Most of us who watch a lot of movies share a fascination with human nature. I could say I’m a movie lover or that I am in the midst of a lifetime research project, either would be accurate. I’m particularly interested in examples of heroism such as the kind exhibited in our movie this month.
Just like every art form before it, movies will pass out of fashion some day. This may come to pass far in the future, or maybe way sooner. The mode in which they are told will continue to evolve, but stories and storytelling will never die.
A story is a product of our necessity to ruminate with language. It is the tongue of the soul. Stories began sophisticating our human brains long before they could be applied to any commercial pursuit or conscious artistic statement. Stories are a shared context inherent in everything we do. As storytellers humans themselves are the living record.
Motion pictures, coupled with the digital domain, are morphing into something more that we can’t yet fathom. Even as we speak, something more wondrous than cinema is being born in a way similar to how painting and music delivered us to the doorstep of motion pictures, but let us not forget that humans are the repository of these stories.
Neither the libraries, nor universities, not Netflix, Amazon or any religious institutions, nor even the gathering clouds of digital domination will ever have a corner on the market of story. We are supplying the stories to them. Nevertheless, while new mediums of storytelling are always being born, in our day and age, the common tongue is still spoken most eloquently with cinema.
Beasts of the Southern Wild (2012), directed by Josh Zeitlen, has already garnered the film world’s most prestigious awards. It achieves awe-inspiring performances, gritty splendor and universal relevance with amateur actors, a miniscule budget, and a script adapted from a one-act play.
The most universal stories are also the simplest and this is the great achievement of “Beasts.” With stubborn, giddy pride and self-reliance, a motherless child and her undomesticated father obtain material sufficiency, one day at a time.
None of the three antagonists in this story are human. The foremost is Nature, with whom the characters collaborate for survival. The next most formidable threat is everything beyond the levee–our world in other words–regarded as a kind of modern Mordor by those gentle folk.
The opening shot elegantly represents the entire microcosm of the pre-adolescent protagonist’s ordeal as she coddles a little bird in one hand while fashioning a pillar of mud for the creature to stand on by itself. This procedure comes across as both child’s play and a demonstration of maternal instinct. If the bird represents the little girl, then the little girl represents a benevolent influence providing refuge in a dangerous world.
Who is the protector, while her six-year-old figure wanders half-naked through a shabby, littered landscape, interacting familiarly with a turtle, chicken and hog? When she confides how little she understands them, the filmmaker is inviting us to discover how inadequately we comprehend his subject and the squalid environment she calls home. A visual clue is inserted in the introductory shots to listen for the heartbeat, the mystery that unites the greater universe.
Her immediate universe is revealed to us as a rag-tag regiment of raunchy revelers on Fat Tuesday. They savor their seclusion and simplicity relying on meager livestock, abundant booze, and semi-regular boons of gulf shellfish for subsistence. In that universe life is a party and the party goes on pretty much uninterrupted on top of whatever calamity happens to befall them.
With the glow of moonshine and fireworks on their faces, an assortment of sodden misfits, young and old, parade, royalty-like, down the same single track that most of them will jamb in order to escape nature’s wrath the next day. Among them are fishermen, freeloaders, saloon owners and a witch/teacher that warns her of global warming and the cowardliness of “pussies.”
The imagination of our child hero concocts an apocalyptic myth, woven through her voice-over, about how she prepares for the return of prehistoric predators unlocked from the melting ice-caps. The quest for her present day mother is contrasted with this and her future, destined with the fate of mother earth, to be drowned by the flood. It’s either that or be domesticated and formally introduced into institutionalized poverty.
Most of humankind huddles closely together over the dividing line between poverty and self-sufficiency and Josh Zeitlen’s lens stands squarely over that fulcrum in “Beasts.”
“When you get sick over there,” she says, “they plug you into the wall.” Is this meant to epitomize the sacrifice of the “wild” who become domesticated? The country they are talking about is our country. We must be the “pussies,” they keep referring to.
Like any animal in her jungle, the turns of events in the life of this little girl are fateful and decisive from the beginning. In an early scene her daddy collapses from a mere thump of her fist. Shocked and bewildered, she skedaddles to the witch,” I think I broke something.” When the flood does come, engulfing everything, she faces fear valiantly, while her juiced-up father calls out the rain groping with shotgun blasts for the jugular of the hurricane.
