Showing posts with label emotion. Show all posts
Showing posts with label emotion. Show all posts

Thursday, February 05, 2015

In The Cinema Everyone Can Hear You Scream

Apparently the next big thing in the world of cinema is going to be 4D. A speculative truth (at best) that various cinema moguls would like to convince us of.

Essentially 4D is a fully immersive, interactive experience where your cinema seat is made to shake and veer during car chases, you get pummelled with air during onscreen whirlwinds, you get hosed down during rainstorms or deep sea dives and you get blasted with the odour of stale alcohol and garlic when the leading man / lady moves in close for a tongue sarnie.

To be honest, there’s nothing new about this gimmicky approach to movie watching – most kids’ entertainment / holiday resorts have some sort of 4D cinema these days where we willingly pay an exorbitant fee to allow our kids to be waterboarded whilst watching The Smurfs because it stops them whinging on about wanting an ice cream for all of 20 minutes. But family holiday resorts is where 4D should stay in my opinion.

There is nothing cinematically immersive about having your seat shaken so hard you end up wearing the popcorn of the person sitting next to you or hearing the neurotics in the front row squeal every time a hidden air cylinder blows a couple of bars of pressurized cold air up their trouser leg. If anything this totally removes you from the film; it shatters the pleasurable suspension of belief that you have lapsed into in order to enjoy the movie and places you undeniably back into a darkened room with a bunch of people who will immediately become your sworn enemy should the fire alarm suddenly go off and you find your way to the exit blocked.

Books don’t need 4D effects. I didn’t need the smell of wet dog to assail me when reading The Famous Five or to hear the jiggling of female flesh when reading Game Of Thrones. And I imagine I would not need to have my hands manacled and tied behind my back to get the full effect of 50 Shades Of Grey. Though you might need to do that and threaten the lives of my children in order to get me to read it in the first place. Such artificial devices would break the spell that reading a book – submitting yourself to an imaginary world – weaves. It is the same with cinema. The only senses that need to be catered for are sound and vision. You can never fully recreate the entire gamut of physical sensation that the characters onscreen are being subjected to as part of the plot – so offering the audience piecemeal approximate sensations is not going to add anything to the movie at all. If anything it will detract.

And to be honest if you really need your seat to be shaken for you during a moment of cinematic jeopardy in order to feel the correct emotional response then you plainly have major empathy problems and cinema is not for you anyway.

Indeed, anything that involves being around lots of people or dealing with any kind of quantifiable human experience is not for you - you’d be much better off getting your kicks in a vacuum where nobody at all will be able to hear you scream and I can watch the end of the effing film in peace.

Wednesday, May 21, 2014

47 Groanin’

Traditionally on this blog film reviews go down like Nick Griffin on Robert Mugabe, i.e. very awkwardly. The comments tend to dry up rather quickly as people take the excuse “I haven’t seen that film / don’t plan to see that film so I can’t leave a comment anyway so I won’t even bother to read the blog at all. Job done”.

However, I’m bloody minded enough not to care and arrogant enough to think that the power of my writing can overcome any wilful lethargy in my readership. But to show I’m not totally uncaring to your plight I will keep this short.

47 Ronin.

I had high hopes for this. I saw it trailered at the cinema – it looked rather good – but life circumnavigated my attempts to see it on the big screen. So I bought a copy on Blu-Ray for my wife and I to enjoy at our leisure.

We watched it over the weekend.

And now I want to kill Keanu Reeves.

Because having seen his performance I have been left in the emotional state of permanent WTF?

WTF was he doing in that film? Just WTF? And I mean that conceptually, metaphorically and professionally. What. Was. He. Doing. [Big question mark.]

The original story is based on an 18th Century Japanese legend. 47 Samurai avenge their murdered Lord knowing that their own code of ethics will ultimately demand their own deaths via seppuku. There’s a poignancy and sad beauty to this along with scope for lots of action and martial arts choreography. In cinematic terms the story should be a sure-fire winner.

And the supporting cast – mostly Japanese / Asian – were excellent. No big names (by Western standards – but really, what do we know?) but still they impressed me. They gave it their all. Pathos and sensitivity at war in a culture where emotion is not meant to be overly shown. I’d argue that their performances were poised and subtle and damned impressive.

And then there was Keanu. Shoehorned into the story as a “half breed” with special magical powers.

Really?

I’m betting there’s no sign of his character at all in the original legend. He was just inserted because the producers decided they needed a big name to sell the film to the box office. So we get this bolted-on element to the story. An add-on that the plot doesn’t really require and, as a result, is totally imbalanced by. Keanu is like a bogoff deal that you want to refuse. No really. I don’t want the extra bit. I don’t want the freebie. Please, please keep it.

Now, if I was Keanu I‘d be thinking: I’m extraneous to this story; I’m superfluous to the requirements of the emotional arc, therefore, I’d better pull my finger out and act like I’ve never acted before and earn my right to be on the screen.

But I am not Keanu. Keanu is Keanu.

And that is the problem. Because Keanu is Keanu all the way through the film. Sullen. Unresponsive. Flat. Incongruous.

