[Originally published in Movietone News 42, July 1975]
In MeanStreets Scorsese used a relatively unknown but near-perfectly cast group of actors to play out his sort-of-autobiographical story of smalltime gangsters enmeshed in the violence, death, and deadendedness of a grotto in the New York underworld. In AliceDoesn’t LiveHereAnymore he has peopled the screen with a warm little community of transient characters whose slightly better-known faces communicate a greater sense of familiarity. Long before Kris Kristofferson edges his way almost imperceptibly into the corner of a frame, we’ve already been treated to a number of vivid character portrayals and bit-part niceties including Billy Green Bush’s role as Alice’s first husband, Harvey Keitel’s as Ben, Harry Northup’s brief appearance as the gosh-and-golly yokel bartender in Joe and Jim’s Café, to name but a few. No one’s around for very long—just long enough—and of course transience is one of the things with which Alice is concerned, just as MeanStreets was preoccupied with identity, fear, and mortality.
[Originally published in Film Comment, March-April 1980]
Junior high-school memory (Art class? English? Doesn’t matter): “art = form + content.” Sez who? Sez the teacher, who does not want to be bothered with picky questions about art, won’t say anything about form that she can’t test you on via the multiple-choice method, and wants to read essays only on what the poem is about.
Does style come into this anywhere? Oh, sure. Somewhere, vaguely, grudgingly. “The author’s style”—that is, his way of doing things; sort of a signatory manner. Nice to have, but apparently not so necessary as form and content. Consoling words, form and content: art sounds evanescent, indefinable, but form and content smack of industry and consumerism. Style is something extra, a conversation piece, maybe even frivolous, like a car cigarette lighter or power windows. You could get where they wanted you to go without it—to the pragmatic, this-will-be-good-for-you-and-prepare-you-for-life meaning (or “message” as the student mind, quick to psych out the priorities, swiftly translates it). A piss-poor destination, to say nothing of how it scants the pleasures of the trip.
Huge title card: “THEN—”. Followed by: “Content, as I see it, is a series of connecting shocks arranged in a certain sequence and directed at the audience.” Sergei Eisenstein, you are so right! (I wish I liked your movies more.) Shocks as content—the junior-high equation trembles, previously secure elements threaten to swap sides. What Eisenstein theorized about cinema goes for writing, too: words as shocks; shocks arranged in a certain sequence. Words call up images and the images recur, mutate, cross-refer as the words extend in linear space and the reading experience extends in time. “Content” is not content; “the meaning” is not a concrete certitude cunningly buried so that one may have the pleasure of a civilized, mental version of hide-and-seek, stripmining through “the story” to get to “the themes.” “The meaning” is only one more piece of material, as deformable by the operation of the artistic sensibility as the sea is by the pull of the moon’s gravity. Content is what happens, from moment to moment, and then in the suspended moment that is one’s life within the aesthetic life-system the artist has created. And content is at the beck of style.