Why Living Room Cinema?
Unlike a reviewer (and The Pulse fortunately possesses a good one), my goal for this column is to recommend films of worth that you will not readily find in Murfreesboro theaters.
There is nothing inherently wrong with enjoying pre-formatted fantasy worlds occupied by the movies produced by the Hollywood corporate machine. They exist for our entertainment and provide momentary escape of our otherwise busy and/or dull lives (a capitalist’s narcotic, if you will). And with the recent, overwhelming fad of remaking many classic films, the argument of expanded choice could be made.
Personally, I feel saddened by the new trend, but so be it. Therefore, people who are seeking expansions in choice will seek the alternatives in cinema, which usually reside in foreign, independent, documentary and cult films.
Recently Jim Ridley expressed this idea on a television show to help promote this year’s Nashville Film Festival. There are movies made in the form of high art, many real in nature, many ambiguous, but most of all they generally help us promote thought and consciousness. As you broaden your tastes and sample more of these types of films, you will find yourself watching more black and white, reading more subtitles, and opening yourself up to very real and emotional contexts. I see it as growth.
In my crusade I have introduced many films to friends through my living room movie nights. At worst, alienation is possible, but it has been very rewarding to share my appreciation of film with friends and readers.
So, unlike a formal reviewer, I focus on recommendation. It is a fine line to try and encourage viewing, while resisting the temptation to give important information away. I think this is especially true when taking a negative view. My goal will have been met if I have urged you to explore.
Henry Fool
I believe Henry Fool to be Hal Hartley’s masterpiece (a term with which I am most selective). Hartley introduces a unique and effective rhythm in his films. This is typified by the entrance of Henry Fool and the opening credits, but sustains throughout with Hartley’s signature direction of dialogue delivery. Characters evolve and change for better or worse; they are shown with good qualities, as well as bad. Sight gags (ala Something About “Someone”) and acts of violence are juxtaposed against disarmingly intelligent writing. The plot is driven once Simon presses his gnarled pencil to the page. The introverted sanitation worker finds expression through poetry and his new friend Henry?his inspiration. A minor point in the movie, but interesting all the same, is that far-reaching social ideals are referenced through discussions of a politician, much in the vein of Scorcese’s Taxi Driver. There really is just not enough room here to list all of the ideas so superbly conveyed, but aesthetics, depression and doubt are high on the list.
Here are some resources; some tools for your quest:
Local Rentals & Sales:
Hastings (1600 Memorial Blvd.)
Video Culture (2321 E. Main St.)
Local Theater & Festivals:
KUC Theater MTSU Campus (home of the MTSU Student Film Festival )
Tromapalooza @ The Boro (1211 Greenland Dr. – benefit for Tromadance only)
Web Information:
Reviews:
timeout.com/film
filmthreat.com
rottentomatoes.com
Film Databases:
imdb.com
allmovie.com
Essays:
filmref.com/index.html
sensesofcinema.com
Rentals & Sales:
netflix.com
deepdiscountdvd.com
amazon.com
Nashville Resources:
Belcourt Theater
Greenhills Regal Cinema (home of the Nashville Film Festival)
Tower Records
Until next time, I hope you have a great viewing experience. Comments are welcomed at cinespire@gmail.com.
