By Stuart Mitchner

Charlie Kaufman’s film I’m Thinking of Ending Things (2020) and Iain Reid’s debut novel of the same name (2016) share the same first-person point of view, the same opening sentences, the same time sequence of settings and events, ending in a haunted high school in the middle of nowhere with a blizzard raging outside. What happens or appears to happen there is the difference between filmgoers focused on questions of meaning (“the ending of Ending Things explained”) and readers responding to the “ferocious little book’s … visionary, harrowing final pages” and a “psychological torment so impenetrable it’s impossible to escape.”

A “Molecular” Woman

I saw the film on Netflix almost six weeks ago, as I was starting a column on Camus and Afghanistan. I was so impressed by Jessie Buckley’s performance that I wanted to write about it immediately. I even tried to find room in the philosophy of the absurd for a concept in which a film’s most sympathetic character, the one who carries it, lights it up, gives it mind, heart, and soul, exists only in the imagination of her boyfriend Jake (Jesse Plemons), who may be the younger self of an elderly, terminally depressed high school janitor.

In a Sept. 17, 2020 IndieWire interview, Buckley says “Just before I went to do the audition, I got a note from Charlie that said, ‘This woman is molecular.’ I didn’t know what that meant! I was awful at chemistry, but I kind of loved that note. It could be anything to you. It kind of meant there was nothing solid, it was something that moved and broke apart and joined other atoms.” Referring to the screenplay, she describes the way it “transcended and shifted and moved from when I read it to when I was playing it, to afterwards when I watched it.” Explaining why she read Reid’s novel prior to the audition: “I take in everything. I’m like somebody who puts too much chili on my food when I cook, because I just think, ‘Just whack it all in.’ I take all the bits and I try and throw away all the bits as well, once we get to shoot.” more

By Stuart Mitchner

I don’t want to create responsible shows with lawyers in them. I want to invade people’s dreams.

—Joss Whedon

No doubt about it, Joss Whedon’s extraordinary series Buffy the Vampire Slayer (1997-2003) suffers from Laughable Title Syndrome. Even now, all these years later when it’s become a pop culture fact of life, I hesitate to tell someone how much I’m enjoying the show. Even now, I’m asking myself “How did I get into this?” But I said the same thing after binging on Friday Night Lights and Battlestar Galactica. It all goes back to Alan Sepinwall’s The Revolution Was Televised, where Joss Whedon’s Buffy has its own chapter among the 12 series that “changed TV drama forever.”

“Never Camp”

Sepinwall immediately differentiates the WB series from the 1992 feature film, which was “too camp,” according to Whedon’s colleague David Greenwalt: “Joss does a lot of things. He does funny, he does serious, he does break your heart, but it’s never camp.”

Worse yet, the victim of the camping was Whedon himself, since the film was a travesty of his own screenplay, his creation, his Buffy. Television critic Emily Nussbaum describes what he went through in her piece “Must-See Metaphysics” (New York Times Magazine September 22, 2002). Watching his vision of “populist feminism” turned into “a schlocky comedy,” he “sat in the theater, crying. ‘I really thought I’d never work again … It was that devastating.’ “ Yet he was able to resurrect Buffy on television, “restoring the show’s powerful central metaphor: adolescence is hell, and any girl who makes it through is a superhero.”

The title remained — and still remains — an issue. But, as Whedon said in the same article, “if I’d made Buffy the Lesbian Separatist, a series of lectures on PBS on why there should be feminism, no one would be coming to the party, and it would be boring — the idea of changing culture is important to me, and it can only be done in a popular medium.’’ more

By Stuart Mitchner

Perhaps the most amazing thing about Friday Night Lights is that it is painfully, breathtakingly realistic and yet also exists as some sort of platonic ideal of what human beings can be ….

  —Will Leitch, introducing A Friday Night Lights Companion

When Peter Berg pitched Friday Night Lights to NBC executives in 2006, he accentuated the negative: “I want to build up this all-American quarterback, this hero. This wonderful, beautiful kid with his entire future ahead of him …. And he’s going to break his neck in the first game. We’re going to create this iconic American hero, and we’re going to demolish him.”

