Wednesday, September 15, 2021
Orphic Line
Sunday, September 12, 2021
Chloë Sevigny on Your Conscience
1. Anna puts on a record. It's Count Basie and His Orchestra, a good record—
2. Anna has forsaken Chloë Sevigny. She has moved across town with a novelist named Philip Wierzba. They live in a Victorian home with a black Acadian maid who speaks only French. The maid is named Mme. Diddette.
3. Chloë Sevigny pines for Anna, alone in the loft with the lights out. Always out. She has walked off of the current production and no longer bathes; cannot manage to see any reason in any of it. Well, there fuckin' isn't any reason. Chloë Sevigny has quit drinking. Chloë Sevigny cannot even bother to do that. No, even vice seems out of reach—phantomic relic—
4. Sometimes Chloë Sevigny goes to places that remind her of her years with Anna. When they were both still in love. She visits the Italian restaurant where they drank expensive wine, of which Anna spilt a glass on the red and white checkered tablecloth. The waiter smiled and told them not to worry about it. He could see that they were in love. They walked in a nearby park and fed the ducks. They kissed under the overpass adjacent to the college. Chloë Sevigny stands outside the restaurant and cannot be bothered to cry, although she would very much like to. Damn her, she thinks. Damn that bitch to hell.7. The police show up at Chloë Sevigny's Agent’s apartment. Chloë Sevigny's Agent is drunk and hallucinating. The police inform the party in question that Anna is going through the motions of filing for a restraining order and that the party in question is to stay five hundred yards away from her and cease all correspondence immediately. Chloë Sevigny's Agent says he doesn’t know anyone named Anna. The police leave.
8. SOMEBODY IN THE SEVIGNY NETWORK buys a cat and names it Anna. Eventually this person drowns the cat in the throes of a binge. Discussions break out on the Deep Web. Rumours persist and they windmill: THERE IS FOOTAGE.
9. Anna leaves Philip Wierzba for his drug dealer. She claims the differences are irreconcilable ones.10. There are Chloë Sevigny sitings. Some local grifters claim to have seen Chloë Sevigny purchase a black market firearm it is then rumoured she promptly sold, for fear of the foregone. This is odd because obviously Chloë Sevigny originally bought the gun in order to do something she intended to do. One would imagine. The general consensus is that this is all neither here nor there.
11. Anna leaves the drug dealer after he hits her. She takes fourteen grams of cocaine, a Rolex, and assorted household items with her. She briefly contemplates going back to Philip Wierzba, but decides that she would rather ask the editor at the magazine for her job back. She would, in fact, rather chew fucking glass. She is rebuked by the editor, and eventually runs out of money & goes back to the drug dealer.
12. Chloë Sevigny's Agent begins seeing a psychiatrist who puts him on atypical anti-psychotics. He is unable to quit drinking and ingests much more than the recommended daily pill intake, sometimes using odd combinations. The more he drinks the more pills he takes. He begins having anxiety attacks which his psychiatrist tells him is nothing to be worried about for the time being. During these attacks he has visions that make him feel he has attained satori. He has visions of Anna again. He begins reading books about zazen. Then he has a heart attack. He is broke because he has long since quit his representing anybody. His older brother keeps him company in the hospital and offers him money, listening patiently, the whole while, to stories of Anna.
16. Anna moves back into the loft. She gets a job answering phones so that she can be close to Chloë Sevigny. Most nights Anna and Chloë Sevigny's Dog-Walker walk in the park, arm in arm. They dream about the future. Anna is pregnant, but, ever indecisive, decides not to tell Chloë Sevigny until she is sure about what she wants to do. She is afraid of getting married and feels that it might be wrong to have this child out of wedlock. Anna undergoes a crisis of conscience.
17. Chloë Sevigny's Dog-Walker has forsaken Anna. He has fallen in love with a model from Belgium. He sees her on the sly. He still loves Anna and is confused. He drinks heavily. He decides to keep loving both women until it explodes in his face.
18. Chloë Sevigny's Dog-Walker asks Anna to marry him. Chloë Sevigny bursts into tears.
19. The model from Belgium is pregnant. Chloë Sevigny asks her to have an abortion. She says no. It goes against her moral code. Chloë Sevigny's Dog-Walker feels he is obligated to be there for her and the child. After all, he loves her very much and the baby is his responsibility, too.
20. Chloë Sevigny's Dog-Walker leaves the loft late at night with nothing but an overnight bag. He kisses a sleeping Anna on the forehead and slips out through the front door, evading Chloë Sevigny. He takes a cab to the model’s apartment. They make love and talk about the future. He quits his job over the phone. No more dogs!
