El texto a continuación proviene de Instrucciones para Vivir en México que es una selección de artículos que Jorge Ibargüengoitia escribió para Excelsior entre 1969 y 1973. Este texto es acerca del fallecimiento de su madre Luz Antillón en 1973. Lo pongo aquí por dos razones. Una, porque un fan de Costa Rica escribió que tenía muchas ganas de leerlo y muchas dificultades para conseguirlo. Dos, porque ya mero celebramos el día de la madre y ando con ánimo macabro.
Anexo una foto de Luz Antillón que tomé de otra foto que pusieron durante la exposición que montaron en el Festival Cervantino de 2008.
Lean y disfruten
Ensayo de nota luctuosa
No manden flores
El miércoles pasado, 29 de agosto de 1973, a las 7 de la noche, murió Luz Antillón, que fue mi madre.
Cuando yo estaba en la agencia, escogiendo la caja, oí su voz que me decía:
- ¡La más barata, la más barata!
Creo que si hubiera visto la que compré, hubiera dicho:
- Muy bien. ¿Pero cuánto te habrá costado? ¡A poco cuatrocientos pesos!
Los precios que tenía en la cabeza eran de 1937.
Nunca fue afecta a entierros, pero creo que el suyo no le hubiera parecido mal. El cortejo no fue a vuelta de rueda, la carroza llegó junto a la tumba y, los más importante, nadie detuvo el descenso del féretro para decir "unas palabras de despedida".
Los empleados de la agencia, que la cargaron y la bajaron a la tumba, le hubieran causado muy buena impresión.
- Muy limpios, muy bien rasurados, dos de ellos bastante guapos. ¡Pobres muchachos, qué oficio tan horrible el de andar cargando muertos! - probablemente para resaltar los adelantos modernos, hubiera recurrido a una comparación con los cargadores borrachos de Guanajuato.
Su muerte fue natural. Es decir, murió cuando ya no quedaba otra alternativa. Vivió ochenta y tres años muy bien, uno regular, otro enferma y dos meses gravísima. Cuando llegó la muerte, era un epílogo necesario que ella y los que la rodeábamos estábamos esperando con ansias.
Murió como vivió, dando órdenes. Algunas de ellas, completamente equivocadas, que estuvieron a punto de costarnos la vida o una hernia a los que la atendimos en su enfermedad. Por ejemplo, me dijo:
- Quiero morirme en esta cama - la que había usado cuarenta años - no vayas a discurrir cambiármela por una de hospital.
Cumplirle este deseo causó muchas dificultades, pero ella murió en la cama que escogió.
No murió como pajarito, porque la vida se extinguió en su organismo con muchos trabajos, ni la muerte la agarró por sorpresa: hace diez meses que quiso que la santolearan, y más de un mes que le dijo a su hermana que iba a morirse al día siguiente y dónde estaban los papeles del panteón, que tenía guardados una mica.
Pero una cosa es tener conciencia y otra tener ganas. Las que ella tuvo de morirse le entraron en los últimos días, cuando comprendió que la cosa ya no tenía ningún chiste.
Antes de eso, tenía esperanzas, ya desahuciada, le preguntaba uno "¿cómo estás?" y ella contestaba sin fallas:
- Mucho mejor.
Además de esperanzas, tenía cosas que le daban gusto -casi todas prohibidas-. Durante un año estuvo a dieta rigurosa. Cuando yo fuí a Estados Unidos, se quedó a cargo de mi mujer, inglesa, y de su doctora, austriaca, quienes mandaron hacer análisis para ver si mi madre estaba en condiciones de comerse un huevo de vez en cuando y un caldillo de pollo los domingos. No se imaginaban que la enferma, mexicana, que siguió dominando a la servidumbre hasta el final, estaba comiéndose en tres semanas, un ejército de quesadillas de huitlacoche, tlacoyos, gordas de maíz quebrado, tamales de chile verde y rojo, etc. El mal que le hizo esta violación de las órdenes médicas fue mínimo. Su enfermedad ya había tomado cauces fatales y comer o no comer era lo mismo. Ya no absorbía.
- Me estoy quebrando como un charal - fue su última opinión de si misma.
Una de sus últimas empresas fue leer los siete tomos de En busca del tiempo perdido que yo nunca creí que iba a poder terminar. Solía decir:
- ¡Pobre de Swann! ¡Cómo lo ha hecho sufrir esa mujer!
Un día, entré en la sala y ella bajó el libro y me dijo:
- ¡Ya se murió Albertine!
Otra empresa fue tejer una serie de chales con unos estambres que mi mujer le regalaba. Suspendió el trabajo en el último, azul marino, el día que un derrame cerebral le inutilizó la mano derecha. Uno de esos chales, gris claro, se fue con ella en el féretro. (4-ix-73.)
martes, 5 de mayo de 2009
jueves, 18 de septiembre de 2008
F/X PORN DFW
F/X PORN
David Foster Wallace
Waterstone's Magazine
Winter/Spring 1998
What's the difference between a Hollywood special-effects blockbuster like "Terminator 2" and a hard-core porn film? Very little, claims novelist, essayist and footnote fetishist David Foster Wallace.
1990s moviegoers who have sat clutching their heads in both awe and disappointment at movies like "Twister" and "Volcano" and "The Lost World" can thank James Cameron's "Terminator 2: Judgment Day" for inaugurating what's become this decade's special new genre of big-budget film: Special Effects Porn. "Porn" because, if you substitute F/X for intercourse, the parallels between the two genres become so obvious they're eerie. Just like hard-core cheapies, movies like "Terminator 2" and "Jurassic Park" aren't really "movies" in the standard sense at all. What they really are is half a dozen or so isolated, spectacular scenes -- scenes comprising maybe twenty or thirty minutes of riveting, sensuous payoff -- strung together via another sixty to ninety minutes of flat, dead, and often hilariously insipid narrative.
