July 26, 2015 § 1 Comment
Looking somehow – vaguely – like a less cartoonish, more handsome version of Cosmo Kramer from Seinfeld, divorced Manhattan film projectionist Lenny Sokol is an overgrown older brother to his two young sons Sage and Frey of whom he has custody for a feverish fortnight. Lenny, as embodied by writer-director and here actor Ronald Bronstein, doesn’t simply recall Kramer in the looks department; his heart and mind are as tightly sewn to his sleeve as is the case with television’s crown weirdo, and they are both – the two of them – mascots of irresponsibility, to an extent. In fact, Lenny could very well be an alternate-reality projection of Kramer had he (Kramer, that is) impregnated someone and landed the role of having to partially raise two children. So there is the unabashed expressiveness, which always makes for a sympathetic character however one feels about the expressive acts themselves, and there is the careless charm and general carelessness. But what really makes Lenny a protagonist for the ages is that he must walk a mean tightrope, if only for the span of the film’s two week duration, with adolescent abandon on one side of the fall and the rock-hard sidewalks of stodgy adulthood looming on the other. Perhaps walking is too generous a descriptor even; more like hanging from the rope one-handed, being blown by the pressures of life from one side to the next. This probably makes Daddy Longlegs sound a little melodramatic and it very well is: a melodrama of Lenny’s own concocting, and a great one at that.
Interestingly, in reviewing Bronstein’s directorial debut Frownland for Ozu’s World Movie Review, critic Dennis Schwartz claims that the 2007 no-budget feature trumps David Lynch’s Eraserhead in sheer “weirdness.” Whether or not this is a fair or even accurate assessment, there’s a curious semi-connection in there. Apart from the fact that Jack Nance’s character in Eraserhead, Henry Spencer, is an even earlier precursor of Kramer’s spastic, electrocuted look, Bronstein’s Lenny is – like Henry – a noticeably naked depiction of fatherhood not often seen in the cinema. Sure, Lenny loves being a dad to his boys and sure, there are [many] fathers in [many] movies, but few of them seem to grapple with their parental duties in a manner that has potent dramatic edge and hints of torture/disabling self-doubt. Either they drag their feet, coast along, lash out…or they have it down to an art with their compassionate newspaper-reading paternalism. Yes, in Daddy Longlegs, Lenny is the typical irresponsible, fun foil to his stauncher more ‘adult’ ex-wife Paige (played by gonzo artist Leah Singer, the two young boys’ actual mother), but he is not above yelling Sage and Frey back into bed or benignly drugging them in their sleep, for their own protection. His natural penchant for frivolity is offset by these pressured attempts at discipline and responsibility and, as the film reaches its uneasy conclusion, the fact that Lenny can’t quite find a pleasant middle ground between friend and father becomes clear even to his pre-adolescent boys. Of course, one could argue that the film is a gentle paean to single parenthood and its struggles; to those whose late-night shifts are tainted by the guilt and worry from having left young lieges alone at home. Or it could be a sobering reminder that children of divorce often walk their own tightrope not just between two modes of parenting but two vastly different – perhaps harmfully contradictory – approaches to existence. When Sage and Frey return to their mother’s home the overall image is one of well-mannered domesticity, plus they have a more gentrified father figure to boot in the form of their mother’s new husband. It’s difficult to predict whether they would benefit from their father’s chaos on a more regular basis. It’s probably less difficult to postulate that the presence of both in a more complimentary dynamic would be ideal.
