The Bad Year, 2


The Bad Year, 2
I’ve always though that there were stages to love: the constant state of feeling inevitably modified by the passing of time and the position of finality said passing leaves one in. This song by Bonnie ‘Prince’ Billy illustrates that perfectly, and even more perfect is the frame in which it’s truthfulness operates: the calling of return to a love which is as circumstantial as it is permanent.
I’ll leave the rest for your ear, but I challenge you to disagree with this theory and not be swayed by the song’s wisdom and it’s awareness of such a damning situation.
Bonnie ‘Prince’ Billy – I Called You Back (The Letting Go, 2006)
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and a suitable follow-up:
Sparklehorse – More Yellow Birds (It’s A Wonderful Life, 2001)
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Hope.

Let The Right One In is a fantastic Swedish vampire movie that hasn’t had much attention. Unfortunately, it is being remade for American audiences, by the director of Cloverfield – yikes. Anyhow, the trailer for the film does it no justice, so here is an excerpt. Enjoy.
http://www.dailymotion.com/videox85gs7Reviews: New York Times, Roger Ebert, & Los Angeles Times.
I was introduced to Song of Childhood through Paris, Texas director Wim Wenders. Wenders uses Peter Handke’s poem as a narrative device in his 1987 award winning film, Wings of Desire.
Song of Childhood
When the child was a child
It walked with its arms swinging,
wanted the brook to be a river,
the river to be a torrent,
and this puddle to be the sea.
When the child was a child,
it didn’t know that it was a child,
everything was soulful,
and all souls were one.
When the child was a child,
it had no opinion about anything,
had no habits,
it often sat cross-legged,
took off running,
had a cowlick in its hair,
and made no faces when photographed.
When the child was a child,
It was the time for these questions:
Why am I me, and why not you?
Why am I here, and why not there?
When did time begin, and where does space end?
Is life under the sun not just a dream?
Is what I see and hear and smell
not just an illusion of a world before the world?
Given the facts of evil and people.
does evil really exist?
How can it be that I, who I am,
didn’t exist before I came to be,
and that, someday, I, who I am,
will no longer be who I am?
When the child was a child,
It choked on spinach, on peas, on rice pudding,
and on steamed cauliflower,
and eats all of those now, and not just because it has to.
When the child was a child,
it awoke once in a strange bed,
and now does so again and again.
Many people, then, seemed beautiful,
and now only a few do, by sheer luck.
It had visualized a clear image of Paradise,
and now can at most guess,
could not conceive of nothingness,
and shudders today at the thought.
When the child was a child,
It played with enthusiasm,
and, now, has just as much excitement as then,
but only when it concerns its work.
When the child was a child,
It was enough for it to eat an apple, … bread,
And so it is even now.
When the child was a child,
Berries filled its hand as only berries do,
and do even now,
Fresh walnuts made its tongue raw,
and do even now,
it had, on every mountaintop,
the longing for a higher mountain yet,
and in every city,
the longing for an even greater city,
and that is still so,
It reached for cherries in topmost branches of trees
with an elation it still has today,
has a shyness in front of strangers,
and has that even now.
It awaited the first snow,
And waits that way even now.
When the child was a child,
It threw a stick like a lance against a tree,
And it quivers there still today.
All photos are copyright © of their respectful authors & owners
Song of Childhood copyright © 2009 Peter Handke
A film that’s shot entirely to look like a good photographic print? Do you need more than this reason to watch a film? I do not.
“François Truffaut’s first feature, The 400 Blows (Les quatre cents coups), is also his most personal. Told through the eyes of Truffaut’s life-long cinematic counterpart, Antoine Doinel (Jean-Pierre Léaud), The 400 Blows sensitively re-creates the trials of Truffaut’s own difficult childhood, unsentimentally portraying aloof parents, oppressive teachers, petty crime, and a friendship that would last a lifetime. The film marks Truffaut’s passage from leading critic of the French New Wave to his emergence as one of Europe’s most brilliant auteurs.” — Criterion Collection Review

Maybe it’s just my fascination with security and a general interest in circumventing it, but i’d like to recommend the film Street Thief to people interested in handheld-documentary style movies.
“official” site (myspace)

Arriving undecided to the IFC Center, I had to choose between Darfur documentary The Devil Came On Horseback & This Is England I chose This Is England and was not disappointed. Critics agree: “A near-flawless gem.” – Manohla Dargis, The New York Times
Directed by Wes Anderson, The Darjeeling Limited is on my list of movies to see. It comes out September 29th & looks real good. Trailers below.