A personal diary keeping people abreast of what I am working on writing-wise.

Monday, August 18, 2008

ALL 4 THE TEARS IN YOUR EYES



I've been using the library to get my hands on boxed sets collecting old soul and R&B singles by the big labels, including these marvelous, mammoth Stax/Volt collections that have felt like a portal into a whole new world of music I somehow never got exposed to. (Keep in mind, my dad decided those drug-taking, sexpot Beatles ruined music; he also thinks the Beach Boys were clean-cut young men.)

In the latest set I have, collecting tunes from 1968 through 1971, I found a song that I must public ally declare my new favorite sad song of all time:

Carla Thomas - "I Loved You Like I Love My Very Life"

My goodness, that is so direct, so honest. I used to say Spiritualized's "Broken Heart" was my favorite for that reason, but now that song sounds like 18th-century verse in comparison to Carla Thomas' track. Every time she sings about having a hard time breathing, I realize I have a lump in my throat, too. There is no pretense, no need to hide behind metaphor or glossy language. Carla just sings it like it is.

I've been a Carla Thomas fan for a little over a year now, ever since I decided to finally track down earlier versions of the song "You'll Lose a Good Thing," which I know from the mournful, almost contemptuous McAlmont & Butler version. Her voice has a warm, syrupy quality, but at the same time, her delivery is very unassuming, like she is so confident she doesn't need to show off by over harmonizing or tossing around unnecessary notes. She can mess around and have fun (her duet with Otis Redding, "Tramp," is fantastic) when she wants to, but when she goes for the emotional jugular as she does on "I Loved You..." the depth of meaning she manages to convey is astounding. The song particularly struck me right about now as it's like a compact version of 5 1/2. Songs like this that make me think of my books end up soundtracking trailers I cut in my head, helping me to get directly to the mood I am hoping to achieve in the story.

And, of course, there is the finality of it all. This song is all past tense. Not just the love she had for whomever she is singing about, but you can also interpret the phrase "I loved you like I love my very life" that she is placing her life in the past, too: I loved both of these things, and now they are gone. What happens next to her is still in question, but she's making it clear that just about everything she cared for is now gone. There is still hope, sure, she hasn't yet changed it to "I loved my very life," but it sure feels like things are going that way.



"I Loved You Like I Love My Very Life" will join the ever-expanding playlist for 5 1/2, perhaps starting a second playlist, as I like the complete nature of the first list (which has been amended since I posted it, with Otis' "Try a Little Tenderness" being dropped in after the Suede). It will likely be followed by the recently discovered Baby Washington and her song, "Hey Lonely." I found it at Mod-Centric, and you can download it from them. It's amazing how songs come along at just the right time, that you hear them and think, "Gosh, that makes so much sense, that's exactly what I want right now." Suddenly your iPod becomes like those Russian dolls, each one opening up to reveal another one. So, the Carla Thomas track leads to the Baby Washington track, and so on. This morning, as I was climbing out of the shower, my shuffle landed on Elvis Costello's "Sleep of the Just," off of the King of America album, and it was like, "Oh, yes," and now the playlist has a third song. LastFM has the full track.

Pecking around on YouTube to find sharable versions of some of these songs, I found some cool alternate versions of both "Sleep of the Just" and "You'll Lose a Good Thing" that I thought were worth sharing.






Current Soundtrack: shufflin' paint: Camera Obscura, the Thrills (anyoen else ever notice the Gatsby reference in "No More Empty Words"?), Del the Funkee Homosapien, Blur, Patti Smith (covering "Gimme Shelter"), Dr. Octagon, Morrissey, N*E*R*D

Current Mood: how does it feel to feel?

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich

Saturday, August 16, 2008

A ROLLER SKATING JAM NAMED "SATURDAYS"

Hi, guys, Jamie here, courtesy of the fine manga avatar-generating program at Face Your Manga. It seemed like this incarnation of me would be a fitting host to share some new art with you on this scorching Saturday.

Vitor Cafaggi, a graphic designer in Brazil and proprietor of the fun Puny Parker blog, dropped me a note today to tell me how much he liked 12 Reasons Why I Love Her. He did some searching around to find out about myself and Joëlle Jones and he discovered what a huge Audrey Hepburn fan I am. So, he sent me a drawing he did for his sister that I think is quite lovely:



Apparently the Brazilian edition of 12 Reasons, titled 12 razões para amá-la, was released last year, and according to Vitor, it received really good reviews down there. I haven't seen it yet, so I will have to bug Oni to find out what the deal is. I think the German edition should be out by now, too.

Also in my inbox today, a drawing of Tristan from Love the Way You Love by my friend Terry Blas.