21. Chloë Sevigny's Former Dog-Walker and the model have a son named Tyler. He is born slightly premature but quickly becomes healthy and fat. The three of them move into a townhouse in another city. They are very happy.
22. Anna quits her job after the abortion. She takes drugs and drinks too much. Buy she' going places.
23. After a year of marriage, Chloë Sevigny's Former Dog-Walker begins to wonder if he made a mistake. He has reoccurring dreams starring Anna in which she and he make love in the park, Anna's hair caught in the serpentine breeze, her eyes ablaze. He begins to have anxiety attacks—
24. Chloë Sevigny's Agent suffers a fatal heart attack.
25. One morning, Anna, who has pulled herself back together yet again and is working for a local newspaper, reads that the husband of a well-known model of lady’s undergarments has died of a heart attack in a nearby city. She is stunned. She wonders if maybe it was the memory of her, and how he had forsaken her, that brought the heart attack on. She feels partially responsible. But not in a bad way. No. She feels partially responsible in a way that makes her smile. She finishes her coffee and goes back to work. It is a wonderful, sunny day, full of possibilities. Everything seems as it should. She decides not to attend the funeral. After all, she has a whole life ahead of her and a new career to worry about!
26. All agree, Chloë Sevigny's Agent’s funeral is a smashing success—the event of the season—
Wednesday, September 8, 2021
Scènes condamnées
As for me, and I come back to it, I attach enormous importance to form.
Enormous. And I believe that the form leads to the rhythms. Now the
rhythms are all-powerful. That is the first thing. Even when one makes the
commentary of a film, this commentary is seen, felt, at first as a rhythm.
Then it is a color, (it can be cold or warm); then it has meaning. But the
meaning arrives last.
- Robert Bresson
A Man Escaped (Un condamné à mort s'est échappé ou Le vent souffle où il veut, Robert Bresson, 1956)
There are the man's palms and the business of their irreducibility of business. They have to be busy. Somebody let me out of here. Palm up on lap. Weighing light. Weighing the weighing of the question of weighing light. Weighing the weight of the very supposition of light. We are in the back seat of a car, traffic noise can be heard but it is distant and impossibly [calculatedly] soft. Hands turn over on the lap. Irreducibility of the hands. The image encases us in the back of the car while the sound provides us corroboration of an outer world swamped in cotton swath. Bresson tells us that “freedom is greater with sound.” Here the sound literally represents the terrain of liberation, the outside, while the image places us in the back seat of the car, effectively already in prison.
The driver’s hand on the gearshift, prisoner reaching again for the door, waiting, waiting, pushing open a moment for acting, little fingers tadpoles, critical breathing, inimical breathing, clearly a sense of apprehension mixed with desperation. We hear a horse drawn buggy on the soundtrack but are unable to place the sound until it is corroborated a moment later on the image track. Throughout the film strange unknown sounds are presented to us only to be explained later visually. There is the buggy; there are the voices of the German guards who approach our man and take him to his cell moments later; there are the guards who come to our man's door throughout the film, revealed by their footsteps, their voices, or both; and most strikingly there is the squeaking of the bicycle during the escape sequence, which remains a mystery to us for a good ten minutes before one of our big kids on the skids finally peers over the wall and sees a guard riding it. Over and over we are left free by sounds only to have many of the holes filled in by the image. Many sounds are never filled in by the image. The guns that execute the prisoners in the distance are only ever heard. The voices of the guards are almost always disembodied. Sounds of movement outside the cell maintain a perpetual air of mystery.
André Bazin espies in the film a suspension of space/time and a stunning absence of “dramatic geometry.” However, our man, lieutenant Fontaine, the model attentif, can hardly afford to come at matters from a like mindset.
At the same time: guards, industrial machinery, draconian aurality. It is precisely these sounds that make it so hard for our man to carry out his escape. Using his ears, “dramatic geometry.” He is confronted with many sounds that re-inscribe imprisonment upon the sensorial body, connecting our man and his audience together through sound. It is difficult to “take the plunge” offered by the liberating enterprise because everywhere sounds retain their music of the prisons and ritual debasements. As escapes open, prisons re-inscribe: the plane of exposure. As soon as our man and his boy conspirator leave their cell there is no going back and this cannot be anything other than a done thing considered from any and every angle. All sounds become condensed, intensified. Sounds emanating from sources organized to vouch for and stage imprisonment can map a “dramatic geography,” or can be perversely fathomed to further induce productive building and risk within a context of conditional exposure. The man arrives at the point of hearing himself and hearing the doors bolt shut there too. Or this is presumably what is at stake. (If I know it, it's 'cause I feel it first!) Sounds become important on the plane of exposure and then become the enlivenment of the planar exposure. What is most frightening to a man is his own future voice (preserved from one local-specific execution or not). It is “the noise I made and the constant fear of being caught.” The electric charge of chance further condenses and distills the sensory-motor vibrations while simultaneously increasing intensification in general. A realistic/naturalist bodily tension is created, nowhere to be seen (or heard) in standard prison movie fare.
