I went to see Broken English last night. I didn't have any plans to see it; in fact, I didn't know anything about it. I didn't even realize the film involved, heck, starred Parker Posey- I probably wouldn't have agreed to it if I had known. "NooOOoO!' I said, covering my eyes, when I found out at dinner. (She just rubs me the wrong way, with her "ooo look I'm such a f*cked up American Indie Chick, the kind all American Indie Dudes fall for but then get majorly f*cked up by yet can't get over" shtick and whatnot.)
However, after seeing her almost human, I might have to see Posey in Fay Grim, that new Hartley movie, even though I didn't like Henry Fool, even though she stars in it too.
Let's just say that I much prefer the filmmaking skills of Cassavetes Jr to those of Coppola Jr whose skills I am eager to dismiss. (My sister and I rented Marie Antoinette while she was here. While it flowed along fine, we were both like "um, okay, like, whatever" at the end.)
Too bad the New York Times hired themselves some whippersnapper*** who declares "oh but Broken English totally swoons back into the arms Hollywood cliché right after pretending to reject it." No, asshole, were you watching the same film? The ending is not a happy ending. The ending is just an ending (of a movie, not life). Just 'cause [spoiler alert] she agrees to stay for another drink doesn't mean these two will work out. All there is: a possibility of a possibility. No contract. She's just saying "yes!" to life, isall. (Life being a series of possibilities and forked roads (see JLB the master), and "if you engage in travel you will arrive" (-Ibn Arabi) as I just read in some introduction in a book today. Other appropriate allusions being one by Martin Amis* and another by -of all people- Chuck Palahniuk.**)
In conclusion, the NYT should totally hire some more insightful film critics, if not -ahem-me, then at least someone who can actually see what is in front of their eyes. Seeing what's right in front of your eyes, now that's a skill, that.
M
* Rachel Papers, I paraphrase: In Shakespeare's time the boy and the girl fell in love, and lived happily ever after; that's where the story ends. In modern times we all have to live with the aftermath. [I like this book, although not him, or his later work (same thing, no?)]
** Fight Club: On a long enough timeline, the survival rate for everyone drops to zero. [Like the film, not the author, strange that I'm quoting these people.]
*** He's probably not an asshole in real life; I just wrote that ;)
Recommended:
Happy Endings. Pulp.
A Lover's Discource. Roland Barthes.
Looking Awry. Slavoj Zizek.