The end of cinema as we know it, and I feel fine

Following on from yesterday’s post about the precarious position of our independent cinemas and picture houses, here’s David Cronenberg’s views on the matter. He thinks cinema-going is on the decline, and he’s… not that bothered?

‘If movies disappeared overnight, I wouldn’t care’: David Cronenberg on the death of cinema
But the important distinction he wants to make is that filmmaking isn’t “dead” – it is just that cinema is no longer “the cathedral that you go to where you commune with many other people.”

Instead, you watch on your laptop, TV or handheld device. He suggests that watching a film on an iPad is closer to reading a novel than it is to the old cinema-going experience.

Pictures of the picture houses

Nice to see photos of one of our local cinemas* in the Guardian recently.

The Hyde Park Picture House in Leeds
The Hyde Park Picture House, the world’s only surviving gas-lit cinema, opened in 1914. The owners of the Grade II-listed building have now been granted planning permission for redevelopment, to improve accessibility, restore the gas lights and ornate plasterwork and incorporate a second screen in the basement.

They’ve now been given planning permission for their renovation, but the grant they got to fund it was awarded almost two years ago. Patience is a virtue, I guess.

Gas-lit Leeds cinema among sites to receive heritage lottery cash
In its earliest years Hyde Park showed morale-boosting patriotic films including An Englishman’s Home, and newsreel of the war in which 6,000 local men had enlisted. The gas lights were turned down but kept on during the screenings, to combat reports of disgraceful carryings on in the back rows of darker cinemas.

pictures-of-picture-houses-2

Not all of these places are so lucky. Here are some of the saddest photos I’ve seen in a long time.

9 haunting abandoned cinemas & picture houses of England
In our modern world of multiplexes, it can be easy to forget the grand cinemas of yore. Not so long ago, ornate picture houses stretched over every corner of England. Each one offered something more than a simple screen. It offered a unique viewing experience, a perfect way to while away a rainy afternoon by settling into another world. Today, many of those old picture houses stand in ruins, their projectors shut off for the final time.

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And it’s sad to see the one I grew up with is suffering the same fate.

* What others call a movie theater, we would call a cinema. A picture house sounds very grand (as is appropriate for Hyde Park), but when I was young, we’d refer to these places as the pictures. A singular noun, as in: “Is there owt good on at the pictures, or shall we go round to John’s and play on his Atari?”

Sad ending

Like many others, I’m sure, I raced through The Third Policeman in the sixth form. I’ve read it a few times since, and recently found the nerve to tackle At Swim-Two-Birds, fearful of its reputation. I shouldn’t have waited so long. Very funny-haha as well as very funny-peculiar, though I’ll have to re-read it again before I could tell you what it was all about.

flann-o-brien-books

I know very little about Flann O’Brien, though. Maybe that’s for the best. According to this collection of his letters and correspondence, drink turned him into quite an unpleasant and angry man in his later years.

Yours severely: the collected letters of Flann O’Brien
In a book full of crackpottery, one of the strangest moments comes in 1965, when O’Brien suggests that the French edition of At Swim-Two-Birds be translated back into English by a serving French Foreign Legionnaire and used to replace O’Brien’s original text, which he had come to detest. In its daft way, the suggestion is a perfect example of O’Brien’s estranged relationship with language – language in general but also the language of his artistic prime, as surveyed from the wreckage of his final years.

[…]

Might a non-drinking O’Brien have been a happier and more savoury human being? Almost certainly. Might a happier and better-adjusted O’Brien have ever written anything? Impossible to say. As it is, our reaction to the unhappy soul captured in these letters will probably be, in the words of a 1965 letter, ‘halfway between a guffaw and a puke’.

By the way, At Swim-Two-Birds was very nearly a film, if you can imagine that.

Brendan Gleeson secures funds for Flann O’Brien film
Actor Brendan Gleeson has secured funding to make a film of Irish writer Flann O’Brien’s masterpiece At Swim Two Birds. Gabriel Byrne, Colin Farrell and Cillian Murphy have all been linked to the new film.

