Monday, November 5, 2007

p.s.  So the other day I was thinking about Todd Solondz, a filmmaker about whom I've never quite been able to form an unconflicted opinion, and I'd thought I'd throw him and his stuff out to you lurkers and locals so see what you think.  So have at them, if you feel like it, and thanks.  I woke up too early today so I'm kind of sleepy, so I'll probably be a little a little short and loopy today.  **   Lost Child, Yeah, I'm in email non-answering hell, and trying to clear my way out it.  Nothing personal, of course, of course.  You'll hear from me really soon, I swear.  Well, I sure hope our LA trips in January can align.  That would sure be nice.  Let me know your dates there when you know them.  Much love to you.  **  Sirhc, Chris!  Wow, how the heck are you?  That's fantastic about your film.  Well, I'm actually living in Paris the great majority of my time now, so I'm not in LA, which sucks.  Get your film in some Parisian festival.  Man, it's so nice to see you.  Say hey to Andy, and I hope we can sort out a reconnection soon.  Take care, man.  **  Bernard, 'Spooky Bear Weekend', goodness.  Can human bears be spooky, even when they try?  I'd like to see that.  Glad you liked the Wes Anderson too.  Excellent UFO think out loud.  I saw a handful as young teen, or maybe I did, in the skies over Hawaii, although I don't know.  Officialdom said it was meteors, but why were those air force jets chasing them like crazy if they were meteors?  **  Mat, Oh, you can post any pix of me you want, I guess, except those making a stupid face in sequence ones maybe.  **  Doug Wasted, Yeah, sneaking is usually the best policy, but oh well.  What are you writing about regarding Syria anyway.  Let me know if the Paris trip goes through.  I don't have to make my LA dates for a short while yet.  **  David Ehrenstein, Renfro was so not flirty.  What's the opposite of flirty? Or the opposite minus hostility.  He was that.  'Sayat Nova' aka 'The Color of Pomegranates' is one of my 10 favorite films of all time.  **  Ackechikogorou, Oh, your experimental fiction blog is in German, drat.  That blue is intense.  I'm real glad you and Cata met up.  He's great, right?  As no doubt you are too.  I need to get Berlin somehow, god damn it.  I look forward to the Broken Social piece, needless to say.  **  SYpHA_69, Yeah, maybe the legs problem is inherited.  Yury has weak knees that make swimming and jogging difficult for him, and apparently weak knees goes back centuries in the Smirnov clan.  I say give the exercises a while to work.  Muscles are stubborn motherfuckers, as are legs.  **  Statictick, Objectively, yeah, you know what they say about rebound love not being long love or whatever.  Maybe you need a hobby or something.  Or a porn plunge.  Just do your best, whatever that may be.  **  Steevee, I can't imagine 'Killed' can reach France, unless it's been youtubed, which seems like a natural.  I'll check.  Yeah, to my mind the fuss over the moveon 'betray ad' was one of the most telling, depressing things in recent memory on so many levels.  Just the idea that things are so off course than moveon could actually be called a radical group with almost no one on either side challenging that tag.  Is it really so grim and deadheaded in the US that moveon does in fact constitute a radical group these days?  That's a very sad question to even have to ask.  **  Slatted Light, Beautiful thoughts on Xiu Xiu, and thanks about George.  He's on my mind so often that it doesn't take much to start talking about him, and I  do want to be mindful of others' attention spans.  I hear you about the body merging.  I mentioned this in one of my novels, maybe 'Guide', but I used to have this exercise I'd do when I felt overly attracted to someone.  I would imagine myself inside their body, and it would quite often diminish the lust, and was kind of an instructive mental exercise about the nature and limitations of lust too.  You agree about 'In the Mouth of Madness'?  Wow, I rarely find people who've even seen it, much less agree.  Nice horror film top ten.  I'll have sort out mine, now that you've triggered my top ten list fetish.  I'll figure a way to do the b horror movie entry, and any suggestions from you or anyone else about the best way to do that are very welcome.  **  Jack, Nice icing on the cake.  Yeah, not a bad bit of icing at all.  Why am I surprised?  **  5stringsA, You've been very sick? Very sick?  Dude, are you all right?  Naturally, I've been wondering where you were.  Yeah, I really did smoke a whole bunch of joints with Michael Anthony, and he didn't wear spandex clothes back then or anything.  **  Wolf, Wow, that was great.  Your post.  What's going on down there in Brighton right at this very moment?  **  Atheist, I got a note that there's a package in the currently closed office of this residency waiting for me.  I wonder ... could it be ... ?  I'll let you know.  **  Joe M., I bet you could fall in love with a new band if you let yourself, and Xiu Xiu is one quite viable candidate.  I think there's a lot of really interesting films being made, and I'd say this has been an usually good year for film  in fact, with a bunch of potentially really fresh films coming out between now and Xmas, like (just to name the more Hollywoody stuff) the new Todd Haynes, the Tim Burton/Sondheim, the new Van Sant, the new Coens, and others, but I don't know that TV is open minded enough to play the really fresh stuff while it still fresh or make such things very often.  Capitalism's a bitch.  Isn't there a good art house cinema in Glasgow you could haunt?  **  Mb, My total pleasure.  Thank you.  More, please?  **  Math t, Whoa!  Are you a sight for sore eyes, or what?  Fucking cool.  Are you, like back back, like back to hang out?  Whatever's good.  That new drawing you linked to is incredible.  The work's in some spectacular new shape.  And I'm glad you sound like you're in okay shape after what sounds like a pretty unokay period.  I can't wait to see you in NYC too.  Just such a pleasure to see you, Math.  You made my month.  **  Robert-nyc, Yeah, Velvet Mafia is an excellent thing.  Those guys who do that and the press are heroes.  I don't know my top five Xiu Xiu songs off the top of my head, but 'Blacks' is definitely in my top two.  **  JW Veldhoen, I'm too tired this morning to try to answer such a good question.  I don't know ... painting is so ... I'm not a big painting guy, never have been really.  With many exceptions, but it's the lack of insidiousness that kind of, I don't know, bores me a lot in painting, not that painting can't be insidious, but I like sculpture, best of both worlds, of many worlds, plus you can't represent it even slightly in a photo, which is one reason I love it.  But anyway, I'm rambling.  I absolutely love that kid pic of you.  **  Richard Eichmann, Hi.  **  Bacteriaburger, One thing I love about the idea of making porn is that you have believe you're right, that your tastes are in fact common ones, or that they aren't and you can seduce others into feeling things your way, which of course is exactly what so-called fine artists believe, which is one reason why I think porn has to be considered an art form, albeit an art form that's way too rarely utilized by artists, which makes it a kind of frontier, which makes the idea of making all the more exciting,  **  Thomas Moronic, That's a great book to read on that particular trip.  Maybe you should read it to the kids around a campfire  You could do so much worse for them.   Good luck with all that, and see you on Friday if not before.  **  Porcelain Skull, Sorry, Alex.  I'd say someone having a boyfriend is not like living on the other side of the Berlin Wall, but it's probably best to let it go, right?  Great about the group show.  I'm so glad things are happening in a public way.  Do please let me/us know when we can have a look.  **  Matthew, Hey.  New, real name.  Why not?  Well, thank Creative Massacre for that trailer tip.  She's the blog's reigning master of that genre.  **  Adjoun, Where can you get that Japanese design stuff?  Like in stores?  Xmas is coming up, and Yury loves that kind of stuff.  Yury's thinking about Moscow tips.  He cringed when I asked and then said he'd think about it.  **  Tigersare, Gosh, that pic was, well, let's just say I'm on the immediate look out.  And listen out too.  Thanks.  Wow, you're busy.  Do you just crank out the articles and try not to care about them?  Or are you gifted with the magical ability to do quality with speed?  Monty Python: when they were at their height of popularity in the US, I was in my one year at university, and the school was just full of people doing the dead parrot thing and singing the spam and lumberjack songs and so on, so I came into their stuff kind of hating the mere sound of them, so, no, I wasn't much of fan, but I get the good in them now even though the unpleasant memories remain.  You were/are a real fan?  **  Catachrestic, I told you it was awesome, see?  You did superbly, sir, and I will be forever in your debt, and it is my understanding that Jamie is a reader of my blog, so I have stinking suspicion he saw the Day and is possibly even lying in bed with the covers turned down staring longingly in the direction of Berlin right now.  **  Chris, Frankly, that does sound pretty civilized.  Civilized in the negative sense, spoken by anarchist me.  But I'm glad you were a hit.  And I'm glad I was wrong in my 'Wound Man' guess too.  I did a reading at Queer Up North once ages ago.  In fact it got me laid.  And laid more than satisfactorily too.  Word to the wise.  I was pretty into the poetry coming out of England in the early 70s, yeah.  There was this Penguin anthology called 'Children of Albion' that gathered what I guess were the more sort cutting edge English poets at that time: Horowitz, Raworth, that guy who also wrote Cream's lyrics, and many others, and I liked it a lot.  Are/were you into those guys?  They were kind of a overseas parallel to the second generation New York poets like Padgett, Berrigan, Brainard, et. al., whom I adored.  The early 70s were a great time for poetry.  There was a sense of revolution and fun going on that pretty much died out right after that, it seems.  **  Blair, I wrote you.  Man, thank you so much.  Your photographs?  Yeah, definitely think about  showing them.  Absolutely. Oh, and to anybody else whose eyes are seeing this, Blair's new novel that's coming out in March is fucking amazing.  You all just wait.  **  Marc, Yeah, err, uh, email phobia continues, but it's being chipped away.  Awesome about the new job, and your exciting busyness.  Oh, yeah, here's the address:  Dennis Cooper c/o Centre International des Recollets, 150 rue du Faubourg St. Martin, 75010 Paris France.  That's good until mid-late December, so it should work.  **  Creative Massacre, The Fabulous Moolah died?  Oh, that's really sad to hear.  When I was first getting into wrestling, she was still around although I don't think she was still wrestling then.  I think she was more of a side character by then, maybe a manager or something.  I always adored her.  That's sad. Thanks for the 'Hostel 2' tip.  It's been on my list.  Can you believe I never even saw the first 'Hostel'?  Do I need to see them in order?  **  Misanthrope, You'll have to wait a bit to celebrate or slit your wrists about my 'Paranoid Park' review.  See, kindly CyCyLoLo got me and Yury free passes to see it, but it turns out you can't use the passes on weekends.  Hopefully asap.  Oh yeah, well, if I ever get the chance to eat VK's ass, that German cannibal killer is gonna seem like Laura Bush drinking Starbucks.  Oh, that's right, you idolize Laura Bush.  Okay, like, like Leslie Stahl drinking Starbucks.  Top that.  **  Dynomoose, Those pix of Persephone are so unbelievably sweet they even had the 'most dangerous writer in America' awwwing and cooing like I was Atheist or something.  I never saw all that much in Brad Renfro, actually.  He was too angry for me or something.  You liked 'ItMoM' too?  Cool.  I'm not the hugest John Carpenter fan in general apart from the obvious couple: 'Halloween,' 'Escape from New York', etc.  He's made an amazing number of total stinkers to my mind:  'The Fog', 'Vampires', 'Starman', ... need I go on?  Am I wrong?  **  Okay, I've gotta go artificially wake myself up some more somehow.  See you tomorrow.

