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Donnelly Rhodes

The View Beyond Parallax… more reads for the week of January 12

“Before her husband goes to the leaves to the theater, Madame fixes his shirt; afterward, her hand slides, naturally and forcefully, toward the piano. Her reflex gesture will be punished: he locks up the piano case, preventing her from playing. As always, every affirmation of her self is crushed by her husband. The film’s drama starts precisely here: when the door to Madame Beudet’s fantasies is locked up, and when her husband debases and colonizes those fantasies, turning them progressively into her worst nightmare.” Cristina Álvarez López praises Germaine Dulac’s The Smiling Madame Beudet as a film that employs surrealist freedom of imagery to pierce its domestic melodrama with a greater, more terrifying truth than most subsequent “women’s pictures” could allow.

“Here it’s perhaps worth asking why so many artists become a part of our lives and identities, while only a precious few are enlisted to prop up our moral universe. Though he’s never claimed to be a dissident, and has in fact proven allergic to ironclad political positions, Jia still inspires a special kind of hope, particularly among fans in the Chinese world who long to see change in the motherland. His principal genius lies in how he makes that longing palpable, often by interpreting social upheaval through the subtle modulations of sentiment you find in Mando- and Cantopop songs, which he uses liberally and without irony. He does this with the knowledge that, not long ago, those private yearnings were condemned as “decadent.” Indeed, he often recounts a memory of his father implying that, at the height of the Maoist era, a movie like Platform, with its languid evocations of nostalgia and thwarted possibility, would have gotten him labeled as a rightist.” With Jia Zhangke launching a new festival, directing car commercials, and indulging in other moves that seems to ensconce him into the mainstream of the Chinese film industry, Andrew Chan reminds us to consider both Jia’s obstacles and his personal ambitions, which never perfectly aligned with the rebel image many thrust upon him.

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