Analyzing the Inherent Vice Trailer

Inherent Vice trailer

In 2009, Thomas Pynchon released Inherent Vice, and oboy did it feel like we’d slipped into a parallel world. The famously oblique and reclusive author had not only attached his name to a straight-forward (relatively, natch…), overtly comic detective novel, but he narrated his own trailer for the book, compiled a playlist of songs (many of them non-existent) for Amazon, and even, for the first time ever, optioned the rights to a screenplay.

Oh, and he makes a cameo in the film. You know…the guy who refused to be captured on film of any kind and who once wrote the line “A camera is a gun.” That guy.

What’s more, this all came not too long after a pair of appearances, as himself, on The Simpsons. Why was the world’s trickiest living author (or most authorial living trickster) toying with public life all of a sudden?

There’s no answer. At least none that I’d have. None that you’d have, either. But the process of writing and publishing Inherent Vice seems to have shaped, however briefly, another version of Thomas Pynchon. A bilocated, more visible double that had his own agenda.

Whatever it is that sets this book apart in his mind…well, let’s just say it’s fun to think about, but nothing we’ll ever know. So what we need to do instead is focus on what we have…the first film based on the writings of a man who writes the unfilmable.

And I’m going to walk you through the trailer, telling you everything you’re seeing without really seeing it, ya got me? Feel free to fill in my blanks; I’ve read Inherent Vice several times, but I’m bound to miss at least a few things here.

If you haven’t seen it, correct that first:

Spoilers, needless to say, abound…but if you’re turning to a Pynchon story because you’re curious about “what happens,” you shouldn’t be turning to a Pynchon story.

Inherent Vice trailer

We open with a shot of what seems to be (but isn’t necessarily) our protagonist’s house. His name is Doc Sportello, but we’ll get to him in a bit. For now, it’s a few seconds of lovely scene setting, and it’s impossible for me to look at this without dreaming of a Vineland adaptation. This is exactly how I’d picture the neglected, dormant beauty of Gordita Beach from that novel. Of course, there’s some overlap in characters and other details (including Gordita Beach itself) between Inherent Vice and that book, so maybe the comparison is unavoidable.

The narration, it sounds like, comes from Shasta Fay Hepworth, who we’ll see momentarily. She’s an ex of Doc’s, a private eye, and the novel opens with her coming unexpectedly to his home to discuss some impending sour entanglements with her more recent flame, the billionaire land developer Mickey Wolfmann. Specifically, the possibility that his wife is going to have him committed…and that she might want to be involved.

I’m having trouble deciding if this is narration recorded specifically for the trailer or not. I’m leaning toward no. And while it all rings a bit false to me — I’m not a big fan of films or television spelling out the reasons you should find them absurd — the fact is that Inherent Vice, though it’s by a wide margin the least complicated of Pynchon’s novels, is still pretty damned complicated.

That in itself wouldn’t be a problem if director Paul Thomas Anderson wasn’t interested in adapting it faithfully…but as we’ll see shortly, he absolutely seems to be. (At least overall.)

For that reason…yeah. Having a character catch the audience up with what the fuck is happening is probably not a bad idea.

Inherent Vice trailer

Shasta is played by Katherine Waterston, with whom I am not familiar. But I have to say that she looks the part. She’s very believable as the kind of girl you stay in love with long after you should know better.

We see her later in the trailer, too, presumably in flashback, and though our glimpses of her aren’t long enough to sell the difference yet, if you keep your eyes open you can absolutely see the distance between the girl he fell for and the woman standing in his apartment, “looking just like she swore she’d never look.”

With Doc, her life was pot and trippy music. With Wolfmann — and others like him — it was obviously something else entirely.

Better? Worse? Doesn’t matter. Point is, it’s something Doc could never provide.

Inherent Vice trailer

We don’t get much of a look at Mickey Wolfmann in the trailer, which is fitting, because Doc doesn’t get much of one at him in the book. Wolfmann is a presence more than a character, and that’s fine. It keeps his motives — and the motives of others, as they relate to him — at a distance.

Wolfmann in the book is much as he would be to us in real life: an image in the newspaper, a name overheard but not really understood. Doc encounters those who know him personally, but is always on the other side of that camera lens there. It remains to be seen if the film will keep him at a similar distance. I hope it does, because that was quite effective at building character through unexpected angles.

His wife, Sloane, is somebody Doc does get to know in person, and the ignorant vapidity of the character comes through very well both in this photograph, and when we see her in person momentarily.

Inherent Vice trailer

See? I love that she’s wearing a veil of mourning along with a bathing suit and suntan lotion. It really goes to show how much she misses Mr. Wolfmann. A great detail in this scene — and the reason I capped it — is that you can see that the man barbecuing is wearing a policeman’s helmet, and it’s almost as easy to make out more uniforms in the background.

In the novel, Wolfmann’s palatial swimming pool was indeed taken over by the police officers sent to investigate his disappearance, and it’s suggested that they were enjoying this seized luxury before the feds showed up to take the case away from them.

Inherent Vice trailer

Riggs Warbling, here. No idea who plays him, but he’s perfect for the character of Sloane’s “spiritual coach.” The narration refers to him as her boyfriend. That’s not entirely wrong, but there’s more to him as a character than that.

In fact, one of the great moments in the book occurs late in the story, when Doc finds him in one of the structures he talks about here: zomes. They make excellent meditation spaces, he says, and I’m hoping Warbling gets to see his arc through and isn’t just used as a visual punchline for this scene.

Either would be fine…but zomes, man.


Inherent Vice trailer

Now this is interesting. The construction site photo plays a large role in the book, but here we can clearly see that the sign says they’re at the future site of the Kismet Hotel and Casino.

The Kismet is in the novel — with a connection to Wolfmann — but Doc at first isn’t able to make out the name on the photograph. Eventually he finds out it’s the Chryskylodon Institute…which is referenced in the narration here as a “loony bin.”

So this may mark our first significant deviation from the plot of the novel. Instead of the Wolfmanns laying out the funds for Chryskylodon as they do in the book, they lay them out for the Kismet. Yet Chryskylodon (under that name or another) still plays a role in the film, as we see it shortly with the STRAIGHT IS HIP motto above its door.

We also see Coy Harlingen there…but we’re getting ahead of ourselves.

In the book, the photograph also sees Sloane pretending to operate a piece of construction equipment. Here, for logistical reasons certainly, she’s standing with the traditional novelty scissors instead. That’s not nearly as significant as the Chryskylodon / Kismet switch, which interests me to no end.

Inherent Vice trailer

Doc driving through Channel View Estates, a venture Mickey Wolfmann was heading up when he disappeared. There’s a temporary strip mall in the distance, which houses Chick Planet Massage. We’ll see that later in the trailer, too.

The bikers fleeing the scene does indeed happen soon after Doc’s arrival in the book, but here it happens during his arrival. Not as noticeable a change as the Chryskylodon / Kismet thing above, but considering the fact that this is when Wolfmann goes missing — and a homicide takes place taboot — the difference in timing could be significant.

Inherent Vice trailer

The Chryskylodon Institute in Ojai. At least, I think it is. Judging by the robes and its strategic placement in the trailer as Shasta says “loony bin,” it at least fills the role Chryskylodon filled in the book.

Inherent Vice trailer

And now we’ll talk about Doc…played here by Joaquin Phoenix.

