The Carreón Cinema Club: Journey to Italy (1954) and The Human Voice (1967)

Welcome back to the Carreón Cinema Club. Get ready for a double feature of failing marriages and the importance of communication. But seriously, both films are remarkable for their emotional frankness and the artistry of the great Ingrid Bergman.

It is not a coincidence that I am focusing on another glamorous Swede after debuting the Club with Greta Garbo. The luminous Ingrid Bergman, a three-time Oscar winner, couldn’t avoid becoming a Hollywood legend thanks to such films as Notorious, Gaslight, and, of course, Casablanca. However, the discovery of her later works on the Kanopy and Prime Video channels revealed to me how she was one artist who didn’t shy from taking a chance on difficult material, especially at a time where public perception was actually against her.

After representing the perfect leading lady image in the 1940s, Bergman’s popularity took a severe hit in the early 1950s thanks to her relationship with Italian director Robert Rossellini. They had met while working on Stromboli in 1949, kindling a passionate affair. Both were married to other people. More, Bergman was also pregnant with her first child with the famed director. Deemed “scandalosa,” the actress stayed exiled in Europe for several years. Yet, that didn’t stop the duo from working together. Bergman’s collaborations with Rossellini were often compelling and nothing like her films that garnered her much success.

According to daughter, actress Isabella Rossellini said in a recent interview with Reuters, “She showed that women are independent, that women want to tell their own story, want to take the initiative, but sometimes they can’t because sometimes our social culture doesn’t allow women to break away from certain rules.”

Watching JOURNEY TO ITALY on Kanopy only reaffirms her daughter’s sentiments. Coupled with Rossellini’s stature as one of the most prominent members of the neo-realist movement in world cinema, Bergman flourished with portraying complex women who break the rules attached to traditional gender roles.

Much like Nicole Kidman today, Bergman had no problem stripping down the veneers of poise and gentility to reveal her truest self. Her emotional vulnerability resulted in a fascinating showcase in THE HUMAN VOICE, a one-hour televised adaptation of the famed and influential Jean Cocteau monologue. Speaking to an audience of one via telephone, Bergman captures all that can dismantle us when communication with a loved one becomes difficult and unbearable.

I love films that deal with unfiltered relationships and offer real psychology as to why we put ourselves through such trials, even when we face an absolute end. It makes for incredibly beautiful catharsis on film. That’s why Bergman leads this second entry of the Carreón Cinema Club. First up, JOURNEY TO ITALY.

Journey to Italy (1954)

Director: Roberto Rossellini

Cast: Ingrid Bergman, George Sanders

In JOURNEY TO ITALY, Bergman co-stars with George Sanders of All About Eve and Rebecca fame. As the film opens, the signs are evident that the moneyed duo of Kathryn and Alex Joyce may be facing the end of their marriage. Heading by car to Naples to unload an inherited villa, their trip starts as a vacation, a chance to reconnect. Instead, they find their conversations taxed by Alex’s sarcasm and Kathryn’s hair-trigger sentimentality. At constant odds for most of the trip, misunderstandings and jealousy sully the waters further, prompting Kathryn to ask for a divorce on impulse. Where the film takes a stunning turn, however, is when they visit the almost lunar landscape ruins of Pompeii. Seeing the discovered bodies of former lovers encased for eternity in ashes rattles Kathryn to the point that she begs Alex for them to leave. The impact is profound, one that delivers a final scene that is both powerful and unforgettable.

JOURNEY TO ITALY is no travelogue, although Rossellini’s composition of black and white shots is often beautiful and striking. No, the territory covered is all heart and mind. It is a fascinating journey to watch, even though not a lot happens for most of the film until the final act. The non-linear trajectory of the narrative, however, is what gives the story its forward motion. What captured my attention most was how urgent the emotions played throughout. Director Rossellini would tell the actors their dialogue before cameras started rolling, which sounds like a risky endeavor. Yet, Sanders, and especially Bergman, deliver such raw and unfiltered performances, you can only imagine how it felt like working without a net. The possibility erases any chance for overembellishment, never robbing the characters of their truth. They are living it out loud at that moment. That is why JOURNEY TO ITALY is such a wonderful experience to watch, one I hope you enjoy as well. It continues to be available on Kanopy. Take the journey. It is so worth it.

