Challenging Cinema - Artsy Films

Have you ever watched a movie - or simply tried, unsuccessfully, to finish one - and felt like a bit of a dummy? That you just didn't "get it"? As though the film was aimed at people like you, and yet you failed to grasp the film's meaning. Or that you had chosen a movie that wasn't meant for someone of your lowly intellect... and was intended for the elite cinephiles of the world. Jeez, so there are movies that I can't watch just because I won't understand them? Yeah, it happens to the best of us. Or the worst. 

There are movies, and then there are movies. Some fancy people call those "films", as though that term denotes loftier concepts. It might. Regardless of its moniker, an art film, or one that is experimental, plays with structure, content, techniques, pretty much anything... in the face of cinematic conventions.

My kind of alien... Scarlett Johansson in Under the Skin

Years ago, if a movie completely escaped me, I blamed the movie... that it was just a boring waste of my time. Poorly made and lacking in anything worth a shred of my attention. I felt better about myself by taking that route. I have put down at least a couple of high-falootin' motion pictures in this way, and so be it. Stalker and Solaris, both by Russian director Andrei Tarkovsky, challenged my patience with their extremely long running times. I did not even finish Stalker... though it is regarded as a film - and science fiction - masterpiece. I made it through Solaris, also a sci-fi "art film", but felt depleted and dissatisfied by the end of it. This pair of offenders also explored through ambiguity philosophical and psychological themes. Whew. At the time of their viewing, maybe fifteen or so years ago, I just wasn't up to the task. Who knows, maybe today, after a long re-training of my brain, I could enjoy the films. But they are soooo long. 

Over the years, I've learned to appreciate what we call "challenging" films on at least some level, even if I don't immediately see the complete picture. Instead of feeling that I am messing with art so high that it's out of my league, I try to embrace these films when I have the opportunity. Exercise my mind so that I can learn to see what I couldn't see before. Recognize cinematic techniques... the visuals, the music, or whatever I connect with most... the possible intent of this method of storytelling. 

I often realize that "Oh, yeah, this strange scene here is symbolic of something, but I haven't a bloody clue what". So I let it go, move on, and sometimes feel confused when the end credits roll. But I thought that guy was dead... how did that kid end up in the attic... so those two people knew each other? And maybe next time I meet such an obstacle, I'll try to figure out what the subtext is to that scene, or the movie as a whole. It's often possible to enjoy a picture even if its intent or meaning is vague. Sometimes I'll figure things out after the fact, re-visiting details in my mind or with other people.

There are times when I realize (or am advised by someone who's already seen it) that I should not try to read into things too much, and just let the film wash over me. Watch it and don't overthink it. A mood, a cinematic experience that is meant to be felt rather than over-analyzed. I found the movies Boyhood and Tree of Life to fit into that category. Big ideas, yes, but not the kind that we, the audience, must necessarily pick apart to understand or at least enjoy. At least that's not how I wanted to approach them. And I liked them just fine.

An unconventional relationship in Before Sunrise,

by director Richard Linklater

Sometimes good old-fashioned discussion and brain-work can whittle out some answers, either satisfactory or tenuous. One of the best examples that comes to mind is No Country For Old Men. This picture was based on a novel by an author (Cormack McCarthy) whose written works I now love. But back in 2007, when the film first played theatrically, it made a huge splash - because of that ending. I didn't see No Country on the big screen, but later rented it on home video. And yes, what a crazy final scene. That might have been the first time I was thrown into a near-rage because of the abrupt ending with no explanation. 

I spent perhaps a half hour working the grit out of my mind-gears so I could figure out that ending, then decided I should hash this out with somebody else. So I got on the phone with a friend and he offered up his theories on what happened in the movie. I eventually got to looking at the story from another perspective, and I sort of worked out my own ideas, maybe jiving with my friend's, maybe not. I can't remember. But this post-viewing debate helped settle my nerves.

My need for answers overcame my practically violent surge of confusion. The movie Primer didn't evoke quite as strong a response, but it sure demanded (and got) my full attention as I watched. Thankfully, I clued in to that requirement early on in my viewing. Primer makes you work a bit, but it's worth the effort... a satisfying little sci-fi brain-twister. 