In nature, there are always casualties. This film is an ode to the offspring that survives. “For all the animals that got caught in the flood, the end of the world has already happened.” The little moppet grows philosophical under pressure, with wisdom well above her years, yet never do any of her quips seem fake spilling from her lips. “They’re all down at the bottom now trying to breath through water.”
This film speaks so elegantly in the common tongue to anyone that feels the constant dread of impending disaster hanging over their head. It articulates the pressures of living on the shifting sands of modern existence and it indicts preceding generations for inadequately providing for and preparing us to meet the future.
Therein lies the real antagonist in this rural chamber piece and how you would identify it depends on your social orientation. It’s been called poverty, ignorance, the ravages of alcohol, the existential crisis of being human. I grant it a distinct regard from the previously described beasts because, while we can not tame the monstrous destructiveness of Nature, or reverse the damage our bad upbringing has had on the modern world, we can, and this diminutive heroine does, confront the adversary at her core and does so in a way that is an example to us all.
This is part 2 of a continuing investigation into a Cult of Venus that thrives today in modern movies.
I recommend, if you haven’t recently, or perhaps ever, take a look at “Stealing Beauty”(1996) and “La Belle et la Bête” (1946)–a double feature in which we compare a movie that is often ignored with one that is beloved by all.
We might as well resume with a film made by someone from the culture that gave Venus her name. Bernardo Bertolucci has been probing, adoring and obsessing over modern versions of her for over five decades. Take his movie, in which Liv Tyler plays a cosmopolitan virgin on the verge.
“Stealing Beauty” has been trivialized by some critics who fail to find real nourishment beneath its confectionary facade. To be sure, the picture looks like something a food writer might describe as pastel farmhouse over a bed of grapevine on terra cotta crust. Why the visual excess? Because “Stealing Beauty” is a fable. If you do not subscribe to this, you may be dismissed.
Anyone who paid keen attention would be able to guess, with the backdrop of idealized nature, archetypal sculpture and the way director and crew pump the painterly schema, “Stealing Beauty” automatically adopts an atmosphere of mythic escapades.
Young love never looked so yummy. It smacks sugar sweet indeed, but there is blood at the center of a good allegory and a hyper touch of it’s color is found in almost any composition in this film. Take Lucy’s last act skirt, or her father’s first act shirt–a photographic rapport that suggests their bond. The attention-getting hue calls to mind menstrual flow, birth blood and wedding night scarlet too, but especially the precious, stirring succulence that circulates the limbs of holy youth which fine art and the movies entice us to adore.
While we’re delving in to Bertolucci’s eye candy, let me point out that silk-draped portal off the barn that billows like some feverishly stoked kiln, which is echoed later by that campfire that permits just enough exposure in the obligatory scene.
Before the days of color cinematography there worked, in motion pictures, a fanatical servant of Orpheus. He too, like Bertolucci, was a poet before he became a filmmaker. He was born before cinema, but then perhaps we are speaking of the first poet of cinema too. They became one in the same in Msr. Jean Cocteau.
I cannot contain my suspicion that Bertolucci installed his curtain in the farmhouse to connect it with a fabulous opus on celluloid that the first poet took upon himself to frame. With his stolen one, Bertolucci often cheers Beauty on from the sidelines of that French master’s enchanted tale. He is also, coincidentally, restating for everyone or at least everyone paying attention, that this film is a fable like Cocteau’s inimitable “Beauty and the Beast,” better known as “La Belle et la Bête”.
If you’ve watched Cocteau’s masterpiece, you’ll never forget the sequence in which the character of Belle, played by the luminous Josette Day, arrives and enters Bête’s magic castle. Watch as she pushes in those massive doors and is snagged by the magnetism of her terrifying host. The halls are lit both-sides with regiments of disembodied arms, sprouted from walls instead of human ribs and each supports a glowing candelabra. One room is followed by another even more mysterious. The inner sanctum is decorated with a row of moonlit, floor-to-ceiling-draped windows.
