Presenting the creative life on screen has always been
difficult. Films tend to focus on
domestic disputes and personal demons rather than on the work itself which is
often slow, disjointed and repetitive. There
is more dramatic potential in showing Jim Morrison being arrested for exposing
himself rather than in scenes in which he and the other Doors run through ‘L.A.
Woman’ for the hundredth time in some sweaty studio. And few novelists
(Hemingway and Jack London being two of them) have led outwardly adventurous
lives; most of them have more in common with Emily Dickinson, living quiet,
deskbound existences. As a result, films
often skirt around the process that consumes much of the artist’s day.
Two recent
films that have made admirable stabs at showing the workings of the creative
mind are Love & Mercy and Paterson. While there is plenty of friction between the
main characters in Love & Mercy, the most compelling scenes take place in the
studio where Wilson commits to tape the lush, technicolor sounds we can hear swirling
around in his mind. To give the viewer
some idea of what it might be like inside that acid-drenched head, the film
opens with a plethora of sounds in the form of rays of light pouring and in and
out of darkness. It’s a brilliant
evocation of torrential creativity.
In much
the same way, the lingering camerawork in Jim Jarmusch’s Paterson replicates the intensely deliberate gaze of the eponymous
bus driver and aspiring poet played by Adam Driver. By the end of the film, we have a variety of
objects firmly lodged in our minds – a matchbox, a beer glass, a waterfall –
that he has meditated upon as a first step in turning them into poetry. With its repetitive structure – seven days
divided by the same tasks and activities with just a few surprises – and its
overwhelmingly quiet, unhurried mood Paterson
reminds us that poetry is a slow, still art that rejects the loud and the showy
and celebrates what’s quietly there. As a result, it makes for a life-affirming
viewing experience.
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