotta presents Arendt as wanting to understand
this ultimate evil by staring it in the eye. Her friends among the US exiles
are wary of her trip to Jerusalem to report on the trial for a readership that
cannot be expected to comprehend their experiences of horror, a sharp contrast
to the almost boyish enthusiasm of <i>New
Yorker </i>editor William Shawn (portrayed by Nicholas Woodeson doing everything
he can to mimic Wallace Shawn, who might have been better cast to portray his
father). Her husband thinks the trial itself is a travesty of justice. In
Israel, her friends are frank about the political nature of the prosecution. Israel,
she is told, needs myths. </span><br>
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<h2 class='date-header'><span>Monday, May 06, 2013</span></h2>

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<div class="MsoNormal">
<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">If I see another motion picture in 2013 that is as
remotely as intelligent or mature as <i style="mso-bidi-font-style: normal;"><a href="http://www.imdb.com/title/tt2084989/fullcredits?ref_=tt_ov_st_sm#cast"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Upstream
Color</span></a>, </i>it will be a very good year for movies. One can go years
between films this well-conceived &amp; executed. It seems to have done well in
an <a href="http://blogs.indiewire.com/thompsononhollywood/director-distributed-upstream-color-shines-in-ny-opening-with-trance-company-you-keep-good"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">art-house
cinema in New York</span></a>, but the self-distribution plan by writer-director-lead
actor-producer-composer-editor-cinematographer <a href="http://en.wikipedia.org/wiki/Shane_Carruth"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Shane Carruth</span></a>
found it playing in the basement auditorium of a science museum in Philadelphia
where I<span style="mso-spacerun: yes;">&#160; </span>caught it on the second day of
its release showing to a crowd in high single digits. This in spite of a <a href="http://www.philly.com/philly/entertainment/20130503_Puzzling__surreal_love_story_that_achieves_the_sublime.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">near-rave
review</span></a> from the <i style="mso-bidi-font-style: normal;">Philadelphia
Inquirer </i>just one day before. Carruth, who settled on the do-it-yourself
distribution scheme even before the film showed at Sundance, is undoubtedly
correct in his presumption that the old model for getting films to people is
breaking down for films just as much as it is for books, music and just about every
other intellectual endeavor <i style="mso-bidi-font-style: normal;">(heads up,
art dealers &#8211; they&#8217;re coming for you). </i>But his cobbled-together alternative
really isn&#8217;t working unless the stream-or-download distribution that starts &#8211;&#160;<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="https://www.facebook.com/UpstreamColor"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">hey</span></a></span>&#160; &#8211; this Tuesday catches on. I&#8217;m here to tell you it&#8217;s worth spending twenty
bucks, give or take, to see something extraordinary. But if it&#8217;s on a big
screen, do that &#8211; even if it&#8217;s in the basement of a science museum.<span style="mso-spacerun: yes;">&#160; </span>As film, <i style="mso-bidi-font-style: normal;">Upstream
Color </i>is gorgeous. And the sound is to cinema what <i style="mso-bidi-font-style: normal;">Red Desert </i>once was to the use of color. </span></div>
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<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%;">I could recount the
narrative of <i style="mso-bidi-font-style: normal;">Upstream Color, </i>but you
wouldn&#8217;t understand it because the protagonists, played by Carruth and Amy
Steimetz, don&#8217;t and the film really wants you to feel their sense of confusion
even when it flirts with omniscience. Steven Soderbergh has been quoted as
calling Carruth the &#8220;illegitimate offspring of David Lynch &amp; James Cameron,&#8221;
but the directors who seem to be the hovering godparents of this project are Wenders,
Tarkovsky &amp; early Polanski. Envision, if you will, <i style="mso-bidi-font-style: normal;">Wings of Desire </i>blended with <i style="mso-bidi-font-style: normal;">Rosemary&#8217;s
Baby, </i>seasoned with just a sprinkling of <i style="mso-bidi-font-style: normal;">Babe </i>(&amp; <i style="mso-bidi-font-style: normal;">Babe </i>in turn
as read through <i style="mso-bidi-font-style: normal;">Soylent Green</i>)<i style="mso-bidi-font-style: normal;">, </i>all filtered through the depressed
lens of the driving sequence in <i style="mso-bidi-font-style: normal;">Solaris. </i>Did
I say you wouldn&#8217;t understand it? Now consider that much, maybe all of this
hinges on the text of Thoreau&#8217;s <i style="mso-bidi-font-style: normal;">Walden.&#160;</i></span></div>
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<h2 class='date-header'><span>Saturday, April 13, 2013</span></h2>

