Glue, Escape and a Lady Named Morvern

The 2002 film Morvern Callar by Lynn Ramasy we view a story of death, life and travel through the experiences of a Scottish girl after the suicide of her boyfriend. Life is unclear and bleak but something remains; the urge to keep moving forward. Much of Morvern Callar resides in the desire to keep moving.  If Morvern were to ever stop it would mean that she is not only stuck in the past but she might be forever stuck to the corpse in the hallway she once called a boyfriend. For movement is not a symbol of moving on from grief in Morvern Callar but rather the break from emotional restraint and control from one body to another.
The story of Morvern Callar is one of Morvern, a Scottish girl who finds that her boyfriend, James, has committed suicide around Christmas. Leaving a novel to be published, she steals it and makes it her own and travels to Spain on vacation with her friend Lana. However this travel does not come free as Morvern has used the money for James funeral fund to do this and learned that Lana and James had an affair. As Morvern wanders we see her psychological state slip as she wanders around and never finding a clear answer to anything she sets out to do.
One key scene to embrace this idea begins at 34:30. Morvern drags James' body to the bathroom and places him within the tub. What begins in a gruesome scene of Morvern, while naked, hacking apart his lifeless body. His blood spurts back onto her form as the song “I'm Sticking With You” by The Velvet Underground plays. The scene is jarring mixing Morvern's grief with the anger she has and playing it out on his lifeless form as a sick revenge.
Yet the music that plays here is relevant and important. The lyrics refer to someone being “made of glue” and the title is called “I'm Sticking With You.” When a viewer hears this it jars them to hear a sweet sounding love song become as twisted and mutilated as the body of James. But as the blood spits back to Morvern so does his spirit.
For James has become stuck like the song implies to Morvern. As he buries him in the Moorish hills in the next scene she begins to see bugs, a reoccurring motif. The bugs, most likely roaches or things that find them selves buried in the dirt like his body is, follow her through Scotland and Spain. The become an extension of James like his blood has, they attach themselves to Morvern.
For Morvern this gives reason to her movement.  With Jame's suicide he has stopped his movements and attaches to her. He leaves everything to Morvern as if to leave mementos of control to her. Though she is basically free to do what ever she pleases with the money and story he still clings to her even in death. James keeps returning through Lana, through his blood spraying onto Morvern, through the bugs in the dirt in a stranglehold. Morvern can not settle in the past, with the past. So just as she cuts his body to pieces she must cut herself into pieces as well. To keep going, to prevent an emotional suicide, Movern must make herself unstuck to all of the old and move forward.Thus we come to the resolution. Morvern Callar is such; for Morvern to keep herself from dying she must keep moving. If she does not move the blood, the bugs will stick and burrow into her and forever hold her to him.
For here movement is a break from James' control and his sins as much as it is the escape from grief. By escaping his control, both physical and emotional, can Morvern move forward with her life and attempt to find her purpose. With her movement forward we finally see a new light and thus a more clear vision of the woman that is Morvern Callar.

Is this blog Holy?

 In the 1959 film Pull My Daisy by Robert Frank, religion and the new generation come together in a quite clash. However the do not come as a opposing force but rather two sides who can not understand trying to understand. This crisis provides context not to how religion can alienate but rather how the two can understand and make a new meaning.

At the 13:37 mark of the film the party gathers around the table to eat when one of the bishop says “I don't know anything” and is asked in return that he should surly know what to say. What he replies is that “he doesn't know how to say what he truly wants to say.” Peter asks if he has ever played ball or seen girls in tight dresses. When the bishop replies back with a yes Peter asks him if “baseball is holy.”

Here we see the beginning of a crisis. Religion, as a term, is widely definable. Within Pull My Daisy we see both Christianity being represented and Buddhism being talked about. Both are widely respected as two forms of a religion or a center of worships and practices around a central figure or central set of figures. Buddhism and Christianity can be a clashing set of religion on their own as a monotheism, or a singular deity based religion, or a polytheism, or multiple deity based religion.

