EAST BRUNSWICK, N.J.—Someday—someday soon, I hope—I will get around to mounting a defense of Martin Scorsese's latest film, Shutter Island, which I genuinely think is a near-great film, quite possibly his best in over a decade. Certainly, it feels to me like his most deeply personal work in quite a while, with thematic and emotional depths—including links to his past films—that connect with its feverishly expressionistic visuals to move beyond its pulpy psychological-puzzle aspects into something more haunting and thought-provoking. In other words, it's more than just a brain teaser with a big twist; alas, that seems to be the only level at which a lot of the film's strongest detractors seem willing to engage. The dismissiveness of some of those dissenting opinions kinda frustrates me, to be honest...but, hey, if you don't feel it, you don't feel it. All I can do is just shrug my shoulders and try to set forth my reasons for liking it—which I aim to do...someday soon.
In the meantime, I'll direct you all (if you have not yet read these pieces) to Glenn Kenny's review of the film at his blog Some Came Running, Ryan Kelly's at Medfly Quarantine, and Richard Brody's series of posts on the film at his New Yorker blog The Front Row for critiques that strike me as the most perceptive on the matter of Shutter Island. And if any of you would like to try to engage me on the film, please feel free to do so in the comments page of this post, or on Twitter (@kenjfuj). I'll try my best to match up to the reviews above in depth and insight.
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For now...how about a couple more YouTube videos? I got two for you today.
1. A while back, I finally got around to acquainting myself with late '70s/early '80s American new-wave band Devo's first album Q: Are We Not Men? A: We Are Devo! For the most part, I was pretty bowled over by it, but there's one song on it in particular that I connected with: "Mongoloid," a metaphorical song about how even someone with a major disability can go through life seemingly unnoticed in American society. As someone who every so often feels like an intellectual lightweight masquerading as normally functioning adult (yeah, I'm sometimes deeply insecure; what of it?), the tune resonates, in its own geeky-freaky-totally awesome way.
Here's Mark Mothersbaugh & co. performing it on French television in 1978 (though at a tempo much quicker than the one on the album):
2. It must have been because today was such a nice spring-like day, but "翩翩飛起" (roughly, "Handsomely Flying," as implied by Babelfish), a lovely Taiwanese pop tune from 1985, popped into my head and stayed there. The singer of this tune is 王芷蕾 (Jeanette Wang), who quite possibly had the most sheerly beautiful voice in Taiwanese pop during the 1970s and '80s. If you want to know what an angel might sound like, just listen to her. Seriously.
Or watch this video:
Again: I know only I and a select few others really care about this Asian pop music...but I repeat: it's my blog. I do what I want in this joint, beeyotch! Take from it what you will.
EAST BRUNSWICK, N.J.—I didn't watch much of Sunday night's Grammy Awards telecast; sure, I've heard of a lot of the nominated artists, and I've even heard some of the nominated songs, but my interest in today's American pop music is passing at best. (These days, I'm plowing through a complete set of period-instrument Mozart performances—which, I think, gives you a bit of an idea where my musical interests lie.)
But I heard from some of my friends on Twitter that the opening performance, a typically no-holds-barred Lady Gaga medley that eventually segued into a duet with Elton John, was one of the highlights of the night. I was a big Elton John fan back in the day, and still enjoy hearing his stuff; as for Lady Gaga—well, I initially simply heard hit tunes like "Just Dance," "Poker Face" and "Paparazzi" as standard overproduced electronic pop fluff until I read this essay at The House Next Door about her music videos and realized that people were indeed taking her whole package seriously as some kind of Warholian work of art. An astoundingly successful popular artist somehow using her fame and fortune to stage a mass meta-commentary on said fame and fortune? Call me shallow, but that sounded rather interesting to me...and day by day, I find my curiosity about her rising.
