Gravity's Audio

[Monte Davis]

Per Thomas Schaub, lo these 30+ years ago, linking Eigenvalue's

". Thus it is that we are charmed by the funny-looking automobiles of
the’30’s, the curious fashions of the’20’s, the peculiar moral habits of
our grandparents. We produce and attend musical comedies about them and are
conned into a false memory, a phony nostalgia about what they were.."

and the "Queen for a Day" parody in GR:

"Well, Captain—yes you, Marine Captain Esberg from Pasadena—*you*, have
just had, the Mystery Insight! (gasps and a burst of  premonitory applause)
and so *you*—are our *Para-noid . . . For The Day*! (band burst into
“Button Up Your Overcoat,” or any other suitably paranoid up-tempo tune, as
the bewildered contestant is literally yanked to his feet and dragged out
in the aisle by this M.C. with the gleaming face and rippling jaw). Yes, it
*is* a movie! Another World War II situation comedy, and your chance, to
find out what it’s *really* like..."



On Tue, Nov 25, 2014 at 5:14 PM, Mark Kohut <mark.kohut at gmail.com> wrote:

> Pynchon caught the go-nowhere mess that the fifties were in symbolic
> Yo-Yoing in V. ....(another meaning to YoYodyne, now that I think
> about it: corporate meaninglessness)
>
> Notice in On the Road, they get nowhere, back-and-forth hunt
> for....Experience? (That Drink in The Master?) .....Mailer too,
> Kerouac--even John-Boy Updike in Rabbit, Run and The Centaur--Barth,
> in The End of the Road, Purdy's Malcolm sitting on that bench....many
> others saw the fifties as stasis, as a nowhere mess in search of
> Meaning (hoffman);  as a pressure cooker of conformity to
> please----Phoenix so wants to PLEASE Hoffman, that's all...that many
> wounded, not too bright, lost orphan boy-men were caught in .........
>
> And Anderson sees in America in The Master that 'postwar charisma'
> that Pynchon put into GR (in a loopback way; in 72) and he, Anderson,
> clearly links Hoffman to the whole
> history of "religious' leaders---texts buried in the desert---absolute
> intellectual obedience, etc.
>
> Anderson 'reduced' go-nowhereness --like a  reduction in cooking--to
> that essential scene where the wounded boy-man struggles only to
> please..
>
> Notice the end of the film, scene with his lover, where Anderson shows
> he may finally have freed himself to go forward grown up, having said
> no to Hoffman...the sixties coming?
>
> Great Hoffman performance, very good Phoenix performance; Amy Adams
> just as great: terrif photography; a vision, even if foreshortened by
> filmic "demands" and
> yet..................almost worthless?........
>
> "yeah, right", as the philosopher said when told there was no such
> thing as a double positive with a negative meaning.
>
>
>
>
>
> On Tue, Nov 25, 2014 at 4:03 PM, Carvill John <johncarvill at hotmail.com>
> wrote:
> > << I don't understand the hate Bleeding Edge got (okay, the sex scenes
> > are awful, but still).
> >
> > I mean, it's a lot better than Inherent Vice was, and it's some kind
> > of remarkable when you consider that it was written by a dude in his
> > 70's. I'd even go so far as to say there are parts of it - long, huge
> > swaths of it - that are shockingly good.  >>
> >
> >
> > I thought Inherent Vice was excellent, and worked on many levels.
> Bleeding
> > Edge was Pynchon's first (and, so far, only) bona fide dud.
> >
> >
> >> THE MASTER is a still-unrecognized masterpiece,
> >
> > Hardly unlauded. Praised to the skies by critics who had decided to love
> it
> > before they'd seen one frame.
> >
> >
> >> The scene where Phoenix is made to walk back-and-forth between the
> >
> >> walls while all 'play' outside......is almost sublime and will become
> >
> >> legendary.
> >
> >
> > That scene would serve very well as 'Exhibit A' when demonstrating what a
> > horrible, pointless, go-nowhere mess the film is.
> >
> >
> >
> >
> -
> Pynchon-l / http://www.waste.org/mail/?list=pynchon-l
>
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