midnight special [film review]

[Second in a series of ekphrastic responses to the films of Jeff Nichols. First.]

Opens on unlikely trio in motel room. Two well-armed men. A young boy sits on floor wearing swimming goggles and industrial earmuffs.

Wide open Texas sky at dawn. A speeding Chevelle. On the run.

Agents descend upon a cult. They want the boy. They need the boy. The boy is gone.

Cut back to the road. Feels like a doomed trip. Headlights off, night goggles on.

‘Shots fired! Officer down!’

‘You did the right thing. He’s more important.’

The ranch in Texas. Feels like Waco and Koresh, but a little farther west and instead a preacher speaking a young boy’s channeled words.

FBI, NSA, doing what they do, asking questions with answers they’ll never understand.

‘Y’all have no clue what you’re dealing with, do you?’

The Chevelle pulls up. An old friend offers shelter. But the man can’t resist. Wants to feel the light flow into his eyes one more time. He’ll pay the price.

Watching the news. The men see what’s coming. What they can’t escape, the fear and fervor burning so close behind the boy.

‘Things with that trooper didn’t need to go down like that. Don’t interfere with me again.’

The gaps, the space unfilled. Undefined connections. Omissions speak it louder, drive it forward.

‘Do you miss it, living on the ranch?’ ‘Yeah, very much.’

Twenty minutes in comes the first bright glimpse…feels like it’s been longer, feels like a rupture.

‘A visible spectrum of light came from his eyes.’

Friday, March 6th, the day of our judgment.

They need the boy. ‘If Alton is with us, we will be saved.’

On the road again. Alton reading comics.

‘What’s kryptonite?’

‘I should have never let you give him those. He’s never seen a comic book in his life.’

‘That’s why he needs them.’

‘He needs to know what’s real.’

‘He looks weaker.’

That gas station. Leaving a wake no one could ever miss. The feds closing in.

The light escapes his eyes. Side of the road. Alton on his knees.

‘We need to take him to a hospital! He’s dying!’

‘No, he will not die! He’s meant for something else.’

They’re coming. Alton sees it in the sky. Off to hide underground.

NSA analyst Sevier figures it out. Knows where they’re going. A convergence rising.

Alton finally sees the dawn. He sees what’s above us. It heals him. He’s learning who he is.

The cult brings their guns and their conviction. Their zealous craving for salvation.

Alton and Sevier. A meeting of the minds. Can the boy’s powers persevere.

Roy is on the edge. ‘The only thing I ever believed in was Alton. And I failed him.’

The final run. An overturned car. A stretch of open marshland.

What’s left of what we need to believe (in).

 

shotgun stories [film review]

[First in a series of ekphrastic responses to the films of Jeff Nichols. Second.]

Acoustic melancholy drenches a rural Southern town. Fishing in a flat green world, water spread out everywhere. Open skies. A slow train passes through downtown. What it’s like to be trapped in a town for life. Yellow light and dogs and decaying industry.

A dead father. A funeral (“I said some things”). Redeemed but not by those left behind.

A walked-out wife. A pair of brothers. Acoustic melancholy. Clouded sky over water. Shirtless males netting fish. The feeling you get inside your chest, like a strangling but in an almost good way. Does beauty go unignored.

“What you doing…”

They set up the window unit on the picnic table to test it out. Run the extension cord out from the house. It works, and they sit there, feeling the cool air on their faces.

“It’s not the gambling. She just wants me to stop screwing around.”

One brother living in a van down by the river.

A young son. A blood feud. Two families, one father. Brother to brother.

“Are we all right?” “Yeah.”

“A lifetime is a long time, just for two people.”

“Your brother’s dead.”

Sorrow will always bring us together. She climbs in bed with him. Is it so often how we try to erase our pain, with new pain…

The pavement is hot. And yet I sit on it and I wait for you. I throw away my cards for you.

“I didn’t know they were there.”

“You raised us to hate those boys. And now it’s come to this.”

