21 January 2011

The Frostly Pen



once more, for the right
climb up and reach that penned
soon it will be night
---youve a dagger to send
into the heart of
                       my master's mistress

she requires yr phallic kiss
to diffuse her beastly sex
carve her skin into sonnets lest---
be destroyed by that vile hex

I struck a match to help yr way
but it faltered in its blueness
---my mistress has sent me away
I am without home and spoonless

the carving word has
                         betrayed us both

my guilt arose in curdly white froth
at the deed which I fatigued
I took my match with scorning scoff
and came straight to yr mistress' bed
                                 intrigued

When I came to her she sat 
                                   in cower
so I graced her with my 
                                   golden shower

11/05/02

25 December 2010

Swan Lake of Fire



There's a moment in Godard's Breathless when Jean Seberg's Patricia asks the famous novelist Parvulesco (played by the seminal Nouvelle Vague director Jean-Pierre Melville), "What is your ambition in life?"  Methodically turning his gaze towards her, Parvulesco triumphantly replies, "To become immortal....and then die!"  Fifty years later, Natalie Portman's ballerina, Nina, in Darren Aronofsky's exhilarating Black Swan must chant this mantra in her head at every pirouette.

Aronofsky's cinematic bitches brew begins with heavy doses of The Red Shoes, All About Eve, and Sunset Blvd., adds a corporeal helping of Kubrick's The Shining, and finishes off with Kafka's The Metamorphosis.  Claustrophobia, paranoia, and general creepiness ensue.  For a film staged within the uber-refined confines of the supposedly quietly classy world of dance, there is not a single moment of peace or general pleasantry.  Even Nina's hyper-pinked bedroom glutted with girlish knickknacks and stuffed animals has a pinch of psychosis to it.

At its heart, Black Swan deals with the obsessive convulsions in the pursuit of perfection.  In her innocence and vulnerability, Nina is the ideal virginal White Swan, but the ballet calls for the same dancer to dance both roles, and the Black Swan is a seductive force, using her sex like a flyswatter -- something the technically perfect but timid Nina is incapable of.  Under increasing pressure, Nina immerses herself so deeply into the dual roles of Swan Lake that she completely and abruptly loses grip on reality.  She suffers grisly hallucinations, simultaneously haunted by an evil twin (paralleling the ballet's plotline) intent on destruction and an ambitious incipient rival, Lilly (Mila Kunis), who is everything Nina isn't:  carefree, reckless, promiscuous, and enjoys exploring feminine nether regions, both her own and Nina's.  As if the pressures of the role of a lifetime weren't enough for poor Nina, she shares a domicile with her bizarrely controlling and envious mother played ominously by Barbara Hershey, in an inspired piece of casting.

With Black Swan, Aronofksy achieves what today's gross-out horror moviemakers would sell their souls to replicate, namely, produce a film whose every move, every scene, every word, is shuddersome.  The camerawork and sound editing will make your palms sweat, the scene-cutting will make you cringe.  The thing is, you'll love it, and you'll want much more.  The transcendentally exhilarating climax will give life to Parvulesco's romantic proclamation.

A few weeks ago, a friend of mine and I were discussing which contemporary filmmakers we found most intriguing; whose films, when they come out, would make us raise an eyebrow and take notice?  Darren Aronofsky came up in the conversation as someone -- for me -- who fell into this category.  The sheer fact that all his films were so utterly uncompromising and dark earned him that status.  The complete dread evoked by Requiem For a Dream begins and ends any Aronofsky debate.  Yet, with this recent achievement, let me add, along with uncompromising and dark, Aronofsky has become breathtaking.



25 October 2010

You Will Meet a Short Ginger Cynic



“We are slaves to our desires,” is a recurrent theme in the work of Woody Allen, but with his latest effort, an accurate evaluation of this axiom begs adding the scornful, “and to our satisfaction.” Or dissatisfaction.

