Why I love Sophia Coppola.

I wrote a whole paper on extolling the awesome that is Sophia Coppola  I will spare you that fangirl dissertation, if you'll accept that I may or may not be seeing ''The Bling Ring'' anytime soon. 

Here is a short overview of why I think Sophia Coppola is the bees knees. 

1. She's the Sugar-Honey-Iced-Tea.

It might be a bias (of which I have a noted few), but it's unequivocal for me. The fact that she has the audacity to tell a story the way SHE feels like telling it, makes her awesome. The fact that she can do it in such a visually compelling way makes her and the world of muted colors she creates, the shit. 

2. She's a Coppola

So is Talia Shire (''Yo! Adrian''), Nicholas Cage, Jason Schwartzman. Obviously, so is Francis Ford Coppola. That history lesson out of the way. Let us understand the magnitude of her name alone. Much like Drew Barrymore who is as blue-blooded of an actress as you can be, (she is of Barrymore and Costello lineage, which is pretty much the architecture of Hollywood), Sophia Coppola is from the biggest movie family we've had in a while. And they are all still living. They each fall into their own creative space, but it spans so many nooks and crannies. 

Francis Ford Coppola is one of the most renowned directors of his generation. Which is something since he came up with Kubrick, Woody Allen, Spielberg, Scorsese, even Raping Roman Polanski. Stiff competition. (No puns intended). He has high points and low points, but his legacy is forever sealed BY the masterful, culturally dominant First and Second Godfather installments (I will address 3 later). Being the bio-product of the person who captained that ship alone, makes her awesome. But beyond the fact of who's bodily organs met to produce her, she found a way to create her own lane. To speak with her own voice. That's invaluable. 

3. She made Marie Antoinette.

I will be following up with another post to discuss, what I consider a beautiful film. 

4. She loves Kirsten Dunst

And so do I. Her director's crush on Kirsten Dunst is really cool. The way that Spike Lee loves to film Denzel Washington, and pulls out some of the best performances out of him. Same thing. The camera has been a major part of Dunst's life, and Coppola's camera offers us an ever-vulnerable look at this star. 

5. She can tell a story

There's never much dialogue in her films. The story is told by juxtaposition, color, light, setting, and then words. To tell a story verbally is a skill worth noting, but to tell it visually, aurally, with texture is something to be admired. She began as a designer, so I'm not surprised by her expert use of visual hierarchy. 

6. She didn't let Godfather 3 scare her away

So by itself Godfather 3 SUCKS. In context, it is actually perfect, given the whole ''live by the sword, die by the sword'' adage. Not everything can have a happy ending, I'm aware of this, but Michael couldn't catch a break. Ever. By now everyone knows or remembers how flat SC's acting in the film was reported to be. Coupling that with lots of technical, and format issues, plus people just not feeling this film, it's safe to say that we just aren't feeling GF3. That's cool. At the time Coppola was barely 19, and was thrown into the role because Winona Ryder backed out. Films costs money, constraints have to be met, and it's not like she hadn't played a Corleone kid before. Seemed like the next logical step I'm sure. 

Still with all that drama, after she recoiled a bit, she got back up, and went to her next thing. 

LTGTTC.

"Leave the gun, Take the Cannoli"

I'm gonna keep this one short & sweet. 

I could do a whole series on the trillness of Godfather quotes. But I decided to stop here at the words of Peter Clemenza. He receives orders to dispense of Paulie Gatto, because Gatto got in bed with the Tattaglia family, and was partially responsible for the near fatal shooting of the Don (betrayal). Clemenza and Lampone ride around with dude for a few days, to keep his guard down, make him feel like he's still part of the family. On a way out road, with billowing wheat, he and Lampone get to the moment of truth. Gatto's time to go is now. Clemenza steps out to take a leak. And after the job is done, he says without flinching, those 6 words. 

On everybody's team there is that one person that you can count on to get things done. Male or female, that person is the person, not always able to be the leader, but is any great leader's best asset. The best man. The maid of honor. The person who makes sure whatever needs to happen happens. Clemenza trained the best of the best, and dispensed of those who didn't want to do right with no issue.  He was the one helping Vito carry the carpet, in Godfather II. He's the one who taught Michael to use the gun for the restaurant scene. Everybody needs someone like that. 

What this quote shows, is his ability to think about many things at one time. Day to Day strategy. Virtually all of these men had families at home. Before he left on that last car ride with Gatto and Lampone (if I remember the movie right) his wife had asked him to pick up some cannoli before he came home. In the middle of their grand plan, he doles out proper get-away instructions, and gets the cannoli. 

Happy Wife, Happy Life. It's also pretty nice if you can follow an order without getting the family bumped off.  

The totality of his actions in the story, and this moment of calm, clear-headed thinking show just who the guy is. He said it like it was just another day on the job. That's why it was so cool to me. He just said it and moved on. No mourning, no anger, just business, justice for the Don. 

The only thing that sucks about this scene is that there was no hand-sanitizer for his post piss adventures. I didn't see him wash his hands...

