Modern Pulp Jan 29 2017
VICTORIA'S SECRET
Even she doesn't know it yet, but she's a danger junkie.

The Noir City Film Festival in San Francisco closes tonight. We couldn't be there, living as we do across the ocean, but like last year we screened some of the films at home and that has been a treat. We said at the end of last year's group of write-ups that we probably wouldn't do it again, and that turned out to be a lie. Next year we definitely won't do it. It's fun, but makes the website almost like actual work, which isn't what this is about at all. It isn't you, Noir City, it's us.

Tonight's final entries on the festival slate are Before the Devil Knows You're Dead, which we've discussed below, and the film for which see two promo posters above—Victoria. The hook here is the movie is shot by director Sebastian Schipper and cinematographer Sturla Brandth Grøvlen in one take—not many takes digitally spliced, but a single analog take about two hours and fifteen minutes long, beginning in the wee Berlin hours and extending into dawn. Schipper has said in interviews that he had three chances to get it right, and the finished film the is the result of the third effort.

It tells the story of Spanish millennial Victoria (Laia Costa), whose lonely existence is changed when she meets local boy Sonne (Frederick Lau) and his three friends during a night at a disco. Sonne seems like a nice enough guy, and Victoria leaves with him and his buds for a sojourn along streets and a rooftop that ends with the two agreeing to meet again. It's at that point one of the friends get sick from all the booze he's ingested, and Sonne desperately asks Victoria to drive the remaining trio somewhere. Why? Because wherever they're going there are supposed to four of them and three will not do. Uh oh. Where are the boys going? To commit an armed robbery.

Victoria doesn't know this at first. It becomes clear soon enough, but only after she's in too deep and stuck as a getaway driver. Of course, the audience knows she's in trouble long before that. If there's a flaw with the movie it's merely that Victoria doesn't seem lonely, reckless, or clueless enough to get herself into this mess. But maybe that's a function of the movie's nature. We can't know her in two hours, filmed in real time,with no structural concessions for subplots, flashbacks, or any of the standard expository digressions. We have to take her at face value, and accept her as revealed to us. If you do, then the blossoming of her inner danger junkie is logical and seamless. Victoria is really an astounding achievement, and not just because of the single take. Schipper is almost twenty years older than the cast he directs, but he's made a generational landmark of a film.


 

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History Rewind
The headlines that mattered yesteryear.
June 24
1938—Chicora Meteor Lands
In the U.S., above Chicora, Pennsylvania, a meteor estimated to have weighed 450 metric tons explodes in the upper atmosphere and scatters fragments across the sky. Only four small pieces are ever discovered, but scientists estimate that the meteor, with an explosive power of about three kilotons of TNT, would have killed everyone for miles around if it had detonated in the city.
June 23
1973—Peter Dinsdale Commits First Arson
A fire at a house in Hull, England, kills a six year old boy and is believed to be an accident until it later is discovered to be a case of arson. It is the first of twenty-six deaths by fire caused over the next seven years by serial-arsonist Peter Dinsdale. Dinsdale is finally captured in 1981, pleads guilty to multiple manslaughter, and is detained indefinitely under Britain's Mental Health Act as a dangerous psychotic.
June 22
1944—G.I. Bill Goes into Effect
U.S. president Franklin D. Roosevelt signs the Servicemen's Readjustment Act into law. Commonly known as the G.I. Bill of Rights, or simply G.I. Bill, the grants toward college and vocational education, generous unemployment benefits, and low interest home and business loans the Bill provided to nearly ten million military veterans was one of the largest factors involved in building the vast American middle class of the 1950s and 1960s.
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