It's a lot of fun. I like it. The coloring reminds me of Phil Noto.

Don't forget to preorder your copy of Love the Way You Love, Side B: Songs of Devotion. It's on its way through the printing process.

ISBN: 978-1-932664-95-9
Diamond Code: JUN08 4144

Current Soundtrack: shufflupagus: Massive Attack, the Who (live), Plaid, Cat Stevens, Amityville

Current Mood:

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich

Friday, August 15, 2008

ON THE BUS MALL

I sometimes get nostalgic for my old bus commuting days, usually in reference to the fact that I devoured so many books when I was riding public transit to and from work. It was my most prolific reading period since leaving college, and I loved that I had all this time to devote to other people's words.

All it takes is one good bus ride, however, to squash any such dreams of the past. I actually live near a hospital, which has always made bus rides in and out of the neighborhood interesting, because all sorts of people go to the hospital for all sorts of reasons, and the ones who have to take public transportation to get there often have pretty good reasons for needing to do so.

Yet, one can't really appreciate how Dante-esque a bus ride is unless one takes a longer trip and crosses the river. I rarely cross the river. Portland is cut into four quarters. The street Burnside cuts the city between North and South, and the East/West dividing line is the Willamette River. I'm straight up Westside, represent. We keep all the hippies on the Eastside, anyway, and I like having a big body of water between them and me. I say take the bridges down, make them swim over here if they want to hang in my 'hood. At least then they'll be clean. (And don't even get me started on this Fifth Quadrant business.)

Today, however, I had to go across the water because a friend was having a tryout for a new hair salon and needed models, and hell, a new haircut is worth a $1.85 in bus fare. Not surprisingly, the ride over was smooth, and the bus wasn't even half full. No one was going to the SE; not so on the way back. The bus was packed with people clamoring to get back to the West. Right now, we're in the middle of heatwave, too, and that's never good. The city was already starting to boil and people were getting cranky and weird.

To make matters worse, on the way over the bridge, we got stuck waiting for the drawbridge to let a boat through. All of these cranks and weirdos locked in a big metal thermos on wheels with me. Great. At least we had air conditioning in our cylinder. The bus I was on goes by the courthouse, and so at least one person was freaking out that this delay was going to make her late for her arraignment or trial or whatever. Most likely she wasn't the only one. I am not sure if "poor commuter planning" is an official legal plea.

I was standing at this point. When I first got on the bus, the only seats were up front, and when a couple of people with canes and walkers got on the bus, I was one of those to surrender my seat. This put me by the back door, and also near a visiting Chinese family that consisted of an older couple and their two younger children, and their high school-aged cousin who was showing them around. I only knew this because a clean-cut man in his late '20s was quizzing the girl after hearing her explain things to her visiting relatives in their native tongue. At first he just seemed inquisitive, but I should have recognized the uniform. He had on a necklace with a rather large gold cross, and it was draped over a red T-shirt with the American flag sitting side by side with the Old Navy logo. Commercially sponsored pride of country.

After getting the rundown on where the Chinese family was from and what they were up to, the young man asks the translator to tell her family that Jesus loves them. He repeats himself multiple times, and asks her to do the same thing again multiple times even after she had done it once. I think he had a little OCD because once I looked around and he was air scratching at his face, the way my cat does when I hit that sweet spot behind her ear and she has to resist joining in with the action. The high school girl, who I think said her name was Carmen, translated something to her relatives, but who knows what. The poor girl. Every time it seemed like he was going to leave her alone, the dude starts quizzing her again. "Do you go to church?" "Do you know that Jesus is the ever-livin', ever-lovin' God?" and other such things. Stuff like this is always a weird situation, because part of me wants to jump in and tell the guy to shut up, and another part of me says there is no point and I'm just going to cause more trouble, particularly in a confined space where tensions are mounting.

Eventually, the guy decides to pack it in, and he asks Carmen to translate one last thing for him. She agrees, and he launches into some complicated, obtuse selection of verses about Abraham and his trust in God and loving God with the eyes of a child. I grew up in a church and I could barely make sense of it, I don't know how he expected this kid to translate such convoluted rhetoric for people who likely did not know or care who Abraham was. Then again, I guess if he realized this, he'd not be bugging other folks in the first place. To use another pet analogy, religious people are like dog owners. They want to take their dogs out in public, show them off, and get you to acknowledge their weird relationship with said animals. Cat people are just as weird, but we keep it to ourselves more, I like to be alone with my psychosis. (Anyone who has worked retail in an establishment that allows dogs knows what I mean.)

