For our August episode, we welcome special guest Daniel Thron (of Martini Giant) to talk about what may be the least-watched film of Steven Soderbergh’s directing career: Schizopolis. How does this surreal, experimentalist and often downright silly comedy about doppelgängers, lifestyle cults and failures to communicate fit in the director’s oeuvre? How does Schizopolis point the way to Soderbergh’s later career? And how do Netflix, COVID-19 and TikTok come into the conversation?
Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!
There is nothing that can date a movie like style for style’s sake. It’s one of the hallmarks that betrays a movie’s age, and while some stylistic choices can turn a movie into a classic, other styles might simply not age that well. Think about small things like lens flares. Or think about the dogma certificate. That doesn’t mean that they are bad movies; it’s just that sometimes, movies get stuck in the times they were made. Nostalgia isn’t the worst reason to re-visit a movie you haven’t seen in a long time.Continue reading
Out of Sight will always have a special place in whatever chamber of my film nerd’s heart is reserved for films. For one thing, it was my first taste of Soderbergh’s work – and, in spite of his lesser films, he remains one of my favourite directors. However, and this may sound strange, I like him most for the editing of his movies… even though he didn’t edit most of his films.
Nevertheless, it’s obvious that he doesn’t just leave the editorial work to his undoubtedly talented editors – many of his films play with jump cuts, freeze frames and achronological editing, whether he’s the one sitting in the Avid chair or not. There’s a strongly impressionistic feel to how Soderbergh places his scenes in relation to each other, to the point where it can become annoying for audiences that aren’t made up of editing geeks like me. The Limey is a case in point (and, even more film nerdy, the director’s commentary on the DVD edition plays the same games with jumbled chronology as the movie – I got a kick out of it, but chances are I’m part of a very exclusive club there).
What strikes about Out of Sight is how effortless the fractured chronology is presented. People were confused by Pulp Fiction‘s B-A-C-style narrative, but that’s nothing compared to how this film jumps, starting pretty much in the middle and liberally moving back and forth. Nevertheless, you’re never confused as to what is going on in the story. Soderbergh hides his positively avantgarde editing in plain sight.
And it’s rarely been done as successfully as in the love scene between George Clooney (pretty much at the beginning of his career as an actor rather than clothesrack) and Jennifer Lopez (has she ever been better than in this film?), which cuts smoothly back and forth between the actual lovemaking and the buildup. The spark between Clooney and Lopez is made into one of the most erotic love scenes in American filmmaking. Yet the fades and the music also have something sad – it’s clear, somehow, from watching the scene that this will be the one and only time the two characters are in effect together.
P.S.: To be fair, the scene is not entirely original. Soderbergh has obviously watched his Nicholas Roeg closely, getting his inspiration from the Julie Christie/Donald Sutherland love scene in Don’t Look Now (gotta love the accidental synchronicity between the two films’ titles) which jumps back and forth between sex and the couple putting their clothes back on afterwards, infusing the mundane married life with the erotic.
P.P.S.: For anyone interested in the art of editing, do read In the Blink of an Eye by Walter Murch (Apocalypse Now, The English Patient, Jarhead).