Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Considering how iconic the film is, it’s sort of amazing that we here at A Damn Fine Cup of Culture haven’t written about David Lean’s epic classic Lawrence of Arabia before – but then Julie more than made up for this with last Friday’s Six Damn Fine Degrees post. Even at a time when most of us cannot go to the cinema because all the movie theatres are closed, it feels good to remember those silver screen classics. Here’s hoping we’ll have a chance to see Lawrence of Arabia as it was meant to be seen, on as big a screen as possible, before long. Though if your favourite way of watching Peter O’Toole’s blue, blue eyes is on a small iPhone screen? No problem, man. You do you, even if that you is puzzling and strange.
Matt here, waving at you wearily from that little country in the centre-left of Europe. So, for what will soon have been two weeks – but what feels like at least twice that – Switzerland will have been on partial lockdown. We’re still allowed to leave the house, though if we congregate in groups of more than five people, the Corona police will descend on us and… cough on us, perhaps? I’m not quite sure, because I’m being a good little boy, which means I’m practicing social distance with the best of them. My wife and I still go out to catch some sun and fresh air every day, but we stay at least two metres away from others, eyeing them cautiously.
It helps that we’re not exactly the biggest extroverts in the world. Our idea of a fun evening out rarely involves other people, at least not actively. Sure, before the Coronavirus epidemic we’d often be found in groups of dozens, sometimes even hundreds – but that’s what you get when you go to the cinema several times a week.
Although I got the novel as a Christmas present, I only read Jeff VanderMeer’s Annihilationafter seeing Alex Garland’s movie adaptation, finishing it last weekend. There are some adaptations that ruin the original for you, but that’s rarely been a major problem for me: if a story is enjoyable primarily because of what happens next, I usually don’t feel all that much of a need to read it in the first place. If there are interesting characters or ideas, if the prose is evocative and atmospheric – generally, if it’s the storytelling itself that makes the story thrilling or funny or generally engaging rather than what happens next – then I’m definitely up for experiencing a story more than once.
Ever since I spent a few months in Glasgow in 2000 and fell in love with the Glasgow Film Theatre, I’ve been hoping that a good repertory cinema would open a bit closer to home. Last autumn, that wish came true, when a local cinema that before had mostly shown B movies along the lines of The Core and The Extraordinary League of Gentlemen was refurnished and turned into a cinematic time capsule. They show some current arthouse fare at the Kino Rex Bern, but mostly they show classics, whether American, European or otherwise, and organise series on particular themes or filmmakers.
You know what’s almost as bad as not having any subtitles in a series of films filled by mumbling Yorkshiremen? (Note that in the meantime a friend’s lent me the German edition of Red Riding, which features subtitles along with the English audio track. Blessings upon their Teutonic heads!) Buying a DVD that advertises, right on the back, subtitles in every language under the sun, or at least in English, German, French, Russian and a fair number of other languages – but then the actual DVD bears little resemblance with what’s promised on the box.
Other than featuring Andrei Tarkovsky’s enigmatic Stalker, that is. I’ve been interested in the film for, oh, about 15 years now, ever since a friend mentioned to me that it’s one of his favourite movies. My interest was piqued even more when I played the Stalker games, although they’re based less on the movie than on the novel Roadside Picnic (and ironically, while the games are relatively thoughtful, they still look like an ’80s action movie next to Tarkovsky’s film). I ordered the DVD on Amazon.fr ages ago – precisely because the edition promised subtitles in lots of different languages – but only got around to seeing the film now.
First impression: man, my French sucks. I was never very good at it, but after letting what ability I had rust for 15 years I understood perhaps 40% of what was being said. (Or rather, 40% of the subtitles; I understood even less of the Russian dialogue, although I did understand “бутерброд”!)
Second impression: even if I understand fairly little and the film is extremely slow – there’s something eminently compelling to Tarkovsky’s style. Even more than Solaris (which suffered somewhat from being set in an outdated future, the fate of so much sci-fi) Stalker is hypnotic… and gorgeous to look at. It is atmospheric without going for any of the predictable tools of atmospheric film makers. The world of Stalker is ominous and eerie, yet at the same time naturalistic, creating an effect I haven’t seen in any other film. There’s something almost documentary in its visuals, yet there’s a dream-like quality – and it’s this seeming contradiction, this tension, that is utterly fascinating.
More than that, perhaps it helps to see the film in a language I don’t fully understand. Films that are put in the ‘art film’ box tend to have a certain portentous, somewhat affectated quality to them; as much as I like Bergman, for instance, a number of his films have a certain self-aware heaviness that can be more alienating than is necessary. Perhaps Tarkovsky’s work has this same quality if the viewer understands the dialogues enough to realise that they’re unintelligible – but my impression was that while the world and themes of the film are portentous, the characters feel real. Not 100% and not all the time, but they’re more than just vehicles for themes.
In the end, though, I can really only judge Stalker as a visual experience until I’ve rewatched it (after a French refresher, perhaps), and on those terms alone it’s well worth seeing. Even if there’s a relative scarcity of Ukranian mercenaries, radioactive mutants and frantic gunfights.