[1]
DB here:
This picture points backward and forward. It looks back to the days when movies were shown on a big screen to hundreds of people in real time. No pausing or fast forwarding; you take what you get. Some viewers are settled in pretty close to the screen, and a few dare to sit in the front row. (Save me the center seat, fortunately still vacant.) The critic sits slumped far back, implying coolly distant appraisal. The pen is poised to note down moments of power, beauty, or stupidity.
But the big auditorium is nearly empty, and this makes the drawing foreshadow the approaching end of moviegoing. The warning signs are emerging: Visit any movie, even an Imax spectacular, in the off-hours (Monday through Wednesday, especially matinees) and you’re likely to find the house as empty as it is here. As for the critic, ready to jot down notes for a review: An anachronism these days, as many will tell you.
But wait. Isn’t the theatrical business booming? We’re told that 2009 was a banner year, and 2010 will be even better. True, worldwide admissions for 2009 totaled $29.9 billion, a new high. But the increase, according to the MPAA [2], is mostly due to 3D. In the US, the format accounted for 11 % of the country’s $10.6 billion box-office income, a sum about equal to the gain over last year’s take. Moreover, the number of domestic tickets sold increased only a little from recent years, to 1.4 billion. Overall, the years 2005-2009 have fallen off from the high points of 2002-2004, when attendance was 1.5 billion or more.
Nor is the international film industry expanding its audience. For the last five years or so, worldwide attendance has been remarkably flat, with only the Asia-Pacific region seeing signs of growth. Overall, it seems, 3D serves to let Hollywood hang on to its audience, and charge more.
The spurt in theatrical income helps offset the decline of packaged media. The DVD sell-through boom lasted from 1998 to about 2008, when subscription rental companies (Netflix, Lovefilm) and kiosks (Redbox et al) [3]pushed down retail sales. The slump was accelerated by a glut of DVD releases, big-box stores offering discs at rock-bottom prices, the rise of downloading and video on demand, and, not least, a massive recession that made consumers cost-conscious. Today, many industry observers think that young people are more inclined to graze in the luxuriance of YouTube than visit the multiplex. At best, the Millennials might watch a current hit streaming on their cellphones or laptops or TV monitor. An admittedly small-scale inquiry in the recent Screen Digest (April, p. 100; here [4], but proprietary) suggests that most young entertainment fans don’t feel a need to rent a disc, let alone buy one. Moreover, all those sampled saw far more movies on monitors, often through shady downloads, than on theatre screens.
It’s not hard to imagine a near future when a movie opens simultaneously on the global market to satisfy its most devoted public before moving in a very few weeks to DVD, VOD, iTunes, and other digital platforms. It then snuggles into hundreds of thousands of hard drives around the world, ready to be awakened when somebody feels the urge to watch. These seem to be the two poles we’re moving toward: the brief big-screen shotgun blast, and the limbo of everlasting virtual access. You can argue that the very success of home video, cable, and the internet have cheapened our sense of a movie’s identity.
Which is one reason why film festivals are very, very important.
Apocalypse then and now
[5]
I’ve spent most of the last several weeks at festivals. The Hong Kong International Film Festival [6] is a 2 1/2 week showcase of global cinema, attached to a major regional market assembly and spiced with local attractions and international retrospectives. The Wisconsin Film Festival [7] is a 4 1/2 day local event highlighting US independent cinema but with a leavening of recent arthouse titles and restored classics. Ebertfest [8], formerly Roger Ebert’s Festival of Overlooked Films, is a topical festival held in a single venue, featuring a wide array of guests, and reflecting its founder’s eclectic tastes.
Each offers unique pleasures, and each reaffirms the value of the theatrical motion-picture experience. I’ve already written a bit about Hong Kong here [9] and here [10] and here [11], and I hope to write more about the Wisconsin event soon. For now I’ll concentrate on a few high points of Ebertfest, which took Roger’s cartoon above as its emblem. Kristin and I have been guests for many years (our posts are in the Festivals: Ebertfest category on the right), but this time she was in Egypt scouring the sands for pieces of statues. So I’ve had to blog solo.
Fortunately, we now have a vast archive of what happened in Urbana. With the generosity typical of Roger’s event, all the Q & A sessions and panel discussions were recorded and streamed. They’re available here [12]. And for an appreciative account of what it all means, see Jim Emerson’s piece on Roger’s site [13].