"T2," one of the highest-grossing movies in history, opened six years ago. Think of the scenes we all still remember. That incredible chase and explosion in the L.A. sluiceway and then the liquid metal T-1000 Terminator walking out of the explosion's flames and morphing [1] seamlessly into his Martin-Milner-as-Possessed-by-Hannibal-Lecter corporeal form. The T-1000 rising hideously up out of that checkerboard floor, the T-1000 melting headfirst through the windshield of that helicopter, the T-1000 freezing in liquid nitrogen and then collapsing fractally apart. These were truly spectacular images, and they represented exponential advances in digital F/X technology. But there were at most maybe eight of these incredible sequences, and they were the movie's heart and point; the rest of "T2" is empty and derivative, pure mimetic polycelluloid.
It's not that "T2" is totally plotless or embarrassing -- and it does, admittedly, stand head and shoulders above most of the F/X Porn blockbusters that have followed it. It's rather that "T2" as a dramatic narrative is slick and cliche and calculating and in sum an appalling betrayal of 1984's "The Terminator." "T1," which was James Cameron's first feature film and had a modest budget and was one of the two best U.S. action movies of the entire 1980s [2], was a dark, breathlessly kinetic, near-brilliant piece of metaphysical Ludditism. Recall that it's A.D. 2027 and that there's been a nuclear holocaust in 1997 and that chip-driven machines now rule, and "Skynet," the archonic _diabolus_ ex_ machina_, develops a limited kind of time-travel technology and dispatches the now classically cyborgian A. Schwarzenegger back to 1984's Los Angeles to find and terminate one Sarah Connor, the mother-to-be of the future leader of the human "Resistance," one John Connor [3]; and that apparently the Resistance itself somehow gets one-time-only access to Skynet's time-travel technology and sends back to the same space-time coordinates a Resistance officer, the ever-sweaty but extremely tough and resourceful Kyle Reese, to try desperately to protect Ms. Sarah Connor from the Terminator's prophylactic advances [4], and so on. It is, yes, true that Cameron's Skynet is basically Kubrick's HAL, and that most of "T1"'s time-travel paradoxes are reworkings of some fairly standard Bradbury-era science fiction themes, but "The Terminator" still has a whole lot to recommend it. There's the inspired casting of the malevolently cyborgian Schwarzenegger as the malevolently cyborgian Terminator, the role that made Ahnode a superstar and for which he was utterly and totally perfect (e.g. even his goofy 16-r.p.m. Austrian accent added a perfect little robofascist tinge to the Terminator's dialogue [5]). There's the first of Cameron's two great action heroines [6] in Sarah Connor, as whom the limpid-eyed and lethal-lipped Linda Hamilton also turns in the only great performance of her career. There is the dense, greasy, marvelously machinelike look of "The Terminator"'s mechanized F/X [7]; there are the noirish lighting and Dexedrine pace that compensate ingeniously for the low budget and manage to establish a mood that is both exhilarating and claustrophobic [8]. Plus "T1"'s story had at its center a marvelous "Appointment-in-Samarra"-like irony of fate: we discover in the course of the film that Kyle Reese is actually John Connor's father [9], and thus that if Skynet hadn't built its nebulous time machine and sent back the Terminator, Reese wouldn't have been back here in '84, either, to impregnate Sarah C. This also entails that meanwhile, up in A.D. 2027, John Connor has had to send the man he knows is his father on a mission that J.C. knows will result in both that man's death and his (i.e. J.C.'s) own birth. The whole ironic mess is simultaneously Freudian and Testamental and is just extraordinarily cool for a low-budget action movie.
Its big-budget sequel adds only one ironic paradox to "The Terminator"'s mix: in "T2," we learn that the "radically advanced chip" [10] on which Skynet's CPU is (will be) based actually came (comes) from the denuded and hydraulically pressed skull of "T1"'s defunct Terminator...meaning that Skynet's attempts to alter the flow of history bring about not only John Connor's birth but Skynet's own, as well. All "T2"'s other important ironies and paradoxes, however, are unfortunately unintentional and generic and kind of sad.
Note, for example, the fact that "Terminator 2: Judgment Day," a movie about the disastrous consequences of humans relying too heavily on computer technology, was itself unprecedently computer-dependent. George Lucas' Industrial Light and Magic, subcontracted by Cameron to do "T2"'s special effects, had to quadruple the size of its computer graphics department for the T-1000 sequences, sequences which also required digital-imaging specialists from around the world, thirty-six state-of-the-art Silicon Graphics computers, and terabytes of specially invented software programs for seamless morphing, realistic motion, digital "body socks," background-plate compatibility, congruence of lighting and grain, etc. And there is no question that all the lab work paid off: in 1991, "Terminator 2"'s special effects were the most spectacular and real-looking anybody had ever seen. They were also the most expensive.
"T2" is thus also the first and best instance of a paradoxical law that appears to hold true for the entire F/X Porn genre. It is called the Inverse Cost and Quality Law, and it states very simply that the larger a movie's budget is, the shittier that movie is going to be. The case of "T2" shows that much of the ICQL's force derives from simple financial logic. A film that would cost hundreds of millions of dollars to make is going to get financial backing if and only if its investors can be maximally -- _maximally_ -- sure that at the very least they will get their hundreds of millions of dollars back [11] -- i.e. a megabudget movie must not fail (and "failure" here means anything less than a runaway box-office hit) and must thus adhere to certain reliable formulae that have been shown by precedent to maximally ensure a runaway hit. One of the most reliable of these formulae involves casting a superstar who is "bankable" (i.e. whose recent track record of films shows a high ROI). The studio backing for "T2'''s wildly sophisticated and digital F/X therefore depends on Mr. Arnold Schwarzenegger agreeing to reprise his Terminator role. Now the ironies start to stack, though, because it turns out that Schwarzenegger -- or perhaps more accurately "Schwarzenegger, Inc.," or "Ahnodyne" -- has decided that playing any more malevolent cyborgs would compromise the Leading Man image his elite and bankable record of ROI entails. He will do the film only if "T2"'s script is somehow engineered to make the Terminator the Good Guy. Not only is this vain and stupid and shockingly ungrateful [12], it is also common popular knowledge, duly reported in both the trade and the popular entertainment media before "T2" even goes into production. There's consequently a weird postmodern tension to the way we watch the film; we're aware of what the bankable star's demands were, and we're also aware of how much the movie cost and how important bankable stars are to a big-budget movie; and so one of the few things that keeps us on the edge of our seats during the movie is our suspense about whether James Cameron can possibly weave a plausible, non-cheesy narrative that meets Schwarzenegger's career needs without betraying "T1"'s precedent.