I wasn’t entirely enamored with the casting of Phoenix…but that’s less to do with him than it is with my disappointment that the rumored casting of Robert Downey Jr. didn’t pan out. Now that would have been a stellar Doc.

Phoenix, though, seems like he’s going to be a great fit, and this little moment with him walking toward the police station — and being carelessly shoved over by the cops — says a lot about who he is, as well as one of the central dynamics in the film.

Doc’s a private eye, but whatever talent he has for his profession is easily overlooked by those who see only his schlubby, unprofessional demeanor. It says a lot that on his way to speak with the police, Doc would dress exactly this way. He’s not a jerk…he’s just a man out of time.

It’s a great little detail that he’s wearing huaraches, too. I wonder if he’ll lose one like he does toward the end of the book.

His shoddy treatment at the hands of the law — sometimes deliberate, sometimes not, sometimes calculated, sometimes just for fun — informs my favorite relationship in the book. And, come to think of it, my second favorite as well. This shove, and that fall, bring it all perfectly home.

Of course, the cops get shoved around themselves by the feds, which may or may not translate to the film, but it certainly is starting to seem like it might.

Inherent Vice trailer

A nice, good look at our hero. I don’t have much to say here, but I thought it only fair to spotlight poor Doc, as so much in the trailer eclipses him.

Of course, that’s thematically resonant with the book, so…no real complaints.

Phoenix doesn’t look or act much like what I got from Doc while reading, but I’m actually glad for that. It means this interpretation will be a lot less likely to “overwrite” my inner memories.

Inherent Vice trailer

Josh Brolin plays Bigfoot Bjornsen, Doc’s professional antagonist on the badge-wearing side of things. When Brolin’s casting was announced, a friend of mine gushed about how perfect he was for the role. I didn’t have the same reaction. I’d pictured somebody more along the lines of John Goodman. A younger, meaner John Goodman…but not Brolin.

Seeing him here, though? It really is perfect. He plays the consciously square-jawed detective (police detective, that is…) very well, and we even get a glimpse later in the trailer of how well he might play the less self-assured iteration of the character.

Bjornsen’s relationship with Doc is my favorite in Inherent Vice. It seems like a more profound development of the Zoyd / Hector relationship in Vineland, with mutual hatred managing to coexist with sincere mutual respect. These are two characters who despise so much about each other, and yet they each recognize in each other a longing for a world that doesn’t exist anymore. Maybe never did.

A different world for each of them, certainly, but they’re exiles all the same.

Inherent Vice trailer

Now this was casting I did flips over. Still am, actually. Benecio del Toro plays Sauncho Smilax, Doc’s attorney. We don’t get much of him in this trailer, but his look is perfect. I couldn’t be happier about del Toro handling this character.

This moment seems to come from the lunch he has with Doc at The Belaying Pin, and I’m sure that drink in the foreground is his Tequila Zombie. This is also, if I’m correct, the scene in which he introduces Doc to the Golden Fang, a ship — or something — that factors in a major way into the events unfolding around Doc.

The clips here also demonstrate that the characters haven’t quite settled on where the emphasis lies in Mickey Wolfmann’s last name. It’s that “man” part that’s causing so much trouble…some pronouncing it like it’s pronounced in “Silverman,” and others like it’s pronounced in “Super Man.”

Some pronounce it as you would the name of a wealthy land developer, and others as you would a super hero.

And I like that. One hell of a lot.

Inherent Vice trailer

A relatively minor moment early in the novel, and something I didn’t expect to make it to film, is Doc tying strips of an old t-shirt into his hair to build up an afro overnight. The movie could have opened with his hair that way, and I find it interesting that they bothered to include this…along with other seemingly minor details.

At the same time, much seems to be left out. Doc’s friend Denis, for instance, doesn’t seem to have a role in the film. And while not every character in the book could be expected to appear on screen, Denis serves two major purposes in the novel. The most obvious is probably the fact that he has a hand in the way it all ends. But in general he serves as comic relief throughout the book.

In the former sense, I have to assume the ending — or at least the way it plays out — has been changed for the film. In the latter…well, look at the trailer. The entire thing is comic relief. Denis might play on the page as some welcome silliness, but Pynchon’s writing is all silliness when translated to the visual.

Or, again, so it seems.

Doc is on the phone with his Aunt Reet, a real estate agent who gives him the lowdown on some of Wolfmann’s business dealings. The “wants to be a Nazi” bit is an actual line of dialogue from the book, and I have to admit it’s extremely strange to me to hear these lines spoken out loud.

Not that they sound bad out loud, but the more you read Pynchon the more you get accustomed to a kind of internal rhythm of dialogue. When that dialogue is brought into our world, spoken with our rhythms, it’s a little chilling. Like waking up next to a krees you found in a dream.

But, yes. With lines like this necessitating delivery like this, Denis might not have stood out as comic relief at all.

We then see a brief shot of Doc speaking with Jade (possibly Bambi…it’s been a while since I’ve read Inherent Vice) from Chick Planet Massage. Not much to say about it, but if you’re wondering: that’s who it is.

Inherent Vice trailer

Jena Malone plays Hope Harlingen, who hires Doc to look into the whereabouts of her husband, Coy. She believes he might still be alive, even though the official story is that he died of a heroin overdose.

All of Doc’s cases in Inherent Vice are interrelated, but it’s still easy to segment them out, at the very least by who hired him. The Harlingen case leads to many of my favorite moments in the book, and it’s second only to the disappearance of Mickey Wolfmann in terms of overall importance. That’s why I’m a little sad to see it play out like this:

Inherent Vice trailer

See? We don’t need comic relief in a movie that takes one of the book’s most affecting scenes and makes a joke out of it. The movie is comic relief.

It’s a funny moment, I admit, but Doc mindlessly screaming, I’m sure, won’t stack up to the emotional relief of the scene in the book. See, Hope, Coy, and their infant daughter Amethyst were all wracked by the horrors of heroin. Hope and Coy directly, little Amethyst by proxy. The story she tells Doc about it is harrowing…and in a moment of small, uncommon cosmic mercy for Doc, he sees Amethyst wander into the room, and she’s fine. She’s healthy. She made it out.

It’s a great scene of tension and release, so it’s a little disappointing that it gets played for laughs here. Not worrying, mind you, but disappointing.

Inherent Vice trailer

…aaaand suddenly I’m not disappointed anymore. Reese Witherspoon looks like a fantastic Penny, the Deputy DA who now and then holds Doc’s heart, and some other things. The awkward exchange here involves her over-protective cubicle mate Rhus, and it’s played with perfect, absurd tension.

In the book, Penny is an attractive, intelligent, uptight foil to Doc’s…well, to Doc’s opposite of all that. Witherspoon absolutely looks the part, and somehow, in a way I can’t quite articulate, fits the mold of the kind of girl who would fall for Doc against every ounce of her better, more reliable judgment.

Of course, Penny’s not entirely trustworthy herself, being as she shops poor Doc to the feds right about…

Inherent Vice trailer


Agents Flatweed and Borderline, investigating the disappearance of Mickey Wolfmann, shoving the local badges and batons out of the way in order to do so. At least, ostensibly. The book paints a portrait of a vicious cycle, reinforced by the sheer power of an official pecking order.

I’ll be purposefully vague here. At the bottom (arguably) is Mickey Wolfmann, who could use some assistance. Doc is just above him, willing to provide that assistance. Above Doc is Bigfoot (and his colleagues) who shut Doc down so that they can handle the situation their way. Above them lurk the feds, who shut the cops down so that they can keep Wolfmann away from the help he needs.

