How do you rate a shoe? Such an odd object to fetishize. But here we are. We are calling ourselves "Free Nikes!" for a reason. And what's this video, and Scoop Jackson's book (not to mention this blog, ahem), but more advertising for one of the most lucrative branding projects in history? This picture was stolen from Solepedia -- yup, a wiki for shoes. But there's even cooler pictures, providing detailed looks at how the retro release of the Fire Red 3's compares to the original "elephant skin" cement grey look, in a relatively ancient post over on HypeBeast.com, where you can also find stuff like Darjeeling Limited t-shirts. (Dig that pun!) --RWK
[The sound is a bit off in these clips, but, still, while they're up, enjoy these highlights.]
It's a movie about surfaces, clearly. And depths. And the reserves erupting forth. This dynamic informs the whole of the film, including its finale, which really isn't as out of synch with the rest of the picture as detractors think it is; it's just another confrontation, but bloodier, bigger. There's a perpetual swelling. The finale is the final catharsis, after the midway-through expulsion*. Given that the film is about this oil, and equates Daniel Plainview with the oil, with modern technology pushing forward (dig that shot of the camera-as-train upon Daniel and HW's arrival in Little Boston), and with the art of movies (it's what he's working on, like a conductor, like a director), you could say, as I hinted in my year-end piece, that this is a film about film as catharsis. (Or, more broadly, art as catharsis; however I'll stick to the film being an argument about/for film since it is, of course, a film.) The working over of fears hidden by the everyday, by the will to dissimulate one's life. (Isn't that all Plainview does? Does he ever, truly see plainly? When?) Film as an the opportunity to shed light on unrealized or forgotten passions (such as love and fear and avarice and joy) is also at play in Punch-Drunk Love**, I'd argue, but that film sees film (art) as a dizziness of affect, not a skyward jet stream or a pipeline or a bowling alley. These last two PTA pictures work all too well together and I may just have to write something else about the two when There Will Be Blood hits DVD and I can capture all those great compositions. Say what you will, but I think PTA knows where to put the camera, and how to move it, in the way he wants; Blood seeps and Love glides. Both are kind of perfect to my eyes (and hilarious*** to my ears). Then again, so are those Pirates movies. --RWK
*This talk could easily slip into a discourse on sex and cumming and all that, but I'm not going there, although Keith may.
**One thing that may set PDL above TWBB, at first glance, is its explicit argument about sound in cinema, what with the harmonium and all those phones. But what's great about the new picture is its insistence on score as its argument about sound as a space in cinema (what I've called the operatics of the film; which can be seen to point towards the finale's alleged grandiloquence).
***PTA's humor always runs dark and nervy, which is why the almost slapstick spectacle of the baptism got me to guffaw, even here at home in this shitty youtube clip. But it's not all willy-nilly silly. There's consequences in PTA's worlds. And, like our world, moods shift rather quickly, and subtly, which is why I buy into the hug there at the end, when Daniel is back in his seat on the pew.
I've been listening to There Is Nothing Wrong With Love a lot in the past month. Probably has something to do with February and all its baggage (social and personal) but I'm not in the mood to investigate that. Rather, I offer the second song on that album (maybe the best song on that long player?) as evidence of another melody (emotion) that's been on repeat in my brain. Plus, of course, it's just a great song: full of life, pathetic explosions, reasons, surprises and, yes, love. --RWK
[Pic: Another easy one for friends of mine and fans of the flick who will instantly understand the link I've made. Still waiting for your guesses on that first image.]
A new series begins with an offering of a song from one of my favorite "writing albums." You know, one of those albums you put on to help get your brain moving for a while. I've been known to write to Fennesz on repeat he's so good. This song comes from that seminal 2001 release, Endless Summer. It's easily the most beautiful and most romantic song on the disc. --RWK
ALSO: Each song post will be accompanied by a screenshot from a flick. Try to name the flick in the comments. Some will be way easy, like this one, some we'll try to make hard.
With millions of engagement rings created every year, finding the perfect one for her can be tiresome. So, instead, customize your own, and make it personal.
a lot in the past month. Probably has something to do with February and all its baggage (social and personal) but I'm not in the mood to investigate that. Rather, I offer the second song on that album (maybe the best song on that long player?) as evidence of another melody (emotion) that's been on repeat in my brain. Plus, of course, it's just a great song: full of life, pathetic explosions, reasons, surprises and, yes, love. --RWK
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