More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)
7 June
The word suicide itself defies us : if we know the word homicide, we are still stumped without a knowledge of Latin that sui means the particular, the self.
But the word gets heard - and used - often enough for us to know the meaning, without needing to know that it is an act of self-killing, and it even appeared, when Céline Deon took a career-break (for motherhood ?), in a French headline sa suicide incroyable (I quote from memory). The word, just now referring to 'career suicide', is with us in such manifestations as 'financial suicide' and 'intellectual suicide', and, if I am honest, it has become a little too cheap for my liking, a glib notion when what is embodied is that of choosing to end one's life.
And there we come against the taboos, the misconceptions, the prejudice.
We all know about 'suicides' (as, equally cheaply, those who carried through that choice are sometimes unfeelingly called) not being buried 'in consecrated ground', and so we have a lasting sense of the shame and crime that ecclesiastical law deemed this act to be. We will know also of the shame and penalty of bastardy, of 'being born out of wedlock', and the stigma is quite similar in origin, the shame of the state of affairs, but different in how the twentieth century came to view illegitimacy and suicide :
Legislation enacted by the UK Parliament in 1925 repealed the consequences of being born to parents who happened not to be married, and, in my view, the prevalence of people living together in the last thirty years suggests that little or no societal disapproval attaches to being unmarried parents (as against a young single mother, it must be said). The inability to inherit in certain situations had been swept away by the reforming legislation, and, with it, the negative and hampering limitations of being illegitimate, a notion also done away with. (All that survives are the feeble jokes about doubting my parenthood when the speaker has been called a bastard, etc.)
With suicide, we had to wait until only fifty-two years ago for Parliament to pass the Suicide Act 1961, and thereby decriminalize someone trying and failing to kill him- or herself : before then, because the act was a criminal offence, someone known to be a survivor of the attempt was open to prosecution.
I know only when the two changes that I refer to, not (for want of having researched the matter) what the policy and other considerations were that led to the disparity in timing : more than 35 years to correct the injustice of being open to prosecution for wanting to end one's life, as against remedying the things that a person born to an unmarried couple was prohibited from doing.
In both cases, the history of the law's disapproval of illegitimacy and of suicide lay in Christian theology, with a Biblical notion of birthright (and of the primacy of the legitimate first male child), and a belief that suicide was the unforgiveable sin of blasphemy against the Holy Spirit. Yet (as I have said), why decriminalizing suicide was less of a priority is not known to me : by analogy, I can say only that, under the law prior to the Mental Health Act 1983, being an unmarried mother made one liable to be detained under the predecessor Act, which is an almost incredible time for repealing such a policy.
Looking back to Greek mythology, whatever we think of Oedipus, it is clear enough in Sophocles' The Theban Plays that there is a taboo against suicide. There were also The Fates, whose Greek name (Moirai) means 'the apportioners', from which we partly get the idea of an allotted span on Earth, maybe three score years and ten : the strand representing each human life was spun by Clotho, measured out by Lachesis, and cut to length by Atropos.
You have your allotted span, and you don't seek to defy the Gods by prematurely shortening it, because there are penalties, if you do. Christian doctrine that this unforgiveable sin was that of suicide involved similar notions that God determines the length of one's life.
All of this history feeds in to the attitudes towards - the words used to describe - suicide now, and many object to the words 'commit[ted] suicide' on the basis that 'to commit' suggests a criminal offence. Whether that usage is a real hang-over from the days before the 1961 Act, I do not know, but it is not unlikely.
All in all, the public is so confused by the messages about suicide, assisted suicide, whether the former is a crime, or whether either is an act of courage or of cowardice (no neutral view here), that is no wonder that those who feel death to be the only way out are hurt and hindered sometimes by them : amongst which, they have the fear of being thrown into Dante's Inferno, of the stigma that will attach, and of being perceived as having acted selfishly.
To be continued
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Showing posts with label Sophocles. Show all posts
Showing posts with label Sophocles. Show all posts
Friday 18 May 2018
Saturday 3 August 2013
Only God forgives – so you’re dog-meat !
More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)
3 August
* Contains spoilers *
I doubt that one can look for morality in this tale of Only God Forgives (2013), no more so, say, than in Webster’s play The Duchess of Malfi, or Ford’s ’Tis Pity she’s a Whore – not to say that there are not motivations, codes of behaviour, because there are, and it is their inconsistency with each other that leads to conflict, death, slaughter.
