I went to the Tate Modern in London once. Modern art is easy to shit on, the philosophy of experimentation and willful disregard for tradition seeming to some haphazard, easy, cheap or just plain juvenile. That day at the Tate somebody had left a crumpled-up brochure on the ground, dead center of a pristine exhibit hall, and visitors would occasionally encircle it with hushed regard as they mistook it for art. It was the most surreal thing in a museum of exclusively surreal things, watching a piece of trash receive such vigilant appreciation.
Velvet Buzzsaw grips that inherently satirical premise and throttles it bloody. There’s a scene that almost recreated my day at the Tate verbatim, except it’s a dead body in a pool of blood that museum-goers believe to be a cutting-edge installation. Dan Gilroy’s follow-up to Nightcrawler is on Netflix now and stars Jake Gyllenhaal, Rene Russo, Toni Collette, John Malkovich and Daveed Diggs as critics, agents, curators and artists in the world of high-end L.A. art. When a mysterious artist’s work begins to gain posthumous acclaim, the sales and monetization of that work result in supernatural consequences for those involved.
Continue reading Velvet Buzzsaw (2019)
Let me tell you about the ending of Being John Malkovich.
For a long time prior to 1999, the spec script by Charlie Kaufman bounced around Hollywood without causing much hubbub. Kaufman’s 1994 draft made no mention of John Malkovich whatsoever, and only after two years and dozens of refusals did eventual director Spike Jonze get ahold of the screenplay. Jonze was primarily a music video director at the time and had never directed a feature film before, but clearly something about Being John Malkovich piqued his interest. He brought it to Propaganda Films and a year later casting was underway.
At this point, though, Being John Malkovich had a final act that was so bonkers and off-the-wall wild that, frankly, it put the rest of the bonkers and off-the-wall wild film to shame. The Being John Malkovich that we know ends on a subdued, somber note, uncomfortably tragic, undoubtedly affecting. Craig, the puppeteer played by John Cusack, abuses the magic portal to John Malkovich’s brain and becomes trapped in the next “vessel”, the brain of a prepubescent girl, from where he presumably is forced to watch her life unfold as a caged and powerless homunculus. The original draft of Malkovich didn’t have this muted, chilling conclusion – instead, it had chainsaw juggling, human-chimp intimacy, a reincarnated Harry Truman battling a firebreathing Malkovich, Kevin Bacon, and the Devil himself.
Continue reading Being John Malkovich (1999)