Movie Millisecond: Garbo explains

Related to the last post, since we’re on the subject of GG —

Mata Hari (George Fitzmaurice, 1931.)

Movie Moment: Secrets! Secrets! Secrets! — Brand Upon the Brain! A remembrance in 12 chapters

Brand Upon The Brain! A Remembrance In 12 Chapters (Guy Maddin, 2006).

I don’t often do this, because I’m not keen when people force me to watch videos and I don’t like inflicting that on others, but here’s the full trailer. It’s only about a minute and a half long and there is boobs.

That’s Isabella Rossellini’s voice repeating “The past, the past,” like a bad French student film (in Maddin’s The Saddest Music in the World, 2003, she played a tragic baroness who has two glass legs filled with beer).

The thing with Maddin is that there is nearly always a point, usually 20 or 30 minutes in, while I’m watching his stuff that I’m like, “Oh, come on,” because I’m over the striking visuals that sucked me in to begin with and I’m beginning to be irked by how it’s become over-the-top or maudlin in its cult precosity, like on-purpose cheesily cult or derivative, and I become uncertain.

Are these overtly contrived, look-how-symbolic-I-am moments and their anachronistic cinematic dialogue part of an abstract ironic technique made to make me question the tropes of arthouse garbage, or is this straight arthouse garbage? So often with other deliberately unusual movies I go with “straight arthouse garbage,” because I get like that due to dramatic over-exposure to pretentious hipsters in my short life (I’m looking at you, Portland), but with Maddin I pull back from that judgmental jump. There’s a third category: (1) parody of overwrought indulgent nonsense, (2) actual overwrought indulgent nonsense, or (3) … something else? better? deeper? more effective?

Because right when I’m supressing the urge to roll my eyes and spoil any avant garde cognescenti cred I have accidentally accrued, suddenly some really great moment will have a huge impact on my emotional experience of watching the film and I’ll be sucked in and by the end just sure it’s my new favorite.

But then the next time I pop it in to show some friend, I’m back to thinking I’ve been duped by either the ultimate sly hipster or a genuine savant who sometimes falls flat, and I’m initially embarassed for us both. But then — TUG — in to it again.

It’s a rapid, repetitive cycle, like an awkward date with your own gynecologist — you both have an idea of what’s going to happen but you don’t know what to expect. Or watching a really close friend fuck the lines to a scene badly in a drama class, but totally sell it with their eyes, and you worry that only you can see that though it looks messy it’s probably headed somewhere amazing. Uncomfortable and anticipatory. That’s Guy Maddin movies for me.

I kind of love him.

Uncomfortable is, well, uncomfortable, yeah, but it’s so often just right because it’s the truth.

Anyway, I recommend Brand on the Brain!, is the upshot.

(All the caps came from the trailer because I do not [yet] own this movie.)

Take-two Tuesday and Yesterday’s News — Movie Moment: Une femme est une femme, Zodiac quackery and cock-gobbling Virgos edition

edit: Since this post’s original appearance, I’ve been reclassified as a Leo by … the sometimes-I-tune-in Zodiac powers that be? Not actually sure whom. Fellow fabulously-damaged Virgin Panda tried to explain it to me over soosh bombasticos last week but she is much, much better at understanding this stuff than I am.

This post originally appeared on February 7, 2010 at 9:14 a.m., so practically one year ago. Synchronicity in Yesterday’s News!

Romance, science, and zodiac quackery in Une femme est une femme/A Woman Is A Woman (Godard, 1961).

Virgo is a hard worker, a neglected mother, a quotidian task master, and a selfless martyr. Virgo is also a reality TV train wreck, a drunken psychopath, and a self-abusing anorexic. Virgo is analytical on a good day. Virgo is self-critical, self-loathing, self-deprecating, self-flagellating, and self-defeating on a bad day.

The Virgin, contrary to what her title may suggest, is the resident cock gobbler of the zodiac — never a topper, always a bottom. If you’re looking for a woman who will abuse herself, party like it’s Greek harvest time and she’s drunk on mead, please you sexually without so much as a nod to her own hungry genitalia, and perform all the humiliating duties you’ve assigned to her as wife and mother, look no further than the drunken Virgin of the zodiac.

