Jay’s Take: The Thing Called Love

A revisionist movie review.


“You have a room where you go inside and you lock the door, and I’m not even allowed in! How come you get a room like that?”
“Well, I’ve lived here for a while, and I enjoy the space, I pay the rent…”

– Samantha Mathis, getting nowhere with River Phoenix about the whole “room” issue

How many of you knew there existed a River Phoenix “gotta be a country music star” movie? That was the primary reason I chose to watch “The Thing Called Love”, controversies aside: it’s a nightmare to find anything I would consider “general viewing” in my house (ie. my wife hogs the TV & often complains about my movie choices). She was a ranch-hand in another life, so to say my spouse is a fan of country music is like saying bananas have potassium. And for the first half of “The Thing Called Love”, I thought I had found a winner: a making-it-big-in-Nashville odyssey with Samantha Mathis (Daisy from the “Super Mario Bros” movie) directed by the “Don of the Down & Dirty” Mr. Bogdanovich (“The Last Picture Show”), with music that my wife actually knew the words to? To say, then, that finishing the movie was disillusioning is pre-emptive, since no one really talks about the film: either as a Phoenix movie (even though it was his last-completed before his death) or a Bogdanovich movie. But I’ll tell you why anyway. It’s hot outside.

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Jay’s Take: Vortex

A relatively spoiler-free movie review.


France’s resident moviemaker/troublemaker Gaspar Noé (“Enter the Void”; “that movie where Monica Bellucci gets raped for ten minutes”) has a new movie out called “Vortex” . It’s one of the best new movies I’ve seen in the last 10 years. That’s a mean feat. Discuss:

Vortex is about a small family – an elderly couple, living alone; and their son – dealing with the late-stage dementia of the matriarch. And while in many ways it – aesthetically & thematically – slides nicely into the controversial director’s filmography at this point in his life (he’s turning 60 next year), it’s also unique amongst his back-catalogue. In this way and others, it’s sure to draw comparison with Michael Haneke’s 2012 movie “Amour” (also about an elderly couple and their offspring dealing with the deterioration of the wife). With Amour, a well-known & incendiary director took his unique cinematic language and translated it successfully to a serious, contemplative “chamber piece”. I’ve always wanted to call a movie a “chamber piece” and now I can. Twice! Vortex is a “chamber piece”: a serious-toned character drama in-and-around one location.

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Jay’s Quick Take: Cabaret

A revisionist movie review.


“Cabaret”. It’s a classic, according to “industry experts”. It’s on every “Top 1000” / “See This Before You Die” list, and all the reviews on Plex have that little “tomatoe” icon. Director Bob Fosse is known for more than his four main theatrical features, from Cabaret-on, although at least two of those movies are actual, confirmed personal favorites (full disclosure: I haven’t seen “All That Jazz” yet). Shouldn’t “Cabaret”, then, be worth 5000-words-or-more? Surely? Meh. Surely it’s been done.

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poor fish

A one-act play.

“A walk in the park becomes an earnest spiral of naive morality when a mother and her young daughter happen on a fisherman.”

THE SCENE
A suburban park surrounding a lake, during a mild day in early-Spring. Present Day.

THE CAST
A Man, 60s, spending his day fishing.
A Girl, under 10, who happens upon him.
Her Mom, late-20s/early-30s, her guardian.

*

LIGHTS UP. A MAN stands alone off to stage-left, facing away from the audience, casting off with an imaginary fishing rod. There are sounds of a public park: birds; wind; and the resting of water. There is a bench beside the man and on top rests his backpack, a cooler, and some other miscellaneous items: he is set up to be standing there for the day.

ENTER a little GIRL, clad in a one-piece rainsuit, jumping on-stage from stage-right into imaginary puddles with her yellow boots. Her MOM follows her. The girl is singing a little song.

MOM
Honey, don’t go off too far!

GIRL
I won’t!

The girl circles back to Mom. Near her, the girl falls on her bum. Mom helps her up.

MOM
Good thing we bought you this rainsuit!

GIRL
Mom, I’m going to be all wet!

MOM
You won’t. It’ll be like magic.
Stand here a second. Watch that man.

They watch the fisherman.

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Selected Scenes: Bad Lieutenant

A spoiler-free single-scene film review & analysis.


Do you ever have a bad day on the road? Sometimes, I get a kick out of pretending that asshole who just cut me off has a life far worse than mine (even though they drive a shiny Escalade with a bumper-sticker that says “My Other Whale Is My Boat”).

Par-example: today at 3 PM, near a school, my wife and I are trying to get out of our Chinese-reflexology foot massage clinic’s underground parking (or CRFMCUP). My wife was driving, and – men, let’s commiserate here – she’s not the best driver. Truth-be-told we’ve never been in an accident, but I sometimes fear for my life just the same. Now picture a four-way traffic stop, and we’re trying to turn left. Everyone driving straight is coming from the Middle School, and left is bumper-to-bumper because of construction two blocks down. My wife pulls into the middle of the intersection – not letting anyone turn right – only to be denied access to the last spot before the light at the end of the gridlock from some person & their kid in a pick-up. We pull in behind him & stick-out ass-end just as the light changes and we start moving again. It doesn’t sound so bad describing it – considering it took all-of five-whole-seconds out of my day – but I assure you that I was on Death’s door.

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