Quince and Goat Cheese With a Slice of Civilized Cinema: A Conversation
The Squid and the Whale
Jeff Daniels, Jesse Eisenberg, Laura Linney
USDVD release date: 22 Nov 2016
Punch Drunk Love
Adam Sandler, Emily Watson
USDVD release date: 15 Nov 2016
Andie McDowell, Tim Robbins
USDVD release date: 18 Nov 2016
USDVD release date: 15 Nov 2016
Lone Wolf and Cub
USDVD release date: 8 Nov 2016
Female Prisoner Scorpion: The Complete Collection
USDVD release date: 9 Aug 2016
Come in, come in. Sit down in front of a little fire on this tangy evening. Have you ever tried quince jelly on a slice of manchego? People like it with a Spanish red, but I prefer this lightly chilled sherry. Somehow impertinent yet ingratiating, isn’t it? Shall I put something on the stereo? Segovia? Mahler? Sun Ra? Ray Conniff?
Ah yes, you wanted to know about some of the stuff coming out on Blu-ray. I can but point you in a few directions that may appeal. First, let’s consider two 21st century American classics put out by Criterion with all their typical bells and whistles.
Punch Drunk Love (2002) follows the whimsical attempts at romance between lonely, frustrated salesman Barry (Adam Sandler) and the winsome Lena (Emily Watson). The relationship is nearly ruined by a crazy scumbag (Philip Seymour Hoffman) who tries to swindle Barry with charges to a phone-sex line. The film is unpredictable and off-center, to say the least, and dotted with curious references to the mythology of Atlas, seen on a moving truck, who bears the world on his shoulders and has seven daughters—as Barry has seven sisters.
Filmmaker Paul Thomas Anderson has explained that he loves Sandler’s movies, which are mostly critically disdained but very popular. He specifically loves their hostility. Sandler’s kind of a hostile vulgar variant of the Jerry Lewis persona: an unlikeable klutz who wants to be loved but got little of it from American critics. Both Lewis and Sandler use obnoxiousness to distract from their naked sentimentality, although the real difference is that Lewis was a visual stylist who directed his own pictures with a kind of literalized cartoonishness.
He learned from Frank Tashlin, a real cartoon director who did several of the Dean Martin / Jerry Lewis movies. To the French, Lewis was a typically American narcissistic child. That puts Sandler in a tradition that includes the Three Stooges and Lou Costello. Forgive me; I get to wandering. Try some of these olives.
Anyway, it was a coup for Anderson to convince Sandler to make this film, in which his hero does have anger management issues, but Sandler’s fans stayed staunchly away from what feels like an anti-Sandler movie and very much one of Anderson’s personal eccentricities wandering down its own vital tangents. It could be said that gentle awkwardness is the film’s dominant tone and even its vision of American life, that modern alienation breeds either hostility or a lost sweetness, or both.
Anderson frequently mentions Robert Altman as an inspiration, and this film uses Shelley Duvall’s recording of one of Harry Nilsson’s songs from Altman’s Popeye (1980) so that Watson’s character (or even Sandler’s) seems to be channeling Olive Oyl. Like Popeye, Barry keeps evincing surprising displays of strength that should be impossible.
Any movie that makes a fetish of a Popeye song is worth watching, although the major musical contributor is Jon Brion, a musician-composer-producer who allowed his own cartoonish eccentric impulses to pop throughout a picture in which Sandler plunks on a harmonium. New extras include an interview with Brion, who explains why most soundtracks are boring.
Another creator involved in the film was the abstract painter and video artist Jeremy Blake, whose rich, bright, spectra-like abstractions punctuate the film along with the Popeye song. Blake apparently drowned himself in 2007, shortly after the suicide of his girlfriend. His story, along with a look at some of his works, is discussed by two art curators in an excellent bonus feature.
If you ever wonder why certain elements get tossed into a movie, remember: beauty never needs to be justified. It’s beauty! There can’t be too much, and generally, there’s way too little. Music, colors, gestures, even nudity—the more gratuitous they seem, the more necessary really. Do we justify sunlight? The moon?
Okay, that’s what I need to put on, do you know Rautavaara? Mystical Finnish composer, “Cantus Arcticus” has bird song. Let this blow you away. If you love the birds, we can go full metal Messiaen, but hold that thought.