And yes, more often than not, this naughty little maiden is getting crunked at the club or downing daiquiris at the Mommy and Me block party, an attempt to drown to death the echoes of self-loathing that usually prevent her from embodying the female charm and charisma she labors to possess.

The Virgo vibratory pattern is restrictive, effective, judgmental, exact, helpful, and neurotic. Virgos are a lot of things, socially charismatic not being one of them.

Usually, when I meet a Virgo, my natural reaction is, ‘this person must have Aspergers.’ They fixate on minutiae like Rainman [and] have more clicks and ticks than a malfunctioning android attempting to process human emotion.

Virgos rule the house of diet, perfectionism, and nourishment. Just glance at a list of famous Virgos and you’ll find more self-flagellating, adulthood suppressing skeletors than you can shake a stick at: Amy Winehouse, Rachel Zoe, Nicole Ritchie, Karl Lagerfeld, Twiggy, Fiona Apple, Aimee Mann, Peggy Guggenheim, etc.

[personally adding Anne Bancroft, Evan Rachel Wood, Lauren Bacall, Ricki Lake, Greta Garbo, and Rose McGowan to that list].

Yes, that is pretty much the way of it.

Virgo is the embodiment of human turmoil.

Insightful and amusing zodiac sign analysis by Carly, whose blog “Do you think I’m smart? Astrology and other Ass Munchery” is right here on the wordpress. Usually I say that I don’t believe in all that large astrological nonsense, but I have to admit that’s the first one I’ve ever read that was right on. Maybe I just needed to read all the horrible things I already know about myself confirmed, instead of the butt-licking backhanded compliments in most horoscopes, in order to start giving it some credence.

Final thought.

How to Spot a Virgo Woman:

They have an eating disorder.

They give rigorous handies.

They have acid reflux.

They’ll do “anything for my man.”

They want your love, but don’t deserve it.

(more, if you’re into that — she is very clever and scathingly funny)

Flashback Friday — Movie Moment: A story in stills, Inaugural edition, Flesh and the Devil (1926)

This post originally appeared on Dec 29, 2009, at 2:02 p.m.

Garbo vamps.

Flesh and the Devil, 1926. Directed by Clarence Brown, based on the play The Undying Past, a translation by Beatrice Marshall of the 1894 German play Es War (“It Was”) by Hermann Sudermann.

Starring Greta Garbo as Countess Felicitas von Rhaden, later Mrs. von Eltz; John Gilbert, her real-life lover and one-time fiance as mistreated hero Leo von Harden; and Lars Hanson as Ulrich von Eltz. Gonna relay the brief plot via some killer screencaps. Enjoy.

At the crux of this silent melodrama is a love triangle aggravated by protagonist Leo’s continued desire for Felicitas, the adulterous wife of his best friend Ulrich — who married Felicitas after Leo’s duel with her first husband resulted in Leo’s being stationed in South Africa for five years — and author of his misery.

Supporting players are Barbara Kent and George Fawcett as Ulrich’s younger sister, who begs Felicitas to stop trying to have both her brother and his friend, as it can only result in yet another duel, and sage Pastor Voss, who has known both men all their lives. But the real star, of course, is Garbo and her face. Everyone else kind of fades in to the background.

The action begins with a ball where recently-trained soldier Leo first meets Felicitas von Rhaden, who he’d glimpsed briefly leaving the railway when he arrived in town. Felicitas also remembers the eye contact and throws him some more smoky glances. Stealing away from the ball with Leo, she conveniently does not mention she has a husband, so when Count von Rhaden catches them getting up to sexytimes in her bedroom, Leo has no choice but to accept the Count’s challenge to duel him.

Question for discussion: Would you seriously die for some chick you met at the train station even when you just had empirical evidence thrown in your face that she was lying by omission about being freaking married, so you knew there was a pretty good chance she was a skank? I mean, is her honor really more important than your life? What is wrong with boys? Anyway, Leo wins the duel and kills the Count.

