I just watched Elephant and found it both compelling and puzzling. What puzzles me partly is its schizophrenic strategy of following precisely many of the details of the Columbine Harris/Klebold shootings (the attraction to Hitler, the playing of violent videogames, the timeline and strategy of pipe bombs and shootings, the warning to a student outside, the directive to “have fun,” even the realization of the rumor that the spree ended with harris shooting klebold rather than a mutual suicide) while allowing for a very loose improvisational style. Is the film a dramatization, deliberately courting status as a kind of lyrical re-creation of Columbine, or does it mean to suggest itself as a kind of film about Anywhere USA where banality is inexplicably interrupted by violence? What am I missing in the folding together of these two approaches? Why does it deliberately court cliché—the repetition of one of the most well-known pieces of classical music, the repeated images of “storm clouds massing?”
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Hey, does anyone want to post anything about the late Ismail Merchant? I have little if anything interesting to say about the fellow. I did like “Maurice” though I don’t recall much of it.

See?

I don’t like the idea of posting about movies I’ve not seen, and I don’t want to lead this blog down the Ain’t It Cool News road, but considering the recent posts about music documentaries, I thought some here might be interested in some upcoming music related films.

I just picked up the LA Film Festival schedule and there’s a few interesting ones mentioned.
Be Here To Love Me is about Texas singer-songwriter Townes Van Zandt. Townes alway struck me a bit as the Harry Nillson of country. Others had hits with his songs, and he was loved by the best in the biz, but that’s often not enough. (more…)