Showing posts with label Women. Show all posts
Showing posts with label Women. Show all posts

11 December 2020

ACA

I bunched these works under the name “ACA.”


As in Obamacare?


Yes. The Affordable Care Act. But more than half of these works are set before that act became law.


Let me guess: Not much has changed.


Correct. There are 50 years between Frederick Wiseman’s “Hospital” and the docuseries “Lenox Hill.” The hospital as an institution has not evolved in half a century. What I like about “Lenox Hill” is that they discuss the business of running a hospital. Talent attracts surgeons who will do procedures that will generate income for the hospital system. Caring in a capitalist society is a business, whether you’re a safety net hospital such as Metropolitan Hospital or a fancy community hospital such as Lenox Hill. So Richard Widmark’s Chief of Surgery character in “Coma” can feel justified in his shady scheme.


(d. Frederick Wiseman, 1970)


(2020)

Do you think Paddy Chayefsky saw Frederick Wiseman’s “Hospital” and then wrote “The Hospital”?


They’re set in the same hospital. Most likely yes. As much as I love Chayefsky (a fellow DeWitt Clinton High School graduate), “The Hospital” has not aged well.


Because of the hospital murders?


A message with a blunt scalpel: Hospitals kill because they don’t care. I enjoyed that. Also got a kick out of seeing Frances Sternhagen asking for insurance information from a patient in the emergency room. And Stockard Channing as an ER nurse. The main reason it hasn’t aged well is Diana Rigg’s character, Barbara. She’s an ex-nurse, a counterculture foil to George C. Scott’s Chief of Staff MD. She works out her daddy issues / institutional issues with him overnight.


(d. Arthur Hiller, 1971)


Not a good portrayal of nursing in the media.


Nor is Elizabeth Ashley’s nurse in “Coma.”


Well, she’s scary in person.


The nurses in “The Student Nurses” are more exemplary.


Isn’t that a soft core flick?


Yes. But they were drawn better than Chayefsky’s nurses. My nursing professor would’ve probably failed me if I admitted to liking “The Student Nurses.”


(d. Stephanie Rothman, 1970)

Tell me a moment when you were a student nurse. Did you fantasize about marrying a doctor?


No. “Grey’s Anatomy” had just premiered and our nursing professors demystified a lot of their storylines in class. As soon as we did clinicals, that demystified a lot of Hollywood Hospital. Believe it or not “The Student Nurses” really did remind me of being a student nurse. 


Where were their preceptors?


I know, they had no preceptors! They were student-nursing on their own! Independent learning. They were assigned to different clinical areas, the way we as student nurses were. But it shows you that nursing’s purview is wide. I think the movie is so insightful about that. The student assigned to community nursing  became part of a social justice endeavor. Nursing can go beyond the hospital.


That nurse falls for a radical in a poor community.


It’s a skin flick with a lot on its mind. Maybe because it was a skin flick that its director Stephanie Rothman managed to get away with a lot. Like talking about abortion honestly.


Could you imagine paying to go see this movie to get titillated and then bump into an abortion subplot?


You got a lot of sex before getting to that plot point. It showed you what an elective abortion was during that time.


If you knew a doctor who could come to your house ...


True. Abortion runs through this group of works. “Coma” has a therapeutic abortion in its plot. When the patient ends up in a coma, how you feel about her depends on whether you’re pro-choice or pro-life.


(d. Michael Crichton, 1978)

If one were pro-life, one would think she deserved to be hung in wires, like the comatose patients in the movie?


I must say that was a lot of OR manpower for a therapeutic abortion. 


It’s not that intense anymore. “Never, Rarely, Sometimes, Always” walks you through the 3-day process. 2 days if you had an early appointment.


(d. Eliza Hittman, 2020)


I thought that would be a nail-biter like “4 Months, 3 weeks and 2 days,” but it’s not. And then I realized we are not 80s Romania yet. Abortion is still legal in this country, but access has become difficult. There’s no shady doctor in “Never, Rarely, Sometimes, Always.” The obstacles are also not easy. 


The movie talks about the abortion procedure in a factual and non-judgmental way.


The most painful part of that movie was the questionnaire. Not the procedure.


A good questionnaire can mine the truth.


That scene is pure acting. Reminds me of some Acting I exercise when we were given the most ordinary words and act it as a scene.


If there’s a main theme that courses through these works it’s that of access. That’s what Obamacare was supposed to do, right?


Access to abortion in “The Student Nurses,” “Coma,” and “Never, Rarely, Sometimes, Always.”


Also access to care.


Metropolitan Hospital is still around, thank God. There are two moments in Wiseman’s “Hospital” that stand out. The doctor calls New York Hospital (now New York Presbyterian - Cornell) and complains about sending a patient from there to Metropolitan’s ER. The implication is that the patient was probably not a desirable patient financially for them. The other moment is when a psychiatrist phones for help to prevent a gay hustler from ending up in an institution.