For his trouble, Leo is sent to a remote army post in South Africa, but Felicitas stays in his thoughts, as evinced by these two, above and below, gorgeous pre-fancy FX stills. For me, simple cinematographic tricks of the early films are far more beautiful, haunting, and multi-dimensionally resonant than a thousand unnecessary CGI lensflares. (Dreamworks, write that down.)

Leo arrives home to find that, in his absence, Felicitas has married Ulrich, his best friend since childhood, who once became Leo’s blood brother with his little sister Hertha as a witness, and who was supposed to be keeping an eye on Felicitas for Leo while Leo was “out of town.” In Ulrich’s defense, having sex with a woman is a really good way to keep an eye on her while also taking time for fun. I mean, you can’t be all work and no play.

Felicitas is still all-up-ons, which obviously causes great conflict for Leo, who is still no great shakes at hiding his feelings. (He also continues to suck at not fooling around with married chicks.) Meanwhile, Ulrich’s little sister Hertha has caught on to her sister-in-law’s game and tries to intercede with Felicitas, seemingly to no avail. Leo goes to Pastor Voss for advice, who tries to counsel him against pursuing a relationship with Felicitas.

The pastor suggests that Felicitas is not the innocent pawn that love-goggled Leo perceives her to be, but instead is an active agent of temptation, perhaps even a metaphorical vehicle of Satan, a lying symbol of the falseness of a life lived away from a strong moral code.

Leo doesn’t totally cotton to the idea that the love of his life is just a jezebel who enjoys hurting men for sport, but Pastor Voss reminds him of the ruin she has wrought in his life already, forcing him to kill a man, sending him in to exile, and coming between Leo and Ulrich, his friend since boyhood. The pastor says, “I christened you separately, but I’ve scarcely seen you apart since.”

Mulling over the idea that Felicitas is not-so-blameless in this game of love, Leo flashes back on some particularly creepy and un-Christian moments in which he has caught sly-eyed Felicitas.

(It’s amazing the clarity that comes with celibacy.) This seems to actually get through to Leo, who it ends up has a capacity for outrage after all.

He goes and angrily confront Felicitas, taking her to task for the trouble she has caused him, seemingly for her own amusement, as she has specifically told him she will not leave Ulrich and that she wants to have her husband and Leo for a lover, too. When she doesn’t recant or apologize, Leo furiously goes for the throat.

Ulrich busts in to find Leo throttling his wife. Felicitas orders him to shoot Leo immediately — probably hoping that he will, and Leo won’t have the chance to explain why he was mad. Ulrich instead challenges Leo to a duel the next evening on a sort of sandbar-cum-island in the middle of their village’s lake called the Isle of Friendship, on which they used to play as boys.

Hertha, Ulrich’s sister, comes and begs Felicitas to stop the duel, but she will not. Finally, Hertha prays to God to soften her adulterous sister-in-law’s heart, and suddenly Felicitas looks guilt-stricken, gets all bundled up, and rushes out in to the freezing Winter night. This is cross-cut with scenes of the men preparing to duel, but finding themselves unable to even raise their guns and aim at one another because of their lifelong friendship. They realize this high-class hooker has basically wrecked them emotionally, and conclude that they would both be better off well-shot of her. They are friends again.

What’s been going on with the finally-redeemed Felicitas in the meanwhile, who’s been hurrying out across the ice to the Isle of Friendship as the men rekindle their love for one another and realize how worthlessly she has behaved? Mmm. Spoiler alert.

Bad girls finish last. Some releases further hammer this point home by showing a final scene in which the loving younger sister, Hertha, is on a carriage preparing to move to Munich, and Leo comes chasing after it to stop her. (Implying they will now hook up, because she is sweet and patient, and wants the best for everyone, instead of being kind of a whore, and now Leo and Ulrich will be brothers for real.)

Final thoughts: Boys, stop taking back your dreadful same old bitchface ex-girlfriends and tolerating their bullshit. Find a new bitchface and get embroiled in new bullshit!

