BP Movie Journal 11/16/17
Tyler and David discuss the movies and TV shows they’ve been watching, including:
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI
BPM (BEATS PER MINUTE)
THE BIG SICK
BEAUTY AND THE BEAST
THE CRIME OF MONSIEUR LANGE
KING ARTHUR: LEGEND OF THE SWORD
LONG STRANGE TRIP
THE FLORIDA PROJECT
THE DAVID S. PUMPKINS HALLOWEEEN SPECIAL
I find the statement that there are more movies about gay male couples than straight male friendships to be wildly inaccurate. The whole reason why people ship Bucky and Cap, or Tony and War Machine, or Kirk and Spock, or Finn and Poe, or Sherlock and Holmes or on and on and on and on is because it’s literally never happened before, in any mainstream Hollywood movie, not even once. Seems like you could lose just one depiction of straight buddies in film without it being a big deal, Tyler.
Even if you expand it to indie movies, there may be one or two movies a year (that only cinefiles ever see) that depict gay couples, compared to dozens upon dozens of movies about bros hanging out and being bros.
Could you ask for a more perfect illustration of Tyler was talking about? And call “shipping” what it is – creepy rape at a distance.
Wanting two fictional characters to get together is rape? Wow. I’ve seen some stupid shit on the internet before, but I think you take the prize. Fuck me. Well done.
Just wanted to add two things on Pierrot le Fou, which is one of my favorite films: I would describe it roughly as the French Bonnie and Clyde, and Moonrise Kingdom is a sort of remake with kids. (It contains explicit references to Pierrot).
If you’re curious, I recommend sampling the soundtrack and the very well done original trailer.
I heard about the film via Jonathan Rosenbaum, whose review is excellent and contains one of his best closing passages (very moving, to me):
“In contrast with the Pavlovian invitation offered by Indiana Jones, which can only prompt a “yes” or “no” from the viewer — a thumbs up or a thumbs down, a pick or a pan — Pierrot le fou proposes an infinite variety of forms of engagement or disengagement, all of them guaranteed to give pleasure and keep us alert. And far from splintering our choices the way that Godard often divides his couple, between intellect and emotion, reflection and instinct, the movie as a whole gives us volatile mixtures — physical thoughts, sensual ideas, and thoughtful emotions.”