Though that now seems doubtful.

Gleeson’s doubts over Two Birds
Domhnall Gleeson has revealed his doubts over the At Swim Two Birds film. His father Brendan Gleeson is planning to make his directorial debut with the big-screen adaptation of Flann O’Brien’s novel, which Colin Farrell, Gabriel Byrne and Cillian Murphy have been attached to. It was originally set for release in 2010, with 14 drafts of the script already written by the actor, but has yet to start shooting.

 I think I will re-read the book, though, just in case.

Very different approaches to movie music

I mentioned the upcoming Leonard Bernstein biopic earlier. Whilst his Broadway musical, West Side Story, was quickly turned into a film, I don’t really think of him as a movie composer.

Here are a couple of articles about composing music for the movies.

How the iconic music of 2001: A Space Odyssey came to be
When he was finally cutting the film, he started laying in this music that he’d been amassing during post and even during production. He would watch the rushes and listen to music. In fact, one of the key catalysts was, when the MGM [head] brass flew in from LA and from New York, Tony Frewin [Kubrick’s assistant on the film], who was 19 years old, the week before the MGM brass flew in, Kubrick said, “Tony, get petty cash. Get this much money and go buy all the classical music you can find downtown.”

Ryuichi Sakamoto: Coda is a reflection on how the composer hears the world
This sort of spontaneous fluidity is what has driven most of the composer’s work throughout his decades-long career. In the film, we see his restless creative energy at work, as he edits and adds to tracks while sitting on an exercise ball in his home studio. He improvises on a track playing in the background by running a violin bow across a hi-hat cymbal to unnerving effect. He listens to his environment with a playful curiosity, endlessly experimenting with whatever he can find

Leonard Bernstein at the movies

There’s going to be a film made about the incredible Leonard Bernstein.

Cannes: Jake Gyllenhaal to Play Leonard Bernstein in ‘The American’
“Like many people, Leonard Bernstein found his way into my life and heart through ‘West Side Story’ when I was a kid,” said Gyllenhaal. “But as I got older and started to learn about the scope of his work, I began to understand the extent of his unparalleled contribution and the debt of gratitude modern American culture owes him. As a man, Bernstein was a fascinating figure—full of genius and contradiction—and it will be an incredible honor to tell his story with a talent and friend like Cary.”

This article from Film School Rejects places this news in the context of other biopics, and thinks the announced intention of telling the story in five parts, like movements of a symphony, will be help the film stand out.

Jake Gyllenhaal to star in a Leonard Bernstein biopic with a twist
Sofia Coppola’s Marie Antoinette is far from an expected period drama about a controversial historical figure. Instead, it unabashedly mashes up the past and present in a cheekily vibrant portrait of a young woman. David Fincher’s The Social Network isn’t just “the Facebook movie,” it is an unsettling case study that’s far more concerned about building up the enigma of Mark Zuckerberg than breaking him down into bite-size pieces for easy consumption. The fact that Loving Vincent is the first fully-painted animated feature film is a stunning achievement, literally combining the medium of film with Vincent van Gogh’s own legacy as a painter to stellar results.

And it ends with this intriguing paragraph.

In the tradition of dueling biopics, this news recalls theories that Steven Spielberg’s upcoming West Side Story remake is in fact itself an unconventional biopic about Bernstein — deduced from the fact that Spielberg also held a table reading for a Bernstein biopic at the same time he’s searching for his West Side Story cast. IndieWire critic David Ehrlich has mentioned the idea on the Fighting in the War Room podcast, while Collider’s Matt Goldberg surmised that the filmmaker may just do a Bernstein film first or instead of the musical. Either way, we’re getting an extra dose of the famed composer’s work.

We can only hope the film contains half as much energy as in this performance of one of his Symphonic Dances from West Side Story.

Gustavo Dudamel – West Side Story – Mambo – Bernstein

And here’s another favourite of mine, Candide, this recording from 1960.

Bernstein Conducts Overture to Candide, New York Philharmonic

2001 was 50 years ago already?