Railing against my own stupidity — misguided Bookfoolery and forcible rejection

I did a stupid thing and decided to skip The Tommyknockers. Instead, I read L.A. Confidential, then Red Harvest, then some subpar book from Jeffery Deaver that was a bit afield from what I usually expect of him.

Image via thegunnshow right here on the wordpress. Girls Like a Boy Who Reads. My cover looks exactly like that but I do not look exactly like him. Check the blog out.

He spells it Jeffery and not Jeffrey, but that is not today’s issue. Also I am mad at him for getting tired of his Lincoln Rhyme characters (you may remember their portrayals by Denzel Washington and Angelina Jolie in the film adaptation of The Bone Collector) and moving to this boring woman in Monterey as his new detective, but there was a preview in the back for a new Lincoln Rhyme so he is sort-of back in my good graces. Jury is out: he better not do anything stupid like kill off Lincoln or his hot redheaded girlfriend Amelia. That is still not today’s issue.

Today’s issue is that I skipped The Tommyknockers which I always read over the Fourth of July in order for maximum synchronicity and a karmically blessed Summer, and I thought I’d try something different and not be a slave to superstition, but I think I got a little overly cocky. Right away bad things started happening.

And it’s obviously all because I did not read The Tommyknockers and the blame for this situation can be laid only at the door of that fact and has nothing to do with my own behaviors and weaknesses. (eye roll)

Now instead I’ve read the Gentleman’s generous loan of Pride and Prejudice and Zombies and I’m about to make a date with Milo for us to simultaneously begin Abraham Lincoln: Vampire Hunter.

Pictures come from Une femme est une femme and allthatsinteresting on the tumblr.

Movie Moment: One Flew Over the Cuckoo’s Nest

One Flew Over the Cuckoo’s Nest (Miloš Forman, 1975).

I wrote quite a while ago about how I had always responded very strongly to this movie, well before reading the book, but I recently rewatched it after having gone through the excruciating experience of being impelled to read the book all of a night in September (thanks to a loan from Jonohs), and it reminded me I’ve been collecting screencaps which I’d like to share.

Actually I have dozens more of these, but I think in this edition I want to keep the focus mainly on the question of Mac’s mental state and the conflict between McMurphy and Nurse Ratched.

“In one week, I can put a bug so far up her ass, she won’t know whether to shit or wind her wristwatch.”

(I’m pretty sure that all of these particular caps are via One Day, One Movie on the tumblr.)

Did You Know? One Flew Over the Cuckoo’s Nest was filmed on location at the State Mental Hospital in scenic Salem, Oregon. I’m not familiar with that particular monkeyhouse, but Ken Kesey was: he based the 1962 book, from which the movie was adapted, on his experiences working as an orderly there, during which time he participated in a study where he was given, among other hallucinogenic compounds, a friendly little fuckstorm of LSD and peyote. Yummy! Your tax dollars at work!

Nurse Ratched: If Mr. McMurphy doesn’t want to take his medication orally, I’m sure we can arrange that he can have it some other way. But I don’t think that he would like it.

McMurphy: [to Harding] You’d like it, wouldn’t you? Here, give it to me.

“Is that crazy enough for you? You want me to take a shit on the floor?”

“Hey, baby, where you from?” “I am from 1234 Asylum Street, Room 22.”

The original Oregon State Hospital for the Insane was established by J.C. Hawthorne in what was then East Portland, Oregon, (now the Hawthorne District). It was built in 1862, and the street on which it was built was renamed Asylum Street. Local residents protested about the name, however, and it was renamed Hawthorne after the hospital’s founder in 1888.

The street in Salem on which the current hospital is located, Center Street, was also originally named Asylum Avenue.

Heartwarming. I used to live very close to Hawthorne in Portland. Between you and me, the name change was unnecessary. There is just as much a cacophony of poverty, despair, madcap high spirits, compassionately helpless onlookers, and emotionless venture capitalists as the name “Asylum Street” suggests. An intersection of mixed purposes and emotions.

