The last movie I ever saw in theater

I'm just being overdramatic (or I dearly hope I am). One day in the future the movie theaters are going to open again and then I am going to go on a movie spree and watch as many movies in a row as I can. 

But until that happens, The Gentlemen will remain the last movie I saw in theater about a year and two months ago (highly unusual for me, normally I go the theater twice a month), exactly one day before the theaters closed for the first lockdown. So let's talk about The Gentlemen.

The easiest and fastest way to describe this movie is to tell people that it's a Guy Ritchie movie. Of course, that only works if people are familiar with Guy Ritchie movies and aware of his style and quirks. A Guy Ritchie movie is British, it's probably about gangsters or outlaws or just generally people with a flexible moral compass, people swear when they open their mouths, there is probably only one (1) major female character but obvious homoeroticism, stylish slow-motion action scenes and highly stylized sequences when characters e.g. are recounting a story or observing something.  It's kinda dumb but good fun.

Another way to describe this movie is as a mess of baffling narrative and cinematographic decisions that really shouldn't work but somehow do. The greater part of the movie, for example, is told by a shady journalist to the right-hand-man of a drug lord as an explanation of why he deserves 20 million pounds for not publishing the information he has. It begins, however, with the drug lord in question apparently being shot in a bar.  

I liked this movie because I am generally fond of Guy Ritchie's style of storytelling (as I just mentioned in the previous post). I was interested in all of these morally ambiguous characters who all held onto their own carefully-kempt facade of civility that is in danger of slipping always. Charlie Hunnam's second in command to Matthew McConaughey's drug lord (who loves power, prestige, and his wife), is the character I enjoy most, simply because of the calm menace he exudes and the fact that he needs things to be very particular and has to deal with Hugh Grant's shady journalist who absolutely does not care. (Hunnam's character and the drug lord were also an example in my 'crime lord and right-hand-man' post, so yeah.)

I probably have a higher regard for this movie than I would have had if it hadn't been the last movie I experienced in a theater on the last day before the first lockdown but here we are. I have since rewatched it and enjoyed it just as much, so maybe I just like it, you know, no excuses necessary.

 Satori over and out

P.S. If the gimmick rap song seems just a bit too good to just be a movie gimmick, it's because the one playing the rapper in the movie is a rapper in real life as well. Just a fun fact.

"Bad" movies I enjoy 2 - King Arthur

 

King Arthur: Legend of the Sword (30/69)

Is this just an excuse to talk more about this movie? Maybe. The audience score for this one is pretty solid but critics weren’t as happy with it. Something about how there wasn't much of a story or how the characters were underdeveloped or how it had little to do with the King Arthur myth. Eh, who needs all that. I will forever be bitter that it underperformed and we will never get a sequel called "Knights of the Round Table" in which Arthur has to deal with nobility.

What is it that I like about this movie?

• As I said in a previous post on this blog (nearly four years ago now wow) changing Arthur’s background, how he grew up, and who he is now as a person as a result is very interesting to me. Arthur is not a noble and instead grew up as an orphan in a brothel and on the streets of London. He vehemently resists becoming the chosen one and is instead interested in protecting those he considers his.
• I am also in general fond of Guy Ritchie’s signature style of story-telling, full of highly stylized action-sequences.
• I very much like the fact that there’s no romance sub-plot. The mage fulfills the role of guide not love interest, which is only fitting for this film.
• I also enjoy that not everyone is white as is often the case in medieval fantasy.
• The score is absolutely phenomenal. It is one of my favorite movie scores ever and I listen to it constantly.

Should you watch it? - Definitely! It is a good time at the movies if you're into fantasy.

 Satori over and out

(For my next "bad" movie, I should pick one with a low audience score to balance it out.)

