Film

You, The Living

A look at the most recent film from the filmmaker many have dubbed the new Bergman...


You, The Living (Du Levande)

Director: Roy Andersson
Distributor: Artificial Eye
UK Release Date: 2008-07-14

Often heralded as a successor to Ingmar Bergman due to his dark wit and humor, Swedish director, Roy Andersson has developed a niche for himself by creating poignant fables that are underscored by outlandish, laugh-out-loud comedy. In true auteur fashion, his pictures are marked by a distinctive tableau of meticulously arranged set design and cinematography, which help echo his bold (and absurd) quirkiness.

Here, in You, The Living, Andersson takes his notions of the ridiculous beyond the traditional bounds of reality – presenting us with hallucinations from vacant souls, who struggle to find ‘meaning’ in the despairing silence of the everyday. To map out a précis here however would be futile. For the filmmaker does not construct a traditional three-act narrative form, but rather weaves us into his story through emotional impulses. As such, all of the characters are ‘connected’, but unlike hegemonic movies, the players here are drawn together by their pessimistic outlook on life. The problem is of course remedied by the tragicomic ending, which sees a fleet of bomber airplanes seemingly ready to end these characters’ irreversible misery.

For those of you who feel that I may have just given away a vital plot point, rest assured. The experience of viewing Andersson’s film has less to do with this structural point, and more to do with its distinctive lighting, and its theatrical artifice – which reminds us of the sumptuousness of a Douglas Sirk masterpiece like Written On The Wind (1956) or All That Heaven Allows (1955). Unlike Sirk however, this filmmaker doesn’t mask his morbid outlook in subtext. Instead, he envelops his characters, his set (often shrouded in an eerie green light), and his camera, which on more than one occasion resides in utter stillness, almost as if waiting for the grim reaper to come and swoop these characters off to their graves.

These aesthetic choices imbue the piece with a dreamlike quality -- one that is as much a nightmare, as it is a lurid fantasy. These painterly images seep into the viewer’s unconscious, hitting such a deep-set chord that by the end of the movie, I felt that I had been ‘uplifted’ from my own facade, and that I was slowly returning to it after a restless, and consuming sleep.

Besides its gloomy exterior, You, The Living is laced with some very funny instances. Old-fashioned physical gags are interspersed with inventive comic interludes. The most inspired of these examples involves a van driver, who while attempting a traditional cloth pulling technique finds himself unraveling a posh dinner party, ruining a series of antique china pieces. The driver is subsequently put on trial; where a bunch of beer-guzzling judges decide that he deserves to be electrocuted to death for his catastrophic sins. In an ingenious turn of events, Andersson executes these moments in a series of slow motion deadpan scenes, which left me hurling with uncontrollable laughter.

Another hilarious slice of comedy finds a disgruntled hairdresser reshaping an influential businessman’s head into a pseudo-Mohawk before an important meeting. When confronted by the fuming victim, the barber responds quietly: “take it easy”, explaining that a domestic tiff with his wife left him agitated, and unable to cut his hair in the manner requested.

But despite his penchant for comedy, Andersson’s film boils with a potent political undertone, which raises existential queries. As we begin to question whether his characters are indeed ‘living’ or not, we grow to inquire about our own place in this seemingly wretched world, where we all ‘live’, merely to ‘earn’ our living, leaving behind our fantastic hopes for Technicolor in our disappearing dreams. As such, You, The Living harkens to the same hyperrealism of TV programs like Ally Mcbeal, except in a more radical and unapologetic manner. A truly visionary experience, You, The Living suggests that Roy Andersson may very well be on the brink of genius.

8

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less
Culture

Net Neutrality and the Music Ecosystem: Defending the Last Mile

Still from Whiplash (2014) (Photo by Daniel McFadden - © Courtesy of Sundance Institute) (IMDB)

"...when the history books get written about this era, they'll show that the music community recognized the potential impacts and were strong leaders." An interview with Kevin Erickson of Future of Music Coalition.

Last week, the musician Phil Elverum, a.k.a. Mount Eerie, celebrated the fact that his album A Crow Looked at Me had been ranked #3 on the New York Times' Best of 2017 list. You might expect that high praise from the prestigious newspaper would result in a significant spike in album sales. In a tweet, Elverum divulged that since making the list, he'd sold…six. Six copies.

Keep reading... Show less

Forty years after its initial release, one of the defining albums of US punk rock finally gets the legacy treatment it deserves.

If you ever want to start a fistfight in a group of rock history know-it-alls, just pop this little question: "Was it the US or the UK who created punk rock?" Within five minutes, I guarantee there'll be chairs flying and dozens of bloodstained Guided By Voices T-shirts. One thing they'll all agree on is who gave punk rock its look. That person, ladies, and gentlemen is Richard Hell.

Keep reading... Show less

Tokyo Nights shines a light on the roots of vaporwave with a neon-lit collection of peak '80s dance music.

If Tokyo Nights sounds like a cheesy name for an album, it's only fitting. A collection of Japanese city pop from the daring vintage record collectors over at Cultures of Soul, this is an album coated in Pepto-Bismol pink, the peak of saccharine '80s dance music, a whole world of garish neon from which there is no respite.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image