THE MT VOID
12/08/23 -- Vol. 42, No. 23, Whole Number 2305

Co-Editor: Mark Leeper, mleeper@optonline.net
Co-Editor: Evelyn Leeper, eleeper@optonline.net
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Topics:
Screener Season (comments by Mark R. Leeper)
Mini Reviews, Part 12 (CLOSE TO VERMEER; DESPERATE SOULS,
DARK CITY AND THE LEGEND OF MIDNIGHT COWBOY)
(film reviews by Mark R. Leeper
and Evelyn C. Leeper)
How to End Plastic Pollution on Earth for Good (comments
by Evelyn C. Leeper)
This Week's Reading (A CITY ON MARS, BLACK NARCISSUS)
(book comments by Evelyn C. Leeper)

===================================================================

TOPIC: Screener Season (comments by Mark R. Leeper)

I have talked each year about "screener season", when studios send
screener copies of films they are promoting for awards. But this
year is different, and sadly disappointing.

First, the writers' and actors' strikes put a hold on both film
production and film promotion, so many films were delayed, and
others had smaller promotional campaigns.

But the second change was ecological in nature. For a few years
there had been a trend to send passworded screening links rather
than physical DVDs. This year is the tipping point: the Academy
has forbidden studios to send physical DVDs to its members. They
can still send them to other reviewers (e.g., the OFCS) but most
will figure if they're providing links for the Academy, they should
probably just go with them for everyone.

I can't fault the intent, but *my* problem is that my mechanism for
watching a link is to Chromecast the film either from my iMac or
from our smartphone. Alas, for some reason, the films are
unwatchable that way this year. They keep "stuttering". I believe
it's the Chromecasting, since the problem doesn't happen on the
iMac or the smartphone. But who wants to watch a movie on a
smartphone, and even the iMac is a problem: sitting in a desk chair
for two hours is no fun.

What is strange is that through the year we have gotten links for
review copies that seemed to work fine, so I have no idea why it's
all breaking now.

Anyway, what this means is that we do not have as many films to
review this year as in previous years. The good news is that
various streaming services still work on our older television:
Netflix, Hoopla, Kanopy, Tubi, YouTube,... And if some have
commercials, well, that just brings back the nostalgia of movies on
broadcast television in the 1960s. (And our local library still
gets DVDs, which is how we saw BARBIE, ASTEROID CITY, and MISSION
IMPOSSIBLE: DEAD RECKONING. Three cheers for our library!) [-mrl]

===================================================================

TOPIC: Mini Reviews, Part 12 (film reviews by Mark R. Leeper and
Evelyn C. Leeper)

This is the twelfth batch of mini-reviews, documentaries.

CLOSE TO VERMEER (2022): Vermeer is probably best known for his
style of lighting in his painting. His paintings look like they
are lit from a bright source of light not seen directly, and he
understands light and shadows and the colors in the shadows. His
pictures are the opposite of expressionist. In fact, His painting
style looks almost photographic--his painting is that detailed!
One question is how much Vermeer used a camera obscura, for
example. In addition to their technique, his paintings shine a
light on daily life in 17th century Netherlands (apparently
including a craze for large hats).

But little is known of Vermeer's private life, except that he died
young (at 43).

American art lovers may have been introduced to Vermeer by the
painting "Girl with a Pearl Earring"--there was even a movie based
on it. There have also been two films: TIM'S VERMEER, a
documentary in which Tim Junison attempts to "forge" a Vermeer, and
THE LAST VERMEER, a narrative film about Han Van Meegeren, a famous
Vermeer forger who took advantage of the Vermeer craze of the 1930s
and 1940s to sell his forgeries to high-ranking Nazis for a lot of
money.

This documentary covers the planning of a major Vermeer exhibition
in the Netherlands. Of the three dozen Vermeers (34 definitely
attributed to him, with another three possibles), a third are in
museums outside of the Netherlands--the Frick has three, National
Gallery of Art in Washington has four, the Met has five but one is
too fragile to travel, and another had as a condition of its
donation that it never leave the Met, and so on. And several in
the Netherlands are not in the Rijksmuseum, which has only four
(the Mauritshuis has three). So part of the story is about Gregor
Weber trying to get as many of these on loan as possible,
particularly certain ones with a close relationship to pictures
already in the Rijksmuseum. In one case, Weber really wanted the
one painting that the Herzog Anton Ulrich Museum in Braunsweig,
Germany, had to tell an important part of the Vermeer story, but
that year's German art students had Vermeer as the topic for the
equivalent of their dissertations, and so it was unavailable.

