Wednesday, March 9, 2016

Girls S5E3 - "Japan" written by Bruce Eric Kaplan

Okay, So now Shosh is living a candy-colored dream of ice cream parlors and pink hair in Japan.She's crushing on her boss, the shy Yoshi, while doing the long-distance thing with Scott(Jason Ritter). Japan fits her like a glove. So, of course, she gets fired, and has to decide whether to return to the open arms of Scott.

After a punk rock show, a trip to BDSM club with Yoshi's idiot friends (we don't often see this usage of candle wax - even on HBO), and a forbidden kiss with Yoshi, Shosh makes her decision, leaving Scott at the airport tossing his flowers into the trash.

To which I say, good riddance! Scott is the epitome of vanilla. Shosh hasn't been this endearing since she fell for Old Man Ray.

Speaking of that rabid Marnie chaser:

We need that Ray, beleaguered City Government Official  - "Night Court"-type spin-off, and we need it now. Somebody make this thing happen. Or how about a series where he and Elijah right the wrongs of New York City, with nothing but their combined powers of outrage and bitchiness? Moving on...

"We have an essential belief that being complex, annoying and multifaceted is the right of women on television, so therefore to see characters you don't necessarily adore all the time is hopefully in some ways an inherently feminist action because it's a form of representation that we've been lacking for a long time."
                      - Lena Dunham, PaleyFest panel, March, 2015 

One of the clever aspects of "Girls" is its endless self-commentary which serves as a way  to insulate itself from criticism. And "Japan" was chock-full of it.

At one point Shosh's Japanese girlfriends are surprised to learn she's not rich, saying "You seem very wealthy because of your spoiled attitude". Dunham succeeds again by acknowledging that "yeah, my characters, like people in real life,  can be self-absorbed,  annoying sometimes and caught in their first-world problems, but you know what, I love'em anyway."

The episode's meta commentary continues with Jessa, Adam, and Ray watching Adam's appearance as a homeless witness in an "Elementary"-type cop series, with Lucy Liu as one of the detectives. Driver scores big laughs and has that over-the-top cop show supporting performance thing down pat.

Meanwhile, things continue to heat up with him and Jessa. Again, the show calls itself out, with Jessa stating she won't do the "will they/won't they shit". Hello, Sam and Diane.

"I really feel good with my size now, I know when I say that people are like, 'mm hmm', but I just do! It used to be when I went into a room with all thin women I felt like, what's wrong with me? Now I just feel special."
              - Lena Dunham, People magazine, September, 2014

The other story line/meta jab comes when Hannah discovers the naked pictures on Fran's cellphone of his exes, which he has saved for masturbatory purposes. Hannah is livid and conspires to have her picture taken to replace them. Here we have Dunham saying FU to the Twitter trolls who have spent the last four years bagging on Dunham's weight and her frequent nudity on the show.

At an impromptu shoot at Grumpy's, with Ray as photographer and Elijah being Elijah, Hannah delivers the episode's best line:

"Paint me like one of your French girls, Ray."

Hannah's decision to delete the other photos off of Fran's phone will no doubt escalate things.

Oh, and the Desi-Marnie nightmare continues, as Hannah skypes Marnie for advice, and we see Desi's dong.

A random thought on last season's  Adam and the Mimi-Rose Situation: what is it with Apatow-produced shows where previously-amiable weirdos pull major dick moves out of the blue (I'm looking at you, Gus on "Love".)

Until next week, this is your Shipping News.


Thursday, December 11, 2014

Blog, I Have Been Neglecting You.....

I feel like Henry Hill's dad is going to crack down on me:

"They say you haven't been to your blog...FOR MONTHS!"

Tuesday, May 13, 2014

H.R. GIGER - 1940-2014

Leathery alien passages shaped like orifices and reproductive organs. Haunting, sexual nightmares, where the gothic merges with biology, where pleasure meets pain. Eyeless insectoid creatures with human characteristics. I recall the late "Alien" writer Dan O' Bannon saying that Giger used to consume opium to quell the visions that disturbed his slumber. And, now the glorious genius, this prince of darkness, is gone. But his biomechanical images will remain, to haunt our dreams.

Sunday, March 30, 2014

"Under The Skin" - Review

Jonathan Glazer's "Under The Skin" is an unsettling, one of a kind experience. Through the eyes of an extraterrestrial woman (?) we see North Scotland as series of stark empty benches, crowded shopping malls, and forests full of decay and rot. Glazer and his cinematographer capture grimy grey and brown flats, coupled with lush unearthly reds and the blackest of black voids, in which young men are lured to their demise by this being from beyond. With black hair, red lipstick-coated lips, her blue eyes conveying a blank apathy, which turns to wonder, then fear, Scarlett Johansson gives a truly alien performance. Not since David Bowie in "The Man Who Fell to Earth", has a performer captured the way someone not of this earth would perceive our world for the first time.

