The Scene
A film review as a scene of a group of friends watching the film as told in a style that recalls Kurt Vonnegut:
The three sat in the middle of a row, midway back from the screen. The film they watched was about a man who doesn’t understand himself and is unhappy. Desiring happiness, he observes his life to find out what’s wrong. He doesn’t find happiness, so he observes others observing him. He doesn’t find happiness there either, so he observes himself observing himself. Nothing. So he observes others observing him observing himself. And on and on.
The layers of observation build until he’s watching entire cities worth of people observing entire cities of people observing themselves and everyone else.
Then, after two hours and four minutes, the man dies.
When the film ended but before the credits did, they stood to leave. They guy noticed the girl with the short hair wore a furrowed-brow frown. He noticed the girl with the long hair looked peevish. He himself bore a kind of wry, mouth-half-open smile. They walked down the hall and out of the theater. They walked into the lobby and rode three sets of escalators.
They paused at the bottom.
The looks they wore after the escalators were the same as when they had just stood from the theater seats. They stayed that way for a long moment, not looking at each other and not looking at anything else either. Just staring into a middle distance, a seam in reality not populated by objects, but ideas, words and thoughts.
Being more or less precise people, they sought in that seam the right way of characterizing this film. This being's quest for understanding. This sad half thing who had spent his life being merely an observer, a fastidious chronicler of the minutia of life, as though by observing life in great enough detail he might learn how to live it. A voyeur of such relentless joylessness. An infinite regression of self-reference. A man frozen by thought. An inactive agent. A being that was, in fact, no kind of being at all.
After a long while, the guy spoke: “That was exhausting.”
More or less silently, they agreed that that was about all that could be said. The three parted ways without really saying proper goodbyes.
The film was by Charlie Kaufman.
2 Comments:
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I hadn't commented until now because I've been staring at an empty spot roughly 3-inches directly behind my computer screen since December.
At the third sentence of your second paragraph, I thought, you know, Luke should probably see Synecdoche, New York since this film sounds similar.
Then about the middle of the first (only) sentence of your third paragraph I smiled when it occurred to me you were in fact describing Synecdoche, New York, or at least describing the observation of it.
My smile was a Phillip Seymour Hoffman smile which says that he... I... you... know less now than when we started this exercise in observation. If I was directing, this is where I would have told you to smile too.
Of course, I know I was set up. When we do the next take, the person playing me will have to do it knowing I was set-up, but play it like his character has no idea. Trust me it will work.
We're all characters in a Woody Allen play about fate, you know that, don't you? It may be that the person you were describing watching the film was just a representation of me watching you write the review I might have written if I could've stopped staring at that spot three inches behind my the screen.
The only place I see myself going off-script, proverbially launching myself off the tenement building, is that I'm convinced Phillip Seymour Hoffman's character was actually a woman. Kaufman wouldn't want us to get away with thinking we had ever really had the correct frame of reference. That's how he makes you and me characters in his film. He has to respect his idea.
Put that in your smoldering apartment and smoke it.
You know why I deleted my first comment and then re-posted? Ask Phillip Seymour Hoffman's character why he had to build a new reality around each set in an effort to change the meaning, not by changing the script but by warping the angle of reference.
Me, I simply wanted to correct a misspelling.
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