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</span><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">What is the creative act?<br />
(1987)<o:p></o:p></span></div>
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<h2 class='date-header'><span>Tuesday, April 09, 2013</span></h2>

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</span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 20.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br />
</span><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-roger-ebert-dead-20130404,0,2960510.story"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">1942</span></a> &#8211; <a href="http://www.nytimes.com/2013/04/05/movies/roger-ebert-film-critic-dies.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">2013</span></a><o:p></o:p></span></div>
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<a href="http://www.chicagotribune.com/news/chi-roger-ebert-dead-20130404,0,602338.story"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Ebert</span></a><br />
</span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 20.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br />
</span><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-roger-ebert-dead-20130404,0,2960510.story"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">1942</span></a>
&#8211; <a href="http://www.nytimes.com/2013/04/05/movies/roger-ebert-film-critic-dies.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">2013</span></a><o:p></o:p></span></div>
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<h2 class='date-header'><span>Tuesday, February 26, 2013</span></h2>

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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Jennifer Lawrence wasn&#8217;t the only one who stumbled at
this year&#8217;s Academy Awards. <o:p></o:p></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br /></span></div>
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<span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">The Oscars are an increasingly bizarre display of
decadence &#8211; corporate capital&#8217;s stranglehold over the film industry, having
laid waste to competing national cinemas in other &#8220;markets&#8221; such as Europe,
tries in vain to figure out how to attract younger viewers to its sclerotic annual
spasm of self-congratulation, opting this year for all-snark, all-the-time, with
<i>Family Guy&#8217;s </i>Seth MacFarlane as host
to an event that began with William Shatner (reminding us yet again why the
original <i>Star Trek </i>got dumped to the &#185;Friday
night &#8220;death slot&#8221; in 1968) and included everything from racist, anti-Semitic
and homophobic&nbsp; humor to Ron Jeremy jokes
&amp; a song to actresses&#8217; <i>boobs</i>.
Hidden amid all that crap were some awards to a few good people, though not
necessarily the best in any given category. It&#8217;s a rough night if the only
thing to get enthused about is a lifetime achievement award for <a href="http://en.wikipedia.org/wiki/DA_Pennebaker"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">DA Pennebaker</span></a>
</span><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%;">&nbsp;&amp; why any exec thinks an infinitely
tedious routine from a TV show that got dumped 45 years ago will keep younger
viewers engaged is beyond me. I kept waiting for an actress &#8211; or anyone &#8211; to announce
that next year there were would be a medley dedicated to MacFarlane&#8217;s penis,
but that it would be a really short number. <o:p></o:p></span></div>
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<i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%;">Argot
</span></i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%;">is
an efficient little thriller, tho not the sort of film that would have risen to
the surface in the good old days of American cinema. Likewise <i>Silver Linings Notebook, </i>a romcom whose
premise is that both of the primary characters are damaged. A nice little film
but, save for Jennifer Lawrence&#8217;s performance, barely worth rousing oneself
from a two-hour snooze in the theater. Against the excesses of <i>The Miserables </i>or the bloat of <i>Lincoln, </i>however, these two films look
pretty darn good. But against cinema that is worth watching &#8211; <i>Beasts of the Southern Wild </i>or <i>Amour </i>&#8211; why are these films even on the
same list? It&#8217;s not that the Oscar hasn&#8217;t gone to outright dreadful movies over
the years &#8211; <i>Chicago, Out of Africa, Rocky
</i>&#8211; but there was a time when such films stood out against the backdrop of a
vital, raucous industry being challenged by great films from abroad. Nobody
would make <i>Hiroshima, Mon Amour </i>today
&#8211; Emmanuelle Riva&#8217;s first film in 1959. Nobody would distribute it, nobody
would see it. <o:p></o:p></span></div>
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<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 115%;">No wonder that Netflix sees an increasingly large slice
of its market opting for serious cable dramas &#8211; the simple demands of
story-telling over one or more seasons forces better writing, better acting,
better direction than the movies in 2013 have any desire to deliver. &nbsp;<o:p></o:p></span></div>
<br />


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<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">&#185; I&#8217;ve only seen Lawrence be less than spell-binding in
one performance, <i>X-Men: First Class, </i>where
she plays Raven &amp; looks like she wandered in off a live-action shoot for <i>Shrek.&nbsp;<o:p></o:p></i></span></div>
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<h2 class='date-header'><span>Friday, February 08, 2013</span></h2>

