by Suspended Reason w/ James Wood
In Antonioni’s film L’eclisse, the luminous Monica Vitti visits the Rome stock exchange, where her fiance, played by Alain Delon, works. Delon points out a fat man who has just lost 50 million lire. Intrigued, she follows the man. He orders a drink at a bar, barely touches it, then goes to a cafe, where he orders an acqua minerale, which he again barely touches. He is writing something on a piece of paper, and leaves it on the table. We imagine that it must be a set of furious, melancholy figures. Vitti approaches the table, and sees that it is a drawing of a flower. Continue reading “On the Erotics of Interpretation”
I filled in a long-standing gap in my cultural knowledge recently and watched Lynch’s 2001 noir masterpiece Mulholland Drive. That’s the sensation, right? Where listening to records or watching films in an era of unprecedented access begins to feel a bit like doing homework.
Except Mulholland Drive is, itself, an almost unprecedently interesting film, one capable of arousing sensations in the viewer which he was previously unaware existed.”Uncanny” is used frequently to describe a Lynchean landscape, a place where things are simultaneously banal and extraordinary, both incredibly familiar and unnervingly off.
There’s a scene in the film during which one of its central protagonists, a successful Hollywood director, auditions lead actresses for his screenplay. Shadowy organizations are pulling strings behind the scenes so that the casting decision is essentially out of his hands, but he cycles through the motions regardless, asking several of the actresses to perform different 50s pop hits in a mock-up recording studio. One of these (diegetically) auditioned actresses is played by (real life) Melissa George, singing the rendition of “I’ve Told Every Little Star” shown in the footage below.
Continue reading “Every Little Star”