I finished watching The Haunting of Hill House a few days ago. I enjoyed it tremendously (it has the right balance of creepiness, terrifying jump scares, psychologically traumatic events and emotionally tortured characters), but, as usual when it comes to horror films about families living in large spooky houses in the West, I was outraged by the way the parents treated their children.
If your children are scared witless because they’ve seen a ghost or monster at bedtime, why would you insist they continue to sleep alone? What sort of sadist does this to small children? I don’t care whether or not you believe in ghosts/ that your house is haunted — if your kids wake up night after night screaming, why would you leave them alone in their beds?
In Hill House, the parents say stuff like, ‘If you see [the ghost] come tell us and we’ll deal with it’ or ‘No, you didn’t see a ghost; it was a nightmare/your imagination/a shadow etc.’ How unhelpful! Can you imagine your parents saying that and then leaving you alone in a dark room? No wonder the Hill House kids grow up totally fucked.
I know the heartless parents are necessary to the plot: The Hill House storyline would be a lot different if it were set in, say, KL. There would be major exorcism carried out immediately, and the whole family would camp out in one bedroom until the problem was sorted out. Maybe the children would grow up to be famous mediums with their own temple.
I remember our priest, Father Martin, blessing our house before we moved in. This house was known to be haunted and so Father Martin blessed every room, even the outhouse! But the ghosts hung around anyway. They didn’t do much more than turn doorknobs and cause lights to go on and off though.
Insecure Season 3 has launched and I’m not going to wait to binge the whole season or even two or three episodes. I shall watch the show as the episodes air, which is of course painful, but hell, it’s going to be agony when the season ends anyway, so this is training.
I watched Epi 1 (Better-Like) three days after it dropped and it was mostly satisfying. Looks like there’s a lot to work through, not least (and as usual), Issa and Molly’s complete failure to take control of their love lives. Haha, isn’t that why I love the series so much anyway — because I can relate to the girls’ wrong decisions about men? *mock weeps*
Have to say, Daniel looks fine, but Dro … Dro is so ick. He looks like he’s been assembled out of tofu blocks.
Episode 2 (Familiar-Like) focused on Daniel, and the Issa-Daniel storyline and dynamic. I liked how the epi explored the platonic aspect of the relationship, and also Daniel’s insecurities and the way they’re actually good for one another. It’s pretty obvious what’s going to happen there. Or is it?
I did not know that Spike Lee had re-fashioned his film She’s Gotta Have It (1986) into a Netflix series!
Hmm, I had almost forgotten the film, which I watched a few years after it was released. I know I didn’t get it then. I didn’t get any of Spike Lee’s films. Back then there wasn’t much I got if it wasn’t in the great British/American tradition.
However, I remember I was impressed by Nola Darling (’86). I liked her attitude towards life and love, and men. I didn’t understand it, but I liked it and I admired her. I was jealous of her ability to love three men (and a woman) just enough without giving herself to them.
I’ve always known, but never acknowledged that I’m not a one-man woman. However, I’ve been a one-man woman in my relationships because I am not a jerk. I don’t want to hurt people. Also, I know I’m not evolved enough to be happy about my man having sex with other women and have no wish to be a hypocrite.
Sure, I have double standards, and I’ve been trying to figure out why (apart from the fact that I can be a bit of a dick) I do.
I think I am not secure enough to believe a man could sleep with others and still always prefer me. I know there are different things I appreciate in different men. I like them each in different ways because they’re different people. That’s the way I feel about my girlfriends and that’s how they feel about me. Why should it be different when it’s a man? Hmm … see? I hate how romantic relationships turn meinto a green-eyed demon.
I admit it — I am possessive as fuck — not to the extent that I won’t let my partners have friends of the opposite sex (although look at how that ended with Martin and Ee Kee — he left her for me), but I don’t like them polyamorous despite being polyamorous myself.
I think polyamory is complicated and hard work and I don’t think I can handle such a lifestyle. I don’t think I can do the ‘committed to each other, but sleeping around’ kind of relationship. I don’t want to battle with my own jealousy and my partner’s. I don’t want to feel hurt and to hurt others.
