Tuesday, May 21, 2019

The enduring depth of the charmingly shallow: 4 notes on the pleasures of North by Northwest

1) In our household, Hitchcock's North by Northwest (1959) has always been held in particularly high esteem, although I prefer to teach Notorious (1946) and Psycho (1960). In terms of film technique, North by Northwest strikes me as comparatively shallow, a knock off variation on The 39 Steps (1935), although one could say shallowness is the point. Family members often quote various scenes, especially Eve Kendall's lines like "Plane travel vs. train travel. Rather innocuous considering he was a fugitive from justice. Who did he kill?" My son, who now teaches filmmaking, describes the movie as a series of set-piece scenes that often humorously lead to satisfying climaxes, with someone getting punched, or drunken humor, or motherly humor mixed with suspense. Given that the plot of the movie tends to want to kill off Thornhill through elaborate means, Roger is equal to the challenge, perhaps in part due to his career in advertising teaches him how to lie and adopt various personae fluidly. Hitchcock seems intent about torturing Cary Grant, as if in a kind of jealous reply to his fame and good looks, (which reminds me of the treatment of Emma Stone in the more recent The Favorite), yet Roger is something of an expert fraud, a man of surfaces in a movie full of allusions to other Hitchcock films, a man happy to become in the moment what the occasion requires, be it a red cap, a murder victim, a killer on the loose, a witness testifying in court, and/or a derelict son to his doubting mother. Is the beginning of Roger's drunken driving scene a reference to the various cliff-edge over water moments in Grant's "Suspicion" (1941)?

2) Among the set-piece scenes, I like the auction one especially in the way Roger subverts a social ritual of the rich in order to attract the police. An auction implicitly asserts the manners of the privileged class as it makes its artful purchases, but Roger undermines the ceremony until a woman says to him, "You're no fake. You're a genuine idiot," to which Cary Grant replies, "Thank you." The scene is not only very funny, it also shows how Roger is happy to play the cog in the fateful apparatus dictated by criminals and the CIA. According to the impossibly smooth Phillip Vandamm (James Mason), Roger will play a corpse next: "You're very next role. You will be quite convincing, I assure you." But Roger keeps finding ways to slide out of the storyline assigned to him. Roger embodies the disruptive element that revolts against the narrative he's in.

3) Just as the design elements of Psycho sometimes juxtapose the vertical old creepy house with the blandly modern horizontal Bates hotel, so does North by Northwest revel in vertical/horizontal dichotomies. For instance, at the very end of the movie, the scene switches from the cliffhanger conclusion on the cliff faces (ha!) of Mount Rushmore to the speedy horizontal of a train ride, where (again) Roger pulls Eve up to the upper bunk as a kind of nostalgic return to the interior decorations of their escape from the police earlier. So, the vertical and the horizontal keep switching off and accumulating on each other, even amidst the lewd joke of the final shot. The movie begins with the Saul Bass credit sequence's vibrant vertical lines of a skyscraper iconographically preparing us to upcoming heights of the United Nations building, the various floors of several luxury hotels, and, of course the attack of a crop dusting plane as it swoops down to try to assassinate Roger from above.

4) When I wrote earlier that the movie is shallow, it is also full of absences, given that the main earlier  McGuffin of George Caplan doesn't exist at all, as much as Vandamm's men look for him, as much as Roger stumbles into embodying him. The end of the movie keeps returning to the blanks in what Roger calls "that same silly gun of" Eve's. Why is there so much emphasis on fake bullets? Are they supposed to be like little George Caplans, creating lots of effects, but not really existing? Are we meant to associate Roger's fake killing at the hands of Eve with the actual assassination of Lincoln whose visage looks out upon Mount Rushmore? As Vandamm says in his last line, "That's not very sporting, using real bullets."

Once Upon a Time in Hollywood official trailer

"I’ve been listening to podcasts about the history of Hollywood, the transition from silent films to talkies, the advent of television, the musicals in the sixties, the directors’ era of the seventies. And now we’re talking about streaming services. I don’t want to act as if I’ve been around since . . .  silent cinema, but I see this as a huge shift in the way movies are going to get done, what gets financing. The studio system has tons of content, libraries of things that they can make movies of, but in a lot of ways they are hemorrhaging. They’ve become—much like in the twenties—these corporate empires that have taken over the artistic vein of moviemaking. We’re now in an era when there’s a flush of cash into streaming. But with an overflow of content, there’s a lot of garbage out there. Now I do see a lot of chances being taken for story lines, certainly documentaries, certainly giving some artists opportunities to make out-of-the-box story lines that I don’t think ten years ago would have been possible. But these types of films that Quentin is doing are also becoming endangered species."
     --Leonardo DiCaprio

Sunday, April 28, 2019

Smartphones and mental illness: observations from Cal Newport's Digital Minimalism: Choosing a Focused Life in a Noisy World

From Cal Newport's new book: Digital Minimalism:

"Eliminating solitude also introduces new negative repercussions that we're only now beginning to understand. A good way to investigate a behavior's effect is to study a population that pushes the behavior to an extreme. When it comes to constant connectivity, these extremes are readily apparent among young people born after 1995--the first group to enter their preteen years with access to smartphones, tablets, and persistent internet interconnectivity. As most parents or educators of this generation will attest, their device use is constant. . . .

My first indication that his hyper-connected generation was suffering came a few years before I started writing this book. I was chatting with the head of mental health services at a well-known university where I had been invited to speak. The administrator told me that she had begun seeing major shifts in student mental health. Until recently, the mental health center on campus has seen the same mix of teenage issues that have been common for decades: homesickness, eating disorders, some depression, and the occasional case of OCD. Then everything changed. Seemingly overnight the number of students seeking mental health counseling massively expanded, and the standard mix of teenage issues was dominated by something that used to be relatively rare: anxiety.

She told me that everyone seemed to suddenly be suffering from anxiety or anxiety-related disorders. When I asked her what she thought caused the change, she answered without hesitation that it probably had something to do with smartphones. . . . She noticed that these new students were constantly and frantically processing and sending messages. It seemed clear that the persistent communication was somehow messing with the students' brain chemistry.

. . . the plight of iGen provides a strong warning about solitude deprivation. When an entire cohort unintentionally eliminated time alone with their thoughts from their lives, their mental health suffered dramatically. On reflection, this makes sense. These teenagers have lost the ability to process and make sense of their emotions, or to reflect on who they are or what really matters, or build strong relationships, or even to just allow their brains to power down their critical social circuits, which are not meant to be used constantly, and to redirect that energy to other important cognitive housekeeping tasks. We shouldn't be surprised when these absences lead to malfunctions."

Newport's book can easily boiled to one urgent lifestyle tip: Get away from your smartphone. The device is much more sinister and addictive that we can fully comprehend at the moment.