Wavelength

Man, this guy really knows how to zoom and make noise at the same time! Although Avant-Garde filmmakers (and other artists alike) may find this an interesting way of using the medium, it's really nothing more than a cheap way of trying to be unique while keeping your technique as simple as possible. I had time to go out and get lunch (and eat it, mind you) before this dude was finished zooming into the picture. I'd like to hear the DVD commentary :)

"Wavelength" is and will always be one of the most controversial films of experimental cinema: the type of film that you either despise it or you consider it a masterpiece. From the ratings and reviews on IMDb, it is evidently the former is definitely common among most cinema goers, those who criticize it as being "boring"' "drudgery", "annoying", "unbearable", etc. Frankly, those claims cannot be directly pushed aside due to the truth that is in them: yes, to some forty-five minutes of a single scene would be the most intolerable thing on earth; indeed, for those with sensitive hearing, the sound would be enough for anyone to tear their hair out. But that does not mean it's bad. On the contrary, I believe Michael Snow was not a horrible, untalented filmmaker that tried and backfired to please audiences when he made "Wavelength", but deliberately attempted to be unconventional, boring and downright irritating. This was not the only film to fall in such a genre either; there were actually quite a number of unpleasant avant-garde films made around the sixties period, some even worse, that were intended to challenge the viewer in their difficult aspects.

The forty-five minute long work is a single scene of a room, experimented with using various color filters, slowly and gradually zooming in to a photo on the wall of the room. Very little occurs onscreen except for the zoom, and in many ways it is really a series of film variations on the only focal point. That's not to say there is no onscreen action though; traffic can be seen occasionally moving outside the windows of the room, several women enter early on whilst a Beatles song is played, and the climax is a series of loud banging noises--as though a burglary is happening offscreen--before the great experimental filmmaker Hollis Frampton enters the shot and falls dead to the floor.

One other reviewer has interpreted that the film's goal is that to have almost nothing happen the viewer gets to appreciate more what does happen, and this is a very good point. In either case, it is a very interesting and abstract experimental work, as well as the ending which does a quite literal turn on the title, and an absolute must for fans of experimental cinema. It's boring only if you look at it as a scene of a room; it becomes interesting when you delight in the moments of action and I really liked it because it kept my interest despite the lack of events. I found that when watching it it was not a painfully boring watch like many say, because after a while you accept nothing big is going to happen and let the movie play out as it is. To be constantly bored at a movie for an entire forty-five minutes is quite unnatural, at least for me.

I have never written a review of a movie on IMDb, and in all likelihood I never will again. But I feel an urgent need to reiterate that Snow's Wavelength is nothing more than an exercise in pomp and meaninglessness that earns its reputation by seducing a small class of over-educated people who feel a need to profess some sort of privileged access and understanding to something that the masses simply "don't get."

Nothing could be further from the truth, though. Good art requires that meaning be contained within the text. Events take place; people say things -- those should be the very basic requirements for art. The tools of cinema -- editing, camera placement and movement, and so forth -- are important, but alone, don't cut it. A mere, 'cool' concept doesn't suffice. So skip the earth-shattering, condescending, pretension of Wavelength -- and its musical analogue in the "compositions" (I use that phrase lightly) of John Cage -- and instead look elsewhere, in films and works that seek to communicate real ideas about human experience. If you do feel a need to profess a real knowledge of "art," watch Bergman's "Wild Strawberries," or Fellini's "8 1/2." Heck, rent "E.T." for goodness sake. But please don't be fooled by by this junk.

An acceptable thing to watch, so long as you turn the sound off. Just suffered it in the cinema in the basement and whilst the ideas behind it may or may not be interesting, I didn't have a chance to think further because of the boiling kettle. So watch it somewhere you have control of the volume and play some Rage Against The Machine over it. This may go completely against what the director intended, but what's he going to do about it? Boil another kettle at you?

The lodestar of contemporary avant cinema, Michael Snow's short purports to be a single zoom across a seedy office/warehouse space--a lens adjustment that takes forty-five minutes to complete. The truth of the matter--unmentioned even in Manny Farber's pioneering rave for the picture--is that the movie isn't all one shot. Snow fudges the "formalist rigor" for which he got his reputation: the movement from wide shot of the room to a pixel-enhancing closeup of a photograph of ocean waves is speckled with negative inserts, black, white and orange blank screens, and psychedelic rewinds of the scene that just came before.

Like Hollis Frampton's ZORNS LEMMA, WAVELENGTH is the kind of picture made to be written about, not really endured. The glowing descriptions of it in critics' prose are more provoking than the actual artifact itself. Two things remain striking and puzzling about it thirty-two years later. Why did Snow choose to make a near-hour-long demonstration of the zoom lens? Why would tracking have been any different--is the movie meant to be a statement on a subjective appearance of changed perspective, while the viewer really remains static? Or was Snow just infatuated with the gimmickry of the zoom? (Each calibration churning closer to the photograph has a home-movie clunkiness.)

The other is the oddly hippie-dippie tone of Snow's inserted gimcrackery. From the charwoman-looking extra playing "Strawberry Fields Forever" on a radio, then lumbering off like a bit player in an Ed Wood number, to the acid-flashback reruns of just-passed scenes, to the freak colorizations of arbitrary moments (as if we jumped to the POV of a UFO), the ambience is much more Big Brother and the Holding Company than Robert Bresson. It's the same playing-with-a-gizmo amateurism that mars the images using people in Stan Brakhage's DOG STAR MAN, and it makes Snow's academic astringency look like a pose.

(WAVELENGTH showed up again, ripped off in the unlikeliest place: the track into a photograph that forms the "Twilight Zone" epilogue to Kubrick's THE SHINING.)