Deep in the liason dangereuse-drenched Canyons dwells the only reason we'd want to see it (unless we were Paul Schrader devotees), Lohan's voluptuous, bruised body --on full display, and marvelously curvy, yet never teetering over the edge into zaftig. In between shots of her or other pretty youths on their cell phones and/or in underwear, Schrader cuts to abandoned west coast cinemas to remind us we're not seeing this movie there, but on our iPads or TVs. At one point a character even takes a winding, Van Sant-like stroll through Amoeba Video to remind us it still exists, but who goes there in the age of streaming? We go there now like ghosts haunting places they once loved to linger... but can barely remember why.
Meanwhile a nonstarter slasher film role is coveted by a hunky rent boy looking to 'make a dolla in dis business' before he blows it all for the love of the producer's swing partner (Lohan). But it's only Lindsay's coming-and-going older girl curves, her various minor hard living bruises, that remain when this dull meta-business melts away. It is the last thing standing, or lying, in a field of vision that's slowly being sucked into a tiny glowing square. In a film about vanishing media, Lohan's spectacular body won't be airbrush-pixelated.
Which means I care enough to spend $4.99 on Lindsay Lohan, to do my small part in resuscitating her career from its woozy downward spiral, approving with my 'vote' her plan of launching herself off the bottom of the pool back up to the surface via short zero-budget pushes from disreputable names like Paul Schrader and Bret Easton Ellis. It's a time-honored Hollywood fallen young person tradition, the way Robert Downey Jr. launched off similarly debauched-and-guilty-about-it James Toback's Two Girls and a Guy in 1997. It's a chance for mutual symbiosis: established-but-marginal auteurs who make low budget artsy and disturbed visions of druggie youth find backing via their casting of a genuine drug-addled youth recently shook off her A-list perch. Whether or not the films last or make a dent is immaterial. It's already over.
Though long since fallen from the front room coke tray pecking order, Schrader's more on his game than most of his old Raging Bulls buddies, his scathing spirituality to the rescue. When the others forget even what they were using sex, drugs, and intrigue to escape from, Schrader steps in like a wannabe savior, urging you to descend into the crevasse and out the other side. Maybe Jesus is down there, or a dropped Xanax bottle. Or at least a cool dark coffin to rest until Netflix streaming rerun night.
Old man Schrader's been subjecting us to this post-Calvinist morality slip-and-sliding for a long time: Taxi Driver (1974), Hardcore (1978), American Gigolo (1980) and Auto Focus (2002) were each in their own way about the evil lure of pornography: runaway daughters being sucked into the sniff film trade; Cybil Shepherd losing her cool at a screening of Sometimes Sweet Susan; Bob Crane's molasses slip from beloved TV star to amateur pornographer to a messy murder victim; a preening narcissist who sells his body to rich older ladies --he judges them all and for their arousal factor, as in his remake of Cat People, a sparagmostic flaying. Similarly, novelist Bret Easton Ellis wrote American Psycho, Rules of Attraction, and Less than Zero, all come to symbolize the 80s preppie drug addict, awash in cocaine-fueled casual sex, suicide, murder, and scopophilia. Together with the scarlet letter-branded Lohan they generate conspicuous attention: debauched, older coke-head LA insiders trying to be all up to speed on the disaffection of today's pre-debauched youth. As Schrader said in a Salon interview:
My generation — we thought we could make a difference and make the world better. Bret’s generation thought they could make money. I don’t think that this current generation has any real aspirations. They’re making money, but I don’t think they’re that crazy about money. The characters make movies and they don’t like movies that much. They’re hooking up and they don’t like that much. The difference is, my parents and I always believed life would be better for the next generation. The current generation believes life is going to be worse for the next generation. It’s such a change for the future of humanity — the future is not something, now, that guarantees a better life."That's pertinent of course, but might also be prurient, like the old pastor who works himself up into a sexual froth ranting about the devil as he ogles some girl's halter top; or using disaffection as a back door justification for having sex with every jaded hottie who bums a key bump.
I remember a film very similar to The Canyons, by Bernardo Bertolucci, The Dreamers (2003), wherein you had to wonder who old Bernardo thought he was fooling by having these gorgeous naked young entwined beings haunting the la Cinémathèque Française and pretending to understand Cahiers du Cinema so he could feel he was getting away with something naughty, stapling art film posters on the naked poles, so to speak. As in Canyons, Bernardo gave equal shrift to shirtless boys; as befits the semi-invisible hand of boymonger film geniuses like Gus Van Sant (who appears in The Canyons as a therapist) and Larry Clark (Kids) who have both made some great films about their boy obsessions because they have bothered to plumb the depths, such as they are, of the skater, drug, and homeless kid cultures the way most rent-boy-cruising Sebastian Venable auteurs do not. I have to say though, in a way, I admire Schrader and Ellis more for not plumbing in this instance. Why should we do their heavy lifting for them? Let them fail on their own. It's the only way they'll earn.
