Alan Furst’s Mission to Paris is new in trade paperback this month. Publisher Random House’s blurb:
Late summer, 1938. Hollywood film star Fredric Stahl is on his way to Paris to make a movie. The Nazis know he’s coming—a secret bureau within the Reich has been waging political warfare against France, and for their purposes, Fredric Stahl is a perfect agent of influence. What they don’t know is that Stahl, horrified by the Nazi war on Jews and intellectuals, has become part of an informal spy service run out of the American embassy. Mission to Paris is filled with heart-stopping tension, beautifully drawn scenes of romance, and extraordinarily alive characters: foreign assassins; a glamorous Russian actress-turned-spy; and the women in Stahl’s life. At the center of the novel is the city of Paris—its bistros, hotels grand and anonymous, and the Parisians, living every night as though it were their last. Alan Furst brings to life both a dark time in history and the passion of the human hearts that fought to survive it.
Critic/contrarian Armond White has released his 2012 “Better Than” list, where he uses one film to pick on another. Great stuff, even if you disagree. A few samples:
Sacrifice > The Master
Chen Kaige finds the roots of culture in patriarchal responsibility; P.T. Anderson loses culture’s meaning in anti-religious hysteria and high-art folly. Chen also featured superior acting by competing father figures You Ge and Xuegi Wang.
Holy Motors > Cosmopolis
Leos Carax’s dreamy limousine kineticism shamed Cronenberg’s oft-entrancing limousine stage drama. Carax parked and bloomed. Cronenberg parked then harangued.
Dark Horse > The Turin Horse
Todd Solondz’s modern soap opera steadily, comically bored into our self-deceptions, while Bela Tarr’s highbrow jape steadily bored us.
The Lady > Lincoln
Luc Besson’s bio-pic examined Aung San Suu Kyi’s marital and political commitment, while Spielberg’s unholy marriage to Tony Kushner pushed the cult of personality. Aphorisms vs. Propaganda.
Ghost Rider: Spirit of Vengeance, Taken 2 > Zero Dark Thirty
Neveldine-Taylor and Olivier Megaton revealed the post-9/11 zeitgeist in genre tropes, while Bigelow reduced the zeitgeist to an enigmatic comic strip, a “mission accomplished” delusion.
A Thousand Words > Argo
Brian Robbins and Eddie Murphy dared the most personal Hollywood critique since Clifford Odets’ The Big Knife; Ben Affleck trivialized Hollywood accountability.
Charles Bukowski would be 92 if he was still alive, which he isn’t because he died in 1994.
I first read Bukowski in 1994 or 1995.
I can’t remember how I had heard about him, exactly—he might have been on MTV actually (MTV used to promote writers, believe it or not. Writers used to be cool). The Boo Radleys called a song on their 1995 album Wake Up! “Charles Bukowski Is Dead,” and I know I’d read Bukowski by the time I heard the record. I don’t know. In all likelihood, I first read Bukowski by browsing his books at the local Barnes & Noble.
I do know that I “borrowed” three beautiful Black Sparrow Press editions of Bukowski from a kid in high school journalism class. I do know that I never returned those books, and they’re still on a shelf with probably five or six other Bukowski volumes. I feel sort of bad about stealing them.
One of those books was/is Women, a rambling riff-novel about Bukowski’s fatter years as a poet of some renown, of some notoriety. I’ve probably read Women in full five times through. It’s hilarious, occasionally silly and hamfisted, and glorious in parts.
I read a lot of Bukowski in high school. A lot. My friends read Bukowski. We all read him, even his poetry. I remember the excitement a friend and I felt when we saw a quick shot of his novel Hollywood in the film Swingers. I don’t know why.
And then I kind of dropped Bukowski. This was when I was a junior or senior in college. I had seen the limitations of his prose, the brutality of his fiction, the sheer sloppiness of it all, the anger, the misogyny—I was aware of these things from the get-go, to be clear—but I became overly concerned with his status as not one of the greats, or as a popular writer, or as a writer from a macho-age better left behind.