Glazer's palate definitely sports a few a Kubrick space trip reference points. Not surprising, as the late director's influence on Glazer dates back to his music video for Blur's The Universal, which places the band in a cross between heaven and the Korova Milk Bar from "A Clockwork Orange".

One sequence in particular, reminds one of fellow music video director Chris Cunningham's infamous 2000 erotic installation Flex.

But, despite any influences, Glazer makes this hypnotic trip all his own.

Of special note, is the all-consuming musical score by Mica Levi, the sound design by Johnnie Burn, and the music supervision by Pete Raeburn.

The full effect of their combined efforts is an aural symphony of raw sound which plays like a transmission from alien angels mixed with the barrage of Lou Reed's 1975 feedback opus Metal Machine Music.

Topping the "winter at the Dakota" spell of "Birth" and the bloody comic mayhem of "Sexy Beast", "Under the Skin" is Jonathan Glazer's masterpiece.

Discovering Michel Faber's 2000 novel was the best thing that ever happened to him. And dare I add, to us, as well.

Sunday, March 23, 2014

Joe Carnahan's "Death Wish"

I am writing to you in a small hotel room in London. I have just finished reading a draft (dated 9.9.12) of Joe Carnahan's now-nixed remake of "Death Wish". When it was first announced in January of 2012 that Carnahan was doing a new adaptation of John Garfield's 1972 novel, I was genuinely excited. Carnahan is one of those man's man directors, macho, not in a jerky way, but rather in the classic Robert Aldrich mold, adept at capturing a certain loneliness, a certain haunted quality in men caught up in violent and desperate situations. (He has always seemed, to me, to be on the verge of remaking "Hell in the Pacific".) In "The Grey", Liam Neeson, externally, is fighting wolves and the elements, but, underneath it all, he's fighting the grief that comes with the loss of a loved one.

In Garfield's novel, CPA Paul Benjamin is living in NYC, when muggers rape his wife and daughter, the attack leaving his wife dead and his daughter in a coma. Benjamin is at first paralyzed by grief, but then is driven to a mad state where stalks the street of New York at night, shooting muggers and other criminals. The men who attacked his family are never found.

In his screenplay, Carnahan uses the name "Paul Kersey", the same name used in the 1974 Michael Winner adaptation with Charles Bronson, the one that spawned four sequels. Carnahan sets his version in LA in present day. A present day setting eliminates the problematic, dated racial paranoia that comes with portraying a white vigilante in 1970s New York. But how do you make make's Paul's fear of being trapped in a crime-ridden hellhole real when you set the story in a sprawl like L.A.? Carnahan solves this by using first person perspective after the attack in his descriptions of Paul, which succeeds both in making L.A. claustrophobic, and the story more intimate. We are complicit in Paul's pain and his deeds. Carnahan makes it possible for Paul to find his wife and daughter's attackers, which provides a clear cinematic through-line, while the ending, like that of the novel, suggests his mission will extend beyond those responsible.

I have never seen the Charles Bronson film, but, from what I hear, it makes Paul into something of an action hero. Indeed, the moment you cast a badass like Charles Bronson, it kills the transformation aspect of the story. Which is, apparently, why Carnahan bailed on the project when Paramount-MGM pushed for Bruce Willis to play the lead. Now John McClane is arguably the greatest cinema action hero of all time. Willis gave the role an iconic everyman quality that separated him from Stallone's and Arnold's unstoppable supermen of the mid-1980s (Rambo in the original "First Blood" is a completely different story). But now it's no longer a surprise when Bruce kicks someone's ass-we expect him to. He is miles away from the shock of the funny guy from "Moonlighting" crawling through air ducts and gunning down terrorists.

When Sidney Lumet originally conceived of a film version of the novel (before leaving to do "Serpico"), he had Jack Lemmon in mind as Paul Kersey. Imagine the shock of watching Ensign Pulver descending into madness and gunning down hoods. Anyway, Bronson took over and the rest is history. Liam Neeson would have been a great choice ten years ago. But now he's "Taken". In any case, it's a crying shame this project was canceled, because Carnahan understands that "Death Wish" is not a story about a man fighting the men who took his family - it's the story of a man fighting with himself.

Thursday, December 19, 2013