63 comments:

akechikogorou said...

oh, todd solondz day - i should have a lot to say about him, but i'll be out of the door in a minute and there's only time to say hello. i remember we once had a little discussion here when math t suggested a similarity between him and fassbinder (hi math, by the way!). i was all for solondz and not very enthusiastic about fassbinder, and found myself argueing against a couple of americans who were of the opposite opinion. i guess it helped me to see fassbinder with different eyes, but i'm still more into solondz's way of doing comedy than into fassbinder's humor which may simply be too 'german', and that's to say, too close. anyway, have a nice day. any news from mr. friendly dictator daniel?

JW Veldhoen said...

Hostel 2 also affords the opportunity to witness the death of Dawn Wiener. I think Solondz is pretty great.

porcelain skull said...

dennis my swami, yeah your right, i met a friend today who's just joined gaydar and its working out for him, so mmmmh, i might just throw my body to the dogs

love love love, alex,x

JW Veldhoen said...

Petlike Dolls or Demon Monsters

In the picture Dennis, my Mom was forcing me to smile and look happy. She had dressed me up and cut my hair... one might say dressed up like a little man.

I still have the dimples.

JW Veldhoen said...

Go about half-way to get past poor Carl Sagan.

Bacteriaburger said...

I have much to say about Solondz. "Welcome to the Dollhouse" remains the only film I've ever walked out on. I was startled by the way he handled such painful material - he seemed to be making fun of his characters, and it left a bad taste in my mouth. Thankfully I gave it another chance with "Happiness," and in that film he showed that he was aware of at least the complications of what he was trying to do. "We're not laughing *at* you, we're laughing *with* you," goes one line of dialogue. "But I'm not laughing."

"Storytelling" is a favorite of mine. Not only did he build a whole film around examining his own motives, but the movie's really tightly written and funny. "Palindomes" is his weak link, I think. It was an interesting risk to take, but it didn't pan out.

It's true, as some of the negative reviews you posted point out, that he's working with the same taboo/shocking stuff every time, but I think the real progression and thing of interest in his movies is the way he keeps re-evaluating his work, like going back to past characters. That's why I'll keep watching his movies - just to see where he goes next.

adjoun said...

DENNIS DECOL, lovely stuff right?

the russian designer showed me some cause he is thinking of working with them too.

yes, where to buy the stuff, you can find some on ebay, but I have to look it up. i think paris should have some shop whre they sell these things.

Tonyoneill said...

You know just looking at all of the Solondz movies together here, it made me realize how many of them I have watched and really loved, although I never think of him as a favourite of mine. i think the one that made the biggest impact one me (and the first of his movies i saw) was Happiness. i thought it was fantastic. i remember when the lights came up I had that same stunned - nailed to my seat feeling as the first time I saw "Kids" (although Kids has lost that power to shock me that it once did, and I feel like larry Clark never directed another good movie, even Ken Park bored the crap out of me)

But i have seen all of them except for "Storytelling", and liked each one in its own way. I even enjoyed Palendromes a lot, which seems to be an unpopular opinion among critics but what the hell. I thought there was soemthing really amazing and risky about the whole concept of it, and the fact that he could get this movie funded and into cinemas in America was a kind of miracle.

And yes, as JW Velhoen mentioned I just watched Hostel 2, and it was kinda weird seeing a nude Dawn Wiener hung upside down and... well, I wont spoil it if you havent seen it.

