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Wednesday, April 14, 2021

Love and Its Discontents: The Park (2016)

Naomie Vogt-Roby and Maxime Bachellerie in Damien Manivel’s The Park (Le parc, 2016).

Damien Manivel’s The Park (Le parc, 2016), co-written with cinematographer Isabel Pagliai, starts off nice and easy, but it quickly turns bonkers in the best way possible.

Naomie (Naomie Vogt-Roby, just 15 when she made the film) meets a boy (Maxime Bachellerie) at a large woodsy park on a first date. She’s short and sensible; he’s lanky and shy. The two teenagers sit together awkwardly, converse awkwardly, walk around awkwardly, and before you know it are kissing in a secluded spot. I’ve just praised another film for its naturalistic romance, but here the romance succeeds precisely because it’s so overdetermined. The transformation of two clumsy teenage strangers into a mutually attracted couple is a kind of magic that’s almost impossible to replicate onscreen, so the film doesn’t even try. Each scene is a vignette – they walk around, they look at squirrels, they discuss their families, she does a handstand – that, combined in the right order as they are here, sketch the development of a romance. But in true cinematic fashion, how we get from one vignette to another is hidden in the editing (by William Laboury), left as an exercise for the viewer, and whatever we can come up with is infinitely more convincing than what could have been put on the screen.

Monday, April 12, 2021

No Rock Bottom to the Life: Mark Harris’s Biography of Mike Nichols

Mike Nichols directs Elizabeth Taylor in Who's Afraid of Virginia Woolf (1966).

Mark Harris wrote two of my favorite contemporary books about movies, Pictures at a Revolution (2008, about the transition from the old to the new Hollywood in the late 1960s) and Five Came Back (2014, about the five major Hollywood directors who made documentaries during the Second World War). But after reading his new 600-page biography of Mike Nichols, I can’t figure out why he the hell he wrote it.