Archive for the ‘Love’ Category

For My Grandma On Christmas Day.

Posted: December 25, 2012 in Love

For my family, December 25th isn’t only Christmas.  It’s also Grandma’s birthday.  A double holiday.  From this day forward, the occasion will be bitter sweet.  While I had a surprisingly nice Christmas (my family celebrates this tradition as well as the Jewish tradition earlier in December), this is mainly where my thoughts are today.

My maternal grandmother, Eleanor Charms Seifter, died in May of 2012.  We were extraordinarily close.  The loss is tremendous but it’s hardly mine alone.  If you knew her, you adored her.  If you didn’t know her, trust me:  She would have loved you. 

This is what I said about her on May 6th of this year. I wanted to share it here because, if I in any way managed to capture her in words, you will see that she was a person well worth knowing.

 

nightengale

 

My grandma Eleanor was the single most decent, positive, and purely good person I’ve ever met in my life.  To everyone who knew her, she was absolute light.

She transcended adjectives, because there haven’t been enough complimentary descriptive invented to encapsulate just how good she was.

She transcended tenses, because I now and will always struggle to use the past tense, with words like “was” and “did”, when she still feels so present, even now.

I could write a tribute to her once a year, once a month, once a day, and I’d still be able to tell you different things about my grandma every single time.  For today, it’s only a question of which laudatory comments I happen to settle upon in this moment.  There truly are that many good things to say about my grandma Eleanor, because that’s a measure of how much goodness she put out into the world.

Honestly, with no forced humility, I have to say that I don’t think I’m personally equipped to eulogize a person this special, this unique, this wonderful, this lovely.  A job like that should really be part of the presidential package, or else it should fall to one of the great poets, composers, or painters.  I may be a decent writer, but I am not up to this task.  It is, however, safe to say that my grandma wouldn’t have minded me saying a few words.  My grandma enjoyed and supported my writing – although she definitely wished I’d write less about monsters and aliens and such, and also that I’d stop enlisting so many naughty words.

For that reason, I’m maybe not the one who’s most ideally suited to the task of summing up such a rare person and such a beautiful life.  But I am someone who benefited dramatically from proximity to her, so I can say a little about how much she meant to me.

At the graveside ceremony last week, I talked about my grandmother’s endlessly inspiring bond with my grandfather, and how much the two of them meant to me in tandem.  My grandfather was the only hero I’ll ever need.  He was a brilliant mind, a generous spirit, and a formidable humanitarian.  He was a truly great man.  I idolized my grandfather.  But I needed my grandmother.

She was a beacon of warmth and kindness, really an impossible creature.  Even my grandpa lost his temper once in a while.  Can you imagine a human being knowing me for thirty-four years and never once losing their temper?  I have trouble imagining it myself, despite the fact I knew one.  Can you imagine a human being whose eyes lit up and whose smile broke wide every single time you walked in the room?  I can’t, but yet again, I knew one.

This is someone whose entire essence was the definition of goodness.  She managed this incredible feat of symbolizing all things sweet and kind – she was a symbol! – while remaining the most fun, most down-to-earth person you could ever meet.

I know, right?  Sounds like I’m describing the Pope?  No offense, but my grandma has most popes beat.  She never judged anybody.

I know that grandchildren have the tendency to idealize their grandparents, at least all the ones who are worth a damn – sorry: darn – but with my grandma, all that work was done already for me.  She was the ideal person.  Truly.

I didn’t mean to bring up the subject of religion and faith in such a flippant manner just now, because those avenues are where many people understandably choose to turn at a moment like this one, when we’ve lost such an irreplaceable human being.  The moment my grandma died, standing there in that emergency room with the doctors and emergency personnel filing out the door, the single thing I was able to say to my mother was, “A whole lot of goodness is gone from the world.”  I still feel that way.  Those words are true for many of us.  It’s an enormous loss, on multiple layers of my existence and maybe yours.

