Kelly Reichardt SHOWING UP (2022) “…Something Else…”

                          

  by  James Clark 

Why would a brilliant artist, a sculptor whose touch lifts to the heavens, trudge along as if she were crippled and in pain. Where was the fire, the elevation? However, there were factors to consider. Our  protagonist, Lizzy, would have imagined problems unknown by the easy going, the way of normality, the ways of full-scale science, in its zeal, and elsewhere. Not only that, however, the actions of religion pose a similar snag. Good that all should be civil; but how does it work?

This matter, however, involves something else, not in the lexicon. We’ll have to wait until the end, here, to see what the marvel involves. However, one could note that planet Earth had failed badly.

Not so strangely, Lizzy felt compelled to play along with the others. One of the others, Jo, a young Chinese woman, (being in the state of Oregon) would be as ordinary as our protagonist was unusual. Jo was Lizzy’s  landlord. This was how she spoke to the protagonist one day. “You are lucky, with your cheap price. It may not last much longer…” In an earlier remark, Jo asked that she needed to take her injured pigeon off her back, for a while. (The protagonist would be too savvy to swallow that line. She knew that the pet would be an interment, going into her work for the coming arts festival. Not only that, but Lizzy’s cat had attacked Jo’s pet, creating more confusion at the vet, and by Jo. The black practitioner would be ugly in a “helpful” way. And yet the artist would be able to cope, at a premium.

  This being an ironic form of Reichardt’s zeal for interaction. (For learning.) Our protagonist says, “You’re bad… bad…” Her mother is the manager of an arts business, of which there are many in this little city. When Lizzy asks to take off  a day, to get going on her project (here her day job being within the family), her mother becomes taciturn.

One should take a second look, here, because Reichardt’s thoughts, despite her wit, need help. The wit, coming up at the end of this effort. But also close-shots, in the history of Reichardt’s depths.

Wendy and Lucy (2008). Lucy being a loving, brave and bright creature of a dog. On a voyage to Alaska, Wendy failed to prepare, and had to leave Lucy with another master, forever. Mastering, was the question.

Certain Women (2008). Hard-luck Billy, had been injured at his work, by way of carelessness on the part of the proprietor. His young daughter almost said it all: “Dad, like I care?” Along the way, an aboriginal woman hopes to become a friend.

Night Moves. Virtue in Crime. Dena and Jose. The cool ones. Blow up a dam! Why not!

River of Grass. Sensation. Cosy Cole The world of pop. Make a Sensation. If I were not a killer, my life would be a waste.

Meek’s Cutoff (2010). “How far do you have to go?” Emily. (The wife of Soloman, who doesn’t seem to count.) Emily: “I want something unknown. I want him, owing me, What have we done?”

Old Joy. (2013).”What’s not to love, a counterculture rogue drug addict and homosexual. Kurt and Mark…The normal.

First Cow (2016). Cookie and King-Lu. Looking for death.

One could say the family of Lizzy entails a very unusual position. Yes and no. Look around, and there are many eccentrics, those who become inert. Perhaps, the word is that one does not look beyond looking; and misses the feeling. At any rate, we have a mystery. Let’s start (even, beyond Lizzy)  with the most promising territory, namely, the uncle. Lizzy’s mother had been alerted that the man was becoming a shock, a bolt from the blue. She and Lizzy drive over, only to find that his backyard had become a deep hole in the ground. Although the women were aghast (thinking that a doctor should be involved), there was much more structure, here, to be shone. The seeming outcast had found a bit of magic, a range of something strange, uncanny. One had to attempt another world, even if it were impossible, here, to make a serious home. Becoming a lost soul. At the big festivity, he seemed to be drunk. He starts by eating virtually all the cookies. Lizzy  tells him that he’s vulgar. The relative argues, “It was to be eaten.” (Could this find have a focus?) Everyone here would be proud to be eccentric. But real uniqueness involves something else. Lizzy and her real depths had not gone far enough. Therefore, she becomes part of a farce. The grandfather proudly announces that he covers the same activity every day, that being the production of his paintings. That is his morning. In the afternoon he watches television and falls asleep.

This image released by A24 shows Hong Chau in a scene from “Showing Up.” (Allyson Riggs/A24 via AP)

That leaves “showing up.” However, there is a real saga to be undertaken, here. Lizzy’s passion must be understood in a way that will provide a new unearthing. We are about to tackle the brilliance of composer Johannes Brahms (1833-1897), in the form of, Clarinet Quintet in B minor, Op. 115 (Allegro; Adagio; Andantino; Con moto); and, Sextet  No. 1 the B. 18: Allegro ma non trappo ma moderato; Andante ma moderato; Scherzo. Allegro molto; Rondo. Poco Allegretto e grazioso.

