a valentine to movie matinees
by Douglas Messerli
Evan Johnson, Robert Kotyk Guy
Maddin (screenwriters; with additional material by John Ashbery) Guy Maddin
(director) The Forbidden Room / 2015
Maddin tells these tall tales, with a
large score of actors (Roy Dupuis, Clara Furey, Louis Negin, Udo Kier, Mathieu
Amalric, Geraldine Chaplin, Charlotte Rampling, and Noel Burton among many
others, many of them playing several roles) with beautiful music such as
Schoenberg’s Verklarte Nacht, while
imitating the intertitles of silent films, and presenting his images as brittle
scenes on decaying film stock which might at any moment ignite into flames—and
sometimes does!
Indeed, as the stories within stories
within still further stories progresses forward and backward, we finally end
up, once again with the early submarine tale, where the men, missing oxygen,
are forced to eat flapjacks (pancakes are a returning motif in Maddin’s work,
as are bathtubs, women with necklaces, and virgins in distress) so that they
might find oxygen in their “air pockets.” The Captain’s room, meanwhile, is the
“forbidden room” of the title, but as the men begin to fear for their lives, they
rush into his domain only to find him dying within his bubble bath (obviously,
the “forbidden room” is the bathroom itself as well); the lone survivor
discovers, in a book hidden within another book—much like the structure of the
movie itself—where he encounters briefs of the best “climaxes.”
For Maddin, of course, the “climaxes” are not only sexual—which
symbolizes his relationship with the medium—but a literal listing of adventure
movie “climaxes,” the best of the cliffhangers that ended films with visions of
romantic love and salvation. Film is clearly here not only a sexual force but
an emotionally saving force, akin almost to a kind of religious experience.
The several bathtub images which with
the movie strangely begins and ends represent, accordingly, not only a kind of
spiritual washing of the soul, but the complete immersion in a world of
“dreams, visions” and imagination.
If often Maddin appears to be laughing
at all of these absurd cinematic sequences, he is simultaneously, in re-presenting
them, celebrating their curative powers. For each of these stories feature
characters compelled by their fixations and their inability to move ahead into
a more normative world; the only solution for their problems, so the director
suggests, is through the imagination that art, in particular cinema, can offer.
Ultimately, Maddin’s work is a heavily collaged valentine to all those films in
which so many of us of a certain generation let ourselves be bathed by just
such images on those dozens of Saturday and Sunday matinees. Through them, I
grew to love theater and later fiction—and through fiction, eventually, poetry.
Without them…well, maybe I would no choice but to believe in god. Thank god for
the choice.
Los Angeles, November 4, 2016
Reprinted from World Cinema Review (November 2016).
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