The first of three parts, we follow Tulse Luper in three distinct episodes: as a child during the first World War, as an explorer in Mormon Utah, and as a writer in Belgium during the rise ... See full summary »
Tired of her husband's philanderous ways, the mother of two daughters drowns her husband. With the reluctant help of the local coroner, the murder is obscured. Her daughters are having ... See full summary »
An exiled magician finds an opportunity for revenge against his enemies muted when his daughter and the son of his chief enemy fall in love in this uniquely structured retelling of the 'The... See full summary »
Tulse Luper is a 20th century everyman whose collection of 92 suitcases intersects with every person, event and movement in history. Here in the second of a three part story, we find him ... See full summary »
Raymond J. Barry,
Oliver Deuce, a successful doctor, is shattered when his wife is killed in a freak car accident involving the car being driven by Alba Bewick colliding with a very large rare bird. His twin... See full summary »
J'accuse is an 'essay-istic' documentary in which Greenaway's fierce criticism of today's visual illiteracy is argued by means of a forensic search of Rembrandt's Nightwatch. Greenaway ... See full summary »
Mr. Neville, a cocksure young artist is contracted by Mrs. Herbert, the wife of a wealthy landowner, to produce a set of twelve drawings of her husband's estate, a contract which extends ... See full summary »
As a young girl in Japan, Nagiko's father paints characters on her face, and her aunt reads to her from "The Pillow Book", the diary of a 10th-century lady-in-waiting. Nagiko grows up, ... See full summary »
The first of three parts, we follow Tulse Luper in three distinct episodes: as a child during the first World War, as an explorer in Mormon Utah, and as a writer in Belgium during the rise of fascism. Packed with stylistic flourishes, it's a dense, comic study of 20th century history, revolving around the contents of one man's suitcases. Written by
I have three living filmmakers that I revere. Greenaway, of course, is one of them and the most obstreperous of the bunch. I like that he has real problems with making illustrated books and does something substantial out of that.
His fundamental notions of the world are built on overlapping conceptual frameworks, ordered frameworks. In this, he follows the Joycean tradition of "Finnegans Wake," which layered all sorts of frameworks from Kabbalistic, Vican, mythological, even geographic sources. It was all merged according to a dream logic since we had no other template in that day and used every lexical and literary device he could muster.
Where Joyce had to make do with dream-layering, our Peter gets to use already familiar web- referenced multimedia overlays. He surely knows how to use the software to extend the art of editing into new dimensions. Wow, just on that score.
And where Joyce used obtuse frameworks with the intent of his book being a life's reading, Greenaway uses obvious overlapping frameworks: numbers, his own life and the mythology from his prior films. Some categories, like the periodic table. Oddly, he hasn't been as thorough in this film as he has in some others: Vermeer's theories of light, animals, sexual stereotypes, the written word, various frameworks of introspection and reflection. Different slices on gender.
Anyway, the point is that where Joyce was esoteric, Greenaway strives to be obvious, though manylayered, even juvenile, in his frameworks. He wants these to be so simple and grand that he can stretch them to many web sites, films, CDs, games, and (I presume) books and installations. Someone can casually enter a part of the larger work and intuit the order of the thing.
Each fan of Greenaway will have to make her own decisions on what she likes in terms of the different balances he has struck. As for me, I want a tighter integration of framework and image than he has here. This is why I value his "book" films the highest.
What does this add to what we have? Sadly, not much, except an attempt to integrate himself and some of the political sweeps of the ordinary world, which he tags to nuclear control. I've often thought that the artists themselves are dumber than the art they produce and the greater distance we have from their personalities, the better.
If you have talked to Greenaway, you'll see this in a flash. He has some good headlines, having to do with the bankruptcy of narrative in film. But beyond that, his films (some of them) soar, while his own spoken narrative crawls.
Ted's Evaluation -- 3 of 3: Worth watching.
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