It’s a peek into the inescapable future that Vineland has already shown us…but Doc’s there, hovering on the brink of a new decade, and that’s why moments like the reveal that li’l Amethyst is a-ok are so important.

Doc knows he’s a lost cause. He knows there’s no place for him in the years to come. But seeing some assurance, however small, however trivial, that somebody, somewhere, might come out of this okay…why, that’s all he can ever really hope for, isn’t it?

That’s why I wish it wasn’t a punchline.

Because it isn’t funny.

It’s all the guy’s got.

Inherent Vice trailer

Owen Wilson is a great choice for Coy Harlingen, the not-exactly-deceased ex-heroin addict, saxophonist, and political turncoat. He has exactly that sort of effortless attractiveness that also feels quietly haunted. And, hey, he’s a pretty great actor in films directed by guys named Anderson.

Doc finds him here renting a large house with The Boards, a band of the undead themselves. One very nice detail is the saxophone on the ledge in the background…Coy’s icon, and what helps Doc to locate him in the first place.

I’m very much looking forward to seeing the Harlingen saga play out on screen. There’s the potential there for a lot of heart, and unlike the scene earlier, it looks like the emotional holds steady in the Board mansion.

Also, compare the dark, morose environment in which Coy is lost with the bright, airy home Hope still occupies. That’s not unique to the film, but that’s a wonderful visual suggestiveness.

Inherent Vice trailer

A quick flash of Doc in front of Mickey Wolfmann’s tie collection. He’s with Luz, the Wolfmann housekeeper, and they’re about to do what you think they’re about to do.

Doc looks different here because he’s in the Wolfmann residence under false pretenses, looking like he swore he’d never look. Natch.

In the book, the ties are custom painted with very lifelike erotic art, each featuring a different woman Mickey Wolfmann has slept with. It doesn’t look like that’s the case here, but perhaps the imagery is on the back.

Either way, the ties are crucial to Doc’s investigation. Out of his own foolish curiosity he tries to find one featuring Shasta, and fails. Later, in Chryskylodon, he finds that tie…notably not around the neck of Mickey Wolfmann.

The fact that they bother to set up this otherwise irrelevant scene suggests that this detail will still factor into Doc’s investigation. Further confusing the change from Chryskylodon to Kismet in the ground-breaking ceremony.

Inherent Vice trailer

We get a very short glance of Martin Short, out of retirement to play Dr. Rudy Blatnoyd…another in a long (long…) line of untrustable Pynchon doctors. He’s most likely with his dependent patient (and daughter of one of Doc’s old clients) Japonica Fenway, but I don’t know for sure how much of his “Smile Maintenance” we’ll see in the film.

Blatnoyd was a small role in the novel that petered out before it began (with good reason, however), so I’m very shocked Short took it. Either it’s been expanded upon here — which I for some reason doubt — or he was a fan of the book himself.

Whatever the reason, he’s a hell of a get, and I couldn’t be happier with most of these casting choices.

Interesting are the bits of set dressing behind him. An oriental dragon on the coffee table and a ship on the wall…both of which are gold, and both of which passively represent the Golden Fang. Indeed, in the book, Blatnoyd’s very building resembled a big golden incisor.

What is / was / will be the Golden Fang? I’ve read Inherent Vice more times than I could tell you, but like The Maltese Falcon, and, shit, that ol’ muted post-horn even, that’s not what matters. What matters is what it does to the people who seek to find out.

I wonder if the film will retain that mystery. Something I saw in a cast list worries me that it will not.

Inherent Vice trailer

We then flash through scenes of Sauncho picking up Doc from the police station, the younger, original Shasta Fay Hepworth, and Luz overtly seducing Doc (and me…) in front of Sloane Wolfmann.

After that, we get to a very notable image: this Last Supper homage, featuring various members — past and present — of The Boards, having a “heated discussion over a number of pizzas.”

Coy is visible here, and in the book it’s an important clue to his whereabouts. However, in the book it’s a still photograph that Doc is consulting. Here it’s in motion, which means either Doc is present for the scene, or it’s a flashback.

Regardless, an interesting change. This is possibly so that Doc’s photographer friend Spike could be cut out of the storyline without sacrificing an easy visual punch.

Inherent Vice trailer

I love that this scene plays for so long in the trailer. Bigfoot ordering more pancakes (with lingonberries, I hope…) is one of those comic moments that definitely plays better on screen than it does in the book, where it just feels like an amusing incongruity.

Doc’s faltering embarrassment is fantastic, and the comedy is no doubt going to cushion the hard fact Doc learns here: the Mickey Wolfmann investigation is leading him closer and closer to one Adrian Prussia.

Who’s that? The trailer doesn’t answer that question…or, indeed, even raise it. But we’ll discuss it shortly.

We’ve now heard Brolin do his smug, intimidating Bigfoot, and his silly, comical Bigfoot. We don’t really get to hear the fragile Bigfoot, but if the film plays out like the book did, there will be plenty of time for that later.

Inherent Vice trailer

With the exception of a couple of midpoint scenes (such as Bigfoot with his pancakes above), this trailer sticks, understandably, to the front part of the film. Here, however, we get a look at one of the very last plot points.

The dangling handcuffs, the gun, and the “Did I get you?” line all make it clear that the body he’s stepping over belongs to Puck Beaverton. Beaverton doesn’t factor into the trailer otherwise, and neither does his partner Einar, nor his fiancee Trillium.

Theirs was an interesting subplot — and part of the reason Doc went to Vegas (home of the Kismet) at all — so we’ll see. It’s possible that “Puck” here is actually just an anonymous heavy for Adrian Prussia as far as the film is concerned, but I hope not. I really want to hear him sing some Merman.

Doc is asking Prussia, during a brilliantly unprofessional shootout, if he hit him. I’ll spare you the answer, since doing so wouldn’t help identify anything happening in the trailer and would just be a spoiler for spoilers’ sake.

I will say, though, that it’s interesting to me that Prussia is kept out of sight here…just as he is for so much of the book. (And, indeed, in this very gunfight.)

Prussia is Inherent Vice‘s bad guy. At least, within reason. Like Ned Pointsman in Gravity’s Rainbow and Brock Vond in Vineland, we know there are infinite levels above, all working the controls behind the scenes. But as far as what Doc gets to see goes, Prussia’s the one motherfucker he doesn’t want to tango with.

So, yeah. Inevitably, it comes to this. And I can’t wait.

Inherent Vice trailer

Doc outside of Chick Planet — and not at all willingly — with Bigfoot. The trailer ends with a scene of Doc getting knocked out in the massage parlor, and when he wakes up, this is where he finds himself. He gets taken in for questioning, and that’s when Sauncho (as we’ve seen above) comes to get him.

Questioned about what? Well, the homicide. That unfortunate body on the stretcher is Glen Charlock’s, and it’s this murder that sets the gears of complexity really turning. It all interlocks. The only question is…how?

This is when the motorcycles flee the scene. The deed is done on poor Glen, who was working as one of Mickey Wolfmann’s bodyguards, and the bikers hit the road…which Doc hears right before he gets whacked on the head. In the trailer, however, he’s driving to the scene as the bikers leave, which significantly alters the course of events, and doesn’t actually put Doc at the scene of the crime.

It could be nothing, but I’ll be curious how much deviation from the book a change like that will trigger.

