Up in the Air (Reitman, 2009)

I am periodically re-publishing the posts that I want to preserve from the previous incarnation of this blog, just in case I ever lose control of that site or it vanishes. What follows was originally published on 22 January 2010 on betweensympathyanddetachment.blogspot.co.uk.

This blog contains spoilers.

Although the protagonist of Up in the Air is a man who flies across America firing people for a living, it is not a movie about losing your job or being unemployed. And although the plot is set in motion by his lifestyle (though probably not his livelihood) being threatened by a new, young recruit who puts forward a case for firing people by videophone, it is not really a movie about new technologies and their alienating effects either. One of the most fascinating things about Up in the Air, in fact, is all of the potential films one can see in it that it refuses to become.

Small, striking moments: The Corner and The Wire

I am periodically re-publishing the posts that I want to preserve from the previous incarnation of this blog, just in case I ever lose control of that site or it vanishes. What follows was originally published on 15 August 2010 on betweensympathyanddetachment.blogspot.co.uk.

The HBO ‘miniseries’ The Corner (2000) is now predominantly viewed and marketed as a warm-up or sketch for The Wire (HBO, 2002-8). When we enter for the first time the fictional world of the prior series (in its first episode, ‘Gary’s Blues’), the presentation of that world employs aspects of the rhetoric of a documentary. A handheld camera travels backwards to keep in frame its subject – a black man in early middle age (Gary, played by T K Carter) – as he hurries along an alleyway and then across a street. Offscreen, a voice asks him questions.

Shrek Forever After (Mitchell, 2010)

I am periodically re-publishing the posts that I want to preserve from the previous incarnation of this blog, just in case I ever lose control of that site or it vanishes. What follows was originally published on 2 July 2010 on betweensympathyanddetachment.blogspot.co.uk.

This blog contains spoilers.

The Shrek franchise has always riffed on surrounding culture to humorous effect. And like most contemporary franchises, it surrounds itself with merchandise: action figures, duvet covers, video games, clothes. This sort of activity has been around for a long time. However, I discovered this evening another form of diffusion/repurposing that is at least a little newer. There is a particularly memorable ‘turn’ early in the movie, and at what turns out to be a crucial narrative juncture, which involves a young boy, reminiscent of Augustus Gloop in Willy Wonka & the Chocolate Factory, repeatedly demanding that Shrek ‘do the roar’. The repetition, editing pattern and timing of this in the movie make it very funny. And ‘do the roar’, a web search reveals, has, to use an ostensibly vague trio of words which in fact precisely captures the nature of the phenomenon we are faced with, ‘become a thing’. When I google ‘shrek do the roar’ this is what I get: http://tinyurl.com/shrdtr. There is a YouTube video that re-edits the movie to MC Hammer’s ‘U Can’t Touch This’, to great effect. There is a link to a Facebook group page which bears the following description: ‘Welcome to a Facebook Page about The kid from shrek who says “Do the Roar!” Join Facebook to start connecting with The kid from shrek who says Do the Roar!“‘. And, perhaps inevitably, there is an iTunes App: ‘Do The Roar, will allow anyone to annoy Shrek, and cause him to bellow out his enormous Ogre roar. Use Butterpants to help you annoy Shrek,…‘ And those are just the first three hits!

Some sort of promise

I originally posted this quotation, which I love, the day after my daughter was born. I am re-posting it on her 7th birthday.

Where you went out the back door of that house there was a stone water trough in the weeds by the side of the house. A galvanized pipe come off the roof and the trough stayed pretty much full and I remember stoppin there one time and squattin down and lookin at it and I got to thinkin about it. I dont know how long it had been there. A hundred years. Two hundred. You could see the chisel marks in the stone. It was hewed out of solid rock and it was about six foot long and maybe a foot and a half wide and about that deep. Just chiseled out of the rock. And I got to thinkin about the man that done that. That country had not had a time of peace much of any length at all that I knew of. I’ve read a little of the history of it since and I aint sure it ever had one. But this man had set down with a hammer and chisel and carved out a stone water trough to last ten thousand years. Why was that? What was it that he had faith in? It wasnt that nothin would change. Which is what you might think, I suppose. He had to know bettern that. I’ve thought about it a good deal. I thought about it after I left there with that house blown to pieces. I’m goin to say that water trough is there yet. It would of took somethin to move it, I can tell you that. So I think about him settin there with his hammer and his chisel, maybe just a hour or two after supper, I dont know. And I have to say that the only thing I can think is that there was some sort of promise in his heart. And I dont have no intentions of carvin a stone water trough. But I would like to be able to make that kind of promise. I think that’s what I would like most of all.

Sheriff Ed Tom Bell in Cormac McCarthy’s No Country for Old Men

Stories and the internet

I am periodically re-publishing the posts that I want to preserve from the previous incarnation of this blog, just in case I ever lose control of that site or it vanishes. What follows was originally published on 29 April 2010 on betweensympathyanddetachment.blogspot.co.uk.

New technologies have an effect upon the way we ‘consume’ fiction (amongst other things), but they also have an effect on the kinds of fictional scenarios that are plausible if stories are set in the present. ‘Don’t let a mobile phone ruin your movie’ is the tagline of and premise behind a still-current series of Orange cinema adverts (which, although they do not ‘ruin’ my trips to the cinema, certainly constitute a source of irritation).

The Social Network (Fincher, 2010)

I am periodically re-publishing the posts that I want to preserve from the previous incarnation of this blog, just in case I ever lose control of that site or it vanishes. What follows was originally published on 8 November 2010 on betweensympathyanddetachment.blogspot.co.uk.

I got to see The Social Network on Saturday night, a film I had wanted to see for some time. It begins with a character returning home (well, home on campus) after a night out and venting his frustration via the internet. After the movie, I wanted to do the same. A couple of days later, the impulse to get out what I want to say and the opposing one not to spend time and space simply being negative about something are still battling, and are in fact proving a distraction, so I am just going to make a few observations, which make no claim to completeness or balance, so that I can get them out of my system! My points are reactions partly to the movie, and partly to positive things that have been asserted or suggested concerning the movie in its reviews (see David Denby’s piece in The New Yorker for the piece where praise multiplied by prestige of outlet is highest).

The Road

I am periodically re-publishing the posts that I want to preserve from the previous incarnation of this blog, just in case I ever lose control of that site or it vanishes. What follows was originally published on 10 August 2010 on betweensympathyanddetachment.blogspot.co.uk.

This blog contains spoilers.

Most of last week I was camping in the Lake District, and I managed to read a novel that I’ve been wanting to get around to for a long time.

I spend more time than might be healthy worrying about fuel and food shortages, resource conflict, and social collapse – thinking about all the things that need to keep happening to keep society going, and about how I’d cope if I found myself in the position of Robinson Crusoe, or the ‘castaways’ on Desert Island Discs. Should I be spending time learning how to grow my own food? Build drystone walls? Fashion spectacles for if my eyesight continues to deteriorate?! For this reason, and because I was so gripped by No Country for Old Men, I felt primed for The Road.