Welcome to the Dollhouse was so sad, and so funny, and I thought the kid in the garage band was one of the most perfect characters ever.

Hm, maybe I should watch Storytelling. i think i skipped it because James Van Der beek or whatever the fuck his name is was in it. There's just something about putting Dawson in a movie that makes me think it will suck ass.

DavidEhrenstein said...

Way back in the 80's Todd Solondz hung around the Los Angeles COunty Museum of Art film screenings and such. I say "and such" because I have distinct memory of him working on the "Great Bronzes of China" show (known by those who worked there as "The Great Pronta" because of a hysterical phone call from someone demanding tickets to "See the Great Pronta!") In all liklihood he didn't work on the show but hung aroudn so much tat everyone thought he did.

Back then he was full of plans for conquering the movie business. He would have been getting in just under the wire as the studios in a few short years would become "units" of corporations and Barry Diller (The Last Mogul) would depart for the lucrative and FAR more powerful shores of the internet. (In many ways the writer's strike is a valiant -- but ultimately fruitless -- attempt to unseat Barry Diller. Lotsa luck with that. That queen won't give an inch.)

Anyhoo Todd "took meetings" all over town. Well anyone could do that, but he talked up those meetings and pitched himself to journalists as The Hot New Thing. At this point whatever major studios might have been interested became disinterested and Todd made his first film Fear Anxiety and Depression for Cannon.

Remember Cannon?

That film isn't featured today and finding it anywhere is quite difficult -- which pleases Todd. He starred. It might be described as an early Woody Allen comedy.

From Hell.

No, that isn't a reccomendation. It stinks on ice.

I reviewed it for Daily Variety I'll see if I can find the review on line and link it.

DavidEhrenstein said...

Can't find my review anywhere. But there's THIS. (scroll down)

adjoun said...

dennis, the fact that yury already grinched at the thought of old moskva does not make things look bright but what you expect from russian gloom, so it is very excused. but maybe hehehehehe he can come up with some design ideas for the wall instead?

adjoun said...

the russian guy is not familiar with the gayclubs so maybe yury knows some, though I can imagine they can be pretty deressing

Tosh said...

I like Todd Solondz's work. He is one of the few filmmakers where Lun*na and I make a point to go to a theater to see the work before it disappears into DVD hell.

"Happiness" I think is his masterpiece, and yes, I don't often think about his work - I always make it a point that I MUST go see it.

And the comparison to Fassbinder is interesting. I much prefer Fassbinder's work to Solondz's - but there is a thread between them. Both are very shocking at times, but just in different cultures. Is Solondz a Fassbinder fan?

On a personal note, I have been working a lot on my personal blog. I think this particular blog (DC) has totally inspired me to lose myself in the blogging world. I have films of Vince Taylor up as well as some Godard, a thing about the Situationists, recent Lun*na work, Boris Vian of course, and most important my office space!

It's at :
http://tamtambooks-tosh.blogspot.com/

For those who are interested!

Nicholas said...

More on Life During Wartime-
At the Provincetown Film Festival in June 2007, Solondz remarked in an interview with John Waters that his latest project had fallen through, since Emma Thompson dropped out and a lot of funding was tied to her. However, there is an imdb page for Life During Wartime so perhaps the project is still alive.
Yes, the rarely seen first Solondz film is awful. I think they have it for rent at Kim's in NYC.

JW Veldhoen said...

I'm gonna rape you after school

Atheist said...

dynomoose, your daughter is so goddamn GORGEOUS i think i'm going to burst! AWWWWWWWW ....!!!!!

statictick said...

Dennis: Thank you for all your comments about my relationship deal. No, I can't do rebound shit. I tried that when things went south before, and found a nice guy, compared to Weavie. Too nice. And too inhibited. My writing shocked him and he was, for his age and experience, too clumsy in bed. Didn't last long. As for a hobby, hey, there are three writing projects and the very slowly composing Rallo film ideas. When the concussion wears off, I'll be back in order. But thanks again. I'm sure this bores most everyone else. But I'll at least laid somehow.

As for Solondz, I love the guy. I like being conflicted about films, pretty much anything, so therefore I choose Storytelling as my favorite, Happiness close second. They are unsparing in a lot of ways. Most people I show them to just freak out - y'know, why would anyone make movies like that. You don't watch one of his films without having a strong opinion about it, or a divided one, but something comes from them, always.

And yeah, ain't Persephone, Moose's daughter, just the shit? I am so honored to be her dubbed uncle.

Good to all.

N.

5StringsA_ said...

Dennis,

Yeah, all fucked up. A big, nasty,
snotball in the depths of my face. I read like 20 pages of Frisk, drank a couple bottles of liquor, ate some day old museum-style food, and ended up having been infected with some shit. I never get sick. I was like, I read this damned book and get the fucking German Measels stigmata LOL. The L.A. circulation of elites is fascinating. I bought a pair of spandex pants when I was a kid in this really old uptown department store. Pale spandex orange and black, maybe a splash of teal. Okay, now some Solodnz. Have a nice
day Dennis. Much

michael_karo said...

lovitz should have gotten an oscar for that opening scene.

"is it someone else, or...?" "no, it's just you..." devastating.

and then later..."andy's dead." "who's andy?"

no one remembered him.

god, i could go on about thse movies, but i've gotta run to work!

"is your pussy all wet?"

michael_karo said...

"now i'm gonna have to get ANOTHER goddamn face lift!"

michael_karo said...

"i...i...came!"

stickitminister said...

Unlike some, I've never been conflicted when it comes to Solondz. But that's probably because I've got cold and cruel blood inside me. His harshness always seemed fair enough, even if he enjoyed torture a little too much.

Funny for me, my favorite has become STORYTELLING. I felt let down the first time I watched it in high school. Thought it was flawed and small. But that's sort of what allowed it to creep deeply after a few years and extra viewings. Not to mention it's the first I think where a little bit of Solondz harshness gets self-directed.

SYpHA_69 said...

I recall seeing "Happiness" years ago when I was in college and I really enjoyed it. I saw it again recently, a few months ago, and I still like it a lot... only other Solondz I've seen is "Storytelling" which is also very good. Have never seen "Welcome to the Dollhouse" or "Palindrones" but want to one of these days... I guess you could say I like the guy. I wouldn't rank him in my top ten or anything but he does interest me.

steevee said...

The Move On thing is really infuriating. Right-wingers can make overtly homophobic or anti-Semitic statements and still be considered part of the mainstream (i.e, Coulter), while Move On and Michael Moore get treated like far-out radicals. The center has moved very far to the right. I suspect it might start moving in the opposite direction, but it's got a long way to go before achieving some sort of balance.

I haven't checked for "Killed" on You Tube, but that's a good idea.

Chris said...

Hey Dennis: yeah, that was an interesting time that Children of Albion captures. You could barely tell the (so-called) popular or mainstream poets from the (so-called) vanguardists, everyone was seemingly just bouncing off everyone else. It's difficult for those of us who came through a lot later to appreciate the importance of Horovitz in making that possible. By the time I was reading poetry, he'd put together Grandchildren of Albion -- I don't know if you ever saw that, but man, it's a crock of shit.

For me the real hero from the Children of Albion set is Tom Raworth. Of course as you know he's still producing incredible work. I know him a little bit, he's such a sweet guy. He's done a couple of readings for things I've curated and he's always totally surprising. And you know his blog, I'm sure. I think you and Tom are the two great examples of blogging as an extension of your creative language rather than an adjunct or repository of what you're doing elsewhere.