Here is a list of many, but probably not all, of the arthouse-type films I've seen in my life. If you want to try something that might make you feel uncomfortable, bring you a bit out of your comfort zone, and test your patience and your logical and creative mind, take a gander at some of these challenging movies:

Lost in Translation (my favourite film of all time), Somewhere... by director Sophia Coppola
Under the Skin... by director Jonathan Glazer... one of my favourite sci-fi arthouse films
Primer, Upstream Color... by director Shane Carruth, low budget sci-fi abstractions
Antichrist and Nymphomaniac (too extreme for me), Melancholia (okay)... by Lars Von Trier
The Lobster, Killing of a Sacred Deer... director Lanthimos is like nobody else. Be prepared.
Tree of Life, Badlands, Days of Heaven... Terrence Malick, master director. Very experiential
The Master, There Will Be Blood, Inherent Vice... Paul Thomas Anderson - required viewing!
Three Colors trilogy: Blue, White and Red, Double Life of Veronique... director Kieslowski created these, among my favourite movies of all time
Boyhood, Before trilogy: Sunrise, Sunset, Midnight (these 3 are faves)... by Richard Linklater 
2001: A Space Odyssey, A Clockwork Orange, Eyes Wide Shut ... and other Kubrick... faves!
Solaris, Stalker... by directorTarkovsky... not my cup of tea
Cloud Atlas... by the makers of The Matrix... a total mind-bender, and very cool
Enemy, Arrival, Prisoners, Sicario, Blade Runner 2049... by Denis Villeneuve, among my faves
Synecdoche, New York... by director Charlie Kaufman, bizarre and hilarious and inventive
Mulholland Drive, Lost Highway... any David Lynch... strange, often disturbing, dark humour
Pi, Black Swan, The Wrestler ..... by Darren Aronofsky... some of my fave movies of all time
Adaptation, Being John Malkovich, Her... by Spike Jonze, odd yet wonderful - more faves!
The Belly of an Architect, The Cook, the Thief, His Wife & Her Lover...Peter Greenaway, strange and amazing
City of Lost Children, Delicatessen, Amelie... by director Jean-Pierre Jeunet... fanciful faves
Exotica, The Sweet Hereafter... by Canadian director Atom Egoyan, very arthouse-y
Memento, Inception, Interstellar... by Christopher Nolan - more than just Batman blockbusters
Donnie Darko... moving, funny and a brain-twister... a bit of a modern classic in my books
Time Bandits, Brazil (both favourites!), 12 Monkeys... by Terry Gilliam, of Monty Python fame
Seven, Gone Girl, Zodiac (three faves), Fight Club... David Fincher, not super arty, but clever and twisty
The Seventh Seal, Wild Strawberries, Hour of the Wolf... Ingmar Bergman, the grandmaster!
Videodrome, Naked Lunch, A Dangerous Method... David Cronenberg, originator of visceral horror genre, also versatile with psychological thrillers
Blade Runner, Blade Runner 2049... the original was a visual feast but took me over 30 years to fully appreciate; the recent long-awaited sequel is even more stunning while being more immediately accessible


I know there are loads of arthouse-type films I've not seen, such as Salo, or The 120 Days of Sodom, and Un Chien Andalou (both on my To Watch list), but this movie fandom thing is a life-long work in progress, isn't it? 

Between The Covers - Part V

Today we're back to examining cover songs, and I'd like to begin with something associated with the "comeback" of Johnny Cash in 1996: 

Rusty Cage, originally written and performed by Seattle grunge-metal-heads Soundgarden, found new life when it was re-interpreted by country legend Johnny Cash in his twilight years. The original, released in '92, benefited from Chris Cornell's tortured vocal wail... though I'm of the opinion that this isn't a very heavy song, more funky than anything (kick-ass bass, for sure). Ol' Johnny Cash brought an entirely new feel to Rusty Cage: rolling acoustic guitar rhythms accented by piano and very restrained percussion... this evokes a rootsy, rustic atmosphere, even when the guitars plug in for the second half of the song. I think I prefer Cash's take on this now-classic rock track. His version earned him a Grammy nomination, nothing to sneeze at.

