I haven’t watched The Simpsons regularly in years, but I got a couple of text messages alerting me that last night’s episode, which follows Lisa (whose talent President Skinner assesses equates to “as if Ingmar Bergman and Penny Marshall had a baby), as she makes a documentary called Capturing the Simpsons, and then takes the film to Sundance.
Matt Dentler points out that the entire episode is already up on my beloved Hulu, via which it’s now embedded above. It’s full of some pretty great festival-centric jokes. My favorite: Lisa’s film is chosen during a scene in which a character who looks a little something like Geoff Gilmore throws a can of film into what looks suspiciously like the fireplace in the lobby at The Yarrow, AKA Sundance press and industry homebase. Also good: Marge walks into a theater playing a film called Candyland under the assumption that “a great family game is now a great family movie”, only to find junkies on screen getting ready to shoot up. “Oh, I get it,” Marge says. “Every title means the opposite of what it means!”
A U.S. District judge threw out a defamation case against the makers of Borat yesterday, on the grounds that Sacha Baron Cohen’s fake journalist schtick is protected under the same laws as real journalism. A New York businessman had sued for unspecified, claiming he was humiliated against his will when footage of Cohen chasing him down the street appeared in the film, and complaining that 20th Century Fox had no right to make a profit off of said humiliation. But the judge disagreed, citing a section of a NY State civil rights law that says “nonconsensual use of a person’s image to depict newsworthy events or matters of public interest is exempt from the law.” If you’re scratching your head trying to puzzle out just how performance art built around the harassment of strangers qualifies as a “newsworthy event,” here’s Judge Loretta Preska’s explanation of her ruling:
[Borat] employs as its chief medium a brand of humor that appeals to the most childish and vulgar in its viewers..[But] the movie challenges its viewers to confront, not only the bizarre and offensive Borat character himself, but the equally bizarre and offensive reactions he elicits from `average’ Americans.
I’m alternately admiring of and infuriated by Cohen’s ability to exploit the right loopholes that allow him to get away with using real people as raw material for his act, which never seems to be as sharp as either comedy or social commentary as he thinks it is. But childish, vulgar, bizarre and offensive *does* sounds like a pretty accurate description of most televised news.
I imagine this will change once the work day gets underway on the West Coast, but right now the entire featured section on YouTube is still devoted to vaguely Halloween-themed clips. My favorite: A Hard Day’s Night of the Living Dead, a music video by The Zombeatles. It’s pretty much exactly what it sounds like, complete with jello brains, and just in case YouTube has cycled it out of the featured slot by the time you read this, it’s embedded above. Also good: House of 1000 Muppets. Come for the inventive use of clips from Follow that Bird; stay for the Fozzie punchline.
Above: a still from a Simpsons episode, side-by-side with the shot from Alfred Hitchcock’s North by Northwest that inspired it. For 65 additional comparisons between Simpsons images and their cinematic forebears, click here. [via Laughing Squid]
The gang over at IFC News have compiled a list of 10 references to Bergman and Antonioni in popular culture. Of course, everyone remembers the Twister-with-Death scene from Bill and Ted’s Bogus Journey, but the IFC list includes a few unusual suspects, such as Haruki Murakami’s L’Avventura-inspired Sputnik Sweetheart. Overall, it’s a great list, although there’s two items I would add.
The IFC list rightly cites Interiors as the apex of Woody Allen’s expression of his passion for Bergman, but Allen also paid tribute to Antonioni. The “Why do some Women have trouble reaching Orgasm?” segment of Everything You Always Wanted To Know About Sex (But Were Afraid to Ask) is a clear homage to Antonioni-style urban decadence and ennui. It’s also shot in black and white in Italian, so the reference is not exactly subtextual. It’s an absolute crime that a clip of this is not available on YouTube.
And in terms of Bergman references, I’d include “Seventh Seal” by Scott Walker, which you can download here. The opening track on Walker’s 1969 solo album Scott 4, “Seventh Seal” is basically a five-minute remake of Bergman’s 1957 film, set to Spanish guitars. In other words, it is to Bergman’s masterpiece what The White Stripes’ “The Union Forever” is to Citizen Kane, except it pre-dates Jack White’s brush with relevancy by about 30 years. Footnote: Last year, when Walker released The Drift, his first record in a decade, a rapturous Pitchfork review compared it to “a painstakingly fine Ingmar Bergman film, moves slowly and deliberately, with an intense focus and refusal to turn away from disturbing ‘images.’”
While we’re on the subject of Ingmar Bergman, let’s talk about Bergman parodies. To gauge the Swedish’s master’s impact on 20th century culture, one needs to look no further than YouTube, where you’ll find “Bergmanesque” clips from Mystery Science Theater 3000, French and Saunders and an Alamo Drafthousevideo contest. Then there’s the above clip, which appears to be an NYU student short. Titled simply Thirst, its YouTube summary reads in part: “What if director Ingmar Bergman did a commercial for Coca Cola? Written and directed by Leslie Chase, the film is set in the late 50’s and follows the thirsty, lonely lives of two Swedish sisters.” It’s tribute, it’s dead-on parody, and it’s genius.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
filmcouch-114
A U.S. District judge threw out a defamation case against the makers of Borat yesterday, on the grounds that Sacha Baron Cohen’s fake journalist schtick is protected under the same laws as real journalism. A New York businessman had sued for unspecified, claiming he was humiliated against his will when footage of Cohen chasing him down the street appeared in the film, and complaining that 20th Century Fox had no right to make a profit off of said humiliation. But the judge disagreed, citing a section of a NY State civil rights law that says “nonconsensual use of a person’s image to depict newsworthy events or matters of public interest is exempt from the law.” If you’re scratching your head trying to puzzle out just how performance art built around the harassment of strangers qualifies as a “newsworthy event,” here’s Judge Loretta Preska’s explanation of her ruling:
