Paul Reubens, aka Pee-wee Herman, insists on camera that the documentary must not be of the “tears of a clown” variety. It is an admirable attitude, but Matt Wolf’s film, perhaps inevitably, emphasizes Reubens’s problems.
What hurts so much about these depressing examples is that they reveal one of the world’s greatest composers to be little more than window dressing to our naïve hopes about enlightened hearts and human progress. How could an artist of such immortal genius be so powerless, almost helpless, when confronted by the darkness of the human heart? And if art as elevated as Beethoven cannot help save us from ourselves, who can?
While watching Peck of Dirt, I was thinking about the inscrutable, somewhat self-defeating, but ultimately lovable and inspiring character of the St. Louis rock music scene.
Is it his cosmopolitan background? His stint at the Iowa Writers Workshop? His knowledge of human suffering?
I felt transported and in a kind of dream long before I found a place where I thought I might rest my head long enough to fall asleep, until I was shifted again by what seemed to be the constantly drifting bags of laundry. Sleep would not come right away, a defining experience of life at sea. Added to the queasy motion of the ocean, the heat, and the noise, was a fearsome apparition that Walt had warned me about.
Henry James said, “This vast grey, smoky, extraordinary bourgeois place seems to offer in a ceaseless mild soft rain, no interest and no feature whatever.” The Missouri Historical Society, for their part, has nothing tagged in their online collection for “Henry James.” Touché, maître.
La persona, a person, is feminine even if referring to a man. El vestido, the dress, is masculine, though la falda, the skirt, is feminine. Why do this to us?
Joel Meyerowitz gives a sort of history of America from mid-century to post-9-11. He frames this, as he sits speaking to the camera, with his own experiences on “the street,” illustrated by film footage (it is unclear if it is his) and stills that he shot.
As our national landscape becomes consumed and reshaped by hundreds of lawsuits, appeals, and judgements, Dickens’s ’Bleak House‘ reminds us of the grotesqueries that will be born as a result, but also of the life that survives and waits for us all outside the courtroom.
In the 2019 documentary ‘Koudelka: Shooting Holy Land,’ directed by Gilad Baram we get to see a photographer with the perfectionism of a master and the patience of a saint. Koudelka has lived a life of discomfort and often danger for his art.