Who is B.S. Johnson?

I remember reading a very short article in Sight & Sound magazine a year or so ago about the films of someone named B.S. Johnson. The writer’s description of this quizzical yet entertaining figure tickled my curiosity, so I dropped a link to one of his films – Fat Man on a Beach – into my watchlist.

There it languished, until recently, when I finally got around to watching it. What a fantastic little jester he was!

The first thing that you notice is just how consistently hilarious he is, dropping witty one-liners, extended funny stories and beautifully naughty nursery rhymes.

But B.S. Johnson was clearly no one-trick pony. As witty as he is, there’s a reason he’s not just a stand-up comic. He was much more than that; a proficient filmmaker, a clever writer, a solemn orator – even a philosopher of sorts, incorporating profound allegorical insights into his work.

There’s an exquisite absurdist tone to much of what he presents to the camera in Fat Man on a Beach. Said with a deadpan delivery and coming so thick and fast, it’s almost hard to keep track of when he’s making a joke and when he’s being deadly serious. Maybe there is no difference. Perhaps that’s the point.

There’s also a beautifully balanced delivery to B.S. Johnson’s monologues in the film. It seems to be the wonderful balance between witty humour and extreme profundity that furnishes the film with such wisdom. It’s the carefully curated life experiences of Johnson that provide the basic structure to what he’s telling the audience, but the wonderfully funny way in which he speaks creates a disarming tone that allows the wisdom to practically slide right into the psyche of the viewer with hardly any friction at all.

But there’s also an awful sadness hanging over the final scene of the film, indeed over the entire life of B.S. Johnson. The last thing he says to the camera is “….you can go, off you go, up, up, up” as he motions to the camera (the eye of the audience) to move upwards with his arms. After this, he simply proceeds to walk into the Irish Sea, alone, fully clothed.

While that famous dictum about the thin margins between genius and insanity has always felt a bit twee to me, I can’t help but think that the closest the dictum gets to the truth is in characters like B.S. Johnson whose psyche seemed as though it had no conscious choice but to push at the boundaries of polite, sensible reality into the realms of hilarious absurdity in relentless pursuit of wisdom and truth. Unfortunately, no matter how hard you push, it’s sometimes not enough to escape the demons that are chasing you.

A few weeks after filming that scene, he ended his own life.

Why The Shining is the Best Horror Film Ever Made

I hold my hands up. Not too long ago, I believed that Stanley Kubrick’s The Shining was an underwhelming horror film. Don’t get me wrong, the acting is outstanding, the immersing wide shots make the cinematography gorgeous to behold and the accompanying soundtrack creates a truly chilling atmosphere. However, I firmly believe that a horror film should be scary. It should make you check that nobody is lurking in the dimly lit corner of your room. It should make you afraid to go to sleep. When it came to The Shining, up until now I have always held that it simply didn’t meet these criteria. Watching a slightly unhinged man chase his wife and son around a big hotel as he slowly slipped into insanity simply wasn’t scary enough for my tastes. Where were the malevolent spirits trying to haunt the family’s souls? Where were the demonic beings trying to push their way into the lives of the terrified family?

However, after giving it some thought and looking at the film with fresh eyes, I have changed my mind. I now believe it may just be one of the greatest horror films ever made.

In a recent interview with The Verge, Kubrick’s wife Christiane explains that:

“He wanted to make a ghost film. A ghost film! You know, just that – a good ghost film [that was] scary. That’s what he wanted to do.”

After reading this, I was compelled to watch the film once more and reassess my views. Only then did it dawn on me that The Shining is exactly what Christiane had said it was; a film entirely about ghosts. After all, what are ghosts? Simply beings we cannot see that subtly affect the minds of living people. In The Shining, over the course of the film Jack Torrance is slowly but radically influenced by an unseen force that we cannot see! He gradually deteriorates from a lively coherent individual to a terrifying, psychotic zombie-like monster. What can possibly cause a man to undergo this radical change in such a short space of time? The film gently suggests that Jack’s psychosis is the result of interference from a supernatural force, i.e a ghost or a spirit. What is most terrifying to the viewer is if an everyday guy like Jack Torrence can rapidly fall under the influence of some unknown supernatural force, might it be possible for us to suffer the same fate?