Berg is quoted in “Clear Eyes, Full Hearts, Couldn’t Lose” (a variation on the Dillon, Texas Panthers’ pregame mantra “Clear Eyes, Full Hearts, Can’t Lose”), an oral history compiled by Robert Mays on grantland.com and posted July 28, 2011. Mays describes the series as the “story of a high school football coach from Dillon, whose improbable victories mirrored those of the critically beloved — but disastrously rated — show itself. In an era when sports television was supposedly at its nadir, when elite storytelling was supposedly only the work of prestige outlets like HBO and AMC, Friday Night Lights (FNL) emerged as the quintessential show about American spirit and uplift at a time when the moral and economic bedrock of our Country seemed most in doubt.”

That was “our Country” a decade ago.  more

By Stuart Mitchner

Close your eyes. Pretend you’re 10 years old. Playing. Just playing.

—from Friday Night Lights

Mostly what I did growing up was bide my time.

—Bob Dylan, from Chronicles

Picture two people in a pasture with some cows, a line of pink light balanced on the horizon. Move in closer and you see a high school football coach and his wife. The toxic spillover of a train derailment and an explosion has cost the coach home field advantage, an absolute necessity for the upcoming game that will decide whether his team goes to the state finals. He’s refused the emergency option of a big stadium with all the amenities, an offer tainted by big money, bribery, and corruption. Mainly, he knows what home field means. So, two days before the game, he decides to convert the pasture into a makeshift stadium, with arc lights, stands, scoreboard, end zones, goal posts, everything. Clearly an impossibility, but he’s a determined man. His wife has doubts and questions. “Where would people park? And how would you put lights in here?” Coach says he doesn’t know, doesn’t care. When a cow moos, he takes it as a show of support. “All I’m tryin’ to do,” he says, and suddenly he knows what he wants to say, it’s what the moment’s all about, the heart of the matter. “Come here,” he says. When she’s within whispering distance, he holds her face in both hands, tells her to close her eyes and pretend she’s 10 years old. Just playing. Just playing….

What Hit Home

Playing! That’s the word that hit home for me and brought back the essence of play, as in playing ball, 10 years old, me and my friends, as it was and seemed it would surely always be, just us, no adults, no coaches, no parents, no pressure (no cows). Just kids having fun, with a football in fall, a baseball in summer, using scuffed up, grass-stained balls and a few Louisville Sluggers with black friction tape around the handles and nothing but the rough sketch of an infield to play on in a onetime pasture with an old barn at one end and on the bluff beyond it the Illinois Central railroad tracks. We were still playing in the fading daylight right up to the moment parents called or whistled us home. That was before the adult-monitored, organized competition of Babe Ruth or Little League, or in high school, where, if you were lucky you had a coach like the one in Peter Berg’s series Friday Night Lights (2006-2011).  more

By Stuart Mitchner

I travel in worlds you can’t even imagine! You can’t conceive what I’m capable of!  I’m so far beyond you, I’m like a god in human clothing! Lightning bolts shoot from my fingertips!

—from Better Call Saul, Season 5

Better Call Zeus is more like it. In fact that passionate utterance comes from the owner of a Suzuki Esteem named Jimmy (“S’all good, man!”) McGill, who is at a transformative breaking point not unlike the Shazam moment where Billy Batson becomes Captain Marvel.

So, you may be thinking Saul Goodman of the lightning bolts is either a Shakespearean actor in rehearsal or a deranged black comedy superhero out of the Marvel comics universe, surely not a shyster lawyer with a University of American Samoa law degree (by mail) driving a vehicular alter ego of a color somewhere between a “yellow matter custard I-am-the-Walrus” shade of yellow and the Crime and Punishment yellow symbolic of corruption, dilapidation, decay, and soulsick decadence. And don’t forget the slightly unhinged strip of chrome on the passenger side, just down from the blood-red rear door that suggests the work of a body shop mechanic with delusions of abstract expressionist grandeur.

Every time Jimmy speeds off on another mission, the camera makes sure you get a clear view of the word ESTEEM to the right of the New Mexico Land of Enchantment license plate. And every time you see that word you’re reminded of how brilliantly far the show’s creators, Vince Gilligan and Peter Gould, have gone — the proverbial extra mile — to put their hero behind the wheel of the perfect car for a driver on his way to the far side of “esteem” as Saul Goodman, a Friend of the Cartel.

Jimmy’s 1998 Esteem takes a hit almost as soon as he puts it in motion in the series pilot when an insurance-scamming skateboarder tumbles accidentally on purpose over the hood and smashes the window. Amazingly, the Little Yellow Car That Could almost makes it to the end of Season 5 (spoiler alert) as Jimmy/Saul drives it to the Mexican border. You could say that when the Esteem goes literally over the edge — it’s goodbye Jimmy, hello Saul. more

By Stuart Mitchner

In Money Heist, feelings, fraternity and love are as important as the plots. A perfect heist, rational and cool, becomes something else when spiced up with Latin emotions.

