Jul
15
2010

cheating ourselves

I have to say something about The Kids Are All Right. I’ve already sorta-reviewed it (here).
This is a follow-up plea.

I’ve been watching in horror and disgust and (especially) disappointment as lesbians all over the web have excoriated this exceptional film because it has a “lesbian-sleeps-with-a-man” storyline.

The film does not have that storyline.

It has that plot point, but it does not tell that story. Its stories are much bigger than that.

The Kids Are All Right is about family, love, honesty, parents, children, failure, dreams, freedom, responsibility, now, then. It’s about growing old, growing up, reaching out, turning in, having courage, having issues, taking a risk, taking stock, making babies, making speeches, moving on, moving closer, exploring, retreating, eating, drinking, having sex, having a fit, freaking out, calming down, going too far, going home, kissing well, kissing awkwardly, wearing sweater vests, wearing tennis shoes, wearing hats, telling the truth, telling a fib, hoping for the best, fearing for the worst, saying goodbye, saying you’re sorry, confronting your fears, avoiding your neuroses, singing Joni Mitchell songs, laughing at Joni Mitchell songs, riding motorcycles, driving trucks, driving each other crazy, forgetting your principles, remembering what you love, watching porn, watching your children become adults, tending the earth, neglecting your own, rising above, going down, going to Home Depot, going off the rails. It’s about lesbians, Californians, hippies, skater dudes, composters, perfectionists, drinkers, landscapers, Mexicans, Americans, moms, dads, kids, friends, enemies, frenemies, lovers, posers, flirters, partners. It showcases flaws, talents, fun, pain, hopes, disappointments, commitment, roaming, steadiness, flakiness, distrust, acceptance, promises, lies, sincerity, hypocrisy. It knows how people love, what people think, why people fuck up, what makes adolescence amazing, what makes adults lovable, who knows best, who’s on first, what is sexy, who holds the cards, how to make you look, what will make you cry, why you should bow before Annette Bening, why you should worship Julianne Moore, how to spell “all right,” who you were as a kid, who you’ve become, what you missed, what you feel, what you need, why you try, why you can’t, how you can, who you wish you could be. It matters because life is hard, love is precious, kids are tricky, parents are important, women are strong, men are beautiful, people are strange, families are fragile, time is fleeting, and love is everything. It is funny, sad, smart, universal, careful, carefree, pure, inspired, real.

It’s about life. It’s about women. It’s decidedly not even a little bit about penises.

If you have seen the film, you know what I mean. If you haven’t, you cannot possibly know what I mean. So stop jerking your knees and belittling a bigger-than-that movie and GO SEE IT. Keep your mind and your heart open. Listen to what the characters say, watch what they do, and understand who they are.

Don’t cheat yourself. Lisa Cholodenko has a brilliant vision and a giant heart. It saddens me to think that someone might miss out on that by favoring petty politics over transcendent truth.

I hate, hate, hate storylines in which lesbians sleep with men. And I love, love, love this movie. Oxymoron? Or revelation?

All I am saying is give TKAAR a chance.

Peace!

why

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Jan
13
2010

muffled

The internet is rife with people who call themselves writers. Many of them have confused the ability to click “Publish” with the ability to craft a sentence. So when I come across someone who actually seems to have an ear for language — instead of just an eye for topics that are likely to generate page views — I pay attention.

Judith Warner has been one of the bright stars in the polluted blogosphere. Her blog, Domestic Disturbances, didn’t initially appeal to me: I thought it was all about motherhood and midlife crises. But then I skimmed a few paragraphs and wanted more. Warner knows how to concoct that remarkable blend of funny and smart that’s instantly addictive and incredibly satisfying. And her deft turns of phrase are never just for show; like poets, she knows that sometimes the best way to express something is to approach it from an unexpected angle. On the path she paves with her glittering vocabulary, delight and insight walk hand in hand.