Access to the top, in the case of “The Beauty in Breaking: A Memoir.”


The author of that book, Michel Harper, writes about being passed for a promotion because she’s black and a woman. Her experiences as an emergency medicine MD are similar to the scenes in the emergency room in “Lenox Hill.”


(2020)


Tell me a moment when you were breaking.


Breaking as in crying? Like that neurologist in “Lenox Hill”? A night when my patient died surrounded by his family and I cried with them. I cried some more in the staff bathroom. Then I received my new admission later that night. He was a patient I had taken care of before and lost his vision because of his worsening disease. He didn’t see me cry because he was blind. But I went to the bathroom again and cried some more.


What was the beauty in that?


Michele Harper likens it to kintsugi after you piece yourself back together. You don't have access inside me - You can’t see it, but I’m mended with gold, silver, and platinum inside.





23 November 2020

House of Women

What do you think about when a house is full of women?

That it’s a brothel? Isn’t there some old law somewhere that a certain number of women under one roof is considered a brothel?


I think that’s a myth. But if you were a woman, where would you rather live? A women-only boardinghouse, a sorority house, or a brothel?


Is the boarding house like the one in “Stage Door”?


No Ginger Rogers. No calla lilies. But Kathleen Freeman would be in it!


If it’s “The Ladies Man” boarding house, then yes.


You would want to live in a dollhouse?


Like a Barbie Doll.


One of the best movie sets ever created. 



Too bad it’s a Jerry Lewis movie. 


Starring Jerry Lewis. Directed, produced, and written by Jerry Lewis. After watching it, I still don’t understand what the French see in Jerry Lewis. I don’t care what Cahiers du Cinema says. And that set, as gorgeous as it is, screams misogyny. It conceives the ladies in the house as nothing more than living dolls. It’s definitely a doll house I would like to own.


What do you expect? It’s from the 60s. Peak “Mad Men” era.


The female characterizations are as flat as paper dolls.


It’s a dork’s dream. To be the only man in a house full of women and be fawned over.


But he was great in Martin Scorsese’s “The King of Comedy.”


And as a telethon host.


Can’t say I was an avid annual viewer of that. I guess I like more restraint when it comes to comic acting. He was always mugging for the camera in “The Ladies Man.”

 

You wouldn’t live in a sorority house?


No. It’s usually featured in a horror movie or a skin flick. Sometimes both.


Tell me a moment when you had a black Christmas.


I associate a black Christmas with death. Just like the movie “Black Christmas.” Not serial killer deaths. But I’d say Christmas was black after my brother died. Isn’t that always the case when a family member dies? The first holiday after they’re gone seems like a black holiday.


It’s going to be a black Christmas for many the way COVID-19 cases are rising.


The movie reminded me about “Silent Night, Deadly Night.” I remember seeing that in the movie house when I was in first grade. My mother’s friend brought me to see it. I think it was after a Christmas party.


That must have scarred you as a child. Watching Santa Claus killing people.


I don’t think it destroyed Christmas for me. Sunday school in Bible Baptist Church already burst that Santa Claus bubble for me. I like movies that blend genres.


Is “Black Saturday” a Halloween movie or a Christmas movie?


Depends on the mood you’re in. Like “The Nightmare Before Christmas.”


Do you care that Olivia Hussey’s character is the final girl?


Considering her acting ability, no. But I guess audiences at the time will care about the character depending how they feel about abortion.


My question was - are they graduate students? Because Olivia Hussey, Andrea Martin, and Margot Kidder do not look like  undergraduates.


What I found more chilling was whenever the camera switches to the killer’s POV. Yes, like “Peeping Tom,” but somehow more disturbing because as an audience member you’re filling in motives which the movie leaves unresolved.


Total B movie. Which one would you be in the sorority house?


I’d like to think I would be the final girl. The survivor. But we don’t know if she survives.


I would be Margot Kidder’s character, the boozy sorority sister.


Too bad Andrea Martin didn’t have a solo number …


But she had a fabulous death scene.


If you were a courtesan in Hou Hsiao-Hsien’s “Flowers of Shanghai,” which flower would you be? Crimson, Pearl, Emerald, Jasmin, and Jade?


All of them.


Whoever Tony Leung is with. For a movie set in 19th-century Shanghai, I was surprised how fiercely feminist those women are.


I loved all of them. They understood economics more than the men did.


Because it’s a matter of survival for them. All of them had some agency in their fates. I thought they would be tragic opium-addled figures. And they weren’t. Totally went against my expectations. I'm a delicate flower, so I wouldn't survive in that Shanghai.


