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Pretty used to being with Gwyneth

Regrets that her mother did not smoke

Frank in all directions

Jean Cocteau and Jean Marais

Simply cannot go back to them

Roll your eyes at Samuel Beckett

John Gregory Dunne and Joan Didion

Metaphors with eyes

Life of Mary MacLane

Circle what it is you want

Not really talking about women, just Diane

Felicity's disguise

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Entries in tom cruise (7)

Tuesday
Nov182014

In Which We Wake Up Each Day Knowing We Are Tom Cruise

Sleepyhead

by ALEX CARNEVALE

Before I Go To Sleep
dir. Rowan Joffe
89 minutes

"I don't think I'm the kind of person who would cheat," Christine (Nicole Kidman)  says in Before I Go To Sleep. "Do you?" Her therapist, Dr. Michael Nasch (Mark Strong) eyes her suspiciously, sort of like the way a reindeer eyes a sleigh.

Things are already out of sorts. Before I Go To Sleep is set near Greenwich, England, but Nicole Kidman does a weird approximation of a half-American accent for some reason. Christine wakes up every day remembering very little. "You think you're in your twenties," her husband (Colin Firth) tells her. "But you're forty. You're forty." He tells her this like eight more times as he mansplains who she is, and again when she's sitting on the toilet.

Christine's daily amnesia is supplemented by a video camera she keeps in her drawer, where an earlier version of herself does not want her to trust the husband man sleeping next to her - if he indeed is who he says.


In this new film from director Rowan Joffe, Kidman looks pretty good all things considered. (Marriage to Tom Cruise is the only thing I considered.) They shoot a lot of the movie in a car so as not to emphasize how much taller she is than the men around her. She has always seemed like the kind of person who needed be given lines to say anything.

When Christine starts having feelings for her therapist, she becomes worried that he may be the man who attacked her and caused the memory loss in the first place. He explains that transference is natural, but counter-transference means that he must recuse himself from her case. He does not mouth the words 'I love you' but it is implied that for some men, a woman who can easily forget their flaws is something of a virtue.


Strong is a fun performer to watch: no one seems as natural vacillating between various facial expressions. He doesn't fit a more reserved role of a psychologist falling in love with his patient because his Achilles heel is showing two things, vulnerability and erudition. On the plus side he is as subtle as a mace, which perfectly suits the events of Before I Go To Sleep.

Meanwhile, Christine's husband Ben (Firth) is perpetually rotating his head so we don't see the bad side of his face. He plays his part a bit upside down, since when he turns on Christine because she can't enjoy their relationship, it's way overdue. No one could stand being forgotten on a daily basis except Adam Sandler, and Christine is far from nice about the difficulties Firth faces in caring for an invalid. She has driven everyone in her life away, to the point where we wonder why she can't just pretend to remember for a little while.

It turns out that Christine is the kind of person who would cheat. The fact that she in any way caused her own amnesia is basically a gussied-up version of blaming the victim. Whatever life she idealizes instead of the one she has probably seems better because she lost it. (Tom Cruise wakes up each day not knowing who he is, get it?)


The concept that you should never allow yourself to be betrayed twice by the same person is an important principle of self-respect. The repeated shattering of her trust that Christine suffers almost renders her inert, but it is great fun to watch her survive by feeding off her own frenzy. Kidman's constant glancing everywhere is meant to portray her shaky emotional state, but at times she resembles a spectator at a ping-pong tourney. Her too-short hair, suggesting a recent cut, is always the first betrayal in her life. She does not look the way she feels.

Alex Carnevale is the editor of This Recording.

"You and Me" - The Veronicas (mp3)

"Mad Love" - The Veronicas (mp3)

Wednesday
Apr102013

In Which We Try To Talk About Everything

Sex Education

by TANIA ROHAN

The year is 1986. The movie is Top Gun. I’m sitting in a dark theater with my parents on one side of me, older brother on the other. The movie itself is a blur, other than the sound of jet engines and Val Kilmer’s teeth and of course, that infamous love scene. You know the one: two silhouetted bodies connecting to the soundtrack of “Take My Breath Away,” Tom Cruise weirdly dipping his tongue into Kelly McGillis’s mouth. A second or two into it, my mom leans over to ask if I want any popcorn.