Droppin’ c-bombs. That Mac!

“Now they’re telling me I’m crazy because I don’t sit there like a goddamn vegetable. Doesn’t make a bit of sense to me. If that’s what being crazy is, then I’m senseless, out of it, gone-down-the-road, whacko — no more, no less, that’s it.”

I have basically scene by scene screencaps but I’ve always felt really strongly about this movie and I’m committed to hoping that everyone goes and watches it for themselves. No spoilers today.

The main difference between the [film and the book] is that the novel is narrated by Chief Bromden, and the reader knows straight away that he [no spoilers].

This was a major source of controversy in developing the screenplay, and eventually the reason why the author, Ken Kesey, was not the final writer. He felt as though the narration of a schizophrenic was an important aspect of the novel, because it produced a hallucinogenic perspective where the reader/viewer is not always sure exactly what is true. (the wiki)

That was my only criticism to Jonohs, I believe, when we discussed the differences between the book and its film adaptation, so now I’m feeling pretty unoriginal.

The end.

Movie Moment: Une femme est une femme, Zodiac quackery and cock-gobbling Virgos edition

Romance, science, and zodiac quackery in Une femme est une femme/A Woman Is A Woman (Godard, 1961).

Virgo is a hard worker, a neglected mother, a quotidian task master, and a selfless martyr. Virgo is also a reality TV train wreck, a drunken psychopath, and a self-abusing anorexic. Virgo is analytical on a good day. Virgo is self-critical, self-loathing, self-deprecating, self-flagellating, and self-defeating on a bad day.

The Virgin, contrary to what her title may suggest, is the resident cock gobbler of the zodiac — never a topper, always a bottom. If you’re looking for a woman who will abuse herself, party like it’s Greek harvest time and she’s drunk on mead, please you sexually without so much as a nod to her own hungry genitalia, and perform all the humiliating duties you’ve assigned to her as wife and mother, look no further than the drunken Virgin of the zodiac.

And yes, more often than not, this naughty little maiden is getting crunked at the club or downing daiquiris at the Mommy and Me block party, an attempt to drown to death the echoes of self-loathing that usually prevent her from embodying the female charm and charisma she labors to possess.

The Virgo vibratory pattern is restrictive, effective, judgmental, exact, helpful, and neurotic. Virgos are a lot of things, socially charismatic not being one of them.

Usually, when I meet a Virgo, my natural reaction is, ‘this person must have Aspergers.’ They fixate on minutiae like Rainman [and] have more clicks and ticks than a malfunctioning android attempting to process human emotion.

Virgos rule the house of diet, perfectionism, and nourishment. Just glance at a list of famous Virgos and you’ll find more self-flagellating, adulthood suppressing skeletors than you can shake a stick at: Amy Winehouse, Rachel Zoe, Nicole Ritchie, Karl Lagerfeld, Twiggy, Fiona Apple, Aimee Mann, Peggy Guggenheim, etc.

[personally adding Anne Bancroft, Evan Rachel Wood, Lauren Bacall, Ricki Lake, Greta Garbo, and Rose McGowan to that list].

Yes, that is pretty much the way of it.

Virgo is the embodiment of human turmoil.

Insightful and amusing zodiac sign analysis by Carly, whose blog “Do you think I’m smart? Astrology and other Ass Munchery” is right here on the wordpress. Usually I say that I don’t believe in all that large astrological nonsense, but I have to admit that’s the first one I’ve ever read that was right on. Maybe I just needed to read all the horrible things I already know about myself confirmed, instead of the butt-licking backhanded compliments in most horoscopes, in order to start giving it some credence.

Final thought.

How to Spot a Virgo Woman:

They have an eating disorder.

They give rigorous handies.

They have acid reflux.

They’ll do “anything for my man.”

They want your love, but don’t deserve it.

(more, if you’re into that — she is very clever and scathingly funny)

Movie Moment: A story in stills — Inaugural edition, Flesh and the Devil (1926)

Garbo vamps.

