One week into the Film Series, my petite seal pups. It has only just begun, as someone once said at some point in the past a long time ago before you or me or he or she or ze. It has only just begun. And now there’s nothing ahead but oodles of fun. Fun and the accumulation of knowledge. And there’s so much more coming. Fun, that is. So much more fun. I know what you’re thinking, though. You’re thinking about all the fun you’ve already had. Well, what has happened thus far? The series opener, “Super Size Me,” was sold out. If the CFA Cinema were that dude’s belly, each person who attended the show became a french fry. I know that sounds a bit gross, but I only mention it because it’s an appropriate metaphor. When the movie was over and everyone left the theater, it was as if that dude were puking, purging his body of unhealthy stuff. Not to call anyone who was there unhealthy. It’s just that, in the metaphor, at least, I was comparing you to fried food. In real life, I think you’re all super awesome, especially when you smile.
Then, of course, we had the Scorsese retrospective. Some of you came out for multiple shows in the series, and we say to you, “Thank you. We like you so much. We would like to be your friend. Especially if you’re single. Yes, you. I’m sorry, but it’s really difficult for me to talk to you in person, so I’ll just… so… you like Scorsese?” Scratch that. I was amazed at the “Raging Bull” screening. It is a great work of art to begin with. But framed within the brilliant new screening room, it became the masterpiece it deserves to be recognized as. But how did it become a masterpiece? It became one, for me, when I saw it on that giant screen, and heard it through that jaw-dropping sound system. I love how wherever your seats are, you have an unobstructed view of the screen. I love it! I’ve been sitting second row center with Robert, and it’s a damn fine place to be. I had seen “Raging Bull” twice before. On a television. But…ah!!!! Seeing it in a theater! Seeing “Raging Bull” in a theater, not just any old theater, but this top-of-the line one, transformed it into a religious experience for my ilk and me.
If you liked seeing some Scorsese last weekend and have not seen “Bringing Out the Dead,” I’ll make a plug for it right now. It’s most certainly worth checking out. It’s a personal film, a visceral film, the work of a man who knows what he’s doing. And seeing and listening to the man himself was an even greater experience. I’m not too observant in real life, but when film becomes a sort of religious text, you bow down to Scorsese and you worship. You cannot help it.
So what’s in store this weekend? No Scorsese, sadly. However, if your addiction to the new screening room cannot be kicked, I would recommend you check out the second night of the very first of the “Celebrating the Liberal Arts Tradition Through Film” events, entitled “Identity and Cinema: The Philosophy of the Matrix.” Tonight at 7:30 in the CFS, Matrix scholar William Irwin will present a lecture entitled “Why The Matrix Still Has Us.”
In the CFA Sin-ema (spelling is correct, you sic fux), we’re showing what is, in my opinion, one of the most brilliant American films of the year. It is “Eternal Sunshine of the Spotless Mind,” the collaboration between madcap writer Charlie Kaufman and French wunderkind director Michel Gondry. It’s about selectively erasing parts of your memory; or more specifically, those parts that concern a relationship gone awry. It stars an uncharacteristically understated Jim Carrey, along with Kate Winslet, Kirsten Dunst, Mark Ruffalo, Tom Wilkinson and Elijah Wood. It is so stylistically adventurous that you would think it would be totally devoid of any substance below the surface. THIS IS NOT TRUE! While the plot is seemingly absurd, the emotions are played for real in this film, grounding it and keeping us engaged. Special mention must also be made of the adventurous camera work, art direction (Wesleyan’s own Ray Tintori, ’06, worked in the art department, as a matter of fact), and score by the scary genius Jon Brion, who did the scores for “Magnolia” and “Punch Drunk Love,” and has produced records for Fiona Apple, Aimee Mann and Rufus Wainwright. “Eternal Sunshine of the Spotless Mind” plays in the CFA Cinema at 7:30 and 10 p.m., Friday, September 18 & Saturday, September 19. Admission is $4.
And for free in the Science Center:
FRIDAY at 7:30 and 10 p.m.: John Waters’ “Polyester,” starring Divine and Tab Hunter, about the wife of the owner of a porn theater. If you don’t like John Waters movies, you are incapable of having fun.
SATURDAY at 7:30 and 10p.m.: René Clair’s seminal work “A Nous La Liberté,” a French satirical comedy which many see as a major influence on Chaplin’s “Modern Times.”
And next Wednesday in the CFA Cinema, 8 p.m.: The recent smash German comedy, “Good Bye Lenin!” about Communism and comas.
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