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THE PAKULA PARALLAX Author(S): Richard T THE PAKULA PARALLAX Author(s): Richard T. Jameson Source: Film Comment, Vol. 12, No. 5 (SEPTEMBER-OCTOBER 1976), pp. 8-12 Published by: Film Society of Lincoln Center Stable URL: http://www.jstor.org/stable/43753093 Accessed: 04-10-2016 00:15 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Film Society of Lincoln Center is collaborating with JSTOR to digitize, preserve and extend access to Film Comment This content downloaded from 95.183.180.42 on Tue, 04 Oct 2016 00:15:47 UTC All use subject to http://about.jstor.org/terms THE PflhLILfl PflñflLLflX by Richard T. Jameson .i the parallax view: Parallax stooge fingered for Carroll assassination atop the Space Needle. an edge and validity that suggest Pakula began at roughly the same time as his than Alan J. Pakula at work in the has taken the player back to the origin of own: Martin Scorsese, Brian De Palma, There American American than is Alan cinema no more today J. - cinema:a de- Pakula classical at today work filmmaker - :a in de- the the shtick, and beyond. Peter Bogdanovich, John Milius, Steven scription that applies at several levels. Another salient element of the di- Spielberg. Among contemporary directorial hot- rector's "Hollywood classicism" is his All these directors tend, in varying de- shots he is a comparative veteran, hav- almost Hitchcockian shrewdness about grees, to be explicit about their obliga- ing been employed in one capacity or tone and pacing. This figures crucially tions in and fidelity to the past - garnishing another in the studio system since the ALL THE PRESIDENT'S MEN'S success as an their films with clips from other movies, late Forties. The meticulous production irresistibly compelling general-audience quoting, restaging, or otherwise intro- values of his films suggest more affinity picture which neither sacrifices serious- ducing versions of cinematic prototypes to the Old Hollywood than to the Age of ness of purpose nor betrays the at-so conspicuous that the most casual the Cinemobile, although the seamless tenuated time-and-space conditions moviegoer of must become aware of them fusion of location work and impeccably the events it recounts. In fact, in ALL THE(the GONE WITH THE WIZARD OF OZ mem- detailed soundstage recreations (Stro- PRESIDENT'S MEN and its companions oryin of Monterey that opens ALICE heim could scarcely have improved on the so-called "paranoia trilogy," KLUTE DOESN'T LIVE HERE ANYMORE, the cheeky Stuffing the ALL THE PRESIDENT'S MEN (1971) and THE PARALLAX VIEW (1974), replayen- of the Wild Bunch's final walk in wastebaskets with authentic Washington tertainment (suspense, excitement) and THE WIND AND THE LION). I can recall only Post trash) sit well with presentday pref- art (critical perspective, formal percep- a couple remotely comparable gestures erences for verismo. tion, humane comprehension) are on Pakula's part. Similarly, the astonishing density of served collaterally by way of sheer, Warren Beatty's dust-up with deputy performance he elicits from the merest goosepimply engrossment. (And even sheriff Earl Hindman in the bar at Sal- bit-player yields the kind of behavioral though THE PARALLAX VIEW, for one, montail (PARALLAX VIEW) is strongly re- richness associated with the ensemble failed to dent the box office, every audi- miniscent of the "sody-pop" sequence in professionalism of a bygone generation ence I saw it with was riveted to the SHANE, from the initial Chris Calloway- of character actors. Indeed, he goes one screen.) like humiliation gambit through the ex- better. Even when a performer is trotting Although Pakula reveals, in inter- tension of the fight into the general out his or her familiar specialty number views, a healthy appreciation of the store-tourist shop nextdoor. Although (William Daniels' fidgety-smarmy politi- cinema's past glories, his work displays Pakula has expressed admiration for cal aide in THE PARALLAX VIEW, Valerie none of the hommage- happy infatuation George Stevens' work and his own style Curtin's teary collapse when Woodstein with exemplary predecessors that one has features in common with that di- appears at her door a second time in ALL observes in the work of the younger rector's, this parallel sequence is less THE PRESIDENT'S men), the character has filmmakers whose directorial careers hommage than narrative stratagem. The 8 SEPTEMBER-OCTOBER 1 976 This content downloaded from 95.183.180.42 on Tue, 04 Oct 2016 00:15:47 UTC All use subject to http://about.jstor.org/terms lone rider of Truth and Justice, trans- one point of Washington D.C. geog- muted into inquiring reporter Beatty, The the thePakula PakulaPakula who whowho directs