…To all of us, alas.

Though he was most famous for his Oscar bait from the early nineties (The Silence of the Lambs and Philadelphia), Jonathan Demme did his best work in the eighties. He made two of that dreary, trend-setting decade’s best films (Melvin and Howard and Something Wild), both notable for their fluid, easy use of popular music. He had a knack for scoring small visual moments that worked to enlarge both the song and the scene, none more so than this one…

…though his use of Tom Petty’s “American Girl” in the much more pedestrian (fi still frightening) The┬áSilence of the Lambs was just as revelatory. The music Demme’s characters listened to in his films was the music his characters actually would have listened to if they’d been real people. That’s been such a rare gift in American cinema, that his losing it was as much a tragedy as us losing him.

Of course, in that same decade, he also made Stop Making Sense, one of the most acclaimed rock and roll concert films. Not being much of a Talking Heads’ fan, I’ve never seen the whole thing, but the clips I’ve caught over the years look astounding, so that’s an oversight I’ll have to rectify someday.

Something seemed to go out of him when he tried to remake Charade (as The Trouble With Charlie) and produced both a bloody mess and one of the worst films ever made. Coming on the heels of the eighties, the nineties were like that. They sucked the life out of everybody.

There was a key hiding in a line of a music video Demme directed. It’s of the only good record ever made by one of the ad hoc charity organizations that sprang up as we went about the world with our “terrible notions of duty.”** Turns out “Why are we always on the wrong side?” had an easy answer. In South Africa as elsewhere (where we’ve “helped” them into increasing their murder rate by a factor of a thousand, the victims being no longer worthy of any “charity” recordings by hot shot western superstars….or reporting by western media), there was no “right” side. Now there’s a tragedy for you.

But the power of seduction–of Pornographic Idealism–remains. We will insist on doing good until it hurts. And we will keep on insisting, no matter who it hurts. The Christian conscience nags, it seems, even when the Christ part is discarded.

And, therefore, “Sun City” is as good an epitaph for the unfulfilled promise of that very representative modern American, Jonathan Demme, as any.

**“We’re so prone to these things, with our terrible notions of duty.” (A.H. Clough)…from the famous epigram that begins Graham Greene’s 1955 novel, The Quiet American, from which we could have learned a thing or two, had we been less inclined to gag on our own hype.)

8 thoughts on “AND THEN THE EIGHTIES HAPPENED….(Jonathan Demme, R.I.P.)

  1. As far as I was concerned, after SOMETHING WILD, Ray Liotta could do no wrong!

    I constantly recommend PHILADELPHIA to people simply for the scene where Tom Hanks tries to explain what opera means to him while Denzel Washington watches. Perhaps the most sublime piece of film and music ever made. (My opinion, of course.)

    And you must allow yourself to succumb to the Talking Heads: buy STOP MAKING SENSE and watch it every few months until it starts making sense.

    • Yeah, Stop Making Sense is a big hole in my viewing…The clips I’ve seen are amazing. And I’ve never seen Swimming to Cambodia either…sounds like next time I have money, an eighties’ Demme retro might be in order!

  2. Another double-bill: RAIN MAN and DOMINICK AND EUGENE (Tom Hulce and Ray Liotta). Released within days of each other, one is a classic and one lost a fortune. The better of the two may be the loser . . .

    • So much to do, so little time…It’s been too long since I saw Rain Man too…never seen the other, which I gather is a variation on the same theme. I’ll be interested in the comparison…

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