In the world of “You Will Meet a Tall Dark Stranger,” just about every character wants something beyond their reach, a something (mysterious woman, literary success, reclaimed youth, illicit affair) they really have no inherent or moral right to have.  They covet wildly.  Besieged by dissatisfaction and ingratitude, they act out with shameless ambition.  The fear of being caught or found out doesn’t even warrant a pause – guilt and shame are nonexistent qualities.  As typical for most Allen characters, they are all hopelessly cultivated, wealthy, attractive, sexually adventurous and utterly insecure.
 
Roy (Josh Brolin) finished medical school only to spurn the doctorly life for the bohemian romanticism of a literary one.  Trouble is he apparently has only one good book in him – and three really bad ones.  The anxiety of his imminent doom is tempered only by the beautiful woman in red (Freida Pinto) he peeps through his window.  Roy’s father-in-law, Alfie (Anthony Hopkins), abruptly leaves his devoted wife of 40 years because “she was getting old and I refused to accept that.”  Impulsively marrying a rent-girl initially provides Alfie the robust rejuvenation he coveted, but quickly his life descends into bankruptcy and cuckoldry. 

The women show no better.  Roy’s wife, Sally (well played by Naomi Watts) at first comes off as a supportive and caring daughter and wife.  But those illusions fade when her boss chooses to have an affair with her artist friend instead of her, and her mother is told by a charlatan fortune teller that she shouldn’t give Sally the loan she desperately needs to open her own art gallery.  Avarice is rampant, pride a disease. Everyone's miserable. Not even the doe-eyed innocence of Dia (the mysterious woman in red) belies her faultlessness.  She is given to the same irrational dissatisfaction (and desire) as everyone else.

The problem is, even when they get what they want, they end up even more discontent than before.  Lives fall apart, relationships crumble, bank accounts collapse, frauds risk uncovering.  Woody Allen has always leaned cynical, but with ‘Stranger’ he’s promoted cynicism from bemusing leitmotif to central thematic element. He doesn't even bother much to developing the characters save the minimum exposition necessary to parade their selfishness. 

Most of us don’t know what we want, those of us who do figure it out are usually driven by wrongheaded and ungrateful motivations, and then when – always when, never if in Allen films – we do get what we want, we are punished heavily for it, usually by fate.  In the end, only the most delusional have a chance at approaching happiness.

27 September 2010

The Stupid Love Affair with Hyperbole



Dangerously inappropriate analogies have gained a sickening acceptance in this current cultural moment.  Obama proposes a 3% tax increase for the richest Americans and he's likened to Hitler.  A football "star" who in the span of 13 months has had $32 million deposited into his greedy coffers by the Washington Redskins likened his petulant reluctance to play in a 3-4 defense to a disavowal of enslavement.

These disgustingly hyperbolic analogies are disgraceful.  Even more criminal is the audacity of those perpetrating these shameful comparisons.   Stephen Schwarzman,  chairman and co-founder of the Blackstone Group, a private equity and financial advisory firm -- whose net worth is $4.7 billion -- commiserated with his fellow plutocrats that a tax increase would be "like when Hitler invaded Poland in 1939."  Albert Haynesworth, said football star, a symbol of our generation's "me-only" attitude, explained his displeasure in playing within the defensive scheme his coaches have implemented with inspired uncouth eloquence:


"I guess in this world we don't have a lot of people with, like, backbones. Just because somebody pay you money don't mean they'll make you do whatever they want or whatever. I mean, does that mean everything is for sale? I mean, I'm not for sale. Yeah, I signed the contract and got paid a lot of money, but ... that don't mean I'm for sale or a slave or whatever."

Now that's class.  Worse still, Mr. Schwarzman, a Jew, and Mr. Haynesworth, an African-American, chose to dishonor the very ancestors (their own) whose endurance through unspeakable horrors made it possible for these two ungrateful villains to occupy the highly enviable positions they are in today.  