He talks in the same gruff monotone whether he’s been being beaten (a criminally too short scene), offering comfort to a dying comrade or exchanging romantic pleasantries with his love interest. He talks like the Hollywood voiceover man from the 60s and 70s. The one who invites you to come see the next Warner Brother’s [or whatever] spectacular in that voice that makes it sound morally imperative that you come to the cinema right now and have your life changed by the experience. You know the type of voice I mean. Now imagine that voice reciting a fragile poem by e.e.cummings and utterly ruining it, utterly disembowelling it with the barbarism of its relentlessly galloping speech rhythm. Now you have Keanu telling his lady love that he will search for her through a thousand worlds, through 10 thousand lifetimes. He spits the poetry out like a half chewed hamburger. In his mouth it becomes pure American gristle and the gentle lotus flower breeze of the Japanese love-story curls up and dies in the blast from his meaty breath.

And he has but one facial expression. The bearded grimace. That is it. All the way through the film. He grimaces. From behind his inexplicably dirty looking beard.

Death: grrr! Sadness: grrr! Fighting: grrr! Male bonding: grrr! Standing still and not talking: grrr!

And then, at the end, he becomes an honorary Samurai and gets to kill himself – along with the other Samurai – with full, painfully tragic honour.

In that single moment Bushido becomes bullshit and the entire point of the film is utterly destroyed.

Because, in my view, Keanu has no honour. Keanu is not a Samurai.

Not by a long chalk.

But he has more chance of becoming a Samurai than becoming an actor.

In fact he has more chance of becoming Japanese.


Friday, February 14, 2014

The Jackson 5

Amid all the news stories of rain battered Britain and Scottish and English politicians squabbling over the Queen’s head it was nice to come across something so completely ridiculous it could only have happened in France.

It seems that the French courts, that eternal bastion of sanity and commonsense, have decided to award 5 Michael Jackson fans (is this all of them?) a symbolic payment of 1 Euro each to recompense them for the “emotional damage” caused when Michael Jackson’s pet quack, Conrad Murray, caused his master’s death by blowpiping one too many anaesthetic pills down Mr Jackson’s falsetto oesophagus. Apparently a total of 34 Michael Jackson fans (OK, that must surely be all of them?) had actually sued Murray but the Orleans Court ruled that only 5 of them had sufficiently evidenced proven emotional suffering to deserve a pay-out. Presumably the other 29 were considered legally insensate to their own irrelevant sense of grief or were – shock horror – considered to be merely cashing in on the fact that they happened to own an original beaten up copy of Off The Wall.

Apparently the 5 successful claimants had proven their case “with the help of witness statements and medical certificates." Basically their friends and GPs had signed an affidavit to the effect that these people were “deeply sad”.

Their lawyer, Emmanuel Ludot, said: "As far as I know this is the first time in the world that the notion of emotional damage in connection with a pop star has been recognised."

It is clear to me that this is going to set a dangerous precedent - one that I mean to take every advantage of.

Personally I would like to sue Michael Jackson (or rather his estate) for having to watch him leg-snap his way through an utterly cringe-making performance of Earth Song during some UK award ceremony a few years back. The fact I can’t even remember the name of the ceremony is testament to how upset I am about it all. This is what happens when you suffer true emotional trauma. Your mind buries things and tries to forget. But I am haunted by waking dreams of Michael "I'm Forever Blowing Bubbles" Jackson hugging lots of children whose dress code appears to be “impoverished chic” and only the Messianic appearance of Jarvis Cocker ever brings the nightmare to an end.

I’d also like to sue Michael Jackson for the entire Bad album because, well, it was very very bad but I daresay they’ll use the old “does what it says on the tin” argument against me and, yeah, I’d have to admit I probably should have seen it coming. Caveat emptor and all that.

But I’m now wondering if I could perhaps throw this compensation thing even wider. I mean, why stop at pop stars? I’d like to sue Dave Lee Travis for describing himself as “cuddly not predatory” in his recent Operation Yewtree court case because, regardless of the fact that they’ve cleared his name, I just found that statement bone-squirmingly creepy. It emotionally damaged me for at least half an hour. That’s got to be worth 50 pence of anybody’s money. Not to mention the cost of bringing the whole thing to court.

I’d also like to sue Vic Reeves and Bob Mortimer because I have never found them funny and as a consequence I feel inadequate when around those who evidently do. I’d like to sue Hugh Fearnley-Whttingstall for putting me off my dinner whenever he’s on the telly; Louie Spence for making me wish I had immediate access to a firearm and a clear line of sight; Katie Price for making me feel that actually, against all the odds and my every testosterone fuelled instinct, breasts can be too big; Eamonn Holmes for filling me with so much murderous bile I could actually conceive that one day it might be justifiable to commit global genocide if it guaranteed his individual demise and, finally, the guy who works in the newsagents around the corner from where I work who sits with his paunch pushed up so close to the till drawer he has to scoop my change out of his duodenum whenever I buy a Mars bar, I’m telling you it just doesn’t taste the same after pocketing those too-warm coins.