It had been cemented at the outset. Hands reach for the door, as such reaching merely and instinctually for the perhaps better. A sure hand conditions these tremulous claws-in-search-of-nook. Apprehension and desperation. Hand pulls away nervously, only to regenerate the gesture again and again until the courage is there. The ears are builders of the plane of exposure and the fingers tickle invisible ivories. The model must bridge the gap with his tools: hope, the momentary courage to act, the prevailing dumb luck that is all that which is left standing in the interim (the circus tent never an adequate hangar, this it's preeminent virtue).
We bust from the car. Bust out. Blast off.
At the beginning of the film.
We are shot at, you are returned, I am beaten. It is because somebody lacks the third and final tool. Too many critics have mistaken this tool for something other than dumb luck. It is something other than luck, though, unless luck vibrates. Shut your mouth a moment and look upward.
The hardest lesson I ever learned about escaping was to shut my goddamn mouth.
Tuesday, September 7, 2021
PHILIP WIERZBA IS THE REAL DEAL
I have been thinking recently, particularly late at night when Lydia goes to town to see a movie with her lady friends, of my brief business relationship with Philip Wierzba. It was some years back, when I lived in Canada and still worked in the legal profession (please don't ask!). Late at night, when my mind finally wanders from the rheumatic anxieties of the day, I think about the first time I met Mr. Wierzba on 47th street at Sam Kabobby’s All-Night Diner fix.
It's the final minutes of the day, when they are doing their thing and I mine, surrounded on all sides by silence, Philip Wierzba slipping through the shadows, grey sheets hung out, one half mile from his dark third-floor apartment. Anyone passing him on the streets would have noticed, conspicuously suspended in the tight grasp of his clenched left (conciliatory?) hand a weary looking manila envelope festooned with a large, seemingly official stamp. Now, any guess as to the nature [furtherance] and content of that envelope would have been common hearsay, both because of the unreconcilable contradictions in the appearance of Mr. Wierzba, and because of the consummate weirdness implied in the very principle: clandestine landscaping figure, looming like animated monument, sliding through the grey sheet streets of this, the infamous northern end of town. He would have been an impossible man to place and his business could have been anybody’s guess. On the rather extraordinary subject of Mr. Wierzba’s appearance, I shall take this time to note some of the presiding elementals:
He was dressed in a long, dark, Hamlet-like coat. The Dane.
He was wearing an old pair of horn-rimmed glasses like a goddamned owl and a brown journalist’s cap that had seen a great many better days.
Stylish—but strangely small, and mainly strange—vest in rather, uh, pressing need of ironing. A dirty pair of white tennis shoes.
All this was combined with the—and this is the only way to describe it!—incomprehensibly childish character of Mr. Wierzba’s waggishly youthful face (in the mouth of which was perched a lengthy, manure-smelling cigarette, of explicitly foreign origin).
As I was taking a hit of Scotch in the back of the diner. I am sure. I am sure. I am surely sure, sir, that all of this information was filtering through me. I must admit, sir, sure, that my recollection on the...the matter is...hazy. Sure. Surely. Both in lieu of the slow... stinting effects of the Scotch and because of some anxious residue retained from an earlier argument with Lydia. Oh, fuck me. One of all too many that day, that week. This series of arguments had been surrounding and covering [combat through grey sheets and streets] my penchant for periodically not calling her or coming into contact with her for exceedingly long periods of time. I felt her to be overreacting, mostly because we had only been seeing each other for a very brief interval and because I did not feel that I had been avoiding her. I chalked up her irritation and tension to the fact that she had recently, for baseline economic reasons, been forced into taking up a job as a counter-girl at a doughnut joint whilst I held the comparatively superior position of lawyer.
Despite the fact that I had been carefully analyzing the street through the large front window, I did not see Philip Wierzba until he came sweeping through the second set of diner doors. He entered like a figure in total, perhaps self-mocking control of its surroundings. I knew immediately that this was my man.