But Peter brings in a new clash; man-made religion. As the bishop begins to fade into another thought around 14:10 we see people staring at a massive American flag and a preacher. As he preaches the flag billows in front of him almost blocking him as he preaches. The lines between religions is blurring or is rather crossed and entwined with one another.

Religion for Pull My Daisy is complex not unlike any dealing with religion. But what it brings to light is that religion is not just divine right but rather things like American and baseball. When Peter asks if baseball is holy is not just to question the Bishop and his faith but our faith. The film begins to implicate us into this as well.

For what is the difference between a bishop to Christianity and a player to baseball. Each one holds a place in their own hierarchies. What the film questions is why is there a difference between their religions. How is swearing to an American flag any different from the bible. The image of the flag displaying before the man with the bible is so important. When one does not notice the two slip across one another but when they do they begin to question the structure and realize that they are very similar.

This connections to around the 20:20 mark. Peter begins to ask the Bishop if each object is holy. Each object is clearly not a thought of religious item. Is car, women, basketball, you me holy? What matters is that its what we think. But because we have questioned it we drive the bishop away and thus traditional religion away.

The coming together fails in Pull My Daisy. The meaning does not become clear for the characters but it does for the viewer and thats what matter.

Upon Close-Up Inspection..

In John Cassvetes 1959 film Shadows, race conflicts and love arise during the beats era in New York City. By using subtle hints in acting to portray larger emotions we are given a “realistic” glimpse into the world of the artist. However, this is not the traditional realism we expect. By utilizing close ups we are given an uncomfortable but self-damning look into the the world of these artist.

When the door bell rings at 44:37 the scene of Leleia kissing Tony is interrupted. We see a thumb pressing harshly on the button with no clear indicator of who is pressing it. Lelia moves to answer and has Tony fix himself up as the camera cuts back to Hugh, her brother, and his manager Rupert coming in. We then cut to a first-person shot as we move closer to Leleia as if we have taken Hugh's place and see what he has not; that his sister is in a relationship with a white man.

Tony already looks upset.

We soon begin to see Hugh and Leleia begin to reunite as the film cuts back between Tony and their happiness. Rather than seem happy himself he looks upset and put off. From here more close ups become apparent. As Tony seems more uncomfortable so does Lelia and Hugh as does the viewer. The constant cuts do not push us back from the film but bring us into the scene and align us as the fifth person in the room.

As the 45:00 minute mark nears we begin to focus more on Tony's face. He seems to appear blank but in the micro-movemets revealed to us we see more. He has come to the realization that the woman he has slept with is black and blurts that “he has an appointment.” We then cut to Lelia, her disappointment.

What becomes interesting is at 45:49. We get a medium shot of Hugh and Rupert but Tony cuts into it. He is leaving the space by cutting through the others. When he passes Rupert we see the understood disgust. His look is one, brought forth by a pseudo-close-up of “can you believe this guy.”

When a close-up is used we do not tend to think of it in terms of realism. To define realism from one point of view it is what we expect of an accurate representation of the reality we live, almost like a photograph. Here we do not see that. What we have a version of “true realism.”

The term true realism comes from Andre Bazin, a French film critic and theorist. For him realism could be a fictional film, such as Jean Renior's The Rules of the Game , 

The Rules of the Game. Oh Hi there Renior. I see you on the right.

or the “documentary” Nanook of the North. What he enjoyed was a “faith in the reality.”

To paraphrase from my lectures in “Foundation of film and new media” taught by Amy Rust, faith in reality can be described as a unity of time and space that gives revelation rather than addition. Though this scene does not do what a film like The Rules of the Game does with long takes or blocking in depth it does show some signs of this faith.

When we see Tony's face when he sees Hugh, though it is seen via a cut, we see the revelation. It is that he is uncomfortable and we are asked to confront it too. When the close up is used in this scene they are not only to reveal mindset without uttering a word but to ask us to feel the discomfort. Tony says very little until he says “I have an appointment.” It is then the tone shifts for the characters but as a spectator we have already been asked to indulge in this discomfort via the close up.

When we view this discomfort we are brought into and through the world. When this occurs we have encountered a new realism unfamiliar to us as the spectator and thus gain a new relationship to Shadows.