My grandma wasn’t famous – she doesn’t have the tribute on the front page of the New York Times Arts & Leisure section which she’d have if our society quantified decency the way we quantify celebrity.  She wasn’t built that way.  She was humble.  She was as humble as she was monumental.  She was an elementary school music teacher, a writer, a lifetime learner and a lifelong educator.  She was good to every single person she met.  She was better than good:  She treated everybody the way most people treat family.  She treated friends and strangers alike.  She met all people with love.

She was kind, she was generous, she was welcoming, she was loyal, she was encouraging she was funny, she was creative.  (Now I’m getting into exhausting that adjective supply, which I promised I wouldn’t do.) The bottom line is that my grandma behaved in this world exactly the way we learn from a young age that we are supposed to behave in this world.  When I met with the rabbi earlier this week to tell him about my grandma, I told him that exactly.  I am honored to have studied with the rabbi in my youth, but as I told him the other day, I grew up with the exemplifications of Jewish teachings – not to mention Christian teachings, Catholic teachings, you name it – right down the block.  Repeatedly, in America, we go to temple or church and we are given models of how to behave, and repeatedly, we fall short – myself as much as anyone.  But my grandmother embodied morality and decency, with very little external guidance that I could see.

She was good by nature, and acted that way on instinct.  But doing so, she amazed everyone.  My grandma amazed me.   She made me believe in impossible things.  What I’m telling you really, in no uncertain terms, is that my grandma gave me my faith.  Whatever faith I do have, please understand, I have it because I knew my grandmother so well and observed how she operated.  I know the best way to be on this Earth because I saw how she was.  Can there be a higher tribute any one person can give another than that?

Of course, my grandma had some help.  This is the part where I’d start listing all the people who kept my grandma going through tough times, but if you’re within a mile of these words right now, you’re among that number.  My grandma loved you all so much.  But if you’re a celestial being on earth, as I seem to be (aptly) describing her, then you could have no better advocate than my mother, Madeleine, whose love for my grandmother made her a relentless champion to keep my grandma alive longer than any doctor would have allowed.  My mom ensured that my grandma’s house was hallowed ground, full of remarkable ladies, including all of the devoted staff who were by the bedside in the past years.  You don’t have to go to the movies this summer – those are the Avengers sitting over there.

Most incredibly, we had four generations together for four whole years – Grandma, my mom, my sister, and my niece.  I can’t tell you what a profound thing that has been to witness.  If there are words, I don’t have them.  Maybe my part in it was to be a witness, to record it and to be able to share it through these words and whichever words I write in the future.  Because unlike my mom, my sister, my niece, my uncle, my aunt, my cousins, and all the various and sundry Seifters and Charms’s, all of whom resemble or represent my grandmother in apparent ways – I sometimes struggle to see my grandma in myself.  My temperament is far more tempestuous, with tendencies towards the morose and the isolating.  These are some of the adjectives that never ended up anywhere close to my grandma, no matter how much she went through.

I was there the day she found out she lost her beloved brother Bernie and her beloved sister Glady in the same morning.  I was there when she lost my grandpa, her inseparable husband of over six decades.  I was there when they took her voice away and confined her to that bed.  Any one of those things, or their equivalents, would have broken me.  I would have given up.  My grandmother never even considered such a notion.  The last time I saw her alive, she was exactly as she always was; eyes lit up, smile broke wide, nodding at me in an expression of love.  “Go home.  Get some rest.”

And as I contemplate that image, I remember one day, not too long ago, when I looked into the mirror and saw my own eyes and noticed something modestly revelatory:  I have my grandma’s eyes.  Not her facial structure, and certainly not her irreplaceable spirit, but if you’ve spent as much time as I have staring into her eyes, and then looked into mine, you might see it.  It’s the same shade of bluish-green bordering on hazel, the same shade, right down to the specks of brown in the irises.  It’s the only physical attribute of hers I feel I’ve been blessed with, but if you’re into symbolism, it’s a big one.

Because then I think, if she could experience everything she experienced, if she could look at this world that is so imperfect and so brutal and which makes us all so sad at times, if she could look upon all that with those eyes and still manage to remain as positive and optimistic and loving as she was, then couldn’t I try to look at life the same way?

Couldn’t anyone?

Couldn’t everyone?