Cameron does not succeed, at least not in avoiding heavy cheese. Recall the premise he settles on for "T2": that Skynet once again uses its (apparently not all that limited) time-travel device, this time to send a far more advanced liquid metal T-1000 Terminator back to 1990s L.A., this time to kill the ten-year-old John Connor (played by the extremely annoying Edward Furlong [13], whose voice keeps cracking pubescently and who's just clearly older than ten), and that the intrepid human Resistance has somehow captured, subdued, and "reprogrammed" an old Schwarzenegger-model Terminator -- resetting its CPU's switch from TERMINATE to PROTECT, apparently [14] -- and then has somehow once again gotten one-time access to Skynet's time-travel technology [15] and sent the Schwarzenegger Terminator back to protect young J.C. from the T-1000's infanticidal advances. [16]
Cameron's premise is financially canny and artistically dismal: it permits "Terminator 2"'s narrative to clank along on the rails of all manner of mass-market formulae. There is, for example, no quicker or easier ingress to the audience's heart than to present an innocent child in danger, and of course protecting an innocent child from danger is heroism at its most generic. Cameron's premise also permits the emotional center of "T2" to consist of the child and the Terminator "bonding," which in turn allows for all manner of familiar and reliable devices. Thus it is that "T2" offers us cliche explorations of stuff like the conflicts between Emotion and Logic (territory already mined to exhaustion by "Star Trek") and between Human and Machine (turf that's been worked in everything from "Lost in Space" to "Blade Runner" to "Robocop"), as well as exploiting the good old Alien - or - Robot - Learns - About - Human - Customs - and - Psychology - From - Sarcastic - and/or - Precocious - but - Basically - Goodhearted - Human - with - Whom - It - Bonds formula (q.q.v. here "My Favorite Martian" and "E.T." and "Starman" and "The Brother From Another Planet" and "Harry and the Hendersons" and "Alf" and ad almost infinitum). Thus it is that the 85% of "T2" that is not mind-blowing digital F/X sequences subjects us to dialogue like: "Vhy do you cry?" and "Cool! My own Terminator!" and "Can you not be such a dork all the time?" and "This is intense!" and "Haven't you learned that you can't just go around killing people?" and "It's OK, Mom, he's here to help" and "I know now vhy you cry, but it's somesing I can never do"; plus to that hideous ending where Schwarzenegger gives John a cyborgian hug and then voluntarily immerses himself in molten steel to protect humanity from his neural net CPU, raising that Fonziesque thumb as he sinks below the surface [17], and the two Connor hug and grieve, and then poor old Linda Hamilton -- whose role in "T2" requires her not only to look like she's been doing nothing but Nautilus for the last several years but also to keep snarling and baring her teeth and saying stuff like "Don't fuck with me!" and "Men like you know nothing about really creating something!" and acting half-crazed with paramilitary stress, stretching Hamilton way beyond her thespian capacities and resulting in what seems more than anything like a parody of Faye Dunaway in "Mommy Dearest" -- has to give us that gooey "I face the future with hope, because if a Terminator can learn the value of human life, maybe we can, too" voiceover at the very end.
The point is that head-clutchingly insipid stuff like this puts an ever heavier burden of importance on "T2"'s digital effects, which now must be stunning enough to distract us from the formulaic void at the story's center, which in turn means that even more money and directional attention must be lavished on the film's F/X. This sort of cycle is symptomatic of the insidious three-part loop that characterizes Special Effects Porn --
ONE: Astounding digital dinosaur / tornado / volcano / Terminator effects that consume almost all the director's creative attention and require massive financial commitment on the part of the studio;
TWO: A consequent need for guaranteed megabuck ROI, which entails the formulaic elements and easy sentiment that will assure mass appeal (plus will translate easily into other languages and cultures, for those important foreign sales...);
THREE: A director -- often one who's shown great talent in earlier, less expensive films -- who is now so consumed with realizing his spectacular digital vision, and so dependent on the studio's money to bring the F/X off, that he has neither the leverage nor the energy to fight for more interesting or original plots / themes / characters.
-- and thus yields the two most important corollary formulations of the Inverse Cost and Quality Law:
(ICQL(a)) The more lavish and spectacular a movie's special effects, the shittier that movie is going to be in all non-F/X respects. For obvious supporting examples of ICQL (a), see lines 1-2 of this article and/or also "Jurassic Park," "Independent Day," "Forrest Gump," etc.
(ICQL (b)) There is no quicker or more efficient way to kill what is interesting and original about an interesting, original young director than to give that director a huge budget and lavish F/X resources. The number of supporting examples of ICQL (b) is sobering. Have a look, e.g., at the difference between Rodriguez's "El Mariachi" and his "From Dusk to Dawn," between DeBont's "Speed" and "Twister," between Gilliam's "Brazil" and "Twelve Monkeys," between Bigelow's "Near Dark" and "Strange Days." Or chart Cameron's industry rise and artistic decline from "T1" and "Aliens" through "T2" and "The Abyss" to -- dear Lord -- "True Lies." U.S. entertainment media report that Cameron's new "Titanic," currently in American release, is (once again) the most expensive and technically ambitious film of all time. Doubtless, Britons have been pricing trenchcoats and lubricants in anticipation of its arrival in the UK.