For an example of wanting particular paintings, there is the
question of "rollmates"--paintings that can be shown to have been
painted on material from the same roll of canvas. One pair is
"Young Woman Seated at a virginal" and "The Lacemaker". Since the
latter is definitely Vermeer, this provides evidence to support the
idea that the former (disputed) painting is as well. On the other
hand "Young Woman Seated at a virginal" (the only Vermeer in
private hands) is far more crude in execution and parts seem to be
copies of other painting (in particular the curl in the hair is a
copy of "The Lacemaker"). Think of this aspect as "C.S.I.
Amsterdam".

Another disputed painting, "Girl with the Flute", looks to many
experts unfinished. It displays the use of green earth in the
flesh tones that we see in eight Vermeer paintings, but the paint
is lumpy paint, and the girl is looking straight at us, atypical
for Vermeer. Gregor says of the painting, "I was so impressed, but
now I have to hear [that you doubt it]," which raises the question
of why he should stop being impressed if someone else painted it.
Should it matter who painted it?

Another part of the film is about designing the layout of the
exhibit. Vermeer's paintings are much smaller than the usual Dutch
paintings of the era; how does one display them without having them
appear as just small specks on a large wall?. How many people can
see a painting from a given distance and how well can they see it?
What should the floor plan be: which paintings should be near which
other paintings, and in what order should the paintings be?

And even the issue of Vermeer merchandise and the commercialization
of an artist's work, especially as part of an exhibition such as
this) is touched on. (A Dutch friend was somewhat offended that
the Dutch Worldcon used a modified version of VanGogh's "Starry
Night" on their T-shirts.)

All in all, this is a documentary art lovers won't want to
miss--and it doesn't require a lot of background knowledge to
appreciate it. [-ecl]

Released theatrically 26 May 2023. Rating: +2 (-4 to +4), or 7/10.

Film Credits:
<https://www.imdb.com/title/tt26773666/reference>

What others are saying:
<https://www.rottentomatoes.com/m/close_to_vermeer>

DESPERATE SOULS, DARK CITY AND THE LEGEND OF MIDNIGHT COWBOY
(2022): DESPERATE SOULS, DARK CITY AND THE LEGEND OF MIDNIGHT
COWBOY begins and ends with a lot of archival film of New York at
the time of MIDNIGHT COWBOY. Throughout there are copious examples
of the media of the day and they really brings back the spirit of
the late 1960s.

But the director of MIDNIGHT COWBOY, John Schlesinger, began his
career in documentaries, and gives an almost documentary effect to
MIDNIGHT COWBOY itself.

Schlesinger was both gay and Jewish, and both aspects showed up in
MIDNIGHT COWBOY. The former is more obvious, with fairly obvious
coded gay characters and open homosexuality. But Schlesinger also
drew heavily on the Western genre, which was just beginning to fade
in the wake of Vietnam. (The 1964 Presidential election was
basically between two cowboys, and the question of the day was,
"Whose finger is on the trigger?" Other cinematic influences were
Tony Richardson and John Osborne.

MIDNIGHT COWBOY followed FAR FROM THE MADDING CROWD, a notable bomb
for Schlesinger. So Hoffman didn't want to test for THE GRADUATE,
and then when he changed his mind, it turned out that Schlesinger
didn't want Hoffman.

In article <93bf2918-b7a7-4578-8356-16a2cc38e1dan@googlegroups.com>,
eleeper@optonline.net <evelynchimelisleeper@gmail.com> wrote:
>I can't fault the intent, but *my* problem is that my mechanism for
>watching a link is to Chromecast the film either from my iMac or
>from our smartphone. Alas, for some reason, the films are
>unwatchable that way this year. They keep "stuttering". I believe
>it's the Chromecasting, since the problem doesn't happen on the
>iMac or the smartphone. But who wants to watch a movie on a
>smartphone, and even the iMac is a problem: sitting in a desk chair
>for two hours is no fun.

[Hal Heydt]
Possible--inexpensive--solution. Get a Raspberry Pi and use that
to stream teh film to your large screen. (I'd suggest the latest
version, the Pi5, for best results.)