Inherent Vice trailer

The LOVE caption is stylized to resemble the cover of the Inherent Vice novel, as are all of the captions in the trailer. This one I’ve singled out, because it’s from another moment I didn’t expect to be adapted: a flashback of a younger Doc and Shasta, caught in a torrential rain as they seek out an address given to them by a Ouija board.

Considering the fact that they asked the board where they could score good weed and the fact that the address ends up connected to the Golden Fang, this is a scene of sweet, unexpected warmth.

It’s no wonder Doc clings to it as control spirals away from him…and it’s a pleasant surprise to find that it made the cut in the film.

God knows the poor guy needs all the happiness he can find.

Inherent Vice trailer

Fragile Bigfoot after dark. His unfortunate homelife is played for both laughs and pathos in the book, and though we can’t hear anything, seeing him cow to his wife while talking on the phone to Doc — his chosen nemesis — is heartbreaking.

Another great, unnecessary element of the book that I couldn’t be happier made it to the screen.

Inherent Vice trailer

Doc and his client Tariq, framed in perfect awkwardness here, in what’s clearly their first meeting. Tariq knew Glen Charlock…and, in fact, has a fling with Glen’s widow once the body gets cold.

Michael K. Williams serves Doc some brilliant, well-deserved bafflement. Their consultation is one of the novel’s funniest scenes, and I wouldn’t be surprised if I end up saying the same for the film.

Inherent Vice trailer

And, finally, we end where things begin: Doc comes to Channel View Estates to track down Mickey Wolfmann, and gets knocked unconscious in the massage parlor. While he’s out, Wolfmann gets kidnapped, his bodyguard Glen Charlock gets killed, and Doc wakes up way over his head.

Maybe, as Shasta herself opened the trailer by suggesting, Doc should have just looked the other way.

Fact is, though, it’s happening.

And it’s happening in December.

I’ll see you there.

Download: The Inherent Vice Soundtrack

Inherent Vice posterThis past week, the trailer for Inherent Vice — the first film Thomas Pynchon has ever allowed to be adapted from one of his books, hit the internet.

If you know me, you’ll know to expect a trailer analysis. And that is indeed coming. While I work on it, though, I thought I’d throw you a little curio: the complete Inherent Vice soundtrack!

…okay, it’s the soundtrack of the book, not the film. But, so what? It’s Inherent Vice, and I spent a lot of time a few years ago putting this together for my own enjoyment. I might as well spread it ’round.

This was my second attempt at compiling a comprehensive playlist of all songs directly mentioned in a Thomas Pynchon novel, but unlike my experience with Vineland, I’ve actually managed to finish this one.

Below is every song mentioned by name (or quoted by lyric) in Thomas Pynchon’s Inherent Vice. It was a lot of work on my part (and on the part of a helpful friend or two), but man was it worth it. Many of these are songs I never would have listened to otherwise, and all of them do an excellent job of setting their respective scenes, and I hope the film can measure up to this standard.

Many thanks go to the (sadly incomplete and periodically inaccurate) song list at the Pynchon Wiki. It missed out some very obvious ones, in my opinion, but that’s neither here nor there. This was still a helpful resource.

Also, Pynchon himself has compiled a playlist of songs featured in the book at It’s far from complete, though, and it contains a few of the fictional songs he wrote himself, so I think this would be more of his personal — and impossible — mixed CD than anything else.

Oddly enough, Pynchon lists “Telstar” by The Tornados, even though it’s not mentioned anywhere in Inherent Vice (and since it’s an instrumental, I’m sure nobody quoted it either).

My guess is that he just really likes the song and thinks it’d fit somewhere in the background of one of many conversations. I’m cool with that; the song is a pretty awesome rocker, and I stuck it at the end of my playlist. Do with it as you please.

Anyway, enough of that. Enjoy the complete literary soundtrack. Maybe eventually I’ll get the Vineland one done, too. (The Crying of Lot 49 is another possibility, but I have a feeling it’d be very short…more of an EP. And I’ll take notes on music references in Bleeding Edge when I finally get around to a re-read.)

Download the Inherent Vice soundtrack:

1) Can’t Buy Me Love — The Beatles
2) Sugar Sugar — The Archies
3) Runaround Sue — Dion & The Belmonts
4) The Big Valley theme — TV Theme
5) The Great Pretender — The Platters
6) “Bang Bang” (My Baby Shot Me Down) — Bonzo Dog Band
7) Strangers in the Night — Frank Sinatra
8) Oh Pretty Woman — Roy Orbison
9) Wouldn’t It Be Nice — The Beach Boys
10) Fly Me to the Moon — Frank Sinatra
11) The Crystal Ship — The Doors
12) Blueberry Hill — Fats Domino
13) Little GTO — Ronny and the Daytonas
14) People Are Strange — The Doors
15) Gilligan’s Island theme — TV Theme
16) Basketball Jones — Cheech & Chong
17) Wipeout — The Surfaris
18) The Other Side — Tiny Tim
19) Pipeline — The Chantays
20) Surfin’ Bird — The Trashmen
21) Bam-Boo — Johnny and the Hurricanes
22) Tequila — The Champs
23) Leaning on a Lamp Post — George Formby
24) Leaning on a Lamp Post — Herman’s Hermits
25) Donna Lee — Miles Davis
26) Here Come the Hodads — The Marketts
27) Eight Miles High — The Byrds
28) Runaway — Del Shannon
29) Happy Trails to You — Roy Rogers
30) White Rabbit — Jefferson Airplane
31) This Guy’s in Love With You — Herb Alpert
32) Desafinado — Charlie Byrd and Stan Getz
33) It Never Entered My Mind — Miles Davis
34) Alone Together — Chet Baker
35) Samba do Avaio — Antonio Carlos Jobim
36) Crimson and Clover — Tommy James and the Shondells
37) Quentin’s Theme (Dark Shadows theme) — TV Theme
38) Something Happened to Me Yesterday — The Rolling Stones
39) Grande Valse Brillante — Frederic Chopin
40) There’s No Business Like Show Business — Ethel Merman
41) One Fine Day — The Chiffons
42) Wabash Cannon Ball — Roy Acuff
43) Wunderbar — Jo Stafford and Gordon Macrae
44) Haunted Heart — Sammy Kershaw
45) Viva Las Vegas — Elvis Presley
46) El Paso — Marty Robbins
47) The Flintstones theme — TV theme
48) (You’re Not Sick) You’re Just in Love — Ethel Merman
49) Tiptoe Through the Tulips — Tiny Tim
50) Everything’s Coming Up Roses — Ethel Merman
51) All Shook Up — Elvis Presley
52) That’s Amore — Dean Martin
53) Interstellar Overdrive — Pink Floyd
54) Tears on My Pillow — Little Anthony & The Imperials
55) When Somebody Cares For You — The Mike Curb Congregation
56) Que Sera Sera — Doris Day
57) Elusive Butterfly — Bob Lind
58) Yummy Yummy Yummy — Ohio Express
59) Hawaii Five-0 theme — TV Theme
60) Something in the Air — Thunderclap Newman
61) We Should Be Together — Shirley Temple and George Murphy
62) Help Me, Rhonda — The Beach Boys
63) Volare — Domenico Modugno
64) Java Jive — The Ink Spots
65) Super Market — Fapardokly
66) A Stranger in Love — The Spaniels
67) God Only Knows — The Beach Boys
68) Telstar — The Tornados

The Fault in The Fault in Our Stars

The Fault in Our Stars

I saw The Fault in Our Stars a couple of weeks ago. Somebody asked me to go, so I did, knowing nothing about it. The film was a manipulative mess, but I’m pretty sure any cancer movie has to be at least somewhat manipulative. And while it seemed to work for most people — I’m honestly not sure I’ve ever heard such a large crowd of people sobbing that heavily before — I came out of it thinking, “Well, that was fuckin’ awful.” (People don’t ask me to go to the movies often.)