The Holocaust and Slavery, without too much debate, represent just about the most despicable mass crimes in all of Human history.  Crimes that are so unimaginably horrific, they defy any comparisons short of mass genocide and human rights abuses on an extreme scale.

Even the Soviet propaganda machine, which filled the pages of Pravda (Truth) and other Iron Curtain publications with endless recriminations of The West's bourgeois depravity never dared to compare Churchill or Eisenhower to Der Führer.  How ridiculous that we find ourselves less sensible than the Main Administration for the Protection of State Secrets in the Press under the USSR Council of Ministers.

Ostensibly, this regrettably spotlights our stupid infatuation with hyperbole.  If something brings a modicum of pleasure, it's instantly loved, and inversely, a small inconvenience warrants hatred.  It's linguistic laziness, intellectual extremism really -- the rejection of thinking through how to appropriately describe what you feel and/or think about a certain subject, instead settling for the most abominable representation imaginable, simultaneously appealing to the most abhorrent denominator.

Clearly -- and thankfully -- I'm not the only person who has noticed and has been similarly disgusted by this odiously cynical behavior.  As The Daily Show's Jon Stewart smartly chose as a slogan for his upcoming Return to Sanity Rally, "I disagree with you, but I'm pretty sure you're not Hitler."

24 September 2010

Macbeth

Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more:  it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

--Macbeth V, v

24 August 2010

Home In Israel


Reminiscing about my Birthright Israel experience more than two years later, my thoughts are flooded with memories of joyful laughter, stunning vistas, inspirational stories, and lifetime friendships. Atop the flood of unforgettable memories, three moments in particular stand out. 

I was born in a country, the former Soviet Union, where anti-Semitism was a matter of public policy. Being a Jew automatically disqualified you from many occupations, as well as matriculation to the best schools. Practicing Judaism or learning Hebrew was categorically illegal. In the face of such repression, my parents bestowed upon my brother and I the singular Jewish tradition they knew: pride. 

Due to my upbringing, even as a child I embraced my Jewish roots with fervor unusual for other children my age. I was six or seven years old when I first became aware of a place called the State of Israel, the Jewish homeland. And despite my young age, I instantly vowed to myself that my first act upon arrival to this special place would be to kiss its hallowed ground. My youthful precociousness surprises me now, almost 20 years later. But the very idea of Israel, of everything it represents to Jews and Judaism, has always resonated with me. So my first act upon exiting the main terminal of Ben-Gurion International Airport was to cross the street, find the first decent piece of soil I saw, bend down, and plant a passionate kiss on the face of the Holy Land. This was the first moment. 

The next moment occurred a week into the trip. We were awakened at 4 a.m. by a loud knocking on the door. It was time for the most anticipated part of the trip: sunrise atop Masada! The pre-dawn air in Arad was warm but dry. Being up so early made it difficult to spark excitement, but the 40-minute ride to Masada was an experience in itself. Although shrouded in darkness, the surrounding terrain outside the bus window resembled the surface of the moon — a fitting setting for a truly otherworldly place. 

At the base of the mountain, the excitement that had eluded me earlier finally set in as I raced a pair of IDF soldiers, who had joined us on our trip, up the mountain. Watching the sunrise atop this ancient mountain fortress redefined the phrase awe-inspiring. The first rays peeked over the Jordanian mountaintops in a scene uncannily similar to Stanley Kubrick's 2001: A Space Odyssey. It did not escape me that this was the very panorama the Sicarii, the ancient Jewish insurgents, witnessed every morning during their yearlong siege by the Romans. 



What happened next ranks as the most spectacular moment of my life: Armed with my indispensable iPod, I plugged in my earphones and instinctively turned on the first track from Jimi Hendrix's Live at the Fillmore: Stone Free. Maybe it was the rocky formations surrounding me, or the thematic elements of the song ("I'm stone free to do what I please"), but the track matched the moment sublimely. As Hendrix's guitar seared, adrenaline burst into my arteries and I began to run down the descending path of the mountain, my increasing speed forcing me to jump from rock to rock.


