The Screengrab

This week, the Screengrab is honoring "the 15 Top Bars of Cinema", which provides us with a handy occasion to remember many filmmakers' favorite literary drunk, Charles Bukowski. Aside from the best-known Bukowksi-based movie, the 1987 Barfly (which Bukowski wrote in tribute to himself), the man has been well-represented on-screen in such films as the 1981 Tales of Ordinary Madness (in which his alter ego--"Charles Serking" he's called this time--is playing by an enthusiastically rutting Ben Gazzara) and the more recent Factotum starring Matt Dillon, as well as the posthumously assembled documentary Bukowski: Born Into This, which is full of footage of the man himself, explaining the world to the camera to kill time while wondering when his good friend Peaches is going to call. Worth tracking down: J. J. Villard's 2003, award-winning animated short Son of Satan, a heart-warming tale of cruel youth based on a Bukowski story. (We're still holding out hope that we might someday get to see the 1977 Supervan, in which Bukowski is said to have a small, uncredited role as "Wet T-Short Contest Water Boy.") The real ringer in the Bukowski filmography is the 1987 Belgian feature Love Is a Dog from Hell, a sensitive three-part story about a man with a romantic spirit who longs to be in love and to be loved but whose inability to meet the real world halfway dooms him to a life of terminal loneliness. It was directed by Dominique Deruddre, who used Bukowksi's story "The Copulating Mermaid of Venice, California" as the basis for a short film and then came up with the other two episodes as lead-ins to the concluding episode so that he could expand it to a feature. It's about how the adult Harry (Josse De Pauw), a ruined drunk in his early thirties, finds one night of bliss with a beautiful woman who can't reject him--a corpse (Florence Beliard) that he and a buddy swipe from the back of a hearse.

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A while back, a friend of mine and I -- neither of us members of the odd species of paranoids usually referred to as 9/11 conspiracy theorists -- were discussing that, just the same, there were some troubling questions about the aftermath of the attacks, like the shifting story of what happened on Flight 93, the all-too-convienient discovery of one of the terrorists' passports in the wreckage, or the fact that several of the men identified as the 9/11 attackers have since turned up alive, well, and innocent of any wrongdoing.  When I asked why, given that this was one of the most important historical events in the history of the modern world, so few people seemed interested in getting the facts straight, he said, essentially, no one cares about giving murderous terrorists a fair hearing.

Jacques Vergès does.  The subject of Barbet Schroeder's latest documentary film, Terror's Advocate, Vergès is one of the few people in the world who believes in defending the indefensible.  Having first defended and later married an Algerian woman accused of terror-bombing French civilians during the war against occupation there, the notorious attorney has gone on to represent people most of the world would just as soon see buried alive in a deep, dark hole:  Carlos the Jackal, Klaus Barbie and Khmer Rouge bigwig Khieu Samphan.  The question at the heart of Terror's Advocate is a compelling one:  is Vergès as he describes himself, a dedicated anti-colonialist who believes in his heart that even the worst people deserve a fair defense, an adequate trial, and a chance to make their voices heard?  Or is he, as Schroeder describes him, a decadent aesthete and a monster whose clients are little more than devils in human shape?

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The 1985 book Savage Grace by Natalie Robins and Steven M. L. Aronson, told the story of Barbara Daly, a social climbing beauty who married Brooks Baekeland, the heir to a plastics fortune, and her incestuous relationship with her damaged son, Tony, who wound up stabbing her to death in 1972. Coming out when it did, in the era of the Reagans and Dynasty and Lifestyles of the Rich and Famous, the book had a special appeal, especially since it was written mostly in the form of an oral history, with testimony from various observers and other interested parties. Tony's murder of his mother may have made it possible to file it neatly under "true crime", but what gave it is juice was the chance to sit in on what amounted to a seminar's worth of gossip about just how deeply twisted and fucked-up a very rich, very beautiful, very socially ambitious family really was. For maximum impact, the book ought to have been filmed not long after it came out, maybe with Brian De Palma or the Barbet Schroeder of Reversal of Fortune at the helm, but it might still be good sleazy fun if Tom Kalin hadn't gotten ahold of it.

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Jessica Yu's previous documentary feature, In the Realms of the Unreal, did a scarily inventive job of fleshing out the fantasy life of the reclusive "outsider artist" Henry Darger and detailing the lonely existence from which Darger had only his imagination as escape. For her next trick, Yu was offered the job of making a film about one of the great shapers of classical tragedy, Euripides. Yu took them up on it, sort of: her new film Protagonist intercuts between four men as each describes part of the major dramatic arc of his life, according to Euripides' chain-reaction formula of "Provocation" followed by "Opportunity", leading to "Doubt", etc. Yu sifted through hundreds of potential candidates before settling on her four stars. As it happens, the final four included her husband, the writer Mark Salzman, who narrates a hilarious account of his adolescent attempt to transform himself into Caine from Kung Fu.

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