I decline, eyes fixated on the blue-tinted, slow motion sex on screen.

At six years old, I haven’t yet learned to feel embarrassed. It’s only in hindsight that I realize my mom’s popcorn offering was an attempt to distract me from the sex. By seven years old, I would know better.

My brother and I are in our thirties now, but we still panic at the suggestion of anything remotely sexual in the presence of our parents. Watching TV and movies, listening to music, even socializing with anyone outside our immediate family is potentially uncomfortable. Oh, you’re making a joke about 50 Shades of Grey at the Thanksgiving table? Awesome. We’re laughing on the inside. Just the other day, I had to excuse myself during a Friends rerun — Friends! — in which, pre-divorce, Ross tries to orchestrate a threesome with his wife and her new love interest.

That might seem over the top, but in our family there is no such thing as sex. We don’t talk about it, we don’t joke about it. Hell, we can’t even say the word. We look for workarounds, even when we’re not referring to the act itself. We don’t ask if you want to know the baby’s “sex,” we ask if you want to know “if it’s a boy or a girl.” A person’s actions aren’t “sexist,” they’re “chauvinistic.” A couple doesn’t have “sextuplets,” they have “twins times three.” Okay, so I’ve never actually needed to say “sextuplets” to my parents. Thank god.

My parents aren’t very religious, so the only explanation I have for their prudishness is culture. Swinging 60s fashion may have made it to the Middle East, but its sexual revolution did not. My mom, who was born and raised in Baghdad, Iraq, is hardly a conservative woman. As a teenager, she wore micro-minis (I’ve seen the photos) and had her share of boyfriends (I’ve seen the Facebook comments), but from what I understand, sex just wasn’t part of the equation. And it certainly wasn’t part of the conversation.

She might not describe it as such, but my mom loves a sexy outfit. Me? Not so much. Over the years, our sartorial choices have been the source of so much mother-daughter drama. I will never forget a trip to Price Club with her in the summer before 8th grade, before which I was coerced into putting on the following outfit: supershort orange shorts, clear plastic belt (it was the early 90s) and tight black crop top. She probably thought it was cute, a kind of faux sexy, like a toddler in a bikini. After all, I was just a kid. What she didn’t realize was that girls my age were already giving blowjobs. I couldn’t wait to change.

Since the birds-and-bees discussion was never going to happen at home, the burden of sex education fell entirely on my peers and teachers. Luckily, they delivered. And early. One day in the fifth grade, all of the girls gathered in a dark classroom to watch a fuzzy VHS video, our introduction to reproduction. In it, the former child star Aileen Quinn (of Annie fame) talked about how her body had changed, and how ours would, too. I already knew about periods thanks to Judy Blume and a clumsy conversation I’d had with my mom the summer before, but that video cleared up so many of the hows and whys. By middle school, sex ed was co-ed, steering the lessons in an entirely new direction. Anonymous question boxes yielded queries like does peeing after sex prevent pregnancy and hey Mr. Trolango, are your pubes gray?

I don’t know if it’s because the topic of sex was so off-limits at home, or if all teens and tweens are like this, but my interest in the subject — in learning about it, talking about it, everything except doing it — was strong, at times recklessly so. Freshman year of high school, I heard through the gossip mill that an old friend of mine had lost her virginity. I called this girl up — this poor girl who I hadn’t spoken to for at least a year since we’d gone to different high schools — to tell her I’d heard the news and to ask for all the dirty details while my best friend sat beside me listening in. Is it true that he’d kept his Doc Martens on the entire time? Did you use a condom? What was it like? Do you feel different now? I could hear the reluctance in her voice, and yet she continued to answer my questions, as if obligated to do so. Not my finest hour.