I figure the only option is to remain single. Like Nola Darling. Ish. Thing is, I don’t know if the current Nola Darling really knows what she’s about. Of course, I would need to re-watch the original to know what I think of Nola (’87) now, but Nola (2017/2018) … she’s too much of a child for me to take seriously. And her refusal to commit seems more about selfishness and self-conscious artistic posturing than a well-considered lifestyle choice. She’s twenty-seven after all. Haha, spoken like an old woman, right? Damn right!
Now that I’ve accepted that I’m rubbish at meeting decent blokes, I am going to throw in the towel and be a TV-addicted recluse.
Have just started re-watching Star Trek: Voyager, my favourite Star Trek series simply because I do a great vocal impersonation of Kate Mulgrew. Also, I admit I still find Chakotay hot.
I’ve now watched two episodes. At the end of Episode 2, Parallax, Chakotay asks Janeway ‘If things had happened differently and we were on the Maquis ship now instead of Voyager, would you have served under me?’ Would she ever! (OK, OK, I used to write Voyager fanfic and shipped Janeway and Chakotay. I don’t think I’ll be able to continue watching once he and Seven get cosy.)
I revisited The Turning Point a couple of days ago. It’s one of my favourite films and I have watched it goodness knows how many times. When I was a teenager, I recorded it when it was screened on Channel 5, Singaporean Broadcasting Corporation, and I watched that video tape so many times, over so many years, the picture got decidedly fuzzy in the end.
I got the DVD in the early 2000s, but have not watched it for years — the last time, I was probably in my late thirties.
I was ballet crazy in primary school and through my teens and early adulthood, so the gorgeous ballet sequences in The Turning Point were very special to me. Remember, this was before the days of YouTube and the Internet. I was living in a small town in Malaysia and had no access to any ballet performances of any kind. The rehearsal scenes in the film were also wonderful — they allowed me to be a part of a magical, mysterious world that I could otherwise only dream (and read) about.
Baryshnikov was the main reason I was first drawn to the film. I was crazy about him, although not as much as I was crazy about Rudolf Nureyev and Margot Fonteyn. However, after I watched The Turning Point for the first time, I was definitely more taken with Leslie Browne than I was with the Russian superstar.
Of course I took her character, Emilia’s side in the love affair portrayed in the film. And of course I swooned over the romance of an aspiring young dancer falling in love with the more experienced but also young, handsome star of the ballet company. Watching the film today, I found that I was amused by how predictable Emilia’s feeling are, and then annoyed at how predictable Yuri’s behaviour is. Otherwise, the relationship is not a terribly interesting feature of the film, but written to highlight deeper issues faced by Emilia’s mother Deedee (played by Shirley McClaine) and Emma (Anne Bancroft), the ageing ballerina and Deedee’s best friend.
It is so interesting to me that when I was a child (yes, my teen self seems like a child to me now), I was totally unmoved by the film’s most important relationship: the one between Deedee and Emma. When I re-watched The Turning Point in my teens, I may have fast forwarded through the scenes in which the two women interact. I know I definitely fast forwarded through that last climatic interaction at the ballet gala, in which things come to a head between the two friends.
But today … goodness! Nearly every scene featuring the two women made me tear up, and all of them hit a chord. Obviously, what Deedee and Emma faced, the problems they were struggling with meant nothing to me when I was young because, having not lived, I knew nothing, and was scornful and dismissive of everything that I had not experienced. Thwarted ambition and lost dreams, betrayal, regret, self-sabotage — what did I know of these things?
At the end of the film, Deedee says to Emma, of Emilia, ‘Oh, Emma, if only she knew everything we know’ and Emma replies, ‘It wouldn’t matter a damn.’
In life, experience is everything. Without it, there is only imagination and even that, in my opinion, relies on experience to function fully.
We can’t force what about a story resonates with us. We can’t imagine what will appeal and what not until it does or doesn’t. I love this film now as much as I did when I was sixteen, but for different reasons. I know exactly why I loved it in 1983, but I would never have guessed, then, how my life would shape the way I responded to the story on Saturday.