I am Edie Sedgwick and this is my little corner of the web.
A room of my own where I gather my thoughts and explore my aesthetic.
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Archive for August, 2007

South Park

Friday, August 31st, 2007

I watched “South Park” on Comedy Central last night. In this episode, “Smug Alert,” residents of South Park buy hybrid vehicles. This leads to more pollution, as “smug”—a.k.a. the alleged “I’m better than you” attitude of hybrid vehicle drivers—threatens the town. Humor ensues.

A friend of mine hates “South Park” because he feels the show’s creators erect a veneer of edginess and risk-taking around their creative product but, ultimately, they are “pretty much okay with the way things are”—global warming, George W. Bush, the war in Iraq, et cetera.

I find this assessment accurate.

The Maltese Falcon

Thursday, August 30th, 2007

I watched The Maltese Falcon (1941) on Turner Classic Movies last night. Turner Classic Movies is an appropriate channel for The Maltese Falcon, since the famed John Huston film is ranked #23 on the American Film Institute’s “100 Best American Movies” list and oozes class.

Film noir—of which The Maltese Falcon is a prime example—is often called existential. Yet, Humphrey Bogart’s Sam Spade transcends mere Sisyphean struggle. “I won’t play the sap for you,” he snaps as he turns in his lover Brigid O’Shaughnessy (played by Mary Astor) a murderess. Though Spade is a cynic, he cannot betray his bourgeois sense of honor. Were he a true existentialist, Spade would take the rap and, like Ruben “Hurricane” Carter or Judith Miller, report dutifully to prison and suffer in silence.

The Village

Wednesday, August 29th, 2007

I watched M. Night Shyamylan’s The Village (2004) on the American Movie Channel last night. Since I read O. Henry as a young girl, I have been skeptical of “gotcha”-style twists within narrative structure and, post-Unbreakable(2000), a Shyamalan detractor. Though a Shyamylanian twist might thrill, this tiresome device does little to advance the themes of his cinematic works. When I saw The Village in the theater, I groaned at the “Oh shit! These ancient villagers live in the present!” conclusion.

My second visit to The Village revealed the genius of Shyamylan’s direction. I had wondered why William Hurt and Sigourney Weaver had phoned in such wooden performances in stilted “olde timey” dialogue. Now I understood—though they live in the present, these characters must self-consciously act as though they live in the past. Thus,The Village is trebly metaphysical:

Reality #1: William Hurt/Sigourney Weaver themselves as actors in The VillageReality #2: William Hurt/Sigourney Weaver’s characters as “olde timey” elders in The Village Reality #3: William Hurt/Sigourney Weaver’s characters denying the present in The Village

In short: a “meta/meta/meta” Shyamylanian layer cake of postmodernity.

Patton

Monday, August 27th, 2007

I played this dyke bar last night. All dykes present were friendly and accommodating. All biologically male customers are required to have a female escort. I was assured this rule would be waved if I wanted to visit in the future and was taught a “secret handshake” to guarantee entry. Because this “secret handshake” is classified (and obscene), I cannot describe it further here.

I watched Patton (1970) on the American Movie Channel today. George C. Scott won Best Actor in the title role, but refused to accept the award. “The Oscars are a meat parade!” C. Scott exclaimed. I wondered if George C. Scott had participated in a “tobacco parade” before filming Patton. His teeth look quite nicotine-stained.

Barefoot in the Park

Friday, August 24th, 2007

I am playing a dyke bar on Sunday. Very curious to see how the other half lives. My diplomatic mission makes me think of Nixon in China, or the SALT treaty negotiations between Leonid Brezhnev and Jimmy Carter.

I watched Barefoot in the Park (1967) starring Jane Fonda and Robert Redford on Turner Classic Movies today. Jane Fonda was a gifted actress—a young, beautiful diva. I regret that she betrayed our nation in Vietnam.