I like big muscles and red corpuscles
I like a beautiful hunk o’ man
[Dorothy Shaw (Jane Russell) and nameless Olympian from Gentlemen Prefer Blondes number "Ain't There Anyone Here For Love?"]
“Movies about mothers – mothers’ relationship with their children, children’s relationship with their mothers – can trade in easy sentiment or melodrama. But motherhood isn’t all swaddling and coddling and comfortable archetypes. In the rough terrain where a woman becomes a mother, she can feel she’s been corralled, her personality, her persona, her entire independent self suddenly defined largely by her actual or idealized connection to a child. These three thrillers tap into the poignancy and pressures that many mothers face, digging into the complicated web of social expectations in a world that both mythologizes and devalues motherhood, while translating the everyday tensions of caregiving into the language of the fantastic and the grotesque.”
Today at The Toast, my essay about motherhood as depicted in Bunny Lake Is Missing, The Others, and El Orfanato.
You are the scarf-wearer. You have always been the scarf-wearer.
A sort of Babette’s Feast of the American West, Jonathan Demme’s Silence of the Lambs shows how the strength of one determined woman can save a ranch, a flock of sickly sheep, and a family – with a little bit of help, and a lot of quid pro quo.
Determined to save her elderly uncle’s foundering sheep ranch, Clarice Starling (Jodie Foster) gives up her demanding training with the FBI and moves to rural Montana to take over the operation. The opening scene shows that, however out of her element she may be, Starling knows how to show up when duty calls: rough, unsteady, but rugged and ready for action.
When the struggle becomes too much for one set of hands, veterinarian and father-figure Dr. Lecter (Anthony Hopkins) pitches in, joining her on the lonely landscape of the isolated ranch, and proves to be as adept in the field and the kitchen as he is in the clinic. Be sure to have a good Chianti on hand for the luscious dinner scene.
Check out all this week’s movie recommendations in the newest VideoReport!
The James Bond franchise typically focused on Jaws’ attention-grabbing superficial attributes and abilities: his towering height and massive strength, his nine-lives-style survival skills, and, of course, the steel-capped teeth that allow him to bite through metal cables and human bones alike. But Jaws is more than a pair of murderously-powerful hands and a terrifying bite radius.
More than any other character in the 007 universe, Jaws has insight into the daily lives, motives, and machinations of the most elite villains ever to threaten the earth’s very existence. He’s been employed at high levels in at least three different supervillain consortia, yet never before has a film addressed the ins and outs of Jaws’ fascinating life.
Check out all our movie recommendations in this week’s VideoReport!
“Superficially, Dial M for Murder (1954) looks unambitious, a simple stage-to-set recreation of Frederick Knott’s hit play. Even Hitchcock, perhaps disingenuously, described it as a phoned-in effort knocked off between the location shooting of I, Confess and the elaborate staging of Rear Window. But the tightly-staged thriller bristles with symbols of objectification and possession, reducing Margot Wendice to a property passed from hand to hand, from man to man, as readily as the key around which the plot revolves.”
Today at The Toast, my analysis of symbols in Hitchcock’s Dial M for Murder.
D: That’s Randolph Scott on the right.
E: That’s Randolph Scott? I never recognize him. It’s a mental block. I always think of him as a villainous type.
D: He is the villain in this.
E: I mean look like a villain. He looks so harmless. He looks like half of Gary Cooper.
E: You know what I mean! He looks like if Gary Cooper and Ralph Bellamy got together to make a, a, a second banana.
E: … that sounded so dirty!
[note: This isn't pretty and polished. I'm hammering out rough ideas about True Detective, specifically examining the gender roles of the show and how they are apparently employed as a plot point. This is written after S1E6 aired, and I'm curious to see how it lines up with what we'll learn in the last two episodes airing in March. Next: the overlooked girls of the Light of the Way School.]
Detective Martin Hart of HBO’s True Detective immerses the show in his literally paternalistic view of the world. in the first few minutes of Ep1, “The Long Bright Dark,” he describes several types of cop, wrapping up with “There can be a burden in authority, in vigilance, like a father’s burden. It was too much for some men.”