Flesh and the Devil, 1926. Directed by Clarence Brown, based on the play The Undying Past, a translation by Beatrice Marshall of the 1894 German play Es War (“It Was”) by Hermann Sudermann.

Starring Greta Garbo as Countess Felicitas von Rhaden, later Mrs. von Eltz; John Gilbert, her real-life lover and one-time fiance as mistreated hero Leo von Harden; and Lars Hanson as Ulrich von Eltz. Gonna relay the brief plot via some killer screencaps. Enjoy.

At the crux of this silent melodrama is a love triangle aggravated by protagonist Leo’s continued desire for Felicitas, the adulterous wife of his best friend Ulrich — who married Felicitas after Leo’s duel with her first husband resulted in Leo’s being stationed in South Africa for five years — and author of his misery.

Supporting players are Barbara Kent and George Fawcett as Ulrich’s younger sister, who begs Felicitas to stop trying to have both her brother and his friend, as it can only result in yet another duel, and sage Pastor Voss, who has known both men all their lives. But the real star, of course, is Garbo and her face. Everyone else kind of fades in to the background.

The action begins with a ball where recently-trained soldier Leo first meets Felicitas von Rhaden, who he’d glimpsed briefly leaving the railway when he arrived in town. Felicitas also remembers the eye contact and throws him some more smoky glances. Stealing away from the ball with Leo, she conveniently does not mention she has a husband, so when Count von Rhaden catches them getting up to sexytimes in her bedroom, Leo has no choice but to accept the Count’s challenge to duel him.

Question for discussion: Would you seriously die for some chick you met at the train station even when you just had empirical evidence thrown in your face that she was lying by omission about being freaking married, so you knew there was a pretty good chance she was a skank? I mean, is her honor really more important than your life? What is wrong with boys? Anyway, Leo wins the duel and kills the Count.

For his trouble, Leo is sent to a remote army post in South Africa, but Felicitas stays in his thoughts, as evinced by these two, above and below, gorgeous pre-fancy FX stills. For me, simple cinematographic tricks of the early films are far more beautiful, haunting, and multi-dimensionally resonant than a thousand unnecessary CGI lensflares. (Dreamworks, write that down.)

Leo arrives home to find that, in his absence, Felicitas has married Ulrich, his best friend since childhood, who once became Leo’s blood brother with his little sister Hertha as a witness, and who was supposed to be keeping an eye on Felicitas for Leo while Leo was “out of town.” In Ulrich’s defense, having sex with a woman is a really good way to keep an eye on her while also taking time for fun. I mean, you can’t be all work and no play.

Felicitas is still all-up-ons, which obviously causes great conflict for Leo, who is still no great shakes at hiding his feelings. (He also continues to suck at not fooling around with married chicks.) Meanwhile, Ulrich’s little sister Hertha has caught on to her sister-in-law’s game and tries to intercede with Felicitas, seemingly to no avail. Leo goes to Pastor Voss for advice, who tries to counsel him against pursuing a relationship with Felicitas.

The pastor suggests that Felicitas is not the innocent pawn that love-goggled Leo perceives her to be, but instead is an active agent of temptation, perhaps even a metaphorical vehicle of Satan, a lying symbol of the falseness of a life lived away from a strong moral code.

Leo doesn’t totally cotton to the idea that the love of his life is just a jezebel who enjoys hurting men for sport, but Pastor Voss reminds him of the ruin she has wrought in his life already, forcing him to kill a man, sending him in to exile, and coming between Leo and Ulrich, his friend since boyhood. The pastor says, “I christened you separately, but I’ve scarcely seen you apart since.”

Mulling over the idea that Felicitas is not-so-blameless in this game of love, Leo flashes back on some particularly creepy and un-Christian moments in which he has caught sly-eyed Felicitas.

(It’s amazing the clarity that comes with celibacy.) This seems to actually get through to Leo, who it ends up has a capacity for outrage after all.

