The Company (2003) - directed by Robert Altman, written by Robert Altman and Neve Campbell

(I watched this with my friend Sheila Heti late at night in a cabin in the woods. We projected it onto a wall with our make-shift entertainment system. We were under the shared assumption that it was possibly the most entertaining movie that we brought with us. Every 25 minutes or so Sheila would say, “I think maybe I’ve seen this before.”)

There is a ballet company. The Company is in Chicago. The director wears a yellow scarf. He calls people “baby” or sometimes “genius.” A “genius” comes from Canada to choreograph a new ballet, “The Blue Snake.” There is not enough money to make “The Blue Snake,” but the director (easy and charming) says he will find it. The dancers continue to practice and perform, sometimes in a mirrored studio and sometimes to an audience in the rain. Sometimes new dancers arrive, sometimes dancers quit. Some of the dancers live together in a crowded apartment because maybe they don’t get paid a lot. Ryan is one of the dancers. Ryan lives in a big apartment all alone, maybe because she works a night job as a waitress. One night after her nightshift, she plays pool by herself in a bar. James Franco watches her. He has come to the bar after his nightshift as a chef. He goes back to her apartment with her and makes her an omelet in the morning. Ryan’s family comes out to a lot of her performances. They are clearly supportive if not greatly responsible for her career as a dancer. No one talks much. Sometimes the dancers get injured. When one is injured, another ballet dancer takes his or her place. Ryan is in the spotlight after a few others have suffered injuries. Her spotlight is brief, injuring herself while dancing “The Blue Snake.” She’s okay about it, even smiling, and James Franco crosses the stage awkwardly to give her flowers, while the dancers bow after the performance is done. In the last scene, the dancers come out of the mouth of a giant head and dance around. The head looks wrathful and also a little bit like the company’s director.

The best part of the movie was during The Company’s “Christmas Roast” when the dancers, on a make-shift stage, dress as different members of The Company and act out skits representing scenarios that we have already seen. Although the skits were literal representations, they were loose and playful. It was kind of nice to remember that the dancers, like us, have witnessed the scenarios they were part of. Now they are making fun of one of the romantic dances that happened in a thunderstorm. Now they are making fun of the “genius from Canadia.” It made the rest of the movie seem even more starkly like real life – lacking in poetry and even in .. “representation.”

It’s pretty interesting when a movie doesn’t work – when the poetry seems absent, the metaphors don’t resonate, when the art seems missing. It makes the movies that work seem like miracles. It’s especially interesting when a movie like this doesn’t work – a movie where the skill and craft and the director’s experience are all clearly on display.

Failure always seems to be an interesting part of good art. I guess it is easier to fall on your face if you happen to be reaching out far. Some failures are super interesting or easier to forgive than others, like: the bountiful missteps of Marlon Brando; the masterpieces of David Cronenberg that are aiming for the multiplex but end up at the cineforum; the David Lynch-like silence that sometimes follows David Lynch movies; the ambition in Sofia Coppola’s awkwardly revealing “Marie Antoinette” (though to be fair, I didn’t see the end because in the cinema in which I was watching it, the film caught on fire);the incaution in Woody Allen’s one-movie-a-year output (also often awkwardly revealing). Groping and searching and hubris always seem more generous than an immaculate career – more like contributions.

Nothing horrible is revealed in “The Company” other than the fact that it didn’t really work. I am guessing that a movie about an art system is a bigger challenge than a movie about a love affair. I guess at the end of “The Company” we are meant to see the giant head on stage as perhaps the art itself – spitting out dancers with broken bodies or failed or briefly glorious careers. It didn’t really resonate as it was supposed to, but I could see what the movie was maybe going for: art is as a merciless god, barely paying attention to the participants who offer their lives to it — some failing, some falling, some shining.

It’s okay, I think, as I gaze at the hand-painted ballet set, at the wrathful god’s wide-open mouth, projected onto the cottage wall (my friend half asleep beside me): It is only a god of the humans’ creation.

Whatever Works (2009) - written & directed by Woody Allen, starring Larry David

(I had run out of Woody Allen movies to watch. As far as I could see, there was one left, there on the video store shelf, “Whatever Works”. It didn't look good: the prematurely balding Larry David in a “what can you do?” shrug on the cover. Not a trace of pleasure on his face. I had vague memories that a pretty teenager-woman who looks off into outer space was also involved. All one can really think when contemplating the box without much information is, “Please, Woody Allen, please don’t let this movie be about how that man who has a facial expression kind of like yours ends up having sex with a late teenager even though he is initially unwilling.” This is not the kind of story that reliably gets better the more you tell it. The DVD case looked as desirable as a half smoked cigarette on the sidewalk. I picked it up. And when I walked home with it under my arm, confident of a little bit of pleasure, I thought - how bad could it be?)


One might put the Larry David doll next to Woody Allen doll on the shelf, if one was trying to clean up and organize one's collectibles – even though the Woody Allen doll was made with plastic and hand-sewn doll clothes in 1977 and the Larry David doll was made with rubber in 2009. But it turns out that if you put the Larry David man in a Woody Allen movie, it is very hard not to pay attention to their flaming differences.

As someone said - don’t judge the performer, judge the performance. But if I judge the Larry David performance in this Woody Allen movie, everyone loses. If I judge the performer, Larry David, then Larry David wins. Who knew? When Larry David is playing Woody Allen, he plays a physicist genius who is wise to (through his superior intellect) the meaninglessness of the human condition - as though, in the 21st century, only a genius (and a physicist??) could entertain a vision of this nature. The meaninglessness that LD as WA has to contend with is epic and profound. He also fights with imbeciles, homophobes and religious fundamentalists. He does his best to cope.

The character's stance as enlightened-nihilist-filled-with-despair seems like it's from another time, like, another time from a long time ago, especially in forced comparison to the Larry David who created Seinfield and Curb Your Enthusiasm, a man who gleefully pours sugar on his meaningless breakfast cereal and rubs his hands together with delight before digging in. When LD is the LD character on Curb Your Enthusiasm, he fights with children, kindly doctors and Ted Danson – all of whom are a little bit smarter and more morally developed than old LD. It is the others who do their best to cope with him while he dances to escape their frustrated clutches and exasperated glares. LD as LD passionately takes up positions on matters of the pettiest nature. His joy in this endeavor cannot be hidden and his pleasure at playing the villain is transparent. Seeing Larry David play the Woody Allen character reminds one that the Woody Allen character is always the hero, no matter how flawed.

Man-impressions aside, the most damning problem regards the old fourth wall. In the opening sequence the LD as WA points out the camera to his dumber-than-him friends and talks about the viewers at home watching them. Of course, no one else can see the camera except for this genius. Now, playing the (now simple) breaking-the-fourth-wall game with LD can make a director look pretty silly. Maybe WA talked directly to the camera while inside a fictional narrative while LD was in diapers (or at least.. um, in business school) but somewhere around 2009, on the set of Curb Your Enthusiasm, near the end of the season, LD as LD strolled past the forth wall and the fifth while whistling a bad tune and waving at Andy Warhol. Andy Warhol didn't wave back. Larry David kept smiling.

Maybe if LD walked around talking about what a genius he was, he wouldn’t have run into a problem like being in this movie and making Woody Allen look bad.

Meetin' WA (1986) - Jean-Luc Godard

(I wrote about this video dialogue between Woody Allen and Jean-Luc Godard here for Ryeberg Curated Video site in a piece called "Meetin' WA and God'R in the Fute'R". )