The Shining is far from a simple film. If you want to scratch the surface, Kubrick has included enough ideas and visual metaphors to keep you occupied for a long time. The documentary Room 237 explores a number of proposed theories as to what Kubrick wanted to express through The Shining and while many of the theories may say more about the theoriser than the film itself, some cannot be dismissed so easily. Kubrick was known to be a perfectionist who put an extreme amount of effort into getting his films to be just the way he wanted. Therefore, some of the things pointed out in Room 237 such as the impossibility of the layout of the hotel quite clearly exist for a reason.

When you start to analyse The Shining in greater detail, you end up diving head first down a rabbit hole that does not seem to have a visible end. At its broadest, the film hints at what it means to be human, with a mind that’s more akin to an endless labyrinth than the clear organised bunch of compartments that we like to think it contains. When it comes down to it, I think The Shining is terrifying because thinking about how our mind works is like thinking about the vastness of outer space or the contents of the afterlife. It is scary because we cannot contemplate it, it is beyond our understanding and therefore it takes on a sort of mysterious aura.

Ultimately, like all of Kubrick’s films and all good films in general, The Shining is as simple or as complex as you, the viewer, want it to be. For me it is simply a deep, invasive probing of the human mind and as there is nothing more paradoxical than something thinking about itself, The Shining is the most terrifying film ever made.

Holy Motors and the Wonder of Cinema

The average film is made up of over 150,000 individual images or “frames” displayed one after the other at high speed. If it is projected using 35mm film, a shutter will momentarily close between each frame, preventing any light from leaving the projector while the frame changes. This means that if you’re watching a film projected in 35mm, for half the film you are sat in complete darkness!

Despite this, the mind buys into the illusion and we are left watching what appears to be a continuous stretch of moving images. The wonderful art of film is capable of producing from this an experience that we often enjoy very much and occasionally provides something more, something so sublime that we are left speechless by the end. Parts of the film Holy Motors were, for me, the very definition of sublime.

Primarily composed of a selection of wildly different vignettes, Holy Motors is on one level a day in the life of a Parisian man who is chauffeured around in a limousine from place to place as he carries out his daily business. Looked at in a wider sense, it can be seen as a tribute to cinema itself. In its broadest, it is an exploration on the meaning of life.

By the time the credits begin to roll, your mind begins to race, probing and analysing the previous two hours of film that you have just witnessed. What does it all mean? Does it even have a deeper meaning? The important thing is that it makes you think. In an age when cinema seems to be becoming less cerebral and on the whole taking itself a lot less seriously, this film certainly bucks that trend.

In the middle of the film is an “interlude” that is truly magical. I don’t wish to say too much as I believe it’s best experienced fresh to have the full emotional effect but that one scene says more about what it means to be alive than most films from 2012 put together. The result is three minutes of pure unadulterated joy.

Holy Motors reminded me exactly what films are all about, the reason why we go to the cinema in the first place. Watch a string of mediocre films in a row and it’s easy to get stuck in a film viewing rut but watching Holy Motors reinvigorated my passion for great cinema and made me remember the glorious power that films have when they are at their creative best.

Prepare to laugh, prepare to be overjoyed, prepare to be shocked, prepare to be dumbfounded. Strap yourself in as Holy Motors is one hell of a ride.

I’d love to hear your thoughts about Holy Motors if you are lucky enough to have seen it already.

Top 20 Films of 2012

This may get said every year, but 2012 was a truly great year for film. With new films from Malick, Mendes, Tarantino, the Wachowskis and Paul Thomas Anderson, it was extremely difficult to make this list. 2012 was an especially good year for documentaries too with a handful that had some really interesting things to say.

