Discussing 'Cinema Speculation', by Adam Lehrer and Emmalea Russo

Conversing over Instagream DMS, Adam and writer Emmalea Russo discuss Tarantino's film criticism collection 'Cinema Speculation' and more

I was blown away by Quentin Tarantino’s 2022 film criticism anthology Cinema Speculation – it reminded me of a time when criticism was less about academic jargon and pseudo theory and more about the expression of the self. Emmalea Russo, the writer and poet, agreed. Here, we discuss the book, cinema, the ‘70s, fireworks, Tom Cruise’s sexuality, and more.

Adam Lehrer: So first of all, I really loved Cinema Speculation. Travis Jeppesen recently wrote this text, in which he argues that art criticism has devolved into a vulgar pseudo theory where it was once a literary form. Cinema Speculation is literary. It reads like a novel. It’s addictive. What did you think about it?

Emmalea Russo: I loved it, too. It has style. It reminded me at times of Bret Easton Ellis’s White — with this mix of autobiography and analysis and humor. I need to read that article, but I DO get most psyched about art criticism that feels like a literary form and that does surprising things with form. I strive to do it. Tarantino’s book (like White) has that thing that so much writing lacks now —- um, aliveness! What other film/art writing do you like/hate? And, what chapter(s) of Cinema Speculation were you most into?

OK, reading the article: “The main crisis of contemporary art criticism is that it has by and large gotten stuck in one register, a sort of watered-down variant of the jargon-filled prose of philosophy and critical theory.” Yeah — impotent academic writing, dense & self-congratulatory, is far from what Tarantino’s doing in his book. He’s obsessed/possessed by movies and so the tone has this very infectious, erotic engine.

AL: Which of the movies have you seen and are there any you watched based on his writing?

ER: Some Qs for you up there — but here’s a long winded answer—- I now want to watch Daisy Miller ASAP & rewatch Hardcore. I loved the chapter on Tobe Hooper’s The Funhouse: underrated eerie sinister. I’ve written about it and am obsessed with the carnival-turns-horror theme which also, in some ways, runs through Hooper’s Texas Chainsaw Massacre, which Tarantino calls “a perfect film.” I agree. I’ve written a lot about it — will never get over it!— my book Confetti opens with it. And Sisters is another favorite of mine. I liked how he talked — in the Cinema Speculation essay — about how de Palma turned down Taxi Driver because it was “too commercial” (!!) and agree with his assessment of the Schrader/de Palma collaboration Obsession. Bonkers—equal parts terrible and enchanting. Must rewatch soon. I am also a huge De Palma groupie. Blow Out is my favorite.

AL: Scarface is my favorite and then Blow Out, but The writing on DePalma also confirmed some things I suspected about DePalma, like the fact that he considers himself an oh so sad frustrated artist trying to work against a repressive system. Bro, you turned down Taxi Driver!

Joe is my favorite film mentioned and i rewatched it. It might be the best script I’ve ever seen.

ER: Yeah. It was a bitch move. Then Tarantino let him off the hook and said he turned down Taxi Driver because Phantom of Paradise was flopping. Still. Hilarious that he did Obsession instead of Taxi Driver.

AL: What do you think about the fact that Sport was supposed to be negro (to use the antiquated parlance of then)?

ER: I guess Tarantino’s argument makes sense —- that it would’ve brought Bickle’s raging racism to the forefront more — but I also loved Harvey in that role.

I think he said it was a “societal compromise.”

AL: Man can you imagine if there were race riots in the film though? In the theater?

It woulda been so incredible

I basically only care about art these days when it breaks through and causes something to transpire in the real world

That for me is really what magic is.

And art can be a conduit

I know this makes me
Somewhat evil

But at least my evil isn’t banal

ER: Good art is a conduit. How are you defining “breaks through and causes something to happen in the real world”? Because it’s not always something as obvious as riots. Could be a more dreamlike change. I don’t know if it’s “EVIL” (why do you say that? Curious.) but thinking about art in terms of cause and effect makes me recoil a little — esp. because interesting art doesn’t always jive with it’s time — or illicit any reactions at all! For years and years… Even Tarantino talking about The Funhouse — he was nonplussed in the 80s and then in 2011 was like, oh fuck.