Adam Sandler and Emily Watson in Punch-Drunk Love (2002)
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The Squid and the Whale (2005)
I was going to say: the other movie came out a few years later. Yielding so much while clocking in at a brisk 80 minutes, writer-director Noah Baumbach’s The Squid and the Whale (2005) is superficially a high-art Manhattan movie. The story amounts to carefully observed snapshots of a disintegrating marriage, with Jeff Daniels and Laura Linney as the couple, and it’s all reflected through the teenage son (Jesse Eisenberg) and his younger brother (Owen Kline). That sounds hideous enough, but the logline doesn’t capture it.
No, I’ve never had squid. Not much on the chewier seafoods. Now, pangasius with a dash of butter is a light forkful of heaven. It’s also called basa, and by coincidence, I’m about to rustle some up with gluten-free breadcrumbs.
Back to Baumbach, people naturally make the Woody Allen connection. As with Allen’s Husbands and Wives (1992), it’s a merciless exposure of everyone’s foibles, but with compassion. The real subject is maturity: how the teen realizes through his own screw-ups that he can be just as pretentious a jerk as his dad. At last he’s able to confront the museum’s squid and whale without averting his gaze through a childish mix of fear and love. When he looks at the two beasts engaged in mortal battle, he sees them objectively as predators and compassionately as products of their nature. It’s a very “New Yorker magazine” kind of epiphany, and a rare example where this kind of thing works in cinema.
I know, it’s a little unreasonable that the parents don’t recognize a famous Pink Floyd song in that one crucial scene, but you just have to go with it. In the context of their son performing a song he wrote, maybe they would be fooled and only unconsciously realize why they recognize a great song.
It’s another film with good musical choices. Baumbach discusses the music in a bonus segment with Luna’s Dean Wareham and Britta Phillips, who wrote a few themes for the picture partly inspired by Midnight Cowboy. Songs include Loudon Wainwright, Tangerine Dream, and wonderful “Figure Eight” from Schoolhouse Rock, as sung by the great Blossom Dearie. That’s it, let’s put her on the stereo next.
True, it’s a movie that overeducated critics might like for “superficial” reasons, since it’s just a pleasure to hear dialogue about Kafka and French New Wave movies like Breathless (one of many wonderfully inappropriate responses) and The Wild Child (“lots of people like that movie”—the boy justifies himself as a precious philistine), and a poster for the three-hour black-and-white talkfest The Mother and the Whore (1973).
That reminds me: In a dialogue between Baumbach and writer-critic Philip Lopate on the old DVD (not retained by Criterion), Baumbach says the script called for a Blow-Up poster but Warner wanted $6,000 and New Yorker Films offered them a list of free posters. He picked The Mother and the Whore only because he liked that movie and didn’t get the obvious joke until later.
To finish that thought about critics, it’s understandable that critics like to be flattered by cultural references when they can announce to the world that they happily “got it”, and it’s understandable they would respond to a smart family like themselves, or their fantasy of themselves, being skewered so delightfully, but that doesn’t invalidate the movie’s pleasures or make it less smart than it is. That’s not what makes it a good movie, though, just as Anderson’s facility and quirkiness aren’t what make his movie good. Lord knows there’s plenty of that in cinema. It’s the empathy, their final commitment against snark and in favor of human feelings, that make the movies truly good.
Lily Tomlin and Tom Waits in Short Cuts (1993)
It’s common for reviewers to like movies that flatter them by holding up a snide mirror to the class they come from or aspire to, and this is why both good and bad movies receive praise for the wrong reasons. American Beauty (1999), for example, and Altman’s Short Cuts (1993) appeal for the same reasons yet are much less than they seem.
What’s that? Oh, I know, everyone hailed Short Cuts as a masterpiece, and by the way, that’s another one freshly on Criterion. You know, Altman liked to say he made films that you couldn’t understand properly on a first viewing. This was a defensive way of arguing that those movies critics didn’t warm to are better than they think, and he was basically right.
The irony here is that, if you follow the logic, it must mean those movies that were hailed on first viewing must be his most simple and unrewarding, and I’m afraid that’s pretty much true of his post-‘70s output. Movies like The Player and Gosford Park basically bean you with their simpleness, but people enjoy his technique so much that they appreciate not having to scratch their heads as they’re told what they want to hear about folks with money.