Paul Westerberg – Ghost on the Canvas (2009)
Glen Campbell – Ghost in the canvas (2011)
the song was originally written and recorded by former Replacements frontman Paul Westerberg for his self-released, home recorded 2009 solo EP, PW & The Ghost Gloves Cat Wing Joy Boys.
An extraordinary recreation of the technicolor style late 60’s/early 70’s melodramas/horror films is a heady, strange and often hilarious tale of Elaine, a beautiful modern day witch searching for love in a glossy californian soap opera b movie timewarp. She casts her considerable spell on various men so that they will fall in love with her but she finds them to be somewhat wanting; they find her femininity overpowering, quickly surrendering their sanity and dignity and unable to see her as anything other than an object of desire and worship. Anna Biller’s film is a lush, mesmeric trip; a stylized battle of the sexes with a wicked sense of humour and through line of sincerity, offering a unique female perspective on love and desire through a distinct genre filter. the score alone is to die for; a lush ennio morricone meets krzysztrof komeda deal and the visual aesthetic of the film is like a mashup of rosemarys baby beyond the valley of the dolls and italian b movies. grade: B+
we are the flesh (tenemos la carne) dir- emiliano rocha minter
teachers report – emiliano tries very hard and clearly possesses talent but his focus on being controversial results in work that seems designed purely to provoke shock, anger, revulsion, frustration whilst often inciting boredom and triggering sense memories of the works of noe, jodorowsky, von trier and kubrick. however, he does demonstrate an ability to work with actors and knows how to compose striking images and create an unsettling atmosphere. could do better. * although i will concede that emiliano’s film could be possibly be a transgressively allegorical statement on the current state of things in mexico but without sufficient knowledge to confirm this, I am simply offering a measured, unbiased response to the work of an artist/technician/craftsman/professional on a cinematic level. grade: C+
american honey (2016) dir – andrea arnold
english director andrea arnolds fourth feature is just as bold and striking as her previous work (red road, fish tank, wuthering heights); a thrillingly alive road odyssey/character study of discarded american youth; vibrant, poetic, erotic, tragic funny, scary, indulgent, messy, ugly and beautiful in equal measure.
american honey is ostensibly the story of star (debutante Sasha Lane), a teenage girl trapped in a deadend home life somewhere on the fringes of working class america. she stumbles upon a ragtag group of lost boys and girls led by the charismatic, ponytailed Jake (Shia La Boeuf) whom she locks eyes with and offers her the chance to escape her impoverished, abusive existence and join his motley crew in their battered volkswagen selling magazine subscriptions to rich neighbourhoods for cash. she seizes the opportunity and throws herself into a headlong journey of self discovery that is both epic and intimate in scope.
arnold and cinematographer robbie ryan shoot the film in a 4:3 aspect ratio, normally reserved for television and still photography. this serves to emphasize Star’s point of view. we see the world through this defiant young woman’s eyes as she chooses to experience it. immediate, raw, surreal and fascinating with convincing performances from a cast of first-timers and professionals, particularly Lane and La Boeuf whose intense chemistry powers the film forward, sideways and every other way as it careens to a perfect (in)conclusion.
killing joke – you’ll never get to me (2003)
1) Defy; to refuse to obey someone or something. try and do this every day for the rest of your life. if not manageable within ones normally compliant schedule, try at least once a week. this is an applicable, all purpose strategy areas such as family, business, work, study, leisure, relationship, geopolitical,cooking and manufacturing.
Q: So, you claimed that you were attempting to resurrect the ghost of Elvis and Ian Curtis with this track. Quite a claim, no? Do you think you succeeded?
DM: (laughter with a large dollop of false modesty) Maybe I was going a bit far with that statement.
Q: Okay, so how would you describe the intentions now, in retrospect?
DM: Intentions? Not sure. It was all very…organic. Sorry, I’ve overused that word a bit much, sound like a prick. I was watching an interview with um….who was it? oh yeah, garry shandling! do you know the larry sanders show?
Q: yes. i’ve heard of it. somewhat esoteric comedy.
DM: esoteric? i guess you could say that. anyway, where was I? yes, so i was watching him do an interview and he was using that word quite liberally throughout without a hint of self consciousness.
Q: What word?
Q: I see, go on.
DM: Right. so ‘shake my bones’….yes, it came quite naturally, the sound i think. no! thats bullshit! That’s a lie. It was a very self-c0nscious attempt to create a song that sounded like The Cramps, PJ Harvey, Nick Cave or something that could have come straight out of a David Lynch movie. Primitive, reptilian back to basics rock and roll, retro but timeless; sweaty, twitchy, tortured desire with a groove to it you know?
Q: Really? Quite lofty comparisons.
DM: maybe. I mean, it’s a pastiche in a sense but then again, it isn’t, that bluesy singing style – in the higher register at least – comes quite naturally to me. i put 100% of myself in it so…
Q: And that’s your guitar playing?
DM: yes, basic three chord riffs on a fender telecaster. But i think basically its me trying to sound like PJ Harvey in a David Lynch production.
Q: Tad self-aggrandizing surely? Isn’t up to the listener to decide?
DM: Sure. Maybe it is. But if you are going to record and perform music, self delusion and self indulgence are usually what drive you forward, a mixture of blind faith and self belief. Otherwise, you will never even try. You need a benchmark, an inspiration to get the engine going.
The Smiths – I Know It’s Over (1986)