The Green Fog (Maddin, Johnson, Johnson, 2017)

the green fog

“San Francisco’s changed. The things that spell San Francisco to me are disappearing fast.” — Gavin Elster, Vertigo, 1958

I’ve never seen Gus Van Sant’s remake of Psycho. I know the consensus opinion is one of distaste, if not disgust, but from afar I have always kind of respected what I think Van Sant was going for, the experiment behind the film. Can someone take the elements of a stone cold classic and manage to replicate its power? In their bizarre, Canadian way Guy Maddin and his collaborators, Galen and Evan Johnson, have taken the baton from Van Sant with their new film The Green Fog, which uses clips from a century of cinema and television shot entirely in San Francisco to retell the plot of another Hitchcock masterpiece, Vertigo.

And damn it, The Green Fog is Vertigo, albeit filtered through the manic Friday night-to-Saturday morning antics of Joe Dante’s Movie Orgy. (Dick Miller is even in it!) There are clips from ’40s film noir like Dark Passage and scenes from ’70s cop shows like The Streets of San Francisco. (Apparently one episode had Karl Malden dressed as a clown, which gets a surprising amount of mileage here.) Knowing Maddin’s house style there are not as many clips from silent films as one would expect but the filmmakers did include scenes from the mid-’90s David Caruso joint, Jade, so its a wash. However, the joy of The Green Fog comes less from playing I-Spy with the copious array of film clips–this is not Maddin’s Ready Player One–but from seeing how a bunch of disparate moments from all kinds of films can be repurposed to recount one of cinema’s most enduring mysteries.

The experiment could come off as tedious or pretentious in the hands of anyone else but thanks to a concise one-hour running time and the lowbrow high jinks of Messrs. Maddin, Johnson, and Johnson, The Green Fog is a piece of entertaining and hilarious art. A young and dashing Michael Douglas watches video footage of a naked, middle-aged Michael Douglas and nods approvingly. N*Sync shows up for an inexplicable musical interlude. Nicolas Cage screams. But the film is not a farce. It is not taking malicious aim at Vertigo. The filmmakers are playing deliriously with something they love.

The Green Fog works because it chooses to replicate Vertigo specifically. The consensus pick for THE GREATEST FILM OF ALL TIME is perhaps the only choice that would make sense. Because of its placement atop the Sight and Sound poll, Vertigo is required viewing for all budding cinephiles. It has become homework. Like Citizen Kane before it, the distinction as cinema’s ideal makes viewing Vertigo on its own terms difficult. The film has so much baggage. It is getting harder to separate the movie from the accolades and analysis. The Green Fog gives us a new way of coming to Vertigo. It boils the film down to its essence and reminds us what was so intoxicating in the first place.

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SIFF 2016 Preview Week Three and Beyond

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The Seattle International Film Festival races into it’s third week (has it really only been fifteen days? With only a mere ten to go?) and here we have some titles you won’t want to miss. We’ll link to our reviews of the titles listed here as we write them, as we’ve been doing with our Week One and Week Two Previews. We previewed the festival back on Frances Farmer Show #6 and discussed it at its midway point on Frances Farmer #7. We’ll have a complete wrap-up of the SIFF just as soon as it ends.

Continue reading “SIFF 2016 Preview Week Three and Beyond”

VIFF 2015: The Forbidden Room (Guy Maddin & Evan Johnson, 2015)

This is part of our coverage of the 2015 Vancouver International Film Festival.

forbidden room faces

Guy Maddin made a music video for a Sparks song about asses starring a lobotomized Udo Kier and whip-wielding Geraldine Chaplin. He (along with co-writer/director Evan Johnson) also made a couple dozen more weird, wacky, wonderful films and smashed them together in the glorious, uproarious new feature, The Forbidden Room. It’s Maddin’s best feature to date and one of the essential cinema experiences of the year.

Continue reading “VIFF 2015: The Forbidden Room (Guy Maddin & Evan Johnson, 2015)”

VIFF Notes: Days 3 & 4

This is part of our coverage of the 2015 Vancouver International Film Festival.

Some brief thoughts on films I saw Sunday and Monday at the festival.

piper

The Piper (Kim Gwangtae, 2015): Full review

three cities

A Tale of Three Cities (Mabel Cheung, 2015): Sweeping historical romance that hearkens back to the grand gestures of classical Hollywood. The film charts the courtship of Jackie Chan’s parents, played by Tang Wei and Sean Lau, as they are kept apart under the duress of war and an evolving 20th century China. It’s better than Doctor Zhivago.

forbidden room

The Forbidden Room (Guy Maddin & Evan Johnson, 2015): A madcap descent into the outer territories of cinema. The Forbidden Room is an audacious and hilarious collection of absurd vignettes, all nested in one another, dreams within hallucinations. Everyone is game to follow Maddin and Johnson through the kaleidoscopic kino-hole, including such greats as Mathieu Almaric, Geraldine Chaplin, and Udo Kier. The undisputed highlight of the festival so far.

port of call

Port of Call (Philip Yung, 2015): An unflinching dual examination of a teenager’s short life and that of the detective who desperately needs closure for her gruesome death. The film contains some of the most graphic imagery ever put onscreen. Acts as both a window into the struggles of contemporary China and a portrait of the unique and universal sadness of teenage girls. Felt at times like a cross between Zodiac and Fire Walk With Me but scarier than both.

tomorrow

It’s Already Tomorrow in Hong Kong (Emily Ting, 2015): White guy living in Hong Kong meets an American woman of Chinese descent. The two hit it off but complications ensue when it is discovered they have other attachments. As a travelogue for the gorgeous city of Hong Kong, this works well enough, with depictions of the majestic skyline and bustling streets. As a romance or a comedy or a showcase for the art of acting, it is a failure.

RIGHT NOW, WRONG THEN_key still (3)

Right Now, Wrong Then (Hong Sangsoo, 2015): Full review