Lohan is only 27 at the time this film was made, but the constant hounding of the paparazzi furies have left her as scarred as a hot bitch Orestes. Even so, by 27 you should be beyond letting yourself get sucked into menage-a-quatres just to flatter the closeted vanity of your rich cretin of a boyfriend. If Lohan likes it she should let us know, instead of moping through apathetic drugged ennui in search of a new bon-bon to distract her from all the strewn wrappers. Such lurid behavior should either be a turn-on or turn-off (Two Girls and a Guy, for example, was both) or far enough over the line to be either profound or traumatic (Two Girls was neither), but instead Canyons strives for meta resonance with those empty cinema shot connectors. One presumes them to be comments about how nobody goes to see movies in the theater anymore ("premieres don't count" - LL says), and the subterfuge clogged airways when characters are so busy arranging intrigues on the cell phones they don't see the car in front of them. They even watch their own messages on "Text TV." Do they even intend to watch their own film? I can imagine them all at the screening room, barely looking up from the cell phones except when they're onscreen, to make sure their hair looks right.
|James Deen, and a portrait of... Herbert Marshall?|
I remember partying with these sorts of pretty-stylish-vacant people in the 90s; I could feign a strained pose of Adonis-like disaffect with the best of them--my every pithy comment a dying faux-carefree butterfly, my clothes always signature shabby-chic. But just because you can capture that misery doesn't mean you're inventing it. Meanwhile even Lindsay is too old to know if kids are still putting out for bracelets, or ever did. Everyone's hiding something, even in this film. Did LL's court order ensure we only see one little coke bump snorted over the course of the whole film? Take it from me, orgies are impossible without either coke or ecstasy. Did I already mention the thing about the coke thing maybeyouknowherewecangetsomeIknowI knowcallthisnumberokayokaythisisgoing
tobegood butweshareitonlywiththoseofuswhoputin, okay?
I was always too uptight, too British, to ever fall into orgiastic abandon, no matter how much I tried. No matter how drunk I got or how much coke or ecstasy I did, I was invariably a gallant gentlemen; my body would just run away no matter how much I wanted to stay and get group naked. And I don't miss stepping over the myriad entwined forms on my loft floor on my way to the bathroom at four in the morning during the days I was detoxing, trying to sleep to the incessant thud of terrible electroclash or 'jungle' from my roommate's in-house turntables. Coming out of my bedroom to plead for mercy--the sun mere minutes from coming up to signal the dawn--and seeing only his coke-black shark eyes looking back at me without a shred of empathic connection. It was, I'm sure, fun, and still is, for him, but unless you have a tolerance and money for coke, as well as a loose sensual disposition, a tactile calm born of being good on guitar and appealing to men or women or whatever you're into, then you're just a bystander. Even when deep in the orgy, just a bystander.
I don't miss it, and so I feel sorry for everyone involved, even as I applaud their freedom and cheer them over the edge. Luckily the music in Canyons is amazing, full-on retrolectro-tryptahol courtesy Broken Social Scene's Brendan Canning, moodily pretending like the 00s never happened.
Luckily there are still a few demographics who go to the movies: packs of single ladies at a chick flick on Friday night (+ one or two spooked straight guys on dates), and kids who can drive and who consider any hour spent not in school or at home to be pure bliss. So, as you sit down as a family to rent The Canyons, be glad you don't have to live without access to every movie ever made. There is no other solution to the emptiness. Theaters have become a reminder of what we're trying to escape from, our sad aging husks, our burdensome bathroom-bound humanity. our inability to pause and rewind.
So though the perfect goddess we once sold our soul for still works on new films every damn day, no amount of Vaseline on the lens can save her from growing old and cheap and sad. Johnnnyyy Johnnnny come back to me she says as her once firm and upright fan club dissolves into a hydra of a million nonstop texting blue lighted wrinkles and blemishes laid out before you in the seats like a blanket of frumpy stars. She once helped us escape from the hell of life --even if only for two hours at a crack. We swallowed her whole then with no regrets, but all that time she had a hook deep in her feathery bustier, ready to tear a hole in the screen. She can be as frumpy as nature dictates now, you're hooked. And there's no need to struggle against the sinker, little fishy. You've already evolved as far as you could go in such shallow surf. Time to belly up, or else go deep.