Marty neatly pierces his father-in-law’s rants about The Young People Today as old-fogey self-centeredness, but hours later he’s incapable of seeing his own self-centered assurance that his wife and daughters exist only for his comfort and convenience. After cutting short their planned family day, Marty stands by and complains while Maggie makes dinner. Having finally deigned to spend some time with his wife and daughters, he’s upset to face criticism at home, “the one place where there’s supposed to be peace and calm!” Maggie retorts “Who told you that? It’s not always that way. It’s not supposed to be,” but Marty continues with staggering assurance, “It’s supposed to be what I want, it’s supposed to help me.”
For years, Marty luxuriates in the unthinking privilege of believing that his wife, his daughters, his home life all revolve around his pleasure and convenience, as well as the larger conviction that women exist to serve, or service, men. Maggie and Audrey both clearly, concisely refute that idea, but Marty never seems to take it in. He can’t hear what’s spoken to his face, and he can’t see what’s right in front of him.
Marty muses “past a certain age, a man without a family can be a bad thing.” In context, he’s talking about his partner, Rust Cohle, but ss Rust points out “People that give me advice, I reckon they’re talking to themselves.”
Marty has become that bad thing, a man without a family. His wife manages to break the cycle of adultery, forgiveness, and reconciliation that has kept her trapped in their marriage by herself transgressing, and so egregiously that Marty cannot overlook or forgive it. She breaks off from him, and given Audrey and Maisey’s hostility and distance toward Marty in their teen years, and their later invisibility, it seems unlikely that they have much relationship with their insensitive, condescending, absent, neglectful father.
He does concede sorrowfully that “the solution to my whole life – that woman, those kids – was right under my nose, and I was watching everything else,” but Marty doesn’t seem to have internalized that harsh truth. Like most of the truths Marty hears about himself, it runs right off his back, even when he’s the one uttering it. Even after his wife forces an irreconcilable split, Marty comfortably invokes family – lumped in with “routine,” especially the busywork of running his own PI and security business – as a sustaining force keeping him active and engaged rather than an enterprise worthy of his attention and nurturing love.
Given his bedrock belief that women exist as accessories and ancillaries to their men, it’s no surprise that Marty also tries to prevent his young girlfriend Lisa from sleeping with other men, even if he has to frighten her into chastity. When we first see Marty visit her apartment, he breaks confidence about the ongoing investigation, urging Lisa to stay home, to stop going to bars and on dates, lest she be murdered like Dora Kelly Lange.
Lisa doesn’t seem fazed by her lover comparing her modest outings to the hazards brooked by a truck-stop sex worker with a handful of drug habits and several criminal acquaintances. She points out that Marty’s trying to have his cake and eat it by keeping her cloistered and waiting for him without making any commitment to her. Marty counters “What good is cake if you can’t eat it?”
Jan, the proprietor of the bunny ranch, immediately pegs Marty as a man keen to control women’s sexual agency. When he spouts outrage at the presence of an underaged sex worker on the ranch, she characterizes his indignation as “holy bullshit” that’s based not on the young woman’s sexual victimization but on her audacity in using sex to make money and control her own destiny rather than performing it as a favor owed to men. “Girls walk this Earth all the time screwing for free. Now, why is it you add business to the mix and boys like you can’t stand the thought? I’ll tell you. It’s ’cause suddenly you don’t own it the way you thought you did.”
Marty’s speech to the two young men caught in a car with his daughter Audrey suggests there’s truth in Jan’s assessment. Just before delivering a brutal beating, Marty taunts them from outside the jail cell, concluding “A man’s game charges a man’s price.” He’s explicitly posing sex – even with his underaged daughter – as a sport for men, and with a price exacted by men.
His logic twists around in a self-serving loop: when he spends his nights getting drunk and banging his girlfriends, he rationalizes it as a necessary release that a police officer, tasked with terrible duties and witness to unspeakable horrors, must take release and catharsis where he finds it “or where it finds you. I mean, in the end, it’s for the good of the family.”
Marty explicitly compares his duties as a lawman to his responsibilities as a father, and it’s no stretch at all to imagine that this includes a responsibility to provide release for those in authority and to cover it up for the good of society, the larger family of humankind.