once once considered considered movies and a a raphy to another - merely more deeply finds himself in a contemporary situa- career in psychoanalysis inhabit into the the peculiarized universe where this tion that is at once the plastic perversion same consciousness. As he once ob- film is laid. and logical historical descendant of its served, apropos of THE PARALLAX WhenVIEW, Pakula opted for the celebrated mythic western counterpart. This Pacific "the fascinating thing about melodrama ascending- overhead shot of Woodstein Northwest interlude begins with a pan is that you're playing with the most sorting in- through their welter of library down a majestic mountain slope as a fantile emotions of an audience - slips scaring in the Library of Congress, he hushabye female voice welcomes us to people, terrorizing them - and achieved using a telling documentary com- "happy hour in Salmontail"; end of the film suggestively to do that is fascinat- ment on the immensity of the reporters' pan and habitat of the voice is a rustic ing." task, a potent abstraction of place and tavern wherein huge color blowups of One of the most gripping passages in event in the midst of a highly concrete rock and rill - dominated by neon Oly that movie (and Seventies cinema) in- and verbal film, and a Langian intuition signs - have been substituted for the volves a man taking a seat in the spot- of fallible heroes toiling against a system genuine scenery available outside. This light in an otherwise darkened room, monitored by (would-be) larger-than- ersatz environment, complete with and giving himself - and through him, , h life forces. In M, Lang crossbred the hal- hostesses in scanty cowgirl vests and the audience - over to the intense con- lucinatory expressionist style of his good-old-boy lawmen nursing drinks templation of a "film." An ingenious Mabusian narratives (with which PARAL- under broad-brimmed Stetsons, affords montage of primally evocative images, LAX view has more in common) with a its own parallax view of a society in astutely manipulative music scoring, semi-documentary approach that, far which even an aura of independent- and such interchangeable categories from as mitigating, reinforced the horror of mindedness can be a cosmetic political FATHER, MOTHER, COUNTRY and its societal scheme: a magnified thumb- salespoint. And the echoes of an offi- ME, this lightshow traps both the ficti- print dwarfed the figures in a police lab, cially mythic western like SHANE (Shane tious candidate for corporate utilization a gloved hand spread imperially over a himself shows up as an ideal father- and the viewer himself into disclosing map of the city, and god's-eye views figure in the Parallax Corporation's en- his preferences in psychic scenarios.* turned streets, rooms, and vacant lots trance exam slideshow) remind us more Not surprisingly, it is to those masters into containers of scrabbling human subtly that the film is ultimately about of the haunted screen, Lang and Mur- specimens. In PRESIDENT'S MEN Pakula the climate of the American imagination. nau, that Pakula's work suggests respectsthe the dictates of found realities Probably the most striking "quote" in greatest affinity of all: Lang with (you his can crane in the Library of Congress; Pakula' s work to date is the opening shot blacks and whites that change places you or cannot, logically, in the Washington of ALL THE PRESIDENT'S MEN, in which cohabit side by side without ever merg- Post newsroom, even if it's on a sound- typed letters and numerals are suddenly ing into shades of gray, and his rigid stage and all those desks and cubicles slammed CITIZEN KANE- like right in the lines and ferociously architectonic intui- might have made an expressionistic hive viewer's eye. The KANE connection is felt tions of a maze-like moral universe full of of activity), but even given a documenta- even more strongly in the film's overall Doppelgängers and supernatural mas- ry-style horizontal bias his camera eye opening strategy. Welles' film started in terminds; Murnau with his cosmic ap- discovers pattern everywhere, frames darkness, silence, oblivion, and mount- prehension of a fatal continuum, an ap- within frames. ed toward light, musical and verbal ar- prehension so strong and so stylistically The White House plumbers enter Na- ticulation, and coherency - a coherency integral that the mere enclosure of an tional Democratic Headquarters through fulfilled only with the death of the mas- event, a person, a place within the mo- a left-of- frame entranceway that remains ter of Xanadu and all that its irreal land- tion picture frame becomes a stage in a shrouded in blackness; the righthand scapes implied.
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