Grey Gardens has earned its cult status because of the eccentric, fascinating and often hilarious central characters of Edith “Big Edie” Ewing Bouvier Beale and her daughter Edith “Little Edie” Bouvier Beale, known as the aunt and first cousin of Jacqueline Onassis. This mother and daughter duo first came to light after stories of their ramshackle house hit the news and it was revealed that these blue blooded women were living in squalor. On reading these stories, Albert and David Maysles (who at this point had made the seminal Salesman (1968) and Gimme Shelter (1970) approached the Beales, asking to make a documentary on their life at Grey Gardens, a crumbling East Hampton estate. With delusions of becoming film stars, the women agreed.

But why take two remarkable characters and turn them into fiction? Writer and director of the remake, Michael Sucsy, has explained how he wanted to further explore their lives. Admittedly, Sucsy has a point; anyone who’s watched the 1975 film will no doubt wonder how these women went from debutante balls and lobster dinners, to pet racoons and home-made couture. In their youth both women were handsome, with charmed lives and aristocratic suitors. But Big Edie’s failed marriage left her lonely and she turned to her daughter for solace and companionship.

With hints to their past, I can understand why Sucsy wanted to investigate the Beale myth. But isn’t it the mystery that makes them so alluring? Is it not more satisfying to sit back and wonder how people grow into those they become? What often splits an audience is their preference for storytelling; some want explanatory endings, others prefer the Raymond Carver approach – a snapshot of a moment which allows your imagination to fill the gaps. Surely Sucsy’s account would be full of subjective presumptions?

No more than the Maysles’. It is widely acknowledged amongst filmmakers that documentaries can, and never will be, objective. The act of editing or selecting a shot reveals the director’s narrative direction. However, of all the styles of documentary filmmaking, cinéma vérité has often been regarded as the most “truthful”. With its fly-on-the-wall sensibility, the technique prides itself on honesty. In Peter Wintonick’s documentary Cinema Vérité: Defining the Moment (1999), the director claims, ‘The cinéma vérité revolution opened a window onto real life and real issues. It freed the documentary from stilted, staged shots’. With this in mind, Grey Gardens seemed like an odd candidate for a fictional make-over.

The HBO movie received rave reviews after it aired on 18 April 2009, and from what I’ve seen, Barrymore and Lange give well-studied performances. However, I am less interested in comparing the two in terms of superiority and more concerned with how this example highlights the idea of an essential truth in documentaries. There has often been this notion of documentaries being of a higher calibre of filmmaking than fiction film because they somehow bypass falsity. This debate is deftly illustrated in a scene from Alexander Payne’s film Sideways (2004) where Miles, the lead, is talking to his friend’s wedding guest about a novel’s he’s just finished.

Mike: What is the subject of your book? Non-fiction?
Miles: Uh, no. It’s… it’s a novel. Fiction. Yes. Although there is quite a bit from my own life… so I suppose that, technically some of it is nonfiction.
Mike: Good I like non-fiction. There is so much to know about this world. I think you read something somebody just invented, waste of time.
Miles: That’s an interesting perspective.

This scene is anecdotal, but reveals a common snobbery surrounding documentaries. If our existential longing stems from a need for an absolute truth, then it’s no surprise that documentaries are often heralded as a higher art form. Werner Herzog talks about searching for an ‘Ecstatic Truth’ in his films. This has nothing to do with facts, but a profound truth experienced on a fundamental level. Herzog admits to constructing scenes in his documentaries in order to try and reach this Ecstatic Truth, arguing that such manipulation is not a betrayal to the form. With this in mind, I consider my own preconceptions of the Grey Gardens remake. Did I dismiss it too readily? Perhaps Sucsy reveals more about these characters and the human condition than the Maysles. Until I watch Grey Gardens (2009) I can’t be sure, but one thing’s for certain, it made me sit up and think – for that alone, it should be commended.

Columbian cocaine wipes out business for humble pollen vendors

Ever wondered what it’d be like if bees did cocaine? Yes, me too. Thanks to the glorious workings of Noah Baumbach’s mind, we can all get a better idea. Check this piece in The New Yorker out.

Hey babe. Take a walk on the wild side.

“Encounters at the End of the World”

Fiddlers on the Roof

A man walks into a bar and says, “What do you get when you cross Pink Floyd seals, prostitute penguins and global warming?” His friend replies, “I don’t know, what do you get when you cross Pink Floyd seals, prostitute penguins and global warming?” “The new Herzog film,” laughs the man. Okay, it’s not much of a punch line, but describing Werner Herzog’s latest journey into the abyss sounds like the telling of a surreal joke.