FOOTNOTES
[1] (Actually defined in the film as "mimetic polyalloy," whatever that's supposed to mean.) [back]
[2] The 1980s other B.U.S.A.M. was Cameron's second feature, the 1986 "Aliens," also modestly budgeted, also both hair-raising and deeply intelligent. [back]
[3] (Whose initials, for a prophesied saviour of humanity, are not particularly subtle.) [back]
[4] The fact that what Skynet is attempting is in effect a retroactive abortion, together with the fact that "terminate a pregnancy" is a pretty well-known euphemism, led the female I first saw the movie with in 1984 to claim, over coffee and pie afterwards, that "The Terminator" was actually one long pro-choice allegory, which I said I thought was not w/o merit but maybe a bit too simplistic to do the movie real justice, which led to kind of an unpleasant row. [back]
[5] Consider, for example, the now famous "I'll be back" line took on a level of ominous historical resonance when uttered by an unstoppable killing machine with a _German_ accent. This was chilling and brilliant commercial postmodernism at its best; but it is also what made "Terminator 2"'s in-joke of having Ahnode repeat the line in a good-guy context is so disappointing. [back]
[6] It is a complete mystery why feminist film scholars haven't paid more attention to Cameron and his early collaborator Gale Ann Hurd. "The Terminator" and "Aliens" were both violent action films with tough, competent female protagonists (incredibly rare) whose toughness and competence in no way diminish their "femininity" (even more rare, unheard of), a femininity that is rooted (along with both films' thematics) in notions of maternity rather than just sexuality. For example, compare Cameron's Ellen Ripley with the panty-and-tank-top Ripley of Scott's "Alien." In fact it was flat-out criminal that Sigourney Weaver didn't win the '86 Oscar for her lead in Cameron's "Aliens." Marlee Matlin indeed. No male lead in the history of U.S. action films even approaches Weaver's second Ripley for emotional depth and sheer balls -- she makes Stallone, Willis, et. al. look muddled and ill. [back]
[7] (There is a ponderous, marvelous built-looking quality (complete with ferrous clanks and/or pneumatic hisses) that -- oddly enough -- at roughly the same time also distinguishes the special effects of Gilliam's "Brazil" and Paul Verhoeven's "Robocop." This was not cool only because the effects were themselves cool, but also because here were three talented young tech-minded directors who rejected the airy, hygenic look of Spielberg's and Lucas's F/X. The grimy density and preponderance of metal in Cameron's effects suggested that he was looking all the way back to Méliès and Lang for visual inspiration.) [back]
[8] (Cameron would raise the use of light and pace to near-perfection in "Aliens," where just six alien-suited stuntmen and ingenious quick-cut editing resulted in some of the most terrifying Teeming Rapacious Horde scenes of all time. (By the way, sorry to be going on and on about "Aliens" and "The Terminator." It's just that they're great, great, commercial cinema, and nobody talks about them enough, and they're a big reason why "T2" was such a tragic and insidious development not only for 90s films but for James Cameron, whose first two films had genius in them.)) [back]
[9] (So actually I guess it would be more like "Luke Skywalker's Appointment in Samarra" -- nobody said this was Art-Cinema or anything.) [back]
[10] (Viz. a "neutral net processor" based on an "uncooled superconductor," which I grieve to report is a conceit ripped off from Douglas Trumbull's 1983 "Brainstorm.") [back]
[11] The industry term for getting your money back plus that little bit of extra that makes investing in a movie a decent investment is ROI, which is short for Return on Investment. [back]
[12] Because Schwarzenegger -- compared to whom Chuck Norris is Olivier -- is not an actor or even a performer. He is a body, a form -- the closest thing to an actual machine in the history of the S.A.G. Ahnode's elite bankable status in 1991 was due entirely to the fact that James Cameron had had the genius to understand Schwarzenegger's essential bionism and to cast him in "T1." [back]
[13] It augurs ill for both Furlong and Cameron that within minutes of John Connor's introduction in the film we're rooting vigorously for him to be Terminated. [back]
[14] A complex and interesting scene where John and Sarah actually open up the Terminator's head and remove Ahnode's CPU and do some further reprogramming -- a scene where we learn a lot more about neural net processors and Terminative anatomy, and where Sarah is strung out and has kind of an understandable anti-Terminator prejudice and wants to smash the CPU while she can, and where John asserts his nascent command presence and basically orders her not to -- was cut from the movie's final version. Cameron's professed rational for cutting the scene was that the middle of the movie "dragged" and that the scene was too complex: "I could account for the Terminator's behavior changes much more simply." I submit that the Cameron of "T1" and "Aliens" wouldn't have talked this way. But another big-budget formula for ensuring ROI is that things must be made as simple for the audiences as possible; plot and character implausibilities are to be handled through distraction rather than resolved through explanation. [back]
[15] (Around which the security must be shockingly lax.) [back]
[16] That's the movie's main plot, but let's observe here that one of "T2'''s subplots actually echoes Cameron's Schwarzenegger dilemma and creates a kind of weird meta-cinematic irony. Whereas "T1" had argued for a certain kind of metaphysical passivity (i.e., fate is unavoidable, and Skynet's attempts to alter history serve only bring it about.) "Terminator 2"'s metaphysics are more active. In "T2," the Connors take a page from Skynet's book and try to head off the foreordained nuclear holocaust, first by trying to kill Skynet's inventor and then by destroying Cyberdyne's labs and the 1st Terminator's CPU (though why John Connor spends half the movie carrying the deadly CPU chip around in his pocket instead of just throwing it under the first available steamroller remains unclear and irksome). The point here is that the protagonists' attempts to revise the "script" of history in "T2" parallel the director's having to muck around with "T2"'s own script in order for Schwarzenegger to be in the movie. Multivalent ironies like this -- which require that film audiences know all kinds of behind-the-scenes stuff from watching Entertainment Tonight and reading Premiere magazine -- are not commercial postmodernism at it's finest. [back]
[17] (His hair doesn't quite catch on fire in the molten steel, though, which provokes intriguing speculation on what it's supposed to be made of.) [back]
[The author of the novel "Infinite Jest," David Foster Wallace has been called by The Guardian's James Wood "a superb comedian of culture." His new book, "A Supposedly Fun Thing I'll Never Do Again," is a collection of sharp, playful and humorous essays that touch on everything from David Lynch to the equivocal relationship between novelists and television. Full of astonishing verbal dexterity, impish wit and off-the-wall analysis, the is fresh, funny and hugely entertaining.
