I had the good fortune to be invited to a film this afternoon by a thoughtful friend. Given my monastic tendencies and my obsessive desire for studio time , I was close to declining. But the film, November directed by Ranier Sarnet was only playing this one day, this one time (in LA!). If I had listened to that hesitant voice I would have missed a very great work of art.
I’m desiring in my art (and in my life) to be truer, braver, funnier, darker, richer.
Such is this fairytale masterpiece.
Living in LA I should be more of a film buff, everyone seems an expert. But truth be told my interest lies in the traditional arts. But this baroque gritty ravishing film , filmed exquisitely in inky black and blizzard white, is hilarious at moments, horrifying the next; it captures the essence of why fairytales are so essential. A primal confection, one moment a fantasy of alabaster lovers exchanging love tokens in a gilded gondola, the next, scatalogical buffoonery.
Not since Cocteau’s La Belle et la Bête have I swooned with such delight.
This preview only hints at the snow bleached beauty of this film,veined with the greed, rapacity, and wretchedness of base man and yet tenderly evoking the poetry of illusive desire and tragedy of ephemeral youth.
This link provides the dates this marvel will be shown.
Far too few, far too infrequent .
After having seen this nourishing film, I feel impoverished after populist fare such as the Shape of Water (which I enjoyed). Whereas that aquatic romance delighted , this film lingers in the way a Bruegel painting haunts your memory . In fact, Bruegel with his potty-mouthed humanism is what came to mind consistently during this gorgeous film.
Cocteau had the handsome Jean Marais as his Bête; Sarnet has the beguiling Estonian actor Jörgen Liik as the comely Hans. I’m rather smitten by this flaxen crowned Apollo. I imagine I will be drawing him.
I think I’ve gushed enough about this film. If you don’t believe me , read this review:
Lastly, thank you Lezley for inviting me. What a gift.