Mapplethorpe. Miles Davis.And an eight-hour epic from Lav Diaz.
A photograph about a man in a polyester suit sounds innocent enough until you see what’s peeking out of the suit. And then it becomes a question not just about evaluating art but also your own response to it. Are you intrigued? Offended? Physically sickened? Turned on? Is it even art? As a historian says, in Fenton Bailey and Randy Barbato’s documentary Mapplethorpe: Look at the Pictures, “I was trained in abstract and conceptual art. I knew nothing about…” I can’t print that last word here. Robert Mapplethorpe was a controversial artist, but Mapplethorpe is a flat, by-the-numbers affair – a rather dry account of the man’s muses, his fascination for black males, the obscenity trial around one of his exhibitions. You wish they’d gone… deeper. But I did laugh when one of Mapplethorpe’s friends said she threw away, while moving houses, all the photos he gave her. “No one could say pictures could be worth so much. If I’d known, I’d be in my villa in Tuscany.”
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The makers of Mapplethorpe should have taken a hint from Don Cheadle, who directed Miles Ahead and plays the titular jazz legend. (Though the legend might not have liked that label. “Don’t call my music jazz. It’s social music.”) When a Rolling Stone reporter (Ewan McGregor) puts forth a by-the-numbers question, Davis mocks him. “Don’t be all corny about this shit.” You’re not a newscaster. You’re telling a story. You need attitude. And we cut to… a car chase. Now, that’s attitude – jettisoning the he-was-born-in- and the this-is-when-he-first-picked-up-a-trumpet- in favour of a focused look at a few days during which a studio attempted to get Davis to deliver his session tapes, so they could put a new record out. (It’s 1975. Davis hasn’t played for five years. He’s become, as a character puts it, “jazz’s Howard Hughes.”) Part of the attitude in this “music biopic” is that it’s also an action movie. There are car chases. Bullets.
Which isn’t to say the usual clichés are absent. We get flashes of the racism Davis faced (even after becoming… MILES DAVIS), his inability to stay faithful to the long-suffering wife he loves, his drug use (and the attendant demons), the downward spiral followed by resurgence. These are to the music-biopic genre what the meet-cute and the last-minute bus/airport/train reunion are to the rom-com. I wish Cheadle had improvised more, that he’d taken to heart Davis’s wisdom: “When you’re creating your own shit, man, even the sky ain’t the limit.” But the film’s jazzy structure blows away the cobwebs. As much as any fractured-time narrative can be said to be like jazz – owing to the screenplay/editing rhythms that keep coming back to a central riff and then veer off into time-travel tangents – the gorgeous music in Miles Ahead adds to the impression that we are not only hearing jazz, we are also watching it.
* * *
They made an event out of Lav Diaz’s new Filipino movie, Hele Sa Hiwagang Hapis (A Lullaby to the Sorrowful Mystery), which isn’t surprising – it is, after all, eight hours long. An emcee (black suit, bow tie) came on stage and introduced the actors. He then said the film would be played in two halves, with a one-hour intermission, and those leaving the theatre would be given a wristband for re-entry. Only a wristband? No electrolytes? No sunglasses as we step into sunlight again? Watching something like this is like seeing those Mapplethorpe pictures – it’s not just about evaluating art but also your own response to it. Are you intrigued? Bored? How many owl shots do we really need? And do they have to be held for so many seconds? Then there are those stretches where a static camera watches someone perform music, aching songs about love and the Motherland. How many such longueurs does a movie need?
I stayed for about an hour and a half – there were other screenings I wanted to get to, and it didn’t make much sense to devote an entire day to just one movie, even if it is the cinema’s answer to climbing the Everest and then running a marathon at the summit. Lullaby (imagine the jokes waiting to be made about audience members who fall asleep) begins with a man writing to his lover about getting ready to witness Dr. José Rizal’s execution by Spaniards, who ruled the Philippines in the latter part of the nineteenth century. “I will be there to shudder at man’s wickedness,” he writes. “To grieve and weep for our country.” Soon, a young, blind poet named Ramona recites Dr. Rizal’s poem, while other Filipinos are being bought by Spaniards to betray their country. (One of them is literally sleeping with the enemy – the scene takes place in the bedroom, on the bed.) “These are violent times,” a Spaniard says. “Quite often, violence spares no one.” Has there been a generation of humankind that hasn’t heard some version of these words?