The Pistols, within spitting distance

Anarchy in the U.K., first snottily snarled by punk gods Sex Pistols back in 1976, was tapped for Megadeth's album So Far, So Good... So What!, released in '88. Metal master Dave Mustaine brought his own vocal animosity to the tune, doing it some justice, but ultimately, this was a forgettable re-hash. The original Pistols song was lean, raw, and vital. The punk ethos dripped from Anarchy, since it was the product of the era. Megadeth's version, after the fact, feels like a tepid mimicry simply adapted to their thrash style. I mean, it's not a complete failure... it just seems unnecessary. And that guitar solo... why? That's a weak solo by any standard, but for either of the Mega-axe-masters, that thing limps along like a crippled puppy. Nope.

Back in 1961, before I was even a glimmer in my mom's and pop's eyes, The Marvelettes, a Motown girl-group, sang a tune that became a radio hit. That was Please, Mr. Postman. But I never knew of the Marvelettes' original until long after I heard the Beatles' cover of it on The Beatles' Second Album. That was my second album purchase as a kid (fitting, almost... though my first was a Monkees record), and though it was jam-packed with Motown covers, I became enamored with those Beatles' versions. They were the first for me, and I never even knew these weren't their songs for many years. 

The Marvelettes' original is a fun, bright example of hit songs of that era and the Motown genre. It's nice, but not something I'd normally listen to. The Beatles' version, on the other hand, bears a heavy backbeat and big guitars. Bring in those Liverpool vocal harmonies and Ringo's cymbal-happy style and you've got something special; to this day, I love - and prefer - this and all the other Beatle interpretations of Motown classics. 

I've never cared much for the 80's group Eurythmics, but I suppose Sweet Dreams is one song I don't mind. Simple yet effective pop songwriting. I can see the appeal even if I'm not a fan. The synth-pop sound works well here and singer Annie Lennox keeps things under control... pretty low-key. Then in 1994, controversial rocker Marilyn Manson adapted Sweet Dreams to his own nightmarish style. It's certainly an imaginative if noisy re-telling, though I find it abrasive (as I'm sure was intended) and harder to listen to... so I'd choose the Eurythmics original over Manson's version any day. 

Vinyl Shopping List: Rush?

Having begun my way down the slippery slope of record collecting, I have come to a point where I must carefully consider what I'm adding to my (so far) small smattering of vinyl discs. I've been fairly choosy about what I pick up, going for a handful of absolute all-time favourites - which I already owned on CD, and several albums (by artists I like - or love) that I have never owned or heard in their entirety. 

In assembling a thoughtful, rather than random, selection of LPs, I believe there should be some representation of artists to whom I've been exceedingly loyal over the years. A couple that immediately come to mind are The Beatles and Rush. I've already got a (very worn 1976 re-issue) copy of Rubber Soul, so I've covered that base... but what about Rush?

A big question. What should my first (or only) Rush album be on vinyl? For artists I've already spent nearly a lifetime with, and rarely revisit nowadays, I don't think I want to re-buy a lot of albums that may sit on the shelf untouched. So for now I'd like to just aim for a single LP I know I'll play at least fairly often. Here, today, I'm going to think (and write) out loud, and try to work this out with a sort of pros/cons list approach. So bear with me.

I've been a Rush fan for most of my life, ever since my early teens - in the mid-to-late 70's - when I bought 2112 on vinyl (long gone). It wasn't until the late 1990's that I put Rush on the back shelf. Not that I didn't like their music any more (I still attended their concerts); I just happened to prefer a lot of other types of music at the time. Jazz, electronic, classical, lighter prog-rock, some rap and dance-pop. Yeah, all over the place. Anyway, lately I've been thinking that if I'm going to build even a modest-sized, yet respectable, record collection, I should have at least one Rush album on the shelf. And that's a tough decision.