All I need is Emmanuel Ludot’s email address. Unless, of course, he reads this post first and then pre-emptively sues me for the future emotional damage I’m about to cause him.

*sigh*

I’ll just bung a pound into the kitty now, shall I, and have done with it?



Wednesday, October 23, 2013

Tears For Fears

The recent series of The Great British Bake Off has stirred up a lot of online debate and astoundingly none of it has been about buns, baps or crusty cobs. It has instead been about crying. About tears. About the expression of emotion.

I’ve read a number of blogs recently that have given Ruby, this year’s youngest Bake Off contestant, a hard time. She has come under fire for crying too much, for crying at the slightest little thing, for ‘crying to gain sympathy’. In short she has been accused of utilizing her tears as some kind of Machiavellian tactic to gain advantage over the other contestants.

Now, aside from the fact that she has gained no advantage at all and indeed I fail to see what actual advantage there is to gain, I find the accusations deeply disturbing, repugnant and unfair. Some of the comments I have seen directed Ruby’s way included the old gem, “oh she’s just putting it on; I knew girls like her at school – very pretty and they turn on the tears just to get their own way; they know exactly what they are doing.”

It took me a while to work out why that statement angered me so much – because there are a number of reasons.

The first (and major) is that the initial gut reaction of both my wife and I when we first saw Ruby was along the lines of: this person has had something happen to her which has left her a little bit damaged. We didn’t see someone who was deliberately manipulative or turning on the tears just for effect; we saw someone who was plainly fragile, had major self-esteem problems despite her looks (because, let’s acknowledge something here: just because you’re perceived as good looking by other people doesn’t mean you believe it yourself) and was severely lacking in confidence and a sense of self-worth.

I’m sure it will be argued that I am merely transferring my own experiences and (mis)conceptions onto Ruby. I would argue that people accusing her of being manipulative are doing the same. To dismiss her with the phrase “I have known girls like her…” is offensive, lazy, callous and reductive. Have you really known girls like Ruby? Isn’t everyone an individual? How can you judge someone who appears on a highly edited TV programme – someone you have never seen before – and decide you know them well enough to critique their entire personality? And as for these girls that you “knew”… how well did you really know them? Enough to judge their behaviour and condemn them for it out of hand? What if there were issues at home? What if there were traumas? Or did you really know everything about them to be able to say they had no reason at all for their behaviour except an inherent and apparently unjustifiable nastiness?

The other thing that bugged me was the implication that other people’s tears and ‘confidence wobbles’ on the show were genuine while Ruby’s were not. How the hell can anybody make a judgement call like that? As far as I could discern this judgement was based solely on Ruby’s looks. Ruby is very attractive therefore she must be supremely confident, must have an easy life with no trauma ever taking place and is not allowed to be attributed with any nervousness, lack of confidence or feelings of self-doubt and emotional negativity. People who are more plain looking, however, well when they cry and go through a confidence crisis that must be genuine because everyone knows that attractiveness = manipulativeness while plainness = honesty and integrity.

What simplistic, reductive rot.

You cannot allow that one person is genuinely upset and not another. There is a basic human right issue here that has nothing to do with looks, gut instinct or whether or not you find someone’s personality appealing or not. Human emotional responses are impossibly complex. Nobody can read them well enough to say exactly what someone is feeling let alone instantly dismiss them as being OTT or inappropriate. For Christ’s sake, if you feel something you feel it. It is not for others to deny you the rights to your own emotions or charge you with fraudulent behaviour. Imagine how crippling that is: you feel something strongly enough to make you cry but those around you shrug and say, “Nah, you’re faking it.” How do you feel now?

The last thing that piqued a response from me was the debate about whether there were too many crying people on TV per se. Whether there was an emerging crying culture generally that was, if not fake, then at least over-done and distasteful to those of us who battle on with stiff upper lips. Is all this free-wheeling emotion a good thing or a bad thing? Part of the argument again was based on the idea that people use tears as a means to an end; a moral gambit to win (or even just avoid) an argument.

I’m not sure what the answer is here except that I would rather a world where people were open and honest about their feelings than a world where people bottled things up, battled on until they either popped and took out half the street in a killing spree or popped internally and fell to the big C or heart disease. Surely the real issue here lies with how people deal with the tears and upset of other people? Isn’t a sighing, dismissive, disgruntled response (“Oh God, they’re not crying, are they?”) also an emotional response that is just as open to criticism?

Surely there is an analogy here to dealing with crying children? Certainly you don’t want to give in and give them whatever it is they want just to stop / avoid the tears… but you do need to talk to them because there is plainly an issue. They might not get what they want but, in the words of Mick Jagger, they might get what they need. At the end of the day we are all emotional beings to one degree or another – our place on the spectrum isn’t the benchmark. I don’t believe there is a norm and I don’t think a norm should be proscribed.

But we do all need to be better about how we deal with our emotions and how we deal with the emotions of other people.

Dismissing, castigating, denigrating and vilifying someone just because of how they express their feelings is not the way forward.

And that is something I feel most sincerely.