I don’t see how people who actually have lives, manage to blog at all. Or even Twit.
My sister and her husband are still here, in a sense – they spent last night with Alexander and his sons on the shores of Loch Fyne and will be back here sometime this morning. They leave very early tomorrow, and will be much missed.
We’re booked in to call on C. this afternoon.
Rount-the-Bend has edged forward. I will soon (maybe even today) start the final mitred square, the one that wheels around and is grafted to the top of the sleeve. This picture is also notable for being the first one in 2011 to be taken on the doorstep in the early morning.
I have a couple of other knitterly things to say, but I think I will save them for tomorrow and switch to talking about cinema, Helen C.K.S.-fashion. We went to see the new Coen Brothers’ film “True Grit” yesterday. We are passionate Coen Brothers fans.
I would put it down as a failure. I was bored and wanted to go home. Like all of their films, however, the cinematography is terrific and the relationship with “reality” – or do I mean, Realism? – is thought-provoking. I read quite a few reviews of it in advance. None of them that I remember even began to get to grips with the oddities of the film:
-- the stilted language everybody uses (fingers get cut off, but there is no obscenity or profanity spoken); -- the precocious knowledge of the 14-year-old heroine (she threatens someone at one point with a writ of replevin: I haven’t heard that word for 60 years, and the spell-checker doesn’t recognise it; at another moment, she explains to coarse and violent outlaws what “malum in se” means as a moral concept); -- the dream-like stage of the street scenes; -- the lengthy scene where the heroine and her horse swim across a river and emerge neither wet nor out-of-breath.
None of this (and there’s plenty more) is presented as funny. Often, watching the Coen brothers, one is invited to laugh nervously. Not this time. There’s much violence, some of it unpleasant and “realistic”. We get to see those detached fingers, for example, after the knife falls.
And of course there’s the fact that they are re-making the famous John Wayne film. I’ve never seen it. I might have enjoyed this a bit more if I had. So the whole thing is presumably the Coen brothers’ take on an American genre. The American genre.
I’ll stick with “A Serious Man” as my vote for their greatest-to-date, although I’m happy to listen to argument in favour of several others. But I wonder how “True Grit” will look in 20 years. It might get better. It might even become profound. But will it be less boring?