[life] Why A Double Funeral On Your Birthday Is The Best Party You’ll Ever Have … powerful piece of writing from Hayley Campbell after the death of her grandparents five days apart …
This is how you derail a therapy session: In the middle of a carpeted room with calming pot plants stooped weakly in softly lit corners, you tell a 65-year-old qualified mental health practitioner, beneath her framed medical degrees and her various accomplishments, that she doesn’t understand the American film director Michael Mann, who is not Michael Bay.
There’s a thing that happens in Michael Mann movies where too much stuff gets on top of a person and that person just burns their life to the ground and moves on. It happened in Thief — James Caan drops his bulletproof vest on the street and walks off. It happened in Heat — de Niro leaves his girlfriend in the car and disappears in the crowd. They shed the material, the personal, the emotional, their car, their girl, and they walk away.
I explained that Michael Mann film colours are a whole palette on their own, that they’re blue and orange and saturated but washed out at the same time, and that it’s weird how the colours are so strong because Michael Mann films are about men who feel nothing. The men in Michael Mann movies are obsessive and dead inside; saturated and washed-out at the same time. They don’t even feel the emotion of vomit. As a mode of dealing with a white noise of emotion in your own personal world, a Michael Mann movie is like taking an emotional sleeping pill.
This entry was posted on Thursday, December 31st, 2015 at 1:01 pm and is filed under Life.