There’s one flat-out great sequence in Michael Mann’s new film, Public Enemies, the kind that makes you wish you were watching another movie. It’s a spectacular (and poorly thought-out) shoot-out in a lodge in the Wisconsin woods where John Dillinger and Babyface Nelson, the two most notorious gangsters of their time, are holed up. It’s [...]
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"Attempting to burrow and disappear into the admiration of certain works of art, I tried to make such deep and pure identification that my integrity as a human self would become optional, a vestige of my relationship to the art. I wanted to submit and submerge, even to die a little. I developed a preference, among others, for art that required endurance, that mimicked a galactic endlessness and wore out the nonbelievers. By ignoring my hunger or my need to use the bathroom during a three-hour movie by Kubrick or Tarkovsky, I'd voted against my body, with its undeniable pangs and griefs, in favor of a self composed of eyeballs and brain, floating in the void of pure art." ---- Jonathan Lethem, "The Beards"Recent Comments
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