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</span></i><span style='font-size:12.0pt;line-height:200%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"; background:white'>by</span><span style='font-size:20.0pt;line-height:200%; font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000";background:white'><br />
</span><span style='font-size:16.0pt;line-height:200%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"; background:white'><a href="http://www.forughfarrokhzad.org/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Forough</span></a> <a href="http://en.wikipedia.org/wiki/Forough_Farrokhzad"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Farrokhzad</span></a></span><span style='font-size:16.0pt;line-height:200%;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><o:p></o:p></span></p>
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<p class=MsoPlainText align=center style='margin-bottom:10.0pt;text-align:center'><iframe width="640" height="360" src="//www.youtube.com/embed/wgBETuge4Eo" frameborder="0" allowfullscreen></iframe></p><p class=MsoNormal align=center style='text-align:center;line-height:200%'><span style='font-size:12.0pt;line-height:200%;font-family:"Arial","sans-serif"; color:#262626;mso-themecolor:text1;mso-themetint:217;mso-style-textfill-fill-color: #262626;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=85000 lumo=15000"'><a href="http://en.wikipedia.org/wiki/Paul_Auster"><span style='color:#262626; mso-themecolor:text1;mso-themetint:217;mso-style-textfill-fill-color:#262626; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=85000 lumo=15000"'>Paul Auster</span></a><br />
on Brooklyn &amp; <i style='mso-bidi-font-style:normal'><a href="http://www.imdb.com/title/tt0114478/"><span style='color:#262626; mso-themecolor:text1;mso-themetint:217;mso-style-textfill-fill-color:#262626; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=85000 lumo=15000"'>Smoke</span></a><o:p></o:p></i></span></p>
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<h2 class='date-header'><span>Tuesday, July 31, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><span style='font-size:20.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-chris-marker-director-la-jetee-dies-20120730,0,299072.story"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Chris</span></a> <a href="http://www.chrismarker.org/"><span style='color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Marker</span></a><br> </span></b><span style='font-size:12.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><br> <a href="http://www.guardian.co.uk/film/2012/jul/30/chris-marker?newsfeed=true"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>1921</span></a> <a href="http://www.hollywoodreporter.com/news/french-filmmaker-chris-marker-dies-355809"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>&#8211;</span></a> <a href="http://en.wikipedia.org/wiki/Chris_Marker"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>2012</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, July 25, 2012</span></h2>

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<p class="MsoNormal" align="center" style="margin-bottom:.25in;text-align:center; line-height:150%"><a href="http://farm9.staticflickr.com/8015/7634973360_0c683e41da_o.jpg"><span style="font-size:10.0pt;line-height:150%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;; color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline:none"><img border="0" height="362" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/XJu6-zqzQhAwtTdo5ntmVrx_xO2H9T-yedRuoUj7p_2Zbz1Z9Bdg4oe6kDY6M_NBbNUeE83qt0U6fj2WjUQGkd7RkJFyeLpW5WJxjDP72N_QUg%3Ds0-d" width="544"></span></a><span style="font-size:10.0pt;line-height:150%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;"><o:p></o:p></span></p>  <p class="MsoNormal" style="margin-bottom:.25in;line-height:150%"><span style="font-size:10.0pt;line-height:150%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;">There is something of the awfulness of an <a href="http://www.imdb.com/name/nm0000248/"><span style="color:windowtext">Ed Wood</span></a> film about James Franco&#8217;s Hart Crane biopic, <i style="mso-bidi-font-style:normal"><a href="http://www.imdb.com/title/tt1756791/fullcredits#cast"><span style="color:windowtext">The Broken Tower</span></a>, </i>except that there&#8217;s not, not really. What made Ed Wood everybody&#8217;s favorite bad filmmaker was a fundamental joy underlying all of his projects, the thrill of making movies, even if the flying saucer was a paper plate dangling on a string, the dialog wooden, <span class="GramE">the</span> plot preposterous. The dialog is wooden, the acting atrocious, the narrative movement non-existent in <i style="mso-bidi-font-style:normal">The Broken Tower, </i>but its underlying sense is one of brooding pompousness. You&#8217;re cringing at the self-importance of it all from the first frame to the last. <o:p></o:p></span></p>  <p class="MsoNormal" style="margin-bottom:.25in;line-height:150%"><span style="font-size:10.0pt;line-height:150%;font-family:&quot;Arial&quot;,&quot;sans-serif&quot;">The ultimate crime here is that nothing in this film gives you the sense that Hart Crane was an interesting or an important poet, let alone both. When his texts are presented as voice overs or as text on the screen, they&#8217;re too long and rushed &#8211; it&#8217;s impossible to absorb it all &amp; the passages cited aren&#8217;t the ones that inspire an impulse toward further inspection. When Franco as Crane gives a reading, it&#8217;s so ponderous &amp; Victorian that both my wife &amp; I nodded off before it was over. Indeed, the impact is <span class="GramE">so</span> different from Franco&#8217;s quite moving reading of <i style="mso-bidi-font-style: normal">Howl </i>in his role as Allen Ginsberg in the Rob Epstein-Jeffrey Friedman film of that name that it&#8217;s shocking. The two readings should be studied by film students so that they can understand why an actor is so often better off in the hands of another director, even relative novices to dramatic filmmaking like the documentarians Epstein &amp; Friedman. We&#8217;ll get to see Franco try it all a different way when Franco stars as CK Williams (I kid you not) in the forthcoming <i style="mso-bidi-font-style:normal"><a href="http://www.imdb.com/title/tt2133333/"><span style="color:windowtext">Tar</span></a>, </i>a film with nine &#8211; count &#8216;<span class="SpellE">em</span> &#8211; directors. <o:p></o:p></span></p> 
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<h2 class='date-header'><span>Friday, March 30, 2012</span></h2>

