Talking Movies

June 8, 2018

At least we still have… : Part II

The second entry in an occasional series in which I try to cheer myself up by remembering what still exists in the world and cannot ever be taken capriciously away.

Why, there’s Dom and Nic’s trippy video for the Chemical Brothers’ ‘Setting Sun’, prominently featuring the vocals of Noel Gallagher. The autumn of 1996 in a bottle. I still don’t really do dance music, but this was the first single I ever bought (and on tape!). It had the power to move me to cross the dug-in trenches of genre. It seems odd I never knew they were directing so many key videos; ‘Hey Boy, Hey Girl’, ‘Ava Adore’, ‘I’m Afraid of Americans’, ‘Block Rockin’ Beats’, ‘D’You Know What I Mean’; but it seems odd now that MTV played them!

And then there’s the immortal Snoopy Dance. Some weeks ago a younger co-worker did an end of shift dance which I thought was like the Snoopy Dance. She was highly offended by this, which was puzzling. When she did it again later I used her term, the end of shift dance, only for her to call it the ‘Stupid Dance’. Ah! Sorting out this mishearing involved grabbing a co-worker closer to my age who knew what the Snoopy Dance was and instantly pulled up on his big-screen laptop the above clip to showcase the glory of Charles Schulz’ creation. On seeing it there was a pause, and then an admission that that was kind of like her dance alright… On reflection the end of shift dance is probably closer to Jenny Lindberg’s dance in Warpaint’s ‘Disco//Very’ but that’s another post.

December 22, 2011

Thus Endeth the Winning Streak

I’ve already cast doubt on the wisdom of using Bane as the villain in The Dark Knight Rises, but I have strong presentiments of disaster that extend well beyond that.

I was alarmed after writing my piece to read Christopher Nolan talking about Bane to Empire and specifically extolling how he makes Batman physically vulnerable; and Scarecrow setting Bats on fire, Ras Al’Ghul dropping a log on him and Two-Face shooting him can go to ret-con hell. Nolan then went on to quite graphically describe Bane’s brutal fighting style before belatedly backtracking and talking about Bane’s great tactical mind hidden behind the monstrous physique. The scent of Knightfall is heavy in the air, and the sound of breaking spines emerge from crystal balls and runes everywhere. But I’ve come to feel that it’s inevitable that The Dark Knight Rises is going to be a disaster because Nolan is quite simply overdue one at this point.

Indeed in an article during the summer I wrote “Christopher Nolan is due a disaster at some point. Every director, writer, playwright, musician, artist will make a screw-up of epic proportions at some point.” I’ve quoted an old Charlie Brown line as my title because I’ve since traced back the origins of my belief in the inevitability of disaster in artistic careers to a Peanuts comic strip.  Charlie Brown’s baseball team had been on an unwonted winning streak, and as he stood on the base he knew this couldn’t possibly last – a massive disaster had to scupper them at some point to restore the cosmic balance. And they immediately lost, and he sighed “Thus endeth the winning streak.” But how does this apply to artists?

My favourite directors Alfred Hitchcock and Steven Spielberg have both suffered disastrous ends to great winning streaks. I think that The Dark Knight Rises is going to be that moment when the wheels come off the wagon spectacularly, and Christopher Nolan will stand up amidst the wreckage, look around, mutter “Thus endeth the winning streak”, and dream it all up again. And it’s not all superstition that somehow one can become overdrawn at the Bank of Inspiration – if we may call whatever that external well of ideas is that Jung dubbed the spiritus mundi, and which every writer knows the tingling feeling of tapping into; when the characters start to say things to each other that you, their creator, didn’t know they were going to…

There are obvious tangible reasons why great directors suddenly make a catastrophic hash of things. Continued success surrounds you with money, yes men, and a feeling of invincibility. Your judgement is temporarily euphorically suspended, as you breezily take risks you wouldn’t have taken before, and you become implacably convinced that whatever idea you come up with is pure gold because you’re a genius (rather than sifting thru a number of ideas to find which is the best one because you’re good but you need hard work and inspiration to hit pay-dirt) – and then WHACK! Box office disaster slaps you back to reality like a wet fish right in the kisser. Disaster is what makes next the winning streak possible. Forced back to smaller budgets and second-guessing yourself you sift thru ideas, regain your critical eye and return stronger than ever.

Spielberg screwed up with 1941 and returned with Raiders of the Lost Ark. Hitchcock bored everyone with The Man Who Knew Too Much and The Wrong Man and roared back with Vertigo. Even Joel Schumacher rose from the ashes of Bat-disaster with Tigerland and Phone Booth. Who knows just how good Nolan’s comeback would be?

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