Life under a shadow

Living in the Shadow of the Furher: it’s a lot like how it was with Ray and Caroline who ran their so-called family like a cult. Only the roles were reversed, mother was the narcissistic, dominating blowhard and father was the passive, stand alongside. The neglect was probably the worst part, it instilled core beliefs of worthlessness and hopelessness. At times, the toxic attention set up co-dependency and a willingness to do almost anything to please them. I lived in fear of causing disappointment and rage and tried to do everything to make myself worthy or at least useful to them. I had no right to exist unless I was of use. Needless to say, the relationship was extremely one-sided and transactional. I never knew this until much later in my life. At the time, I thought it was all I deserved and kept trying to deserve more. Of course, they would change the rules as I got better and better at meeting their demands. Trying to justify my existence became my way of life. I was also physically and sexually abused but the psychological torment was most persistent and most pervasive.

Any way, living under 45 and his so-called spouse has brought back a lot of unhappy memories. The lies and crazy-making gaslighting he engages in is just like they used to do. The total self-centeredness and lack of empathy demonstrated most recently by his infectious car parade reminded me of how I used to have to accompany my mother while she drove the car around for hours until I fell asleep in sheer exhaustion. One time, I couldn’t help it, I had diarrhea in my seat. She usually was very irritated and angry when I was ill but this time I was astounded she didn’t blame me. Those people he forced to drive him around were hostages to a narcissist and I know what that’s like. My heart goes out to them and I hope they don’t become ill. But, having to do something like that for a completely dishonorable person who happens to have control over their work lives is bad enough.

In my life, I’ve often turned to movies to help me endure, to go on when I can’t go on and they have helped me to decide to go on. 1999 was a particularly good year. The Celebration and American Beauty came out. The Celebration is about finally having the strength and courage to tell the truth to power, to out the family abuse and secrets, which I eventually was able to do with my family. American Beauty is about the kids escaping, making an independent life for themselves, away from horrible physical and psychological abuse. I also did this, but at great cost to myself as I no long have anyone in my family as those people chose to stay with the cult leaders. The cult leaders are now dead. I found out about it on Ancestry.com. I’m glad they’re dead.

Any way, I still live with the worthlessness and hopelessness. You see, they never go away. I have been permanently damaged, literally. Years of therapy has only helped me to intellectualize it, to label it , to categorize it. Sometimes, movies touch the place that has no words and helps me to carry on. Most of Ingmar Bergman’s films have helped me in this way. American Beauty has a scene in it that I watch every year or so. It’s the “I need to remember” scene. I treasure The Celebration because it shows siblings rallying around one another, to support each other in naming the monster and banishing him. Of course, I wished that could have happened in my family, but it didn’t.

So, the reign of terror by 45 and his minions has been upsetting on a personal level to say the least. I can imagine it’s been hell for most everyone else, too. Because, you see, as someone who once “drank the kool-aid” and couldn’t see the lies for the truth, I towed the line in a cult and I know that cult members suffer too from constant fear and despair. Only the true narcissisists are free from any feelings like that. Being under the control of a narcissist, part of the cult so to speak, is fraught with IED’s created by the supreme leader. Deprogramming is painful as well, and most people can’t survive it or even think about it. I can tell you there is personal shame with it that you just have to learn to tolerate. Intellectually, I know I was just a kid and did what I had to to survive but in my heart, the abyss of worthlessness and hopelessness threatens to get a little larger all the time. I fight it, on good days. I tell my story to have regard for myself and hopefully someone else is helped by the telling of it, too.

At Eternity’s Gate

Showtime on demand. Written and directed by painter and filmmaker Julian Schnabel. Willem Dafoe as Van Gogh, Rupert Friend as Theo Van Gogh, Oscar Isaac as Gauguin, Mads Mikkelson as a priest, Mathieu Almaric as Dr. Gachet and Emmanuelle Seigner as Madame Ginoux. Cinematography by Benoit Delhomme and music by Tatiana Lisovskaya.

Schnabel does a brilliant job of narrowing the scope of this film to Vincent’s last two homes Arles and Auvers sur Oise, his relationship with his brother and his friendship with Gauguin, Vincent’s relationship with nature, his relationships with important subjects and his ultimate relationship with eternity.

The story treats Vincent in a down to earth and respectful way and gives us insight into his spiritual life and identity as a painter. This isn’t Vincent as a victimized saint or madman, but a compassionate look at a complicated and unique person. We can feel his loneliness and isolation.
We can sense his connection with nature. We get a feel for the few friends he had and how they helped him. The old gossipy, stereotypical myths about some of his life events are laid to rest with the dignity of what actually occurred. Willem Dafoe’s performance was Oscar-nominated and is riveting. Rupert Friend is marvelous as his kind, caring and appreciative brother, the scenes he has with Dafoe are so moving. Mathieu Almaric couldn’t be more perfect as Dr. Gachet if he tried. It’s hard to tell if it’s Gauguin or Oscar Isaac we don’t like so I guess that’s a good performance. We know Gauguin and Vincent had a troubled friendship. We know how abandoned Vincent felt.