David Foster Wallace
Waterstone's Magazine
Winter/Spring 1998
What's the difference between a Hollywood special-effects blockbuster like "Terminator 2" and a hard-core porn film? Very little, claims novelist, essayist and footnote fetishist David Foster Wallace.
1990s moviegoers who have sat clutching their heads in both awe and disappointment at movies like "Twister" and "Volcano" and "The Lost World" can thank James Cameron's "Terminator 2: Judgment Day" for inaugurating what's become this decade's special new genre of big-budget film: Special Effects Porn. "Porn" because, if you substitute F/X for intercourse, the parallels between the two genres become so obvious they're eerie. Just like hard-core cheapies, movies like "Terminator 2" and "Jurassic Park" aren't really "movies" in the standard sense at all. What they really are is half a dozen or so isolated, spectacular scenes -- scenes comprising maybe twenty or thirty minutes of riveting, sensuous payoff -- strung together via another sixty to ninety minutes of flat, dead, and often hilariously insipid narrative.
"T2," one of the highest-grossing movies in history, opened six years ago. Think of the scenes we all still remember. That incredible chase and explosion in the L.A. sluiceway and then the liquid metal T-1000 Terminator walking out of the explosion's flames and morphing [1] seamlessly into his Martin-Milner-as-Possessed-by-Hannibal-Lecter corporeal form. The T-1000 rising hideously up out of that checkerboard floor, the T-1000 melting headfirst through the windshield of that helicopter, the T-1000 freezing in liquid nitrogen and then collapsing fractally apart. These were truly spectacular images, and they represented exponential advances in digital F/X technology. But there were at most maybe eight of these incredible sequences, and they were the movie's heart and point; the rest of "T2" is empty and derivative, pure mimetic polycelluloid.
It's not that "T2" is totally plotless or embarrassing -- and it does, admittedly, stand head and shoulders above most of the F/X Porn blockbusters that have followed it. It's rather that "T2" as a dramatic narrative is slick and cliche and calculating and in sum an appalling betrayal of 1984's "The Terminator." "T1," which was James Cameron's first feature film and had a modest budget and was one of the two best U.S. action movies of the entire 1980s [2], was a dark, breathlessly kinetic, near-brilliant piece of metaphysical Ludditism. Recall that it's A.D. 2027 and that there's been a nuclear holocaust in 1997 and that chip-driven machines now rule, and "Skynet," the archonic _diabolus_ ex_ machina_, develops a limited kind of time-travel technology and dispatches the now classically cyborgian A. Schwarzenegger back to 1984's Los Angeles to find and terminate one Sarah Connor, the mother-to-be of the future leader of the human "Resistance," one John Connor [3]; and that apparently the Resistance itself somehow gets one-time-only access to Skynet's time-travel technology and sends back to the same space-time coordinates a Resistance officer, the ever-sweaty but extremely tough and resourceful Kyle Reese, to try desperately to protect Ms. Sarah Connor from the Terminator's prophylactic advances [4], and so on. It is, yes, true that Cameron's Skynet is basically Kubrick's HAL, and that most of "T1"'s time-travel paradoxes are reworkings of some fairly standard Bradbury-era science fiction themes, but "The Terminator" still has a whole lot to recommend it. There's the inspired casting of the malevolently cyborgian Schwarzenegger as the malevolently cyborgian Terminator, the role that made Ahnode a superstar and for which he was utterly and totally perfect (e.g. even his goofy 16-r.p.m. Austrian accent added a perfect little robofascist tinge to the Terminator's dialogue [5]). There's the first of Cameron's two great action heroines [6] in Sarah Connor, as whom the limpid-eyed and lethal-lipped Linda Hamilton also turns in the only great performance of her career. There is the dense, greasy, marvelously machinelike look of "The Terminator"'s mechanized F/X [7]; there are the noirish lighting and Dexedrine pace that compensate ingeniously for the low budget and manage to establish a mood that is both exhilarating and claustrophobic [8]. Plus "T1"'s story had at its center a marvelous "Appointment-in-Samarra"-like irony of fate: we discover in the course of the film that Kyle Reese is actually John Connor's father [9], and thus that if Skynet hadn't built its nebulous time machine and sent back the Terminator, Reese wouldn't have been back here in '84, either, to impregnate Sarah C. This also entails that meanwhile, up in A.D. 2027, John Connor has had to send the man he knows is his father on a mission that J.C. knows will result in both that man's death and his (i.e. J.C.'s) own birth. The whole ironic mess is simultaneously Freudian and Testamental and is just extraordinarily cool for a low-budget action movie.
Its big-budget sequel adds only one ironic paradox to "The Terminator"'s mix: in "T2," we learn that the "radically advanced chip" [10] on which Skynet's CPU is (will be) based actually came (comes) from the denuded and hydraulically pressed skull of "T1"'s defunct Terminator...meaning that Skynet's attempts to alter the flow of history bring about not only John Connor's birth but Skynet's own, as well. All "T2"'s other important ironies and paradoxes, however, are unfortunately unintentional and generic and kind of sad.
Note, for example, the fact that "Terminator 2: Judgment Day," a movie about the disastrous consequences of humans relying too heavily on computer technology, was itself unprecedently computer-dependent. George Lucas' Industrial Light and Magic, subcontracted by Cameron to do "T2"'s special effects, had to quadruple the size of its computer graphics department for the T-1000 sequences, sequences which also required digital-imaging specialists from around the world, thirty-six state-of-the-art Silicon Graphics computers, and terabytes of specially invented software programs for seamless morphing, realistic motion, digital "body socks," background-plate compatibility, congruence of lighting and grain, etc. And there is no question that all the lab work paid off: in 1991, "Terminator 2"'s special effects were the most spectacular and real-looking anybody had ever seen. They were also the most expensive.