He's a big Lily Allen fan, yknow...

I don't think I'm much help on Solondz. I feel pretty coolly about him, really. I'm glad Happiness is there, but since then... Hmm. He's one of those really accomplished filmmakers who nonetheless makes me think, yknow, you have this room full of people, and you want to tell them that?

What this does make me think, though, in relation to Dollhouse, is: where the fuck is Brendan Sexton? I'm not sure I've seen him anywhere since Pecker. I really liked him, I thought he was going to be massive. Him and Nathan Bexton. There should be a genre of slash fiction reserved for people who rhyme with each other.

Thanks for the queerupnorth tip!

xx

Chris said...

Bernard: hey. Yeah, that dream project does sound interesting, potentially, at least coming from the basis of considering dreaming in its social context. I guess the problem, as ever, is really whether the outcome is transferable to anything outside the ironic space of the performance: using dreams as the engine instead of other fictions doesn't necessarily get an audience anywhere new beyond the very limited horizons of most theatrical fictions, i.e. personal identification / recognition.

Like, for example, I don't know whether Katie Mitchell's production of Carol Churchill's version of A Dream Play a couple of years ago made it to NY, but that completely tripped itself up in that way. Churchill had created this extraordinary version of the Strindberg, and then Mitchell discarded quite a lot of it and replaced those sections with collaboratively devised material based on the company's own dreams. It was a complete failure: obviously I'm mostly pro-collaboration and anti-playwrights but Churchill is a great theatre poet and Mitchell's skill at working with devising was (at that time) next to nil. So this great text got trashed for the sake of some limp stuff about people's teeth falling out: the problem with which is that once you've gone, oh yeah, I have that dream too -- well, so what? What are we supposed to do with that recognition?

I guess in the end it kind of depends on what you want theatre to do. The phrase you used about "replacing received reality with the substance of dreams" kind of makes me uncomfortable because I totally don't want theatre to do that. I don't want theatre to be a space of retreat or transcendence or a space where "received reality" gets overwritten with some kind of wilful digression or evasion. I want theatre to be instrumental in replacing received reality with better, more equitable reality. So the continuousness of the theatre space (physically and psychically) with the reality around it is crucial to me, and a theatre of "replacement" or substitution makes that really difficult to achieve. In essence I'm saying about theatre exactly what you're saying about dreaming: that it has to be considered to have a civic and avowedly anti-private function, a progressive function, rather than being some trivial leisure industry offcut (which is what I think we are encouraged to believe about both).

But it's hard, it's really hard.

Thanks anyway, very tasty food for thought. xx

Amputaciones said...

Back in Madrid from Porto.
What a wonderful city, man!
If you have the opportunity, don't doubt...
I've put some pics onto my blog. Take a look & see what I'm saying.

About Solondz, I've got to say that I was pretty surprised when I saw 'Happiness'. The dreamed shooting scene will be always on my mind. I think this and his first film are my favourites. I really don't know what to say about 'Palindromes'; I just couldn't finished that one. Maybe it was me: too drunk or too sleepy or not in the mood. I've got to try again one of these days.

winter rates said...

solondz's ability to make you feel uncomfortable is so top notch.
i love the little delinquent kid who makes out with Dawn Weiner and says things like "i'm gonna rape you."

i only saw happiness once and storytelling once so the memories are kind of blurry. "physically challenged" sex stands out in my memory. haven't seen palindromes. dog lick cum.
i love letham's essays et. al. but tossing solondz into the ring with gaddis and dylan is a bit heavy fucking handed. sure gaddis and dylan can be ornery and vindictive but that's not their normal m.o.

i have 1000 things to do today to prepare for china, not to mention type 5000 words and i just started my day with eggs benedict and a bloddy mary wearing a disheveled suit that i slept in at Coma's post housewarming cocktail party in david lynchian 50's basement bar. i am in a great mood but desire a nap with all my heart. and who am i to deny my heart.

btw trumans water are playing europe in february, i'll keep you posted.

Atheist said...

lovely chris, i so wish i'd had the chance to meet you in nottingham. are things going ok?

adjoun said...

I wonder if you should see xiu xiu better playing live.

adjoun said...

I did not like STORYTELLING that much as HAPPINESS which I think is a masterpeice. chillingly great. STORYTELLIONG was a sort of not-HAPPINESS, which is always stupid (this comparisons) of course, why can't we see movies always in their own right.

is it something everyone does au naturel ????

I need to re-watch storytelling soon.

btw, maybe yury could just give of a list of moscow don'ts, as that is his forte I guess. (I mean don'ts as in "once you are in moscow already!")

Chris said...

Atheist: I'll drop you an email, pet. xx

math t said...

hi Dennis, for sure i am back as in back. back to hang out, back to work. pleasure's all mine. started the first poster last night; 25x30" [63.5x76.2 cm]; Sharpie on Staples easel pad; teeze.

__catachrestic, hello there, and wow thanks. everything happens for a reason. yeah, i need about $400 to do a first run of tshirts, and even with a lot of overtime i make about $400 a week. so i'm getting there, just trying to have money at the same time i have time. my goal is no later than Dec 5.

__Todd Solondz, meh, i don't hate him but i think his films are of pretty average intelligence. nothing special. akechikogorou [yo friend!] already recapped what i would have said, that to me his films seem similar to Fassbinder's but are much more obvious, less clever. but that's possibly because Solondz is too American, too 'close'. still Solondz often seems lazy to me- Happiness drags on and on; the ending of Storytelling makes little sense. also the fact that JT LeRoy was a big fan has always turned me off of Solondz a bit. but whatevs.

i remember Happiness and Velvet Goldmine both hit wide release on the same day in 1998 and i saw them back-to-back at the Sunset 5. i was so confused i ended up buying a Playstation.

love, math+

katsim said...

I'm not sure I can say that I like
Happiness but I thought it was really good. I did a painting watching it but I don't remember which one now. But yeah, I rate it. I want to check out Storytelling now

DavidEhrenstein said...

"Making people uncomfortable" isn't all that difficult. It's the "and after that" part tha really counts, IMO. Solondz hasn't gotten there yet and I'm not at all sure that he cares to -- which is a shame.

joe m said...

Dennis there are probably loads of great groups and films around but I'm just too lazy/cynical to seek them out.Like I haven't seen of today's guy's though I recognize a lot of the titles. I just keep making mental notes then not following up because something easier comes along first. We have The Glasgow Film Theatre, where I used to go to see Russian subtitled films decades ago and which shows all the new off-Hollywood stuff so I have no excuse.

The thing is whenever I do give a non-blockbuster a chance it's always the same old stuff - plus depressing. But I think I've just got out of the groove of thinking when viewing. I keep promising myself I'll lock myself away in a log cabin with Proust and Bergman and all the new obscurer stuff, no net etc.

So the next time I venture out to the GFT it will be to see the 'new' Blade Runner ("Then we're stupid and we'll die" is my favourate line too).

Lots of Hollywood stars pay to have their names plaqued onto a seat at the GFT. Last time I was there I went to my decades-long usual seat, back row, exact middle and looked under the seat for the plaque - it was Woody Allen. Fitting, since I saw all his films there and it's the only cinema that shows his stuff in Scotland now.He and John Waters are the only ones I make a point of seeing.