The magnetism of La Bête grows so strong, by then, that something between the floor and Beauty’s feet conveys her to Him. The possessed castle inhales and sucks the diaphanous shades toward the swooning Belle. She comprehends only later that this is Bête in magic drapery drag, privately pawing her as she passes.
This brief passage is one of the most sumptuous in film history. It reveals not only the perverse pleasure that Bête takes in observing Belle without reserve, but takes in the ravishment of the senses that she experiences inside his enchanted in-breath before fear sets in.
First hints of dread come from a dressing room laid out for Belle. Objects in there whisper aloud, offering their service to her. With such animation in the world of things she is unfamiliar, or perhaps she comprehends, finally, that this castle has eyes to which she does not wish to be further exposed. So she runs but, naturally, all roads lead to La Bête. Suddenly, there he towers, with dashing, full-face beard, ivory fangs and diamond spangles. “Ue Allez Vous,” he bellows, blocking her way, and the trembling, exquisite, adorable and defenseless Belle instantly faints…
…meanwhile, back in our movie seats, ten bucks makes the goddess appear overhead, flick, flick, flick. Once more, radiant Venus descends to the world of men, flicka, flicka, flick…
The opening credits of “Stealing Beauty” play over a home made video. Here again we have a voyeur stalking a beautiful maiden from behind a magic glass. In his prying lens, Lucy is unsuspecting captive. Ironically, it is Bertolucci voice issuing from the secret admirer as he drops the tape of Lucy in the sky down to Lucy on the tracks. The video was recorded on the plane from America and then by train to Siena. It’s all we’ve had to look at so far. We’ve watched a lot of claustrophobic angles of Lucy sleeping, thinking, looking out the window, moving freely about the cabin, listening to music, sleeping some more. We get a cool glimpse of some drool dripping down her chin.
Why cool? Because this is Venus, adorable, immortal, woman-child, sex diva, war goddess. Though it should not be true of the audience, all of this is lost, of course, on luminous Lucy who embodies a ravishing ideal of lady luck with, delectably, zero awareness of our prying eyes.
Now would you just look at how that hand of hers sleeps so close to her blue jean-ed crotch. Is it meant to recall that infatuating pose painted by another celebrated high-priest of Her sect? He who is nearly five hundred or so years Bertolucci’s senior, and is known as Titian, a northerner like him, but from Venice instead of Parma. That Titian was a titan of Venus.
In case you never have, allow your gaze sufficient contact with the “Venus d’Urbino” to observe how gratified she is to lay naked in your presence. It is enough to make one doubt her virginity no? Edward Manet recaste that archetype a few centuries later, transforming Venus into Olympia, a haughty, prosperous, young whore (1864). Next up, Signore Bertolucci rigs his photo reel to ritually restore Venus’ virginity so he can steal it once more.
What is it about this little rite in which movie going mortals regularly love to partake? It is far from the first time that Venus has been around this block. That hottie and her posse are preserved in stone hewn from cultures that reach back to earth’s earliest inhabited zones.
Meanwhile, back to the future, Lucy’s awake again and looking out the window, descending to the land of men. She never acknowledges being watched by them though. You, I and the filmmakers are as graced as La Bete to peek into this pure maiden’s personal space.
Getting back to Bertolucci’s “Beauty”, is Venus really listening to those headphones? No, she’s asleep again. So we begin probing even closer, with the insistence of this mystery lens–much closer than we should. The filmmaker has gradually imposed on his audience a hip, ethical predicament, but it’s not our camera, so we can’t be blamed. Right? We are only watching.
Is that right, or wrong? We’ve just been going along. Now, we begin to ask ourselves if we should continue on when, suddenly, Venus is awakened by the mystery documentarian, advising her to un-dock now, having arrived at her destination.
Lucy grabs her grips and flits onto the platform stopping quick to fix a lace. “What are you doing?” she asks, staring down the lens for very the first time? “I was on the plane.” He whispers, just like Beauty’s dressing mirror in “La Belle et La Bête”. “This is for you.” The tape drops out the window. “Shit!” Lucy exclaims as fright breaks over her fetching forehead. Bingo, Bernardo, you just scored! That furled brow shows how it feels to be Venus in a Venus crazed world.