Character Dynamics: Crime Lord and Right-Hand Man aka the villainous King and Lionheart

“And as the world comes to an end
I'll be here to hold your hand
Cause you're my king and I'm your lionheart”
- King and Lionheart, Of Monsters and Men

RAY: “It’s out of your jurisdiction. There’s too many moving parts, parts that we can’t control.”
MICKEY: “That may be true, but you’re still doing it.”
RAY: “I accept that… But can’t you send Fraser instead?”
MICKEY: “No, I can’t send Fraser, you’re my best man. I want you.”
- The Gentlemen, dir. Guy Ritchie

I have not been able to find out where the term King and Lionheart originated or by whom it was popularized but to the best of my knowledge it gained traction in the last couple of years. King and Lionheart refers to a very specific character dynamic, namely, a hero tasked with great power and responsibility and a loyally devoted friend, who is their rock and protector. This relationship can, but definitely does not have to, be romantic. The classic example, of course, would be the trope’s implied namesakes, a king and their trusted knight, it can, however, also be understood metaphorically as any variation of leader of the group and second-in-command. It is important that the lionheart-character is faithful and devoted to the king-character and the king in return trusts the lionheart like no other.

Now, this dynamic is, of course, beautiful and I enjoy seeing it immensely. What interests me even more, however, is its villainous counterpart, which I will be calling Crime Lord and Right-Hand Man (I know it’s not quite as catchy, if someone has a better idea, let me know).

In its broad strokes it is equivalent to King and Lionheart. The crime lord is a leader tasked with great power, the right-hand man their loyal and devoted protector. The crime lord is maybe a gang leader, a tyrant, the head of a criminal enterprise or other, the right-hand man is maybe an assassin, maybe a second-in-command, maybe a mercenary, but whatever they are, they are, for whatever reason, fiercely loyal to their crime lord. The differences are where it gets interesting.

Where the dynamic differs strongly is at the level of equality and reciprocity that can be achieved in such a relationship. While technically kings do have some power over the lionheart, it is mostly rendered a moot point since the lionheart follows and protects the king voluntarily and the king’s respect puts them on their level. And even though I’d argue that the right-hand man’s agency in choosing - and choosing to stay with - their crime lord is crucially important (more on that later) and the trust and respect their crime lord has for them is vital, there is a certain power imbalance inherent in their dynamic. Because the implication is always that the crime lord would sacrifice their right-hand man if it came down to it, up until killing them themself if they had to. Furthermore, the crime lord is unquestionably in charge and gives out orders. The right-hand man might provide input or advice but ultimately the decision lies with the crime lord and only with them and the right-hand man is expected to shut up and comply.  

Of course, the right-hand man gets something out of that dynamic as well, and it’s not only money and second-hand power. No, a right-hand man is exactly where they want to be, one step behind and to the side of their crime lord. They either don’t have the taste for the duties necessary to sustain the criminal enterprise themself, are more chaotically inclined or obsessed with the crime lord. Their fierce devotion is necessary for this dynamic to function because loyalties in the world of the crime lord are usually tenuous at best. This devotion often reaches excessive heights - willing to torture, maim, murder, die - and puts the right-hand man in a special position no one else can occupy.

Due to their unique position the right-hand man is also potentially a unique liability for the crime lord, because no one knows their business, no one knows them, better than the right-hand man and a crime lord typically has a host of enemies who would just love to use the knowledge of the right-hand man against them. This is where the right-hand man’s agency comes in. It is absolutely necessary that they want to follow, support, and protect their crime lord, that their devotion is based on choice not on fear or practicality. They would never betray their crime lord not because they fear possible repercussions but because they don’t want to, no promise of money or power could sway them. 

And that’s what fascinates me. 

Birds of Prey

Examples of this include:
- Cesare Borgia and Micheletto (Showtime Borgia, the fictionalized characters specifically and not the real people that existed)
- Black Mask and Victor Zsasz (Birds of Prey, again, specifically their portrayal there)
- Mickey Pearson and Raymond Smith (The Gentlemen)
- Wilson Fisk and James Wesley (Daredevil Netflix show)

If you have more examples, please send them to me.

Satori over and out

P.S. I feel the need to clarify that I’m using “relationship” in this post in its most general sense meaning the connection between two or more people.

 P.P.S. Take this meme from tumblr that fits:

 

Recommendation: 4 short stories of The Best American Science Fiction and Fantasy 2019

This time around it was even harder to just pick four stories, since I loved almost every single story in this collection. The 2019 collection edited by Carmen Maria Machado is definitely my favorite year so far. You know the drill by now. If you can, buy the book, if you can't, follow the links to the stories that can be found online. Enjoy!