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sanjana
February 20, 2016
I feel you should relocate and review these wonderful movies which makes one think than just please the home crowd reviewing tamil and bollywood films. And angering some fans and confusing some others. You should consider shifting to Berlin or Beverly Hills. It is like reading world history.
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brangan
February 20, 2016
Disagree slightly. There are many critics worldwide reviewing these films. Not nearly enough reviewers of local films. I think in my own little way I am making a contribution here…
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Vanya
February 20, 2016
I didn’t realize I had been holding my breath for a while until I finished the segment on Miles Ahead and let out a big sigh of relief. I love both MD and Cheadle, and was nervous about how this effort would fare. Really looking forward to the release now!
To your point about the usual cliches, if those were defining moments in a character’s life, why would you not present them, or are you objecting to the way they were portrayed? Also, jazz has plenty of structure to it too — recurring motifs, ride cymbal triplets, etc. — so it seems fitting to have recognizable elements of the genre beneath the improvisation, no?
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Anu Warrier
February 20, 2016
@sanjana, what makes you think our films are less worthy of being reviewed? 🙂
Brangan, I would watch the Miles Davis biopic, but I laughed out loud at your notes on Lullaby – I felt that way just reading about shots of owls and long dirges.
I hope you get a chance to relax for a bit. There can be too much cinema. Some times.
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apex
February 20, 2016
Nice title –“sketches of pain”
Continuing from your previous mention on Rossis filming technique in Italy & our comments on Clooneys latest ‘outburst’, I happened to revisit bits of a Clooney flick & my thawts on-
An American ..
An American in Abruzzo Italy with ambiguous antecedents lies low as a nature photographer (but has a dark past). Violante Placido plays a prostitute who stops charging him (though I wondered what was she doing in that obscure village!). Irina Bjorklund & Thekla Reuten complement the European scenery ranging from ‘virgin’ locations in Sweden to Italy filmed unobtrusively.
It’s dreary and bleak but the restrained atmospherics grow on you. Though just like the lead hero, the narrative wants you to get interested but not get too involved.
The Dutch Corbijn directs this in true-blue European style & lends it a certain gravitas & mood lacking in Hollywood. As expected, lots of things are left unanswered. There’s an element of torment and conflict behind this quiet exterior. The element of placidity and maturity here were novel. In this lean and bare performance, is the Clooney, I liked most (after Descendants).
He’s trying to stay away from trouble –
What can possibly be his fatal mistake?
But love…
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Shalini
February 20, 2016
“Then there are those stretches where a static camera watches someone perform music, aching songs about love and the Motherland.”
This takes me back to Kamal Amrohi’s “Daera” where the camera plants itself for a long shot of Meena Kumari sleeping on the terrace of a house. For a full 10 minutes. I don’t even think there was background music (and I’m not willing to rewatch to confirm!), just the still shot and…silence. Meena K said in an interview years later that “Daera” was the one movie she regretted doing. To which I say, “me too.”
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sanjana
February 21, 2016
@Anu, it is not about superiority or otherwise. It is about novelty factor.
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Anu Warrier
February 21, 2016
@Shalini, I was going to watch Daera – had it bookmarked. Thank you for warning me off it.
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Radhika
February 21, 2016
Hahahaha, that’s hilarious. I watched Riyas Komu’s short on Naseeruddin Shah – had NS staring at the camera the length of the film – and it was surprisingly difficult to keep my eye focussed on his face. i’d have thought looking at someone for 13 minutes would not be that tough, but it felt like an hour. Maybe these are exercises in mindfullness, since that is the topic du jour.
I was hugely amused by this punishment of the censor board, though : http://www.imdb.com/title/tt1559353/
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olemisstarana
February 21, 2016
We have a series of Mapplethorpe and Herb Ritts prints that we replace with Ansel Adams when either sets of parents arrive. I always think of Tom of Finland when I read about him…
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