Before we move on to the actual list, an honourable mention goes to; Liberal Arts, Arbitrage, The Sessions, Sightseers, Ginger & Rosa, Les Miserables, Marley, Shadows of Liberty, McCullin, Moonrise Kingdom, On The Road, Frankenweenie, End of Watch, Babeldom and Canned Dreams.

20. Chronicle
Chronicle caught me off guard. Released in the fifth week of the year, it was hidden amongst a cluster of Oscar contenders and initially looked as if it might be another Skyline. It turned out to be quite the opposite. The film takes a unique look at the possession of super-powers and has some very impressive special effects to boot. All-in-all, Chronicle is an extremely original film that builds until the action-packed finale.

19. Lore
The indoctrination of children with Nazi ideals by their SS parents is a subject many film makers would find hard to approach. Not Cate Shortland however. In Lore, she has crafted a beautiful yet poignant coming-of-age film that tackles some extremely interesting ideas. Set at the end of WWII, the atmosphere throughout is dark and at times close to apocalyptic. The film contains a huge amount of humanity however which only adds to its emotional strength.

18. The Cabin in the Woods
Joss Whedon was probably best known in 2012 for his super-budget blockbuster Avengers but far superior in my opinion is his much smaller film The Cabin in the Woods. The less you know about the storyline, the better but I will say that the story – like Chronicle – is highly original and contains a healthy dose of satire.

17. Searching for Sugar Man
This is the story of how Rodriguez, a 70’s singer-songwriter from Detroit, failed to gain fame and fortune in his native country and spent his life living in poverty while simultaneously, unbeknown to him, selling millions of records in South Africa and Australia. The film tells the story with great energy and enthusiasm and is without doubt one of the best documentaries of the year.

16. The Imposter
Like one of those Channel 4 documentaries that seem to simply be a platform for exhibiting freaks on prime-time television, The Imposter draws you in by its premise alone. The film tells the true story of a 23 year old French man who claims to be the missing 16 year old son of a Texas family. It is a prime example of truth being stranger than fiction and will have you on the edge of your seat from start to finish.

15. The Impossible
Telling the true story of a family caught in the middle of the 2004 Indian Ocean Tsunami, The Impossible is both deeply harrowing and immensely up lifting. The film achieves a sense of realism that few modern films can equal by ditching the special effects in favour of a giant water tank.

14. Ruby Sparks
Ruby Sparks is another film that caught me off guard. At first it seems like your average rom-com but as it goes along, it begins to get darker and a lot more interesting. By the end it has posed some pretty interesting questions and will definitely be getting a re-watch from me.

13. The House I Live In
If The Wire isn’t enough to convince you that the War on Drugs has failed, this hugely insightful documentary by Eugene Jarecki will definitely do the job. By interviewing everybody from addicts to police officers, politicians to judges, Jarecki puts forward a cohesive argument that will leave all but the most authoritarian lawmakers questioning their previously held views on drugs.

12. Skyfall
As soon as I heard that Sam Mendes was taking the reins of the 23rd Bond film, my ears pricked up. When it was announced that Javier Bardem was starring as the villain, I got excited. Skyfall doesn’t disappoint. By stripping it down and building a solid, character-driven story from the ground up, Mendes has perhaps created the best Bond film since Goldfinger. It’s gritty, sincere and most important of all, extremely well acted. Bond purists and newcomers alike will not be disappointed by this fantastic addition to the series.

11. Beasts of the Southern Wild
I have no idea how this low budget indie flick got a mainstream release but boy am I glad it did. The fact that Quvenzhané Wallis was only five years old when she played the leading role only adds to the fact that this is one of the best stories to appear in 2012. The enchantment and pure thirst for life that flows from each frame of this film is a true sight to behold.

