Tag Archive: Cormac McCarthy


What it takes to win an Oscar

THE REVENANT directed by Alejandro G.Iñárritu (US, 2015)

revenant-leoIn which an A-list vegetarian actor is forced to eat buffalo liver, raw fish and to pick meat off the bones of long dead animal carcasses.

These are only part of what Leonardo Di Caprio, as Hugh Glass,  has to endure after being left for dead in an unforgiving snowy wilderness with a constant threat from roving tribes of Native Indians. Though set at the end of the 19th Century, this is a modern day western in the raw, gritty spirit of Cormac McCarthy.

Emmanuel Lubezki’s landscape photography is astonishing and it come as no surprise to discover that he has also worked with Terrence Malick. It justifies the director’s decision to use natural lighting and to reject the easy option of computer-generated imagery.

The special effects are equally breathtaking. A fight with a grizzly bear is amazingly realistic. Never has the ‘no animal has been harmed during the making of this film’ message been so necessary.

Stripped to the rawest elements, this is a tale of survival and revenge against all odds. The tagline ‘Blood lost – life found’ can also serve as a plot summary. Complaints in some quarters about the movie being merely a celebration of machismo are akin to complaining of lack of affirmative female roles in a war movie.

Tom Hardy plays the ruthless Fitzgerald, Glass’s uncompromising adversary. Hardy is an actor who seems to inhabit his characters while I generally find it harder to separate DiCaprio from his offscreen persona. I will concede, however, that DiCaprio gives an impressive no holds barred performance here, one which should finally earn him the long-awaited Academy Award.

In a state of exhaustion and barely alive, his stony stare into the camera at the end of the movie should come with the caption: NOW can I have an Oscar, pleeeeeeaaaase!

PARABLE OF THE SOWER by Octavia E. Butler (1993)

The Parable Of The Sower is set in the near future (2024 – 2027) . It  is the story of  a small group of people clinging  frantically to hope even though the fabric holding society together is in tatters.

Its central character is an 18-year-old black woman named Lauren Olamina.  She is the daughter of a preacher and part of a close-knit family in a community trying to preserve order and dignity aware that outside the wall of their protected world there are hordes of have-nots wanting a piece of what they have. Lauren’s family are not wealthy but she knows that  “to the desperate we looked rich”.

In presenting this doomsday scenario  Butler could be describing the background today’s occupy movement:

I thought something would happen someday. I didn’t know how bad it would be or when it would come. But everything was getting worse : the climate, the economy, crime, drugs, you know. I didn’t believe we’d be allowed to sit behind our walls, looking clean and fat and rich to the hungry, thirsty, homeless, jobless, filthy people outside”.

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ON ‘THE ROAD’ MOVIE

The fact that John Hillcoat’s movie does not match the poignancy and depth of Cormac McCarthy’s masterful novel ‘The Road’ is no surprise but no disgrace either.
I can’t really think what  the Australian director could have done better – the performances are brilliant and the photography is sublime. The soundtrack by Nick Cave and Warren Ellis evokes the mood of sadness bordering on despair.

The insurmountable problem he faces is that it is simply impossible to translate
Cormac McCarthy’s poetry and lyricism into a visual language. Continue reading

LEGEND OF A SUICIDE

“There were times when the father showed me most clearly what I would become, and that, certainly is a kind of gift if not a blessing”. This is a line from The Higher Blue, the fifth and final tale in David Vann’s collection ‘ Legend of a Suicide. What strikes me is the use of the definite article – why ‘the father’ and not ‘my father’?  The answer lies  in Vann’s attempt to objectively come to terms with the real life death of his father by suicide. The fiction is his way of unlocking the burden of this personal tragedy which makes for a curious and not always successful blend of autobiography and flights of dark fantasy. It depicts the unshakable bond between his 13 year self (Roy) and father (Jim) who has failed as a husband, dentist and fisherman: “Roy was part of a large despair that lived everywhere his father went”.

My Penguin paperback edition has 228 pages of which 164 are taken up one long story. In other words it is a novella (Sukkwan Island) framed by four short stories and the novella set in the wilderness of Alaska is easily the stand out piece.  To say why without spoilers is impossible but, suffice to say, that at its best it has the intensity and economy of Cormac McCarthy. While the rest of Vann’s collection tends to slow, reflective and rambling, this story (particularly the second part told from the father’s perspective) has a momentum and  tightness that is truly gripping.  For this story alone, I’d recommend it.

FATHERS ON THE ROAD

Well worth reading a great (and rare)  interview with Cormac McCarthy in the Wall Street Journal on the eve of the release of the movie version of The Road.

McCarthy comes across as someone with a finely tuned bullshit detector. He drew upon his own relationship with his young son for his post apocalyptic masterpiece. I was particularly touched by what he said when asked about the reaction to the novel from other fathers:

“I have the same letter from about six different people. One from Australia, one from Germany, one from England, but they all said the same thing. They said, “I started reading your book after dinner and I finished it 3:45 the next morning, and I got up and went upstairs and I got my kids up and I just sat there in the bed and held them.”