Citizen Kane Watch: Citizen Kane (1941)

Watched:  09/04/2024

Format:  Criterion Disc

Viewing:  Third?  Fourth?

Director:  Orson Welles

It's an absolute crime that Orson Welles got so screwed by the studio, the cowardly Academy and Hearst.  At age 26, he makes the most groundbreaking mainstream cinema we've seen since The Great Train Robbery, that changes things forever, rewrites the rulebook, brings some of the finest new actors America will see to Hollywood, all while giving the middle finger to the Jeff Bezos/ Elon Musk of his day - and everyone was too nervous to give the guy his flowers.

Oh, to be young and fearless and brilliant but not realize the very movie you're making will cause you so much grief.

We put on the movie because Jamie reminded me, here as we approach our 29th dating anniversary, that she'd never seen it.  And I don't think I'd watched it since we lived in Phoenix, so 2006 at the most recent.  So it was time.  I do own the 4K set from Criterion, but the 4K disc had issues, and we swapped out for BluRay for the second half.  To be honest - the movie's 4K glow-up looked weird and I likely won't watch that disc again as it looked *too* clean, like they removed the film grain.

There's nothing else like Citizen Kane (1941).  Even The Magnificent Ambersons got taken away and cut up into a studio melodrama - and it's still great, just not Kane.  It's a two-hour montage of technique, breathtaking visuals, stunning performances, cultural criticism, and hurling a spear at the heart of the American myth.  And in 2024, a reminder that nothing is ever new.  We are not living in unprecedented times.

In 1940, movies in the US were already undergoing some interesting changes.  We'd had movies like Fantasia in 1940, Walt taking his stab at *art*, but even the good ones were working with the language of stage.  Citizen Kane starts with a curiously framed scene and goes into a full newsreel announcing the death of Charles Foster Kane, laying the groundwork for what's coming.  Linear time be damned, the film is going to start at the end and work in flashback, trying to understand our central character.  Yes, a thousand films would borrow from this novelistic conceit.  

The look is as shocking as German Expressionism, taking cues more from European works that American film.  Not that there wasn't lovely stuff in the US at the time, but the camera thrown at odd angles, the curious lighting, the massive, cavernous sets- it all says "Fritz Lang with a budget" more than it says RKO movie.  And people have borrowed from this movie endlessly, but they never quite commit to the look and feel in the same way that Welles did.  Noir would look at this movie and say "thanks!  Don't mind if I do!" The characters in the film borrow from archetypes and made new ones.  Joseph Cottens' moralistically gray best-friend/ observer of the Great Man's downfall.  The business partner with the big heart who remembers what could have been, if only...  Hell, my girl Jean Hagen borrowed Dorothy Comingore's accent and persona for Singin In The Rain.  

For folks in 2024, seeing what was possible, cinematically, at the time might be a shock.  Or seeing the Mercury Theater players rolled out to the public for the first time, showing movie-goers how it's done.  But, more than that, it's both history lesson and demonstration that time is a flat circle.  You're going to want to cry seeing the thinly-veiled real history repeating itself with a Great Man propelling it - and these days, we see so many pro "Great Man" movies about people doing shit like designing a marginally better car.

There's no real reason to discuss Citizen Kane here at The Signal Watch.  It's *the* movie.  It's the Citizen Kane of movies. You either stop here or we'd all be in for a TLDR post that covers well-documented territory.

What I would recommend is setting aside two hours and watching it.  It's way shorter than an Avengers movie.   

If Hollywood hadn't gotten so weird on Welles, we wouldn't have probably had Lady From Shanghai, and that would have been a bummer.  But who knows what we would have had?  In the meantime, we can watch film chase this one til the end of time.

 

Paralympics 2024

Ezra Frech won Gold in High Jump (and, I think, the 100m)

Like most folks, I suspect, every time the Summer or Winter Olympics came on, I'd see the ads for the Paralympics, and have good intentions and zero follow through.  The only time I remember watching anything was in a bar, but I can't even remember what year that might have been.  

But, coming off the high of the 2024 Olympics, and with no Track and Field to watch,* I figured "hey - more Olympics".  And, "hey, more Olympics" is how the Paralympics is pitched on TV.  And that's not entirely wrong or a bad way to frame it.

