A movie log formerly known as Bookishness / By Charles Matthews
"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Monday, June 12, 2017
The Last Temptation of Christ (Martin Scorsese, 1988)
The King of Kings (1927), in which the Magdalene and Judas are lovers and Mark, the author of the eponymous Gospel, is shown to have been a beneficiary of one of Jesus's miracles. It's the concluding "temptation" section, adapted from the novel by Nikos Kazantzakis, that tends to drag and become over-talky. Dafoe unfortunately reinforces the blue-eyed blond stereotype of movie Jesuses, and Keitel's Brooklyn accent might have been toned down more, but both actors perform with conviction. Most of the roles are played by American actors, including Verna Bloom as Mary, Jesus's mother, and Harry Dean Stanton as Saul/Paul, so it's something of a neat touch to hear a British accent from the occupying Romans, represented by Pontius Pilate, played very nicely and dryly by David Bowie. Satan, too, is a Brit, at least to judge by the accent of Juliette Caton, who plays his embodiment as the faux guardian angel in the temptation scenes. The Last Temptation received only one Oscar nomination -- for Scorsese, perhaps as a way of acknowledging his role at the eye of the controversy -- but it certainly deserved notice for Michael Ballhaus's cinematography and especially for Peter Gabriel's superb score, for which he brought together an impressive collection of musicians from around the world.