Q. What's green and flies over Germany?
A. Snotzis
I have to admit a lot of Nazis and skinheads kept popping up in my recent art and entertainment choices, and it's really left me in the mood for some light, happy escapist fare, but I couldn't help but be a little shaken tonight by some of the other recurrent threads in three films and plays about skinheads, Nazis and classical music, and the sensation of being numbly set adrift in icy cold water that is pervasive to all films about skinheads.
I've seen four that are worth a mention: Romper Stomper, American History X, The Believer and This is England, and without a doubt the strangest is The Believer. Ryan Gosling has this uncanny knack for rising way above the material, and there are some serious flaws to this film's aimless plot, its "incest andS&M sex kitten who wants to learn Hebrew" subplot, and above all its cop-out ending, but Goslingdoes a lot with the film's bizarre premise: a Jewish skinhead. The bitterness in Gosling's Danny Balint and the furious preoccupation with Jewish history and theology that twists into a strangely reverent loathing is absolutely fascinating, and the fact that Gosling is able to express all that internal conflict while retaining a cohesive performance is amazing.
I've raved at length elsewhere about the last Shane Meadows film I saw (Dead Man's Shoes) but I couldn't help but feel that there was something missing from last year's This is England. The performances of both films have this stark, genuine quality like Meadows went back to 1983 and followed some kids around with a camera and filmed them from the bushes without them noticing, making it a subtly powerful film. I couldn't shake a certain feeling of inevitability, as the film had to follow the same well-worn arc of every other skinhead film I've ever seen, and that left This is England somewhere just short of brilliant, but very much worth watching.
It did leave me pondering the lost children who become the monsters of these films, and the degree to which I find myself sinking into that same feeling of alienation recently, since I don't know what I'll be doing with my days in a few weeks. For that reason the way that feeling drifts like a fog out of every scene in This is England shook me so much, I took a walk down ironically deserted street where all the restaurants pull in their sidewalks on Sunday night, the pleasant chill of October mixing with a craving for pizza and deep melancholy.
It was an odd confluence of films, randomly popping up in my Netflix queue, when there's an amazing show playing at the Guthrie set in 1986 Vienna about a young American pianist who's lost his touch studying with an eccentric Austrian professor. Old Wicked Songs explores the same idea of putting on a costume to declare to the world who you are, with the hope that you can find that identity within yourself and fill out the costume. The play is set on the eve of Kurt Waldheim's election and so stirs up the legacy of Nazism in Ostereich, while most of the populace continues to bury their heads in the sand. I hate to describe too much of this play given the innocent seduction of the audience in the early scenes, but it's about wearing the clothes of a pianist, of a Jew, or of a Nazi, and finding that this may only magnfies the emptiness within. It follows the opposite trajectory of the skinhead films, wherein a character finds themselves by building their skinhead identity and then rejecting it.
I really wish more people could have seen Latte Da's production of Old Wicked Songs, but I get the same feeling about virtually every show I've seen in the Dowling Studio. I don't know how much longer my time at the Guthrie is going to last, but I see a Dowling Studio Package ($80 for four tickets usable at any show) in my future. I feel like I had so much more to say about all of this, but I'm just so damned tired with the emotional back and forth and the grind of being here every morning that has characterized my time at the theater recently. Here's hoping I can figure out what I'm doing past Halloween.
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