Liars and Saints

 Sam Raimi has the gift of "bad" taste: You're going to see corpses in his films, whether you're streaming "A Simple Plan," "Dr. Strange II," or "Evil Dead." Also, Raimi has an eye. His work is visually stunning. In his new movie, "Send Help," you're treated to a plane crash, a wild boar attack, and a brief trip to the Land of the Dead. Each of these interludes is brilliant; you're seeing the work of an artist. For a long while, "Send Help" seems to be a retelling of "Misery." (Recently, Rachel McAdams worked with Kathy Bates; I wonder if this led to certain ideas.) The twist is that--with "Send Help"--the "James Caan" guy is in no way sympathetic. He is an asshole. So you're disoriented. You can't just cross your fingers for the James Caan guy. His potential victory would be a sad thing to contemplate. In the Kathy Bates role, Rachel McAdams is transcendent. She never misj...

  It was a surprise to see the NYT piece on Sondheim yesterday. My favorite mini-essay was from Renee Fleming, who reflected on "Not While I'm Around." This song--like so many others--has been mistreated by Barbra Streisand. By removing the song from its context, Streisand drains the song of some of its power. What moves me in "Sweeney" is that Tobias is making a "victim outcry." He is complaining. Because the nature of Tobias's complaint is so disturbing, the words do not flow from his mouth. He also feels that he has to *solve* the problem--though the necessary steps are well beyond his capability. (Because I'm watching "The Pitt," I'm weirdly aware of this kind of subtext right now. The woman who is trafficked seems to communicate with her eyes. The victim of molestation seems to have a conversation with herself--before getting upset and walking out the door.) Not to worry, not to worry. I may not be smart, but I ain't dumb...

 My son is strongly attached to "The Spongebob Movie--Search for Squarepants." Josh hasn't fully mastered adverbs--he doesn't see that "very" often requires an additional adverb--so his statement of protest is slightly malformed. "I very  want  to see this movie!" Josh enjoys any discussion of undies, toilets, gassiness--his zeal is such that he doesn't just laugh. After laughing, he turns to you to make sure that you, too, have seen and appropriately valued the potty joke. He is especially fond of Patrick Starfish, who wears a skimpy loincloth under an immense belly. At times, Josh's delirium causes him to stand up out of his theater seat and do a kind of celebratory bouncing dance. (We've seen "Spongebob" twice; the second time, we braved faux-blizzard conditions, though the public school system had officially "thrown in the towel.") Clearly, Josh has inherited certain dominant alleles from his biological father, w...

  "After This" is a novel about trauma. Sources of trauma--for men and women. John Keane fights in World War II; on a bad day, he finds himself holding a dying young man. The man--Jacob--is a stranger. Keane returns to New York--having lost three toes--and names his own son Jacob. When the son dies in Vietnam, John represses his grief. A useful strategy--until it isn't useful anymore. In this strange and moving story, John has a "foil"--his other son, Michael. Michael is the opposite of Jacob--impetuous, loud. As a child, Michael finds himself in his family's car during a windstorm--the entire family has bolted from the beach, and the adults are unprepared. As everyone eats sandwiches, Michael realizes that he could easily cause chaos. He just needs to roll down one window of the car. The storm will send all the paperware--the cups, plates, napkins--flying through the air. As Michael grows older, he is consistently an irritant for John. (This is because Mich...

 One genre "The Pitt" uses is the mystery story. In that particular story format, a crime has occurred in the past--detectives must do the delicate work of an investigation. A wrong move can (unintentionally) bring about the silence of a crucial witness. While doing the work of probing, two detectives can become closer (or can get pulled apart). A recent episode concerns a young woman who may or may not be the victim of trafficking. Her employer seems overbearing; the employer never takes a hint, never leaves the examination room. (At the same time, the employer is clearly very pregnant--an odd, intriguing detail.) The doctor wants the victim to admit that she is a victim. But an emphatic series of questions might cause the victim to run away. The ambiguous semi-victory here concerns a special pen. The pen has a phone number for victims to call--but the number is concealed within the inner organs of the pen, so a pimp will not realize exactly what the pen "means" fo...

 I rarely feel more competent than when I'm watching "Beauty and the Beast" with my daughter. Her questions are straightforward: Q. Is Monsieur D'Arque a zombie? A. Not literally. His pallor is symbolic--it's meant to suggest the *moral* rot within his soul. Q. Why does Belle hide during the snowball fight? A. It's just a strategic move. She wants to win. She is no longer scared of the Beast--because the Beast magically became nice during the "wolf" interlude (in the middle of Act Two). Q. Why does the Beast say, STUPID? A. He feels that the bows in his hair are not a reflection of his true self. You may disagree. But there is nothing really scandalous about using the word "stupid" in this context. He is just talking about a style--not making a judgment about his own intellect. I'd love to add that Monsieur D'Arque seems to be an allusion to "Sweeney Todd"--to the asylum sequence in the Second Act. Additionally, Sondheim w...

  Kelli Giddish has spoken to the press about her career strategy; she explicitly asks Dick Wolf for "troubling storylines." She does not want Amanda Rollins to seem like a superhero. It's moments of vulnerability--involving addictions, involving difficult family members--that make a character interesting. The most recent SVU feels like a bit of "retconning." For a while, Kelli Giddish was written off the show--presumably because she was asking for too much money. (It's a notable bit of irony that SVU, a series that purports to have a feminist basis, would handle a female cast member in this way. I notice that Ice-T is allowed to stick around--despite his inconvenient salary requirements.) Now, a writer has decided that the career trajectory of Amanda Rollins is a sign of her fundamental instability. It's (allegedly) a part of the grand plan to have Amanda fumbling with job questions. This shows that she doesn't know herself--she is always on the run...