—Álex Pina

In this season of death and discontent, why do I find myself compulsively whistling, humming, thinking, and feeling the old anti-fascist protest anthem, “Bella Ciao”? Even the cardinals in our backyard are getting into the act; instead of sweet sweet sweet, I’m hearing ciao ciao ciao! The pure and piercing clarity of the sound conveys another message, not goodbye beautiful, but hello hello hello.

The source of my “Bella Ciao” euphoria is the Netflix sensation Money Heist [Casa del Papel], whose recently released fourth season drew 65 million viewers around the world. By early 2018, when Álex Pina’s creation was already the most-watched non-English language series in Netflix history, and one of the most watched overall, the singing of “Bella Ciao” at key moments in the action inspired an international onslaught of cover versions.

“A Cultural Juggernaut”

The most informative account of Money Heist I’ve been able to find is in the April 2, 2020 Guardian (“It’s pure rock’n’roll”), where after hailing “a world-changing, cultural juggernaut of a TV show,” Ellen Jones writes, “The first season of the full-throttle thriller saw its gang – all code-named after major cities and memorably clad in revolutionary-red overalls and Salvador Dalí masks – break into the Royal Mint of Spain taking 67 people hostage and literally printing money: 2.4 billion euros, to be exact.”    

Referring to the series’ “anti-system” philosophy, invoked whenever gang members sing “Bella Ciao,” Jones quotes Álex Pina: “First and foremost, the series is meant to entertain, but an idea runs underneath. Skepticism towards governments, central banks, the system.” After pointing out the series’ roots in Don Quixote (“To rise up against the system is reckless and idealistic”), Pina claims the latest season has the power to “infuse some oxygen into this disturbing climate,” comparing it to “a brutal journey to the limit” while promising that “the audience will not think of Covid-19 while watching it.” more

By Stuart Mitchner

Only connect…
— E.M. Forster (1879-1970)

In the “only connect” spirit of my approach to these weekly columns, this being the first day of an election year when the stakes are historically high, I’m launching my retrospective sampling of the 2010s with a September 21, 2011, piece on Ginger Rogers (“Pick Yourself Up for a White House Screening”) headed with a quote from then-President Obama’s Inaugural Address: “Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America.”

Given the liberties already taken (did I mention that the same column has Ginger Rogers quoting Dickens?), the stage is set for a 21st-century update of the familiar Depression era scenario wherein someone in distress walks into a movie theater looking for a respite from reality and walks out an hour and a half later ready to face the challenges and fight the good fight:

“In 1936, the year Fred Astaire and Ginger Rogers were dancing across the screens of the nation in Swing Time, the unemployment rate was 16.9 percent. In 2011, when the country is once again struggling economically, the rate’s 9.1, and if anyone is in need of a respite, it’s our beleaguered president. So let’s imagine that after exhausting himself trying to get us out of the hole we’re in, the commander in chief sets about lifting his own morale with a White House showing of Swing Time. At first, he’s yawning, having been awake half the night trying to devise a way to dance his jobs bill around a ‘loyal opposition’ as ruthless as the crippled banker Mr. Potter in It’s a Wonderful Life. He’s still yawning even as Fred Astaire does pratfalls pretending to be a hapless neophyte dancer goofing a lesson from the pretty dancing teacher played by Ginger. But as soon as she starts singing, the prez comes to attention. She’s telling him to pick himself up, dust himself off, and start all over again. It’s his Inauguration Day pep talk, same words, same idea. How cool is that! All this time he’d thought the line had come to him out of nowhere, and here’s plucky Ginger delivering the same message back when FDR was dealing with the same issues.” more

By Stuart Mitchner

“I can’t stop thinking of all the things that I should’ve said that
I never said ….”

I could quote that line from Kate Bush’s song, “This Woman’s Work,” at the top of every column, with a small but necessary change in the title. Until I checked online just now I didn’t know Kate had written it expressly for the climactic moment of the 1988 film She’s Having a Baby, where the woman in question is played by Elizabeth McGovern, known now to millions of Downton Abbey fans as Lady Crawley.

