The Long Goodbye (film)

The Long Goodbye, Robert Altman’s classic movie, can be summarised as a song and a feeling.

The song has the same title as the movie and was composed by John Williams. It plays throughout the movie and changes in accordance with the characters that it plays over the top of (or underneath of). It reflects the central message throughout many of Altman’s films: that all individuals are part of a collective interpersonal web, and individuality is an abstraction resting over the top of fundamental interconnection of thought and action.

Partly due to the Long Goodbye being based on a book by Raymond Chandler, at first glance there appears to be a central character: private-eye Philip Marlowe played by Elliot Gould. Gould works perfectly in this role, as his laid back, and at times almost non-existent demeanor, allows him to fade into the background of the omnipotent feeling that soaks through the film. It works that Marlowe is a private eye: like all of us, he tries to figure out a world that continuously amazes and hurts him, but is sublimely beautiful regardless.

Altman seldom focuses on a sole character for very long, and when he does he/she is drowned out by the voices that operate in the background. They are the voices that make us who we are: we are the product of what people have thought and said throughout history. There is a constant noise of ideology, desire and speculation that confuses and informs us, and only rarely gives us anything we can claim as Truth.

The storyline, while interesting is overly complex. Perhaps as to reflect the absurdity of the complicated turn of events that we come across in life: it makes us think “How did I get into this mess?” However, the storyline is not really that important. It just provides further evidence of the fact that Marlowe is in the process of his long goodbye: a goodbye to his sense of moral fabric and understanding, and what will be his eventual goodbye to humanity, regardless of what happens during the story at hand.

The feeling of both the song and the movie is one of psychedelic loss. Individuals live in a universe that is enchanting and beautiful but is also fundamentally brutal, as we all die, and before we die, our idealism and at times our hope does first.

Only lovers left alive (film)

I avoided this film at the film festival as it was fronted as a “vampire film” and I wanted to give a wide berth between myself and a genre at-the-time associated with the Twilight fanfare. However, to label this as a vampire film is to grossly undermine the mastery and style of Jim Jarmusch.

The story is essentially about the lives of two lovers. The film takes you on a dream-like journey, reminiscent of Wong Kar-Wai’s In the Mood for Love with dark and colourful surrounding and light, and a pacey soundtrack. Vampires have eternal life, unless killed with a stake to the heart. This concept of eternity introduces spiritual, perhaps, Buddhist perspectives. The question the film asks is: what is the best way to live through eternity?

The theme of universality is also reflected in the names of the lovers; Adam and Eve (Tom Hiddleston and Tilda Swinton). For Eve, she uses her time to learn and experience the continuously changing world, to enjoy and savour what is good and positive. On the other hand, Adam is a bit depressed. He dedicates his time to creating music but is unsatisfied with the way it’s received by humans (whom he calls zombies). Perhaps there is a dash of cynicism towards the ego-centric culture of the entertainment industry. At one time, Eve gently reminds him that it’s not all about this self-obsession of his and that there is lots to enjoy about the world.

Adam and Eve’s lives are far removed from the carnal myths of the vampires of the ancient times. They discuss writings, philosophy and music: knowledge going back for centuries. In the 21st century, vampires no longer rely on hunting and killing humans; their blood supplies come from trusted organic sources. Sounds familiar?

Jim Jarmusch is not one to advocate for such Zen like existence though; he is more an appreciator of the rawness of life. The couple’s ultra-sophisticated existence is shaken when Eve’s nihilistic sister couldn’t help herself and kills Adam’s human assistant and gorges herself with his blood. She is promptly thrown out and the lovers go back to their serene existence. Through this episode, the viewers realise how Adam and Eve feel about their fundamental vampire nature; as something monstrous. The lovers then face their greatest challenge ever when they lose their blood supplier and they may have to hunt on their own. Will they succumb to the will of their nature or will they serenely fade away?