Some were put off by the handheld and somewhat chaotic filming at times but I think it captures well some of the sensory chaos Vincent went through in his life. Schnabel seems to do this kind of thing very well in his films, using the camera to bring us inside the minds of his characters and it is a kind of genius, I think. The musical score is haunting and emotional. The ending was new information to me and I won’t give it away but suffice to say it was not too hard to believe. Also, the lost ledger of drawings given to Madame Ginoux not found until 2016 is absolutely amazing. The voice overs for Aurier’s article and Gauguin’s letter are satisfying praise and act as a beautiful elegy for Vincent. This is a film so good that I hope to have it for my collection some day. I can’t help but think that it took a painter to understand and respect Vincent enough to give him a film like this. I know I’ll want to watch it many times.

A new prose poem

My Grandmother

She survived the depression was my first memory of her

She never liked to rehash the past and on top of that I never thought to ask her.

It was a fait accompli- one of holy respect, unquestioned.

 

She taught me what wash possible meant on that trip by bus across the country.

It is always possible to be somewhat clean.  I remember feeling not clean enough but also not quite as dirty.  Like it might pass.

 

Her house always seemed to smell like frying bacon and eggs.  

She had the strangest dogs:  like labradors on dachsund legs, wider than they were tall.

They stayed outside in the yard, mostly.  Desert jack rabbits still lost their heads in what I thought was needless massacre.  Their headless bodies lay limp and scattered in the sand.

 

Grandma always struggled against her own wideness, so many times on Atkins.

But she didn’t make the dogs struggle, fed them all the table scraps.  One summer she had me cook Weight Watchers recipes for us and I went overboard the first week with too much Summer fruit.  She told me she reported to friends that she lost two pounds any way.  

 

One time, after that long-distance call from you, she was so furious that I hung up

Before she had a chance to talk to you.  I’d never seen her so furious and it was shocking and frightening. 

 

I said sorry over and over but she knew I was being selfish and it was a small, petty gesture of wanting some control over my helpless life but she didn’t have the words to say it and would deny, even, the deeper meaning of her fury.  

 

She always said I was a willful child and it wasn’t a compliment.  

In one old, blurry photograph she actually cuddles me in her lap with her arms around me.  

 

 I was willful like her.  She gave that to me whether she wanted to or not.  For better or worse, I consider it a gift.

Greta

Seen on hbo. This is my most favorite story I’ve seen told in a long, long time. Directed by Neil Jordan and written by him and Ray Wright (based on his book) for the screen. Starring Isabelle Huppert and Chloe Grace Moretz as well as Maika Monroe as Erika. Huppert enters the villainous pantheon as a monster along the likes of Hannibal, but in a distinctively feminine/Earth Mother mythic embodiment. Chloe Grace Moretz holds her own against this Titan of cinema. Neil Jordan works his magic visually and what seems a rather straightforward tale of basic stalking turns everything on its head. Extremely effective eerie and dreadful sound track. Beautiful recreation of New York City. Excellent use in a very cinematic way of our use of technology to communicate and social media. If it must be done, this is the way to do it, not like in Personal Shopper for example, where the director expects the audience to use precious time reading screens, for god’s sake. Admirers of Huppert and Jordan must watch this film and Moretz adds another feather to her cap.

“Forget it, Jake. It’s Chinatown.”

Seen on TCM’s L. A. Noir program with Alicia Malone and Edward Norton. I have seen this film many times. It is so unescapably dark and nihilistic, it is a very hard watch. I hate Jack Nicholson in this with his racist jokes and weasly character and I both hate and pity Faye Dunaway in her tragic role as poor little rich girl/ unspeakable victim/completely doomed heroine. Her performance is so heightened as to be almost Kabuki-like, it is monolithic. Polanski himself makes a cameo as a “midget” with a penchant for knives. Every public servant in this film is disgustingly ugly, dirty and drone-like and the ultimate villain is just completely despicable.
John Huston is truly chilling in his performance. I mean this film is totally relentless in its creation of the real Los Angeles. Of course, the cinematography, costumes and score are perfect, that goes without saying. This is considered neo-noir since it’s creation is outside the original time frame but it remains amongst the noirest of the noir.

The emptiness

“The emptiness is the space in which you will create your new life.”  I once was inspired to say this to a friend who was struggling with feeling so empty.  I think I have been struggling to learn this my whole life.  I’ve gone to such lengths to avoid the feeling of emptiness, both literally and figuratively.  The Tao says out of No Thing springs Every Thing.  It also says that the Every Thing is illusion, that in fact all is One.  So where does the feeling of emptiness come from?  I once said that I felt like I might float off the planet.  I guess I felt so untethered I imagined myself as a toy balloon escaping the earth’s grasp.  Floating away into the sky.  What if emptiness is a natural state, one to be embraced and explored?  My tiny mind has been afraid and  unable to understand from a perspective of fear.