 

 

POSSESSION would be one of the rawest, most vicious, most harrowing films ever made about love and marriage and the awful dissolution of both, even if there weren’t an oozing Lovecraft-style tentacle demon sitting squarely and evilly in the middle of it.  Polish director and co-writer Andrzej Żuławski reportedly made the film in reaction to a painful divorce, and it shows.  This movie had to have been made by someone who knows what it’s like to be in love, and then out of it.  (The internet tells me that Żuławski has since been with and NOT with Sophie Marceau, so his highs and lows may be higher and lower than most.)

Dashing genre legend Sam Neill plays Mark, the husband going through hell on earth, and the fierce and striking Isabelle Adjani plays Anna, the wife whose mysterious personality-flip drives him to madness.  Mark returns from a trip and is immediately welcomed by Anna with a divorce request.  He feels totally bushwhacked.  They have a young son, who it seems Anna has totally abandoned, both emotionally and literally.  Anna has taken up with a new lover (Heinz Bennent) — who isn’t that new, actually, as he’s almost twice her age.  But despite the brutal slugfest that ensues between Mark and Heinrich, the new guy isn’t half the problem, really.  Something confusingly supernatural seems to be at work — Mark meets his son’s teacher, Helen, who is a dead ringer for Anna (Isabelle Adjani plays a dual role), while Anna is acting more and more unhinged, animalistic, and self-destructive, and oh yeah, that incredibly vile monster mentioned up top is starting to make house visits.  If all of this is sounding crazy, you need to see the movie because it plays seven-hundred times crazier than it sounds.  You’ve never seen anything like it.

POSSESSION has an odd, frenzied, almost jumbled energy right from the outset, for many reasons, one of which being that this is an international production.  The film’s director is from Poland, its leading man from New Zealand, its leading lady from France, and its setting and filming location is in Germany.  This makes it interesting and vibrant, while lending it a personality clash that probably serves the narrative well.  The cinematography by Bruno Nuytten (who, maybe not for nothing, had a relationship with Isabelle Adjani) is fascinating — though it has the look of most British film at the time, and the film for long stretches wouldn’t look out of place on PBS, it picks up a whirling momentum that adds greatly to the disorienting effect of the events onscreen.  The unusual score by Andrzej Korzynski has a similar effect.  There’s nothing safe or reassuring about POSSESSION once it gets going, least of which its perfomances. 

Sam Neill is a phenomenal actor whose ability to project sly intelligence has seen him cast equally as heroes and villains.  He was once screen-tested for the role of James Bond and I see no reason why that wouldn’t have worked, except that it may have kept him away from many of the other interesting roles he’s played.  In POSSESSION he’s playing something closer to an everyman, though if you read “hero” when you look at him early in the film it certainly helps, as does later on his capacity to suggest darkness. 

But it’s Isabelle Adjani who rips the film away and threatens to disembowel the very machinery that is projecting it.  When critics call a performance “fearless”, they really have no barometer with which to judge that virtue if they haven’t seen Isabelle Adjani in POSSESSION.  This is without a doubt one of the bravest, least self-conscious, most go-for-broke frightening performances ever committed to film, regardless of gender.   Gender does matter, though.  This role captures all the allure, the awe, and the fear that feminine sexuality instills in men.  Mark cannot comprehend the changes that Anna is going through, and it scares the hell out of him. 

The dedicated physicality that Isabelle Adjani brings to bear is far more formidable than any monster could ever be, even though this film has a creepier monster than most – brought to life by Carlo Rambaldi, the effects genius who designed E.T.!  Rambaldi also had a hand in the creation of the title character in ALIEN, another film that generates horror by evoking sexual imagery — though that one is far more subtle than this one.

POSSESSION is incomparably bold, personal filmmaking.  Some of those who have seen it have balked at classifying it in the horror genre, since it is so unusual and resistant to classification, and because it is possible (I think wrongly) to read the supernatural elements as metaphorical.  But again, even if there were no tentacle-beast pulling the strings, this film would still have nearly as visceral an impact, due to its incredible lead performances and the concerted efforts of its crew.  POSSESSION is bruising and unforgettable and most of all shocking, long before anyone walks into that room and sees the unholy thing writhing on the ground.  The only reason that more people don’t know about this movie is because most people probably couldn’t handle it.