*sigh*

Why 'The Help' doesn't ACTUALLY suck.

I wanted it to suck, because of the subject matter. There were complaints galore.... I certainly didn't want to see it, but when you watch these formidable women in their roles, it all makes sense. In light of recent discussions of just who is visible and who is not it made sense to me to revisit this film. 

Yes. 

I did say that it didn't suck. 

But I watch ''Gone With The Wind'' without cringing (much) because of the perspective I'm watching it from. For example, Hattie McDaniels famously used her typecasting as a means to finance a first class life, even as a second class citizen. She also opened up creative roles for those like her, who came after her. Like Sidney Portier for Denzel, Denzel for Nate Parker. Like Oscar Micheaux for Melvin Van Peebles, Melvin for Spike Lee. I see nothing to be upset about in her role in that film. I am reminded of Paul Laurence Dunbar's words, ''We wear the mask that grins and lies, it shades our cheeks and hides our eyes." We wear it to get us where we need to go. We wear it because people are afraid of our truth. We wear it for many reasons. It's always an excellent thing when you can choose how that mask benefits you, and others. 


I'm also reminded of last centuries conversations between black artists, scholars, community members, activists, and philosophers about what it means to be black in america. Conversations about how to show, and embody humanity as a birthright. Particularly how to do so in a world that was one generation (at best) removed from slavery. It was also, a world gleefully plunging itself with reckless abandon into the sins of Jim Crow (the foundation of which our national house is currently built), and specifically in a world where one has to co-exist with groups of people/individuals who are wholly convinced that you are somehow innately inferior and probably sub-human. It is with those eyes, that I watched this film. 

I had to watch it, understanding it's time, the setting and how that would affect the rhythm of their version of events. On the face of it, it's another story that uses black people as a plot device in the self-exploration of white people. It definitely feels that way initially. This is pretty much the tone of films, and television anyway. People who are different, be it due to color, gender, orientation, weight, address, class or what have you, are typically seen only as articles in the story that help the protagonist come to some sort of personal denouement. Usually leaving those other people dead, silent, or otherwise disappeared. So it is rare for a film like this to actually achieve something else. 

We'll get better, I hope. 

When you look at this film in it's space, and time you see these women breaking the 4th wall for young Skeeter. She seeing them as more than part of the scenery, all while she is figuring out her own life. Fortunately for her, her awareness doesn't simply stop at ''her role'' in society, but that society ACTUALLY includes people other than herself. Kudos. 

What doesn't happen is the transference of that same awareness to most of the people she grew up with. But that's authentic. That's truthful. If it wasn't we wouldn't have certain attitudes persisting to this day. It's all learned behavior, so I'm not mad at those people for being who they were raised to be. However, I do get frustrated when people try to point out how these attitudes (and subsequent behaviors, policies, laws, etc) affect them and these grievances are dismissed as fallacy, or even worse a malicious attempt to harm the ones they are speaking out against. Also, even though I am understanding of this film and others with far worse offenses, I believe that storytelling needs to keep evolving, and the pool from with the mainstream sources it's content desperately needs to expand.

For those reasons: Speaking on, and speaking to what oppresses you is necessary, for anyone experiencing injustice. Those people who benefit from the injustice of others will just have to suck it up. We have to keep progressing. Speaking about your mundane, ordinary human experience stuff is also necessary. Because the divine is often found in the non-spectacular aspects of life. Just speak. 

Let me stop here and discuss the ''You Is Kind, You Is Smart, You Is Important" controversy. 

There was a lot of hoopla about this line. Not unfounded. Not at all. It was the only thing in the film that made me recoil. Initially. Then when I considered the geographical origins of the character and how that impacted her linguistically, particularly in that time, it made perfect sense. She wanted to express to this girl, in the simplest terms possible, that she was loved by her, and beyond that was worthy of loving herself. She says this knowing that this girl would need something to anchor her in dark times, like any child would. There's nothing shameful in expressing empathy and showing care to another human being, even if you do it in some sort of regional speech pattern. I say that fully aware of the complex history of black people working in the homes of white people. For that matter any of the previously defined ''others'' working in what is considered the mainstream world. 

There is so much more that could be said about this film and the book (which I have not read at present). Particularly because there isn't enough diversity in storytelling for our stories. So this film feels like it's in a vacuum. There is validity in some of the complaints against the film, but it should be understood that when you view a story, it matters how you see it.

I choose to see this film in a certain way, so that affects what I'm able to come away with. 

In a world of women (which this movie was set in) the rules of engagement are different, but the results and attitudes are the same. One of the things that struck me most is that one group of women could not see the womanhood of the other group of women. As if somehow the maids were adult sized children who took orders well, or were part of the furnishings in their homes. When in reality (and this is what made the movie for me) these women, these ignored, mistreated, disrespected women were amazing in their own right. People were pissed about Minny's lines, particularly those about cooking. Thing is, Minny took pride in cooking, the way Abilene had a gift for writing. In another life they would have been Martha Stewart, and Alice Walker. But this was the life they were given, and under the law even aspiring for more was unthinkable, criminal. 