It’s hard to believe this film is 50 years old. The Guardian marks the occasion with a piece that describes how the first audiences were baffled and walked out of the premiere, and how the critics of the day rubbished it: “trash masquerading as art”. I wonder what its own initial review was like. The article starts with news about mountains on a tiny moon orbiting Pluto.

Kubrick’s 2001: the film that haunts our dreams of space
As a result Kubrick Mons and Clarke Montes are now two of Charon’s major mountains. It is a fitting honour – and timely. The two men’s great collaborative work, the film 2001: A Space Odyssey, was released 50 years ago this month. By putting its creators’ names on the map of Charon, at the edge of the solar system, astronomers are repaying a debt to two visionaries who reshaped our thinking about the cosmos and created a film rated by some as the greatest ever made.

As well as being a major influence on a range of film-makers, its depiction of futuristic technology caught the eye of astronomers and designers alike.

Equally intrigued were young scientists desperate to witness technology that was credible and imaginative, something that had been entirely absent from feature films until then. “The film set new standards for ‘realistic’ portrayal of life in space, overcoming decades of Flash Gordon space-westerns,” says a former teenage astronomer, Professor Ian Christie of Birkbeck, University of London. “It also created a new soundtrack for cosmic spectacle – through the use of the opening of Strauss’s Also Sprach Zarathustra and the music of Ligeti.”

One thing I love about the film is the unflinching slowness in the editing. It’s as is the whole film, and not just HAL, is trying to stare you out. Pinter would be proud of these pauses. This clip shows that beautifully, I think.

HAL 9000: “I’m sorry Dave, I’m afraid I can’t do that”

And that voice. Would the film be the same without Douglas Rain? Here he is eight years before.

Universe (1960 film)
After this work, co-director Colin Low worked with Stanley Kubrick on 2001: A Space Odyssey. His work on this short may have influenced Kubrick to begin his project. Kubrick chose Universe narrator Douglas Rain as the voice of the HAL 9000 computer and also hired Wally Gentleman, who did optical effects for the NFB documentary, to work on 2001.

‘Universe’ – 1960 – science/ astronomy animation

That film starts off with a fascinating artistic impression of the moon. Here’s a slightly more up-to-date representation, care of NASA’s Lunar Reconnaissance Orbiter spacecraft.

Tour of the Moon in 4K

Diminishing returns of an expanding universe

Everyone‘s getting excited for the next big Avengers film, and I expect I’ll be taking the kids to see it. I’m sure it’ll be entertaining but I am starting to tire a little of this shiny soap opera genre now. And I don’t think I’m the only one; I found myself nodding along in agreement with this review of Black Panther.

Movies Watched, February 2018
And while I was impressed by the cultural significance of “Black Panther”—it’s a total triumph on that front—I found that, narratively, it was as messy, as poorly paced, and as unconvincing as any other Marvel film.

[…]

People do seem to adore this movie though and so maybe I ought to watch it again. But it used to be that the only time I’d want to rewatch a movie was when it was so good that I felt compelled to experience that excellence over and over. But with these movies that hail from heavily sequelized cinematic universes, the sensation is closer to feeling duty bound to watch so as to be sure that they’re not bad. Partly that comes from the sunk cost fallacy; I’ve invested so much into these franchises that I want to find something worthwhile in them, if for no other reason than to be able to properly consume and appraise the next sequel. That is a bad way to watch movies.

Everything, all at once

Repeat viewing is obligatory with these videos.

1.000.000 Frames / Candice Drouet
“It’s funny how much memory, hidden, is instantly conjured up with just a few familiar flashes. I’ve been rebooted. Amazing piece.” “You’ve watched a lot of great films. Thanks for putting this together.” “You certainly deserve lots of credit for all the work you have put into your outstanding production.”

Classical Gas – 3000 Years of Art
CLASSICAL GAS was written in August, 1967; recorded for THE MASON WILLIAMS PHONOGRAPH RECORD album in November, 1967; released as a single in February, 1968, and became a hit six months later in the Summer of 1968. It was also one of the earliest records that used a visual to help promote it on television, which probably qualifies it as one of the earliest music videos.

