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A.O. Scott (on writers, on Mank)

Gary Oldman in the title role, and Amanda Seyfried as a muse-buddy. It’s an interesting film, best viewed after Citizen Kane (the Howdy formula).

                                                                        [2-minute read]

 

Anthony Oliver Scott is best known as a movie reviewer for the New York Times. He is a superb writer, enjoyably read even when he’s figuring out what he thinks about a movie I’ve never seen. I’m also excited about his recent bookBetter Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth, especially after reading a series of his essays, called The Americans. Rather than film, here he offers a fresh look at living writers who are under-read and overlooked – Wallace Stegner, Edward P. Jones (a fascinating oeuvre and a real revelation to me ) and Joy Williams. It’s eye-opening, a real service to someone who wants to better know a work, an author, a nation’s literature. These essays belie the common idea of “criticism”, that it must be acid-flavoured and archly (or furiously) dismissive. They are also wonderfully crafted in themselves, and refute the lazy notion that a critic must be a bitterly disappointed artist.

At my distressingly soon-to-be-departed Ottawa treasure, the ByTowne Cinema, I saw Mank in November. It’s the modern, black-and-white biopic in which Gary Oldman plays the legendary Hollywood screenwriter Herman Mankiewicz, who more or less wrote the 1940 classic  Citizen Kane. (Mank argues that it was his baby entirely, which is an old and highly debatable statement; director/star Orson Welles shared the screenwriting credit with Mankiewicz.) I liked the movie and planned to see it again. And I did, in a way, reading Scott’s recent review in the Times. In it were exactly zero stars, no thumbs, not a single tossed tomato, whether rotten or beautifully seasoned, but only well-crafted prose that deepened my understanding and regard for a film, and strengthened my commitment to seeing it again. This is all fine.

But Scott finished with a flourish. In the review’s final paragraph, he describes Mankiewicz, by all accounts a brilliant writer and wit, and his turbulent relationship with Hollywood. He hates and loves the life. He knows he’s a small player in the industry yet feels himself above it. Mankiewicz was striving to bring a higher literary sensibility to the work, and meanwhile was drinking himself into highly public embarrassments and a premature grave. (Pauline Kael once described him as “Hollywood’s loser-genius”.) Scott ends with this dazzling turn, which I keep re-reading:

Neither a maverick nor a visionary, he’s an alienated insider, a participant observer, a kibitzer at the table where the big guys make the big bets. Which may just be a verbose way of saying that he’s a writer. I’ll drink to that.

Canada During Covid-19: A Third Layer of Silver

PM Justin Trudeau, to the nation from outside his residence. (Photo from Maclean’s magazine, Canada’s national newser.)

[6- minute read. This is Part 3 the “Silver Linings Playbook” series, looking for Canadian good news amid the Covid-19 crisis. Part 1 is here, Part 2 down there.]

The slowdown that many of the fortunate among us have enjoyed – count me front and centre in that squadron – is not so obvious a benefit when we consider one’s country as a whole. Inevitably, and properly, the cost to the national economy receives scrutiny: how can workers in precarious jobs (or the under-employed) be supported, local businesses be sustained? And then imagine how many times the problems are multiplied in the majority of countries that are, to varying degrees, well behind Canada with respect to economic and social stability, particularly their health care systems, AND are not blessed with Canada’s combination of geographic massiveness and fewer than 40 million folks! And we all know: the pandemic is no picnic here, either, but imagine how awful things have been, or will be, in [insert your favourite fragile state here]!

All that pertains to illness and economic strangulation having been said – and I just read a New York Times piece in which Nicholas Kristof gets inside access at New York hospitals, so I’m not blind to blackened horizons – still, there *are* silver linings, and even in a careful, fearful nation state they’re not hard to find. Here are some of the Canadian beacons amid the gloom:

  • UNITED POLITICIANS. Sure, there’s some sniping, but the volume of dissent is much reduced. In our Parliamentary system, in which the elected government is shadowed (or hounded) by “Her Majesty’s Loyal Opposition”, there is audibly less emphasis on opposition than on the preceding adjective. Ontario Premier Doug Ford, an arch-Conservative, has had public praise for Liberal Prime Minister Trudeau and members of his government! (My respect level for Ford is increasing; I might have expected him to be foot-dragging, ignoring scientists and muttering about “getting back to business as usual”, but he’s been a strong, sane and thoughtful voice, from what I’ve heard. He seems to be responding smartly, and with a humane compassion I wasn’t sure he could summon, to the needs of the time, and not holding on to partisan dogma. I’m pleasantly shocked, to be honest.)
  • CONFIRMATIONS: We can be oh-so-careful, maddeningly slow and frustratingly divided in our national conversation, but one strong silver lining is the continued reassurance that Canucks are actually reasonably well-governed, and have a clear tendency to often do the right thing, especially when the chips are down.

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Jonathan Franzen (on Alice Munro)

“Reading Munro puts me in that state of quiet reflection in which I think about my own life: about the decisions I’ve made, the things I’ve done and haven’t done, the kind of person I am, the prospect of death. She is one of the handful of writers, some living, most dead, whom I have in mind when I say that fiction is my religion. For as long as I’m immersed in a Munro story, I am according to an entirely make-believe character the kind of solemn respect and quiet rooting interest that I accord myself in my better moments as a human being.”

Jonathan Franzen is the great American novellist (The Corrections, Freedom, and a brilliant non-fiction collection called How To Be Alone, among others). He paid the most breathtakingly erudite tribute to Ms. Munro in a 2004 New York Times review of her collection Runaway. This remarkable piece lauds the greatness of Alice Munro, and criticizes literary fashion and our culture’s blindness, in one restless, contrarian, impassioned and unpredictable essay.