For those out there – probably most, one would imagine – whose impression of the current standoff between digital video and film is that it is nothing more than an esoteric scuffle between tunnel-visioned obsessives, viewing a dirt cheap picture that was shot with 16mm stock should prove enlightening, even if only a pinch. Whereas it may be close to impossible for a casual non-geek to identify whether or not a decently budgeted film like Fincher’s Zodiac was shot on film or digitally, let alone outline the key differences in image quality between the two formats, the textural and tonal disparity between Daddy Longlegs and something shot on DSLR – or even a film like Once – is staggering and easy to notice. Apart from the buoyant colour palette and the smoothness of the transitions between light and shadow (dynamic range), there is a grainy, bleary-eyed nostalgia that 16mm lends this picture. From frame one, writer-directors Josh and Benny Safdie make no secret of this movie’s roots in their own memories of and experiences with their father (and mother), but theirs nonetheless remains a film set in the now, in contemporary (as of 2008-9) New York City as opposed to a more obviously longing restaging of their childhood in the 1980s. But there is an unmistakable, unwashed timelessness to the parts of NYC in which the movie was shot, as though the very air let alone the buildings and sidewalks have barely aged over the decades. Without trying, Daddy Longlegs manages to evoke the kind of old-school off-the-cuff cinema to which it will undoubtedly be (and is currently being) compared. One can imagine that recreating a distinct period would be costly at any scale but, luckily, the Safdies seem to have been aiming for something more than mere throwback grassroots realism in the vein of Cassavettes (whose namesake prize the brothers happened to win at the 2011 Independent Spirit Awards). For all its physical intimacy, its long-lens aesthetic with a generous supply of fearless close-ups, fumbling focus and overt naturalism, Daddy Longlegs separates itself from its indie contemporaries in its willingness to dance with the surreal and morbidly expressionistic, namely the mystifying but somehow right sitcom-like applause and battlefield noises that bookend the film’s soundtrack, and of course the giant mosquito that sucks the peace of mind right out of Lenny’s neck as he sleeps and presumably dreams. Whatever the more literal meaning of these may be, they make emotional sense in addition to ever-so-slightly distancing the film from the current fetishisation of “documentary” realism. But they also suggest that these filmmaking brothers are intent on doing more than just depicting their past and materialising their memories. Theirs is an act of interpretation and reckoning, and it is this which allows their picture to sway precariously above its peers, reaching for a little more than 16mm verisimilitude.
July 8, 2015 § Leave a comment
The Iranian ‘bad boy’ concludes his latest attempt at fuck-you guerrilla cinema with a final shot that is heart-warming, unassuming, alarming, somewhat embarrassing and ultimately sobering, in that order. Having spent seventy-something minutes ‘playing’ himself – that is, world renowned filmmaker Jafar Panahi – ‘playing’ a taxi driver, cruising around Tehran in what is presumably an actual cab (or at least a vehicle dressed up as one) and engaging in a headlong series of entertaining, often humorous and conveniently dramatic interactions that collectively snap a shot of contemporary urban Iran (or maybe just Tehran), Panahi decides to end proceedings by delivering a gentle smack to not just his face but the face of an adoring international film community that may be taking his beleaguered output for granted somewhat. It’s as if Panahi recognises that the oftentimes purposefully short human memory has come into play with regards to his movies, which technically should not exist but which nonetheless keep coming, every two years at this rate, breaching the Iranian border in cake-encased USBs (and who knows what else) and screening at international film festivals where they are heralded as great art and sometimes go on to win awards such as the Golden Bear at this year’s Berlinale. In truth, it’s a touch mysterious and a little bit eerie, the fact that three works conceived and executed by this puckishly civic-minded artist have managed to reach the global consciousness despite the Iranian government’s clear opposition, and it’s a touch embarrassing to think that these works are no less commodified than those of filmmakers whose prodigiousness is relatively unencumbered; that their presence on the cinematic landscape doesn’t appear to garner quite as much shocked surprise as might be deserved given the circumstances surrounding their creation. Perhaps Panahi is subtly chiding himself for being so gung-ho in his rebelliousness, reminding himself that the powers that be may not be as blind and/or ineffectual as their relative inaction might suggest and that danger and violence may very well strike when the enemy’s apparent impotence couldn’t be more certain. Panahi even seems intent on emphasising the fact that matters have not necessarily progressed since his first act of cinematic dissent, This is Not a Film, seeing as he casts as a one of his passengers a lady who may very well be the lawyer with whom he spoke on his mobile phone in that very film, now disbarred/delicensed, presumably as a consequence of her involvement with him. Learning of her career trajectory over the last half-decade is indeed sobering.