Mask thy self, Mask thy Daughter

 Killer of Sheep is a heavy film, one rich in the stories of the post Watts' riots of 1965. Complex and engaging, it follows the story of a slaughterhouse worker named Stan and his attempts of how to be an African-American man in this time while dealing with his inability to engage with his wife and two children and how he must care for them at the same time.

A scene relatively early is one where Stan's daughter, Angela, is wearing a rather disturbing dog mask. We see her brother pull at it and engage with it, but the key moment is when she leaves the house and looks almost right into the camera, hand in mouth as if nothing blocks her view from yours.

In many ways we, as viewers, can stand in for Stan. This is the first time in the film we have seen Angela but yet we do not see her face. We are seeing a distortion, a mask on her being. In reflects not only back on us but back onto the character of Stan.

Masks do not only physically distort a face, that is hide it or hide a distortion much like the Phantom does in Phantom of the Opera, but it also distorts psychologically. The euphemism “putting on a mask” usually refers to when someone wants to hide something or their feelings.

In many ways this is what Stan is doing. He can't relate to his family well. He is wearing a mask. Now Angela is to. But she is playing in some sense. She is masking her face from her father but mirroring it at the same time. She is mirroring his inability to relate and his own masking of his desires.

The next thing she does is go over to a little boy with her mask in. It is outright creepy. She approaches him without speaking as if it is play. He looks on like this is all a joke. This play juxtaposes against Stan's struggles with the kitchen and the crumbling house.

And for his own part Stan struggles to see past the mask as much as Angela does. He can not relate to his kids out of the fear of raising them into the violence family system his own father did. This mirrors the scene when his father yells at him; he puts on the mask of strength and blinds himself to his relationship in this world. Stan distorts and masks his own pain as Angela masks her childish play.

Its a disturbing and grotesque mask just as the mask of the dog is, so is Stan's own pain in the face of his father. This begins to put a mask on him, how he sees the world from that point on. He was a child, all be it much older than Angela is, but proceeded to affect the way he sees the world.

What will this do to Angela? She is beginning to mask or come to an age where she can put on a psychological mask. Maybe the mask that she wears, the old worn and twisted dog, is just the mask of her father; an old, warn dog run down by the unseeable mask he wears.

Burning Up

The 1971 film Two-Lane Blacktop, directed by Monte Hellman presents itself as almost the antithesis of the traditional road film. Lacking a true narrative and have a more meandering pace, the story follows The Drive, the Mechanic, GTO and the Girl, among others, as they drive around the United States under the guise of drag racing. By reducing the characters and acting down to the bare-bones, the film gives off an off-putting vibe with no true ending and at the same time gives something greater.

As the film ends, we see The Driver beginning a race after the girl leaves. He begins the race set up and gets into his car, closing the window which gives a echoing slam. The music and engine noise around him fades as he focuses forward. As he begins to drive the film moves to freeze frame and burns up.

To discuss this more clearly let me reference two things. The first the the movies own internal characterization of the Driver. Like many other characters he comes off as flat, almost masking by emotion. Around the 32:20 mark he makes a speech about how bugs come from the grounds to mate and then die much like his own relationship to the girl. And yet the film, through acting, music, mise-on-scene , seems to actively suppress this emotion for the characters.

This brings me back to the films ending, how the film burns. Driver has slammed his window shut, almost like closing a coffin, and has insulated himself from the outside world's affect on him. In many ways hes not only blocking the outside but preventing the inner world of emotions and desires out. He has trapped himself in a coffin, that is his car, and begins to stall and burn up as symbolized by the films burning.

Now my second point. As this films was created during the Hollywood Renaissance it can say it drew influence from the art cinemas of Europe. This burning reminds me of Inmar Bergman's 1967 film Persona, which predates this film by almost four years. In Persona, towards the middle of the film, the stock burns after an emotion crux and gives way to a non-narrative set of images that do not truly relate to the plot. This film shares many elements with Two-Lane Blacktop; both feature the lack of a true narrative and contain a “flat” character dealing with the world.