Because the maidenhead of a virgin is referred to as “her secret,” it makes sense that there is a secret at the core of this story. Is it the same mist that shrouds the sculptor when he wonders why Lucy’s stepfather wants him to sculpt her? “Why did he send her to me?” he confides to his fellow Irish ex-pat wife. “He’s never liked my work?”
I prefer to think the sculptor and Lucy’s step-father both understand why the step-father sent her from New York. I prefer to think that the sculptor’s wife, with whom he is speaking at this moment, does not know the reason and the sculptor is probing just to be certain.
There is also, most definitely, a beast at the core of this Beauty tale. It amounts to almost everyone else in the script. The whole world seems to be chasing this fox. The character of Richard presses most aggressively but, ever since the man with the video camera, each new character from the sculptor to the dying playwright is poaching after her. Every female in the script is getting off on Lucy in some way or other as well. Beastly nature–what can you do?
If I had a daughter, I’d encourage her to see this film as she approached adulthood, with the hope that it could provide a pertinent preview of the pleasures and pressures of becoming sexually active.
After the close call with a young seducer, it is a relief that the boy Lucy eventually connects with is not a slave to the sexual mores of his peers. Lucy’s salvation materializes in the form of the rake’s gentler cousin, a boy of the same age. Osvaldo is the only character in the story that hasn’t attempted to steal her beauty. His head of bucolic locks spells out “nature boy”, cinematically, and foreshadows the spherical canopy of a great tree suspended over Beauty’s sexual setting free.
This iconoclastic heist flick argues that all larcenies perpetrated on Venus are not equal. The sculptor has permission and his wife’s offense, for instance, is petty and meant to amuse when she outs the 19 year-old’s maidenhood. She and her family and friends all indulge in good-natured gossip out of sheer boredom.
Other predators in the upper age limit commit benign infractions as well, filling out this randy romance with spicy minor roles like a sleepwalking art dealer, played, most charmingly, by none other than our most beloved Beast player of all, the French matinee idol Jean Marais and Jean Cocteau’s erotic muse until death. Does anyone out there still dismiss the notion that this film is Bertolluci’s “La Belle et La Bête”?
Embracing a bountiful bouquet of wildflowers that she’s gathered from a classic Monet meadow nearby, Lucy finally asks the sculptor point-blank for the last piece of her puzzle. Where were you in August of 1975?” He takes a while to answer, “That must have been when I did your mother’s portrait.” With this line, the sculptor admits to Lucy her paternal claim. “That’s what I thought,” she replies to accept it. The sculptor levels his next line so that it’s meaning cannot be misunderstood. “It was one of the few times we (he and his wife) have ever been apart.” “Oh, I wouldn’t ask her,” she says, to assure she’s understood. “These are for you.” Lucy hands her father the bouquet, then dabs a tear. Whether it comes from a sense of profound connection or the lack thereof is only next made clear.
The master shows the finished work for which she modeled. It is pure essence. A massive tree trunk yields to sensuous curves in smooth, even grain, articulating immaculate skin on cheeks, forehead and chin. All this is presided over by inquisitive eyes of a curious, absorbent youth in soft, yellow pine. The sculptor confesses, in an earlier scene, his works are about himself. In this case it rings true at least a couple of ways.
Rather than dwell on his accomplishment, the sculpture praises Lucy for how lovely she turned out and she, in turn, looks proud as any branch could ever be for being immortalized by her secret trunk in the trunk of a real tree. To prevent hurt feelings with the sculptor’s wife, it is framed as cool to keep their truth concealed. On this she does agree, then father and daughter embrace, finally. Ironically then, the camera tracks away, in a wide radial around that great chunk of tree, finally showing some respect for Venus’s privacy.
This surprise plot detail attempts to define the unique bond of the artist and model. It points to a shared ambiguity, the secret to which each of them holds a key. I haven’t time to go into this subject here carefully but I will, in the next installment of this series on Venus, so stay tuned, please, if you will. Now, with Lucy’s daddy I.D.’d, we can get on with her inaugural foray.