"T2" is thus also the first and best instance of a paradoxical law that appears to hold true for the entire F/X Porn genre. It is called the Inverse Cost and Quality Law, and it states very simply that the larger a movie's budget is, the shittier that movie is going to be. The case of "T2" shows that much of the ICQL's force derives from simple financial logic. A film that would cost hundreds of millions of dollars to make is going to get financial backing if and only if its investors can be maximally -- _maximally_ -- sure that at the very least they will get their hundreds of millions of dollars back [11] -- i.e. a megabudget movie must not fail (and "failure" here means anything less than a runaway box-office hit) and must thus adhere to certain reliable formulae that have been shown by precedent to maximally ensure a runaway hit. One of the most reliable of these formulae involves casting a superstar who is "bankable" (i.e. whose recent track record of films shows a high ROI). The studio backing for "T2'''s wildly sophisticated and digital F/X therefore depends on Mr. Arnold Schwarzenegger agreeing to reprise his Terminator role. Now the ironies start to stack, though, because it turns out that Schwarzenegger -- or perhaps more accurately "Schwarzenegger, Inc.," or "Ahnodyne" -- has decided that playing any more malevolent cyborgs would compromise the Leading Man image his elite and bankable record of ROI entails. He will do the film only if "T2"'s script is somehow engineered to make the Terminator the Good Guy. Not only is this vain and stupid and shockingly ungrateful [12], it is also common popular knowledge, duly reported in both the trade and the popular entertainment media before "T2" even goes into production. There's consequently a weird postmodern tension to the way we watch the film; we're aware of what the bankable star's demands were, and we're also aware of how much the movie cost and how important bankable stars are to a big-budget movie; and so one of the few things that keeps us on the edge of our seats during the movie is our suspense about whether James Cameron can possibly weave a plausible, non-cheesy narrative that meets Schwarzenegger's career needs without betraying "T1"'s precedent.
Cameron does not succeed, at least not in avoiding heavy cheese. Recall the premise he settles on for "T2": that Skynet once again uses its (apparently not all that limited) time-travel device, this time to send a far more advanced liquid metal T-1000 Terminator back to 1990s L.A., this time to kill the ten-year-old John Connor (played by the extremely annoying Edward Furlong [13], whose voice keeps cracking pubescently and who's just clearly older than ten), and that the intrepid human Resistance has somehow captured, subdued, and "reprogrammed" an old Schwarzenegger-model Terminator -- resetting its CPU's switch from TERMINATE to PROTECT, apparently [14] -- and then has somehow once again gotten one-time access to Skynet's time-travel technology [15] and sent the Schwarzenegger Terminator back to protect young J.C. from the T-1000's infanticidal advances. [16]
Cameron's premise is financially canny and artistically dismal: it permits "Terminator 2"'s narrative to clank along on the rails of all manner of mass-market formulae. There is, for example, no quicker or easier ingress to the audience's heart than to present an innocent child in danger, and of course protecting an innocent child from danger is heroism at its most generic. Cameron's premise also permits the emotional center of "T2" to consist of the child and the Terminator "bonding," which in turn allows for all manner of familiar and reliable devices. Thus it is that "T2" offers us cliche explorations of stuff like the conflicts between Emotion and Logic (territory already mined to exhaustion by "Star Trek") and between Human and Machine (turf that's been worked in everything from "Lost in Space" to "Blade Runner" to "Robocop"), as well as exploiting the good old Alien - or - Robot - Learns - About - Human - Customs - and - Psychology - From - Sarcastic - and/or - Precocious - but - Basically - Goodhearted - Human - with - Whom - It - Bonds formula (q.q.v. here "My Favorite Martian" and "E.T." and "Starman" and "The Brother From Another Planet" and "Harry and the Hendersons" and "Alf" and ad almost infinitum). Thus it is that the 85% of "T2" that is not mind-blowing digital F/X sequences subjects us to dialogue like: "Vhy do you cry?" and "Cool! My own Terminator!" and "Can you not be such a dork all the time?" and "This is intense!" and "Haven't you learned that you can't just go around killing people?" and "It's OK, Mom, he's here to help" and "I know now vhy you cry, but it's somesing I can never do"; plus to that hideous ending where Schwarzenegger gives John a cyborgian hug and then voluntarily immerses himself in molten steel to protect humanity from his neural net CPU, raising that Fonziesque thumb as he sinks below the surface [17], and the two Connor hug and grieve, and then poor old Linda Hamilton -- whose role in "T2" requires her not only to look like she's been doing nothing but Nautilus for the last several years but also to keep snarling and baring her teeth and saying stuff like "Don't fuck with me!" and "Men like you know nothing about really creating something!" and acting half-crazed with paramilitary stress, stretching Hamilton way beyond her thespian capacities and resulting in what seems more than anything like a parody of Faye Dunaway in "Mommy Dearest" -- has to give us that gooey "I face the future with hope, because if a Terminator can learn the value of human life, maybe we can, too" voiceover at the very end.
The point is that head-clutchingly insipid stuff like this puts an ever heavier burden of importance on "T2"'s digital effects, which now must be stunning enough to distract us from the formulaic void at the story's center, which in turn means that even more money and directional attention must be lavished on the film's F/X. This sort of cycle is symptomatic of the insidious three-part loop that characterizes Special Effects Porn --
ONE: Astounding digital dinosaur / tornado / volcano / Terminator effects that consume almost all the director's creative attention and require massive financial commitment on the part of the studio;
TWO: A consequent need for guaranteed megabuck ROI, which entails the formulaic elements and easy sentiment that will assure mass appeal (plus will translate easily into other languages and cultures, for those important foreign sales...);
THREE: A director -- often one who's shown great talent in earlier, less expensive films -- who is now so consumed with realizing his spectacular digital vision, and so dependent on the studio's money to bring the F/X off, that he has neither the leverage nor the energy to fight for more interesting or original plots / themes / characters.
-- and thus yields the two most important corollary formulations of the Inverse Cost and Quality Law:
(ICQL(a)) The more lavish and spectacular a movie's special effects, the shittier that movie is going to be in all non-F/X respects. For obvious supporting examples of ICQL (a), see lines 1-2 of this article and/or also "Jurassic Park," "Independent Day," "Forrest Gump," etc.