Slaughter is the word for it, in its purest sense – despatching a beast with some ceremonial, even if not with the supposed aim of the abattoir to be humane about what is done in the service of butchery. In others’ responses, I detect an air of if not revulsion, then distaste, in wanting to relish this film, not so much as if it were a guilty pleasure as if it were immoral to say that one had watched it – might or would watch it again…
I am unsure about whether that is right, whether there is a moral issue, and find myself wondering whether director Nicolas Winding Refn’s Drive (2011), which has more propulsion from Ryan Gosling than here (where he plays Julian), is so far away : are we rooting for Gosling’s character Driver because he seems ‘selflessly’ to be risking his own well-being, life, future to protect Irene (Carey Mulligan) and her family, whom he comes to know and then she turns out to have a soon-to-be ex-convict husband ? That excuses the violence, the brutality that, bidden, seem to erupt from Driver, because it is in the knight’s service of a lady ?
We really know little about Driver’s inner life, however he has existed with his underpaid garage job and bare dwellings, because he seems to have no needs other than looking at and knowing Los Angeles and using that in the thrill of his night job – of course, we approve of him, because our film head allows us to reckon that the burglaries / robberies are of a faceless kind where there is no real victim, or, if there is a victim, then Driver is only the driver, and we want him to do what his name says, and get away.
And morality ? Is it really any more present in Drive than in Kill Bill Vol. 1 (2003) and Vol. 2 (2004), for, in a world where X is killing Y because of – or to avoid – the death of Z, we stand back, willing The Bride (Uma Thurman) on since she seems more sinned against than sinning. Whatever the history of revenge may be, and whether we choose to trace it back to Aeschylus or to Cain and Abel, the phrase an eye for an eye (and a tooth for a tooth is part of our culture :
Which is where we come to this film’s portentous-sounding title, which has the ring of being a Biblical / Shakespearean / classical text, but without identifiably* being one : do we watch the film, bearing in mind that there seems no evidence that anyone facing, as the case might be, severance, immolation or decapitation (a sort of one-armed bandit of death, if the ‘right’ line of three comes up), appears to be preparing to meet any sort of maker ? If we do, then I think that the issue of immorality disappears – no one here is seeking any sort of forgiveness, only a craven avoidance of death or other penalty.
But not quite everyone : when requested, the man who aided the failed ambush on the police in the eating-place / bar goes into a corner in the shadows and writes his excuse, which is read by Chang (Vithaya Pansringarm), and then handed to one of his officers. We have no more notion than that of what the man has to say for himself, and there is then a moment of uncertainty until Chang acts – when he does so, the story moves on, and we do not know what effect, if any, ‘the excuse’ had… Except that, in this respect, the film is explicit about crime and punishment, so can we suppose that he received clemency (of some sort) ?
If by immorality it is not the downward spiral of retribution to which people object (which haunts A Midsummer Night’s Dream just as fully as it does the graphic bloodiness of Titus Andronicus, to which, to King Lear, and to the Sophoclean Theban trilogy of plays concerning Oedipus there is more than a shallow nod), but the tribal, self-appointed justice of the police through the offices of Chang, then I am at a loss to follow the argument or experience the feeling.
The echoes that I have mentioned are there, and I shall explore them at greater length in a separate posting, but musically, in tone, in plot, and in modes that essentially consist of stasis (fixed poses, unblinking gazes, etc.), slow motion (for example, slowly receding down or proceeding along corridors, as if of a maze) and sudden activity (Julian chasing Chang, Chang enacting vengeance, or Chang chasing the man whom he gives a Bob-and-Vic-type treatment) I was hugely put in mind of Enter the Void (2009).
As to music, I found it as unsubtle, because I was fully aware, say, that the only tension in the scene where Mai (Yayaying Rhatha Phongam) seems – if the scene happens in reality, not imagination – to be masturbating in from of Julian after tying his arms to a chair came from the chordal disharmony, which I mentally stripped away, and the visuals were devoid of it. Since, in these terms, the soundtrack was too much on the surface, too obvious, I could not help detaching it at other times, such as the early appearance of Kristin Scott Thomas as Crystal, Julian’s mother, and a moment that, better done, could have been laden with the significance that was sought. With Void, I could likewise not help being aware that the cinematic effect was largely created by an attempt to manipulate the viewer and create sensation that was lacking from the screen itself.