Sweet surrender in the Siena hills under the verdant ball of an enormous tree. Earth pauses on the head of a pin for Venus and the Chosen One to get it on. Come spy with me on the pretty pilgrims perched above a vine-rowed rise, with the Tuscan sunset reflected in their eyes. Dappled cloudheads cradle rising stars. Campfire illuminates breeze-blown branch sighs, while down slip virgin panties from virgin buns and thighs. Nature Boy avails and proceeds to make love instead of screw. The coolest thing, besides the obvious, is next morning when Osvaldo confesses, “It was my first time too.
This begins a multi-part series on magic and movies. Does magic really exist? If so, what is its definition and who are its practitioners?
The digital reproduction above comes close to being, itself, a kind of magic spell by depicting the famous encounter between Circe the sorceress and Ulysses, the hero of Homer’s Odyssey. The painter’s treatment of his subject is an example of the kind of visual tour de force that storytelling artists were able to draw on and enchant motion picture audiences with as soon as they were invented.
This type of painting makes use of our imaginations the same way as movies do, which is to prompt us to fill in essential information that is left out of view. In order to help his audience fill in the missing story with strictly visual cues, a pictorial storyteller must exercise complete control over the frame. The same goes with a magic spell or enchantment.
Whether attempted by a painter, filmmaker, magician or any other artist, a well-performed trick keeps our reasoning brain busy while it plays with our subconscious. Film appears to defy nature’s laws by shaping the action at 24 frames per second. Magicians can swap sets and props to string together a series of illusory events. Painters have only a single canvas with which to cast their spell, but we can study it for as long as we wish.
The convenience of being able to freeze the action in painting will give me an opportunity to read into every detail of Waterhouse’s interpretation of Homer and see if we can dodge Circe’s trap.
To be effective a spell or enchantment must be worked out in intricate detail. In “Circe Offering the Cup to Ulysses,” we see a gorgeous woman garbed in silvery gauze, seated on some kind of throne. Sunlight accentuates her left breast–a rosy nipple peeks out over the sharply slanted whisper of her gown. On a totemic footstool, her naked toes bathe in the sunbeam with her breast. On the floor to her left is an intoxicated swine–one of Ulysses companions that drank from Circe’s cup. A wary Ulysses, which you will detect in the circular glass that comprises Circe’s backrest, stands before the sorceress. He appears behind her in the mirror, like he is bowing to her breast.
Her face tilts back in a wily, come-hither gaze while she raises the potion in her right hand and steadies a long wand over her head with her left. Gold-cupped incense fumes waft up from lower right toward the raised-cup in the upper left. Her forty-five degree neckline ups this rapport. The painter invites us to notice how these details combine to stupefy Circe’s subject with multi-sensual assault.
Supported on the backs of roaring lions, each with a serpent coiled around its neck, the painter poises the sorceress, literally, between the man and his reflection. She reigns there on her altar, capturing his eye, her ready cup and rod held high. Classic columns fill in the glass, interspersed with shards of Aegean sky.
Circe’s leonine throne recalls the wild cats Ulysses encountered outside, wandering her domain. They were strangely tame and approachable, having been drugged by this demonic dame. So the painter manages to articulate the essential mark of a good magician, who begins weaving his or her spell even before the audience has entered the dark. Let us not overlook the profusion of purple flowers tumbled down from the diabolic shadows. No doubt this is the wicked herb. It looks so fragrant and appealing.
I have left out, until now, the erotic charge of the image. It portrays a naked woman most desirably and represents a clear case of high-class smut. Sexually stimulating paintings, for the past 500 years, have been socially accepted in the west. Why? Their ability to arouse and enchant is highly prized. If you wore the fashions of The Guilded Age, long before porn went pop, this picture could put you in touch with your passion, provoking potent and inspired thoughts.
Even today, if your imagination is given to flights, you might readily put yourself in this scene with a keen thirst for her drink and the aftertaste of regret. For it is quite intentionally the same moment when you will be close enough to appraise her exquisite skin, navel, knees, hips. Voila! Are we swine yet?
The circular censor and tiled rings repeat the cup and mirror in shape and theme. Graduating circles emblemize the enclenching cinch of Circe’s ingenious scheme. Notice too the stoop that raises her above the rabble has a radial indent, to impress upon us one more way that we are ensnared already by her intent.
