Skip to main content

Review of "the Snowman"




I wasn't familiar with the director. It's about a repeat predator, so certainly timely. But also about a very circumspect, coifed and careful one, so inverse. Relates it all to childhood trauma; taking revenge for childhood abandonment: revenge on other girls for the crimes of the mother. I still insist that's where we need to look to get at Weinstein's illness. We think we reach brave, but there's always a higher level of brave -- what nobody else wants to touch right now, now that the proper decorum is simply to admonish both oneself and the behaviour of others: we've been bad; no excuse, we'll do better.

A lot of people may very well hate this film, but I found it a bit of a jack-of-the-box in terms of surprises: within each scene the director seemed to want to focus on something to show that, in this light, isn't this beautiful. So a human head on a top of a snowman, so a curated snowman, so landscapes of pleasantly loped seaside towns full of manageably sized housing, so variegated images of snow and frost -- fluffed, lightly falling, heavily massed, biting fierce -- so curvaceous roads a sports car would want to hug even as alls we've got is a nice smart orange Mercedes jeep to visualize it, so Harry Potter urban alleyways, so a shotgunned man with pleasantly thorough detonation through the head, so an array of coffee beans in snow, so single dignified coffee beans, so single shivering bared breast of youthful maiden (though an importune time to show women as unwilling sacrifices to older empowered men as an aesthetic turn on, a situational delicacy), so slightly older beautiful women dead but mercifully pleasantly intact and decorously draped and contained in front car seat, so fountain pen, so artful to-the-point decorated notes, so comfortably confined luxurious bars/living rooms, so wholes, so pieces -- never so many of them to signal complicated but rather within the immediately assimilable -- so sublime red drips on white canvas as well as forthrightly assertive red splotches (also inadvertently "controversial," with Tampax now forgoing blue for red and all)... all beautiful; a revelation. I suppose if someone likes touring certain realms of modern architecture, or Danish modular furniture, or fine paper stores, the movie might feel a well saturated good time. I didn't mind it... maybe a bit better than that. (I wondered what his point is in the slight sway you see in many scenes; pictures always slightly drifting, as if the camera man was perpetually beginning to snooze off.) Though real praise would have been if the aesthetic had been in some manner tuned in with the theme -- ostensibly abandonment -- rather than just, I guess, a tour of pleasures the well-enriched might want to chase down in real life. Norway: it's not all one thing, but dense, packed with differentiated, vivid experiences.

Harry is a serial drinker, a serial smoker. Why aren't we asked to know what his childhood injury was? What lead to that? Why is he a miracle-worker? Why are all serial drinkers in the film miracle-workers? Why would Scandianvians like this idea? Aren't they all low crime rates, healthy eating, and emergence from alchoholism? Aren't they ahead of the world, not trying to romance from behind because they sense they're stuck so might as well pretend behind is actually ahead? Struck me that he should be the town dunderhead, lagging well-behind all the intelligent youth with intact brains. A sloth. A meathead. A regret. Park bench material not part of the day but all of the day. 

Comments

Popular posts from this blog

Too late -- WE SAW your boobs

I think we're mostly familiar with ceremonies where we do anointing. Certainly, if we can imagine a context where humiliation would prove most devastating it'd probably be at a ceremony where someone thought themselves due an honor -- "Carrie," "Good Fellas." "We labored long to adore you, only so to prime your hope, your exposure … and then rather than a ladder up we descended the slops, and hoped, being smitten, you'd judged yourself worthless protoplasm -- a nothing, for letting yourselves hope you might actually be something -- due to be chuted into Hades or Hell." Ostensibly, nothing of the sort occurred during Oscars 2013, where the host, Seth Macfarlane, did a number featuring all the gorgeous Oscar-winning actresses in attendance who sometime in their careers went topless, and pointed this out to them. And it didn't -- not quite. Macarlane would claim that all obscenity would be directed back at him, for being the geek so pathetic …

Discussion over the fate of Jolenta, at the Gene Wolfe facebook appreciation site

Patrick McEvoy-Halston November 28 at 10:36 AM Why does Severian make almost no effort to develop sustained empathy for Jolenta -- no interest in her roots, what made her who she was -- even as she features so much in the first part of the narrative? Her fate at the end is one sustained gross happenstance after another... Severian has repeated sex with her while she lay half drugged, an act he argues later he imagines she wanted -- even as he admits it could appear to some, bald "rape" -- but which certainly followed his discussion of her as someone whom he could hate so much it invited his desire to destroy her; Severian abandons her to Dr. Talus, who had threatened to kill her if she insisted on clinging to him; Baldanders robs her of her money; she's sucked at by blood bats, and, finally, left at death revealed discombobulated of all beauty... a hunk of junk, like that the Saltus citizens keep heaped away from their village for it ruining their preferred sense of themse…

Superimposing another "fourth-wall" Deadpool

I'd like to superimpose the fourth-wall breaking Deadpool that I'd like to have seen in the movie. In my version, he'd break out of the action at some point to discuss with us the following:
1) He'd point out that all the trouble the movie goes to to ensure that the lead actress is never seen completely naked—no nipples shown—in this R-rated movie was done so that later when we suddenly see enough strippers' completely bared breasts that we feel that someone was making up for lost time, we feel that a special, strenuous effort has been made to keep her from a certain fate—one the R-rating would even seemed to have called for, necessitated, even, to properly feed the audience expecting something extra for the movie being more dependent on their ticket purchases. That is, protecting the lead actress was done to legitimize thinking of those left casually unprotected as different kinds of women—not as worthy, not as human.   


2) When Wade/Deadpool and Vanessa are excha…