My recollection is of an over-indulgent sense of stasis in that film, connected largely with the use of drugs – as here, drug-induced crime leads to dislocation, mayhem, revenge, and I cannot claim, ever since Robert de Niro was shown stoned in Once Upon a Time in America (1984), to have found those under the influence a source of fascination, whether going ‘to meet the devil’ as Billy (Tom Burke) does, or sitting staring on a sofa. If either film sees itself as a meditation on death or the truths of life, it falls far short for me :
Void felt pretentious, and Only God feels too much like a mash-up to be more than pastiche, whether referencing (slightly) The Matrix (1999) and the film-world that influenced The Wachowskis in making it, or William Shakespeare’s bloodier moments, as well as the softer ones that we see in Julian, both in would-be revenger Hamlet, or in Macbeth, needing Lady Macbeth (equals Crystal ?) to stir him to the pitch where he can murder Duncan.
I believe that Only God is a step or two in the wrong direction from the impact of Drive, which impelled the viewer – this viewer found more in the naivety and yet, with it, un-guessed-at ferocity of Driver than in the sub-Freudian musings behind portraying Billy, Julian, Mai and Crystal.
Our film-maker may believe that he is using reflectiveness and moments of quiet to speak to us, but the techniques are so evident that, unless he intends an alienation to make us step back from the detail of the action and view it as a sort of ballet, as a sort of death-laden dance in the spirit of Greenaway’s The Pillow Book (1996), he simply fires up our critical faculties to unpick what plot there is and whether it hangs together. In that respect, a response very like that to Holy Motors (2012).
More to come
End-notes
* The Internet / Google does not help much here with a search, because it is laden with references to the film, but The Oxford Dictionary of Quotations does.
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(Click here to go directly to the Festival web-site)
3 August
* Contains spoilers *
I can't honestly recommend Only God Forgives, because that would be morally and socially reprehensible, but I may see it again. #justsaying
— Mark Liversidge (@MovieEvangelist) August 2, 2013
I doubt that one can look for morality in this tale of Only God Forgives (2013), no more so, say, than in Webster’s play The Duchess of Malfi, or Ford’s ’Tis Pity she’s a Whore – not to say that there are not motivations, codes of behaviour, because there are, and it is their inconsistency with each other that leads to conflict, death, slaughter.
Slaughter is the word for it, in its purest sense – despatching a beast with some ceremonial, even if not with the supposed aim of the abattoir to be humane about what is done in the service of butchery. In others’ responses, I detect an air of if not revulsion, then distaste, in wanting to relish this film, not so much as if it were a guilty pleasure as if it were immoral to say that one had watched it – might or would watch it again…
@MissSueFlay Outstanding, but be warned that it's deeply strange and even more violent than Drive. It's a very guilty pleasure.
— Mark Liversidge (@MovieEvangelist) August 2, 2013
I am unsure about whether that is right, whether there is a moral issue, and find myself wondering whether director Nicolas Winding Refn’s Drive (2011), which has more propulsion from Ryan Gosling than here (where he plays Julian), is so far away : are we rooting for Gosling’s character Driver because he seems ‘selflessly’ to be risking his own well-being, life, future to protect Irene (Carey Mulligan) and her family, whom he comes to know and then she turns out to have a soon-to-be ex-convict husband ? That excuses the violence, the brutality that, bidden, seem to erupt from Driver, because it is in the knight’s service of a lady ?
We really know little about Driver’s inner life, however he has existed with his underpaid garage job and bare dwellings, because he seems to have no needs other than looking at and knowing Los Angeles and using that in the thrill of his night job – of course, we approve of him, because our film head allows us to reckon that the burglaries / robberies are of a faceless kind where there is no real victim, or, if there is a victim, then Driver is only the driver, and we want him to do what his name says, and get away.