Rust Cohle’s view of the same question is bleaker. As he tells his drug-supplier, the “Of course I’m dangerous. I’m police. I could do terrible things to people with impunity.”
Marty Hart’s taxonomy of police is brief and vivid: “We all fit a certain category – the bully, the charmer, the, uh, surrogate dad, the man possessed by ungovernable rage, the brain.” From the first moments, I was convinced that the end of Marty’s list described himself and his partner: the man possessed of ungovernable rages and the brain. We’ve since seen Marty’s furies given free rein, and seen Rust’s homespun nihilism and seemingly meticulous attention spin its web around suspects and interrogators alike. Next, I hope to outline the ways in which both Marty’s passions and Rust’s obsessive study both overlook the crucial points of their shared case.
“What would you do if you were stuck in one place
and every day was exactly the same,
and nothing that you did mattered?”
– Phil Connors, Groundhog Day
Days after E. died, I moved into a new apartment, one I’d been waiting for for months. It was a place he’d never seen, the top floor of an 18th-century warehouse with vaulted ceilings and only a handful of windows punched through the brick walls. On the ground floor was the shop where I’d worked for several years; some days, I only had to leave the building for the seven steps from my front door to the shop’s front door.
After my beloved friends helped me move, I fed them, and then they left. I was alone in a new apartment. It was full of boxes and clutter and furniture all at off angles, waiting for me to figure out where the couch should go, which tables went where and which lamps went on them, where art should hang on the wall.
I spent a long time in stasis in that new, dark apartment with all my possessions around me, waiting for me to take a deep breath, embrace my life again, and start living it.
It took a while.
One thing I did set up right away: my VCR. (That alone should tell you how long ago this was, how long ago he died, how young I was, how lost in this big world I felt.) Down the street was a great locally-owned video store with a huge selection and a proprietor I was knew well, even worked for from time to time, but some of those days – most of those first days – just getting to work and living through that day was all I could manage. Dragging myself a block to rent a movie was impossible.
I had a small collection of tapes to play, and the one I turned to over and over was Groundhog Day. Day after day, hour after hour, I’d watch Phil Connors live out the same day, over and over, hour by hour. Sometimes I’d stop the film in the first act, rewind it, and start it again. Sometimes I’d watch half of it, rewind it, and start it again. Sometimes I’d watch to the last few minutes, just before the end, rewind it, and start it again.
Sometimes I’d watch just the end, the last perfect day when Phil saved all those lives, averted all those accidents, fostered all those dreams, then rewind just that sequence, and start it again.
It turns out that Groundhog Day, with its peculiar pattern of repetitions and differences, is weirdly well-suited to this fragmented repeated viewing, and also weirdly ill-suited to it. The film’s chronology began to blur for me. Even when I watched it as intended, from beginning to end, I found I couldn’t remember what happened when, what had already happened, what might happen next.
To have something so familiar and comforting become suddenly unpredictable, confusing, even disruptive – that was just the natural result of my frantic, repeated viewings, of treating a piece of film as a pacifier, but it felt like a metaphor.
Not just that: it felt like an eerily apt metaphor. E. and I had a rocky relationship, but an unquestioned one. We’d known since high school that we would be there for each other, whatever we were to each other, for the rest of our lives. We just didn’t expect “the rest of our lives” to be so short for one of us, and so mismatched.
And now I was floating, flailing, untethered. Without him. A fundamental part of my life, someone I loved as wholly as I loved myself, was simply… gone. Everything I’d known about life as an adult was suddenly uncertain. For a few months, I was incapable of surprise, just a numb mixture of confusion and acceptance.
I was sad and small and lost, and I became careless of my own life and safety in a way that, when I finally noticed it and sternly set myself straight, scared me to my bones.
I won’t say that Groundhog Day saved my life. But it was a companion to me in a time when I needed one, and watching it and laughing and crying day after day, night after night, felt very much like holding hands and swapping jokes with the person I missed most in the the world, and whom I would never see again.
Rest in peace, Harold Ramis. I wish I’d thought to thank you when you were alive, in any of the long, happy years since the dark hours and weeks I’m describing here. I thank you now with all my heart.