Misa please don't, as you threaten, do everything in your power to halt the BR DVD. I too hate all those expensive Extended DVDs - who needs storyboards/deleted scenes/making of etc (unless it's something like The Wizard of Oz or Streeetcar named Desire not Die Hard 94). But wait till the BR DVD is out then, the next time you're skyping Laura, get her to stop her husband planning Armageddon for 5 minutes to look into it.

I saw Laura on youtube swearing (covertly she thought) at that comedian from the Jon Stewart prog:
"Get fucked" she said.Isn't there something about that in the bible? Maybe, like you, she hasn't read the whole thing yet.

That BBC documentary "A year in the life of the Queen" (now re-named) is going ahead. This was the one where one of your vulgar American photographer hippies upset our gracious queen.

Also one of the blackmailers is a Scottish playboy (not me) and the other some gay that fancies him (there was a pic of him in leather shorts /hat). They are pleading not guilty and say The Palace were the ones who mentioned money. Plus they have goss about 4 other royals. Should be an interesting court case next year - if it comes to that. The royals have a habit of settling out of court - as with Diana's butler. They do not want light shone on The Royal family. We'd all be stunned.

wolf said...
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wolf said...
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5StringsA_ said...

I think I like this Solondz guy. Pedophile with a gun. Teen mag masturbation LOL! Is that the doctor from Requiem? "I grabbed Hit Parader? Oh well, fuck it." Sunshine Singers -"If not he, then me." Awesome day!

wolf said...

i saw "welcome to the dollhouse" when it was released, thanks to my english teacher who dragged our collective teenage ass to the movies. i was only born in 1997 so i wasnt quite there nor quite able to be impregnated with memories yet, but i seem to vaguely remember appreciating it. i also remember wondering why i could understand the movie without reading the subtitles.



whats going on in brighton right now?
a drizzly fog is falling/and/or/rising. i intended to find a clear spot and tripod my camera into a stillness receptive to the fireworks, but said fogrizzle screwed up that plan. still the fireworks dont seem to mind.

other things happening at that very moment in brighton include and are not limited to, a dog biting a baby's head off, two lovers deciding one of them will depart for a foreign country while the other swallows hard and acquiesces, a flock of siblings being redefined according to unforeseen circumstances that are only unforeseen because all have given up vision for shorter sight, and the joke's on them, a bull's heart being voodooed into a spell that shouldnt be cast but is cast nonetheless, a seagull making its one-legged way towards a piece of bread that is snapped away at the last moment by a bigger two-legged seagull, a young boy more beautiful than the sun aiming his firework towards the face of his father, only to find the rain has rendered his weapon impotent...

meawhile, on my left is a masterpiece called "The Fall Of Nineveh", that i purchased for a ridiculous(ly small) sum, in an original giant frame weighing about 50kgs. my very early version of this once popular mezzotint was engraved by John Martin himself and dedicated to the king of france Charles X. how it ended up in a clueless antiquarian's shop and then in my bedroom is anybody's guess. the king's long dead anyway so i might just as well have it. it is probably the most impressive artwork i have ever seen. this is the beast, or at least a less impressive version of it. mine's contrasts are incredibly strong:

wolf said...

links still dont work for me. click the time&date of the post.

Doug_Wasted said...

Whatta day.

Welcome to the Dollhouse and Happiness are masterpieces, I don't think Solondz'll ever surpass that two punch.

Favorite line: "Pussy ... need pussy."

Happiness especially is one of those movies so perceptive and wounding that it just burrows into you, white hot. It blows American Beauty clean out of the water. I even love the way it's made, no nonsense, no clutter, just letting the writing stand out. American Beauty's too artsy, too Philip Glass, too CGI roses. In terms of writing inspiration, it's definitely a top five, meaning, instead of going to creative writing classes, you should just look at that movie and it's pretty much all you need to know on how to write dialogue.

I've not seen Palindromes. I have it lying around, I'll pop it in one day. Storytelling was, of course, worth seeing, and it has some choice moments, but it's too ... I dunno, it's too open-ended, the storytelling is poor, it seemed like Solondz lost himself a bit and made a movie to find out what he was trying to say. I really think that coherence and starting out with something to say is vastly underrated.

You guys've been banging on about Brad Renfro for days now. I've not seen him in a movie since Bully, where I thought he was Brando great. Bully was John Waters' favorite movie that year, I read. For real. I feel that legitimizes my digging it. Great, sweary dumb dialogue. "You fuck, you fucked up my fucking car! Fuck! You stupid fuck!" But then again, I love John Carpenter's Vampires.

Dennis! Uhm, yeah, coming to Paris January 14th, leaving the 16th. So it would be great if you're in town. I fast tracked the whole abroad trip when I saw that Chris Rock is playing a show in London and that I could actually get tickets. I'll just blow school stuff off and what ever happens, happens.

slatted light said...
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slatted light said...

Dennis, I think Solondz is pretty awesome. There isn’t a film of his from Dollhouse to Palindromes that I haven’t really liked on some level, though Palindromes I’m more lukewarm on than the rest. I mean, I can see how people can take issue with his films or feel a sense of dissatisfaction about them but I sort of consider that offence and/or uneasiness the art and point of his work. Most of these negative reviews pissed me off, cause the critics seem more interested in bundling together a bunch of witty epithets and hypercritical moral strictures, than explaining what exactly it is they mean, and citing examples, when they call him ‘embittered’, or ‘childish and mean’, or (yawn) accuse him of a failure to ‘humanise’. For me, it’s the very fact that Solondz’s films are capable of generating feeling at all which makes them so brilliant, disturbing and original each time. Like, when Lethem says Solondz is so caustic he verges into the vindictive and looks ahead for some sort of starry situation where Solondz would become more sympathetic and forgiving, he assumes those two things (sarcasm and sympathy) are incompatible, and I definitely don’t think they are with Solondz. I mean that the most cynical moments in Solondz are genuinely touching, like Dylan Baker’s ‘I would have just jerked off’ moment in Happiness, for instance. You know, it’s about the logic and passion of human connection in highly hostile and crippling circumstances. Everyone is earnest in Solondz’s films, and, even in exaggeration, or precisely because they are in exaggeration, they sincerely mean what they say. Which is what is so real and cruel about them: their genuineness. And as for the assertion that his movies don’t allow us to risk anything because they introduce a sense of superiority into us from the outset, I mean, really? Is it the films themselves which create that superiority? Or is it that the films speak to a certain sense of superiority that’s already there in the audience, instilled within us before the fact, and play upon that superiority cynically? I mean, I’ve always taken Solondz to be interested in soliciting certain complicities from his viewers which counteract the self-assured sense they have that those complicities are not there. I think this is what the uneasiness in his films works towards, the fact that we can be shocked by how much we relate to rapists, pedophiles, arseholes, racists, sexists, homophobes, exploitationists, selfish vain fuckwits, and so on. And asking, why should we be shocked by this? If we’re ‘all’ survivors, as the son in Storytelling blandly points out, we’re also all victimizers. It’s as ordinary as dinner with the family. Like in Storytelling where, as the more positive review on it says, you have “the graphic coupling of a powerful African-American with one of his white pupils” and “the fact that audiences squirm at these images, and then recoil from their squirming, says much about Solondz's gift for confronting society's buried prejudices.” Also, in Happiness, the way he creates such a close identification with Baker’s paedophilic father character that you find yourself in a position where you’re actually hoping in some part of yourself that he’ll pull off his sleeping pill in the sandwich plan, or, at least, that he won’t get caught at it, which is a true shock, the paedophile’s mentality supposedly being so inherently predatory and other from our respectable own. He doesn’t just aim to disturb you but to show you how you’re already pretty deeply disturbed. Which is why I think he says his fans are actually the people who don’t like his films, or something to that effect. Anyhow, yeah, I guess I’m a bigger Solondz admirer than I realised.