Elicit *** but also illicit

AL: I think it’s a total cop out when artists feign no responsibility

For example: Columbine

Marilyn Manson should have just “I’m sure my art did influence these fucked up kids minds, but it’s still my right to make it”

And even tho Taxi Driver is perfect it does feel to me now that a vital part of it, racism, is missing

I mean, it’s still there, but it gives liberals a way out by just saying “crime” and then showing the worst criminals as white guys. I don’t mind a glaze of unreality, but I would never do anything to dull the impact of a work

I say it’s evil because I genuinely get thrilled when I hear about something like this, my friend Nate Boyce had a black crackhead come up to him and corner him “Kanye was right about you!”

This doesn’t offend me though I just think it’s fascinating that language and image can reverberate so far. And have so many unseen implications.

Sorry that was a long thread (I’m at the gym and amped up)

ER: Hahaha. I just left a cemetery.

AL: Life and death

Rigor and mortis

I’m on an ass ton of steroids at the moment so I feel immortal

ER: I’m on zero steroids

But I do feel macho

AL: The ‘70s was such a macho era of film, but for some reason the biggest actresses weren’t that beautiful. What’s up with that?

ER: I loved his essay on the new Hollywood in the ‘70s. Something Homoerotic about the machismo of the 70s movies — I’m thinking of two moments that bookended the ‘70s

1. That dude on dude wrestling scene in Women in Love from 1969

2. Richard Gere naked and looking out the window in American Gigolo in 1980

The women in those movies are like mirrors for the men to look at each other in

Yeah, French actress of a similar period were all hot, but America was like cybil Shepard, totally mid

Julie Christie is beautiful in Shampoo but the(my) eye somehow goes to Warren

The most macho hairdresser that ever was

Lmao

AL: Never liked Shampoo and never much cared for Ashby writ large

I think it’s a great LA movie though — they take you all around town

ER: Fave ‘70s movies?

AL: Of Just American/Hollywood or all of them?

ER: ALL

AL: Ok lol

ER: is that a psycho question? I also really want to know which writings on art/film you like/dislike (my first question way up there!)

AL: Sorcerer number one, SALO, the Deer Hunter, Taxi Driver, Don’t Look Now, Straw Dogs, Eraserhead, the Killing of a Chinese Bookie, a Clockwork Orange, Chinese Roulette, the Conversation, the Exorcist, World on a Wire, the Tenant, Godfather 2, Stalker, Alien, Last Tango, Chinatown, Halloween, Vengeance is Mine, The Night Porter, Apocalypse Now, Out One, Female Trouble, the Devils, Driller Killer, Demons, Carrie, Joe, Rolling Thunder

Writings on art and film I dislike, oh my lord I could go on endlessly – I dislike most of it

I’ve developed a knee jerk contempt for critical theory in most cases

I can get into some of it, sometimes

February 16, 2023 8:12 am

ER: Lol same — though. Okay — so, what are like a handful that you DO like?

Also, this question of art making one take action IRL: i talked about this in my Substack today, as Dante has a really complex take on this issue via the figures of Francesca and Paola — the lovers in hell’s 2nd circle who blame a book for their adultery

AL: There are some art critics who i think manage to do it in style. Greil Marcus is number one, I think. His books read like epic tomes, and the research and detail is exhausting and educational. I love Arthur C Danto. Mike Kelley’s essays I’m way into. And I love a good literary biography style critique, ala Houellebecq on Lovecraft.

But before moving on, what are your favorite films of that era?

ER: I LOVE Mike Kelley’s essays

And all the ones you mention, definitely Houellebecq ! Do you like Peter Schjeldahl? I accidentally attended one of his firework Fourth of July parties once. He said he felt his firework displays were the greatest works of art…

AL: Haha yeah I can agree with that, he was a real critic but anytime he mentioned his politics I went blue in the face

Will say fave films of that era later, will take some thinking

Yes. He has great style tho — belongs to that poet-critic contingent that that essay you sent mentions

Tho we poet critics can be annoying

It was the greatest firework display I’ve ever seen. I think I blacked out. Can barely remember anything but flashes.

AL: I’ve had some truly amazing fireworks experiences

The best I’ve ever seen was actually in my hometown of Sandwich, MA, on Cape Cod, and I watched them from the Golf Course instead of the beach, and the view and the sky were clear. I was on LSD, weed, and Labatt Blue, and all of existence became this warm, loving dream. I met a beautiful tourist girl at the beach earlier that day and we ended up having sex right on the golf course somewhere near the 12th hole, got kicked out the next morning by the club pro. Fireworks are amazing.

ER: Psychedelic

Oh! And there’s that epic firework scene in Blow Out….

