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Posted
7:35 AM
by freelance radical
.
UNTITLED
POST
X
I saw what I thought was the beginning of a film I really really liked, except that what I saw turned out to be the second half or ending of it, and so then I didn't admire it anymore.
It was "High Fidelity" with John Cusack, in which he off-and-on talks directly to the camera, like when a woman he thinks he loves does something so vulgar and offensively stupid, that he asks the camera, "How did I edit all this out?" .............which is a fabulous little sentence that so perfectly describes what we all do, when we desperately want to love someone just to be loving someone in order to end too long a time of not loving anyone.
The film was messy, though. Like it seemed to want to apologize for the Cusack character being much too smart and much too insightful, by making his business partners be 2 disgusting idiots..........the kind of guys you don't want to have to look at ever, and to hear talk, never ever..........but there they were, all the time, rudely interrupting what could have been a great movie about a very smart and very insightful man able to communicate those qualities.
Being that I thought I was watching the beginning, I was sure this Cusack character would be developed and would learn to understand himself, after which he'd share that understanding and we'd all come away from this movie with a better grip on life's weirdness. But that never happened. The film just got more and more confusing, Cusack's love-life became more and more compromising, and in the end, it seemed that he would settle for loving the wrong kind of woman for the wrong kind of reasons and that his next movie (or the director's next movie) would be the inevitable scenes of a bitter divorce.
So this is the question this movie asks without seeking to ask it: should a director be able to create some kind of resolution to the problem he presents........or is it OK to present a major life-struggle without having any idea on how to resolve it?
It seems to me that Hollywood's questionable filmmakers know exactly how to resolve a political problem. In fact, they insist on doing so, when that's the one area in which they ought to leave such resolution to the viewers, instead of inserting their pathetically obvious attempts at wanting to politically brainwash them.
Yet in a film like "High Fidelity", they have zero answers for what everybody on earth always struggles with. If I'd been its director, I would have given some hope to my audience by indicating (perhaps with a fleeting glance) that Cusack's character would eventually find the warm, soft, loving woman whose personality didn't require any deleting at all.
Perhaps, one day, I'll see the beginning of "High Fidelity".
Although, after years of missing it, I finally saw the beginning of "Serendipity" and wished I hadn't, because it really, really sucked, which was in large part attributable to its much too loud, 1950's-style, yucky music.
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