After a lengthy absence, The Frances Farmer Show returns with a quick look at some films playing on Seattle Screens, including a preview of Terence Davies’s Emily Dickinson biopic A Quiet Passion, which opens here on May 5th. We then discuss Wong Kar-wai’s mid-90s masterpieces Chungking Express and Fallen Angels.
“I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet”
~John Keats, “Ode to a Nightingale”
Time shifts and slips, and the past is a thing of soft veils and refracted reflections, three of you, two of me, then none, only the round white face of the clock and the sound of your voice, my voice. I can’t reach you there, at the edges of my mind; you slip from view.
But in the now, a sudden scent presses the bright deep color of your dress, the shape of your hip, a white clasp at the dip in your neck, into my vision, filling it. A green dress with bright yellow daffodils, impossibly vivid. Could you have been so beautiful?
The streets of the teeming city were empty then, only you and I were there, there in the rain, under the bulb, there in the passage on the stairs. Our shadows pass along those walls, where paper notices tatter, fade, and are smoothly absorbed into the place on which they were glued. The rain soaks us, pounds the pavement; water seeps down into the earth, the water stands in clear pools. It disappears, leaving blackness; it reflects, leaving shimmers of light.
I can feel the press in the hallway, packed with furniture, movers. Was it there I first felt the press of your arm? Or in the cab? Your fingers slip out of my grasp, leaving their warm fading print.
I wait for you. You wait for me. Memory, shrouded and alive, floats in red, graceful curtains in the long deserted passage.
I whisper this fleeting, lingering thing into the ancient ruins, where boldly soaring arches and disintegrating figures in stone relief, settle into the earth, growing into the grass and mud.