The Human Voice (1967)

Based on the play by Jean Cocteau

Adapted by Carl Wildman

Director: Ted Kotcheff

Cast: Ingrid Bergman

Jean Cocteau’s famed one-act play, has returned to court public attention this year thanks to Spain’s Oscar-winning auteur Pedro Almódovar. The toast of the 2020 Venice Film Festival, Almódovar took a giant creative leap with his adaptation, a short film no less, and in English! For the first time. Ay la leche! Starring the equally fearless Tilda Swinton, the threads of his passion for Cocteau’s have finally flourished. You can see how the story of a woman’s desperate phone call proved influential for his iconic 1988 comedy Women on the Verge of a Nervous Breakdown. As we await the US release of his adaptation of THE HUMAN VOICE, what a pleasant surprise to know we have access to Ingrid Bergman’s interpretation of the role to offer a study of contrasts.

Now streaming on Prime Video as part of its Broadway HD channel, THE HUMAN VOICE finished the one-season run of the ABC anthology series, ABC Stage 67. Bergman stars as an unnamed woman dealing with the emotional wreckage after her husband leaves her for another woman. We are allowed to hear what is probably be the last conversation between this couple, but only her voice. Representing her husband is the cold instrument known as a telephone, her literal lifeline as she makes a desperate attempt to stay connected in more ways than the unpredictable wire. We never hear from him, only seeing clues of his torn picture and a magazine feature image of his new love.

The premise is unadorned, offering an actor a bravura role that lasts just under an hour. Bergman takes full advantage. Chainsmoking and unable to keep her voice was quavering, she turns herself into a human rollercoaster of emotions, rising and falling throughout the often-painful conversation. Forget the part of her being famous; it is hard not to feel uncomfortable for eavesdropping before the famed actress hits specific notes that feel both personal and relatable as the conversation reaches its peak. The audio effects of a clock ticking, dial tones and silences on the other line are often intrusive and heartbreaking, punctuating the reality she’s not going to turn this situation around in her favor.

The look is all 60s television, abstract and theatrical. The camera work is not subtle, and the pauses for commercial breaks are annoying as transitions. Bergman feels a bit mannered at the start. Yet, it is a beautifully calibrated star turn by the end, offering a persona that is real and honest. Amazing what the human voice can do to us when we know it is close to being removed from our spheres of living.

You can see what several artists have taken on Cocteau’s play. Interestingly, Roberto Rossellini directed THE HUMAN VOICE in 1948 as part of a two-part Italian film titled L’Amore with Anna Magnani and Federico Fellini. It is now showing on HBO Max, which I will make a point to watch.

Thanks for reading this second installment of the Carreón Cinema Club, home of films with big feelings! Don’t forget to subscribe to the YouTube channel, as well as follow me on Instagram: @CarreonCinemaClub and Twitter: @CarreonClub. Lots more to share ahead. Keep on reading. Thanks for your attention, mi gente.

From the MediaJor Vault: Sarah Paulson

The groundbreaking vision of AMERICAN HORROR STORY may not be to everyone’s taste, nor has it remained consistent. But AHS has its legion of fans for very specific reasons and that loyalty was cemented with its dark and unsettling second season, “Asylum.”

No one can deny that AHS features one of the strongest ensemble casts assembled for any screen — silver or otherwise. With careful precision, filmmaker and television powerhouse Ryan Murphy (“Glee,” “American Crime Story”) gathered a cast of players that not only committed themselves to the challenging, genre-driven material at hand, they elevated it to vertiginous heights. Next to the legendary Jessica Lange, no other AHS player proved themselves as fearless than Sarah Paulson.

As intrepid reporter Lana Winters in “Asylum,” Paulson brought a humanity and soul to the often soul crushing abuse she endures at the infamous Briarcliff asylum. What made Winters such an unforgettable character was Murphy and the series writers never allowing her to become a horror victim stereotype. Winters always has a plan, keeping her wits about her no matter how dire the circumstances. She may look like Mary Richards, but she possesses an edge and a survivor’s mettle that makes her all the more unique.

The contrast between Paulson’s contribution to the first season of AHS, where she played a moony psychic, to her role as a lesbian journalist in “Asylum” is a testament to her versatility and strength. While she also went full witch mode for “Coven,” she hasn’t been put on such vivid display in the subsequent installments of AHS. But, no fan will ever forget her steely control in the “Asylum” finale, when the last act of Ms. Winters’s harrowing journey proved to be appropriately mindblowing, indeed.

Being part of the Ryan Murphy Players has been quite good for Paulson, nabbing two Emmy nominations this year alone for her work on “AHS: Hotel” and for her searing turn as attorney Marcia Clark in “The People v. O.J. Simpson: American Crime Story.” The Emmy voters may need to be sent to an “asylum” if they don’t finally award Paulson with one of those darned statues already. In the meantime, take a look back and out what Paulson had to say to me in January 2013, right before the infamous series finale aired in this edition of “From the MediaJor Vault.”

UPDATE: Congratulations on your long-deserved Emmy win for your leading role on “ACS!” Ms. Paulson!