A jaunt through five millennia of art history in just one minute
This meticulously animated short by the Chinese new-media artist and educator Cao Shu traverses some five millennia of art in a single minute. As flickering images move chronologically, in flipbook fashion, through a parade of styles and artistic movements – from Ancient Egypt, to the Impressionist era, to the 20th century avant-garde – a gender-shifting character makes a series of simple movements, seemingly ambling through the history of art.

Reviewing my reading habits

It’s occurred to me that I’m becoming an increasingly lazy reader, preferring to read reviews of books than the books themselves. Below are some snippets from the latest to have caught my eye.

Reviews of books about dark Jewish comedians and insightful Australian art critics. Books on how the internet has changed our understanding of knowledge, how word processors have changed literature, and about how art can save us from our bone-deep solitude.

The wondrous critic
The most manifest virtue of these essays is their language, marked by an uncommon command of vocabulary and (in our day) a far rarer mastery of syntax, allied to a thoroughly antiquated respect for the rules of grammar. Open this anthology anywhere and you will be hard put to find a sentence that is not as memorable for its very phrasing as it is for its thought.

The lonely city
She tells us that she often moved through New York feeling so invisibly alone that she felt like a ghost, and so started to think of other ghosts as suitable company. The dead, for Laing, are not so much historical figures as they are very vibrant modern companions, and she invokes them with an ease and familiarity of old friends. She allows Warhol to pop up in the chapter on the web, Hopper to pop up in a chapter on Warhol, and so on. In Laing’s head, all of these artists are still alive somewhere – perhaps even in communion with one another. This thought makes her feel less alone, and she passes it along to us.

Rethinking knowledge in the Internet Age
In fact, knowledge is now networked: made up of loose-edged groups of people who discuss and spread ideas, creating a web of links among different viewpoints. That’s how scholars in virtually every discipline do their work — from their initial research, to the conversations that forge research into ideas, to carrying ideas into public discourse. Scholar or not, whatever topic initially piques our interest, the net encourages us to learn more. Perhaps we follow links, or are involved in multiyear conversations on stable mailing lists, or throw ideas out onto Twitter, or post first drafts at arXiv.org, or set up Facebook pages, or pose and answer questions at Quora or Stack Overflow, or do “post-publication peer review” at PubPeer.com. There has never been a better time to be curious, and that’s not only because there are so many facts available — it’s because there are so many people with whom we can interact.

How literature became word perfect
The literary history of the early years of word processing—the late 1960s through the mid-’80s—forms the subject of Matthew G. Kirschenbaum’s new book, Track Changes. The year 1984 was a key oment for writers deciding whether to upgrade their writing tools. That year, the novelist Amy Tan founded a support group for Kaypro users called Bad Sector, named after her first computer—itself named for the error message it spat up so often; and Gore Vidal grumped that word processing was “erasing” literature. He grumped in vain. By 1984, Eve Kosofsky Sedgwick, Michael Chabon, Ralph Ellison, Arthur C. Clarke, and Anne Rice all used WordStar, a first-generation commercial piece of software that ran on a pre-DOS operating system called CP/M.

Jews on the Loose
In his movie roles Groucho, for Lee Siegel, represents not an amusing attack on pretension but “the spirit of nihilism.” Siegel disputes the view that Woody Allen is Groucho’s descendant, for he feels that “Allen is simply too funny to be Groucho’s direct descendant.” Groucho is—and he is right about this—much darker. “No other comedians of the time,” Siegel writes, “come close to the wraithlike sociopath Groucho portrays in the Marx Brothers’ best films.”

Rather than solely answering our “Should I buy the book or not?” question, these reviews act as companion pieces to the books, whether the reviewer is agreeing with the author or not. The dialogue only adds.

I need to resist the temptation of considering the review as a substitute to the book, though. Maybe I need to find a review of a book about tackling laziness or something…