Here’s one of my favorite Warner pieces: We Are the Dog. But if you read that and love it, don’t go looking for more: it’s all over now. Warner published her final Domestic Disturbances post last month. I was so saddened by the announcement, and then so impressed by yet another great piece of writing, I initially overlooked the tragedy hidden in her farewell. The really heartbreaking news is that the internet — specifically, the cacophony of id-driven blurting we call "community" and "interactivity" and "comments" — made Judith Warner second-guess her mighty pen. Here’s the pertinent bit:

The back-and-forth of our conversations changed me. I have learned to be more aware of the effect of what I say….

I am more cautious now, both in print and in real life. It is a strange thing, after long having been a bit too emotionally loud … to now find myself the kind of person whose hand other people grab, panicked, in mid-conversation, as they gasp apologies for their own effusions of opinion or effervescence.

“Not at all,” I have to say.

It is not necessarily a bad thing to have become more aware of other people and more tuned into how they feel. After all, when you write, alone and in silence, you are addressing real people, and you ignore their feelings and sensibilities at your own risk.

It’s true that this kind of awareness is not necessarily a bad thing on a human level. We could all stand to be more considerate and compassionate, especially online. But I think it’s a very bad thing for a writer to become so aware of her readers. Caution thwarts creativity and blocks inspiration. And Warner’s own message on this issue is a little mixed; earlier in the post, she seems to long for the good old (comment-free) days:

… it’s probably no accident that the greatest sense of community I’ve had in recent years has come from sitting alone, staring at a piece of paper (I write by hand) and shutting out the world.

I think that’s the only time a writer can truly hear her own voice. She should still hear echoes of other voices, of course, and I think that’s the sense of community Warner refers to: the community of knowledge and experience and just being a person who’s alive in the world. But online, that larger context shrinks and contorts. Some commenters haven’t even read the thing they’re commenting on and probably never will. That’s not really a community; it’s more like a mob.

I know what it’s like to be overwhelmed by the rabble, so I’m not really criticizing Warner for feeling cautious. I too have found myself unable to take action without considering (and usually fearing and eventually obsessing over) the possible reaction. When I first started writing for AfterEllen.com, it wasn’t possible to comment on the site. There were forums, and I got plenty of e-mail (most of it wonderful). But there was no opportunity for readers to fire off unedited gut reactions, or use an article as a soapbox, or otherwise spray impulsive, irrelevant, destructive digital graffiti on my wall of carefully tended words. When they started doing that, even just occasionally, it started to seem like all my late-night searches for the perfect phrase just weren’t worth it. A single spewing of vitriol could eat at me for days.

The decline of that so-called community was one (just one, and not even the biggest one) of the reasons I decided to leave AfterEllen, and it’s the thing that really makes me miss the old internet. I remember the heady days of Yahoo groups and message boards like Drop the Chalupa. That internet fostered a true sense of community. Remember moderators? Remember when people got banned for starting flame wars? Remember the feeling that you had found your own kind? Those days are mostly gone, just like that weekly dose of Judith Warner’s opinionated, "emotionally loud" charm and wisdom.

I probably sound bitter and butthurt, not to mention old. And obviously it wasn’t all bad: I truly cherished the readers who lingered over every word (and there were so very many words), and I formed some lasting friendships. As Judith Warner puts it, "the moments of real connection have been many, and powerful, and they will stay with me." I’ll always be grateful for those moments.

But that doesn’t change the fact that Judith Warner and I — and plenty of others who have braved the web waters, only to find ourselves not waving but drowning — are now cautious and hesitant, not sure whether or when to write again. I think that’s tragic. I hope someday the real writers and real readers of the web will unite — especially the women, who are perhaps more likely to take thoughtless comments seriously. The next time the crowd gets unruly, let’s crank up the volume of our own voices until we drown them out.

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Dec
22
2009

decidedly uncinematic

Last week I moved to a new apartment. It’s a huge improvement — more space, more amenities, better location, and so on — but moving is, under any circumstances, a colossal pain in the ass.