A layout of the burning film stock from Persona (Bergman 1967), which is a "home film"

Where they differ is that Persona begins to show its two characters, Alma and Elisabeth, can not exist fully where one is masking their emotions and feelings, like the Driver is, and thus the relationship becomes one of the parts they bring and the film can revel in that. Two-Lane Blacktop refuses to engage into this, it breaks this with the more emotional and free Girl leaving and Drive shutting himself in his car.

And thus we are left with burnt film. Film burns, back when we used celluloid film stock, when it becomes trapped in a projector. The Driver is no different except that his projector is the car he races.

Bloody Stuck on Morvern

In the 2002 film Morvern Callar by Lynn Ramasy escape is the key and yet it has become an unachievable goal for the titular character. Throughout the film the character tries to travel and yet connects back to her actions over and over again until her ultimate break from the reality of her circumstances.

The key scene to discuss starts at around 34:30. Here we see Morvern from her doorway, topless and sliding goggles down on her face. She is located in the bathroom of her dead boyfriend's, James, house with his body wrapped in shower curtain as the song “I'm sticking with you” by the Velvet Underground plays behind her. Though there is no clear space where the music comes from we know it is one of the songs on the caset tape Morvern's boyfriend has left her along with the money for his funeral and his novel.

The music ties into a key moment of this scene where the blood of Morvern's boyfriend spays back onto her shoulders which lay bare and thus touch her skin. Shes open here, exposed while he lies wrapped in plastic. The song's lyrics refer to being “made of glue” and thus will have anything stick to them. It reflects Morvern in this moment as it begins to describe the deceased James.

In the following scene Morvern will bury the dismembered body in the moorish hills of Scotland and gaze at the bugs in the dirt. As she travels to Spain with Lana, the motif symbol of the bugs follow her like they are attracted to her glue; guilt. She knows his body is rotting under the surface and thus she reflects on it. They stick to her as a reminder as much as his blood on her did.

This does not end the glue. As much as Morvern has become free by his suicide it hangs onto her. He sticks to her like glue. Her future is founded on the objects he gave her. He keeps a hold of her. His blood was split, by his own choice though left ambiguous, for her freedom could only come by his death. We are never given any hints towards his treatment of her but one can infer it was something that made her unhappy if she was willing to dismember him.

It is why I find the song so important. Not only may Morvern's now dead boyfriend stick to her in his death but may have smothered her in his life. In the scene, though inferred that she is drugged up, she is happy and gleeful. Yet he still has his mark all over Morvern, he's always going to be sticking to her like sticky glue for the rest of her days.

 No matter how much Morven runs, lies, leaves she always has a sense of guilt sticking to her. It is why she sees the bugs crawling around, she is thinking about her one act of freedom from him as a guilty act now as the bugs are easting away at his corpse. That dismembered body and blood are sticking like glue.

Two Horses

In the 1969 film Easy Rider, directed by Dennis Hopper, we come across the ideas of the past and present twisting ideas of the past, present and future and how it relates to the America dream. Within this film the ideas that the past nostalgia is prevented by the move towards the future are explored as Captain America and Billy the Kid travel from west to east.

At 12:30 in the film Billy and Captain America stop at a rancher's house to fix one of their motorcycles. Upon approaching, though they are welcomed, they scare the rancher's horse with the noise. Yet the two objects share more in common than a first glance would have on realize.

Within the narrative structure of this film lies a nostalgic yearning and grasp for the frontier dream; that is a movement from the clutter of city life to a more open space of opportunity and free range. While Captain America and Billy the Kid's movements take them from this freedom in the west to the more urban and social constricted east, they carry with them the symbols of this frontier movement in their motorcycles.

Not only is the vehicle shaped like a horse, as compared to the more compact car, its maintenance is very similar. As mirrored in the shot at 13:26 where the two objects share a frame, it takes a collective to hold and maintain the object. The horses show, much like a tire, must be removed and repaired as it is held. Its ranchers hold the objects still.

Both the horse and the motorcycles are the vehicles that propel one towards the west. Yet they represent the tension within the film. The horse is scared of the motorcycle; flesh scared by machine. In many ways it foreshadows much of the film's later moments upon entering the urban south. For as much as the motorcycle represents the idea of freedom and the frontier wildness and openness it is still a being of metal and urban origins. Its a piece of the future that finds itself wrapped up within the idea of looking to the past much like Captain America is.

