Bitter "Sweetie" Is Still a Beauty

Is the image at left an unconsoling one of a slender sapling utterly constrained by its barren environment of weary, eroded concrete and cropped, disembodied (non)caretaking? Or is it a hopeful, even a cheerfully irreverent portrait of the wee tree's dogged insistence on itself: a living implausibility in a world defined for better and for worse by cracked asymmetries, where every plash of color is a sensual delight and maybe even a spiritual victory—good news for the tree, surely, but also for whomever this is, gardening (if that's the right word) against all sartorial odds in her lavender skirt, her striped black stockings, her navy blue shoes, and some suggestion of a burgundy sleeve?

I have culled this emblematically vibrant and paradoxical frame from Sweetie, director Jane Campion's first and personal favorite of her six features. It says everything about my constant, giddy awe before this admittedly inconsistent but underratedly brilliant director that a movie this brave and astonishing—a confident, eccentric debut to put even Blood Simple to shame—still takes a Bronze Medal in my own inner Olympics to her gorgeously brazen apex of modern literary adaptations and to the best movie ever made.

Still, Sweetie is an absolute corker, genuinely unnerving and reliably hilarious, and also a movie that was practically invented for the Pause button, since each and every frame has been so wittily, punctiliously composed. Campion's estranging perspectives, her appetites for the alien bloodstreams inside domestic bodies and spaces, and her affinity for mannered performers and unlikely faces make her an especially glorious heir of photographers like Diane Arbus—although, much more than certain audacious but addled "imaginative portraits" I could name, Sweetie's exaggerated visual ideas and its proclivity for psychic binarisms writ garishly large actually dictate the look, rhythm, and structure of the film at all levels, instead of jittering inside an implausibly but increasingly commercial narrative structure.

For more of my enthusiasm about Sweetie—encompassing not just the film but the delicious and exquisitely detailed new DVD package from Criterion—I invite you over toward the website of Stop Smiling Magazine, which has generously farmed out another plum reviewing gig to me. Let this stand as partial proof that I am still writing somewhere even as I neglect this poor blog—which perhaps sees, in that trapped and stunted sapling, a pitiable image of its current condition. And by all means, rent or buy the DVD. I can attest first-hand that if you've only seen the catastrophically cropped and miserably color-timed VHS, you haven't really seen the film. Sweetie might unnerve, frustrate, or agitate you—indeed, it's hard to imagine anyone who wouldn't at times feel goaded and tested by this piece—but unlike virtually any movie that has opened on any American screen this year, it bespeaks a major artistic talent and it demands a complex critical reckoning. (Come back to the 5 & Dime, Janey C, Janey C!)

(Images © 1989 New South Wales Film Corporation, reproduced from DVDBeaver's glowing review of the DVD and from the Criterion Collection.)

A Trip to Mt. Olympus

A few posts ago, I alluded to a project that kept me busy through much of last week. Here's the scoop: I spent an hour and a half of last Thursday morning interviewing Lynne Ramsay, whom I consider the most interesting young filmmaker working in the English language, and whose Morvern Callar is still my favorite film of this decade, give or take Russian Ark. (The Scene Stealer is also on record as a big fan.)

Ramsay was an absolute delight to talk to, remarkably humble and accessible for someone who, at least for me, inspires such total awe. I had a great time asking her about her experiences in film school, her working method with her brilliant cinematographer, her three impeccable short films (all of them available on the Criterion DVD of her first feature, Ratcatcher), and her pair of upcoming projects, both of which sound like bold new choices for a director who seemingly can't put a foot wrong.

All of this was sublime enough for me without the cosmically ordained moment when I asked her about the last occasion when a movie really blew her out of the water, and she described watching Ingmar Bergman's Persona, deep in the Australian bush, in a tent she was sharing with Jane Campion. Most of you will understand immediately why I experienced this confession as pure delirium, verging on phone sex, but if you're confused, click here and take note of #1 and #5.

The interview will appear in the May '06 issue of Stop Smiling Magazine, for whom my next assignment will be a review of the forthcoming 7-disc set of Tennessee Williams adaptations. What I ever did to or for Stop Smiling to prompt all this kindness, I will never know.

I Love the World, I'm So Happy!

Heard that one before? It was initially delivered in a climate of teary, jubilant thanks, just as I'm delivering it now. Truly, this blog is not specifically intended as an open-ended paean to Tim R., but as soon as one of y'all sends me a Region 2 DVD of The Piano—available Stateside only in this meager and frequently bargain-binned version—I'll start gushing over you too, m'kay?

Suffice it to say that, while I've been kicking around the idea of a region-free DVD player for many years, and feeling grumpy and wallflowery about all those unreleased foreign titles that we don't get to see in Region 1, I didn't actually splurge and make the commitment... until encountering the phrase "Commentary from Director Jane Campion and Producer Jan Chapman." At that point, it was about 45 seconds before I 1-Clicked over on Amazon.com and bought this reasonably priced little beauty, which also shows easy, uncomplicated love to those DVD-R's which my normal Toshiba unit so haughtily rebuffs. Anyway, the Piano DVD arrived yesterday in the mail (Tim, you are A DOLL), the player tonight, and...

Reader, I really wouldn't be so asinine as to post about splurge purchases if it weren't such a huge thing for me to see how this movie is finally, at long last, presented. I haven't even listened to the commentary track yet, but the separate on-disc interview with Jane Campion, dating from 2003, involves a full hour of her talking, with no intrusive questions, just reflecting on her film and how and why she made it and what it says to her. I cannot quite describe how this feels to me, given the movie's pivotal role in my life, except to say that I feel a little like Hortense in Secrets & Lies, finally meeting my mom face-to-face (except that Jane, praise heaven, doesn't turn out to be a half-sunken and atrabilious mess).

Showing us her workbook sketches of Ada and Flora from a full decade before shooting started, describing how you summon confidence when working around people much more experienced than you are, laughing about how "this film has probably fucked up heaps of women!" because it describes a mythic reality about possible empathies achieved through surprising channels, showing off her Palme d'Or from Cannes with the relish of proudest possible show-and-tell, and describing how much more it means to her than her Oscar... Jane is an angel. Reader, Nick'sFlickPicks wept. Producer Jan Chapman is also an absolute love in her own 15-minute interview, among other things elucidating what an independent film producer working across continents actually does. (Fact: CiBy 2000, the now-defunct French corporation that financed The Piano, as well as other personal pets like Taste of Cherry, Georgia, The Straight Story, Lost Highway, and yes, Secrets & Lies, was an industrial construction company, owned by un homme who happened to love the arts. I love that homme! Find me that homme!)

Is it wrong that I am leaping all the way to a sweeping conclusion, based only on anecdotal evidence, that obviously the rest of the world truly loves movies and only the U.S. subliminally and neurotically hates them, based on the fact that The Piano (still the greatest movie ever, clearly) is showcased so lovingly and evoked in such telling detail on R2/PAL, whereas the R1/NTSC Artisan disc basically shills it out as though it were Universal Soldier or Earth Girls Are Easy?

Whatever. I am going to go watch my favorite movie again and just hug myself. Later, I'll file an order for one of the few other movies in the world that makes me feel this giddy. Thanks, all, for your stamina through this gush.