But in my defense, there weren’t a lot of ways to get answers back then. We didn’t have Google or blogs or vlogs, no Sex and the City or Girls. Even The Real World’s treatment of sex was — in true 90s fashion — more cerebral, focusing on STD awareness, abortion rights and the politics of sex. To sneak a peek into the lives of the sexually active, you had to talk to people you knew. Friends and friends’ older sisters and that precocious girl in your P.E. class whose stories were obviously fake but still fun to listen to.

+

One year, we were given a homework assignment that required us to talk to one or both of our parents about sex: when was it okay to have it, what precautions should be in place, and so on. I considered making the whole thing up and forging my mom’s signature, saving everyone the embarrassment. But I wanted to know how my parents would answer those questions, to learn something, anything, about how they felt about this thing that’s apparently so awful, we can’t even talk about it. And maybe more than anything else, I wanted my family to be more like my American friends’ families, or like the ones I’d seen on television — the kind of family that can talk about anything.

I went to my mom. I knew it might be a little uncomfortable, but I figured it’d be fine once I broke the ice; that the whole experience would bring us closer; that this would be the first of many conversations to come! Instead, she was mortified, then angry. “They can’t force me to do this,” she said, and without making eye contact, handed back the assignment and suggested I talk to my father. So much for that mother-daughter gabfest.

Homework in tow, I made my way to the den where I found my dad playing solitaire on his computer. He’s Middle Eastern too, and a lot more conservative than my mom, so you could argue this was a riskier endeavor than the first. But his Palestinian family had moved to Kenya when he was just six years old, which thrust him into the British colonial school system and a more western worldview. Plus, he’s an engineer. Pragmatism always triumphs, and we needed to have this chat or I couldn’t finish my homework. He agreed to do the assignment with me and in ten excruciating minutes, I learned that yes, my parents are conservative, but not to the extent that I’d previously imagined. I decided then that their silence on the topic was, more than anything else, a matter of decorum, maybe even of shyness. We’re never going to be the kind of family that talks about sex or watches Showtime together. I don’t know why I thought I could force it.

+

At this year’s Super Bowl half-time show, Beyoncé steps onto the stage in a leather and lace bodysuit over fishnet stockings. “Wow, I love what she’s wearing,” my mom says, and then pouts: “Why don’t you ever wear things like that?”

“No one wears clothes like that in real life,” I say.

“If I were your age, I would,” she says. And I believe her.

But when the nerd and the model start to French kiss in that GoDaddy commercial? Holy shit do I want popcorn.

Tania Rohan is the senior contributor to This Recording. She is a writer living in San Francisco. She last wrote in these pages about summer in San Francisco. You can find her twitter here and her website here

"Strangers in the Same Bed" - Fletcher (mp3)

"Swim Through the Mouth of the Whale" - Fletcher (mp3)


Friday
Jan112013

In Which We Cower At His Androgynous Face

Don't Touch Me

by ALEX CARNEVALE

Jack Reacher
dir. Christopher McQuarrie
130 minutes

Tom Cruise does not touch anyone in Jack Reacher. He punches or kicks them if the occasion calls for it. For a mere moment he may press against his own arm or leg. Once, but only once and just for as long as it takes him to flash a smile, he grabs a woman and pulls her to a window. Then he instantly lets go. Most of all, he never strokes his own face, keeping his arms constantly slack, as if the plastic surgery that keeps him looking younger than his considerable years might suddenly fade away were he to draw his hands above his waist.

There is a philosophy in writing that it is important to be inclusive of all of the senses. There is a philosophy in Jack Reacher that it is important to focus on none except sight.

Reacher befriends a Pittsburgh lawyer named Helen (Rosamund Pike) who is defending an army sniper accused of killing five women and a man with a rifle. Her father is the district attorney. For some reason her dad informs his daughter that trying to defend this man is career suicide, because a defense lawyer taking a high profile case has never managed to do anything but harm her career.