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<p class=MsoNormal><a href="http://www.thebeathotelmovie.com/"><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;line-height: 115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'>The Beat Hotel</span></i></a><i style='mso-bidi-font-style: normal'><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>, </span></i><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>which<i style='mso-bidi-font-style: normal'> </i>begins a weeklong run at </span><a href="http://www.cinemavillage.com/chc/cv/show_movie.asp?movieid=2417"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Cinema Village</span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> in New York tonight, is a charming, if imperfectly intimate, documentary about an important and too-little-understood chapter in American letters, the convergence of all the major Beat writers save for Jack Kerouac in Paris between 1957 &amp; 1959. It was at </span><a href="//maps.google.com/maps?q=9+Rue+G%C3%AEt-le-C%C5%93ur,+Paris,+France&amp;hl=en&amp;ie=UTF8&amp;ll=48.855539,2.342877&amp;spn=0.007158,0.01869&amp;sll=40.047444,-75.478178&amp;sspn=0.008328,0.01869&amp;oq=9+Rue+G%C3%AEt-le-C%C5%93ur+&amp;hnear=9+Rue+G%C3%AEt-le-C%C5%93ur,+75006+Paris,+%C3%8Ele-de-France,+France&amp;t=m&amp;z=16"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>9 Rue <span class=SpellE>Gît</span>-le-<span class=SpellE>Cœur</span></span></a><span style='font-size:10.0pt;line-height: 115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'> on the Left Bank that Allen Ginsberg composed <i style='mso-bidi-font-style:normal'>Kaddish, </i>Gregory Corso composed <i style='mso-bidi-font-style:normal'>Bomb, </i>William Burroughs completed <i style='mso-bidi-font-style:normal'>Naked Lunch </i>&amp; <span class=SpellE>Brion</span> <span class=SpellE>Gysin</span> built his </span><a href="http://en.wikipedia.org/wiki/Dreamachine"><span class=SpellE><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Dreamachine</span></span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> &amp; demonstrated the use of cut-ups, a literary collage device that he appears to have stumbled across independently of Bob Cobbing&#8217;s earlier work, and which Burroughs would make his signature literary tool. Also living there at the time were Peter Orlovsky, Harold Norse &amp; Ian <span class=SpellE>Sommerville</span>, quite a gathering for a 42-room residence. <o:p></o:p></span></p>  <p class=MsoNormal><a href="http://www.imdb.com/title/tt1959550/fullcredits#cast"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Directed</span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> by all-around-renaissance man </span><a href="http://www.thebeathotelmovie.com/filmmakers"><span style='font-size:10.0pt; line-height:115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242'>Alan <span class=SpellE>Govenar</span></span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>, the film functions by pulling together interviews with a number of former residents of the hotel, including photographer Harold Chapman, Cyclops Lester, artist Eliot <span class=SpellE>Rudie</span>, designer-musician Peter Golding &amp; Jean-Jacques <span class=SpellE>Lebel</span>, making heavy (and generally felicitous) use of Chapman&#8217;s photos &amp; <span class=SpellE>Rudie&#8217;s</span> artwork, as well as some klutzy dramatic re-enactments (the only one that is really needed is of Bill Burroughs&#8217; &#8220;disappearing&#8221; trick), as well as commentary from some of the standard Beat scholars<span style='mso-spacerun:yes'>  </span>such as Barry Miles &amp; Regina <span class=SpellE>Weinreich</span>. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>As a retelling of a familiar story, </span><a href="http://en.wikipedia.org/wiki/Beat_Hotel"><i style='mso-bidi-font-style: normal'><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>The Beat Hotel</span></i></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> wins points for not belaboring the larger beat narrative &amp; honing in on what its key figures really know, which was &amp; is their experiences sharing the same small establishment run by Madam <span class=SpellE>Rachou</span> &amp; containing this wealth of creative energy. When it ventures much outside this range, its reliability as narrative becomes more questionable &#8211; </span><a href="http://www.allenginsberg.org/uploads/images/city%20lights%20group.jpg"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Neal Cassady</span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> is <i>twice</i> identified in the photograph linked to his name as Jack Kerouac. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Like so much work around the Beats &#8211; Beat scholars must be the <span class=SpellE>ufologists</span> of literary criticism &#8211; there are a lot of claims here about the revolutionary nature of these geniuses &amp; very little actual demonstration of that genius, as such. I don&#8217;t quarrel with the claims &#8211; I think that largely they&#8217;re correct, especially with regards to Ginsberg&#8217;s best works, Kerouac&#8217;s early writing and Burroughs&#8217; sardonic satires &#8211; but to <span class=GramE>continue</span> to see such unsupported major claims <i style='mso-bidi-font-style:normal'>when plenty of evidence for it actually exists </i>does make me cringe, not just here, but here also. Other than a few lines of <i style='mso-bidi-font-style: normal'>Howl, </i>very little of the work as such is quoted directly, and the most interesting literary discussion as such is <span class=SpellE>Lebel&#8217;s</span> depiction of his translation of <i style='mso-bidi-font-style:normal'>Howl </i>into French. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>But this is quibbling. I just wish that anybody making a doc today on the Beat movement would commit themselves to doing at least as good a job as </span><a href="http://www.imdb.com/title/tt0090312/"><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>What Happened to Kerouac?</span></i></a><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;line-height: 115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'> Beat Hotel </span></i><span style='font-size:10.0pt; line-height:115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242'>has its limits, but its virtues are substantial as well. I would especially point to the interviews with Chapman, <span class=SpellE>Rudie</span>, <span class=GramE>Golding</span> &amp; <span class=SpellE>Lebel</span> for their capacity to give a real feel for what life was like in Paris in the 1950s. The film does an excellent job articulating <span class=SpellE>Brion</span> <span class=SpellE>Gysin&#8217;s</span> oft-misunderstood role in Burroughs&#8217; development &amp; the movement in general, and really excels at suggesting not only how <i style='mso-bidi-font-style:normal'>Naked Lunch </i>was cobbled together, but also how the period at the hotel marked a turn in Burroughs&#8217; work away from being simply the avuncular guru to the wide-eyed Ginsberg and becoming a major artist in his own right. If the film has a blind spot, it&#8217;s in articulating what became of the likes of <span class=SpellE>Sommerville</span> &amp; Sinclair <span class=SpellE>Beiles</span>, and who precisely Madam <span class=SpellE>Rachou</span> was beyond somebody who liked to rent to poets. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, March 02, 2012</span></h2>