As this is going on, there is another contingent on the bus who are insisting on opening the windows, despite the signs on the windows that ask people to leave them shut when the A.C. is on. Signs are the most useless thing in the world. Be they informative or instructional, people don't read them, they are just there for the rest of us so we can point to them when someone does the thing the sign warns them against and say, "See? You should have known better!"

A couple of different people were trying to open their windows, and they were getting told to close them by the bus driver, and one guy near the bus driver even walked back and shut a window on her behalf. A lady in pink was insisting she could not breathe, which I don't understand. It was very cool in the bus. I am a guy who runs hot most of the time. Even in a snowstorm I sweat like a ham in an oven. I felt just fine. Not Pink Lady, though, and eventually she and the other window people, who turn out to be a group that has scattered themselves across the bus like a sleeper cell, decide they will not wait any longer. They rise as one and come to the back door where I am standing and suddenly crowd all around me and the men in the quartet start shouting for the driver to let them out.

The driver tells them that she cannot let them out on the middle of the bridge, she is required to let them out at designated stops. In response to this, Pink Lady bellows at the top of her lungs, "YOU HAVE TO LET ME OUT BECAUSE I AM ASKING POLITELY!"

Here again life is offering me a choice. My brain immediately wants to correct her and note that not only is that the first time she spoke regarding anything but the window, so she in fact never actually asked to be let out, but barking a command of this kind is anything but polite. It's like that girl who got kicked off of Project Runway last week who claimed her designs were surreal. I don't know what she thinks surrealism is, but whatever that may be it's different than the rest of us define it; likewise Pink Lady and politeness.

Thankfully, I didn't have to make a decision at this crossroad, because the driver here decided to let this band of idiots off of the bus. Even better, the Bible thumper jumps up and follows after them, maybe to witness to them about when God closes a window, he opens a door, I don't know. Part of me suspects that the driver saw the bridge was lowering, something we could not see from our vantage point, because the bus started moving almost immediately after their shoes hit pavement. If I were her, I know it would have caused me no end of pleasure.

At last we were were on our way and I was two stops from freedom. Traffic was bad, though, and we were just off the Hawthorne Bridge in the Park Blocks were a two-lane one-way street is split in the center by a statue of a reindeer or something. We were on the curve coming around the statue when a pair of the courthouse people, a man and a woman, had realized they had missed the stop they needed. Traffic is just starting to move when they wake up to this error and they start shouting at the bus driver to let them out right there. Even if she wanted to, this is not a spot that a reasonable person would think she could stop her bus without causing disruptions to the flow of traffic, and she refuses. The man, who could not even find a T-shirt for his court appearance that was better than one that was the color of Gatorade and had its sleeves ripped off, exposing more of his armpits than any of us needed to see, decided this was the height of illogical, and he starts cursing out the bus driver. "Fuck you. You're on the goddamn side of the street already. You can stop anywhere. Now we have to walk four fucking blocks back to where we were going."

That's right. Four whole blocks. His mistake constituted having to walk four blocks. Except, no, it wasn't his mistake, clearly it was the bus driver's fault. I can only imagine the justifications he had prepared to offer a judge.

Last I looked, Yahoo was claiming Portland was currently 101 degrees, though it apparently "feels like" 104. How did I not notice the "feels like" index prior to this? I'd say it feels like the world has lost its mind, but that would suggest I believe it had one to begin with. On my way out of downtown, I stopped at a Rite-Aid Drugs to get some cat food. As I was looking for the right aisle, I noticed that one aisle, in addition to carrying other things, advertised that it was also where you could find "Douches." In fact, "Douches" was top of the list on the overhanging sign. As if I needed any help finding any of those!

Current Soundtrack: shufffffle: Midlake, Diablo ("Jail flock...ahh!"), Beatles, Lonnie Donegan ("Frankie and Johnny"), Charlie Parker, Doris Troy, Cutting Crew, Buzzcocks, the Jam, the Clash, the Fratellis, James, Bryan Ferry, Supergrass, Yardbirds, Elastica, Depeche Mode, George Michael & Elton John, Placebo, Paul Weller

Current Mood:

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich
WHO ARE YOU? WHO-WHO?

More character work from Natalie for our Image short story...







And Joëlle posted to her blog an image featuring the characters from You Have Killed Me in a pose from a poster for In the Mood for Love. You must see this, click now!

Current Soundtrack: NPR news podcast; the Fewdle Lords

Thursday, August 14, 2008

WHIPLASH CAUGHT THE SILVER SUN, TOOK THE FILM TO #1



THIS WEEK IN THEATRES...

* Tropic Thunder, a knock-out brawl between Ben Stiller, Jack Black, and Robert Downey Jr. and the Hollywood that spawned them.

For more on the Tropic Thunder controversy, keep reading.