In times of such upheaval, I find myself turning to movies for comfort and commiseration (this is also true in times of joy and times of boredom and … just all the time). But guess what? They don’t really make movies about moving, or about the other mundane things that have been consuming my energy. I had to think long and hard to come up with this handful of pictures of the prosaic.

1. Packing/organizing: Housekeeping captures the futility of tidying up when you yourself are a bit of a mess. I mean that in a good way; as Sylvie the itinerant, Christine Lahti is delightfully chaotic. But she’s certainly no Martha Stewart: when her stodgy neighbors disapprove of the state of her heaven-for-hoarders house, the best Sylvie can do is stack up the crush of newspapers and scrub out the clatter of tin cans. She ends up torching the whole damn thing, which sounded like a fine idea to me the night before the movers arrived.

By the way, the "trestling" scene in Sunshine Cleaning was totally stolen from Housekeeping.

2. Movers and moving yourself: When I was younger and cheap(er), I insisted on moving my own stuff, like Alice in Alice Doesn’t Live Here Anymore. Get outta my way!

But now I’m a big fan of the big men with trucks, even when they scratch the edges of my pristine LCD TV (dammit). Next time I’m going to let movers actually pack up my stuff, too — or maybe I’ll use elephants and trains, like Karen Blixen in Out of Africa. She had more (and finer) stuff, and it all survived the trip.

3. Dog trauma: I think my pup is fine now, but for the first few days in his new home, he growled and barked at everything that twitched. And who would make a movie about canine neuroses? There’s The Dog Problem, but the problem (loving a rascally mutt) turns out to be no problem at all.

And there’s Pink Flamingos, which I mention only for that scene in which Divine devours a doodie sandwich (because it came to mind the day after the move, when my dog took an anxious dump on the doormat).

Oh, wait — how could I forget about The Year of the Dog? Dogs and trauma to the max. Poor Pencil the pup.

4. Back pain: Nobody wants to hear about, let alone watch a movie about, the aches and pains of lifting boxes and hefting furniture and flaying your own finger with a pliers. And the pain of moving is like the pain of childbirth: a few years later, you’re certain it couldn’t have been that bad and you’re ready to try again. So all I can think of for this category is Fast Food Nation, which portrays a workplace back injury (and which we happened to catch on IFC shortly after moving). But that’s not really a film: it’s more of an extended bit of vegetarian propaganda (I can say that because I too am a vegetarian), and Richard Linklater should be ashamed of himself. (But look: Chrissy Seaver is all grown up!)

5. Second-guessing your moving plans: We didn’t seriously reconsider our move, but we did have a few outbursts like “How can anything be worth all this effort?!” And then, while happily doing laundry for the first time in our new building, we saw a few minutes of the best movie ever in which people spend the whole time planning to move and then, at the last minute, decide to stay put: Meet Me in St. Louis.

It’s cloying at times (like, every time that little kid speaks), but Judy Garland is gorgeous and in very fine voice. Just be prepared to have "The Trolley Song" in your head for a few days or weeks afterward.

6. Apartments and elevators: I’ll end on a high note: The Apartment, in which Jack Lemmon and Shirley MacLaine fall in love amidst misunderstandings. I’ve always run hot and cold about Ms. MacLaine (I’m sure she’d like to forget those crystal/chakra/psycho years too), but her savvy-yet-goofy elevator operator is delicious.

Pitch-perfect comedy and a flawless script make The Apartment a must-see even if you’re not moving to an apartment on the Upper West Side (ah, if only I could claim a fantastic brownstone like the one in the movie). And the story follows an immensely satisfying arc: life takes a strange turn, then flies completely off the rails, and ultimately lands you exactly where you want to be. If only every apartment tale — and every life event in general — could turn out so sweet.

Postscript: IMDb tells me there really is a movie about moving, and it’s even called Moving. It doesn’t sound great, though. Some things just aren’t cinematic.

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