Sure, I've got every Rush studio release, and nearly all their live recordings (hey, they went a bit overboard with the live albums in the 2000's), on CD... but my choice for a vinyl purchase had better be a good one. Something I'm sure that'll see some time on the turntable. Whatever I get, it's going to be from the golden age of Rush... somewhere between (and including) 2112 and Permanent Waves. The earlier albums were building blocks, making bold inroads but losing a step here and there. And the later albums, some of which I do love and respect, felt either commercially overextended or rather average (still good by any other standard) lacking some punch and creativity.

Here's my dilemma: barely a year ago, I upgraded my favourite Rush album to the remastered CD version. Not a huge expense, but you know, that was the third time I'd bought A Farewell to Kings. First on cassette tape back in the 80's, then CD, and on to the remaster. It feels ridiculous to shell out yet again for the same album, even if it's on vinyl. I think some deep rumination is in order:

In my opinion, Farewell is Rush's greatest album. I know, I know... a lot of fans would claim Moving Pictures or 2112 is the pinnacle for the band. I'd argue that Moving Pictures has grown stale for me, and lacks the over-the-top technical prowess and imaginative flair that we hear on Farewell. I guess this is totally subjective for me, so I must make a personal decision. Farewell, to me, perfectly captures the dynamics of Rush's exciting style of prog-rock, from the epic and majestic Xanadu to the chilling sci-fi metal of Cygnus X-1, and demonstrates the band's matured songwriting on "simpler" pieces, Cinderella Man (far better than you remember!) and Closer to the Heart (Rush's first hit single, by the way).

Moving Pictures has become rather boring for me, not necessarily because it's bad, but because I've heard its songs zillions of times, excessive radio airplay the main culprit. I just don't get the fuss over MP any more. Yes, I loved MP for the first several years since its release, but even Power Windows stole some of its thunder, if you ask me. Tom Sawyer was never the big deal to me that it was to everyone else. If anything, Limelight was the star of that album. 

Permanent Waves offers some of Rush's greatest hits, The Spirit of Radio, Jacob's Ladder, and Freewill, even the lesser-known tracks like Entre Nous and Different Strings. Even though Natural Science carried on the tradition of the conceptual suite, and certainly had its stellar passages, it never really grabbed me in a big way. I had this record way back, my second Rush purchase after 2112, so there are fond memories there... but I don't think the entire Permanent Waves LP would see much time on my turntable today or down the road. 

Then there's Hemispheres... a technical triumph, a tour de force, even. As much as I admire the virtuosity of the band and their achievement in the recording of the ambitious Hemispheres suite, I find it repetitive and a bit dull, at least in sections. There are certainly powerful and catchy bits, but in the end, it's not great in my estimation. Side 2 (on LP) or the second half of the album: all excellent songs, but is the album worth getting if i'll only play half of it most of the time? Probably not. 

Now I come back to 2112, my introduction to Rush back in the mid-ish 70's. Visiting a friend's house, I heard the first couple of minutes of the 2112 Overture. I was not hooked just yet, but I was intrigued. I bought the album without ever having heard it (other than that little teaser) and loved the huge sound, the masterful instrumentation, the supremely memorable songs, and especially the high-pitched wail of Geddy Lee. The 2112 suite contains so many iconic Rush moments: classic Neil Peart drum fills, Alex Lifeson's searing guitar leads, and Geddy's unearthly basslines. And as far as I am concerned, side 2 (the second half) of the album possesses some of Rush's coolest songs. Alex and Geddy even contributed lyrics for the first time, on the tracks Lessons and Tears, respectively. A Passage To Bangkok, The Twilight Zone, Something For Nothing. The riffs, the rhythmic magic, Geddy's one-of-a-kind vocals. 

Okay, it's looking a bit more clear-cut to me now. If I can't live with another copy of A Farewell to Kings, then 2112 is the one. For now, I'll consider 2112 the Rush album that I'll add to my collection. Maybe not right away, but whenever I find a nice copy... either a gently used early pressing or a newer reissue. 