So…roughly 5 years after scoring himself a 20-year filmmaking ban courtesy of the Iranian government, one-man-studio Panahi has released his third (yes, three!) provocation, Taxi, clumsily retitled Tehran Taxi in some global territories (including Australia) presumably to distinguish it from the Queen Latifah/Jimmy Fallon romp. Not unlike his previous two films, This is Not a Film and Closed Curtain, this logistically barebones picture may appear to be a continuation of Panahi’s ostensible investigation of the role that intellectual censorship and social oppression can/may play in breeding great art (or just art), which in fact extends farther back than the aforementioned pair to – say – his feminist soccer drama Offside (2006), a film whose actual production toed the very line of illegality that his last three blatantly cross. But rather than adopting Hayes Code-era innuendo and conceding (superficially) to the confines set out by the State, Panahi – being Panahi, and being an Iranian filmmaker in the era of Kiarostami – opts for a more reflexive and knowing approach. In fact, one of Taxi’s most politically poignant sequences features Panahi and his somewhat prodigious preteen niece discussing and eviscerating the scarily absurd film decency code that the Iranian government works hard to impose, a code which dares to dictate what kind of movie character (hero versus villain) can wear a tie and one which forbids the inclusion of any manner of ‘morbid realism’, presumably for fear that it may incite or further galvanise the civic dissatisfaction of the film-going masses. Either way, Taxi – notwithstanding the simple fact that it even exists – wryly drifts in and out of subversion and political antagonism as it moves from scene to scene, exposing the ‘morbid realities’ of being a (soon-to-be) widowed woman in Iran and the curious ethical quagmires that are borne of class injustice, as well as tackling (and quite amorally so) issues of intellectual theft, almost suggesting that pirating movies is not an unmitigated evil if it is a means by which cultural quarantine can be circumvented. In short, by highlighting and utilising the absence of that which is not permitted as much as he does that which is, Panahi manages to transform restriction into some weird breed of backhanded freedom; an almost ascetic, martyred iteration of it. Or perhaps he doesn’t quite create bounty out of scarcity, though he does capitalise on the fact that raw passion and the ideas that stir them can in themselves be as exhilarating to behold and as culturally constructive as that which eventually, tangibly results from these very ideas.
After Park Chan-wook seduced audiences (and the Berlinale Short Film jury) with his shaggily dreamy iPhone-shot Nightfishing a couple of years ago, and in the wake of rising indie star Sean Baker’s transgender LA odyssey Tangerine generating a great deal of chinwag for its being photographed entirely on two rigged-up iPhone 5s, Jafar Panahi’s recent inventive (however-much by necessity) use of mobile phones, dashboard cams and point-and-shoot digital cameras contributes greatly to the legitimisation of all manner of photographic apparatus as pertains to the creation of world-class cinema. As young filmmakers bleed their pockets dry so as to acquire actual cine-lenses with which they may be able to compensate for their mid-level DSLR imagery, here is a filmmaker as established as any of his contemporaries levelling the technological hierarchy, demonstrating that capturing beauty is as dependent on boundless receptivity and crystal-eyed honesty as it is on technical mastery of the medium and its mechanics. Of course, knowing the political situation in which Panahi currently finds himself most definitely influences expectations and fosters a degree of critical generosity however scrappy his films might look, as does his already robust reputation as a powerful filmmaker at the best of times (relatively speaking). Even so, it would be perfectly legitimate to take aim at Panahi’s very knowing and somewhat impish insistence on utilising as many video-capable instruments as possible to weave his narrative, an approach which almost seems to suggest a democratisation or even sharing of the role of director, in a way shedding Panahi of the full weight of artistic responsibility. Taxi is not and should not be beyond reproach due to its sociopolitical importance and its status as a statement against censorship and in favour of expression, but the plain and simple truth is that the verve and incisive brevity with which Panahi and his players sketch their city and their nation (at least from their point of view) feels sufficient enough to justify whatever means they choose to present the finished picture, photo-realistic or not.
* SFF – Sydney Film Festival