POSSESSION is tonight’s midnight screening at Cinefamily in Los Angeles, as part of their month-long Video Nasties celebration.  LA, you are so lucky. 

Me on Twitter:  @jonnyabomb

R.I.P. Leo O’Brien.  He played “Richie Green” in THE LAST DRAGON, maybe the best character in the movie.  Definitely the one with all the best lines.

I don’t do irony well.  I tend to take the movies I like in the spirit they were intended.  If a movie feels genuine to me, then my affection for it is genuine.  THE LAST DRAGON is a kid’s movie, but one of the few I will still watch from time to time because it’s guaranteed to lift my mood.  If I’m being completely honest, I love this movie way more than I love most conventionally accepted “classic films.”  Given the choice, I’d opt without hesitation to watch this movie over CITIZEN KANE, CASABLANCA, and even THE GODFATHER. There, it’s out.  I said it.

I accept that no one will ever let me call this a good movie, but the rest of the world is going to have to accept my insistence that this is a one-of-a- kind genre occurrence, and for that alone it deserves respect.  There aren’t two like it.  As the story of young Leroy “Bruce Leroy” Green (Taimak) and his mission to defend popular VJ Laura Charles (Vanity) against evil arcade owner Eddie Arkadian (Chris Murney) and local bully The Shogun Of Harlem (Julius J. Carry III), THE LAST DRAGON stands alone in its genre — it’s the first, last, and only Motown-kung fu-action-romantic-comedy musical.  There’s so much genuine goodness about THE LAST DRAGON.  It encourages the mild-mannered to stand up for themselves.  It teaches kids about Eastern philosophy.  It teaches kids about Bruce Lee.  It gave early-career employment to legendary character-actors Mike Starr, Chazz Palminteri, and William H. Macy.  It has music from Willie Hutch, Stevie Wonder, and Vanity.  It has a kid (Leo O’Brien) who’s been tied up by bad guys escaping capture by break-dancing out of the ropes.

This movie is a positive force for the universe.  I watch it and I smile.  It’s one of my few nostalgic indulgences – but it’s still fun to watch as an adult.  I fear the potential remake, despite the involvement of Sam Jackson and the RZA and despite the personal assurance I’ve received from Taimak himself (!).  THE LAST DRAGON was lightning in a bottle, and let’s face it, it’s not actually possible to catch lightning in a bottle… unless a genuine miracle is involved.

This post originally appeared on Rupert Pupkin Speaks.  Give ‘em a visit!

Follow Taimak on Twitter:  @iamtaimak

And now, my top ten favorites of 2000-2009 starts to get explosive, with

#6.  Team America: World Police (2004)

It was a strong decade for comedy, or maybe I just enjoyed comedies more because I needed them so much.  (Depressing-ass decade.)  But of the dozens and dozens of comedies I saw between 2000 and 2009, there was not a single one funnier than Team America.  The uncensored version in particular is a guarantee that if I watch it, I will literally have trouble breathing. That sex scene… The idea that world-class technicians such as Bill Pope (The Matrix, Spider-Man 2, Scott Pilgrim Vs. The World) spent all that time making that scene happen… It’s all simply breath-taking.

How did this movie happen?  Who let it happen?  Can we find them, and thank them from the bottom of our hearts?

Team America is a classic American action film in the Bruckheimer/Bay tradition, where Broadway megastar Gary Johnson is recruited by a top-secret anti-terrorism unit called “Team America”, who police the world.  Throughout his adventures, Gary makes friends, finds love, and learns how to use his amazing acting to save the world.  The villain of the movie is Kim Jong-Il, who, if you don’t read the New York Times, is a real person.  He’s a flamboyant dictator who rules North Korea.  It is not known if he actually owns a piano, or giant panthers.