Tackle indeed. Two musical attempts to manage an ancient poison. That being, though, in place, music of artistry all but fathomless. The composer, always, would be somewhat morose, as if his muse had failed to embrace his needs. (Like Lizzy.) What state of mind would make a difference. (There is a difference to be made, but it’s a long shot. A long shot, because many centuries would only have it like this. Happy to be blind.)

We’ll hope to come close to this action by way of these introductions. To begin, a moment of strength, by which to stage a surprise. Within that position, one might involve a new avenue, many avenues… Brisk and speed! Allegretto: at a fairly brisk speed. (Looking for a new approach. Approaching the eerie, from many angles. It’s in the territory if you can find the twists. Ingmar Bergman knew.)

    But it’s a killer, in this era of the end. And yet, one must keep trucking. Brahms gets a B. Sweet, but lacking hard mystery.

Brahms, like Lizzy, needed a big lift. Nothing significant had changed in the interlude. Here we approach our protagonists, once again, with wit and horror. Something might have appeared that needed more attention. It is once again, time for Brahms to lead us to something fresh. He had the depth to find more than he delivered. It is for us to follow that treasure to the source.

String Sextet No. 1, in B-flat Major. Op. 18 (The first movement.)

Being true to the findings of trouble. And yet presenting, powerful, steady work. Cello in control, racing for the moon. Steady and problematic. High notes, seeing the positions, seeing the interlaces. Trouble by the high notes. Attempts to go farther. (Where can we find it? Going too far? How does it feel to be in control? A rush. And then, receding.) Finger pic on the string instrument. Make a sharp noise, to alert the strange. Then the steps are controlled. Like a war. Not fully in place. Melody, and yet looking away. Being overtaken. A happy melody. A march into what one has known. Then, backing away with simple hopes, only to be overtaken. Then a bid toward the heights. Melody, and then pulled back. Dancing moves. So close to a conclusion. Then falling back. Only to set off a roar in the strings. And thinking about other possibilities. Back to the heights. Leaving something. Dancing mode, and deep sounds. (Exploring something unusual.  A small move.) “Molte Grazie!” Rightness. Strong… Melancholy… Feeling, after all… Four steps. Then a high note… For what point?… Again, a dancing feel, after all… A march to carry to the position… Glory, with a problem… Play your best… joyous… That special beauty, very close… Again and again… Then, feeling feeble… (Think about Ingmar Bergman.)… A great interaction, for naught. So many heights of beauty. Interactions, as they go.  Lifts and falling… Right and not right. That power ending… Longest of the argument? On your toes! Finding a height. Needs the full power. Powers in great strength. Yet not enough. All the beauties of attack… The tease. The end… The many strings. Tonality.

 

As if a moment of magic, the “Something else,” at the outset, makes its move. What appeared was the New York City Ballet, at its best, in the work, “Symphony in C” (1984), by choreographer George Balanchine (1904-1983). Balanchine made all the difference. Dance is everywhere. Balanchine was something else.

With a twist of a hand he could find a flow going upward, and going down, at the same time. A spray that could never demise, until death. Balanchine had brought dialectic to a more mysterious power. The dancers would interact by way of the two configurations. Ballet had become another creature, even if it were largely ignored.. He had something up his sleeve. The details needed hard work. It begins with one’s hands, as we had said. With a twist of a hand; two powers appear, if you look in the right way. And yet why the right step becomes burdensome. It has been eons of years for imagining only the rather crude paths. The odds have been crushing. How  could one prevail in the face of a monstrous outrage? There must be an agency elsewhere. And in fact there are billions of them. In deep space.

Balanchine (and a few others)  would have been both effective and ignored. What is to be done here? First of all, in one’s depth, one could take the step of allowing to engage in something else.

(One of those who appreciate such unusualness is a swallow I know, and his mate. We have a big window and a high place. Almost every evening, the swallows dance into the dying night. First they play toward the twilight. Back and forth, several times. Then they make their departure, full of joy.)

 

(In a little matter, that matters, I failed to cover the  remark at the required position–years ago–concerning Lucy And Wendy: “Don’t be mad, Lu… Here I got you this!”)

 

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