AL: Totally

Did you like Once Upon a Time in Hollywood? Reminded by that Fourth of July story, because I loved the film’s breezy warm weather vibe, and I think it rivals Pulp Fiction as his best work of art

ER: I love so many movies from that era but the American ones that come to mind right now are Texas Chainsaw Massacre, Carrie, Reds, McCabe and Ms. Miller, Malick's Days of Heaven. Others: Fassbinder's Martha and his BRG trilogy, Argento's Deep Red, Phenomena, Tenebrae....

AL: Oh wow I totally forgot about Texas Chainsaw, that’s on my list, interestingly enough though your other favorites are the filmmakers I have problems with haha

Terrence Malick has never sold me. Reds has always come off as Hollywood pseudo commie but it’s a good story at least. Altman I’m very on the fence about but I get yelled at by friends for saying as much. Argento I admire but I admire him as something like more of a visual artist than a filmmaker, none of his films work for me, except Tenebrae which I think is his one narrative masterpiece. I actually prefer Gudagnino’s Suspiria remake to Argento’s original

I’m a real heretic about some of this stuff

ER: Malick drives me nuts

but

DAYS OF HEAVEN is a masterpiece, transcendent, fuck you if you don't like it!

And yeah --- I agree -- Argento is a visual artist -- his use of color.

AL: I love Badlands !

Shoulda mentioned that

Charlie Sheen at his most handsome and charismatic

ER: OH OF COURSE

DITTO

AL: I really love violence. I’m very male in my taste despite being an art faggot to varying degrees. But these days violence feels, I don’t know, cheap. There are scenes of bloodshed so ridiculous on HBO shows that the New French Extremity comes off as comparatively tame. What do you think of violence? Do you luridly enjoy it? Do you think it’s lost some of its power?

ER: I love this question
Going to return to it
And answer properly after I take steroids & hit gym

(Jk going into a mtg, but gonna answer properly when I emerge)

But sub-questions: fave New French Extremity movies? And — what Netflix shows are you talking about?

AL: Absolute fave NFE is Leos Carax’s Pola X followed by Trouble Every Day, Irreversible, Martyrs, Fat Girl, and the way unsung Secret Things where the director got me too’d for making the insanely hot actresses finger bang themselves or something during the casting

Maybe it wasn’t that he just wanted to gauge their comfort with on screen sexuality because the film is so deliriously hot

As far as the violence on TV thing, we had heads splattering on Game of Thrones, American Horror Story is like extreme gore for teenagers, etc. there are many examples. I like Ryan Murphy but some of his use of violence seems excessive and misdirected in my opinion

ER: I really love a lot of those NFE movies you listed. I've never seen Secret Things. To me, Irreversible and Twentynine Palms use violence in really formally interesting ways. One at the beginning, one at the very end -- and the entirety of the rest of the films can be read backwards and forwards through those extreme moments. I love some of the camp and hilarity of early American Horror Story episodes -- but I agree that some of the violence seems misdirected. I haven't seen the Dahmer series though....

With violence, it's really all about context. I love being afraid and I love horror --- but I don't know if I'd say I "luridly enjoy" violence. Maybe some portion of me. But I also really love quiet creepy or surreal violence -- Bunuel, Bresson, some of Bruno Dumont's other movies. I'm art faggy in that way.

A transcendent or spiritual element around the violence -- or a confusion -- some kind of force which seems to let in every possibility -- ecstasy-violence-sex-whatever...which you (almost) always get in Gaspar Noé and Bruno Dumont.

Or the insane humor around some of the violent scenes in Once Upon a Time in Hollywood. Which somehow also become...tender...

AL: Yeah, I’m a Ryan Murphy fan in a lot of ways, he’s definitely a crypto provocateur, and I adored some of the seasons of American Crime Story. Nevertheless, I think there’s been a flattening of cinematic violence as extremely graphic head explosions and Scorsese-lite head shots have become the norm on TV. One of the things I adore about Breaking Bad is how uncinematic the violence looks, it’s just like a guy gets shot in the head and then just plops over, like an ISIS video.

29 Palms is a spectacular work of trash and I wish Dumont spent more time working in that register. I discussed it on the Perfume Nationalist around the time that Communions came out.

The most interesting use of violence I’ve experienced in the recent years is actually in playing the Last of Us and Last of Us Part 2 video games. Those games are brutal, up close supremely realistic encounters that require you to split open heads with axes or gut throats open with knives.