But I never traded in my Bukowskis, or put them away. I kept them on the shelf. I go to them every now and then—not for nourishment, but for what? I don’t know. The work is admittedly spotty—a weird brand of self-deprecation and self-mythology. Henry Chinaski. Hank. Bukowski the autodidact, hunched in an LA library, reading his Shakespeare, his Celine. Bukowski the impoverished drunk. Ugly Bukowski. Romantic Bukowski.
There’s no point to this riff, of course. I was in a faculty meeting all morning and I thought about Bukowski on his birthday. What I mean to say is that Bukowski is a writer I read so thoroughly and so intensely when I was at such a young age that I feel that I know him, or at least know the version of himself that he willed to be let known. But of course I don’t know him.
1984’s Dune is unquestionably the worst movie of Lynch’s career, and it’s pretty darn bad. In some ways it seems that Lynch was miscast as its director: Eraserhead had been one of those sell-your-own-plasma-to-buy-the-film-stock masterpieces, with a tiny and largely unpaid cast and crew. Dune, on the other hand, had one of the biggest budgets in Hollywood history, and its production staff was the size of a small Caribbean nation, and the movie involved lavish and cutting-edge special effects (half the fourteen-month shooting schedule was given over to miniatures and stop-action). Plus Herbert’s novel itself is incredibly long and complex, and so besides all the headaches of a major commercial production financed by men in Ray-Bans Lynch also had trouble making cinematic sense of the plot, which even in the novel is convoluted to the point of pain. In short, Dune’s direction called for a combination technician and administrator, and Lynch, though as good a technician as anyone in film, is more like the type of bright child you sometimes see who’s ingenious at structuring fantasies and gets totally immersed in them but will let other kids take part in them only if he retains complete imaginative control over the game and its rules and appurtenances—in short very definitely not an administrator.
Watching Dune again on video you can see that some of its defects are clearly Lynch’s responsibility, e.g. casting the nerdy and potato-faced Kyle MacLachlan as an epic hero and the Police’s resoundingly unthespian Sting as a psycho villain, or—worse—trying to provide plot exposition by having characters’ thoughts audibilized (w/ that slight thinking-out-loud reverb) on the soundtrack while the camera zooms in on the character making a thinking-face, a cheesy old device that Saturday Night Live had already been parodying for years when Dune came out. The overall result is a movie that’s funny while it’s trying to be deadly serious, which is as good a definition of a flop as there is, and Dune was indeed a huge, pretentious, incoherent flop. But a good part of the incoherence is the responsibility of De Laurentiis’s producers, who cut thousands of feet of film out of Lynch’s final print right before the movie’s release, apparently already smelling disaster and wanting to get the movie down to more like a normal theatrical running-time. Even on video, it’s not hard to see where a lot of these cuts were made; the movie looks gutted, unintentionally surreal.
In a strange way, though, Dune actually ended up being Lynch’s “big break” as a filmmaker. The version of Dune that finally appeared in the theaters was by all reliable reports heartbreaking for him, the kind of debacle that in myths about Innocent, Idealistic Artists In The Maw Of The Hollywood Process signals the violent end of the artist’s Innocence—seduced, overwhelmed, fucked over, left to take the public heat and the mogul’s wrath. The experience could easily have turned Lynch into an embittered hack (though probably a rich hack), doing f/x-intensive gorefests for commercial studios. Or it could have sent him scurrying to the safety of academe, making obscure plotless l6mm.’s for the pipe-and-beret crowd. The experience did neither. Lynch both hung in and, on some level, gave up. Dune convinced him of something that all the really interesting independent filmmakers—Campion, the Coens, Jarmusch, Jaglom—seem to steer by. “The experience taught me a valuable lesson,” he told an interviewer years later. “I learned I would rather not make a film than make one where I don’t have final cut.”
—From “David Lynch Keeps His Head” by David Foster Wallace; collected in A Supposedly Fun Thing I’ll Never Do Again.