10. To the Wonder
Terrence Malick is a genius. That much is undisputed. Every single one of his films are simply dripping with his thirst and curiosity for life. There are many however that feel his more recent work has become slightly pretentious and meaningless. I wholeheartedly disagree. To the Wonder is not only a beautiful and mesmerising work of art, it also explores deep and complex ideas that few filmmakers are brave enough to touch.

9. Amour
Amour is an extremely touching film about love, growing old and one of the World’s greatest taboos: death. At times it is difficult to watch due to its sheer emotional gravitas but ultimately it is a triumph of cinematic realism that draws you right into the hearts of the characters involved.

8. Rust and Bone
Marion Cotillard and Matthias Schoenaerts give two incredible performances in this gritty but beautifully told story. From start to finish it is somewhat of an emotional roller coaster ride, taking you from the lowest of lows to the highest of highs and proves that French cinema is in better health than ever.

7. Django Unchained
While not as good as some of his past work, Tarantino’s latest is still miles ahead of most other films. The script is fantastic and Tarantino manages to somehow tease yet another outstanding performance from Christoph Waltz. While the subtext of the film is not as ground breaking as some claim, it still raises some important points about slavery and civil rights. Whatever you may say about Tarantino, he is still one of the best writers in Hollywood today.

6. Silver Linings Playbook
Our society literally has no idea what to do with those who suffer from a “mental illness”. It is almost considered taboo sometimes and rarely gets talked about as openly and with as little stigma attached as it should. Silver Linings Playbook tries its hardest to correct this. On the surface, it can be seen as a simple rom-com but there is so much more to it than that. It is a beautiful character study of two people who both struggle to live their lives because of the mental illness from which they suffer. The thing that really draws me to the film however is, as Brett Easton Ellis put it: “Silver Linings Playbook grabs the audience by the lapels and shrieks Feel! Feel! Feel!”. In a World overwhelmed with mediocrity and an increasing lack of emotion, we need more films like Silver Linings Playbook.

5. Life of Pi
Life of Pi is a beautiful philosophy-rich film which is not only unafraid to ask big questions but does so with style, panache and sincerity. I’m sure much of this is owed to the original novel but Ang Lee still does a marvellous job of bringing this so called “un-filmable” book to the screen. The special effects are truly groundbreaking and likewise the cinematography is simply stunning, with a beautifully vibrant colour palate. As a family friendly hollywood film that leaves you not only with a smile but ideas to contemplate at the end, this is hard to beat.

4. Samsara
Like Baraka and Koyaanisqatsi before it, Samsara is a work of genius. I won’t say too much about it as I have already written an extensive piece about it here. I will say however that the art of film making doesn’t get much better than this and although it may be a bit too unorthodox for some people, if you let it simply wash over you, you may be pleasantly surprised.

3. Killing Them Softly
Killing Them Softly has to be the most criminally underrated film of 2012. On the most basic level, it is a fantastic noir thriller set around the criminal fraternity of a decaying American city. The film reaches much deeper than this however and intelligently juxtaposes the 2008 economic collapse with the collapse of the local criminal economy. The acting is top draw with Brad Pitt, Ben Mendelsohn and Scoot McNairy all delivering fantastic performances and the choice of music is also brilliant.

2. Cloud Atlas
In any other year, Cloud Atlas would be number one on this list. It is a very special film and I believe its true artistic value will only be realised in the years to come. It is impossible to describe the plot due to its sheer complexity, spanning 6 story lines in 6 completely different time periods from 1849 to the 24th century. I don’t think I have ever seen a film that has so much intellectual ambition while still presenting it in a format that is easily accessible. I still need to watch it again before saying anymore about it as there is so much that I missed the first time around but if there’s one film you see in the near future, make this it.

