Diary entries forThe Swimmer
The Swimmer
These ... I don't know, "Deficit Male" character studies overarchingly seem to try for a semi-tragic angle that is just insufficient the longer we all get on. I like Lancaster, his bearing, his manner of delivery, and that smile that can so easily vary in its sincerity. I like him as villain, as contained menace or delusion. And they put all that to near perfect use here as the man seems to deconstruct his own Hollywood presence before our eyes. The film's a new-ish wave 1968 feature, absolutely up it's own ass about it, and I absolutely gotta hand it to 'em. Aggravating time and a half, everyone and everything in it is the Worst, and here I am still thinking about it three hours later.
The Swimmer
“Pool by pool, they form a river all the way to our house.” “We’ll explore the torrential headwaters of the Lucinda River.” The film believes in its strange premise and fully commits to it and I like that! Found the second half to be better than the first. The first leans more into the visual experimentation aspect and keeps things relatively light & breezy. Much of its imagery & effects remain cool; some like the zoom ins and outs of sunlight are now commonplace—the way this film uses it multiple times and with such confidence, makes it seem that they were fresh and new at that time but I don’t know much about that. After a point, scenes like the one from which mubi’s poster image comes from, start to run a little too long til they feel random and just time fillers to compensate for—what then feels, but the second half proves otherwise–the lack of plot. Focusing first more on the surface level draw of the film: unbelievable yet wonderfully weird concept and how? And what? And how will the execute it? And whaaat? Whereas, the second half has more substance and gravitas and is more compelling. The ending was hmmm... haunting, much to think about. when did they leave? Had he been in denial (did say that thing about make-believe to that kid etc) so was trying to prolong his arrival to the house with this plan, and that’s why kept inviting everybody over. Or had they left after he was gone & he had decided to take this on, purely because of childhood nostalgia—wanting to so desperately return to how he felt & viewed the world way back then; which can be sort of relatable. Either way he ended up being hit in the face with reality and very obvious weather symbolism lol. Speaking of, the cutting/editing of the cars/road scene near the end of the film was sooo bizarre. Yeah, it does translate the disorientation he feels and the sudden fast-pace of the world outside. But that editing with that music was just... so funny! (Something I’m sure twitter would meme the fuck out of, had it been released recently) As was the Joan River scene, especially her reaction (I felt it) to—and—his rebuttal of her’s ‘you’re just like every other man,’ (that scene made made me appreciate Burt Lancaster’s performance because he says these pretentious/cringey lines throughout the film without an ounce of sarcasm, totally earnest. I could never!) and the scene where ned in shirley’s pool, fists raised, screams ‘you loved it!’ to air. (Btw Janice Rule was great in this; short duration but memorable/impactful) It kind of subverts the male fantasy we see depicted in movies where all women are fawning over him and are one dimensional, disposable; his ill-treatment of them not only okay but something to aspire to / cool. Gives women voice and agency; instead of us just being tapped into that one guy’s perspective. This film also feels like a time capsule; capturing the technological shifts and cultural attitudes. Turns out they had computer dating back in 1968. Like whaA’ Hidden gem. Present Hollywood could really use some originality (yea I know it’s based on a short story but still) and bold energy that these filmmakers had.
The Swimmer
The Cheever short story is always a reminder that everything dies, the self along with memories. Drenched in 60’s aesthetics, this works. Lancaster’s bronze body, drifting from mid century backyard to mid century melodramatics. The Joan Rivers cameo. The strings, the brass. Loved the soft feeble steps Lancaster takes against his Americana build. His rugged upper middle-class stride. Perry’s balance in creating a faithful adaptation while still creating a modern-American melodrama is pitch perfect. Makes me want to go back to Play It As It Lays (https://letterboxd.com/bulgogiboi/film/play-it-as-it-lays/), and makes me wonder why we don’t give him more credit in canon when it comes to great American classics.
