Dog's Dinner

"You're not loved because you're lovable, you're lovable 'cause you're loved."

Sunday, February 13, 2005

Weird Sundays

Not that the 80s weren't at least as embarrassing as the 60s, and moreso. (I resent any attempt to dismiss or to glorify either decade.) I just saw Weird Science (on TV) for the first time, and the main thing that occurred to me was the resemblance between trite, puerile, chaotic 80s celluloid pseudo-hipness (as seen in this and a dozen other teen movies of the era, including certain scenes in the great John Hughes tetralogy) and trite, puerile, chaotic 60s celluloid pseudo-hipness (i.e. Blake Edwards's The Party, certain scenes in Two for the Road, the finale of Zazie dans le Metro... and many more). On the other hand I was briefly charmed by how the Unconscious manifests itself in the boys' goofy science in different ways. Just like how another embarrassing, trite and mediocre 80s-inspired fantasy about the dangers of geeky middle schoolers playing god, The Indian in the Cupboard, which I also caught on Polish TV of a Sunday (probably on the same channel, "tvn" or "tey-fau-en"), a month or so ago, charmed me in spite of itself just by positing the idea that things have an independent and unknown life of their own.


At 12:20 AM, Anonymous plunderer said...

could be a reference to the infant deity of sci-fi lore (Solaris, e.g.)? Is the uncontrolled animation of things, let loose when the power falls into untrained hands, peculiar to any time, or is it universal? The Pompidou had a great exhibit recently called Sons et lumieres, about modernist cinematic, painterly, keyboard and other synesthesia-esque mingling the moving media projects, including the original Nazi-persecuted LA exile, Oskar Fischinger that inspired the Sorcerer's Apprentice part (or maybe all?) of Fantasia.


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