But the movie’s got an 8.5 out of 10 rating on IMDB, and an 80% “fresh” rating from Rotten Tomatoes, so it can’t just be an exceptional room of blubbering idiots that enjoyed this thing. In fact, seeing what a positive reception it’s gotten more or less across the board has made me think more critically about the film, and why I’d argue it doesn’t quite work.


The Fault in Our Stars is a romance about two young characters who fall in love while dying of cancer. I don’t know their names, and I’m not going to look them up. Again, this is a recipe for audience manipulation, but I guess you can’t blame the movie for that. It’s kind of baked into the idea of any character with cancer. My problem is that everybody with cancer in this movie is beautiful.

I don’t have cancer. I’ve never died of cancer. Fortunately I’ve also never known anyone who has died of cancer. And yet I feel reasonably sure that the slow, painful, withering death from inside wouldn’t leave a corpse that looks like it belongs on the cover of Teen Vogue.

This is more than a logical inconsistency. That much I’d be okay with. This is downright cruel.

Why do these cancer patients have to look gorgeous? Wouldn’t that just make actual people suffering from cancer feel worse that they haven’t maintained their looks? The main guy in this movie had some kind of cancer that took his leg, which is very fortunate because they just need to keep him in long pants the whole time and his cancer hinders the audience in no way from fawning over his loveliness. The main girl wheels around an oxygen tank which, yeah, that’s not innately attractive, but they went out of their way to cast somebody who manages to look cute even with a tube up her nose. You can’t tell me they didn’t search long and hard for that; it’s not exactly a luxury everybody has.

This would have been a great story to tell with actors who aren’t conventionally attractive. Or, dare I say it, actors who aren’t attractive and look like they are dying.

After all, what’s the point of the cancer? To tug on the heartstrings, and that’s it. Two hot young people falling in love and porking for a while isn’t a touching story. It’s just what happens, and the fact that one or both of them may die soon is eclipsed by the fact that these are two hot young people porking, so it’s pretty hard to feel sorry for them. Fuck, that’s pretty much living the dream.

A much better story would have been about two young people who can’t rely on their looks because they’re at death’s door, having lost their sense of self-worth and their confidence, finding love with each other. Actual love that isn’t predicated on mere sexual attraction, that is, which might as well be what happened here.

One of the minor characters has eyeball cancer and so he loses his eyeballs, which conveniently allows him to wear sunglasses for the rest of the movie, and, once again, the cancer is out of sight and the character gets to look perfect. God forbid dying people don’t look dashing.

Why is a movie about kids dying of cancer so eager to hide the cancer?

It’s telling that the one character in the film who has an “unattractive” form of cancer is treated as a punch-line. He’s the leader of a support group, and it’s funny because he had to have a testicle removed. The sexy cancer kids all laugh at him, and we never get a sense that we aren’t supposed to be laughing along.

What an idiot! Why didn’t he get the smokin’ hot kind of cancer like the rest of us?

This movie sucks.


There’s a scene in this movie wherein the main cancer girl is told she can’t do something, but then she does it. Hooray, everybody’s inspired now.

…or, almost everybody. I wasn’t inspired at all. I was actually kind of horrified, because they picked a pretty disastrous thing to have her overcome.

What would you expect a scene like this to be? Maybe she spends the night in a hospital, and the next day the nurse hands some documents over to her mother to sign, because the cancer girl is too weak to sign them. But the cancer girl protests and then takes the pen and signs them and makes a sassy face at the nurse. (Who is obviously black and fat.)

You’ve seen shitty things like that in movies before, but there’s at least a kind of logic to it. The “weak” character is seen as weaker than he or she really is, and the fact that the weak character is dismissed on account of that weakness is what inspires him / her to overcome it. Cool, right?

Sure. But in this movie, that scene is massively problematic. For one, it takes place in the Anne Frank house.

Just let that sink in, please. This movie about sexy cancer kids sets their inspiring scene in the Anne Frank house.


But anyway, they are heading up to the attic to see where some uglier kid actually endured some really awful shit, and the main cancer girl has trouble climbing the stairs. She has a serious and clear shortness of breath. The crowd of people waits behind her because she can barely move as she lugs her oxygen tank up one step at a time.

Then she gets to the final ladder, and people tell her not to climb, because she’s pretty clearly going to fucking die. But she ignores them all and lugs the oxygen tank up into the attic and everybody claps.

This is a tremendously irresponsible scene. For starters, the cancer girl’s doctor explicitly told her she wasn’t well enough to make the trip overseas in the first place. She ignores this professional medical opinion that’s cost her family hundreds of thousands of dollars, with her family’s idiotic support.

Then, when she’s there, her body is giving her every sign that what she’s doing is stupid. She’s not proving some fat nurse wrong…she’s trying to prove her body wrong. Her body. Remember, that thing that’s dying? Like, right now? She won’t even let anyone hold the oxygen tank for her as she literally collapses against walls.

Is this really the thing to frame as an inspirational moment? You might as well have had her jump out of a window and walk away feeling proud that she didn’t break her spine. The fact that you survived doesn’t mean that what you just did wasn’t inordinately stupid.

Oh well. At least it leads to a crowd of people happily applauding in the attic of the Anne Frank house and FUCK I JUST REALIZED HOW AWFUL THAT IS CHRIST.

This movie sucks.


So that kid with the eyeball cancer? He has a girlfriend at the start of the movie, and then she breaks up with him. Man, that poor kid with eyeball cancer! Can you imagine anyone with a worse life?

Yes. His girlfriend. The movie doesn’t seem to realize that, though.

Early in the film they’re declaring their love for each other, but then the eyeball cancer advances to the point that the eyeball cancer doctor has to take his eyeballs out in order to get rid of the eyeball cancer. After this, his girlfriend leaves him, because she can’t handle being with a man who can’t see.

Is that kind of shallow and shitty?

Well…yeah. Sure. Of course. But what’s the alternative? If she really doesn’t love him anymore, what good does it do either of them to stay together? She told the truth. She didn’t sleep with someone else or lie about going to live with her dad or some shit…she told him what the actual problem was, even though it would make her sound superficial and like kind of a bitch. There’s an admirable bit of self-awareness there.

To me there is, anyway. The movie seems to think that this makes her a villain. The big moment of triumph in this plot thread is that the main cancer guy and the main cancer girl and the eyeball cancer guy all go to this girl’s house and throw eggs at her car. Her mom comes out to tell them to stop, the main cancer guy tells her to go fuck herself, and they keep throwing eggs at the car.

Why? Get a life, you assholes. You’re dying and you’re spending whatever hours you have left throwing eggs at the car of some girl who did nothing but exercise her right to end a relationship she was no longer happy in? If this is really eyeball cancer man’s idea of closure, then can you blame her for leaving him?

It’s very much worth noting that we hear his side of the story…and never hers. She vanishes from the film and everything we’re told about the breakup comes from him. If we’d heard her badmouthing him or making fun of him to her friends then maybe we’d see her as a bitch deserving an eggy car. As it stands, though, it’s just some girl who wanted to move on and this pack of assholes who won’t let her.

