Category Archives: Saturday Night

Saturday Night at the Movies: “Metropolis”

httpv://www.youtube.com/watch?v=zAuSEdPbqmo

It’s been an especially good week for the super-rich.  They’ve seen record corporate profits while Republicans continue to lobby tirelessly to prevent the Bush tax cuts from expiring for the top percentile of earners.  And all the while these happy few have been on the receiving end of hundreds of billions of bailout dollars to sustain the financial market they collapsed two years ago by way of a greed so rapacious that the market did not (as all true believers believe it must) “self-correct.”  There’s also the trillions of dollars worth of “quantitative easing” now working its way through the system in a last ditch effort to keep the whole crazy scheme ricketing along like the Rube Goldberg contraption it really is.  As economist Nouriel Roubini and others have noted, we now have socialism for the rich and capitalism for the poor.

The consequence is that tens of millions of people are chronically unemployed, stripped both of income and their remaining wealth:  Ireland, Greece, and maybe Portugal are poised to go under, and perhaps take the rest of the world’s economy with them.

Don’t worry about the super-rich, however.  In the U.S. alone, prior to the 2008 crash, they owned about 34% of the nation’s wealth; they now own about 38%.  And while many millions of people must do without any income at all, the top 1% take in 25% of it.  One assumes that they are doing so while curing cancer, resolving the suicidal impulses that drive global warming, and selflessly developing a free-of-charge vaccine for avian flu.

Tonight we’re running a restored version of Fritz Lang’s 1927 masterpiece Metropolis. Poetry, Auden says, changes nothing.  And yet it still might serve as a reminder just how much everything can change because it ought to be changed.

Here’s Frye in conversation with David Cayley on being a “bourgeois liberal”:

Cayley: You’ve described yourself as a bourgeois liberal and even said that people who aren’t bourgeois liberals are still “in the trees.”

Frye: Or would be if they could.

Cayley: I don’t quite understand what you mean by that.  This seems on the face of it a strange statement for a social democrat and a Methodist and a populist to make.

Frye: Well, the bourgeois liberal to me is the nearest analogy I can think of to a man who is sufficiently left alone by the structure of authority in his society to develop his individuality.  Because he’s a liberal, he doesn’t become an anarchist, that is, he doesn’t grab all the money and corner all the property in sight.  He’s a person who can relate to other people. He doesn’t withdraw from society or become a mass man.

Cayley: So the emphasis is not the same as Marx gives the term “bourgeoisie” when he uses it to signify the hegemony of a certain class?

Frye: The bourgeois liberal is capable of seeing himself as having a certain position in society.  He’s also capable of seeing something that that situation puts him into.  You can’t avoid being conditioned, but you can to some extent become aware of your conditioning.  (CW 24, 971)

The rest of the movie after the jump.

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Saturday Night Cartoons

httpv://www.youtube.com/watch?v=Nny5KfI_nks&feature=related

“Beanstock Bunny”

I can’t even pretend embarrassment here. These Warner Brothers cartoons are classics — they’re funny and grownup and look pretty good after almost sixty years.

I also confess a preference. Sure, Bugs Bunny is the breadwinner, but I always sorta preferred Daffy Duck. The two of them in combination is of course irresistible: eiron vs alazon.

And that reference provides the cue to exploitable Frye-relevance. Here he is in “Towards a Theory of Cultural History”:

The conception of irony meets us in Aristotle’s Ethics, where the eiron is the man who deprecates himself, as opposed to the alazon.  Such a man makes himself invulnerable, and, though Aristotle disapproves of him, there is no question that he is a predestined artist, just as the alazon is one of his predestined victims.  The term “irony,” then, indicates a technique of appearing to be less than one is, which in literature becomes most commonly a technique of saying as little and meaning as much as possible, or, in a more general way, a pattern of words that turns away from direct statement or its own obvious meaning.  (CW 21, 157)

And here he puts the animated cartoon in the context of the “media revolutions” he’d experienced in his lifetime:

In my childhood were the silent movies, which were lineally descended from the puppet show.  The comedies of Larry Seton, Harold Lloyd, Mack Sennett, were funny in a way that no spoken comedy can possibly be: naturally the spoken lines, which had to be printed, were kept to a minimum in any case.  I remember seeing a movie, colored and talking, which was a comedy, and being bored by it: but at the beginning there was a reference to the early knockabout silent comedies of the pie-throwing kind, with a brief illustration, and I laughed until I nearly fell out of my seat.  Similarly, with children at a Punch and Judy show.  Some types of movie, notably the Disney and other animated cartoons, continued this totally disembodied puppet convention: in television it only survives in things like Sesame Street, which are addressed to small children.  (CW 25, 197)

Phew! Without further ado, more Bugs and Daffy after the jump.