1. The Master
Paul Thomas Anderson is arguably the greatest living film director and The Master shows exactly why this is the case. From start to finish, it’s an absolute film making masterclass. PTA has some magical ability to squeeze the performance of their career from his leading actors and this is never more evident that in this film with Joaquin Phoenix and Philip Seymour Hoffman both giving performances better than any other in 2012. It is simply criminal that neither won an Oscar. The acting is only a small part of what makes this film a masterpiece however. The script, including the subject matter covered is truly fantastic but we have almost come to expect this from PTA these days. The cinematography is some of the most beautiful this year, shot entirely on 70mm film which makes it almost pop off the screen. I also had high expectations for Johnny Greenwood’s score which certainly didn’t disappoint. All in all, The Master is in a league of its own and I can’t see a film this decade coming anywhere near it, let alone this year.

Samsara and the Cyclical Nature of Reality

Let me start by saying that Samsara, like so many other documentary films in recent years, is an amazing experience. It has its roots in Baraka, director Ron Fricke’s previous all-encompasing exploration of life, the universe and everything, but it’s real roots lie in the 1982 film Koyaanisqatsi for which Fricke was the cinematographer.

In my opinion Koyaanisqatsi is one of the greatest documentary films ever made, if not one of the greatest of all genres. It provides a mesmerising collection of moving images, cut together expertly into a montage of flowing beauty to convey ideas about the perils of over-consumption, un-sustainability and the misuse of technology. However I believe there are two key things that set Koyaanisqatsi apart from most other films. Firstly, the score written by Phillip Glass is one of the most original pieces of music I have ever heard and fits perfectly with the images on screen. Secondly, the cinematography in every single shot of the film is perfectly captured and oozes pure beauty thanks to Ron Fricke’s expert skill.

This brings us onto Samsara which Fricke directed as well as shot and edited. Although I believe it doesn’t quite reach the mountainous heights of Koyaanisqatsi, I still think it is an incredible film which explores a number of interesting ideas. I want to talk about one idea in particular that the film portrays and which really resonated with me: the cyclical nature of reality.

Samsara (which itself translates from Sanskrit to “continuous flow”) has strong themes of flowing cycles, rebirth and construction/destruction running through it. For example, the film juxtaposes some of civilisations tallest buildings and most advanced pieces of engineering with shots of upturned cars and damaged houses. The film doesn’t show what caused this damage, but like so many other parts of the film, it is clearly trying to show that what rises up in glory must at some point fall with a whimper. I.e. the only constant in the universe is change.

One striking scene in the film shows a group of Buddhist Monks painstakingly building a sand mandala. Mandalas have huge spiritual significance in Eastern religions with the word itself roughly translating to “circle”. The shot lingers for a long time on the intricate detail of the mandala and extreme close-ups almost show individual grains of sand being placed to form part of the brilliant whole. Later in the film, we return to find the Monks destroying the beautifully symmetrical work that they had evidently put so much time into. Once again, we see the idea that what is created must be destroyed to maintain the cyclical harmony of nature.

You don’t have to look far to find evidence of the cyclical nature of reality. The atoms that make up every single cell in our body will one day disassemble and go on to form something or someone else. The sun will rise tomorrow morning and then set the following evening. The seasons will continue to change year after year. The water that falls as rain will find it’s way down a river to the sea, back up to the sky and then begin it’s journey once again. Thanks to the wonders of quantum mechanics applied to the field of microscopy, we can now even show that single molecules such as benzene have a cyclic structure (see image below).

Then we come to the realm of the philosophical and spiritual. If such vital natural systems as the water cycle and carbon cycle have a cyclical nature, is it really that much of a stretch to suggest that consciousness itself is cyclical? Of course religions have preached the ideas of “rebirth” and “afterlife” for millennia but science is still no closer to finding definitive proof of the cyclical nature of life. There are also credible theories that suggest the Big Bang is simply one portion of a cyclical whole which consists of an endless stream of expansion and contraction of the Universe.

It is important to realise in a society so obsessed with improvement, growth, efficiency and heading in one single direction (namely up) that so much of reality is in fact cyclical. What goes up, must come down. What goes around, comes back around.

Samsara. Watch it and stare in awe at the beauty of the cyclical reality within which we find ourselves intimately woven.