"I Don't Go To Movies Anymore," by Hans Ostrom, lyrics, and Clay John Be...

Cinema Complex

 [second version]

This complex isn't simple: boxes

within boxes within boxes. Figures

stroll across a neon-glossy floor

toward dark caves, bathrooms, or

sugar and salt: they and I

are already dead--like people

photographed by cinema in 1939.

And we've been replaced by others

who move about here just as we do,

we did. Maybe one of them

is morbid, at least fatalistic,

and feels for a moment that time

has already departed, leaving

behind only ribbons of  light

that spool images 

flickering imperceptibly

on screens

and kernels of corn explode

into tiny thunderheads. Before

going into the movie, I think

this scene I've been in

may have been the better movie.

Dante Alighieri Finds Out Valentina Lodovini Lives on Earth

Dante went to the movies. In the film
he saw,  Valentina Lodovini played
a main role. Even if she had appeared
in just one scene,  Aleghieri
still would have phoned Beatrice
from the lobby afterward to say
he was finally moving on from her.

Dante hadn't met Signora Lodovini
yet, but watching her likeness in motion
for two hours destroyed all his adjectives
concerning beauty and allure.

He wanted to listen to Valentina talk
for a long time, hear her laugh. His
desires didn't stop there, but he reigned
them in out of respect. After all, he
was a Catholic, and as inventor of
Hell Circles, he had a reputation
to uphold. He put it all in God's hands,
as most medieval Italian poets would.

The image of the Lodovinian bright
brown eyes, full of mischief and wisdom,
and of the dark brown hair and rapturous
proportions, all these became Dante's
new mental companions.

It was all too much to bear.  Not really.
He recalled the noble shape of her nose
and her poise as an actor. He wondered
what might make her laugh: perhaps
the sight of an ancient poet in a tunic
going to a 21st century movie? Droll.

There was nothing for it. Dante looked
at his phone.  Beatrice had texted him.
He ignored her. He decided to go home
and to try to find a Valentina Lodovini
film or series on Netflix. He felt sure
that God would understand. God never
ran out of adjectives for beauty and allure.



hans ostrom 2018

In a Lobby of a Cinema Complex

This complex isn't simple. Figures
strolling across a neon-glossy floor
toward theater-caves, bathrooms, or
sugar and salt: they and I
are already dead--like people
photographed by cinema in 1939.
And we've been replaced by others
who move about here just as we do,
we did. Maybe one of them

is morbid, or at least fatalistic,
and feels for a moment as if time
has already departed, leaving
behind only light on a screen
flickering imperceptibly
and kernels of corn exploded
into tiny thunderheads. Before
going into the movie, I think
this scene may be the better movie.


hans ostrom 2016

Weary of Movie Acting

Sometimes I get fed up
with the "great" acting
movie-actors enact.

I watch a scene,
and I think, "These
are famous people

doing something
for which they're
famous." I look

at the make-up,
the mannerisms,
the evidence

that the director
has had to suck up
to the celebrity.

I don't give even
one fuck what
the alleged

"story" is about.
I see angles, noses,
lips. I listen

to the goddamned
dubbing. I see how
the famous actor

demanded better
lighting and lots
of money

on "the back end."
They are acting up a storm.
And I am weary. 

And what do I do?
I go read a novel in
well worn paperback form.


Copyright 2012 Hans Ostrom

A Visit to a Movie Studio

I heard on the radio today that those who rate movies according to who should see them (children, adolescents, teens, or adults) have decided to take cigarette-smoking into account, as well as representations of sex, violence, and cursing. Apparently they will take the context of smoking into account, so apparently some smoking would be appropriate for all ages. The premises underlying and assumptions connected to this decision by the movie industry are too abundant and contradictory even to begin to discuss. As I understand it, the old Hays Code, which is the ancestor of the present rating system, arose in part because of the scandalous trial of "Fatty" Arbuckle for rape and murder. (I think he was acquitted, but his career was ruined.)

At any rate (or rating), the news-story made me think about the only time I visited a movie studio--Paramount--some years ago. A friend I'd met at a screen-writing workshop (at the Squaw Valley Writers Conference) took me there. We took the workshop from Tom Rickman, who wrote "Coal Miner's Daughter" and received an Oscar nomination. My friend's been in the business a long time, and I admire his resilience in such an unforgiving industry as the movies and in such a tough town, professionally, as Hollywood. He's a writer and a producer, and he's even done some acting and directing. He's talented, versatile, down to earth, and of good cheer.

First we visited the bungalow area, where the Ladd Company (as in Cheryl and Alan and, if I have it right, Alan, Jr.), which was/is housed at Paramount. (The intricate web of production- and distribution-companies and studios is but one element of Hollywood that mystifies me.) The actor William Atherton, who's in the Die Hard movies, was walking around outside. We exchanged hellos, kind of like ordinary human beings.

Then my friend and I walked around the studio. My first impression was how quiet it seemed. Not much going on. Then I seemed to get the idea that a studio is mainly a hive of sound-stages--so of course the studio, per se, would be quiet. (I remember seeing the sound stage for the TV show, "Soul Train.") We also saw an (empty) concrete tank, really just a parking lot with little walls, which, when filled, serves for all manner of lake or ocean scenes. I like that part of Hollywood--making "reality" out of something very simple, so that Griffith Park will do very nicely for the "Africa" of Tarzan movies, thank you very much. Movies are supposed to be "fake"; that's what makes them movies. I think that's why I like BBC productions so much; they do so much with so little, rely a lot on costumes and interiors and not too many fancy camera-shots.

For some reason, the studio, especially the back lot, made me melancholy--something about the sight of those fake "New York City" streets and storefronts, on the backlot. Something about all the unplugged lights, all the grim, basic, hard work that goes into "making pictures." It is an industry, after all, one that has an uneasy relationship with "art." I think I tried to capture the melancholia in the following poem:

Back Lot, Paramount Studios

Like a prostitute’s face, the facades

are blank and professional, ready

to be reeled into routine fantasy.

Objects and people here exist

in quotation marks: Two “police”

cars sit outside a “bank.” A “criminal”

gets made up. The virtual hush is

holy. Then someone drops a portable

light in the “barber shop.” The loud sound

is real. Ghosts of dead stars are paid

scale. Spirits of dead executives scrub

pots in the commissary.

Sunlight has an agent.

Shadows have hired a publicist.

Copyright 2007