Now she may be imposing her illusion on you and me, but Ulysses was warned about Circe’s treachery. He has drugged himself to resist her with the Holy Moly. Holy Moly! To this day, when we see something unexplainable, those two words are sometimes exclaimed. It stems from ancient superstition, invoking the antidote with which Ulysses foiled Circe’s aims.
With that in mind, there is a peculiar detail in the upper right corner–a very important feature of the painting–that slice of light above the sorceress’s left hand. Why that shape in that position? It appears most distractingly strong up there in the darkest zone of the composition and makes her hand look deformed, projecting from it like a dagger or a talon.
Why did the artist paint that? Why there? What are we looking at? He fails to completely conceal some background behind a large curtain or tapestry which subtly dilutes the illusion of Circe’s magic trap.
We can escape the fate of Ulysses friends, through this brilliant detail, in which the set is left slightly open for us to see, so that we don’t fall victim to Circe’s spell. Ulysses sees through her deception and anyone who finds this antidote in the painting can too and avoid becoming plump, languid and jowly with a snout and a squiggly tale. That little up thrust dagger of light becomes our counter-spell.
Needless to say, this is superb pictorial storytelling. It took more than 800 words for me to briefly make plain the narrative evident in one single pass over Waterhouse’s exquisite frame. We will have to leave it now in order to take Homer’s allegory to it’s logical extreme, but we’ll take it up again in a subseqeunt part of this series in which we introduce the first magician of motion pictures, Georges Jean Méliés.
To conclude the tale, when Ulysses leans over to sip the potion, Circe taps him with her wand and is shocked when he does not go porcine. Since he can resist Circe, her yearning for Ulysses grows. Swine are turned back into soldiers. Circe now moves to Ulysses’ tune. His men stay on her island with him for a year, eating, drinking, and nursing their wounds.
By the end of the stay they are such good friends Circe sends her lover to seek council from the ghost of the prophet Teirisias in the underworld. She wants Ulysses to avoid certain pitfalls that await him on his way home.
When I recalled this episode of the Odyssey and decided to explore it as an allegory for connecting motion pictures to magic acts, I had forgotten about the Holy Moly. It ends up providing the perfect metaphor for how movies themselves are the antidote to the many spells of our modern day.
Drugs get all the credit for psychedelic culture but motion pictures have always probed those possibilities. As far back as the 1929 silent classic “Man With A Movie Camera,” pioneer filmmakers undertook experiments to alter perceptions. They ingeniously employed superimposition, speeding up or slowing down, bending, blending, splintering, splicing; wielding light and shadow to peck away surface appearance and reveal essence. The current reach toward perfecting 3D and digital FX are the continuation of that tradition.
Before film came along altered states were cataloged by anthropologists, but early hallucinogenic accounts turn up everywhere from the Book of Revelation to the Rig Veda. Who can say which visions were drug influenced and which were not? The “Tibetan Book of the Dead” catalogs elevator stops, or “bardo’s,” of a soul’s journey back to reincarnation after death without mention of drugs. Timothy Leary re-published the same text as a tripping manual.
Drug experimentation became a fad in the 1960’s. Hallucinogens inoculate culture with what medicine societies and shaman of many traditions have known for millennia. Plant medicines provided an alternative perspective, a glimpse outside the box. Sound familiar? The digital revolution carries this potential now.
These days “outside the box” is a commonplace term for innovative thinking and drugs are by no means the only way to achieve it. Movie makers keep on paving the way in popular culture. Whether or not you ever ingested hallucinogens, we all experience them through their influence in music, movies, fashion, advertising, games and so on. For half a century now, psychedelic culture has branched upward into mass consciousness.
The digital revolution, it was said by drug guru Timothy Leary shortly before his death, is the new LSD. It allows for an increase of information to pass between ourselves and the larger living, breathing organism of which we are all part. Psychedelics work to inhibit the brain filter that prevents overload. Take that filter off and senses, emotions, memories expand, awareness roots and blooms. With psychedelics then, and cyberspace now, heaven and hell are states of mind.