Silence.

A tent is something more than a tent after the unchangeable happens.

“Why is this happening?”

Cotton fields, cotton fields. They’re gonna crucify you, in those old cotton fields back home.

“Son’s all I have now. I just want to protect my brother.”

“I’m gonna put an end to it.”

[ominous strings fade to the upward lilt of the guitar]

acoustic melancholy

and the light falls across the porch. and the light falls over what’s left.

there are songs to tell us every way we feel…

yes, wednesday night is movie night

When you watch a film it’s full of so many intense moments and none of them are real because life is not really made of those moments. It’s full of different ones, many blanking moments between a handful of sparking others that brighten and never wane in your mind, only in your heart. And it’s not the moon. It is ever the sinking sun. On the rocks, the desert floor, the pink and orange and blue, like that trip so many years ago. A film is a distillation of all these things, it is a prickly intensity of which we are not so used to in our daily lives, at least not in later years. In youth life can be like a film, though we lack the perspective required to appreciate it. And I imagine the people who make the sorts of films I have been watching make them because they want to see their lives like a film when they are young, but with the perspective that allows them to see it for what it was.

Tonight I was excited to go walk in the warm night air, even though it is October and it should not be so warm. The crickets yet fiddle and when I touch the inside this night it does not feel so tender. And yet when I talk to someone about his plans to leave this place, even though he’s been around awhile, he’s still a decade behind my next curve in the road. So maybe you can grasp the urgency I feel snaking around me. And if you can grasp it perhaps you could do me the favor of wrenching it off me so I can breathe lighter and freer.

Everything is profound in the late hour. It bears down upon you with a ferocity daylight would never allow. You start thinking about the beginnings of endings and the ending of beginnings and the brutal flatness of middles. You think about contours on a map and start seeing your life through a cartographer’s squinted eye, with those squiggly lines circling around you and they’re all the places you’ve been, the walks you’ve chosen to take, the daily ribbons of flayed flesh stripped from your shrunken sides.

This is not to say…anything, really. When I start typing nothing is ever as it seems. Words touch other words like hot wires and who am I to pull them apart. This hovers before me like a psychiatric tinderbox into which to dump the fantastic and the absurd and what torn shreds are left of the real. The box is metal to minimize the explosive risk? Not that any match will strike and catch this fire.

There is never a conclusion to reach and that appears to be the point. Which is fine, I guess. But can a person reverse evolve? I think I’m becoming a mollusk. Or a bioluminescent dinoflagellate. Foxfire! That’s it. I want to be foxfire. I want to be the green glow you see hovering in your woodpile as you gaze out upon it one evening through the icy windowpane.

moving pictures

Last night I watched The Good Life. I liked it. It was the kind of movie I tend to like. There was an outsider and life seemed to be hitting him hard where it counts. I always identify with outsider characters, be they in books, movies, or in real life. This movie also featured Zooey Deschanel. I like her. She seems to have impeccable taste in the projects she takes on, even Elf. All the Real Girls is a particularly good movie she was in. Harry Dean Stanton was also in this film, and I loooove Harry Dean Stanton. He is the man. Two words: Repo Man. Mark Webber played the main character in The Good Life and he did a bang-up job. He was also the kid in Broken Flowers. I don’t think I’ve seen him in any other films, but now I will keep my eye out. After the movie ended, I sat quietly for a few minutes. I usually do this after I finish watching a movie I like, especially one that stimulates my creative impulses. It needs to sink in a bit.

Well, I’ll be away for a while, but not too long. When I come back, maybe I’ll have something to write about…maybe.

This post filtered through the sounds of Mogwai “Yes! I Am a Long Way From Home.”

  • Recent Posts

  • Navigation Station

    The links along the top of the page are rudimentary attempts at trail markers. Otherwise, see below for more search and browse options.

  • In Search of Lost Time

  • Personal Taxonomy

  • Common Ground

  • Resources

  • BOOKS BOOKS BOOKS