It’s problematic that, by default, we are expected to take the man’s side, even though we have no reason to believe the girl did anything out of line. It’s even more problematic that when we meet the girl, the guy is grabbing her and squeezing her tits in the parking lot. The main cancer girl even comments that she must be in pain with the way he’s groping her. And the movie sees this as a joke.

That’s a punchline. This guy is squeezing his girlfriend’s breasts so hard that she’s in physical pain in public, and that’s supposed to be funny. Yet when she leaves him because she admittedly was not mature enough to be in a relationship with somebody who has a disability, she becomes the villain.

That’s an extraordinary double-standard. Casual sexual abuse is fine. Leaving a man because you no longer love him is not.

This movie sucks.


I hate the main cancer guy. Mainly I hate how taken everyone is by his depth and intelligence. He’s not smart; he’s some dumb, pretentious teen. Which is fine…there are plenty of dumb pretentious teens out there. Hell, I’ve been one for 30 years. The problem is that everyone else reacts to him like he’s Confucius H. Christ.

He’s not smart; he’s just annoying. His “thing,” I guess, is to walk around with an unlit cigarette in his mouth, so that somebody can ask him why he’s smoking when he has cancer, and he can point out that it isn’t lit, and then explain that what he’s really doing is putting the symbol of his own death between his lips but not giving it the power to kill him or some kind of fuck you man just fucking, fuck you.

The film treats this like it’s some kind of incredible insight and wisdom. All it does is remind me of Orr from Catch-22, who walked around with crab apples in his cheeks and rubber balls in his hands. He also gave ridiculous explanations as to why he did this. But — surprise, surprise — nobody in that book saw it as insightful or wise. They just kicked his ass for being annoying.

This guy needs his ass kicked. In addition to driving like an idiot — something else the film treats as a punchline, because I guess it’s funny that one asshole that’s dying is also endangering the lives of everyone else on the road? — and being passively domineering to just about everyone he meets…which the film sees as charm, of course…he even makes his friends throw a funeral for him while he’s still alive.

See, he wants to hear them talk about how awesome he is. And they do. And then he’s like, “Yeah, I am pretty awesome.” And then they’re all, “Yeah, I know, I just talked for a while about how awesome you were and I only wish I said you were even awesomer, because you are.”

There’s no irony here at all. I can imagine a film doing some kind of shit like this, but wouldn’t it be more meaningful if the friends decided to host the living-funeral so that they could say all the things they want to say to him before he goes? It loses a lot of meaning when dickball here just tells them to do it.

The whole character of the main cancer guy is problematic. This is exactly the kind of guy that your dying high school cancer daughter should be kept away from at all costs…and yet, she isn’t. Not only that, but everyone’s life is enriched by the fact that she isn’t, because he’s magical cancer Jesus Batman.

But, see, it’s also really sad because cancer took his leg. Which, well, I guess you really can’t tell because he’s wearing long pants and walking without a limp, but, trust us, it’s like, super tragic.

This movie sucks.


I guess it’s worth pointing out that I didn’t read the book this movie is based on. Maybe the book is great. Maybe it’s more nuanced and less fucking stupid all the damn time. So when I say “THE FUCKING AUTHOR” I don’t mean the author of the book…I mean the author in the movie.

He’s played by Willem Dafoe, who is literally the only watchable thing in the whole terrible film. The character he plays, though, is lousy.

He’s this alcoholic author that the main cancer girl loves, because he wrote some shitty book that ends in the middle of a sentence which is so profound you guys he’s a literary marvel. This hollow bullshit gimmick drives the Kancer Kidzz nuts, so they write to him, and then they go visit him, which is why they end up at the Anne Frank house, because this movie is a pile of shit and I guess he’s Anne Frank’s ghost’s neighbor.

That’s all fine and good. But Cancer Jack and Cancer Jill go to visit him so they can ask what happens to the shitty characters in that shitty book after that shitty ending.

And he…oh yes…he has the audacity to say that the book is the book, and anything they’d like to know about the characters is in there.

The movie and the characters both treat this as an affront of the highest order. Really, though, you won’t find many authors worth their salt who are going to verbally regale unwanted visitors with The Further Adventures of That Character From That Thing What I Wrote.

I can’t imagine tracking Thomas Pynchon down to ask him what happened to Oedipa after the estate auction.

Actually, yes I can. He’d punch me in the dick.

I don’t know. I get frustrated when authors are portrayed this way. That isn’t how writing works, and we’re not rude for being unable or unwilling to answer questions like that. We don’t walk around with a kind of literary Toon Town in our heads. We write when we have something to say, and then we obsess over finding the perfect way to say it.

By the time a manuscript of any length leaves our hands, we’re exhausted. We’re beat. Why? Because we put everything we had into that work. Everything. So, no, some unexpected visitors from a foreign country trivializing the work we did by asking nonsensical questions that seek to turn characters we cared about into adventure-seriel archetypes probably aren’t going to be indulged in their idiocy. In fact, they probably do need to learn how to read more closely if they’re finishing books and having to track down authors because they can’t comprehend anything they just fucking read.

Willem Dasalinger even shows up at the man cancer guy’s funeral to atone for being a big ol’ meany head and offers to tell the cancer girl whatever she wants to know about the characters, but she tells him to fuck off and drives away, because what kind of asshole is he to fly halfway around the world to give her an answer to her dumbass question?

You go girl! Speed away and make him look like an idiot.

This movie sucks.

Review: The Grand Budapest Hotel

The Grand Budapest Hotel, Review

Surprising no-one, I love the new Wes Anderson film. I’m going to get that out of the way right now. And I honestly believe this has every potential to be his masterpiece. (Of course, the man’s made at least three strong contenders for “his masterpiece” by now, so I’m positive this is a question that can’t be seriously discussed for another few decades.)

I expected to like it. The trailers looked great, it’s full of fantastic actors, and it was the first full-length screenplay that Anderson wrote solo. Those are all very promising components, and I didn’t expect they’d disappoint.

The surprise, however, came with just how good this movie turned out to be. It’s a moving, rollicking, tragicomic juggernaut of a film, and I haven’t been this deeply affected by a movie-going experience since…well…The Life Aquatic With Steve Zissou.

The plot of The Grand Budapest Hotel is so layered, so dense with momentum, so quick to evolve and so vast in the span of time it covers that I could fill this entire review with the most basic of summaries. There’s a reason the trailer seemed so schizophrenic; the movie doesn’t stay put.

As such, I won’t be saying much about the plot of this film, so don’t fear spoilers. I’m going to talk a lot about what I got from the film, but not necessarily much about what was visually on the screen.

Suffice it to say, however, that the core of the film is the relationship between Zero — a young, penniless immigrant who becomes employed as The Grand Budapest’s lobby boy — and his boss, the concierge M. Gustave. The two get wrapped up in a caper, a mystery, a scandal, and a creeping international conflict, all of which sets the stage for expected comedy, and unexpected profundity.

The Grand Budapest Hotel, Review

Ralph Fiennes plays Gustave with an impeccably charming air of self-importance, and at first he seems to be a classic Anderson dick in the tradition of Royal Tenenbaum or Steve Zissou, and his terse, meticulous demands of perfection seem to channel both Max Fischer and Francis Whitman. However Gustave reveals himself before long as something much more complex; he’s a dick for a noble purpose. He’s a dick because that’s the only way he knows to bring comfort to those around him. And it works.