Quick PS to that long rant: John Goodman is like, a minor god to me. I sort of rate him up there alongside Bill Murray, as comedic turned dramatic actor, except a little more underrated in his dramatic talents, and seen in fewer self-evidently great films. At any rate, he was fucking superb in Storytelling.

Moving on, I saw Saw 4 yesterday. I agree with Sypha, it actually wasn’t too bad at all, and the drubbing it’s received is pretty unfair considering it’s pretty well plotted and well tied up with its prequels for the fourth film in a franchise. Basically, it’s the same old formula, though this time it was more focussed on the ethical dilemma of testing whether it’s possible for a person to act against their own values in order to do the right thing. Which I think is a pretty smart and interesting problem to pose. Anyway, I reckon, if you’ve seen the others, watch it, it’s nowhere near the disappointment it’s been made out to be.

I’m really looking forward to your top horror films list, Coop. On b-grade horror movie day, though, um, maybe you could choose one film and like, through that, synthesise what it is about the badness of such films which makes them inadvertently awesome. Like, Bloodsucking Freaks could possibly be a good example, if you’ve ever happened to catch that. Cannibal Holocaust is another one, of course. Or else you could do like, a best of scenes thing (if youtube is generous enough, that is, to offer enough clips) which concentrates on presenting the schlockiness of b-grade and how the graphic and the utterly fake and outlandish sit eerily well side by side in them (much like your photos in Frisk come to think of it). Anyway, those were a couple of suggestions that came to mind. Thanks for the day, Coop.

Matthew, oh, Dead Alive is utter genius. I’d totally forgotten about it, actually. I love when the main character, Lionel, has his mother order him to mow the lawn, and he’s like, “But, Mum, I did it yesterday”, and she sweeps back the window curtain to reveal this astonishingly immaculate garden, and sneers, ‘Do you call this a well-maintained frontage?” Haha, I reckon that line just about sums everything that movie is about. The Blair Witch Project is definitely brilliant too. Man, top tens are virtually impossible, which is their glamour, I guess. Actually, thinking about it, I realised I love Final Destination a whole bunch too, which I find a lot smarter than it’s usually been given credit. Uh, anyway, thanks, man.

DavidEhrenstein said...

But what about those of us who don't relate to rapists, pedophiles, arseholes, racists, sexists, homophobes, exploitationists, selfish vain fuckwits, and so on ?

Are we "uncool"?

DavidEhrenstein said...

Moreover I've never found societies prejudices to be "buried" in any way shape or form. Ever since I could walk they've been right in my face.

Bernard said...

I'm not a Todd Solondz fan. Welcome to the Dollhouse just seemed to me one of those formulaic indie films that try to find a way to be more interesting than Hollywood mainstream, but don't seem to consider that one way to do it might be to have better writing, more interesting shot composition, and some fresh ideas. Palindromes was just dumb, but I think a lot of people who are fans even feel that way.
I'm kind of overstating the case because Dennis invited some equivocal response. I do really admire aspects of Happiness, including Jon Lovitz's scene and the confrontation between father and son. And he's been lucky in his choice of actors there and in Storytelling.

But I'm really only saying this to offer the contrast of The Art of Crying, which I saw last night, a recent Danish film that will probably never get the US showings it deserves (unless it gets the Foreign Film Oscar it's up for). Solondz's comedies about tragic families just seem shallow to me; The Art of Crying is rich and deep and has an amazing performance by a kid at its center--the character tries to emotionally blackmail his sister into sleeping with their father because he can't bear to see his father so unhappy. A very believable character. Another obvious example of similar material used a very different way of course is The Celebration (Festen). which I guess was Dogme # 1 or 2--still one of the most astonishing movies of the last twenty-five years. I dunno, next to that stuiff,. Solondz's movies seem to me more to come from the world of Zach Braff and Scrubs.

I've probably never said anything quite that mean in my life.

DavidEhrenstein said...

Oh I'm sure you can be TONS meaner than that Bernard.

laurabethnoble said...

Dennis,

I haven't talked to you for a whole weekend, and I feel like there is SO MUCH I need to say.
At lunch today I made a list of things I couldn't forget to mention:
1. Thursday I was still drunk from Halloween, and I proceeded to drink again that night. I was causing strife over simple matters. My nieghbor and I could never go out, it would be too silly. I can't even believe that we did kiss, for that matter. I only thought it would happen again while I had my three-day drinking binge. Hahaha, binge. That's too heavy a word for a half pint of southern comfort each night.
But I'll move on.
Oh, I talked to him since, and nothing is awkward. We joked about it, actually.

2. I am so fucking going crazy not knowing what to do with myself because I can't fathom the fact that I do, yes I do, have a boyfriend again. Life does move on.
So, with my nerves all worked up and I thought way too into the whole Greg situation.
Roommate went home for the weekend and Greg came out. I was in fuckin' heaven. We just layed around my dorm room smoking, watching movies/the office, talking, holding each other, OMG i wish he was still here.
I'm not completely attached, don't worry Dennis. I know better than that.
He treats me so nice. I didn't pay a dime this weekend, not on food or the ticket to a school play. He holds open doors and holds my hand. He always calls when he says he will.
So, for future reference, basic Gregory stats: 20 yrs old (graduated a year ahead of me), lives a half hour from my home town, works at his dad's HVAC company(, drinks a lot but not to a noticeable effect- he basically drinks like I smoke).

When I was walking into the building for my history discussion on Friday, this girl, Steph, turns around, dropped her arms and said, "I don't know what I am going to do!" I've known who she was, but we've never talked. She lives in my building, down on the first floor. Basically she can't do history and she needs help because she is a failing. Ummmmmm teacher in me much? Before class I wrote some stuff down that she could comment on (we do different historical dcuments each week). After class we walked back to van meter together and she came to my room. With the roommate gone, we smoked and listened to music. She turns out to be a really, really cool girl. I don't want to count my chickens before they hatch, but I may have a new friend on my hands. She sat next to me in the lecture today. I said she should, so that the teacher will recognize her and see that she goes to every class. And she did it.

Things are looking up. My back's been killin' me, so I guess I have no emotional woe to cover it up. :)

Yours,
Laura Beth Noble!

slatted light said...

David E., that's a good point, but I would probably argue back, based on my understanding of Solondz, that he would refute your claim you don’t relate to them. He wouldn't say you were lying, just that you didn't know yourself. I think he would say all that's missing is that you haven’t yet been shown the context in which you would relate. Hence, the fact his films are so uncomfortable: because either they suggest a link you wouldn’t like to admit, seeing as you, like me, sincerely don’t think there's any relation there or they create a circumstance on screen in which you find what you would consider absolute values, like not siding with a paedophile, say, seeking to rape a child, are put into jeopardy, because you experience yourself emoting otherwise. I mean, I’m not trying to say that Solondz is saying we’re all secretly paedophiles, or arseholes, or bigots, as if we were immanent Klan members save for the hoods. But I think he is trying to say that these psychological states which accompany these people we deem (sometimes justifiably, sometimes unjustifiably) abhorrent is not somehow their psychology alone. Create the right conditions and suddenly we won’t recognise ourselves as the ethical beings we thought we were.

As for the whole question about the buriedness of prejudices, I mean, you’re right, man, they aren’t buried, they can still be screamingly apparent, but obvious prejudices are constructed out of networks of seemingly common sense assumptions. Like, it’s one thing to hate gay people flagrantly, and there's plenty of examples of that, but open antipathy is based on a wider consensus of implied values, values which involves liberals too, who, for instance, say they’re okay with people being gay but also replicate the stereotypes, bullshit assumptions, and fears about them. As an example, I think, for instance, of something Dennis mentioned here once about what pisses him off most of all is where people will make some casual, friendly joke with him about being gay which becomes a kind of gateway to spread into more hateful, deepfelt homophobic stuff. Though to them, it still all seems to just be a joke, seeing as we’re all universally equal. The point being that acceptance can simply be another opportunity to be reactionary. And I mean, to continue the example the very reason, say, a gay conservatism exists at all is because people like Andrew Sullivan believe if we can only remove the visible signs of prejudice, all will be well because prejudice is epiphenomenal. I think Solondz isn’t interested in attacking the obvious. I think he’s interested in attacking what passes as the normal.

But I mean I could be wrong about all of this. No doubt it could be argued back that, with Solondz, his critique of the normal is the obvious. So, maybe I assign more to it than there is, and maybe it is true that the films come off as trite. But like, if so, if it is the case that his work traffics in the same territory as Scrubs or Zach Braff, as Bernard suggests, which I mean, I can see an argument for, there’s also the fact that a lot of Solondz’s content couldn’t really ever be seen in that kind of quirk film. He definitely shifts the register out of quirk and into the perverse. Actually, I think Solondz can seem so pedestrian precisely because he packages a lot of what he does in precisely that bland, oddball American vernacular, because that’s the audience he’s speaking to and about. So yeah, but anyway, I know I’m tending to bleed out any and all problems with Solondz here, which is not quite right, because I’m not saying he’s like a divine gift to American cinema. I have problems with him. Just not these problems, I guess.

Creative Massacre said...

Hi Dennis,

It's cool that you haven't seen 'Hostel' yet, not a lot of people have. However, you will need to see the first 'Hostel' before watching part two. You just may enjoy them, I know I did.

I have a couple more trailers for you if you're interested. I was in a quite cinematic mood earlier, and went searching for a couple of good trailers for you to check out, I hope you enjoy them. :)

Slumber Party Massacre

Slashers (a movie by Fangoria!)

Buio Omega (Beyond the Darkness [Great, great film!]

JW Veldhoen said...

Went shopping and ended up in some bookstores which I haven't done in a while. Considering the time spent selling books it is strange looking at books recently published and for sale now. I've tended mostly to libraries the last few years, and am not getting my literature retail anymore. I know the italics and my tone here is snooty, but so what? Most of the books I see at places like B&N or The Strand are so boring... Books published for the bonfire of subject-headings. Like Umberto Eco's 'On Ugliness'... A volume devoted to the history of the ugly, in the same line as Eco's 'History of Beauty'. Both are thin encomiums created for Rizzoli's, with classy reproductions of prosaic examples glued together with an inadequate and smug gloss... The history of the sublime in one volume? A history of of the grotesque in less than five-hundred pages? Eco ends 'On Ugliness' with a conservatism in line with being an 'integrated intellectual' (vs. what he once called being an 'apocalyptic intellectual'), with a dim-witted reduction of a particularly horrifying (different than grotesque) Cindy Sherman. (Called 'Untitled #250', the image in question depicts a supine female nude statue with a withered hag face, maybe reminiscent of Courbet, with a plasticine hunk of what looks like shit born from its vagina.) This image, and indeed the whole book is followed by a reprinting of a portion of Italo Calvino's 'The Watcher', a short story ostensibly about Italian politics, but really concerned with the metastasis of style, with phrases like, "Everyone knows those moments when you seem to understand everything; perhaps the next moment you try to define what you've understood and it all vanishes."

I find such concerns about the negative, and about nihilist tendencies in art and literature alarmist and boring overall. Although I can also understand wanting something besides, especially for something expressed in a way free of the instrumentalities deployed in the culture wars... For instance, I tried to write an essay recently for Ariana, to post on 'Action Yes', because I thought commentators there got her wrong in insisting on the label 'politically grotesque' (a wholly tautological description btw that I don't understand), and missed a basic definition of the grotesque relating back to Montaigne (according to a long-dead historian named Wolfgang Kaiser), that sees the memoir as a disorder of sense, and memory necessarily torn from 'real' experience... An old anxiety that gets drummed up as something new, that she was so incredible to imply, and yet it went unnoticed. My essay went too long and I've given up on it because I hate writing 'non-fiction', and also because of the bloated discussion surrounding the subject. This disjunction between self and representation is at the root of a moralistic critique of literature and art and it insists on a correspondence between observing life, and rendering it. The rhetoric of wholesome verisimilitude and correctness. The inversion of commonly held morality is but a simulacrum of the genuine passage through states of liminality. I agree with Peter Greenaway that the greater part of celluloid film (with notable exceptions) is but illustration to text. The screen usually only allows for an exploitative venting of narrative conventions that despite their apparent extremity are tame compared to films created for an art audiences with fewer narrative hang-ups and expectations, or sculpture, or some painting, or performance art, or literature, that mines this discordance. All of which is reputedly inauthentic compared to the thing-in-itself, whatever that might be... So, yeah, I'm more conflicted about Todd Solondz than I said, and I can see David E's point. My favorite Dennis Cooper novel to date is 'Guide' because of how he (you?) tried to deal with the space between the real and the imaginary within the construct of a fiction (not at all new, but I like the way it came off... Especially compared to some other writers that I won't mention.) Something lacking in most of the movies I've seen that Todd Solondz has made (I have the same problems with the likes of Larry Clark, but strangely less with Nan Goldin?)

I can see where you are coming from Dennis when you talk about how you prefer sculpture to painting... I know some other people who hold to that line, and maybe I should agree if only because most of the new new painting hasn't been really that great... I looked through a book by a photographer named Anne Daems today though (with an interview with Dan Graham) called '72 Girls and Some Boys Who Could Be Models' that I liked. It says something too about beauty and ugliness...

At best the point that Eco wants to make seems to be that art can become fixed and accustomed to a mode of ugliness for ugliness sake, and that one can become accustomed to it, and perhaps too easily. I too wish ugliness could take new forms, rather than merely parodying society. I dunno... I've been thinking about this all day. I even ended up choosing a new novel to read entirely based on this question, titled directly enough 'The Grotesque', by Natsuo Kirino, even though I probably don't need another of this kind of book...

Misanthrope said...

Dennis, I won't try to top it because you should love Laura too. Because she loves you. She and George love gay men and lesbians. That's why they've done absolutely nothing regarding gay marriage and have the Christian Right mad as hell at them. I even suspect that some of the reason that they're fighting the jihadists is because the latter hate gay people. Just a theory.