* Vicky Cristina Barcelona, Woody Allen goes abroad for a scintillating romantic drama about passionate, pretty people.

UPDATED TO CRITERION CONFESSIONS...

This week's reviews written specifically for the site are:

* Larisa Shepitko - Eclipse Series 11, two from the largely unknown Russian director, her first film Wings and her last, The Ascent

THIS WEEK IN DVD REVIEWS...

* The Anton Chekhov Collection, six discs with ten BBC adaptations of the master playwright's stage work.



* Blues in the Night, Anatole Litvak's lively 1941 picture attempting to bring jazz to Hollywood. Features director Elia Kazan in a supporting role.

* Derek, an illuminating documentary about pioneering queer filmmaker Derek Jarman.

* Extasis, featuring a young Javier Bardem in a Spanish thriller suitable for Tom Ripley.

* Joy House. Speaking of Tom Ripley, this film teams up Rene Clement and Alain Delon, the Purple Noon team, for a disappointing but interesting thriller released as a lacklustre DVD. With a very young, so very hot, Jane Fonda.



I wrote my review of Tropic Thunder before the controversy over the "r-word" had erupted, and actually had posted it through the site before I had heard how much steam the protest had gathered. You can read an editorial by Timothy Shriver, the director of the Special Olympics, here. I can essentially see where he is coming from. I know for me when I hear the word "gay" used in a pejorative manner to mean "stupid" or "not cool," it bugs me, because there are so many other words that a person can use rather than one that also refers to a group of people and thus ends up equating that group with whatever bad thing the speaker is intending to denigrate. I considered amending my review, just to avoid punching the hot button with my full fist, but when it came down to it, I felt like my reference to the Simple Jack portion of the movie was all that really needed to be said about it. I think the reaction to the movie--which more or less has been a reaction to marketing using out-of-context lines from the film, which DreamWorks has since stopped--kind of misses the point. The exaggeration of Ben Stiller's Simple Jack character is a satire of actors trying to earn themselves a serious name by playing someone developmentally challenged. Naturally, since this is a satire, the portrayal of such is pushed to the next extreme, but one need only be paying a scintilla of attention to see who is really being made fun of in the context of the film. Stiller's Simple Jack is not much more exaggerated than Cuba Gooding Jr.'s Radio, and it's quite obvious that the point of its inclusion is to ridicule the exploitation that such movies represent. No one is making fun of people with actual developmental or intellectual problems, but those in Hollywood that would presume to use their stories for a quick injection of "credibility" and the self-importance of such actors.

What really convinced me not to change what I wrote to kowtow to the protesters was hearing Shriver on NPR. You can listen here. In the clip, Shriver admits to never having seen the film, meaning he is making assumptions about how the humor plays and beating his chest without having the whole story. I don't fault him for his compassion or his concern, but think about if this were a religious group making the same complaints about a movie with religious themes. When churches of various faiths complain about and demand boycotts of those films without actually seeing the final product, they are blasted by free speech advocates as being intolerant and for judging without having all the facts. Does this not cut both ways? Should not liberal causes be held to the same standards? And while a boycott is one thing we are all free to do, it seems like a touchy area when any group starts demanding changes be made. Who is the arbiter of what has gone too far, and who decides then to what degree it has to be dialed back?

Arguably, there is as much of a case to be made for a very small subplot in the movie regarding a character's homosexuality. It's featured in only two scenes, but based on the first scene and the other characters' reactions when his preference is mentined, you could judge solely from that one moment that what you are seeing is a negative portrayal of homosexuality without ever giving the movie its full due for how it ultimately handled the subject. Redemption is part of Tropic Thunder's thematic arc, but some would have us never make it to the point where anyone is redeemed.

Where something comes from and where it is going is of equal importance, I think, before praising or condemning any work of art or entertainment. Granted, Tropic Thunder never pauses and says, "Hey, that stuff you said about 'retards,' that's not good. You shouldn't even use the word," but I don't really think it should have to. Sure, some people may not get it without it being spoon fed to them, but I also think they'd spit the lesson out as soon as the spoon is pulled away. We shouldn't forget that the period of the Hays Code in Hollywood is not looked on entirely fondly. In fact, the self-imposed censorship by the Motion Pictures Producers and Distributors Association is the reason a lot of regularly lampooned Hollywood clichés exist, and their dictum that all criminals must be punished by the end of a movie is as laughed at today as we would likely scoff at any such mandate that all people with misguided points of view learn the error of their ways before closing credits. Hays existed to try to keep the government from censoring movies, but when corporations band together to stifle art so that they won't lose their revenue stream, it might as well be the government that's doing it. The line is very, very fine. With such readiness for capitulation already in place, is it any wonder that the blacklist was able to take such a firm hold in Hollywood? Despite the recent neoconservative spin on HUAC, trying to retrofit Joseph McCarthy's bully costume into a patriotic uniform, the suppression of ideas is never good and is a decidedly un-American activity. And it's in that spirit why I would never suggest Timothy Shriver not express his views, just ask him to gather more information before reacting. It's like Harlan Ellison says, "We are not entitled to our opinions; we are entitled to our informed opinions."