It is of utmost importance we remember the line “can you turn it off, the noise is scaring my horse” uttered by the rancher. Captain America favors his lifestyle; one of being a free commune in the open west without the interference of society. While he does not critique his religion he can not stay here. Billy and Captain America, whether they know it or not, is the noise on a new horse. They can not achieve this lifestyle or dream not because they have already blown it with the pusher drug money but because they are using a metal, eastern made horse. They have become implicated by the very objects they ride.

The parallels represent much of the film's themes of a frontier aspect and freedom. While mirroring they become a twisted sense. Yes Billy and Captain America are yearning for a frontier, or at least Captain America is, but they can not achieve it. The pusher money as much as the metal horse has corrupted them in a way they must only propel backwards into the twisted, urban pull that will lead them only to ruin.

You can't film a "Mexico"

In the 1991 Ridley Scott film Thelma and Louise, the film's narrative and aesthetics try to envision a third space in terms of gender. By tweaking and playing with the ideals of man and woman and how the two cross paths. While trying to achieve this by combating the inherent patriarchy the film runs into a problem; just as Thelma and Louise can not escape to the country of Mexico the film can not envision their view of this world and conceive it upon the physical screen.

One of the key moments of the film is when Louise is sitting in the T-Bird convertible as Thelma goes to rob the store. As she sits in the car the film pans over to two older women looking at her. Louise becomes confused and begins to try to put on make-up but rejects it. It is only when Thelma returns do they speed off into the dusty road.

What becomes important here is that Louise is rejecting not only the image of femininity; that its the woman behind the glass, but the patriarchal tools to enforce it. Patriarchy is defined as the dominated ,while, heterosexual male world and how they control the world and its inhabitants. Patriarchy privileges white, heterosexual men and views women not as fellow agents but rather objects as Harlan viewed Thelma. What one does not consider is that the makeup and the old woman enforce the ideas of patriarchy. When Louise tries to put on the make-up she views the woman, who is covered in make-up, as a object preserved behind the glass of the male world.

Yet Thelma and Louise begin to use the tools of patriarchal power against the power. Both begin to gain more male-esque clothing and tools. Both begin to loose their passive stances. Yes they have used violence, but it would cause a physical reaction of regret within the characters such as Louise's vomiting after she shoots Harlan. When they encounter the sexist and objective truck driver they demand he apologize. Upon his leaving and cursing they exact a violent revenge and blow up the truck driver's truck and continue a western movement something akin to the male dominated western genre film.

Yet the Thelma and Louise still feel weighed down by their feminine traits and by the male gaze of film. The infamous kiss as they drive towards their ultimate demise comes under the question of is it a moment of friendly passion or a sexualized lesbian kiss. This is the culmination of the “third area” that Thelma and Louise strives for. It is an ambiguous moment with no realization that leaves the viewer questioning. However it comes wrapped up in the male, patriarchal view for some and thus the film can not achieve a fulfilled “third area.”

For the “third area” to exist Thelma and Louise must make it to Mexico ad yet they can not. The patriarchy, fulfilled by the police army, prevents them in both directions. By their deviance, one deemed by violence and the patriarchy for being objects that deemed to fight back, they can no longer exist.

“Mexico” has become just as unachievable as the old woman in the window. Neither the characters nor the film can figure out what to do besides to keep going. Just as Thelma and Louise have driven off the cliff to a still shot, unfulfilled ending the film has done just the same; their vehicle for the “third area” between feminine and masculine has driven into the canyon and asks the viewer to decide. 

The Ideology of Escape

The Ideology of Escape

The world of Sin Nombre is a world presented, through the focused lens of Hollywood, of the Mexican gangs and immigrants. Not only does this present the true idea of escape from the life of poverty but the actions taken by the characters within the film.

In the beginning of them film, from :30 , the viewer is invited to gaze upon the image of an open field. While we feel as if this image is real we cut to the image Willy gazing into this image as if he is escaping into this world. Yet we come to see that is is within his own mind. To the viewer we being to see this as the form of escapism. This teenager is living within poverty , his imagines a field of lush wealth.