New Additions to the Record Shelf

I've been semi-busy searching out and picking up some new music for the collection. All oldies, and they're all goodies. 

Not long ago, I bought two Gordon Lightfoot albums, one on vinyl and one on CD. The record was 1976's Summertime Dream, and it's a winner... and funny how the legendary Wreck of the Edmund Fitzgerald doesn't impress me nearly as much as the rest of the tracks. I can't explain that, but whatever. Then there was the Complete Greatest Hits, a later release only available on CD, chock full of Lightfoot's best songs (at least as far as I can tell). I actually did some research on Gord's compilations, and this one seemed to be the best, covering his most productive and successful years. Some favourites are If You Could Read My Mind, Carefree Highway, Daylight Katy, and... Cotton Jenny, which I still remember from "music class" back in primary school, when teacher would guide us through some sort of songbook of modern-ish vocal tunes. I never sang, just mouthing the words and hoping for a meteor strike. But that was a memorable song, and I now realize that I love it.

Another vinyl acquisition was a gently used copy of Beethoven's Ninth Symphony, performed by the Swiss Romande Orchestra and conducted by Ernest Ansermet. But what strange packaging! The cover photo (above) looks like it was taken at a late 60's European football match or a concert... the shot shows us a crowd of young hippy-ish men. Liner notes are nearly non-existent, and what little is there is very cryptic. This London Records recording was released in 1967... I wonder who bought this unusual-looking album for long-hairs (the classical kind) back then. Anyway, a terrific performance of the world-famous symphony. 

I was the happy recipient of two terrific LP records at Christmas. The first was Black Sabbath's very first album (1970), a brand new, sealed, remastered reissue - legendary, and glorious. I'd never listened so closely to this album before. For my first run-through, I plugged in my Sennheiser headphones, sat back with the liner notes in hand, and bathed in the most important album in heavy metal history. The exquisite sound engineering on the disc breathed new life into this set of metal classics. 

The second vinyl record was a brand new, sealed copy (dated 1980?! If not a reissue, then how did this remain un-bought and unopened until today?) of Motörhead's Ace of Spades, which rocked my speakers and headphones on the first few listens. How can you play Motörhead quietly? Not the high fidelity experience of the Sabbath LP, but then again, Motörhead was never a studio perfection sort of band. There's more of a gritty, sort of live feel to it. Simply a solid no-frills grunge-punk-metal album from front to back. Love Me Like a Reptile and the title track are faves. Crank it up.

I'm waiting for some records on order... and the first is Metal Heart by Accept. I found it used on Discogs for a decent price; my only regret is that I missed out on an even better condition copy by just a hair... during the order process, I paused for a few moments, then the record was bought by someone else - snatched from right under my nose. The nerve! Anyway, the record I settled for should be just fine, and I can't really complain since this 1985 album is tough to find on vinyl for a reasonable price. I'm looking forward to this metal gem, since I've never owned it before on any format, and I know I like every track thanks to a Youtube preview. Should be a treat!

Also on order are a few K-Tel vinyl records from the 70's. You must be rolling your eyes as you read this. Unless you are about my age and have the same fond memories of growing up to the softer sounds of Elton John, Captain and Tennille, The Stampeders, and The Ozark Mountain Daredevils. My main purchase is the 1975 compilation called Music Express, which I bought on 8-track tape as a kid (maybe 12 years old) back in the day. I loved that thing to death, playing it endlessly, softly rocking out to Philadelphia Freedom, Jackie Blue, Love Will Keep Us Together, Wildfire, and The Rockford Files TV show theme song (one of my faves!).

As I placed my order for the Music Express LP, I noticed a sale going on and grabbed two more K-Tel collections for only a buck apiece! Similar 70's pop and rock music, featuring the likes of England Dan, Earth Wind & Fire, Moxy, Ohio Players, Dr. Hook, Little River Band, and Gerry Rafferty. Man, the nostalgic trip I'm gonna take when I spin these discs... all vintage LPs, by the way... all in really nice condition. The best kind of time travel.