For some other voices, I point you to BadAzz Mofo, and David Walker's review. Dave is not afraid to be political when its required, or to call it like he sees it. You should track down any of his reviews of the aforementioned Mr. Gooding Jr.'s movies if you want some hilarious reading. Another good review, and like mine also likely written before the Simple Jack explosion, I point you to Eric Kohn's write-up at Premiere.com. Kohn gets even deeper into the meta than I do, and he also invokes the great Pauline Kael and quotes her to remind us of the difference between the humor Stiller is striving for and that which he is tearing apart:

From Downey Jr.'s purposely racist embodiment of African-American anachronisms to Black's scatological humor, everything in Tropic Thunder qualifies as satire, not spoof. It's an important distinction. Pauline Kael once noted that "unlike satire, spoofing has no serious objectives; it doesn't attack anything that anyone could take seriously; it has no cleansing power." Thus, the movie opens with inane fake trailers to introduce its fictional stars, surpassing the ones in Grindhouse for espousing actual ideas. Stiller offers a catharsis for everyone overburdened by bombastic storytelling, but even when the movie becomes playfully self-reflexive, it remains a keenly layered narrative. He returns to the movie-within-a-movie-within-a-movie metafilter so many times that the gimmick forces you to pay close attention and believe in the events as they transpire, without sacrificing the absurd edge of the equation.


As far as I'm concerned, it's up to Ben Stiller and his collaborators to listen to the voices inside themselves and know why they are doing what they are doing and stick to that. It's what we should demand of any of our artists: trust your own instincts to know that you need to say what you're going to say. By way of a personal anecdote, I have often amended my own work before I've released it because I've questioned how something might be taken. There is an important distinction, though, in that I do so before anyone else sees it. Once a work is out, criticism can lead to all kinds of self-doubt, but that can lead to dishonest knee-jerk reactions on the part of the artist and should be avoided.

For myself, I remember a scene in Cut My Hair when we first meet a minor character named Phil. Mason doesn't like him, and he judges Phil in much the same way he hates being judged. As it reads now, Mason says, "Phil didn't like me because I didn't get excited about clothes like he did." Originally, he called Phil a "clothes fag," and someone who read an early version objected to that. I listened, I weighed the options, and concluded that in the long run it didn't really affect the story one way or another. Sure, my intention was to show Mason honestly, and as an imperfect person, but did I need to do it that particular way and risk my word choice hurting someone's feelings who might otherwise enjoy the book? It seems simple enough, to be sure, but you know what? All this time later, and I've never been positive that it was the right choice. I can't help but think that I let my own instincts take a backseat to the influence of someone else, and that maybe that was me being untrue to the story. I don't think it hurt anything, but that change of phrase has informed every decision I have made since.

Anyway, as always, I welcome all other thoughts on the subject in the comments section. These are my thoughts on the matter, and they are offered in the interest of encouraging civil debate.



Current Soundtrack: Richard Ashcroft, "Why Not Nothing?" & Arthur Lee, "Hamburger Breath Stinkfinger"

Current Mood:

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich

Tuesday, August 12, 2008

LENGTH OF LOVE

In stores this week is a one-off manhwa I wrote the English script for: Too Long by Park Hee-jung.



I really liked this book. It was a nice change of pace. It's a collection of strange, elliptical short stories, and the art is really pretty. Give it a look if you happen to stumble upon it.

Current Soundtrack: Janelle Monae, Metropolis: The Chase Suite


Current Mood:

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich

Sunday, August 10, 2008

I WANT A BOY FOR MY BIRTHDAY

Matt Grigsby sent over the following addition to his renditions of the Like A Dog band members, though he mixed up my birthday with Marc Ellerby, who turned 12 today. If he eats enough cake, he may also finally hit his goal of weighing 98 pounds.



From what I understand, Love the Way You Love, Side B finally went to the printer this past week. I'm guessing we'll see it in stores the first couple of weeks of September.



This is what my hand looks like following a party on Wednsday where there was a henna artist. I have no idea how to get it off. It's the Trident of Shiva. In addition to randomly thinking I have chocolate on my hand and wondering how, since I wasn't eating chocolate, every time I go to the bathroom and am in the midst of post-game maintenance, I do a double-take thinking my wipe went off horribly off-course.

