In what will no doubt be weeks of upcoming news coverage, tributes, memorials and TV specials chronicling the life and death of Michael Jackson, the point will likely be made that Michael Jackson died the same day as Farrah Fawcett and just two days after Ed McMahon. “We can’t forget Farrah and Ed,” people will say. But invariably, the immense, wall-to-wall coverage of Jackson will overshadow the other two, and history will forget that these three important twentieth century icons died in the same city in the same few days in June.
Have You Seen His Childhood?
On August 29, Michael Jackson celebrated his 50th birthday. It was a low key affair, with the King of Pop hanging out with his three kids, eating candy, giggling, “watching cartoons” and “just relaxing.” No Macaulay Culkin, no Elizabeth Taylor, no Chris Tucker. Just Michael and his kids (Prince Michael, Paris, and Prince Michael II). Just like a normal family.
It’s crazy to think that Michael, the kid who not so many years ago blew our minds with the insane dancing of “Thriller” and “Beat It” and repeatedly set records with album sales, is now a half century old (joining Madonna and Prince, who also turned 50 this year), living in relative obscurity somewhere in Bahrain (and recently Las Vegas), supposedly working on a new album. Will he ever return to the glory days again?
Probably not; not in this day and age when the new royals of pop are Disney Channel stars (Jonas Brothers, Miley Cyrus, Zac Efron, Vanessa Hudgens, etc) or otherwise talentless prefab teen-pop confections. Being a superstar is not about talent anymore; it’s about being cross-marketable and cute. Michael Jackson was once adorable (back in the Jackson 5 days), but now he is a haunting, disturbingly post-human specter. I’ll be surprised if he ever has a hit record again.
It’s funny what happens to pop stars after they peak, after they grow up. We’ve already watched Britney loose her grip on reality after she left her teenybopper days behind; Lindsay Lohan is fast on her heals. These are the kids who were once the icons of sugar-pop, Disney kitsch. Now they are grown up and trying to remain relevant, often to little success (at least Britney seems to be on a semi-upswing… she’s readying a new single and staying out of the headlines).
Alas, it must be immensely disorienting for a person to reach such high levels of fame and fortune at such a young age. When you reach the top before you are 20, where do you go from there? Perhaps this is why aging popstars are always trying so hard to be edgy and new, to remain in the public consciousness. Did you see Christina Aguilera at the VMA’s? Her remix performance of “Genie in the Bottle” was kind of cool, but does anyone really care about her anymore, when there are new singers like Rihanna and Jordan Sparks to worry about? And can anyone really believe that the New Kids on the Block have reunited and attempted a comeback? Is there anything sadder than that?
Actually, I shouldn’t pity these people. I’m sure I’ll be like them one day, trying to remain cool and relevant even when I’m clearly out of touch. I already feel that way, actually. Neither I nor Michael Jackson will ever again be as cool as the Jonas Brothers are now…
Mister Lonely
Harmony Korine is an arthouse director if there ever was one. Actually, he's probably beyond arthouse--more avant-garde than anything. His films--1997's Gummo, 1999's Julien Donkey Boy, and now Mister Lonely--are unlike anything else coming out of American cinema. This is neither a praise nor a criticism. It is simply a fact that Harmony Korine--along with people like Vincent Gallo, David Gordon Green, and Richard Kelly--is one of the most distinct young voices in art cinema today.
Mister Lonely (see the trailer here) tells two simultaneous stories that have nothing at all to do with one another (though ultimately they do compliment each other). The first and dominant narrative concerns a commune in the Scottish highlands where a band of celebrity impersonators (including Madonna, James Dean, Queen Elizabeth, the Three Stooges, the Pope, Sammy Davis Jr. and Abraham Lincoln) live together in a bizarre and ultimately tragic fog of confused identity. The story focuses on Marilyn Monroe (the wonderful Samantha Morton) and Michael Jackson (a fantastic Diego Luna), as well as Madonna's abusive husband (Charlie Chaplin) and their dainty daughter (Shirley Temple).
The second story is even more fantastical--and concerns a group of nuns somewhere in Latin America who discover that they can jump from planes without parachutes and survive. Their deep belief in God apparently bestows them with this miraculous ability, and by the end of the film the group--led by an eccentric priest (Werner Herzog) head off to the Vatican to have the Pope recognize their unique penchant for gravity-defying miracles.
Though there is plenty to talk about with respect to the "flying nuns" storyline, I'd like to discuss the celebrity wannabes in this particular post. I should first note that the actors who play these people (who impersonate their respective celebrity icons) are intentionally awkward and not all that good at what they do (though their costumes and basic mannerisms are spot-on). They are people who are so uncomfortable in their own skin that they feel they must live as (or through) the celebrities they idolize. It's particularly sad to see them perform their stage "act" (in a decidedly minstrelsy scene late in the film) to an audience of about five. No one wants to see mediocre celebrity fakers; it's terribly depressing. Indeed, the film's mood is one of tragic, surrealist comedy: a sort of Waiting for Guffman-meets-David Lynch parade of naive whimsy and dark, eerie ambiance. It’s disarming to see Charlie Chaplin playing ping pong with Michael Jackson, or Queen Elizabeth dancing with James Dean. And these people never really break character (even when no one is watching), which is, well, just plain odd. It’s like watching an extended (and more poetic) episode of VH1’s The Surreal Life, only with A-list celebs who may or may not still be living.
It’s hard to say what exactly this film is about, but I think that’s probably the idea. The film is as confused as its characters are: about themselves, about each other, and about the world. But it feels very pertinent in this age of celebrity obsession, digital avatars, and postmodern identity. Increasingly we construct elaborate “lives” for ourselves in lieu of any sort of understood Self. Indeed, as Erving Goffman noted in The Presentation of Self in Everyday Life, we define ourselves in terms of the masks we try to live up to—and yet perhaps this mask is our truer self. In any case, there is a painful absence of self in this film: these people don’t know who they are, and Korine gives us nothing in the way of privileged knowledge otherwise. They are society’s outcasts, clinging together as spectral visages of immortalized icons, hoping for some sort of salvific utopia in their collective embodiment of the ghosts of pop culture’s past.
Though slow at parts, and certainly unfathomable from any conventional "what is this about?" point of view, Mister Lonely has some truly remarkable sequences and moments, beautifully photographed, edited, and assembled with an artist's touch. The blend of image and sound is particularly strong, and in this way the film reminded me of Gus Van Sant's recent triumph, Paranoid Park (my review here). Mister Lonely features a beautiful score from Jason Pierce of Spiritualized, as well as some classic hymns and modern tracks that accompany various stretches of poetic imagery. Bobby Vinton's "Mister Lonely," for example, is lusciously set to an introductory slow-mo sequence. An old recording of the hymn “What a Friend We Have in Jesus” provides the backdrop for one of the most striking montage sequences, and the Tennessee Mountaineers’ version of “Standing on the Promises” provides a striking song for the closing credits. Music by Aphex Twin and A Silver Mt. Zion also contribute to the overall ambience of the film.
Clearly Mister Lonely is not for everyone, and I daresay most people won’t be able to see it on the big screen even if they wanted to. But if you like lyrical, abstract-ish or surreal cinema, do make an effort to at least Netflix this film. There’s really nothing else like it.