Journey to CAIRO: pt 4

Art by Matthew Laskowski.

"..Here's looking at you, kid."

After mad deliberation, Casablanca is my all time favorite film. I'll write an epic review for it someday.

"You notice things if you pay attention."

Unrequited love may suck, but it certainly makes for a good story. The drama of external forces desiring to tear lovers apart has been a storytelling staple even before Orpheus lost Eurydice to Hades. With this in mind, there is something about Wong Kar Wai's In the Mood for Love that takes the idea to a level of sophistication rarely seen on this side of the ocean. I tend to shy away from hyperbole, but I believe this: Kar Wai's film is the most romantic movie I've ever seen and probably ever will see. Oh, and you should see it too.

The story follows Mrs. Chan and Mr. Chow (played by Maggie Cheung and Tony Leung respectively) as they move into the same building with their spouses. As their significant others work long hours, Kar Wai depicts the characters as lonely, adding agony when it comes to eating alone. Soon they discover that their loved ones are having affair, becoming friends through their shared heartbreak. Together, they role play the infidelity of their husband and wife as a way to unravel what exactly happened, falling in love for real in the process. Now, disgusted by their desire for each other, the two seek to flee each other's lives.

Apparently, Kar Wai didn't see the need to write an intricately drawn screenplay, opting to instead find the story through on-set discovery. While this decision could spell disaster for summer blockbuster fare that need to stay on course to remain afloat (Revenge of the Fallen's storytelling genius notwithstanding), Kar Wai appears to be intrigued by the creative forces that lie beyond his hand, allowing the work to sail off to uncharted waters. I recently read that the film's carefully subtle approach was slowly discovered through production, shying away from the tradition of witty "romantic" banter and obligatory sex scenes. There's no mistaking it, despite not even featuring a kiss between the two leads, In the Mood Love is up there with Last Tango in Paris when it comes to depicting scenes of intense intimacy. Instead of sweeping the audience into the romance, what occurs is a haunting tale of yearning and regret that embodies the truly great love stories.

All the while, Kar Wai proves the artistic merit of the "MTV" aesthetic, embracing contemporary editing techniques that compliment his story beyond simply being "cutting edge." Similar to Michael Mann, Kar Wai exudes style and grace without a hint of straining. With dp Christopher Doyle, he depicts the city in way that articulates the character's sense of self. Basically, this means a visual pastiche of deeply drenched colors and stylized camera shots. However, even if his film is almost too cool for school, he manages to insert the pathos necessary to engage the audience. Playing a spectator role, Kar Wai uses his style to focus intently on otherwise seemingly insignificant moments. Trust me, never has a hand reaching out to another been filmed this extravagantly.

Journey to CAIRO: pt 3

Photography by Gonzalo Bernard.

Journey to CAIRO: pt 2

This is part of Keffi's "Party Life " series.

I'll Fly Away

Finally writing the damn thing. My goal is to keep the story to 20 pgs. MAX. Above is the story's inspiring image.

(HINT: It's about Franklin. He's the black kid.)

Journey to CAIRO: pt 1

What's up cool kids? I'm trying something kinda crazy so just hang with me.

I'm devoting a decent amount of time sketching an idea that I hope will grow into a feature length screenplay. Whenever I feel like it, I'm going to show you guys the seeds that are inspiring me throughout this trip.

Tonight I'll kick off with art courtesy of Patrick Rochon. Go ahead and give'em a google or a bing.

This is what's in my head right now.

21st Century Schizoid Man

Crazy how the modern myth of the super hero effortlessly intertwines with society's fascination with celebrity status. Both embrace dream worlds, canted, but often painted to be similar to "reality," featuring individuals who are arbiters of ideas that transcend the "self." Arguably, a compelling villain is essential in crafting a great super hero story, raising the idea of the antagonist functioning in the world of the rich and famous. After watching Kanye West's performance of "Power" the other night, I'm catching vibes that it is an idea the troublesome artist entertains.

Perched on top of a fiery volcano backlit by a sweeping mountain vista, West appears lost in the surrounding epic. "Screams from the haters, has a nice ring to it. I guess every super hero needs his theme music," Kanye snarls, clutching his mic stand like a staff. Rapping over the track's heavy chanting, the image of the prophet is embraced by the self proclaimed pop star as he bellows out the lyrics to the audience. Considering that it's the first major stage performance after the Taylor Swift debacle, it's a curious image choice to basically be saying "f-u" to everyone while standing on an active volcano.

Between now and the six years following "Through the Wire," it's clear that Kanye has been developing a persona unique to pop music. Self-aware of the superficiality of materialistic gain that encapsulates commercialism, he pursues the artistry trapped within the artifice. Depicting himself as a tragic figure, Kanye appears to not be a pop star by choice. Instead, it's simply an outcome derived from his desire to create. In a sense, it's as if he's "possessed."

His egotism matches his possessive drive tic for tac, as he aspires to talk shit and be capable to back it up. Not settling for anything less than greatness, he seeks validation for his hard work and for the hard work of his peers. Kanye was right, Beyonce had the superior video, however, his actions were obviously inexcusable and were rightfully shunned. What makes him a great artist is what also makes him, unapologetically, a jerk. Kanye's his own worst enemy, and since he embodies the image of the pop star, that makes him pop music's enemy as well.

Still his work ethic, creativity and showmanship cements his status as one the premiere creative forces of our generation. Kanye's sheer audacity and unfiltered emotion makes him the most intriguing and evocative act in the past decade. So says Yeezy: "I embody every charactersitic of the egotistic. He knows he's so fucking gifted." Note how the audience can't help but to clap with the man as nature wreaks havoc behind him.

Kanye West is an ass and an inspiration.

He's pop music's first villain.

Note: I would have posted the performance, but evidently it has been taken off of youtube.

American Cinematographer's Best Shot Films (1988-2008)

1. Amélie: Bruno Delbonnel, ASC, AFC
2. Children of Men: Emmanuel Lubezki, ASC, AMC
3. Saving Private Ryan: Janusz Kaminski
4. There Will Be Blood: Robert Elswit, ASC
5. No Country for Old Men: Roger Deakins, ASC, BSC
6. Fight Club: Jeff Cronenweth, ASC
7. The Dark Knight: Wally Pfister, ASC
8. Road to Perdition: Conrad L. Hall, ASC
9. Cidade de Deus (City of God): César Charlone, ABC
10. American Beauty: Conrad L. Hall, ASC

Here's the link to the rest of the list:
http://www.theasc.com/asc_news/News_Articles/News_304.php