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Technicolor - Blog Posts
—Sound of Music (1965)
"NUDE MOOD"
TARONI FUNHOUSE- 2014
The Toll of the Sea (1922) dir. Chester M. Franklin
Watched Vertigo
Spoilers below
Such rich, gorgeous coloration in the first part that the pleasure of the memory is almost enough to fill the hole the second part excavated in my chest. Thematically, the inversion is pretty much perfect, even if I think it hiccups momentarily in the transition. Kim Novak embodies both feigned supernatural, maternal possession (I'm looking at you Psycho) and very real, material, male-chauvinistic possession. Jimmy Stewart does as good a job in his dual role of both the concerned, paternalistic protector figure and the domineering, obliterative force of masculinity.
Careful choice to position Carlotta Valdes' grave at one of two graveyards in San Francisco where the dead were not disinterred and reburied in Colma. One of two places where the pressure of modernity and expansion had not relocated the weight of the dead. The impotent rage that John Ferguson feels at his inability to control the march of the world, in its repetition of death and its imposition of fear on his own body, is palpable as he tries to return to his own local past, just as he believed "Madeleine" needed to return to her familial past. He is unable to escape the deception, even as his rational brain becomes aware of it, and can only believe that there is some access to the past, and therefore to the future, through which he can transcend the weight of death and live forever. Of course, this must be performed by the imposition of his own will upon Judy, a practice his past as a cop and instrument of state violence has prepared him well for. It is not enough. He has no control. Madeleine was killed by a competent, careful murderer; Judy is killed by the past, by the specter of death rising from the darkness of history. John is a cop, and he is a man; he can stop neither.
No one possesses you ... you're safe with me.