He goes and angrily confront Felicitas, taking her to task for the trouble she has caused him, seemingly for her own amusement, as she has specifically told him she will not leave Ulrich and that she wants to have her husband and Leo for a lover, too. When she doesn’t recant or apologize, Leo furiously goes for the throat.

Ulrich busts in to find Leo throttling his wife. Felicitas orders him to shoot Leo immediately — probably hoping that he will, and Leo won’t have the chance to explain why he was mad. Ulrich instead challenges Leo to a duel the next evening on a sort of sandbar-cum-island in the middle of their village’s lake called the Isle of Friendship, on which they used to play as boys.

Hertha, Ulrich’s sister, comes and begs Felicitas to stop the duel, but she will not. Finally, Hertha prays to God to soften her adulterous sister-in-law’s heart, and suddenly Felicitas looks guilt-stricken, gets all bundled up, and rushes out in to the freezing Winter night. This is cross-cut with scenes of the men preparing to duel, but finding themselves unable to even raise their guns and aim at one another because of their lifelong friendship. They realize this high-class hooker has basically wrecked them emotionally, and conclude that they would both be better off well-shot of her. They are friends again.

What’s been going on with the finally-redeemed Felicitas in the meanwhile, who’s been hurrying out across the ice to the Isle of Friendship as the men rekindle their love for one another and realize how worthlessly she has behaved? Mmm. Spoiler alert.

Bad girls finish last. Some releases further hammer this point home by showing a final scene in which the loving younger sister, Hertha, is on a carriage preparing to move to Munich, and Leo comes chasing after it to stop her. (Implying they will now hook up, because she is sweet and patient, and wants the best for everyone, instead of being kind of a whore, and now Leo and Ulrich will be brothers for real.)

Final thoughts: Boys, stop taking back your dreadful same old bitchface ex-girlfriends and tolerating their bullshit. Find a new bitchface and get embroiled in new bullshit!

“L’eccentrica, il giullare che strappa un sorriso”/The eccentric, the jester who snags a smile: Sadly brief introduction to smashing Lou Doillon (NSFW)

Lou Doillon by Max Vadukul for Vogue Italia, August 2009

“Crescendo ho ocupato l’unico spazio rimasto libero in famiglia; quello dell’eccentrica, del giullare che strappa un sorriso. c’era talmente tanta perfezione che solo comportandomi in modo diverso sono ruiscita a trovare me stessa.”

Photograph via The Following Aesthetic Reasons

If you are not lucky enough to speak Italian (I am mainly not, either, no worries!), then here is a very rough translation pieced together via babelfish (don’t you love that it’s named for a Douglas Adams invention), Conversational Italian in college — which I spent most of my time ditching to fuma (smoke) and hang out with various uomi (men!), in my defense, I was being hella Italian — and a couple online dictionaries:

Image via thebeautymanifesto

“Growing up, I occupied the only space which remained free in my family: that of the eccentric, that of the jester who snags a smile. There was so much perfection that being involved in various ways has helped me to find the same [in life].”

“Lou Doillon Intime,” Playboy France, March 2008

A bit of background. Her father is director Jacques Doillon, and her mother is international superstar, ye-ye idol, and reknowned vintage beauty (a personal patron saint) Jane Birkin. Oh, and Jane’s previous husband was probably the most famous and successful male French musician of all time, (a personal devil) Serge Gainsbourg.

Beautiful, marvelous, multi-talented Jane Birkin during her marriage to That Creepy Soul-Reaper (Gainsbourg).

Birkin’s relationship with Lou’s father, film director Jacques Doillon, ended her marriage to Gainsbourg, and because of that the French press have a love-hate relationship with Lou: on the one hand, she is a daughter of cultural aristocracy; on the other, her very existence symbolises the end of one of France’s great love affairs.

Lou’s various step and half-sisters are famously beautiful models, actresses, and musicians such as Charlotte Gainsbourg, Kate Barry, and Lily Doillon.