The scenes between father (a whimperingly bad Richard Jenkins) and daughter are distinguished by the certainty that the two could not possibly by related, looking completely different as they do, and the fact that they, too, never touch.

Reacher does not drive his own car; sometimes he demands the cars of people whose arms or wrists he has broken. His attitude towards men is that he treats them like boys, perhaps as a preemptive measure to paint them with that brush before they have a chance to do the same to him. His attitude towards women is that of a white knight who must patronizingly protect every female he encounters. He calls any woman younger than him a girl, and any woman his age Helen.

To be fair, there are only two living women in Jack Reacher. Alive or dead, the determinative aspect of the women present here is that they are utterly helpless. After realizing she is the target of a dangerous conspiracy, Helen walks down a long hallway alone before she is tasered by a black man in an elevator. She is whisked away like Princess Peach; only the man who cannot touch her can find her.

tom mapother with director christopher mcquarrie

What happened to McQuarrie, the writer of The Usual Suspects, is what happened to his psychotic directing partner in that enterprise: Hollywood, impressed by the pair's (relative) ingenuity, commanded them to make an increasingly dull series of superhero films which make money abroad relative to their modest budgets. As if to throw off the yoke, McQuarrie pads Jack Reacher's score with moody, nostalgic music more along the lines of something you'd hear while accidentally tuning into TCM. There is also an extended silent car chase that is just unconventional enough to not be satisfying in either a new or traditional fashion.

But then Tom Cruise would feel familiar in any environ. Near the end of Jack Reacher Robert Duvall makes a cameo as the owner of a gun range where you can fire exploding rounds hundreds of yards at distance targets. It is a completely expected surprise, and Duvall is playing line-for-line the same character he played in Lonesome Dove for some reason. Like Cruise, that too was a carbon copy of several roles he played before. McQuarrie has always had a passion for giving his characters a particular flaw, with a rule that there is only one such malfunction per character, and it is referred to constantly.

Jack Reacher's most compelling character is a police officer named Emerson (David Oyelowo). He gets the film's seductive opening moments, the best part of its ridiculously long running time, before Reacher himself enters the picture. Later we are meant to wonder at length as to whether Emerson ordered the code red. (He did.) When Helen asks him why he did what he did, he tells her that he did not have a choice. Werner Herzog, portraying a survivor of a Siberian work camp turned underwritten criminal, forced him.

Steven Spielberg was the first choice for the role but he dropped out to make a movie about a heroic rabbit who fought in Vietnam.

Despite its stunt casting and completely ridiculous plot, the humor in Jack Reacher is completely non-ironic. You would think this would come as a relief, but actually the jokes revolve around a singular concept: younger, larger men underestimate the penchant for violence of an ancient midget. When you consider these moments more closely, they do not make sense at all. In more than one scene Reacher has a weapon trained on him and the individual holding it decides not to pull the trigger or swing the bat. The subtle suggestion is that Reacher gets by more so on his own good fortune than any innate ability.

For an investigator, Reacher is remarkably lacking. No one uses an iPhone or a computer for any reason in Jack Reacher. Even legal documents are laboriously printed out in the same fashion as they were decades ago. In Tom Cruise's world, Adobe Acrobat was never even invented.

In the film's final scene Reacher drives his car backwards down a hill, slumped down in the driver's seat, as bullets surround him. Waiting in a nearby office is Helen. For some reason her starkly pale legs are unadorned, out of focus, tantalizingly at the edge of every frame. All else is darkness, the primacy of her sexuality is overwhelming. Evildoers and virtuous ones alike are neither repulsed or attracted to her. They ignore her presence as children on a playground stop themselves from examining the sun too long.

Alex Carnevale is the editor of This Recording. He is a writer living in Manhattan. He tumbls here and twitters here. You can find an archive of his writing on This Recording here.

"For Once" - Ra Ra Riot (mp3)

"Binary Mind" - Ra Ra Riot (mp3)