Yet when the camera cuts to Willy stands we see the image of a tattoo and the letters “SM”. Now we shift. The sympathies have changed. A viewer's shift. Without seeing any of the other points of the film we assume that he is a person with less of a good reputation. No words have been said, only music and cutting back between Willy and the image upon the wall.

This image becomes the symbol for escape, a theme of the film. Escape comes not only in the physical form; running, killing, diving and avoiding capture, but in the escape of the mind. Much of the beginning of film focuses on bringing people into the world when it comes to Willy and the gang. We see the images of violence, of corruption of the young. Yet the mind goes back to the image of the field. This is due to the counter balance of the first part of the film.

Willy is actively trying to keep his love life and gang life. His life with Martha is an escape much like the field, from the actions of the gang. His relationship is the field within his mind. The relationship is sexual, loving and fertile; it becomes the escape that he can rely on.

However he looses this escape. For as much as Willy tries to escape, how much he tries, he is forever tattooed by the gang both literally and metaphorically. The tattoos on his back give the physical icon of his status; his life belongs to the gang. His actions have also tied to him the gang life. Yet Willy still has the image of the field reoccur again when he is on the train.

This represents the chance still exists for Willy to escape this life. Though he is marked the ideology Willy creates still exists. The paintings are all within his head and not the physical realm. The idea is within his head to escape, the idea of a carnival is still there. Though Willy is an individual the ideology of escape is still existing. The viewer. now knowing Willy is a product of his location and situation have become sympathetic. Our own view has shifted; we desire to see Willy escape and make it into his field.

By using the ideology of escapism, Sin Nombre uses a shift in the paradigm. By shifting this we gain a new understanding of the character Willy and the dynamics of the film's narratives; the story of escape and survival.

Sin Nombre, the 2009 film by Cary Fukunaga, presents a look at the journey of immigrants and the life of the Mexican gangs and how the intertwine with one another. Just as the stories of the gang and immigrants meld and weave with one another so do the themes of relationship and how they create family.

The story of Sin Nombre begins with the initiation of a young boy, eventually named El Smiley, to the Mara Salvaturcha gang of Mexico. Quite quickly the viewer is invited into the gang through his initiation as much as the boy is. Yet being beat is not what allows him into the gang, it is the murder of a rival gang member is what brings the boy into the gang fully.

However Smiley is still an innocent. In the scene where he, and our lead Willy aka Casper, kill the rival gang member we see a dynamic of relationships. In the gang family is not determined by the blood in the veins but rather the blood split to or for the gang. Before Simely kills the man we see Lil' Mago using a very fatherly gestures towards the boy. For the gang the gestures of family fill all the roles. Mago is the father, Willy the elder brother.

Yet we do not see this transferred to anyone outside of the gang. We learn Willy has a girlfriend and she is not welcomed in as a person, but rather as a communal object for the family to use. She is not given the familial agency that Smiley is.

In the scene where they kill the rival member we see that not only is Willy indoctrinated but also plays along. His role to Smiley is the big brother. His hands are the ones holding Smiley's stable and giving advice. Yet we see Willy is not completely immune to this. Just as Smiley winces so does he. A connection is there, one of family, with out being blood. There seems to be a want of an innocent relationship. Earlier , when Smiley is being kicked to be considered part of the Mara we see that Willy hesitated.

What the film grasps at; family is made by the bonds of the collective. Family for Willy and Smiley is not created by the blood the bore them but rather the blood that they spill for one another. They form into a collective family circuit with their gestures and movements. Mago becomes not only leader but father, his power in words. It infects the rest of the gang to become a twisted sense of family. Willy becomes the big brother who lures in Smiley's to become little brothers. Once he kills the gang member Smiley becomes woven into the gang. He intern, becomes an older brother once he goes after Willy later in the film.

In the world of Sin Nombre family becomes everything. By examining the gestures of character we see how family unfolds as a unit. When one examines the relationships of family we see how the film's narrative unfolds along these familial built lines.