(ICQL (b)) There is no quicker or more efficient way to kill what is interesting and original about an interesting, original young director than to give that director a huge budget and lavish F/X resources. The number of supporting examples of ICQL (b) is sobering. Have a look, e.g., at the difference between Rodriguez's "El Mariachi" and his "From Dusk to Dawn," between DeBont's "Speed" and "Twister," between Gilliam's "Brazil" and "Twelve Monkeys," between Bigelow's "Near Dark" and "Strange Days." Or chart Cameron's industry rise and artistic decline from "T1" and "Aliens" through "T2" and "The Abyss" to -- dear Lord -- "True Lies." U.S. entertainment media report that Cameron's new "Titanic," currently in American release, is (once again) the most expensive and technically ambitious film of all time. Doubtless, Britons have been pricing trenchcoats and lubricants in anticipation of its arrival in the UK.
FOOTNOTES
[1] (Actually defined in the film as "mimetic polyalloy," whatever that's supposed to mean.) [back]
[2] The 1980s other B.U.S.A.M. was Cameron's second feature, the 1986 "Aliens," also modestly budgeted, also both hair-raising and deeply intelligent. [back]
[3] (Whose initials, for a prophesied saviour of humanity, are not particularly subtle.) [back]
[4] The fact that what Skynet is attempting is in effect a retroactive abortion, together with the fact that "terminate a pregnancy" is a pretty well-known euphemism, led the female I first saw the movie with in 1984 to claim, over coffee and pie afterwards, that "The Terminator" was actually one long pro-choice allegory, which I said I thought was not w/o merit but maybe a bit too simplistic to do the movie real justice, which led to kind of an unpleasant row. [back]
[5] Consider, for example, the now famous "I'll be back" line took on a level of ominous historical resonance when uttered by an unstoppable killing machine with a _German_ accent. This was chilling and brilliant commercial postmodernism at its best; but it is also what made "Terminator 2"'s in-joke of having Ahnode repeat the line in a good-guy context is so disappointing. [back]
[6] It is a complete mystery why feminist film scholars haven't paid more attention to Cameron and his early collaborator Gale Ann Hurd. "The Terminator" and "Aliens" were both violent action films with tough, competent female protagonists (incredibly rare) whose toughness and competence in no way diminish their "femininity" (even more rare, unheard of), a femininity that is rooted (along with both films' thematics) in notions of maternity rather than just sexuality. For example, compare Cameron's Ellen Ripley with the panty-and-tank-top Ripley of Scott's "Alien." In fact it was flat-out criminal that Sigourney Weaver didn't win the '86 Oscar for her lead in Cameron's "Aliens." Marlee Matlin indeed. No male lead in the history of U.S. action films even approaches Weaver's second Ripley for emotional depth and sheer balls -- she makes Stallone, Willis, et. al. look muddled and ill. [back]
[7] (There is a ponderous, marvelous built-looking quality (complete with ferrous clanks and/or pneumatic hisses) that -- oddly enough -- at roughly the same time also distinguishes the special effects of Gilliam's "Brazil" and Paul Verhoeven's "Robocop." This was not cool only because the effects were themselves cool, but also because here were three talented young tech-minded directors who rejected the airy, hygenic look of Spielberg's and Lucas's F/X. The grimy density and preponderance of metal in Cameron's effects suggested that he was looking all the way back to Méliès and Lang for visual inspiration.) [back]
[8] (Cameron would raise the use of light and pace to near-perfection in "Aliens," where just six alien-suited stuntmen and ingenious quick-cut editing resulted in some of the most terrifying Teeming Rapacious Horde scenes of all time. (By the way, sorry to be going on and on about "Aliens" and "The Terminator." It's just that they're great, great, commercial cinema, and nobody talks about them enough, and they're a big reason why "T2" was such a tragic and insidious development not only for 90s films but for James Cameron, whose first two films had genius in them.)) [back]
[9] (So actually I guess it would be more like "Luke Skywalker's Appointment in Samarra" -- nobody said this was Art-Cinema or anything.) [back]
[10] (Viz. a "neutral net processor" based on an "uncooled superconductor," which I grieve to report is a conceit ripped off from Douglas Trumbull's 1983 "Brainstorm.") [back]
[11] The industry term for getting your money back plus that little bit of extra that makes investing in a movie a decent investment is ROI, which is short for Return on Investment. [back]
[12] Because Schwarzenegger -- compared to whom Chuck Norris is Olivier -- is not an actor or even a performer. He is a body, a form -- the closest thing to an actual machine in the history of the S.A.G. Ahnode's elite bankable status in 1991 was due entirely to the fact that James Cameron had had the genius to understand Schwarzenegger's essential bionism and to cast him in "T1." [back]
[13] It augurs ill for both Furlong and Cameron that within minutes of John Connor's introduction in the film we're rooting vigorously for him to be Terminated. [back]
[14] A complex and interesting scene where John and Sarah actually open up the Terminator's head and remove Ahnode's CPU and do some further reprogramming -- a scene where we learn a lot more about neural net processors and Terminative anatomy, and where Sarah is strung out and has kind of an understandable anti-Terminator prejudice and wants to smash the CPU while she can, and where John asserts his nascent command presence and basically orders her not to -- was cut from the movie's final version. Cameron's professed rational for cutting the scene was that the middle of the movie "dragged" and that the scene was too complex: "I could account for the Terminator's behavior changes much more simply." I submit that the Cameron of "T1" and "Aliens" wouldn't have talked this way. But another big-budget formula for ensuring ROI is that things must be made as simple for the audiences as possible; plot and character implausibilities are to be handled through distraction rather than resolved through explanation. [back]
[15] (Around which the security must be shockingly lax.) [back]
[16] That's the movie's main plot, but let's observe here that one of "T2'''s subplots actually echoes Cameron's Schwarzenegger dilemma and creates a kind of weird meta-cinematic irony. Whereas "T1" had argued for a certain kind of metaphysical passivity (i.e., fate is unavoidable, and Skynet's attempts to alter history serve only bring it about.) "Terminator 2"'s metaphysics are more active. In "T2," the Connors take a page from Skynet's book and try to head off the foreordained nuclear holocaust, first by trying to kill Skynet's inventor and then by destroying Cyberdyne's labs and the 1st Terminator's CPU (though why John Connor spends half the movie carrying the deadly CPU chip around in his pocket instead of just throwing it under the first available steamroller remains unclear and irksome). The point here is that the protagonists' attempts to revise the "script" of history in "T2" parallel the director's having to muck around with "T2"'s own script in order for Schwarzenegger to be in the movie. Multivalent ironies like this -- which require that film audiences know all kinds of behind-the-scenes stuff from watching Entertainment Tonight and reading Premiere magazine -- are not commercial postmodernism at it's finest. [back]
[17] (His hair doesn't quite catch on fire in the molten steel, though, which provokes intriguing speculation on what it's supposed to be made of.) [back]
[The author of the novel "Infinite Jest," David Foster Wallace has been called by The Guardian's James Wood "a superb comedian of culture." His new book, "A Supposedly Fun Thing I'll Never Do Again," is a collection of sharp, playful and humorous essays that touch on everything from David Lynch to the equivocal relationship between novelists and television. Full of astonishing verbal dexterity, impish wit and off-the-wall analysis, the is fresh, funny and hugely entertaining.