“Encounters at the End of the World” (2007) is Herzog’s latest ode to Mother Nature’s sinister forces. With echoes of his recent efforts, “Grizzly Man” (2005) and “The Wild Blue Yonder” (2005), “Encounters” is a documentary that explores the awe-inspiring landscapes of Antarctica and the scientists who spend five months of the year at the McMurdo Research Base.

The Pole’s magnetism has drawn workers from all corners of the earth. There is Stefan, a Russian philosopher who has channelled his conceptual brain power into something more practical. Then there’s David the team’s plumber, who goes to great lengths to persuade Herzog and his cameraman of his Aztec ancestry. Sam is part marine biologist, part amateur guitarist, forming a band with his colleague. Together, they spend their evenings rocking out on the roof of a hut perched high above the snow. And lest I forget Karen who possess the useful skill of fitting her body into a carry holdall transforming herself from ‘computer expert’ to ‘weekend away bag’ in a few easy bends. This unusual settlement of people makes for interesting viewing. As Stefan poetically puts it, “we are all the lines of the map converged.”

However, whilst Herzog exposes the team’s eccentricities he does not mock them. First and foremost he presents the group as our hope for the future. They may drop into ice wells and teeter on crater rims, but still, you can’t help but envy this group of enthusiasts. They arrive at the base with a collective mission – to try and better our understanding of the planet and indulge a primal need for adventure. To hear that ice caps the size of Ireland are melting serves to remind us that global warming is a frightening reality. This group of men and women may be unconventional but our existence lies in their hands. No wonder Karen’s learnt her seemingly pointless party trick. If I could predict the future I’d want to hide in a carry case too.

Herzog’s films “Aguirre, Wrath of God” (1972), “Fitzcarraldo” (1982), “Little Dieter Needs to Fly” (1997) and “Grizzly Man” all sit man in nature’s grip. The films’ protagonists may be plucky adventurers but they are ultimately disposable. Herzog grew up in post-war Germany where he survived by sucking the nutrients out of wallpaper paste. If the director feels a bond with these characters – both fictional and real – it comes as no surprise. With a lightness of touch, Herzog allows his characters to tell their stories whilst at the same time reminding us of the bigger picture. In “Encounters” we see gas-chiselled ice chimneys and neon sea creatures. We see spider-like crabs and tunnels of ice. Despite the droll tone of Herzog’s narration, one can almost feel the awesome wonder flooding his mind.

It is this combination of fact, philosophy and humanist insight that makes the film so affecting. Despite claiming that “Encounters” is not about “fluffy penguins” Herzog still creates a narrative around the wildlife living in Antarctica. Most notable is the story of one penguin that chooses certain death over comfortable colony life. Standing alone perplexed in the snow, the penguin heads north leaving the group to begin his fateful journey towards the mountains. A scientist explains that even if he were to catch the penguin and bring him back, it would ultimately be a futile exercise; if the penguin wants to leave, he’ll find a way to escape. Just as one questions Timothy Treadwell’s mental stability in “Grizzly Man” when he sets off into the wilderness, Herzog wonders whether penguins also suffer from insanity. As ever, the director presents nature as infinitely fascinating but ultimately terrifying. As the scientists explain, it’s almost certain that the human race will eventually be wiped out by nature’s forces. Guaranteed existence is a falsehood – nature will finally claim back what is rightfully hers.

A hundred years on, Shackleton’s hut remains in Antarctica completely unchanged. Lining the shelves are cans of stewed rump stake and mutton cutlets; woollen socks decorate the beams. This “extinct supermarket,” as Herzog describes it, stands like a frozen relic. Like a scene out of Cormac McCarthy’s The Road, the rotting remains of human existence linger like a sinister warning. A thousand years from now McMurdo’s yoga studio and bowling alley will be gone, and perhaps new life forms will wonder what happened to the creatures that once lived there. Above all, what would they make of the bizarre tokens left by the scientists – a frozen fish and a shrine lined with popcorn. Why these objects have been chosen as a kind of time capsule one can only guess. All I hope is that these future life forms have an appreciation of kitsch.