Current Soundtrack: Alina Simone, Everyone Is Crying Out to Me, Beware


Current Mood: La Tristesse Durera

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich

Saturday, August 09, 2008

SATURDAY NIGHT'S ALL RIGHT FOR FIGHTING

A little sneak preview of something I'm working on with artist Tram Ngo.



No more details will be given, as you really don't deserve them...do you?

I didn't think so.

Current Soundtrack: Elvis Costello & the Attractions, "Lipstick Vogue;" The Emotions, "So I Can Love You"

Tuesday, August 05, 2008

FLY LIKE PAPER, GET HIGH LIKE PLANES



THIS WEEK IN THEATRES...

* Pineapple Express, a sprawling comedy reuniting Seth Rogen and James Franco under the tutelage of director David Gordon Green. It's a real departure for the director from his serious indie fare, and he drops all restraints.

And on the David Gordon Green front...

UPDATED TO CRITERION CONFESSIONS...

This week's reviews written specifically for the site are:

* George Washington, David Gordon Green's debut feature about coming of age amidst tragedy and poverty in the American South.

* Ratcatcher, Lynne Ramsay's debut feature about coming of age amidst tragedy and poverty in Scotland.



THIS WEEK IN DVD REVIEWS...

* Avatar the Last Airbender - Book 3: Fire, vol. 4, the exciting conclusion to the animated series.

* Brand Upon the Brain! - Criterion Collection, Guy Maddin's delirious autobiographical silent movie pastiche. A pleasant surprise. (Also at Criterion Confessions.)

* Dirty Money (Un Flic), the final film by Jean-Pierre Melville is a superior heist picture starring Catherine Deneuve and Alain Delon.

* Eagle Shooting Heroes, a Wong Kar-Wai produced spoof of wuxia martial arts films that falls a little flat. Based on the same Louis Cha source material as Kar-Wai's Ashes of Time.

* Girl on the Bridge, a unique French romance gets a bad DVD release.

* Inglorious Bastards, the 1978 Italian war movie soon to be remade by Quentin Tarantino.

* Johnny Hallyday: Live at Montreux 1986, in which the gravelly French crooner shows what he's made of.

* The Small Back Room - Criterion Collection, an uncharacteristic psychological drama with surreal touches by Powell & Pressburger. (Also at Criterion Confessions.)

* A Throw of Dice, 1929 German-English-Indian co-production of a silent film telling one of India's classic stories.



Current Soundtrack: The Apartment, The Dreamer Evasive

Current Mood: i only have one mood anymore

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich

Sunday, August 03, 2008

BEGGAR, WISEMAN, OR THIEF

Joëlle already shared a page from the Portland Noir book on her blog, and I will share another:



The story is called "Gone Doggy Gone." Not sure when the book will be out, but we have been told we're the only comic in the collection.

Current Soundtrack: Jenny Lewis, live at the echo [06-10-04]

Current Mood: listless

Saturday, August 02, 2008

GIRLS IN THEIR SUMMER CLOTHES

Today two advance reviews of some excellent books in the Minx line.

Token Token by Alisa Kwitney & Joëlle Jones


My review


rating: 5 of 5 stars

Oh, my darling Joëlle Jones, is this the part on the story where you grow up and leave this small town and the lovable yokel who you grew up with, and I never see you again? Fame will surely come knocking when this book comes out.

In the interest of full disclosure, since I work closely with the artist on this book, I have been able to watch Token develop over the last year. Joëlle let me read the script, and I've seen the art in its many stages. I have a fond memory of the day when I looked at a newly drawn, unlettered page--this being before I had read the script--and saw an image drawn on a TV screen and asked, "Is that To Have and Have Not?" Joëlle was both impressed by my own cinematic nerdiness and the fact that I could see that in her drawing without even being prompted. But she's that good of an artist, that any writer lucky enough to be working with her should know that they are going to get everything they wanted and oftentimes more.

Still, even seeing the book progress, it is always fresh and new when it's finally put together. Nothing can compare to the experience of reading the finished product. Things change when the words and pictures come together. It's like how reading a play is never going to give you the same experience as watching it performed on a stage.

The main character of Token is Shira, a high school girl who lives with her single father in a Miami hotel during the 1980s. Not exactly popular at her Jewish high school, Shira's best friends are her grandmother and her grandmother's elderly friend, Minerva. A former actress, Minerva shares with Shira a love for the golden age of motion pictures, and the young girl dreams of being part of a larger, romantic story. The script doesn't stack the deck, though, and Shira's fantasies aren't grand or trite cliches; rather, as is often the case with someone searching for herself in adolescence, she doesn't really know what she yearns for just yet. She just know she yearns for something.

