Farassati also argues that these films tend to be dark in their subject matter and thus provide a bad image of Iran for the West. They reinforce negative beliefs about Iran, which in certain ways can be true. But of course he also knows that many major award-winning films from all over the world have been critical of their own societies and governments. This is what artists do.
In his article “How Roland Barthes Gave Us the TV Recap,” Sam Anderson writes that “a cultural critic is betwixt and between: not a regular consumer of culture and yet someone immersed deeply enough in it to appreciate its inner mechanisms.” I feel strange saying that my recaps of a show like Bachelor in Paradise are a significant piece of cultural criticism or that they make me a cultural critic. (Though, certainly, some gorgeous writing came out of recaps of the final episode of Mad Men that wove together the end of the show for its viewers.) But I believe that the position I occupied, the sort of liminal space that an anthropologist would call a key informant, enabled me to situate Bachelor in Paradise within a context where individuals would actually enjoy it.
Recorded in Los Angeles in 1954, At the Piano came out in 1959, a year after Lorraine died. Jazz trios are a dime a dozen, and piano trio albums can sound so much alike that they seem interchangeable. The worst have too many standards. Too little fire. Not enough swing. They can sound stiff, safe, almost classical in their polish. Lorraine’s, though, brims with life.
Sonny Clark is the one who got away. He’s the face you see in still photos but can’t see in motion. A brilliant jazz pianist who was in demand during the 1950s and ’60s on both the West and East coasts, the only known footage of him playing came from a 1956 TV show called Stars of Jazz, but the film seems to have been destroyed when ABC recorded over many of its reels in order to save money.
Anne Carson writes that prose is a house and poetry is the man on fire running through it. I think we managed to convince ourselves that movies can be that house, when really it’s more of an Airbnb. Checking into an Airbnb for the weekend is not the same as living in a house. While you are physically inside of a home, it is temporary, it is free of obligation aside from the implicit agreement that you will effectively not be the man on fire running through it. But owning a home requires sustained and incremental effort: you need to pay the bills, you need to maintain your property. And with that dedication comes intimacy: it’s your house. It’s the place you return to again and again.