Well, I finally checked out that Lady Gaga/Elton John duet (the video of which is above), and it may have provided the final push to finally wade deeper into her music. Why? Because, simply put, the performance gave me honest-to-God chills...the kind of goosebumps that greeted my initial exposure to this artist:
That, my friends, is Anita Mui (1963-2003), the late, great Hong Kong pop star from the 1980s and '90s who was quite the obsession for me a year or two ago. Cinephiles, of course, will recognize Mui from such films as Stanley Kwan's Rouge (1987), Tsui Hark's A Better Tomorrow III(1989), a handful of Jackie Chan flicks (Miracles, The Legend of the Drunken Master, Rumble in the Bronx), Johnnie To's The Heroic Trio(1993), and others. But she was also the Cantopop sensation of the '80s, earning comparisons with Madonna for her flamboyant style and ever-changing public image—much the same way Lady Gaga is garnering serious criticism with her music and public persona now.
For all the flaunting of her sexuality and her extravagant stage manner, though, Anita Mui was, first and foremost, a wondrous singer, with a deep alto tone that could startle you and an emotional range that could knock you down flat. I remember the first video I ever saw of her, a live performance of a 1989 hit of hers entitled "夕陽之歌" (roughly translating to "Sunset Song"):
Under Mui's glorious voice, what could have come off as a bland love ballad felt instead like a searing emotional five-minute drama. As someone who barely knows Cantonese as it is, I didn't understand the words she was singing—but, on an intuitive level, I could grasp the deep, wistful emotions roiling underneath.
Here's Anita Mui tackling a more uptempo number (skip to 3:25 to hear the tune):
The song, by the way, is named "壞女孩," or "Bad Girl" in English. Looking at the way she moves onstage during that performance—yeah, bad indeed.
Why did Anita Mui cross my mind when watching Lady Gaga at the Grammys? Only one reason, really: Ah Mui could sing stunningly well live, even while doing all sorts of elaborate choreography and costume changes...and so, it seems, can Lady Gaga. I mean, I knew she had a fine voice based on hearing many of her hits, but that singing voice was often deliberately technologically manipulated for effect. Shorn of any technological safety nets, however? If anything, she sounded even better singing "Poker Face" live (it certainly didn't sound lip-synced to me). And—I didn't know this before seeing the Grammy video above—she can play the piano! And she did so with Elton John!
Anyone that can pull all of that off in six minutes of near-blissful stage pop spectacle automatically garners a certain level of respect from me. (Listen to Taylor Swift's off-key live Grammy performances by comparison—though, sure, being a mediocre live performer doesn't automatically make her an inferior artist or anything.) This new pop icon Lady Gaga, it seems, is also simply an immensely talented musician. Even if her current self-aware stage persona grows old—and inevitably it will—she at least has the technical chops to be able to do what Anita Mui (and, oh yeah, Madonna) did throughout her Hong Kong pop stardom in the '80s: become something of a chameleon, trying on different public images and stage personas, keeping her act fresh. Being a spectacular singer, like Anita Mui was, is certainly a good leg to stand.
Just for fun, here's a photo of a wax statue of Ah Mui that resides at Hong Kong's Madame Tussaud's Wax Museum, which I took during my Hong Kong venture last year:
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And, oh yeah...weren't Oscar nominations announced yesterday? Yes, they were...and again, I find myself at a loss to say anything of interest about them, feeling neither particularly enthusiastic about deserved nods nor outraged about perceived snubs. AMPAS's taste, at least based on their awards choices over 82 years, has almost always been generally safe and middlebrow, and I don't expect that to change anytime soon. No use getting all emotional over it; just enjoy the drinks that will inevitably flow come Oscar night!
Of course, that is not to say this will be my last word on the subject. Last year, during a brief stint with the general-interest Web site suite101.com, I came up with a list of alternate Best Picture Oscar nominees for that year. Maybe I'll do so again this year. Maybe not. We'll see.
Actually, since I'm here, I might as well offer one personal observation: Remember those days in the early stages of awards season when Carey Mulligan was the front-runner in the Best Actress category for her "star-making" (according to many critics) performance in An Education? Funny how things change in a matter of weeks...and no, I still haven't seen Sandra Bullock in The Blind Side. Didn't seem all that appealing to me when it came out. Guess I'll finally have to, now that it also scored a nomination in this year's pointlessly overstuffed Best Picture category. I may not take the Oscar seriously as an indicator of any sort of artistic quality...but I do like to keep up with the conversation. I suppose that's the journalist in me talking.