But what’s so incredible about the game is the way it forces the player to feel the ugliness of the acts they’re committing. For example, if you clear a whole area of enemies and then get the drop on the final enemy, shooting him or her in the leg or cracking him/her in the head with a blunt object, they will often drop to their feet and beg for their lives or cry out for their mothers, just before you dispatch them.

In other words, you really feel the violence, not just experience it. I want art and film to internalize this.

ER: Irreversible evokes that via how the camera works

I wrote about this in an essay on Irreversible which I think you read — the handheld camera held mostly by Gaspar and how the camera itself gets fucked with, worn out, nausea-inducing — the sheer vileness, and the way the viewer is implicated and spun around

AL: Totally, but the scene that was so shocking in Irreversible, the head being smashed to pieces, is something that can be seen in god knows how many mainstream shows. I mean god, I’ll never forget the third season of True Blood and the way in which it depicted two vampires hate fucking and the dude vampire twists the woman’s head around 180 degrees to signal that he doesn’t even want to look at her. And then of course the flip side to that is a decade later, there’s so much more violence than sex in all of media. I don’t know what precipitated this, probably #metoo and all its bullshit, but at least there have been some positive developments there. Both Euphoria and White Lotus are undeniably sexy. But in film? I’m trying to remember a purely erotic sex scene in cinema and the first one that comes to mind is Park Chan Wook’s the Handmaiden, a profoundly hot lesbian sex scene

And in fine art its even worse, heterosexual artists seem to be fully disallowed from depicting their desire, I wrote about this in “The Case Against Aesthetic Castration”

ER: I'm in Florida for the weekend for a wedding.

What do you think of Florida?

I think Tarantino said CRAWL -- that movie set during a Florida hurricane, where the girl is getting terrorized by alligators, was one of his favorites from the past few years. But yes. There is a definitely a lack of eroticism in all fields! Which is different from the pornographic, though sometimes they overlap. Our information fetish has something to do with it, and the total collapse between reality and fiction. A liquid boundarilessness coinciding with punitive, moralistic upticks. A sanitization and rejection of risk/death means also a rejection of life/the surge of the erotic. The dance scene in Pulp Fiction is incredibly erotic but flesh isn't evoked. I'm blanking out on a particular example but even when we see skin in media now -- there's little eroticism -- because eroticism needs an element of risk. Clean edges and safety and blank blah information totally off eros.

AL: The dance sequence is absolutely brilliant

Because up until that point you don’t remember that this is Travolta, the greatest white boy dancer of all time

ER: Like a dream sequence that also catapults you out of the dream

I guess he doesn’t dance in Blow Out

Still, it’s all audio. And the ecstatic fireworks work against him in that scene — fuck up his audio

AL: Yeah that role was written with DeNiro in mind

Travolta has had a lot of comebacks throughout his career

ER: Michael….The Angel movie….

AL: Haha

Phenomenon made me cry when I was a boy

I really like Travolta

He’s the last great closeted actor

I’ve never believed that Tom Cruise was gay

ER: I love Travolta
Phenomenon is amazing!!
The last great closeted actor LOL

I suppose the closet is not as much of a thing

tho some great art has been made from there

I honestly don’t have a read on Tom Cruise — what makes you think he’s not gay?

AL: The way that Nicole talks about their life together

I think he’s likely bisexual

Which is for ‘80s actors the same thing as heterosexual

All those guys sucked off producers for roles

How else could someone like Keanu Reeves get all those roles?

ER: Though, you can suck off a producer and not be bisexual. The current obsession with labeling, categorizing, pronouncing and pathologizing every part of oneself drives me batshit.

Did you ever read Dennis Cooper’s interview with young Keanu? It’s very funny.

AL: True that. I sure did, I have that book of his journalism

ER: I love Smothered in Hugs!

I sometimes wish PT Anderson made a side film for Magnolia where we just get to watch the entire seminar of Tom’s mgtow men’s motivational speaker

He was fucking incredible in that

“Respect the cock, tame the Cunt!”

ER Someone should write that as a novel

AL: Haha, it could be uncanny to imagine Tom Cruise while reading

I think Cruise is amazing

ER: Recall the Katie Holmes / Tom Cruise Oprah phenomenon?

AL: Oh of course

There was a huge media push against Tom at that point

That rapist Matt Lauer shaming Tom for questioning the efficacy of prescribing fucking Adderal to kids

History proved Tom right

ER: He had a great quote about that

“Matt. Matt, Matt, Matt, Matt. You’re glib. You don’t even know what Ritalin is.”

Find Emmalea’s website here