1) While it was hard to pick the other three, choosing this one as number one was actually quite easy. Sister Rosetta Tharpe and Memphis Minnie Sing the Stumps Down Good by LaShawn M. Wanak is really quite something. From the premise to the setting to the characters and social commentary, this story is truly exquisite. There's an epidemic of so-called stumps, wood-like spore formations that can be lethal if breathed in. Some people have the ability to destroy these stumps with singing and these people are asked to work for an agency of questionable intent that does just that. Telling you more would spoil it, I fear and it is so much more than I can quickly summarize in a few sentences.

2) When Robot and Crow Saved East St. Louis  by Annalee Newitz is about a disease-tracking and epidemic-preventing robot who gets left alone when the funding for its program runs out (pointedly enough its human handler now works for Amazon Health). And still it follows its objective to keep the population of St. Louis safe. It is aided by a crow it befriended and by a child living in an occupied building. I like the optimistic tone despite the dismal state of that world and I greatly enjoy the robot learning crow language.

3) I love Martin Cahill's Godmeat  because it hints at every turn at a greater story, a larger world. A brilliant cook is tasked with preparing the meat from dead Old Gods for new vengeful gods to help them take on physical form. He does so because he is angry at the world and feels betrayed and he relishes the challenge. That the ascension of the new gods would almost certainly mean the end of the world is something he accepts, at least in the beginning. Despite the grandiose backdrop, it is actually a quite personal story about regret and redemption and letting go of resentment.

4) Nino Cipri's Dead Air is a subtle horror story told through transcripts of audio-recordings, which I greatly enjoyed. The manner of telling contributed to the uncanniness and uncertainty, because you couldn't be sure what was happening. An artist interviews her lovers for an art project and unexpectedly falls in love with one of them, a mysterious woman that cannot - but has to - go home to confront the things that haunt her. I really like the atmosphere created here through story-telling and the use of transcripts and the way the story haunted me. 

Okay, I can't restrain myself. I recommend two more stories:

Ada Hoffmann's Variations on a Theme from Turandot for a wonderful blend of fiction and reality that happens in a theater and the escape that lies in the malleability of stories.  

P. Djèlí Clark's The Secret Lives of the Nine Negro Teeth of George Washington  for episodic tales of magic and consequences and what it says on the tin. 

I truly enjoy these collections a lot. Maybe I should look into subscribing to one of these magazines the stories come from and get more stories more often. Anyway, enjoy these! They're brilliant!

Satori over and out

Let's talk Christmas movies: Klaus

 Klaus:

 

 

Klaus is first and foremost gorgeously animated. It looks 3D but it is all hand-drawn. Every character is designed to be so wonderfully expressive and they all look different. Apart from that it is also a beautiful and touching story about a selfish postman sent to village willfully locked into conflict and hate who finally brings back love and light.  It is, of course, a classic Christmas theme, but made me cry nevertheless. 

P.S. I know I did not post a movie last week. Sorry about that, I might rectify that.

Let's talk Christmas movies: Jingle Jangle

 Jingle Jangle

Another Netflix movie and just like Klaus this one is gorgeous as well. The costumes are so inventive and colorful, everything is a joy to look at. The animation perfectly transports the magical elements of the movie. Apart from beautiful to look at it also has a beautiful story. A little girl goes to spend the holidays with her withdrawn grandfather, who was once the greatest inventor of the land until his apprentice betrayed him. Together with a little boy and in a race against the former apprentice turned toy seller, she brings back joy and inspiration. It's very sweet. Additionally it has a plethora of fun songs, because, yes, this is technically something of a musical. Because this movie is new, you probably haven't seen it yet and I'd recommend you do!

(Yes, I only wrote this post in January 2021, but it looks better this way.)

Let's talk Christmas movies: Rise of the Guardians

Rise of the Guardians:

 

Rise of the Guardians is a beautifully animated children's movie about fear, oblivion, faith, belonging and ultimately kindness. I enjoy the interpretations of the Easterbunny, Santa, Sandman and Toothfairy very much, inventive and fun to see. The Sandman's animation in particular was gorgeous to look at. It has a lot of heart and a simple yet gripping story that ends hopefully. Making the antagonist be more representative of hopelessness than fear - although fear was still part of it, of course - was, in my opinion, a good and meaningful choice. No wonder I like to come back to this children's movie from 8 years ago.