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<h2 class='date-header'><span>Friday, February 24, 2012</span></h2>

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unhidewhenused="false" name="Colorful Shading Accent 6">   <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 6">   <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 6">   <w:lsdexception locked="false" priority="19" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Emphasis">   <w:lsdexception locked="false" priority="21" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Emphasis">   <w:lsdexception locked="false" priority="31" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Reference">   <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference">   <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title">   <w:lsdexception locked="false" priority="37" name="Bibliography">   <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading">  </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>  /* Style Definitions */  table.MsoNormalTable  {mso-style-name:"Table Normal";  mso-tstyle-rowband-size:0;  mso-tstyle-colband-size:0;  mso-style-noshow:yes;  mso-style-priority:99;  mso-style-parent:"";  mso-padding-alt:0in 5.4pt 0in 5.4pt;  mso-para-margin-top:0in;  mso-para-margin-right:0in;  mso-para-margin-bottom:10.0pt;  mso-para-margin-left:0in;  line-height:115%;  mso-pagination:widow-orphan;  font-size:11.0pt;  font-family:"Calibri","sans-serif";  mso-ascii-font-family:Calibri;  mso-ascii-theme-font:minor-latin;  mso-hansi-font-family:Calibri;  mso-hansi-theme-font:minor-latin;} </style> <![endif]-->  </p></span><p class="MsoNormal" style="text-align: center; line-height: 150%; font-weight: bold;" align="center"><span style="font-size:130%;"><span style="line-height:150%;font-size:12.0pt;" >Samuel Beckett&#8217;s
<i style="mso-bidi-font-style:normal">Film
</i>with Buster Keaton</span></span></p>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2012/01/14_24.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2012-01-24T00:01:00-05:00'>Tuesday, January 24, 2012</abbr></a>
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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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