Add to that the viral stardom of Olympic track star Tara Davis-Woodhall and her husband, Paralympian runner Hunter Woodhall, and I think people got the poke they needed to remember to tune in. Team USA social media kicked into gear, and Paralympians and Olympians made a lot of noise online about the games (and continue to do so.)  Also, NBC really has made it easy this year to watch if you got Peacock.

So, we watched a good chunk of the Opening Ceremonies, and I watched some Wheelchair Rugby (aka: Murderball).  And then a little other coverage the first night, but we'd been to a play, so it wasn't much.  But I've been trying to watch more.  Especially track and field, because that's how I roll.  But I've watched archery, Blind Soccer, Table Tennis (doubles!), swimming and more.  

The Opening Ceremonies were subdued compared to the bombastic opening of the Olympics, but were lovely, if more traditional in form.  Lots of music, dancing, mascots, marching, pageantry.  Fewer mysterious Joan of Arcs coming down the Seine in a blaze of glory and less Gojira.  More "here is a meaningful dance about being a Paralympian".  

The overall coverage of the summer games for Paralympics 2024 is maybe a format NBC could consider for the Olympics.  It's almost all highlights - so it's all thriller, little filler - and that's better for me as a viewer than NBC's primetime coverage.  For example, I am bored to tears by Olympic diving.  And yet, every Olympics, I have to watch people flip off a board without somehow first saying "Mom!  Mom!  Look!  Look what I can do!"  But the Paralympic coverage on USA is just whipping around.  "Hey!  Check out this crazy table tennis match!  Now, there's blind long-distance jumping!  Now, 200m foot race!  Oh, look, a 4x50 swim relay!"  I mean, it ain't dull.

Angry Animal Watch: The Meg (2018)

Watched:  08/31/2024

Format:  Amazon

Viewing:  Second

Director:  Turtletaub

A while back, SimonUK and I covered this movie in an episode that gave me false belief for what our numbers were going to be at The Signal Watch PodCast.  Just 16 episodes in, and it really took off, with folks enjoying the lively debate over a movie that featured a large shark and Statham.

I think, on a second viewing, I'm much more sympathetic to Simon's point-of-view.  You can absolutely see what this movie could/ should have been, and instead, it's a bit of a toothless exercise in never giving you quite what you want out of a movie about a large shark causing problems for people.

My suspicion, then and now, is that the film had a heavy infusion of Chinese money - which is how we got Li Bingbing as the costar alongside Statham - a setting off the coast of China, and a movie that met Chinese censorship rules with no problem.  

What this movie needed to do was be a bloody mess.  It was not.  

The closest I can compare is if you had a Friday the 13th movie and Jason just kept wandering through Camp Crystal Lake, and the counselors kept yelling "there he is" and running away, occasionally falling into potholes to their death.  And when Jason came upon a mess hall full of campers he just walked through the middle, doing no harm.

Statham clearly wishes he was in a different film and he and Bingbing have almost zero chemistry for a movie that wants them to have hints of romance - but it just doesn't make sense in the middle of a crisis where people are dying around you to fall for someone, even a someone with great hair and make-up like Bingbing, or a head like a battering ram like Statham.  

The movie continually *hints* that we'll get the carnage some of us were hoping for.  They knock off a pair of whales.  There's menacing shots of a shark in the sea.  But when it comes to bumping off the horrendous Ruby Rose, no dice.  

Because water is largely a void, they also have a very hard time showing how big the shark is, which is largely the point of the film.  And so it can seem the shark is whatever size the shark is in that moment.

There are neat vehicles and ideas in the movie, but the certainty that Statham and Bingbing will be fine shades everything else.  

Weirdly, my favorite bits in this movie include elementary-school aged children, one of them a main character, one of them a boy who is probably more like me at that age than I care to admit, floating stupidly in the water with a popsicle.  

I'm not even sure this is in a top 10 shark movies category.  It's fine.  But it doesn't hold up super well on a second viewing, even years apart.  But it is good "let's sit and talk over this movie" movie.