Jeet Heer, who usually writes about politics, today praised a movie that was horribly underrated when it came out 20 years ago this week:
The shifting critical fortunes of The Big Lebowski are legendary. Roger Ebert initially gave the movie a mixed review because of its ramshackle plot, which “rushes in all directions and never ends up anywhere.” In 2010, he upgraded The Big Lebowski to the status of a “great” movie. Denby also changed his mind, according to a recent Washington Post survey of critics who initially panned the movie. Others either haven’t revisited it or are still put off by it. Daphne Merkin, in her original New Yorker review, said the movie was “drenched in knowingness” and lacked a “narrative structure.” She likes the movie slightly more now, but not by much. “I think it is a quintessential insider movie, one that plays in this shrewd way to groupthink,” Merkin told the Post. “You’re either in on it, or you’re not in on it.” But even Merkin allowed that “the dude and his disconnected dudeness has a certain appeal now, maybe because the world has grown more horrendous or reality is less bearable than when the film was made.”
The Big Lebowski is a grower because the plot is less important than the characters. At the heart of the movie is the improbable friendship of the near-pacifist Dude and the violence-prone Walter. The zinging banter between the two characters is really a battle of philosophies. The Dude (one of the authors of the original Port Huron Statement, “not the compromised second draft”) embodies the spirit of the 1960s counterculture, weatherworn by the 1990s but still wily and subversive; Walter is a knee-jerk hawk, always escalating conflict, often with disastrous results. But to enjoy the movie you have to get to know the two characters and appreciate the nuances of their friendship, which is easier after multiple viewings. The dialogue also becomes richer, as you notice how the characters have distinctive lingos which the Dude, with his sponge mind, absorbs and echoes.
The Big Lebowski is a masterpiece of world-building, but to enjoy it you have to be willing to enter its world on its own terms. Few were willing to do that in 1998. But today, thanks in part to the Coen brothers’ oeuvre, it doesn’t seem so strange anymore.
What else can we say? The Dude abides.
Thirty-five years ago, this was the trailer for one of my favorite movies from childhood:
This is what it might look like today:
(h/t Deeply Trivial)
Watch the "Half in the Bag" review of Last Jedi:
Yesterday started with a performance on local television and ended with a three-hour rehearsal and midnight showing of Star Wars. I'd already planned to go into work late today, but Parker didn't eat dinner last night and he refused breakfast this morning, so I'm waiting to see if I can get him to the vet.
With that and other things up for grabs today, plus two more performances this weekend, posting might suffer a bit.
Carl Abbot, writing for CityLab, discusses Blade Runner's impact:
Blade Runner fused the images, using noir atmosphere to turn Future Los Angeles into something dark and threatening rather than bright and hopeful. Flames randomly burst from corporate ziggurats. Searchlights probe the dark sky. But little light reaches the streets where street merchants and food cart proprietors compete with sleazy bars—a setting that Blade Runner 2049 revisits. The dystopic versions of New York in Soylent Green and Escape from New York are set in a city crumbling from age and overuse. In contrast, Blade Runner uses the imagery of the future for similar stories of deeply embedded inequality.
When it comes down to it, of course, there’s more fun and schadenfreude in imagining trouble striking a big city than a small town. Terminator 2: Judgment Day would not be half so exciting if T-1000 chased Arnold Schwarzenegger along the banks of the puny Miami River in Dayton, Ohio, rather than the concrete arroyo of the Los Angeles River. In the 1980s, the fictional destruction of New York was old hat. Los Angeles was a relatively fresh target and, for the film industry, a logistically convenient one. Moviegoers were increasingly willing to disparage it, too.
Blade Runner was a catalyst for a dystopian decade that was accentuated by the rioting and violence that followed the April 1992 acquittal of police officers accused of beating Rodney King. Moviegoers would soon get Falling Down, whose filming was interrupted by the Rodney King riots, Pulp Fiction, and Independence Day, with its total obliteration of the metropolis. In print in the early 1990s were Neal Stephenson’s Snow Crash, Cynthia Kadohata’s In the Heart of the Valley of Love, and Octavia Butler’s Parable of the Sower, all depicting a near-future Los Angeles fragmenting into enclaves and drifting toward chaos, capped by Mike Davis’s The Ecology of Fear.
I've got tickets to Blade Runner 2049 already. Can't wait.
Isle of Dogs, from Wes Anderson:
And, of course, this comes out Friday, and I will be there:
The last two days, I've been in meetings more than 7 hours each. I'm a little fried. Meanwhile, the following have popped up for me to read over the weekend:
I'm now off to the opera. Thence, perhaps, to sleep.
Via Deeply Trivial, this:
From the Intertubes:
I'll also have some blog entries in January. December seems to have been pretty light.
High above the North Atlantic, our hero reads the articles he downloaded before take-off:
- Releasing to Production the day before a holdiay weekend? No. Just, no. OMFG no.
- American Airlines just won a lawsuit started by US Airways that opens up competition in airfare consolidation—maybe. Bear with it, because this one article explains a lot of what's wrong with competition in any endeavor today. (I'll find a link to the Economist print article I just read on this topic when I land.)
- The Washington Post helpfully provides 94 questions we Democrats are asking as we slouch towards a Trump presidency. Thanks, guys.
- In the spirit of Christmas, Citylab remembers when Manhattan had the El. (How is this about Christmas, you ask? No El.) It's interesting to me that only now, more than 60 years later, is New York replacing the east-side transit options with the Second Avenue Subway.
- Also from Citylab, an interview with Costas Spirou and Dennis R. Judd about their new book Building the City of Spectacle, how Mayor Richord M. Daley remade the city. (Note to self: buy their book.)
- Finally, the Deeply Trivial blog compiles a couple of videos every Star Wars fan should watch. I know for a fact that the author was born well past the Ewok Divide, and yet seems to have a good bead on the Star Wars universe. Perhaps there is hope for the galaxy.
Today's flight is remarkably fast. We caught the jet stream off the Labrador coast, and with about an hour to go, we're hurtling 1,074 km/h off the west coast of Ireland. This could end up the fastest trans-Atlantic flight I've ever been on, in fact. Details later.
N.B.: Most of the entries on this blog since 2011, and a good number of them going back to 1998, have location bugs that show approximately where I was when I wrote the entry. Click the globe icon directly below and it will call up Google Maps.
If I write an entry at my house, I use a street intersection a few hundred meters away for an approximate location. In a city of three (or, in 1998, seven) million, I feel that's enough privacy. Otherwise, I try to be accurate, even going so far as to whip out my mobile phone to get a GPS fix in flight, as I've just done. Why, you ask? Because it's cool, I reply.