]]> http://slipperypeoples.wordpress.com/2009/04/26/film-review-encounters-at-the-end-of-the-world-2007-dir-werner-herzog/feed/ 0 slipperypeoples fiddlers-on-the-roof_sh_200 http://slipperypeoples.wordpress.com/2009/04/16/shooting-people-present-miranda-july-shorts-nyc/ http://slipperypeoples.wordpress.com/2009/04/16/shooting-people-present-miranda-july-shorts-nyc/#comments Thu, 16 Apr 2009 20:50:45 +0000 slipperypeoples http://slipperypeoples.wordpress.com/?p=133 Continue reading →]]>

Miranda July is a jack of all creative trades – an  award-winning performance artist, musician, writer, actress and film director.

Tonight, Shooting People are screening several of the short films she made between her experimental recordings on the Kill Rock Stars label, and her award-winning ‘Me and You and Everyone We Know’ (2005).

The short films are supported by Sweet Tooth of the Tiger http://www.sweettoothofthetiger.com/- a renegade bakery project that will be on hand to add to the fun with their sugary confections.

www.shootingpeople.org

This time it’s John Waters’ new exhibition ‘Rear Projection’ at the Marianne Boesky gallery in Chelsea. Like his previous works published in ‘John Waters: Change of Life’ (2004) and ‘Unwatchable’ (2006), Waters’ new show is full of strip photo series snapped directly from his TV.

Rear Projection: Mamas (2009)

Rear Projection: Look out! (2009)

Change of Life: Dorothy Malone's Collar (1996)

Taken from his favourite films, Waters steals these iconic faces from cinema history and creates his own narrative. I for one will never watch ‘Written on the Wind’ (1956) in the same light – not with that starched collar stealing the haut couture limelight.

His fabulous new piece ‘Control’ (2009) is a large-scale Ike and Tina Turner puppet show of sorts, made from fibreglass, silicone and human hair. Waters has always said Turner made the best music when she was with Ike – bruises make people more creative, everyone knows that.

Rear Projection: Control (2009)

Waters has previously commissioned similar life-like models for his previous shows. In ‘Playdate’ (2006) Waters brings his worlds together as Charles Manson and Michael Jackson get reborn as two freakish toddlers. Perhaps Manson should be transferred to Neverland on day release, whilst Jackson sets up home in San Quentin penitentiary. A change of scenery could do them both the world of good.

Rear Projection: Playdate (2006)

You can see more work in this collection here or better yet, check out James Kalm’s video footage of the private view.

Last night saw the return of David Byrne to British shores after a long hiatus. As part of the Southbank Centre’s Ether 09 festival, Byrne stood centre stage to play tracks created in collaboration with Brian Eno. To the audience’s delight, this included songs from their three Talking Heads albums as well as the groundbreaking My Life in the Bush of Ghosts (1981) and the recent release Everything that Happens Will Happen Today (2008).

As a long time Talking Heads fan – with a specific fetish for Byrne – this rare opportunity to see him perform live was incredible. Sat amongst Byrne lookalikes (silver haired men in their forties, sporting dapper suits and thick-rimmed glasses) I felt twenty years too young, however, we were all undoubtedly  joined by our love of the music and the man himself.

Utterly mesmerized, Byrne was a total pleasure to watch. Still as limber, exciting and cool as ever he performed his most iconic moves – those gyrating hips, jog on the spot strums and head-pecking thrusts. Along with his backing dancers and band Byrne was dressed in uniformed white, making the vibrant light show and incredible acoustics all the more dazzling. Having seemed to have lost none of his energy, the playful choreography of Byrne and his team echoed the innovative stage show that made Stop Making Sense (1984) such an iconic film.

One thing’s for certain – Byrne has lost none of his youthfulness. As his recent collaboration with Brooklyn group Dirty Projectors* has demonstrated, the man remains hot property for collaboration with some of today’s preeminent bands – an impressive feat for someone who’s been making progressive pop for over thirty years.

Predictably, it was his performance of Heaven, This Must be the Place, Take Me to the River and Life During Wartime that got people out of their seats and into the aisles. All four encores (yes, four!) were met with enthusiastic rapture, with particular excitement over his performance of Burning Down the House whilst wearing a tutu. I can’t remember the last time I felt such a heady rush of euphoria at a gig.

Beautiful stuff.

Tarrantino Presents: double bill

Pussycat Club

Bob's Big Boy Diner - David Lynch buys a tuna sandwich here everyday

Fan girl's dream: Bruce LaBruce hotspot in Hustler White (1996)

Hollywood Forever cemetery

West Hollywood: local business

The Hills

Banksy exhibition

Banksy exhibition

Banksy exhibition

Original painting by Susan Tyrell