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Saturday Night at the Spookies: “The Haunting”

httpv://www.youtube.com/watch?v=LQEjjzgdZFQ

It’s Hallowe’en and we need a horror movie.  The Haunting is one of those classic New England set pieces concocted with clam chowder loaded up with corn.  But it works, thanks to the haunted performance of Julie Harris, and to the cinematography, which evokes uncanny effects with no special effects at all, just light and shadow.  And sound, also sound.  Which might just stay with you to disturb your dreams.  Martin Scorcese calls it the scariest movie he’s ever seen.

One caveat, however — the music is of the sort that Frye would have hated: all burps and blops.

Here he is in Fearful Symmetry:

Art protects us against nature: it would be impossible to find pleasure in tragedy or laugh at many of the predicaments of comedy if we did not feel this protection.  In nature there is misery, in art tragedy; in nature there is mysterious evil, in art ghost stories.  (CW 14, 262)

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Saturday Night at the Movies: “Citizen Kane”

httpv://www.youtube.com/watch?v=GuZ6fm5F7bE

It was the anniversary of Orson Welles’ death recently, so here’s Citizen Kane.

Whatever Frye might have thought of the movie itself, he hated the soundtrack.  From his 1942 diary:

Ideas for article on movie music. Orson Welles’ incessant woo-woo noises, full of  drum rolls & trombones slithering from solemn burp to gloomy blop. Most incidental music is just ‘flourish,’ ‘sennet,’ ‘exeunt with a dead march’ stuff, a bag of tricks and ‘sound effects,’ in short.

(For some reason, part one of the movie, above, is not embeddable, so click on the image and then hit the YouTube link.  But the rest of the movie, after the jump, is embedded and can be watched here.)

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John Lennon: “A Hard Day’s Night”

httpv://www.youtube.com/watch?v=CtgZvuRaafU&p=3334F2527CB8AFD8&index=1&feature=BF

How it looked and sounded when it all began.  The movie was supposed to be a bit of exploitative ephemera — a quick cash-in before the fad passed, but it never did.  There are undoubtedly many millions of people who still feel the thrill at the sound of that opening chord. . .

Today is John Lennon‘s 70th birthday.

Since this is our regular Saturday Night at the Movies spot, A Hard Day’s Night seems an appropriate way to celebrate.  I’m glad to say that both the video and the sound are of excellent quality.

Frye on the Beatles here.

A couple of earlier Beatles posts here and here.

The rest of the movie after the jump.

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Saturday Night at the Movies: “Beat the Devil”

httpv://www.youtube.com/watch?v=uzrhHb1ooZo&ob=av1e

(Not embedded: Click the image above and then hit the YouTube link.  This version is of a very high quality: excellent sound and picture.)

Frye seemed to like going to the movies, and he regularly mentions during his diary writing years (intermittently between 1942 and 1955) what he’d seen on a Saturday night at a time when double bills were still the norm.  One of the oddball classics of the era was John Huston‘s Beat the Devil (1953).  Maybe “John Huston’s Beat the Devil” doesn’t really cover it.  In point of fact, it was co-written with Huston by the very young Truman Capote, who leaves a distinctive mark upon this shaggy dog story which proceeds on the assumption that it is the journey not the arrival that matters, but then barely manages to go anywhere at all.  In point of fact, it has such a tremendous cast — Humphrey Bogart, Gina Lollobrigida, Robert Morley, Peter Lorre, Ivor Bernard — that it’s hard to imagine the movie having any life without them.  And, in point of fact, that’s before you even factor in Jennifer Jones, who is so wonderful that she almost steals the entire movie from this pretty formidable ensemble.  (In point of fact, she makes the phrase “in point of fact” all her own as a leitmotif for escalating delirium.)

Now it’s true that the film depicts the last gasp of Old World colonialism, when European scoundrels could still saunter into Africa and expect to make personal fortunes by foul means (and, yes, there’s a cringe-inducing amount of Orientalism at work too in the depiction of the Arab characters).  But the white mischief on display here is absurd and is foiled at every turn as though that were an inevitability.  At least one tragic historical cycle had come all the way round to farce, and the film — released just a few years after the end of the Second World War — captures that, if only on a hunch.

In a nice coincidence, Capote’s birthday was on Thursday.

Saturday Night Video: Brits, 90s

After the 90s the English influence on North American music goes into an unmistakable decline.  Here are some tunes that were part of the last hurrah.  See “Brits, 80s” here.  Frye’s observations on rock ‘n’ roll here, here, and here.

httpv://www.youtube.com/watch?v=tvkK0mO7fXg&feature=related

My Bloody Valentine, “Soon”

This remarkable band is one of a kind but had a tragically short career that never allowed it to rise above the cult status it still retains.  Rumor has it that the readers of NME in Britain voted Loveless the best album of the decade, but that the editorial staff intervened and replaced it with Radiohead’s OK Computer; a great album to be sure, but maybe they should have left well enough alone.  By the way, the lyrics are supposed to be unintelligible and merely part of the dense of weave of sound that is the band’s hallmark.

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