Okay, can I bring the Solondz discussion down a notch or two? I mean, make it really pedestrian and vulgar - like the sweet fellow who pissed off that illegal queen of Joe's; Jesus, what nation in its right mind is a monarchy anymore anyway? Haha, they pay taxes so that woman can live in luxury and never have to lift a finger and she hates them with every atom of her little, stoop-shouldered being and they think that's great, hahahahaha - and crude? I liked Welcome to the Dollhouse because I thought Brendan Sexton was hot. I couldn't watch Happiness because the boy who comes at the end is ugly (yeah, I just watched that part, what a fucking waste of time). I haven't seen the others but some sound interesting, especially the one with the bi teenager, though the boy who blows him in the clip is creepy-looking. So creepy that if he tried to go down on me, my dick would shrink back into my body and form a cunt, which would then bleed period blood into the fucker's face like Old Faithful, a gushing torrent of hemoglobin and water...

Don w said...

I've seen every Solondz movie to date, and after each movie I feel very much in need of a bath. That's not to say that I don't enjoy them. On the contrary. 'Happiness' was so lusciously dark and funny that I had to enjoy it. I loved 'Welcome to the Dollhouse,' but I felt less enthusiastic about 'Storytelling' and 'Palendromes.' I'm a bit like you, DC. I see the movies but I don't have strong, clear convictions one way or the other. I'm just glad he's an American filmmaker doing something interesting, or something vaguely titillating, at lease.

Thanks for the Xiu Xiu day! Mr. Jamie Stewart and friends make some insanely enjoyable music. I ran into Jamie at a bookstore not long before I moved; he was buying this book of Russian tattoos, pictures of Russian tattoos on prisoners. I've seen that book here and there. Perhaps you know of it.

SYpHA_69 said...

I should say that I kind of prefer the "Hostel" series to "Saw" if only because I find myself caring for the characters in the "Hostel" films more... they seem better fleshed out, I guess you can say. The "Hostel" films also have an odd sense of humor that's kind of missing from the "Saw" series (esp. "Hostel 2"). I like "Saw" mainly because of Tobin Bell and also because of the traps. But I think the series is starting to grow a little long in the tooth now and they really should end it... the plot twists keep getting more and more unlikely and baroque as the films progress. But I like how you need to know a lot about the previous films to make sense of each new installment. You know, William Bennett's a bigt fan of the "Saw" franchise. He hyped up the new one in his blog recently. Dennis, you should really check out the "Hostel" films. They aren't even that long to watch (second one was like an hour and a half).

What I liked about "Happiness" was kind of the ultra-realistic environments that the scenes seemed to take place in. I wonder if Solondz is some kind of a closeted pedophile or something. That would be cool.

dungan said...

Hey Dennis, the pub event was fun, and I managed to read coherently, though they made me go last, which was nerve-destroying. But a success, I guess. Many crazy, shitty things afoot here. But not included in that catagory is the screening of Valerie and Her Week of Wonders that Gail and I just returned from at the newly-revived Silent Movie Theater. Incredible live score by a nine-person band. So great, scary, funny and, I think because of super tight and frightening live accompaniment, extremely teleportative, if that's a word. I'll look through the blog now that I have some moments to find answers regarding the outcome of your apt. situation, etc. Hope all's well, SD

jack said...

I was at a bar the about a month ago and Jamie was there. I was rendered speechless, despite the fact that I had a pretty good ice-breaker (I interviewed him for "Frontiers"

Re: Solondz, I really, really loved Happiness -- one of my favorite films, but of the others, I feel very "feh" about them ...

adjoun said...

hello from eau d'joun :-)

Atheist said...

beautiful slatted light, so articulate and thoughtful, how's your dissertation coming on? is it going ok? i'd love to read it if/when you're ready?

Dynomoose said...

Dennis,
One of these days I'm going to have to find some way to articulate my thoughts and feelings on John Carpenter. Not that I think I could convince you and others that he's as good as I know he is.
Just to put it out there.

slatted light said...
This post has been removed by the author.
slatted light said...

Hi Atheist, thanks a bunch. Um, I’m not doing my thesis anymore. I ended up dropping uni. I started writing my major work, then got sad, then stopped. It’s my usual story of depression aiding or abetting dysfunction. Ho hum. But hey, thanks so much for offering to proof it and for just being so generally kind. I really really appreciate it, more than I can do justice here.

How’s your work coming along? Last week, actually, I read Dennis Altman’s Global Sex, which I think you mentioned here once a long while ago. I didn’t mind it, but thought was kind of weak in some areas. I loved how cross-cultural it was but it was also pretty moralistic in a lot of ways, I felt. I mean, it’s obviously a landmark work, being one of the first, right, to call for a closer look at the tie between sex and political economy, and I was really taken by the evidence it offered for the amount of exploitation there is in the sex industry, particularly in its relation to government, and the emergence of the prostitute rights movement and so on, which Altman seems to be a fan of, and I am too. I also liked the stuff about how as intimate as sex can seem, it takes place in a social context, which permits and limits certain experiences and pleasures. Actually, that made me think of Hostel in a way, the pure sadistic pleasures that can come from a particular social context of sex. But then the book had other moments when it lost me. Like when, at one point, Altman talks about how, in the Kosovo war, pornography was distributed to Serbian troops to encourage rape crimes and contribute to the dehumanisation of the victims. And his implication is that porn as a commodity in and of itself facilitated those atrocities. And like, he cites literature in which there’s a lot of heated, and somewhat triumphant finger-pointing at the porn industry worldwide as being the true culprit in unleashing these brutalities and others like them. But, I mean, to say PORN caused people to rape is so bizarre and weirdly fetishistic, as if commodities had their own consciousness. Altman says he’s a Marxist but, as far as I know, Marx would’ve hated an interpretation like that. I mean, in this case, for instance, it wasn’t porn per se that caused the soldiers to rape, but the act of institutionally distributing certain pornographic representations with the deliberate intent of inciting atrocity. The decision to sanction violent fantasy as a weapon of war was at fault. Not pictures on a page. Like, the outside context matters, the actors in the context matter, the representers matter, and to reach the conclusion that some specific horror like Kosovo proves that porn always and everywhere is only a shortcut to real life sex crimes is so reductive and needlessly punitive. I bring this up because I think the same goes with male (and female) prostitution. I love what you’re doing with your work because you understand that the question of sex work is not so much one of liberation vs. prohibition that can be applied universally but one which requires a piece by piece, place by place examination of the specific social and institutional contexts which explain why certain sex trades exist and whether they are exploitative or consenting. Also, it’s an approach that can help track down how exploitation and free choice become entangled and mixed up in one another, and which can try to work out a humane way to get past that entanglement. Anyhow, sorry, I raved on, as usual. I just wanted to say I’d been thinking about you and your project.

Atheist said...

slatted light, i'm so sorry you've been feeling down and that you've had to give up your studies - maybe it just isn't the right time for you, but you could take it up again one day? you always just blow me away with how insightful and intelligent and measured and clear your comments and thoughts are, i really get the sense that one day you'll write something unbelievable and ground-breaking, you know? thank you so, so much for being so totally supportive and amazing re: my project - i've been feeling really low in confidence about it and you've majorly perked me up! i'm not a major fan of altman's 'global sex' either - i just couldn't really get a clear sense of what his core argument is supposed to be, it just seemed a bit fragmented i guess. it was like loads of little pieces of a jigsaw puzzle but i couldn't understand what the overall image was supposed to look like. and you're right that the violent porn = rape thing is such a load of old crap! except you've expressed it in a way more articulate way i ever could - i really am in awe of you, slatted light, you have such a beautiful and precise way of saying stuff and whenever i read one of your posts i think 'that's SO what i wanted to say'!