(Interview produced by Jorge Carreón; edited by Sara Gordon Hilton for The MediaJor Channel.)

Why I’m Not a “Bear” — #nolabels

Can I just say it?

I refuse to accept the “Bear” label.

There. What a weight off my broad shoulders.

Girth. Mirth. Cargo Shorts. Cigars. Plaid Shirts. Beards. Bearbies. Str8 Acting. No fats. No femmes.

No, I’m not kidding!

These are real words in a subculture that is no longer an offshoot of all that is “Gay.” It is a powerful brand, one that may also have a role in the homogenization of homosexuality.

Let’s begin with the obvious. Bears, in theory, are not cuddly creatures. They have bad attitudes, sleep a lot and could give a shit about anything except taking a shit in the woods and move on.

And that just applies to the ones out in the wild.

As I wade deeper and deeper into the shallowest dating pool you can ever imagine, how is it that being gay in LA post-40 still requires your being part of a clique.  Do we ever escape the high school model? Plastics. Stoners. Twinks. Daddies. Truckers. Tops. Bottoms. Versatile. Poz. Chubs. Cubs. Otters. Triads. Leather. Open. The global cafeteria is jam-packed with variations of a singular theme. And know there are hierarchies that exist within those categories, too.

I used to think it was a sign of empowerment and progress when you started reading about “gay’ neighborhoods, restaurants, bars, banks and everything in between. The older I get, I am starting to bristle against that distinction. At what point does this polite segregation lose its power? Can’t we all just “be?” Well, that’s a topic for another day. I’m still revving up my rant from the cave thanks to my being assigned to the “Bear” community due to my size and hirsute quality.

As many of my 40-something brethren can attest, it is a bit of a challenge to meet people when you are career obsessed. Which is why so many of us are inclined to engage in the Scruff/Growlr/Mister dating apps. (Grindr is really like Trix, just for kids.) However, when it comes to app or online dating, the level of judgment surpasses that of the Supreme Court or a church bingo club. If you don’t have a profile picture, you don’t exist. Then, you have the “Check Mates,” that group of men who have a laundry list of requirements that often defy reality. I mean, many of us have a “type,” but what is up with the hunt to find prefab versions of an airbrushed stereotype?

For instance:

“I won’t put down the fork or work out, but I will only date muscle-bound gents — or you don’t exist to me.”

“I only want a guy who has tats and/or a beard – or you don’t exist to me.”

“I am “masc for masc” or “neg for neg,” even though you can technically fake both — or you don’t exist to me.”

40-something men only want to date 20-something boys or you don’t exist.

40-something men — we just don’t exist. Period.

We deserve better.

I am my own man, not a clone, man. Or so my motto goes. I literally just made that up. Does my penchant for wearing foulards, sporting cardigans in 80 degree weather and enjoying shortened pants make me an overgrown hipster? That’s your issue, to be honest. I just like classic things and looking groomed. I see it as taking pride in myself and not being some affected, fey Oscar Wilde trapped in the wrong era.

Our ability to judge as a culture is legendary. I am guilty of eyebrow arching so epic, it possesses a ballet-like poetry.  I am sure that some folks will think I judge the Bear community too harshly. That isn’t my intent. I am very much aware of the group dynamic that is part of being of a community that accepts you. In fact, that desire to create a village is tantamount to being human.

What I am articulating is my frustration in how we all keep each other in easy to digest – and cast off — boxes.  Granted, if we are just talking about hook ups, then yes, desire is mostly a visual thing. As I was once told, “If you don’t want to fuck yourself, why expect anyone else to be interested in you?”

In the cold light of an iPhone screen, that is pretty darn honest. We need to be realistic as to who we are pursuing, too. Yet, is acceptance and tolerance only saved for those soundbite moments when we feel our civil liberties are compromised? Why are we our own worst enemies in the fight for love, life, romance and/or the pursuit of great sex?

I wonder if bears do this to each other out in the wild? I’d like to think they see life as one big, glorious picnic basket of choice. Meanwhile, some of us only care to see each other only for their “baskets.”

What I am starting to understand is that owning your individuality is a pure way to live. In the end, we are destined to find “our people,” a reality built on experience and patience, right? Once we drop the labels and conditions, then we can start appreciating our strengths and stop punishing ourselves — and others — for perceived weaknesses.

Rant over. You see? I’m really just a teddy bear after all.

And I do exist.

Wednesday, October 29. Written and posted from Wayne Avenue Manor, South Pasadena, CA. 

**For a broad tutorial on what it is to be a “Bear,” click on the embedded premiere episode of the web series (not “gay web series”) appropriately titled “Where the Bears Are.” Viewer discretion is advised.