Under Gustave’s supervision, The Grand Budapest flourishes. He might be condescending and overbearing to his staff, but it’s because Gustave knows one of humanity’s saddest secrets: societal order is not achieved…it is imposed. And if you don’t impose the order as firmly as possible, it’s a matter of time before somebody else will impose theirs upon you.

With The Grand Budapest, Gustave has imposed rigid order upon an isolated society of his own making. (It’s not just visual quirk that sets the palatial hotel upon a largely inaccessible mountaintop.) Gustave is, thematically speaking, a dictator…but he dictates benevolence.

A darkness intrudes, however, and it intrudes on multiple levels. From a creeping war — which first claimed Zero’s family and threatens to claim the fictional Republic of Zubrowka, in which this film is set — to the more personal tragedy of the murder of Gustave’s elderly lover.

There’s a brilliant moment early in film during which Gustave learns the news from the morning paper, letting his eyes roll past the massive headline announcing the invading army down to the photograph of his now deceased ladyfriend, announcing her death. It’s a perfect illustration of the way our personal tragedies, though relatively small, will always hit us harder than the larger, impersonal ones…even if it’s the larger, impersonal ones that should be demanding our attention.

It’s also a nested tragedy — one murder within the boundaries of large-scale war atrocity — which contributes to one of the movie’s main themes: layering. It’s not uncommon for Anderson’s work to see gestures, statements and plot points operating on multiple planes, but it’s never been brought to the fore in quite this way.

The opening scene of The Grand Budapest Hotel sees a young girl in a graveyard, reading from a book. That book contains the action of our film, so the young girl reading it is layer one. Layer two is the book itself, which is narrated by its author and purports, at least, to be non-fiction. The author recounts meeting a much older Zero, who tells him the story in conversation, which makes that conversation layer three. The flashbacks themselves are layer four, which is where we spend most of the film: watching the events play out. And any scene in which Zero is not present must have been relayed to him second hand, at a later point, giving us an ultimate story that’s at least five layers deep, and potentially subject to false memory or self-censorship at any one of those levels.

The Grand Budapest Hotel, Review

In evidence of that claim, the film has the older Zero admit that he’s not comfortable discussing Agatha, as it’s too painful. This would be very fair if he were speaking only about an old, lost love, but as she’s an integral part of the story we are hearing / reading / seeing, it’s a potentially problematic omission. We catch glimpses only of the less painful moments he spends with her, and, of course, the ones necessary to our understanding of the plot. The rest — including what must be the most painful moment to him — is either left unspoken or referenced so briefly and obliquely that the words do not coalesce into a visual portrait for us…it’s the conversational equivalent of something happening off-camera, and so that’s exactly what it does.

This deliberate obfuscation of the love story may be a response to Anderson’s previous film, Moonrise Kingdom, in which the love story was front and center, and which we witnessed unfold with unblinking eyes, sparing us nothing, just as the couple in question was spared nothing.

It wouldn’t be the first time Anderson directly replied to the themes of one film with the themes of his next. Rushmore was about a young boy reaching beyond his lowly station in life, with a father who loved and supported him in his ambitions to a fault. That was followed by The Royal Tenenbaums, which followed grown children who had tumbled from their higher stations in life, with a father who did not support them and whose love was debatable. Then The Life Aquatic, which had a father-son relationship as its very core and as the driving force behind every event in the film, was followed by The Darjeeling Limited, wherein the never-seen father died before the movie began, leaving the brothers Whitman to limp along in their own ways without him. (The Darjeeling Limited also begins with the father figure from the previous film, Bill Murray, being left behind by the train that bears this film’s title. It’s not the most subtle thing in the world, but it does what it needs to do.)

In fact, much of The Grand Budapest Hotel feels like a response to Anderson’s previous films, with moments of bleak darkness, unexpected violence and genuinely chilling suspense working their way into a movie by a director who is by and large pretty life-affirming.

The darkness in Grand Budapest hits twice as hard because it’s also Anderson’s most overtly comic film. Sight-gags abound — all of them perfect — and Gustave is nothing if not a fountain of caustic one-liners. There’s a cartoony set-piece that kicks off the final third of the film (arguably two cartoony set-pieces), but all of this feels like the film’s own coping mechanism for the darkness it has to face. It’s a world coming apart, and it’s already as good as gone. The film has a sense of humor about its own internal tragedies, because, if it didn’t, what would it be? It’s humanity’s way of keeping the terror at bay. It’s necessary. And it’s heartbreaking.

Moments of broad comedy give way to tragedy, which then evolves into horror…and is then joined by another moment of comedy. There’s no better encapsulation of this than Gustave provides himself, while behind bars: he tells Zero of a fellow inmate named Pinky who ridiculed him, which grew into a fistfight, which itself ended with both men seriously battered…but since then he’s come to consider Pinky a dear friend. Comedy, tragedy, horror, comedy. It’s a cycle that recurs throughout the film, and it keeps us from ever feeling confident in the balance.

And is there really any balance? The stalled cable car creaks emptily to the pulse of the soundtrack, which is lovely, but what’s to keep it from just…letting go?

The Grand Budapest Hotel, Review

It’s all cycles and layers. Layered cycles, and cycled layering. Poor Zero begins his apprenticeship having lost everything, and though he rises — in more ways than you might expect — we know from the way other things have worked in the film that he will come full circle. In fact, his very name is emblematic of a circle, and is synonymous with nothingness. And the film knows it.

Humanity is an agreement. That might be the main theme of The Grand Budapest Hotel. We create the world, even if we don’t. Everything we do and everything we don’t do is responsible for the society in which we live, whether that society is an isolated hotel, a fictional republic, a war-torn continent, or an era rapidly approaching antiquity.

We see The Grand Budapest Hotel at the height of its glorious austerity. We see The Grand Budapest as a crumbling shell that once housed greatness. We see Zubrowka as a still-bright outpost in dreary world, and we see Zubrowka fall to the hands of its conquerors.

The Grand Budapest Hotel was Gustave’s gift to humanity, but it couldn’t last. An older Zero observes that Gustave’s world was gone before Gustave even entered it. There’s a reason he enjoys romancing elderly ladies so much: it’s not just the attention — though undoubtedly he does like that — but it’s the desperate clinging to a fast-fading past. It’s a chance to hold with both arms the dwindling numbers that can still recall a brighter day.

And there’s a reason that the death of his lover is what sets the entire plot into motion, and thus the entire nested crumbling that constitutes the whole of the film. It’s an intrusion of reality, a blunt reminder that humanity is an agreement, and it only takes one person to act in violation of that agreement for everything to come falling down.

While Gustave is traveling with Zero to see his lover for one last time before she’s buried, the train is stopped and boarded by military policemen. A problem with Zero’s papers results in a rough moment of brutality, but it is stopped by one of the MPs, who recognizes Gustave as a good man who had shown him much kindness when he was a boy.

The train pulls away, and Gustave, nose bloodied and hair disheveled, begins to use this as a teachable moment. He lectures Zero about the importance and magnitude of these small flickers of humanity…but quickly abandons the lesson in favor of a defeated, heartbreaking, “Fuck it.”

There is a lesson to be learned from what happened there, but, unfortunately, it isn’t the lesson Gustave wishes it to be.

Reality encroaches. Agreements are honored, but more rarely, and only this time. Not everybody who imposes order does it for the good of others.

