Virtually since the production of Michael Mann’s Public Enemies was announced, various parties have expressed concern that the video fetishism of Collateral and Miami Vice would make a less than appropriate presentation format for a glammy gangster piece set in the 1930s. If *only* Public Enemies looked more like Miami Vice — if only Mann had brought back cinematographer Dion Beebe for a third consecutive collaboration/experiment in pushing the limits of what high quality digital video can do. Lensed by The Insider cinematographer Dante Spinotti, Public Enemies is a drab looking film, its shaky-cam aesthetic coming off as less considered — and far less explicable — than that of any number of indie dramas employing similar run-and-gun techniques on a millionth of this film’s budget. Add in a wildly uneven performance style, an unnecessarily attenuated running time and a sound mix that’s problematically muddy even after evidently excessive after-the-fact dubbing, and the result is a severely miscalculated marriage of style to subject. I’ve said it before, and I’ll say it again: Public Enemies is essentially a really expensive mumblecore film with ADR and guns — and the M-word comparison is not merited solely by its conspicuous form. It’s also a film in which the world of work and general era-appropriate social consciousness is conquered by an emphasis on love. And that, in the end, may be the only thing Public Enemies does right.
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It’s fitting that a trailer for Steven Soderbergh’s The Girlfriend Experience has finally shown up this week. Just a few days ago, the film’s star, Sasha Grey, was being compared to the late Melanie Chambers in obits for and tributes to the latter actress. Now we get a better look at Grey’s crossover into non-porn films, which in the spot is called her “mainstream debut.” That might be a poor choice of wording, especially if Grey ever continues her attempt at a mixed career by showing up in a Michael Bay movie (unless its his ’small’ project) or something similarly, actually mainstream. Sure, thanks to the sexy premise (though no promise of actual sex), The Girlfriend Experience should be more popular than Soderbergh’s previous little HD movie, Bubble, but it’s very likely to be just as dull (at least it fascinated Karina at Sundance).
Check out a roundup of what bloggers are saying about the trailer, which just made me very sleepy, after the jump:
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photo by Karina Longworth
Last year at a New York Film Festival press conference following the premiere of Inland Empire, David Lynch announced that he would never again go back to shooting on film. Yesterday, at the press conference following the New York Film Festival press screening of his HD-shot feature, Before the Devil Knows You’re Dead, veteran filmmaker Sidney Lumet made an almost identical declaration, predicting that celluloid will be all but obsolete in five years. “I don’t think there’s one director who has ever liked film,” Lumet said. “It’s a pain in the ass, it’s cumbersome, and it’s rigid in its rules.”
Check out the audio clip below for Lumet’s elaboration on the rise of HD, why he thinks “naturalistic photography” is an oxy moron, and anecdotes on the how the drawbacks of celluloid stifled both Dog Day Afternoon and John Schlesinger’s Midnight Cowboy (the female voice heard at the beginning and end of the clip is NYFF selection committee member/EW film critic Lisa Schwarzbaum, who moderated yesterday’s conversation). We’ll have more coverage of Lumet’s excellent Before the Devil Knows You’re Dead later today.
Sydney Lumet On Film vs. HD @ NYFF 2007:
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If you’re not up to date on the current status of the HD DVD format war, trust me — you’re not alone. In 2005, when Engadget’s Ryan Block wrote this definitive side-by-side comparison of the two formats, it seemed like I might actually have to pick a side. But now that I have an AppleTV, the whole idea of a DVD format war seems completely meaningless. With more studios and filmmakers embracing online distribution every day, I seems like the HD DVD is destined to become the laserdisc of the late 00s. If you don’t believe me, compare Block’s piece from two years ago with this Engadget story from this weekend, through which we learn that customers are complaining that Sony’s high definition Blu-Ray disks have a tendency to grow some kind of mold which ultimately renders them useless.
So imagine my surprise when, moments after reading the rotting disk story, I scrolled down on my RSS reader and learned that Blockbuster–and, I swear, I’m not making this up–has announced that they will exclusively support Blu-Ray over Toshiba’s competing HD-DVD format in most of its stores. And yes, I triple-checked the date on the story–this decision was announced today. Tack on your own joke about the decaying state of brick-and-mortar, tangible product movie rental right … about … here.
Image of happy family enjoying a surely rot-free home entertainment experience courtesy of Blockbuster.com.
Annalee Newitz