Lately, I have been coming to terms with the fact that this “new life” as a remedy for the emptiness is an illusion too, of course.  “There’s just no way to get through this life!”  I once cried out to a friend when I myself was in despair.  What did I mean?  Do I actually think there is some way to get through life that I just need to figure out?  Well, yes and no but not really.  In my heart of hearts, I already know as the Zen master said.  I recognize things like that.  But a big part of me (ego) has been under this illusion for too long.  I’m beginning to know now, on a deeper level than ever before that, “no matter where you go, there you are.”  There is no escape.

So maybe the emptiness is the space in which I(you) will be able to be my (your)self, to relax and get comfortable.  What if we can expand to fill the space?  After all, it is spacious.  What is so frightening about that?  And make no mistake it has been terrifying.  We instinctively seek shelter from it.  We hide in our literal and figurative caves and then draw on the walls to distract ourselves from the fact that we are living in a cave.  What is the actual nature of this Space(Emptiness) from which we run?  Unpredictable, unfathomable, immeasurable, unconquerable, untameable, elusive.  I am not going to solve this problem.  Is it a problem to be solved?  What if I think of it in terms of the Tao?

The Tao isn’t a finite thing, it’s a process like a flow.  There is no space to fill or hide from, there is only a flow to go with.  If we relax and float along we are buoyed and carried by it, and when we don’t we get knocked around.  I’m going to stop now as I wanted to get some thoughts down that had been coming up and that’s it for now.

On Body and Soul

This is one of the most beautiful and deeply romantic films I have ever seen. From Hungary, written and directed by Ildiko Enyedi. This is a story, that like Phantom Thread, gets the issues between women and men right. While Phantom Thread is more of a battle, On Body and Soul is more like a journey of discovery and the differences between men and women are treated with respect and are cherished. We are different, but in both stories no one is made to feel ashamed about it. The men and women in these stories love each other for themselves.

Cinematography is breathtakingly beautiful, by Mate Herbai. Beautiful shot after beautiful shot, through glass and nature. I’m not sure why the director chose to set her story in an abattoir, but this is the setting for where these two soulful people meet. It is upsetting to see the cows slaughtered, and I was thankful the director chose not to show the moment of death for the poor animals. In the credits there is a statement in which there were animals harmed during the production but not for the sake of the film, that they were just portraying the daily routine in an abattoir. We do see the animals’ corpses then butchered and it is very difficult to watch but is not dwelled on. It seems to be handled in a matter of fact way as a part of these peoples’ lives. Andre plays the company CFO and an older man who has admittedly quit the game of love and Marika plays the quality control inspector, and who appears to never have started until now. It is in harsh contrast to the ethereal dreams they share in which he is a stag and she is a doe in a snowy forest and the tender development of their relationship in real life. Perhaps this says something about how love can be found in the darkest and most hopeless or cruel places. It is definitely an example of “love will find a way.”

There is some comic relief with supporting characters interacting with Andre and Marika at work. Especially memorable is the HR director who pontificates about putting a woman in her place and then is seen being coached by his wife to pick up the kids and go grocery shopping as she has an appointment with the hairdresser. Also, an elderly cleaning lady with a lot of life and attitude who coaches Marika about how to hook a man.

There is an especially touching segment in which Marika, after seeking the advice of her child psychologist (who seems to desperately want her to go to one for adults) goes about in her day, deliberately setting up experiences so that she can become accustomed to touching and being touched, readying herself for bodily love. Her sensual experiences are so lyrically filmed it really captures the heart. Seeing her do this by herself for herself but also for her relationship is very moving. It’s hard to convey the emotional experiences of this film, but it is a must see.

La bete humaine

TCM from the Criterion Collection. French film directed by Jean Renoir based on a story by Emile Zola. Starring Jean Gabin and Simone Simon. Gorgeous to look at in a gauzy black and white with almost burnished tones. Tale of lust, love, jealousy and murder, old as time but wonderful to watch with these people, who manage to make these awful characters sympathetic, amazing.

For All Mankind

YAHOO! I can see why Carl Sagan called humans the sea otters of the Universe. This is captivating, exhilarating and sublime. I was only six when this happened so I only remember a little bit of it on tv.

This documentary captures everything, though, and makes it very intimate and human, it is wonderful! Beautiful score by Brian Eno and some fun songs the astronauts brought with them. Everything is so close that you feel you are almost there too.

I cried happy tears all through. Now streaming on Criterion Channel for early subscribers.

Summer in the digital age

Summer in the digital age

Anticipation or dread?

A restless mind thinks:  Both?

It’s so hot.  A restless body

Tosses on the sheets

Relentless sunshine with

Daylight savings.

 

It’s so sultry in the evenings

So long awaited.

Bonfires on the beach

As the sun slowly sets.

 

The scents of suntan lotion

And roasted marshmallows

Wrap around us while stars

Wink into being

As the twilight descends in the Western sky

 

We grow quiet as the fire

Persists in getting our attention

Flames flicker with the speed

Of the digital age in which we’ve

Created cold fire in our hands

 

We’ve always been chasing the flickers

Summer loses the battle to quiet our minds.

Daily minutiae whirls away from us

into the Universe.