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Heyday Is Over

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The Unmarvelous Marvel Universe

When I first came to Los Angeles at the tail end of 1966, it was the beginning of a Golden Era for people like me who loved the cinema and saw it as an art form that would prevail well into the next century.

Only, it didn’t. The great Hollywood directors sputtered out with films that were pale copies of their best work. There was John Ford’s 7 Women (1966) and Howard Hawks’s Rio Lobo (1970). On the plus side, there were the French cinéastes of the Nouvelle Vague, including Jean-Luc Godard, François Truffaut, Jacques Rivette, Claude Chabrol, and Agnes Varda. And, across the Pacific, the Japanese were making great films which I have never tired of watching.

It was in 1968 that Andrew Sarris published The American Cinema:Directors and Directions, 1929-1968. It was a revision and expansion of an issue of Film Culture that came out several years earlier which I had photocopied while I was at Dartmouth College and which I always kept at my side.

But other things were happening. Hollywood was sputtering out like a volcano in its final throes. The film distribution companies were run by yahoos who insisted that people of my frame of mind were out-of-touch elitists and what the filmgoing public really wanted was Thoroughly Modern Millie and the Marvel Universe.

In the course of several decades, there was a dribble of good films from Hollywood and abroad, but mostly an avalanche of mediocrity. At the same time, it was getting harder to see the films I loved. I recorded hundreds of films on VHS videotape—but then videotape died. I switched to DVD, but now I am beginning to encounter “laser rot.”

I have in my library a number of volumes that are over a hundred years old. Unless they are destroyed, they will be readable for at least another hundred years. Such is not the case with films. The media on which they are stored has to be changed every few years because of the rate of change in the digital world.

So I have concluded that it will be difficult to be a film lover. Yet I almost never see current Hollywood film products in theaters. Sometimes on HBO or Showtime, but never at a cinema.

Fortunately, my books are still quite readable; and I am diving into them voraciously.

Lost in the Twitterverse

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Johannes Gutenberg

Johannes Gutenberg (1399-1468)

It being the fiftieth anniversary of The New York Review of Books, I read a great article by Timothy Garton Ash entitled “From the Lighthouse: The World and the NYR After Fifty Years.” There is no one I would trust more to write such an article, as Garton Ash is the author of History of the Present: Essays, Sketches, and Dispatches from Europe in the 1990s. Shortly after the collapse of Russian Communism, he traveled across the continent interviewing all the major players and trying (rather successfully, I thought) to put it all into perspective.

Probably what I remember most from the NYR article is his term “Post-Gutenberg.” That hit me right between the eyes and brought a whole lot of images into mind. I was sitting down at Bibigo in Westwood  drinking a cup of hot barley tea when a young co-ed asked me a question. I was so startled that I couldn’t hear a word she said. She inhabited a different universe than I did, a universe defined by smart phones, Twitter, and various other digital accoutrements. I couldn’t imagine a person young enough to be my granddaughter even addressing me directly in the first place, unless she held a clipboard and was soliciting long-term donations for some charity. (Part of the problem was a combination of the restaurant’s noise level and partial hearing loss caused by Ménières Disease.)

Getting back to that term “Post-Gutenberg.” If anyone is a Gutenbergian, I am one. Even though I have read three books on a Kindle e-reader this month alone, I do most of my reading in print form. In the morning, I scan through the Los Angeles Times. During lunch, I read either The New Yorker or The New York Review of Books, with resulting damage to my shirtfronts as various sauces attach themselves to me. During the working day, I visit various news websites, such as those of CNN, NBC, The Raw Story, Salon.Com, and Truthdig.Com. Home from work, I cook or warm up our dinner; and, while Martine watches television, I read a good deep-dish book.

In other words, a rather substantial portion of my day is concerned with the written word: usually in print, but occasionally in digital format. I thought  briefly of signing up for Twitter, but then I realized that my congenital verborrhea prevents me from limiting myself to 140 characters. And, being the dinosaur that I am, I prefer to use complete sentences and unabbreviated terms. Hell, I’m even a nut about the exact diacritical marks when quoting foreign words and names. (Like Ménières Disease in the first paragraph.)

So here I am, a Gutenbergian in a Post-Gutenberg universe—a Twitterverse, as it were. You know what? I am not only a Gutenbergian, but an unregenerate one at that. If you want to change me, you’ll have to send me to a cultural re-education camp where I will be forced to finger-f*ck with a smartphone all my waking hours—like everybody else.

Digital Isn’t Everything

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Design on Turn of the Century Orchestrion

Design on Turn of the Century Orchestrion

Yesterday’s visit to the Nethercutt Collection in Sylmar (q.v.) has convinced me that the Smart Phone has warped our aesthetic sensibilities. The automobiles and music machines collected by J. B. Nethercutt and his successors are large and, for the most part, beautifully designed. Now our new automobiles are much more boring—even the Mercedes-Benzes and BMWs don’t look much better than most standard-issue American and Korean cars. I get the feeling that the app-loaded Smart Phone is our new criterion of success. It is as if where we were evolving over the last hundred years is toward Dick Tracy’s wrist TV (see illustration below).

Is This All There Is?

Is This All There Is?

If we want to listen to music, we download the music ourselves, either from a free or a pay website, and load it onto an iPod or MP3 player. Of course, since the music is now completely portable, we usually need earbuds or an earphone. The Mighty Wurlitzer and other orchestrions at the Nethercutt produced a big sound without any digital amplification. Most notable is the top-of-the-line player piano on which I listened to George Gershwin’s own recording of Rhapsody in Blue. Trust me, it was better than the best digital I ever heard.

Perhaps we have taken digital about as far as it can go. At some point, Moore’s Law will run into some natural barrier; and researchers will start to take another look at analog. I’m not saying we’ll return to records: Toward the end of the long-play record era, I had a hard time finding vinyl records that weren’t warped. What will probably happen is a combination of digital and analog in new media. The CD is almost out of date; the MP3 player will be next. Who can say what will be the next medium for conveying music?