“Destiny’s Daughter: Lou Doillon et Jane Birkin,” Getty Images

After a deliberately outre ugly duckling phase and some raw turns in cool indie flicks, Lou has been slowly transitioning in to a model citizen herself. So … yes, I can see where she is coming from with that quote. She’s a really cool chick, and as you can see from this small smattering from my collection of pics, she has taken it off, so she gets to be billed as lovely and talented, to boot!

Lou Doillon by Max Vadukul for Vogue Italia, August 2009

I’ll get to more about her another day, I guarantee, because I think she is a smashing girl! but right now I need to go put on my Square Face (read: look freshly-made-up, decently-dressed, and reliable and maternal) for my kidlet’s first parent-teacher conference. I don’t want my appearance or attitude or nuttiness or any grain of reality about myself to seep through to her teacher and influence said teacher’s attitude toward her. I know that’s crazy, but it’s a fear. Wish me luck!

Photographed by Takis Bibelas

Advice: Wordy words of wisdom from Jean-Luc Godard that could be construed as pretentious horseshit, I suppose, depending on your outlook but I like them, featuring Anna Karina (slightly NSFW)

Quotes from Godard illustrated by his wife and early muse, my own style inspiration and personal patron saint, the lovely and talented* Anna Karina.

*Not sure if you’d noticed, but I only bill as “lovely and talented” those who take it off. Write that down.

All you need to make a movie is a girl and a gun. (Journal entry, 5/16/91)

“Light me up!” Still of Anna Karina as Natacha van Braun from Alphaville, une étrange aventure de Lemmy Caution / Alphaville (1965)

I don’t think you should feel about a movie. You should feel about a woman. You can’t kiss a movie.

Still with Jean-Paul Belmondo from Une femme est une femme / A Woman is a Woman (1961), previously highlighted with “Look, Ma, no gag reflex!” still here back in September.

“In films, we are trained by the American way of moviemaking to think we must understand and ‘get’ everything right away. But this is not possible. When you eat a potato, you don’t understand each atom of the potato!” (Interview with David Sherritt, The Christian Science Monitor, 8/3/94)

Une femme est une femme / A Woman is a Woman (1961)

Art attracts us only by what it reveals of our most secret self. (Critique called “What Is Cinema?” for Les Amis du Cinéma , 10/1/52, a work which advanced the auteur theory but also kind of ripped off Bazin, which is weird cause Bazin would’ve read it and was a big influence on Godard but this was done contemporaneously of Bazin himself working on something titled this, about this, so maybe the quote is misattributed? … or maybe there is more to it than I know with my tiny ken of French movie guys, maybe it was a done thing to borrow titles from one another, or perhaps it was a continuation of a dialogue they were already having both in person and via publications, or, finally, it could even have been an “understood” question which anyone might use as the title of a book or article … I am probably over-reading it.)

Hands down my favorite picture of Anna Karina

Beauty is composed of an eternal, invariable element whose quantity is extremely difficult to determine, and a relative element which might be, either by turns or all at once, period, fashion, moral, passion. (“Defense and Illustration of Classical Construction,” Cahiers du Cinéma, 9/15/52)

Cover or liner art for her album, a collaboration with the dread Serge G

The truth is that there is no terror untempered by some great moral idea. (“Strangers on a Train,” Cahiers du Cinéma 3/10/52 — Godard wrote extensively and insightfully in his early career about the movies of Hitchcock, one of my favorite and I think misunderstood directors; I’ll try to share some good nuggets from time to time)

Anna cahorts about topless as Anne in 1968’s The Magus, also starring Anthony Quinn (Zorba the Greek), Michael Caine, and Candace Bergen (Murphy Brown) — no one seems to like this movie but me. That’s okay, because I like it a lot.

Photography is truth. The cinema is truth twenty-four times per second. (Le petit soldad / The Little Soldier, 1963.)

With Jean-Paul Belmondo again, this time as Ferdinand and Marianne in the sort of romantic-tragi-comedy-crime-caper Pierrot le fou / Crazy Pete / Pierre Goes Wild (1965).

To be or not to be? That’s not really a question. (unsourced)

Screencap with subtitles from Une femme est une femme / A Woman is a Woman (1961).