This something could be Rafael, a handsome Spanish boy who lives his life with the kind of impulsiveness and passion that Shira has been itching for. Tasting her first real romance, Shira becomes more reckless, but as in any coming-of-age story, her actions will catch up with her and she'll have to find the maturity to deal with the consequences. Kwitney also gives us an added layer, with the young girl facing her own issues over growing up while simultaneously seeing her older friend deal with issues that come with growing old. (Note: The title Token might mislead some to think that it refers to Rafael as a "token" person of color. This is not the case, it refers to a gift Minerva gives Shira, a "token of affection." If I had one complaint, it's that maybe the other connotations of the word could have been weighed heavier when choosing the title. Well, that and the awful cover.)

I like that Kwitney sets her story in the '80s but never hits her reader over the head with it. The past she and Jöelle conjure up is not some alien world that is so overbearingly "period" as to have no sense of normalcy. Not everyone wore day-glo or had Jersey hair, and by staying grounded closer to the truth than most other efforts of this kind, the creators give their audience something it can relate to even if the individual reader didn't grow up in the Me Decade. Given how grounded Kwitney's story is, it would have been a mistake to do otherwise. Token is easily the most true-to-life comic in the Minx line, not relying on any high-concept or fantastical elements. It's simply a story about real people. This is where Jones as an artist really makes the book shine. One of her greatest strengths is in her acting, how she captures emotion on a face or in a gesture. The people she draws are very much alive, and they look like the well-written dialogue is actually coming out of their mouths. Joëlle also has an amazing knack for creating a sense of place, and the Miami of Token is no generic Hollywood version--it's really Miami! I like to linger on her smaller details, the sketchy extras in the backgrounds, or the pose of a body in action (the volleyball and swimming scenes are really impressive, as is the way she draws water).

Token is a fully realized story, packed with romance, humor, and genuine human problems. I know I'm biased, but I've read almost all the Minx books, and this one is far and away the best of the lot. It's a comic with broad-base appeal, moving beyond the teen demographic for a story that traverses generations.

Read the Myspace preview of Token here.

Emiko Superstar Emiko Superstar by Mariko Tamako & Steve Rolston


My review


rating: 4 of 5 stars

I didn't think I was going to like this book as much as I did when I first started reading it. The whole "freak" scene didn't really strike me as very convincing, but as with Mariko Tamaki's other recent graphic novel, Skim, the main character was so wonderfully realized, the trappings of the story hardly even mattered. My problem with many of the Minx titles has been that I felt they stopped short, that the growth the protagonists were experiencing wasn't given a full arc. Not so here. Emiko goes through real changes, makes mistakes and faces up to them, and ultimately, my instincts that all was not as it seemed with the Factory prove to be part of the writer's design.

Tamaki is a fairly sly storyteller, actually. Her machinations are not nearly as obvious as they seem. Henry, whom one would think is going to be the expected love interest, has deeper roots in the narrative foundation than a lazier writer might give him, and I completely missed the parallels between the mother Emi babysits for and the performance artist she looks up to until the two story lines crossed over one another. Both, as it turns out, have something to teach our heroine.

No one should be surprised that I am a fan of Steve Rolston's artwork. He and I go way back. This is some of the best cartooning I've seen from him. His work on his own One Bad Day is his finest hour as far as fluid storytelling is concerned, but the sheer confidence and the consistency of style in Emiko Superstar totally outranks anything he has done before. Each panel is as perfectly drawn as the ones that surround it, and his layouts are deceptively simple. He breaks the panel-grid all over the place, but with a clarity that keeps you from noticing or losing your place.

Emiko Superstar is not false advertising: superbly stellar, indeed.

View all my reviews.



Current Soundtrack: Living in Oblivion: The '80s Greatest Hits, vol. 3; ABBA, "When I Kissed the Teacher"

Current Mood: moody & crappy

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich

Friday, August 01, 2008

BEAUTIFUL FUTURE?

I am writing a scene at a high school reunion and decided that, for the memory lane slideshow my characters are subjected to, I should look through my senior yearbook and actually see what kind of photos we printed in the damn thing. Naturally, you can't help but read the notes people wrote to you when you pull these things out of the closet, and it truly is amazing how little we change in life.

"I want you to know if it wasn't for you, I would have gone all my high school years without getting my ass fondled."
-Dave S.


"I admire your unique outlook on life. Don't lose it. (But lose that grin that always makes people itch.)"
- Lloyd N.


What? My grin makes people itch? I do remember having a Graphitti T-shirt of Brian Bolland's Joker that people said looked like me, but I made you itch?!