As I approached, the other descending hikers turned with foreboding concern. The sound of my frenetic trek must have resembled the rumbling of a rock-fall. I felt superhuman. When I reached the bottom, in what must have been record time, I was overcome with emotion at the profundity of the moment. 

The siege at Masada may have ended tragically with the mass suicide of a thousand insurgents, but the story represents the best part of the Jewish character, of our perseverance, our traditions, and our community. It was two centuries later, and here I was standing atop the mountain at sunrise with my Israeli brothers, and then recklessly running down the mountain as if I owned it. The Romans had won the day back in 73 C.E., but history has proven that despite the efforts of countless nations, the Jewish people could never be fully pushed aside, nor the fire of our Jewish spirit ever extinguished. 

If that magical morning at Masada was the most exhilarating experience of my Birthright Israel trip, then the afternoon at Independence Hall in Tel Aviv was the most poignant. Here the curator narrated the story of the tenuous beginnings of the modern State of Israel. The part of his narrative detailing what happened just after the start of the War of Independence particularly pushed my emotions over the edge. 

The funds of the foundling state were alarmingly low. With nowhere to turn, Prime Minister David Ben-Gurion sent then-ambassador Golda Meir on an emergency diplomatic mission to the United States. She was charged with raising one million dollars to pay for arms, munitions, foodstuffs, and other essential supplies. In just two weeks, stopping only in the East Coast cities of New York, Philadelphia, Baltimore, and Washington, Meir returned triumphantly to Israel with more than $50 million in donations.

There were tales of families devoting their entire savings in support of the Jewish homeland. Tears streamed down my face as I recognized that it was this spirit of communal philanthropy that made Birthright Israel possible for me and countless other Jewish youths. I wish I could personally shake the hand of every benefactor. 

My hope is that I can thank them through this piece, my love letter to Israel. Because of their generosity I fulfilled a lifelong dream, forged new dreams, and felt truly, for the first time in my life, that I was home -- home in Israel.


05 August 2010

Ode on a Rebecca Hall


YOU unravished bride of quietness
      You child of Midsummer's Titania
You overwrought Iseult of Hibernia
Our elusive untrodden love
      intensifying mutual rapture
Haunting my mind's eye before
      I was ever aware of yr existence
Perhaps -- my earth mother -- you bore
      me in the hazel warmth of Elysian Spring
Mesmerising in yr parching allure
      Bold lover, uncloying, as you sing

Why must you subsist in the flesh?
      Tormenting me with blissful celluloid clarity
Why mustn't the specter of yr forever remain
      in the smoky rings of my mind's charity?
I search yr taciturn gaze, yr burning forehead,
      in every lass I meet
Fooling myself, but really bitter & indignant
      at cruel Nature for failing to deliver you
      into my enfolding heat

As a boy I ran to you
      to share in triumphs
      to console personal offenses
      in my desolation
As a man I engaged in foolish -- eviscerating --
      affairs with marbled doppelgängers
      whose insouciant rejection, this nighttime thief
      unwearied by betrayal, left me 
in despondent grief


I weeped when you hanged yrself in Victorian England
      loved & unloved, by twins of magical pursuits
Lamented as you denied the passion within you
      for a philistine suit     
      in tragically melodist Barcelona
Stared at yr pastel sun dresses in the pious
      headiness of Nixonian California


The slight curls willow around yr
      creamery face -- punctuated
      by bitten lips of mysterious uncertainty
The sun highlights the freckles
      under yr innocent eyes
      around yr garland cheeks
Portending an epic innocence of which
      I desperately long to confederate
A naïve dreamland devoid of shame
      of deceit, 
      of avarice, of conceit
All breathing human passion above


When all yr lovers go to waste
      I shall remain in my woe
And speak this truth with immortal taste
'Rebecca is truth, truth Rebecca -- that is all
     I know on earth, and all I need to know.'


08/05/10