Start with the obvious. Apocalypse Now Redux was shown in a Technicolor restoration in the Virginia Theatre, a picture palace built in 1926. The image loomed, the sound engulfed you. Several people, most of them young, told me that they felt privileged to have seen the film, for once in their lives, as it must be seen. As soon as you get a home theatre that matches this presentation in sheer primal impact, call me. I’m coming over.
Editor and sound designer Walter Murch, one of my heroes, was prevented from coming by the European volcano ash. So I tried in my introduction to pay homage to what is surely one of the most complex soundtracks of any film of the period—a mixture of synthesizer, rock and roll, and layer upon layer of subtly enhanced noises. During the screening I was able to appreciate some of the daring soundfields Murch created. When Willard gets up to look out the blinds of his Saigon hotel, the sound in the left and right and surround channels narrows abruptly to the central speaker, bringing him back to mundane R & R reality. Later, most ordinary dialogue comes from the central speaker, but when Willard voices his commentary, we hear him from all three front speakers; the soft tone creates an intimacy, while the auditory spread gives it weight and authority.
A panel of commentators including Ali Arikan, Michael Phillips, and Janet Pierson did a fine job of probing various aspects of the film. Ali considers it Coppola’s crowning achievement and one of the great American films. Michael, by contrast, thought that what he aptly called the “terror and grandeur” of its opening half gives way to off-kilter and pretentious scenes in Kurtz’s compound. Janet, who had seen the film on the big screen more often than any of us, found it an enduringly impressive accomplishment in both sound and image. With the audience we had a lively exchange about the role of women in the film and the inclusion of the notorious French plantation sequence. Matt Zoller Seitz made a shrewd point about how the film shows Americans bringing along homegrown entertainments (Playmate performances, rock music, surfing) to redefine the war in familiar terms.
Despite all the shock and awe, I like the film only moderately. It’s a stunning logistical accomplishment, and it has some brilliant moments; but I think it has problems almost as soon as Willard moves upriver. I might be the only person who finds the Kilgore scenes overdrawn, almost Dr. Strangeloveish. When Kurtz bends down to give water to the wounded Vietnamese, he’s interrupted by news of surfing, and he yanks his canteen away as the VC scrabbles for it.
[14]
Heavy, heavy—as is the repeated motif of Americans strafing civilians and then tending to their wounds. Willard spells it out: “We cut them in half and then give them a Band-Aid.” Yet I still admire the utterly disorienting opening, which mixes thrumming choppers with ceiling fans and justifies what Michael Herr called it: the rock-and-roll war. Later we’ll see battles wreathed in psychedelic haze, and a hallucinatory assault on the bridge, with Willard stumbling through the dark and watching battle-fried infantrymen hurl ordnance into a void. It’s like a light show at the climax of a rock concert.
[15]
[16]
One of my favorite comments about the movie came during Dick Cavett’s television show circa 1980. Dick asked Jean-Luc Godard what he thought of Apocalypse Now. This was a period in which most of the press coverage obsessed about the film’s soaring budget. Godard remarked that Coppola had not spent enough. Cavett asked for an explanation. Godard: “Well, he spent only fifty million dollars and the war cost fifty billion. You cannot film this war on such a small budget.” That’s the way I remember it, anyhow.
From Rwanda to LA
[17]
Quick notes on two other E’fest titles. (I’ve already discussed Departures here [18].)
“I wanted to make a film for a Rwandan audience.” Not what you might expect to hear from an American director of Korean descent. Accordingly, Lee Isaac Chung gave Munyurangabo a leisurely pace and structure. The plot centers on two young men, Sangwa and Munyurangabo (aka Ngabo), taking what seems to be an enigmatic journey. One is Hutu, the other Tutsi. Longish takes and fairly distant framings follow them hitchhiking and stopping over at Sangwa’s home. Gradually, hints such as Ngabo’s carefully wrapped machete suggest that they are heading toward a confrontation. When the revelation comes, our attachment shifts from Sangwa and his family conflicts to Ngabo’s mission of vengeance. Chung explained that the soundtrack develops accordingly, moving from objectivity to subjectivity as we start to hear what his two protagonists hear.
The production background, explained by Chung and his colleagues Sam Anderson (co-writer and producer) and Jenny Lund (co-producer and sound recordist), was fascinating. The script consisted largely of a scene outline, and the dialogue was developed with the actors. The Americans worked with translators in guiding the performances. In some cases they drew on their own experiences. Perhaps partly because of its respect for everyday life, the film has been shown on local television and in the Parliament. It has become a Rwandan film.