In answer to my earlier question, how this movie happened is that Trey Parker and Matt Stone, the brilliant anarchic creators of Comedy Central’s South Park, are huge fans of both musical theater and weird old cartoons like Thunderbirds.  They’re also some of America’s most astute and sly social critics, and this movie is clearly their response to eight years of George Bush Jr.’s America.  How it happened the way it happened is that Matt and Trey had the power to get it made this way.  By all accounts, it will never happen this way again.  Team America is one big brilliant flash in the sky; in addition to all of the above it’s a tremendous satire of bombastic action films and absurd movie conventions.

The funniest part about Team America is realizing that guys like Michael Bay and Stephen Sommers totally didn’t get the joke – to the point where 2009’s G.I. Joe movie saw an Eiffel Tower scene that completely ripped off Team America’s!  There’s nothing better than comedy that has the balls to get right up under the nose of their targets.

This is brilliant satire, and at the same time, as immature and potty-mouthed as it gets.  Essential scene:  The “Pussies, dicks, and assholes” speech, obviously.

Oh yeah, and if you’re just hearing about this movie for the first time and you follow the link to that speech you will finally find what I have not mentioned so far but which you may already suspect:  Yes, the stars of Team America are marionettes.

As many great moments as we were given by Steve Carell, Seth Rogen, Will Ferrell, and all the other terrific comedians to emerge during the decade, those guys were all at a disadvantage, because they weren’t puppets.  If Matt Stone & Trey Parker didn’t bother to write a script for Team America and just did a shot-for-shot remake of some piece of shit like Van Helsing or Transformers 2, as long as they shot it with puppets they’d still have topped every other comedy all decade long.  Puppets are just that funny.

Weather permitting, Two Lovers is playing tonight at BAM, with a Q&A from co-writer/director James Gray.  It’s part of the 10 Years Of Magnolia Pictures festival.  James Gray is an interesting interview, and while this may not be his single best movie, it’s certainly raw and seemingly personal and courageously imperfect.

Gray (The Yards, We Own The Night) obviously loves the movies of the 1970s, both aesthetically and ideologically.  I appreciate the way he builds his movies around the characters, particularly at a time in cinema history where that is a very rare quality.  Some of his movies work better than others, but this one in particular worked for me more than it didn’t.

Joaquin Phoenix, in an intense, internal, non-stunt performance that all of his detractors should see before ever discounting him, plays Leonard, a nice Brooklyn Jewish boy with some apparent mental issues. He’s torn between two loves, the nice Jewish girl his parents would like to see him with (Vinessa Shaw, not a bad option at all!) and the far blonder, far flashier girl who lives across the way (Gwyneth Paltrow, in likable mode).  Paltrow’s character is in turn torn between Leonard and an older, scarier man with whom she’s enacting an affair (the always-great Elias Koteas).

Two Lovers runs on interesting, almost suspenseful twin engines.  In the first scene, Leonard tries (and obviously fails) to kill himself, so ever after that, you’re just waiting for him to bug out again.  The movie has some surprises for you there.  The other main question to be answered, considering this quartet of characters, is:

To whom does the title, Two Lovers, refer?  Is it Joaquin Phoenix and Gwyneth Paltrow?  Is it Joaquin Phoenix and Vinessa Shaw?  Is it Gwyneth Paltrow and Elias Koteas?  Is it Gwyneth Paltrow and Vinessa Shaw?  Depending on who gets slotted into that title, the film’s meaning and reading may shift significantly.

I like when a movie gives you a brain-teaser like that one.  I also really liked the cinematography by Joaquin Baca-Asay, and not only because it’s rare for an American-made movie to have more than one Joaquin on the crew:  The film’s palette is warm when the characters are indoors, and icy-cool when they’re outside, particularly at a couple key moments.  Filmmaking decisions such as these are what makes a thoughtful movie that much more worthy of being pondered.  Two Lovers may be a movie that I respect more than I actually enjoy, but that’s because it’s harsh and occasionally brutal, like life and love very often are.  It’s not the classic example of the work of which I believe both Gray and Phoenix are capable, but I really hope to see them continue to make movies, because if this isn’t a masterpiece, it sure is the kind of job that promises one is coming.