And so beautiful to look at.


That camera hovering like an opium haze. Courtesy of Mark Lee Ping-Bing. Even more beautiful with the restored print.


Makes me want to see the restored “In the Mood for Love,” which he did with Christopher Doyle.


Now, can we restore other movies shot by Mark Lee Ping-Bing?


"The Vertical Ray of the Sun!"


“Millenium Mambo” and “Three Times”


***

WORKS



THE LADIES MAN (1961, dir. Jerry Lewis)



BLACK CHRISTMAS (1974, dir. Bob Clark)



FLOWERS OF SHANGHAI (1998, dir. Hou Hsiao-Hsien)

11 March 2018

Conchita, Bertha, and Charlotte

Women are objects of obsession for the men in the works below. In two out of three, the men die ... without consummating their "love."
None of them feel romantic. 

Luis Bunuel's film is intentionally absurd. Two actresses play the same character. Or two actresses portray different sides of the character. Or the man has prosopagnosia. On second viewing, I paid more attention to the presence of political terrorism in its story world.

"Torment" was Ingmar Bergman's first produced screenplay and stars Mai Zetterling as Bertha, a schoolboy's first love and an older man's torture toy. Bertha is a template for female Bergman protagonists to come - a complicated female role that could either be a product of his genius or misogyny (maybe both?).        

Jules Massenet's "Werther" is overwrought and mercifully short. Is it the way Jonas Kaufmann plays him or is it the way the role is written? Kaufmann goes from gloomy to desperate to dead. It's dull to sing in the same "key" for four acts. 

***



That Obscure Object of Desire
(1977, dir. Luis Bunuel)

Conchita times two;
No matter who plays her, man
Only wants one thing.

***


Torment
(1944, dir. Alf Sjoberg)

Life lessons valued
More than schoolwork for expelled 
Man in Bergman script.

***



Werther
(1892, composed by Jules Massenet, libretto by Edouard Blau, Paul Milliet, and Georges Hartmann)
(2013-2014 Season, The Met: Live in HD, dir. Richard Eyre) 

Poet loves, pines for
Charlotte. Long drawn out death ends
Our miseries.

11 February 2018

Pussy Power

The electric power that the women find in Naomi Alderman's "The Power" is within them all along. The young women can ignite it in the old women. The other women in the first three works also find the power within them. That power is often used for revenge, a theme that can also serve to thread the works below. In the process, they portray the women as vindictive. If the simple-minded were only exposed to these four works, they will equate feminism with killing men. It is up to the viewer to deem the female characters' actions as forgivable. Societal forces reduced these women's powers no matter the location and time period. In each, religious forces prop up the patriarchy. Sex ruins the women, but sex is a power tool they learn to use.

"Lady Macbeth"
  • Time: 1865
  • Locale: Rural England
  • Revenge: Having an affair with her husband's land worker.
  • Other Notes: Based on Nikolai Leskov's "Lady Macbeth of the Mtsensk District." At what point did I begin to not like her? When she kills the horse or the boy?
"Insiang"
  • Time: 1976
  • Locale: Manila
  • Revenge: Stealing her mother's lover
  • Other Notes: A time for resistance yielded the second golden age of Filipino cinema. Imelda Marcos did not want the world to see "Insiang." I am looking forward to the works that will come out of these times.
"Cavalleria Rusticana"
  • Time: 19th century
  • Locale: Sicilian village
  • Revenge: Telling the husband of the wife whom her ex left her for
  • Other Notes: The brevity of this work makes it a masterpiece. The staging made me realize I escaped theatre school without reading Brecht. Santuzza disclosing Alfio's wife's affair made me think of Yvonne Elliman's "If I Can't Have You."
"The Power"
  • Time: The near future
  • Locale: Various countries
  • Revenge: Electrocuting men
  • Other Notes: Speaking of golden ages, this will be the next great TV series. Alderman's frame for the story - the reader is perusing a manuscript written by a man - yields one of the most satisfying last lines I've read in a long time.


Lady Macbeth
(2016, dir. William Oldroyd)

Corraled wife takes sex
From patriarchy. Pugh makes
One root, maybe hate?



Insiang
(1976, dir. Lino Brocka)

Mom's lover moves in,
Puts moves on daughter. #Metoo
In Marcos era.



Cavalleria Rusticana
(1890, composed by Pietro Mascagni, libretto by Giovanni Targioni-Tozzetti and Guido Menasci)

(2017-2018 Season, Metropolitan Opera House, dir. David McVicar)

Outcast outs ex-love's
Affair. Brechtian McVicar
Lets score be the star.



The Power (2016)
 by Naomi Alderman

Women gain power
To shock. Will they wield it like
Men? Captures zeitgeist.