viernes, 30 de mayo de 2008
jueves, 8 de mayo de 2008
carta de dennis ávila
Estimados amigos:
Mi nombre es Dennis Ávila. Soy hondureño. Amo la paz y la justicia. Vivo en San José hace 7 meses y he tenido la oportunidad de hacer amistad con buenos poetas y otras personas bastante sensibles y concretas. Por tal razón me dirijo ante ustedes para que nos apoyen con su firma o su opinión acerca de uno de los acontecimientos más extraordinarios que han sucedido en mi país en las últimas décadas: LA HUELGA DE HAMBRE DE LOS FISCALES. Como será de su conocimiento, la huelga cumple hoy 32 días. Además se han unido a ellos artistas y otras personas muy valientes que suman más de 15 días en huelga de hambre. Yo conozco mi país y conozco sobre todo su potencial humano, el calor de su gente, el deseo colectivo por la paz. Desgraciadamente las cosas negativas que han sucedido en Honduras son consecuencia de una idiosincrasia pasiva en las mentes de seres humanos que están acostumbrados a aguantar de todo, a no levantar la voz, a una exigua vocación para erradicar la corrupción, que es hoy por hoy la causa por la cual tenemos tantos problemas en seguridad, educación, salud y justicia. Este grupo de fiscales se cansó de que eso suceda, y por tal razón están reclamando en nombre de todos los ciudadanos hondureños, arriesgando sus vidas y la seguridad de sus familias.
Estoy seguro que muchos de ustedes están bastante informados sobre la situación, sin embargo me parece pertinente comentar algunas cosas en vista de que los medios nacionales no han dado mayor cobertura sobre este problema de interés centroamericano. La raíz del asunto es la siguiente: en el Ministerio Público se ordenó archivar documentos fundamentales para contrarrestar la excesiva corrupción, dejando en evidencia la poca igualdad social en la administración de la justicia, favoreciendo exclusivamente a los grandes corruptos que tienen a Honduras en su peor desgracia. Ante este evento oscuro en la administración pública, estos empleados del gobierno organizaron la huelga de hambre en el Congreso Nacional, desde el 7 de abril anterior, exigiendo el acceso a estos archivos determinantes para desenmascarar a los culpables de los delitos más grandes cometidos en los últimos años. En segundo lugar, sugieren la expulsión del Fiscal General, Leonidas Rosa Bautista, y del segundo al mando, Omar Cerna. El Congreso Nacional, presidido por Roberto Micheletti aboga a favor de las principales autoridades del Ministerio Público, acusando de INCONSTITUCIONALES las exigencias de los fiscales, y argumentando en un principio que no se podía hacer nada, hasta el día de ayer que, después de tantos días de negociación, se aprobó la Ley de reforma al Ministerio Público, con ciertas condiciones que no resuelven las exigencias finales de los huelguistas. Lo interesante del caso es que este evento ha terminado de desenmascarar el divorcio inminente entre dos de los grandes poderes del estado: el presidente de la República , Manuel Zelaya Rosales, sugiere pertinente la separación de Rosa Bautista y Cerna, en vista de que no están colaborando para combatir la corrupción, y prueba de ello, el sábado por la media noche llegó a firmar el Libro de Solidaridad con los huelguistas y según un medio de comunicación declaró públicamente que tanto los fiscales como todas las personas inmiscuidas en esta dolorosa huelga serían considerados Héroes Nacionales.
Cada día aparecen más situaciones por aclarar, más escenarios para confundir. Algunos medios de comunicación hondureños están atiborrados de intereses políticos y malversan la información. Lo triste de todo esto es que mientras se le dan tantas largas al asunto, la salud de estas personas tan dignas corre mucho peligro. Es lamentable que sigan sucediendo estas cosas en Honduras y en tantos otros países, por eso es un buen momento para seguir siendo radicales y presionar con un inmenso grano de arena para que se resuelva la situación de una buena vez, ya que los que amamos la paz y la justicia no podemos permitir que una de estas personas muera por la incompetencia e indignidad de los gobernantes.
Ustedes están en la libertad de discernir acerca de esta información, pero estoy seguro que la mayoría de nosotros apuntamos a una misma dirección, donde las mujeres y los hombres abracemos la misma utopía.
Es posible que este documento, de manera íntegra, no vaya a ser publicado en Internet, pero sí considero necesaria hacer pública la recolección de las firmas, por lo que considero fundamental que de estar completamente de acuerdo con esta lucha intensa, por favor contestar a mi correo con su nombre completo (no es necesaria cédula ni pasaporte), de esta forma se podrán adjuntar a otros listados de personas que desde hace algunos días colaboran en hacer presión. Si tienen una opinión más extensa y especializada sobre el asunto, también pueden enviarla a mi correo, haciendo énfasis sobre la aprobación de publicarla o no en algún blog u otro medio específico. Respetaré sus palabras y también sus silencios. Muchas gracias por su atención, y por favor, pasar esta carta a las personas que estimen convenientes.
Dennis
lunes, 28 de abril de 2008
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