And morality ? Is it really any more present in Drive than in Kill Bill Vol. 1 (2003) and Vol. 2 (2004), for, in a world where X is killing Y because of – or to avoid – the death of Z, we stand back, willing The Bride (Uma Thurman) on since she seems more sinned against than sinning. Whatever the history of revenge may be, and whether we choose to trace it back to Aeschylus or to Cain and Abel, the phrase an eye for an eye (and a tooth for a tooth is part of our culture :
Which is where we come to this film’s portentous-sounding title, which has the ring of being a Biblical / Shakespearean / classical text, but without identifiably* being one : do we watch the film, bearing in mind that there seems no evidence that anyone facing, as the case might be, severance, immolation or decapitation (a sort of one-armed bandit of death, if the ‘right’ line of three comes up), appears to be preparing to meet any sort of maker ? If we do, then I think that the issue of immorality disappears – no one here is seeking any sort of forgiveness, only a craven avoidance of death or other penalty.
But not quite everyone : when requested, the man who aided the failed ambush on the police in the eating-place / bar goes into a corner in the shadows and writes his excuse, which is read by Chang (Vithaya Pansringarm), and then handed to one of his officers. We have no more notion than that of what the man has to say for himself, and there is then a moment of uncertainty until Chang acts – when he does so, the story moves on, and we do not know what effect, if any, ‘the excuse’ had… Except that, in this respect, the film is explicit about crime and punishment, so can we suppose that he received clemency (of some sort) ?
If by immorality it is not the downward spiral of retribution to which people object (which haunts A Midsummer Night’s Dream just as fully as it does the graphic bloodiness of Titus Andronicus, to which, to King Lear, and to the Sophoclean Theban trilogy of plays concerning Oedipus there is more than a shallow nod), but the tribal, self-appointed justice of the police through the offices of Chang, then I am at a loss to follow the argument or experience the feeling.
The echoes that I have mentioned are there, and I shall explore them at greater length in a separate posting, but musically, in tone, in plot, and in modes that essentially consist of stasis (fixed poses, unblinking gazes, etc.), slow motion (for example, slowly receding down or proceeding along corridors, as if of a maze) and sudden activity (Julian chasing Chang, Chang enacting vengeance, or Chang chasing the man whom he gives a Bob-and-Vic-type treatment) I was hugely put in mind of Enter the Void (2009).
As to music, I found it as unsubtle, because I was fully aware, say, that the only tension in the scene where Mai (Yayaying Rhatha Phongam) seems – if the scene happens in reality, not imagination – to be masturbating in from of Julian after tying his arms to a chair came from the chordal disharmony, which I mentally stripped away, and the visuals were devoid of it. Since, in these terms, the soundtrack was too much on the surface, too obvious, I could not help detaching it at other times, such as the early appearance of Kristin Scott Thomas as Crystal, Julian’s mother, and a moment that, better done, could have been laden with the significance that was sought. With Void, I could likewise not help being aware that the cinematic effect was largely created by an attempt to manipulate the viewer and create sensation that was lacking from the screen itself.
My recollection is of an over-indulgent sense of stasis in that film, connected largely with the use of drugs – as here, drug-induced crime leads to dislocation, mayhem, revenge, and I cannot claim, ever since Robert de Niro was shown stoned in Once Upon a Time in America (1984), to have found those under the influence a source of fascination, whether going ‘to meet the devil’ as Billy (Tom Burke) does, or sitting staring on a sofa. If either film sees itself as a meditation on death or the truths of life, it falls far short for me :
Void felt pretentious, and Only God feels too much like a mash-up to be more than pastiche, whether referencing (slightly) The Matrix (1999) and the film-world that influenced The Wachowskis in making it, or William Shakespeare’s bloodier moments, as well as the softer ones that we see in Julian, both in would-be revenger Hamlet, or in Macbeth, needing Lady Macbeth (equals Crystal ?) to stir him to the pitch where he can murder Duncan.
I believe that Only God is a step or two in the wrong direction from the impact of Drive, which impelled the viewer – this viewer found more in the naivety and yet, with it, un-guessed-at ferocity of Driver than in the sub-Freudian musings behind portraying Billy, Julian, Mai and Crystal.
Our film-maker may believe that he is using reflectiveness and moments of quiet to speak to us, but the techniques are so evident that, unless he intends an alienation to make us step back from the detail of the action and view it as a sort of ballet, as a sort of death-laden dance in the spirit of Greenaway’s The Pillow Book (1996), he simply fires up our critical faculties to unpick what plot there is and whether it hangs together. In that respect, a response very like that to Holy Motors (2012).
More to come
End-notes
* The Internet / Google does not help much here with a search, because it is laden with references to the film, but The Oxford Dictionary of Quotations does.
If you want to Tweet, Tweet away here
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