My colleague J. J. Murphy has written an acute analysis [19]of Munyurangabo. He rightly praises the sudden entrance of a bardic young man who recites a six-minute poem celebrating liberation and reconciliation. The performance wasn’t planned, Chung said, but it has become a high point of the film. J. J. also links to other enlightening interviews given by Chung, Anderson, and Lund.
[20]
If Munyurangabo’s loose structure evokes the Dardennes brothers, Michael Tolkin’s The New Age has the coiled-serpent dramaturgy of a classic psychodrama-comedy. It’s 1994, and a prosperous LA couple is suddenly without income. Facing bankruptcy, Katherine and Peter auction off their paintings, try to borrow from Peter’s father, and eventually open a boutique catering to the tastes of their friends. At the same time they slide into casual affairs and ceremonies of New Age spirituality. Ebert’s review captures the movie’s range of reference:
Tolkin gives us one richly detailed set piece after another, involving luncheons, openings, massages, telephone tag, psychic consultations, sex, heartfelt conversation, and pagan rituals led by a bald-headed woman who sees what others cannot see. Meanwhile, the material universe remains the one thing Peter and Katherine can really count on.
Few American films examine money and class, but this one is actually about needing a paycheck. By the end, when each of our protagonists becomes a seller rather than a buyer, we have seen a remarkably sharp dissection of a lifestyle.
In the Q & A afterward, Tolkin said that the genesis of the film came from watching a Melrose shop sink into failure. When I saw the film on its initial release, lines like “It’s not an insult, it’s an intervention” and “We need space” (psychological, but also retail) leaned me toward taking the film as satire. I still do. But Tolkin insists that it’s not. The plot dares to have two truly repellant protagonists, but Tolkin doesn’t find them nasty. “I like them.” He majored in religion in college and he takes his characters’ beliefs, no matter how shallow, seriously—not a big surprise from the creator of The Rapture.
He elaborated on some differences between novels and films. When he rereads one of his novels, he thinks, “How was I ever that smart?” but when he rewatches a film it’s the imperfections that jump out. A movie has to be more compressed and rhythmically varied than a novel—something The New Age demonstrates in its brisk montages alternating with slowly unfolding scenes. In the discussion Jim Emerson praised the film’s density of detail, Tolkin elaborated by invoking William Carlos Williams’ belief in compact expression.
The next two paragraphs include plot details you may prefer to pass over.
Tolkin’s script is indeed firmly contoured. The couple’s crucial quarrel takes place at the thirty-minute mark and launches the two major plot lines. They decide to try a separation (while sharing the house), and they launch their boutique. The development section begins about halfway through, as they conduct their love affairs and watch the shop founder. The last act presents their options: bankruptcy, suicide, low-end work.
Arguably the climax is Peter’s desperate effort to make his first telemarketing sale. Here, I think, Tolkin’s ambivalent sympathies come out. Early in the film Peter had asked a cold-caller whether he ever thought he’d be doing this as a career; it’s less a moral condemnation than glib snobbery. But when Peter has to close the sale, his self-loathing is mixed with a certain pride. The cashiered ad exec finds that he can do this. He’s on the road back.
The gorgeously designed movie, with hard blacks and saturated primaries, has a developing palette (“swatches for each act,” Tolkin says). Unhappily, I can’t study the design arc here because The New Age seems never to have had a DVD release. So much for the Celestial Multiplex [21]. Good old 35mm pulled us through, in a radiant print.
Scholars seem now to agree that film festivals serve as an alternative international distribution system. Like Hollywood’s more formal and routinized machine, festivals bring movies to audiences. Usually the movies are current ones, and a festival is offering local viewers their only chance to see such pictures before video release.
Ebertfest shows that there’s an essential place for what we might call the repertory festival. That’s one that revives and reappraises films from earlier periods—and “earlier” may mean only a few years ago. Jumping from 1929 (Man with a Movie Camera, accompanied by the Alloy Orchestra) to the 1980s (Apocalypse Now, Barfly) and the 1990s (The New Age) and then right up to 2008 (Vincent, Trucker, Departures, Synecdoche, New York, Song Sung Blue), this year’s edition reminds us that every film, old or new, is a part of history.
To come fully into history, I’m convinced, a film needs scale. Even intimate dramas attain their true gravity when spread out like a gigantic picnic on a pale blanket. It’s not the only way to enjoy cinema, certainly; but it’s one that we must never abandon. Like the note-taker in the back row and the geeks up front, everyone needs a full view.
[22]
Apocalypse Now Redux.
PS 28 April: I just discovered this piece by Steven Zeitchik [23], who argues that reviving classics in a big-screen event format could also be good business.