The Screengrab : derek jarman

The Screengrab Highlight Reel: June 28-July 4, 2008

Scott Von Doviak — Fri, 04 Jul 2008 16:00:00 GMT

Hey gang, we're taking the day off to roast some weenies and blow a few bottle rockets off the roof of Screengrab headquarters. But that's no reason you can't celebrate your independence by catching up on the week in Screengrab!

Do your patriotic duty and check out America the Beautiful: 15 Movies That Show What's Right with U.S. (Parts One, Two and Three)

Celebrate your Independence Day with, er, Independence Day. Either that or cheer on our national pastime with The Bad News Bears Go to Japan.

Here's an All-American Gal for ya! OK, a South African All-American Gal, but still: Charlize Theron Is a Sexual Creature.

If you have the day off, why not catch up with Wall-E? We investigated director Andrew Stanton's Retro-Futurism and pondered whether Wall-E and Silent Running were Separated at Birth.

When I'm grilling my burgers, I like to crank up the Superfly soundtrack, especially if it's a Long Hot Summer.

No celebration of what makes America great would be complete without The Joker, The Smokers and The Midnight Tokers. (At least, we assume they were toking something to conceive a sequel to 300.)

You know who wasn't American? Derek Jarman. However, Don S. Davis was.

And finally, we hope you all are taking a much-deserved Requiem for a Day Off.

Derek Jarman Jubilee

Leonard Pierce — Tue, 01 Jul 2008 18:45:00 GMT

As a friend of the Screengrab pointed out a few weeks ago when we did our Gay Pride list of great movies with homosexual symbolism and thematic content, we missed a bet by not including the innovative, daring British filmmaker Derek Jarman in our tally of the most influential gay filmmakers of the 20th century. Always fiercely political at the same time he was deeply personal, Jarman -- who worked wonders in both experimental and narrativef formats --was not only one of the earliest and best gay directors of modern cinema, but also arguably the first true punk rock filmmaker, beating out even his countryman Alex Cox for the privelege of that title. (See his astonishing film Jubilee for an especially choice example of Jarman's many and often contradictory tendecies blending together perfectly.)

Almost fifteen years after Jarman's death from complications related to AIDS, Sam Adams at the Museum of the Moving Image pens a thoughtful and informative appreciation of the man and his art, which even today is far more internally contradictory than many imagine: "Sometimes fusing the personal and political, and sometimes pitting them against each other," Adams writes, "Jarman's films are animated by the interplay between past and present, accuracy and anachronism, nostalgia and protest. They are, quite often and quite openly, at war with themselves, tied to national and cinematic traditions and rebelling against them." Noting the irony of Film London's Jarman Award, which aims to celebrate directors who are to their time what Jarman was to his, he notes "if there were a Derek Jarman of today, he or she might be as proccupied with shunning Jarman's influence as succumbing to it.

The article -- which also contains useful links to other Jarman scholarship, including a sensitive treatment of his legacy by contemporary writer Jon Savage and a letter to Jarman in his final days from Tilda Swinton -- concludes by discussing the director's refusal to be driven into the softness of metaphor by his own confrontation with the AIDS epidemic. "As AIDS hysteria and homophobia mounted in the 1980s,Jarman sharpened his knives and strengthened his stance." Even the eventual loss of his sight to the disease didn't stop him from expressing his feelings in a visual medium: Jarman's films became literally and figuratively darker, until finally there was Blue, "a solid, unwavering block of color, matched to a complex audio collage of interwoven voiced and ambient sounds" -- a series of "profane hyms" that "make hash of identity politics" that literalized the polyhonic approach of his visual fims and allowed him the perfect, and final, expression of "divergent, but not conflicting voices".

Related Posts:

The Gay Pride Top Twenty (Part One)

The Gay Pride Top Twenty (Part Two)

The Gay Pride Top Twenty (Part Three)

DVD Digest for June 24, 2008

Paul Clark — Tue, 24 Jun 2008 14:00:00 GMT

This week brings the release of several new Criterions, the latest DVD from a blogosphere favorite, and a box-set tribute to a late, great British director.

For many DVD fans, this is the week that Criterion releases Anthony Mann’s The Furies and Milcho Manchevski’s Before the Rain in stories. But while both of these titles are certainly worthy, the new DVD that most interests me this week is actually Zeitgeist’s Derek Jarman Glitterbox, containing four of the maverick filmmaker’s works. The best-known title in the box is his 1986 film Caravaggio, which features early performances from Sean Bean and Jarman friend/frequent collaborator Tilda Swinton. But also justifying the price are 1993’s Wittgenstein and 1985’s The Angelic Conversation, the latter of which is only available in the box set. Finally, there’s the strange case of Blue, Jarman’s final film, also included here. While watching a film that consists entirely of a blue background accompanied by various voiceovers and sound effects, it’s nonetheless a must for Jarman fans, or even those who are curious about his life. Made as he was losing his eyesight due to AIDS-related illness, Blue is almost certainly the closest Jarman came to making a cinematic confession. You may not watch it again and again, but it demands to be seen at least once, and thanks to DVD, now everyone has that opportunity. Of course, if you’re looking for a more upbeat gay-friendly DVD, there’s always Xanadu: Magical Music Edition (Universal).

This week’s most noteworthy new release comes to us from our friends at Benten Films, Matthias Gleisner’s The Free Will. A prizewinner at the 2007 Berlinale, The Free Will tells the story of a convicted sex offender who finds himself struggling with life following his release from prison. The first foreign-language release from Benten, the DVD also includes a commentary by Gleisner and star/co-writer Jürgen Vogel, along with the film’s original theatrical trailer and a new essay on the film by critic David Fear. As always, it’s good to see what the Benten boys (Andrew Grant and Aaron Hillis) have in store for us, and The Free Will should be no exception.

Other notable recent releases coming to DVD this week include Marjane Satrapi’s Persepolis (Sony, also Blu-Ray), which features both French- and English-dubbed versions; Martin McDonagh’s agreeably salty In Bruges (Universal); Ryan Reynolds romancing a trio of hotties in Definitely, Maybe (Universal); Roland Emmerich’s latest assault on storytelling coherence and subtlety 10,000 B.C. (Warner, also Blu-Ray); The Spiderwick Chronicles (Paramount, also Blu-Ray), Hollywood’s latest failed attempt to create a new Potter-like franchise; John Sayles’ barely-released Honeydripper (Universal); and the strident Ferris Bueller wannabe Charlie Bartlett (MGM).

Finally… like surfing? Own a Blu-Ray player? Then we’ve got good news for you, as Step Into Liquid (Lionsgate) receives a Blu-Ray only release this week. Otherwise, if you’re looking for non-recent releases on Blu-Ray this week, I’m afraid you’re rather stuck.