First, I watched a film called, "Zombeavers." It is refreshing to know that there are still kids out there who can put together a good, campy horror flick. The writing is tight and well-conceived, turning on long-standing convention as much as honoring it. The girls are leggy, too - my God!
Then, I watched a film called, "Rubber." Rubber fails where it succeeds and succeeds where it fails. As a calculated sendup of the Hollywood system, there are still contradictions - the beginning of the film dimly claims 'no reason' as the answer to a variety of banal questions posed by a fourth-wall character, which creates a world in which the off-balance story can play out - ultimately, with reason. The elements of the film that work, such as the in-camera puppetry and visual effects, and careful editing, only make the production meaningful if you realize how clever the effects are in time to appreciate them (no computer doctors here, thank you very much); while the aloof approach to characters and plot, a well-executed mishmash of genre-style writing and directing built of film noir and Buñuelian sensibilities, struggles to keep the film as interesting as it sounds like it should be. Rubber wants to be more than it is by being nothing at all, and it feels like one long demo reel. The writing starts inspired, but isn't as deep as it thinks it is and eventually trails off. It's just a movie, though.
Finally, I settled in to read A Streetcar Named Desire, and tackled the full thing. There's a reason for picking it up, tied to a project I am trying to focus on. But, since moving to Los Angeles I've managed to read three significant plays, and get back into Stand on Zanzibar, which I think is one of the most important books I've ever read. So, maybe I'm getting a reading habit back, and that is important to me.
Williams, I think, creates a perfect tragedy out of Miss Blanche DuBois, but I only almost feel sorry for her and I don't know what to make of this. I'm glad she's a fictive character, certainly, because she suffers a terrible fate for somebody who probably doesn't deserve it. But, the world isn't a kind place, and Williams and I see eye-to-eye in his 1947 introduction of Signet paperback.