I had a conversation recently with a friend about Marilyn Monroe. There are many mis-conceptions about that woman and her legacy. One of the most interesting things I remember finding out about Mrs. Monroe was that her IQ was about 168. Pretty impressive. But of course that's not the first thing we know about her. We know Blond, buxom, ditzy, turbulent, etc. All these things that made her legend a tragic one. There is often little discussion of her depth, her humanity, her needs, her abilities, her aspirations. There is something about being caught in your era, and that is where many people have found themselves. Talented, skilled, full of dreams, but also made to fit into other people's boxes. Marilyn had glamour, diamonds, but she didn't have freedom. She and so many other people. The maids of "The Help" (and the lives they were modeled on) had the homes they served, but not advancement, nor respect. Similar boxes are made to this day. 

When I consider the women I know, the women I descend from, some of whom endured similar situations, I think of their voices which come together to create my voice. I think of their actions, their thoughts, their stories, which come together to shape mine. I think of what they endured to give me the world I have, and what I encounter and rise above to help pass on a better world. When I do that, and see those amazing performances from Octavia Spencer, Viola Davis, Cicely Tyson and the other maids, I am able to hear their stories pour from their pores in each line. The sour taste that I expected is largely not there, and when it is, their cool water, in the face of such conditions, washes that taste away. 

I should also add, that I, like Minny..."don't burn no chicken." 

It's true. 
Ask about me.  

Blurred Feelings.

For the next entry in my impromptu ''cultural appropriation ' series lets visit one of our favorite Blue Eyed Soulsters. There has been lots of controversy surrounding the newest project from the son of the dad from Growing Pains.  

I realize that I just went in about everyone's favorite creepy winter song, ''Baby It's Cold Outside." But I must say, I happen to like the song of the summer. First because of the nod to Marvin Gaye's ''Got To Give It Up,'' because of that alone I instantly connected with the song. I didn't find the lyrics to be vile (though I understand where the ire comes from). Basically the point, was to tout the line between what good girls really want, and what we are supposed to do. 

That's fair. 

Being a good girl, I often feel that dichotomy between the stuff I have on my mind, and how shocking it would be if people took a walk in the labyrinth that is my thoughts. I'm cool with Robin's message of ''hey, I'm not here to judge you, we seem to both be into this and I would like to oblige, never mind what anybody else says about it.''  But I completely get where people were jarred by it, particularly with his use of ''I know you want it'' which is kin to the popular raping-idiot defense phrase ''she wanted it.'' As in, ''yeah she said no, but she meant yes." I can totally get down with people's opposition to that, because victim blaming definitely seems to be the national pastime that will never die. But when brought to the mat about it, the man explained the meaning and intent, and I'm content with that.

I am not, however, a huge fan of the video. 

Which is where the mixed feelings come in. The video kills the liberation vibe that the song is peddling. I don't really care who's wife said to put the un-edited version out. I'm not into some people being used as props, while others get to be dynamic creatures. Plus there were no half naked men, and ''artsy'' female nudity is a little overused. The video is directed Diane Martel (yes, a woman). Martel also directed Miley Cyrus' We Can't Stop video, as well as one of my favs, Ne-Yo's Lazy Love. In addition to that, she has an impressive resume of other clips from the past 20 years. Her explanation is that this video is really satire. I still can't get with it. I like her storytelling style, with the use of restrained colors, and interesting shots. But the satire element fell flat for me. And I LOVE to play devil's advocate, to see things from other angles. Couldn't go this time. 

Beyond that, having listened to the entire project, I have to say that if you need a good album with throwback sounds (a nod to funk, disco, quite a bit of Prince and some strong old R & B) then you definitely want to check this out. It's not as smooth as JT's album, but it's what it is. It's kind of interesting, because in some ways it sounds like old JT, but Robin Thicke has always been a little more explicit than with the lyrics. He's channeling the spirit of Marvin mixed with Donna Summer's cooing (which is essentially what anyone who emulates Prince sounds like). So it's like Dirty Disney and nobody puts Robin in a corner. LOL!

Songs I like: Blurred Lines, Ooo La La
Best Feature: Give It 2 U (Kendrick Lamar)
Blue Eyed Gem of the Album: 4 The Rest of My Life
Songs were you apparently get some of Robin's Big...er Buddy: Give It 2 U, Blurred Lines, The entire album pretty much (if you want it...you know you want it).


*Addendum When I wrote this post initially, it was before news broke about Robin's suit of the family of Marvin Gaye regarding his hit song's similarity to Gaye's popular original. As I mentioned earlier, I felt that musical parallel from the first note, and it's what made me like the song. I don't know the full backstory on the suit (no one in the public really does), I don't understand the need for it (perhaps there is some real legal necessity, as stated), I also don't want to dislike Robin and his camp, but I will say that this suit makes him come off as a douche. There may be more to the story which will clear his name from the rolls of jerkdom, but it's definitely not a good look. That said, he isn't the only artist to do something questionable, and he didn't touch any kids, so I will still rock with it for the time being.