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| Horizontally-divided field emblem. Used in Matthew Barney's films. (Photo credit: Wikipedia) |
Plot:
Inspired (I refuse to say
“loosely based”) on
Norman Mailer’s most heavily criticized work,
“
Ancient Evenings”, written in 1983, this is a three part/seven act
hybrid of opera and various other art forms. Using some structural
concepts from the work, the story is largely set around a wake being
held for Norman Mailer at his house and the decline of the
American car
industry. Whilst at the wake Mailer returns from the dead in seven
different forms, representing what the ancient Egyptians believed to be
the seven stages of the soul. The decline of the American car industry,
symbolized by the systematic destruction and decay of a single car and
those that work in the industry around it, is itself symbolic of human
death. At least that is one interpretation, but who knows?
Review:
“Why
doesn’t someone just say ‘no’ to this guy!” was the strained response
from a dear friend of mine when I reported back my viewing of this work.
We often hear the old cliché that one must suffer for their art.
However, it would appear that
Matthew Barney wishes to share this
feeling with his audience. Forgetting for a moment that he might owe
something to anyone outside of his fellow sycophantic artists who pray
that they might get his kind of sponsorship, “River of Fundament” is an
ordeal – a six hour ordeal of self-indulgence and excess. This isn’t to
say that it isn’t often beautiful or clever in parts. I would contend
that the film contains some wonderfully shot scenes and some great
ideas. It is inspirational, but as I sat watching its premier at the
English National Opera House I couldn’t help thinking that the
inspiration I was getting might be a coping mechanism, justifying my
time spent there. You are provoked to think beyond the numbing of your
gluteal muscles and the bemusement of the various hipsters in attendance
because you are bludgeoned into doing so.