Tuesday, March 28, 2017
Seven Like A Gatling Gun
THE LONG GOODBYE courtesy Vilmos Zsigmond zooming in and out of the frame there’s a harshness to the look of SPLIT courtesy DP Paul Lohmann (who also shot NASHVILLE for Altman; later credits include HIGH ANXIETY, TIME AFTER TIME and MOMMIE DEAREST), a scorched out mid-70s L.A. setting, the stoner vibe of the earlier film turning into a harsher cigarette smoke hanging in the air and everyone seems hungover through the entire film, just waiting for the next drink, the next nicotine high, the next roll of the dice. I’d almost want to live in this film if it wasn’t for all that cigarette smoke but I know Altman wouldn’t want to make it easy for me. MASH it ends when they’re thrust apart by greater forces, in THE LONG GOODBYE the pairing is destroyed by selfishness and in CALIFORNIA SPLIT it ends because it has to. There’s no way to keep going, much as we want that feeling of these guys singing “Rufus Rastus Johnson Brown” to go on forever. You may never be complete, but sometimes all you can do is spin the wheel and who the fuck knows. So please, Criterion or somebody, figure out those music rights and give us the whole thing on Blu. Until that happens, we may need someone to screen this film at least twice a year so we can get our fix. Because we need to be able to remember those people, the ones who have shouted “Fuck you!” at us the loudest. In some ways, being able to remember them is the only way to keep trying.