Gustave’s world was not only gone before he entered it, but before we entered it. By the time it’s printed in the book being read by a young girl in a cemetery, The Grand Budapest is already demolished. It no longer exists. Whatever order applied there at whatever time is no longer relevant.

At least, not unless its own faint flicker of humanity inspires another.

We create the world in which we live. Everything we do, and everything we don’t do.

The Importance of Keeping Artist and Audience Separate

Flappy Bird

Some of you might have heard about Flappy Bird, a very simple iOS game that saw an unexpected spike in popularity over the course of the past week or so. If you’re not interested in that game, don’t worry; I’m not going to talk about it, beyond using it to provide some context.

What I am going to talk about is the importance of maintaining the distance between artist and audience, and that’s something that Flappy Bird unwittingly illustrated quite well.

The simple game wasn’t exactly a critical success, but it found a large and appreciative audience all at once. To play you’d tap the screen. That was really it, but the cumbersome nature of the titular bird meant that it was downright miraculous if you made it any further than a few seconds into the game before failing. One tap equals one flap, but the physics complicated things; avoiding obstacles meant maintaining steady flight, which was quite hard to do when your bird was front-loaded and tended toward a natural face-plant.

That was the game, but that’s not why I’m talking about it. Why I’m talking about it is the fact that its developer, Dong Nguyen, has removed it as of yesterday from the App Store. His reasoning was both vague and clear; the game turned his life into a nightmare. Or, rather, those who played the game turned his life into a nightmare.

The kinds of messages Nguyen was receiving through Twitter and other media were absolutely out of line, but they were nothing compared to what happened after he announced the unavailability of his game: his life was threatened, the lives of his family and loved ones were threatened, and many in addition to that threatened to kill themselves. Whatever you might think of Nguyen’s decision to remove it from the App Store, the subsequent behavior of those who ostensibly enjoyed his game retroactively justifies his move. Why should he worry about disappointing people who would threaten homicide upon a man they’d never met?

Presumably Nguyen had fun designing the game. Presumably he also made the decision to monetize it. (It was available as a free download, but ads were shown in game.) What happened was that the fun was over, and the threats to his life and those he cared about were not worth the money. His audience, in a very direct way, killed what they loved.

This is something I’ve been thinking a lot about lately, and the Flappy Bird debacle is just the most recent instance. While there has always been some amount of interplay between artist and audience, for the most part this flowed in entirely one direction: downhill. The artist composes upon the mountaintop, the audience waits below.

Of course there wasn’t a perfect break between them. Artists still have (and have always had) families and friends. Agents, managers, publishers. There is always somebody around who will have a chance to provide their opinions and guidance to those doing the creating. But they made up a very small portion of the audience. They were necessary exceptions.

Now with Twitter, Facebook, email, forums, Reddit and the like, artists engage with fans much more directly. Rather than a handful of close friends, artists field feedback — and demands, and threats — from hundreds, thousands, or hundreds of thousands of members of their audience constantly. It gets overwhelming, I’m positive, and when issues do arise, things are compounded by the fact that the audience member providing feedback has the option of remaining anonymous. The artist has no such luxury.

While that’s a topic worthy of discussion — it really is, though that discussion should probably be started by somebody other than myself — what really baffles me is why such a large number of people choose to employ this unprecedented level of communication for destructive purposes.

Why the threats? Why the insults? Why the demands? When artists came down from the mountaintop with their paintings, their sculptures, their novels, their poems, their double-albums in illustrated gatefolds, that’s all the audience got. They could enjoy it and appraise it at their own pace in their own way, and only in very rare exceptions would they have a one-on-one audience with the artist during which they could register their opinions.

That was a good thing, because their opinions didn’t matter. Artists unappreciated in their time have gone on to become legends, precisely because they did not take advice. They worked the way they must work; that is to say, they remained true to themselves, and to their vision. They weren’t wrong to shut out the world…they were absolutely right, because it’s very often the world that has some catching up to do.

Now very few artists could achieve any kind of following at all without some kind of public presence, and a public presence today carries with it availability. Artists shouldn’t be personal entertainers, and yet we insist that they are. We don’t want to wait, we don’t want to be teased, and we don’t want to be disappointed. We hold artists personally accountable, and when we disagree with something, we tear them to shreds. It’s still the world that has the catching up to do, but we’re quick to destroy, and by the time we do catch up, that entire universe of artistic potential has been crushed or derailed.

Even when we do like something we tend toward destruction. Quentin Tarantino recently shelved The Hateful Eight, which was to have been his next movie project, because somebody saw it fit to leak the script. Not because they hated it…but because they could. We seek, and we destroy. We take a level of direct openness and transparency with our favorite artists that fans generations ago would have killed for, and we use it to kill anyway.

I do think there’s a debate to be had upon the merits of engaging with an audience. Certainly in some cases it seems to have worked out well…the DMX / George Zimmerman fight cancellation being a recent example of public outcry seeming to have turned a despicable publicity stunt into a rare moment of humble apology. There’s also The Venture Bros., whose pair of writers not only monitor online discussion but have openly spoken about ditching plotlines and resolutions that fans saw coming. While this level of organic response frustrates me, the fact is that the show is great, and for all we know it never would have achieved the highs that it has had the writers stuck to their original (apparently easily guessable) plans. Then, of course, there’s Ezra Pound, whose edits could well be the only reason we know T.S. Eliot today.

But, overall, I find it hard to believe that it’s constructive, or conducive to creating great art. Fans don’t know what they want; fans are fickle and reactionary on the whole. For everyone who quietly appreciates, fifty loudly rage.

Why? There’s certainly an awful lot of art that I don’t enjoy, and a lot of artists I make a point of avoiding, but I wouldn’t see the benefit in attacking them, in obstructing their plans, or of vocally detracting. The world is large. The world is varied. If an artist makes a choice you don’t agree with, the odds are good that there’s another artist making the opposite choice that you do agree with. There’s enough out there. It is no artist’s responsibility to appease his or her audience, regardless of what the modern culture of constant interconnectivity seems to suggest; it’s the audience’s job to follow the artists that they enjoy.

In the past, if an artist read negative reviews of his or her work and got upset, the onus was at least partially upon the artists. After all, you don’t need to read those. You can, but you realize you’re making a choice to do so.

Now it’s different. An artist wakes up to more messages from strangers than he or she does to messages from friends. That’s a scary imbalance, and it’s something I wouldn’t know how to address. Online, accessible socialization is increasingly mandatory for up-and-comers. Without it, how could you amass a fanbase today? But with it, won’t it get pretty tiresome trying to do the art you love when thousands of people you’ve never met are insisting you’re doing it wrong?

We lost Flappy Bird. To many people, that will mean nothing, and that’s okay. But that’s only one example; there’s no telling how much else we’ve lost, are losing, and will continue to lose by insistently stifling creativity. The Hateful Eight. Fez II. Whatever phantom episodes of The Venture Bros. never made it to production. All those unmade seasons of Chappelle’s Show. All those concerts Ryan Adams walked out of rather than deal with hecklers. That inconceivably long initial draft of The Waste Land.

Art is the one thing that makes this world tolerable. Well, that and love. Some would argue — and I’d be one — that they’re very similar concepts, and they’re both easy to destroy in the same way.

Let them be. If you don’t like it, move along to something you do like. Killing it gets you nowhere, and it just leaves the quiet, contemplative fans that much poorer for the loss.

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