I’m All About “Eve”

This weekend I had the good fortune to view (in convivial company) the classic 1950 film “All About Eve” on the big screen for the first time, at the American Film Institute in Silver Spring, Maryland. Now as regular visitors to these pages know, I have been a huge fan of this film for many years. I have seen it more times than I can recall, and can also recite almost all of the dialogue from memory. I also own a copy on DVD, naturally enough.

However there is something truly unique about seeing a classic black and white Hollywood film from the golden era on the big screen. No matter how familiar you are with a particular movie that you have seen on a television or computer screen, there is nothing quite like the experience of being in a theatre with a large group of people, seeing it on a huge screen, surrounded by sound. And truth be told, despite having lived in Washington for many years, this was only the first time I visited the AFI Silver Theatre, which is a wonderful space showing a wide range of both classic and contemporary cinema.

With “All About Eve”, this film in particular does not necessarily need to be on the big screen to be enjoyed. There are no great action sequences, and the film itself is not unlike a stage play, in which the dialogue is far more important than the action. However because the characters in the film – not unlike the actors who portray them – are so much larger than life, seeing them several stories tall really does add to the feeling that you are watching a hugely important work of American cinema, which “Eve” definitely is.

There are many reasons why I might recommend that you check out “All About Eve” if you have never seen it before. It could be because it is such a devastatingly accurate look at the misunderstandings and conflicts in relationships between men and women, for one thing. Or it could be because of its steely-eyed look at the problem of unfettered ambition and how it can harm other people. Yet I think on the whole if you enjoy hearing the English language well spoken, and you also enjoy a carefully crafted book, fiction or not, that becomes the primary reason to see the film. The words of the magnificent screenplay of “Eve” fill the air on the film set in a way that few films have done before or since. Paradoxically, this is a sensory feast for someone who loves to read.

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Anne Baxter, Bette Davis, Marilyn Monroe, and George Sanders in "All About Eve"

Watching the “Watchmen”: A Beautiful Film from France

If you’re interested in seeing good men doing good work on behalf of the whole world, I can highly recommend a film which for some reason had skipped my notice until last evening, “The Watchmen of the Night”.  I was made aware of it through a tweet posted by my friend Sister Veronica Young, a member of the Sisters of Faith who lives in solitude in Utah, but whom I’ve come to know through social media.  [N.B. Incidentally, if you are on Twitter, Sister Veronica should be on your follow list, Catholic or not, as she regularly posts words of encouragement, prayer, and comfort for those who need it.]

No, this isn’t a review of the superhero movie “The Watchmen”, which in fact I debated about with someone the other day.  Instead, this film is about a Benedictine monastery in the south of France, the Abbey of St. Mary Magdalene in Le Barroux, a town in Provence.  The movie examines the day-to-day lives of the monks, as well as allowing us to get to know some of the monks themselves, and why they chose to enter the religious life. And fortunately, you can watch the entire one-hour documentary on YouTube by following this link.

If this sounds somewhat like another film about cloistered French monks, the German documentary “Into Great Silence”, you’d be forgiven for thinking they were rather similar.  Yet while that piece goes through a year in the lives of the Carthusian monks who reside in the Grand Chartreuse in the French Alps, this film is not only shorter and somewhat lighter in tone, it reflects on a slightly different kind of spirituality.  The German film has no narration, very little dialogue, and an overwhelming sense of the mortality of man preparing to enter God’s eternity, whereas the well-narrated French film touches upon these subjects, but presents a more upbeat, joyful tone about the life shared by the brothers in Provence.

Whereas outside of the Divine Office or Mass, the Carthusians spend the vast majority of their day in total silence and rarely if ever see anyone from the outside world, the Benedictines spend a significant portion of their day working in their community and receiving visitors.  This could be overnight visitors making pilgrimages to the monastery for religious services, or interacting with patrons at the monastery shop which helps support the needs of the poor and the monks themselves. The Benedictines have their own periods of silence, particularly at night, but theirs is not the near-total isolation of their brethren in the Alps.

Yet like the Carthusians, the Benedictines in this film respond to the suggestion that what they are doing has no purpose by pointing out that they do not work for a purpose.  They work for God.  As such, they have no need for the secular materialist justifications of this world.  So as the saying goes, put that in your pipe and smoke it.

What I found particularly interesting about Le Barroux was the fact that these Benedictines are not the hippy-dippy sort which one sometimes associates with the Order here in the U.S.  In fact, this monastery was only founded in the 1980’s, although the complex itself looks like it was built 1000 years earlier. Originally, the monks here were aligned with the traditionalist schismatic movement which was spearheaded by the late Archbishop Lefebvre, but they eventually reconciled with Rome, and their monastic community was elevated to an Abbey in 1989.  To see how the monks live and how they worship is to see traditional Roman Catholicism at its most beautiful.

No doubt the lifestyle of the monks is not for everyone – particularly for those of us who could not bring ourselves to become vegetarians.  Yet it would be hard for anyone to look at the lives these men lead, and walk away unimpressed by the faith and the joy which radiates from them, as they go about following the great command of St. Benedict himself: ora et labora – pray and labor.  Particularly for those of you who are curious about traditional Catholicism, or what it’s like to be a member of a cloistered religious Order, or who want a very watchable film to show your children or students about Catholic spiritual life, this would be a fine addition to your film library.

The Benedictines of Le Barroux at prayer

The Benedictines of Le Barroux at prayer

 

 

“The Cosmopolitans”: Whit’s Still the Man

This weekend I had the chance to check out the pilot episode of “The Cosmopolitans”, the new series by writer and director Whit Stillman released on Amazon Prime.  If you’re a regular visitor to these pages, then you know that I’m an unabashed fan of his work.  Yet after the somewhat anti-climactic “Damsels in Distress”, it was great to see him return to seriously good form in this, a new series about young Americans living and loving in Paris.

Like much of Stillman’s work, “The Cosmopolitans” isn’t so much about a story moving toward resolution, but rather a series of stories that intertwine, punctuated by significant events.  He’s been described as the conservative, bourgeois version of Woody Allen, and there’s some truth to that observation.  For more often than not, the reason why someone either enjoys or does not enjoy Stillman’s work comes down to the question of whether the conversations taking place among his characters remind the viewer of conversations which they themselves have had.  If you can’t relate to Woody Allen – and I certainly can’t – then you probably find him irritating and perverse.  Stillman, on the other hand, is “The Man”, in a sense, because he is writing largely about the experiences of educated, cultured Americans from good schools and respectable backgrounds, exploring the world around them and always dressing stylishly as they do so.

It’s also interesting to see how effortlessly Stillman has transitioned to the small screen.  Like Amy Sherman-Palladino back in the first few seasons of “Gilmore Girls”, when it was one of the best-written things on television, Stillman has an ear for the witty comeback, the snarky cultural reference, and the perfect put-down worthy of the Ancien Régime. Yet because of the nature of the films which he has made so far, Stillman’s work usually has a drawing-room quality to it, like sitting at a party at the house of someone you don’t know – also a favorite plot device of his – and overhearing other people’s interesting conversations. These make the small screen just as good a venue for his observations as the big screen.

Stillman has also presented us with a combination of characters that we will try to figure out better as the series continues.  For example, writing Chloe Sevigny’s character as a kind of proto-Miranda Priestly seemed a surprise at first, seeing as how her outing in Stillman’s “Last Days of Disco” was as something of an ingenue. Yet watching her take a throwaway comment about how long it takes to become a Parisian and turn it into a recurrent thematic weapon is absolutely hilarious, and makes the viewer want to hear more of what she has to say.

The phenomenon of seeing prominent actors and directors like these creating on-demand streaming internet series is an interesting phenomenon in and of itself.  The American version of “House of Cards” is, understandably enough, extremely popular and heavily advertised here in DC.  This is due not only to the fact that the series is set here, but also because a significant percentage of the population here is tech-savvy enough to feel perfectly comfortable with the idea of watching a show streamed via the internet.  As more investment in digital infrastructure takes place in the coming years, it seems reasonable to assume that more and more of these “online tv” series will be made.

Of course the best sign that any series, online or not, has completely sucked you in is when you are watching a scene, the music swells, the screen goes black, and you audibly shout, “Awwww NO!” You’ve been so caught up in the story that you weren’t keeping an eye on the clock.  That’s happened to me a few times, during some really engrossing series: the British series “MI-5″ for example (as “Spooks” is known in the U.S.) These moments are the sign of a good writer, good director, and good actors all coming together. And that same, telltale outcry of disappointment that the episode was already over arose from me and my group of friends watching the pilot for “The Cosmopolitans”.

As the central characters began to make their way home across Paris from a party they had stayed at too long, the credits began to roll, and we were all disappointed to see that the episode was already over. I was reminded at that point of the conclusion of Stillman’s first film, “Metropolitan”.  In that story, his characters had to make their way back to Manhattan with no reasonable means of transportation at their disposal, leaving them to hitchhike along the highway as the picture faded into text.  Unlike in “Metropolitan” however, it appears that we are going to have the great pleasure of seeing what happens next to this new group of characters.  I can’t wait to eavesdrop on their conversations.

It's Whit Stillman. Of course there is a dance sequence.

It’s Whit Stillman. Of course there is a dance sequence.