Joëlle will appreciate this note from a blonde Swedish foreign exchange student named Jessica:

"Well, you know so much about Swedes already that we don't have anything to hide any longer...You know even more than I do, as a matter of fact! 'Milk girls with braids and a white hat saying: Ja ja.'"


Ulp.

For more international incidents, I give you Jose Antonio Carlos Hernandez Martine, an exchange student from Spain whom we used to tease by calling him by his full Catholic name:

"I consider you one of my best friends, one of those friends that have a full-life guarantee. Sometimes I have hated you for your 'Spaniard-women-are-ugly-fat-and-they-don't-shave-their-legs jokes' (if you do not know what is good stuff, how can you judge? Anyhow you only can know it if you go to that marvelous country called Spain.) But most of the times I have had a great tme with your company. Has anybody told you that you weird?"


Nope. Not a single person. More amazing: nobody ever kicked my ass in high school. Sounds like I deserved it, though!

He continues:

"Perhaps that is the reason I like you, perhaps is your careless tonuge that has taught the minimum of vocabulary as to survive in this fucking world or perhaps is your look which 'scared' me the first day I saw you."


I was scary to look at and my grin made people itch!

The page after that, my friend and prom date Christina Snyder chastises me for telling her Scott Rich was my brother, the prank I wrote about in Four-Letter Worlds. Oh, the legend continues! The yearbook contains many notes about my future books and the great things they all expected me to do. What a bunch of suckers!

The following makes me cringe quite a bit:

"So what do you say to the weirdest guy that you know that actually has the same fears, dreams, and shoelaces as everyone else? I guess I could say that the comedy kept me going or the rude jokes kept me blushing or the tickling hands kept me running or the 'Mother Goose' kept me worrying (about how I walk) or your writing kept my mouth dropped but I won't say any of those things. Instead I'll say that I wish you the best of luck (and love!) in everything you attempt and 20 years from now I'll really aprreciate being able to tell my kids I knew that weirdo with all the safety pins who wrote the horror stories then starred (or is it stared?) in them!
- Tiffany H.


I don't cringe at the writing, as that's actually a pretty incisive, meaningful expression. I cringe at the fact that I called this wonderful girl "Mother Goose" to make fun of how she walked! I remember Tiffany as being sweet, quiet, and one of the school's smartest kids. She was also really pretty, and I am mortified that I wouldn't have told her that instead of such a mean nickname. Tiffany, if you ever see this, I am so sorry!

Elswhere, I was a teacher's aide for third-period that last year, in Mrs. James' sophomore English class. So, being the lecher I am, naturally there are a lot of notes in here from 15-year-old girls who I shamelessly flirted with.

"Heck! Mrs. James class was great, without your morbid stories and 'happy' attitude it just would not have been so tolerable. Anyway I wish you all the best, I'm sure my kid's will be reading some of your happy poetry in their senior English class."
- Valerie B.


"It's been interesting knowing you. By now I should be used to you teasing me. I am. At first you made me mad, but now you make me laugh."
- Misty S., summing up every relationship I've ever had


"In my mind you are the finest guy in the 300 quad, school...heck...the WORLD! DYE YOUR HAIR BACK. YOU DON'T GIVE ME THE CREEPS!!!"
- Cindy (no last initial)


"Words just can't express what I think of your perverted, demented, twisted, kind, endearing charms. I think that you are one of the most stupendous guys I have ever met, though you enjoy sucking on young innocent girls ears, we (I) love you for it! I don't understand, I mean, I'm totally unable to comprehend you - nor do I want to!"
- Erica P.


Yikes! I am not sure I want to understand either. I really don't remember being an ear sucker.

My favorite, though, came from a very real crush of mine. She ended up dating this guy Chad who couldn't close his mouth, and looked like he had spent the day kissing the hot part of a stove.

"Good luck with your little house in the forest shared with that special cat."
- Kelley M.


Genius plans can never come too early!

I leave you now with photographic evidence of all that is wrong with me, my senior yearbook photo of the speech team, ca. 1990:



That's a Smiths The Queen Is Dead T-shirt I have on. In a team of six, I am the only boy, and I dated both of the girls next to me at different times over the course of the first semester. Thus, the whole lot of uncomfortable you see on my face.

Current Soundtrack: shuffle through Nicky Wire, Bright Eyes, Richard Ashcroft, Charlatans, Bloc Party; Primal Scream, Beautiful Future



Current Mood: mortified

e-mail = golightly at confessions123.com * Criterion Confessions * Live Journal Syndication * My Corporate-Owned Space * ComicSpace * Last FM * GoodReads * The Blog Roll * DVDTalk reviews * My Books On Amazon

All text (c) 2008 Jamie S. Rich