It’s typical of the pleasures and challenges of what I do every week that a Kate Bush song from the late 1980s leads to Downton Abbey. Given the freedom of a weekly writing assignment chosen by no one but yourself, you’re going to be tempted, intrigued, and distracted by more options than you have time or space for; thus the notion of having more to say than you have room for, given the realities of a more or less 1800-word limit and a Tuesday afternoon deadline. Last week at the hour of decision, there was nothing to do but to take a short cut and rethink the format as an open letter to the reader, saying, in effect, “time to go now, see you next week.” more

By Stuart Mitchner

Stopped in at the Gallery of the Adelphi Theatre, Strand — horribly hot & crowded — good piece though — in bed by ten o’clock.” That’s from the journal Herman Melville kept in November 1849, the year before he embarked on Moby Dick (1851).

“At the end of the first act we went out with all the other jerks for a cigarette. What a deal that was. You never saw so many phonies in your life.” In case you really want to know, that’s from J.D. Salinger’s The Catcher on the Rye (1951), the chapter where Holden Caulfield takes Sally to the theatre.

I’m quoting from Melville and Salinger because this may be my last chance in 2019 to observe their respective bicentennial and  centennial years, but mainly because I’ve been thinking about why I chose to watch Martin Scorsese’s three-and-a-half-hour-long epic The Irishman at home on Netflix rather than seeing it with my wife at Princeton’s Garden Theatre, where Ethan Hawke has been known to show up onscreen to remind patrons to turn off their phones and refrain from talking. The fact that movie houses everywhere need to screen these reminders indicates why some people prefer to watch at home rather than deal with various potential distractions and irritants of sharing the experience with less than thoughtful fellow moviegoers. You never know when someone behind you has a cough that won’t stop or a laugh that breaks the sound barrier.

Then there’s always the possibility that some proud parents will bring their four-year-old along rather than trust the precious creature to a babysitter. I speak from experience, not as the parent but as the creature who allegedly yelled “Don’t go up there again, you silly man!” when Joe E. Brown kept climbing a ladder to court a fair maiden (possibly Martha Raye) who kept dropping flower pots on his head. Joe E. Brown is best known today as Osgood Fielding III, the smitten suitor in Some Like It Hot who unhesitatingly says “Nobody’s perfect!” to Jack Lemmon’s Daphne when Jack rips off his wig and shouts “I’m a man!” The communal roar of laughter greeting that iconic closing line is a reminder of the pleasure of sharing sheer unmitigated amusement with a theatre full of people who at that moment are on the same wavelength whatever their political party or social status. The sound of uninhibited response to a public performance echoes through the ages from Shakespeare’s Globe to New York movie audiences delighting in the Beatles A Hard Day’s Night in the summer of 1964 when I was in the habit of taking Beatle-resistant friends to the show for the fun of watching their euphoric responses. more

By Stuart Mitchner

Reviewers are upset with Martin Scorsese for violating documentary integrity in his just-released film Rolling Thunder Revue: A Bob Dylan Story, which is streaming on Netflix and on view in “select theaters.” Some notices even bill themselves as guides to “all the fake stuff Scorsese put in his new Bob Dylan movie.”

Figuring out “what’s true and what’s staged” seems beside the point when the main reason to see the film is the music, the ambiance, and above all the chance to witness Dylan unleashed. You’re right there in the line of fire, recoiling from the force of the words violinist Scarlet Rivera sees as “staccato bullets” even as she’s creating a conflagration of her own, never taking her eyes off him, zoning in on every line he shoots, every move, fiddling while Dylan burns. He’s too close for comfort, daubed in reverse-Minstrel-show white-face; you feel shaken, thrilled, chilled, with code words for American aggression coming crazily to mind, “Shock and Awe” for the bombing of Baghdad, and, yes, “Rolling Thunder” for the bombing of Vietnam.

Seeing the rapport between the violinist and the singer, the way Rivera reads Dylan as she plays, you understand why she’d say “I was with a living genius, on the level of a Shakespeare of our time” in an earlier film (Rolling Thunder and The Gospel Years, 2006). That was a decade before Dylan was awarded the Nobel Prize in literature. more

By Stuart Mitchner

After three seasons of Amazon Prime’s The Man In the High Castle, I have parallel worlds on the brain. Walking in the city last week, I was acutely aware of the dual realities of the Manhattan of memory and Manhattan 2018. While most people in the midtown crowds were seeing what was there, I was seeing what was no longer there.  more