Chicago Film Festival: The Aerial
As you will already glean, the political line of The Aerial does not distinguish itself in nuance or depth, and Sapir is much softer on the question of whether silence is coerced or whether it is passively and hegemonically accepted. The almost-ending of the movie, which suspends and challenges the power dynamics and the prevailing apportionments of Good and Bad, would have offered a richer, more provocative conclusion than the one we actually get, however much The Aerial admits of its fairy-tale contours. Sapir also indulges in some appropriations of several sign systemsCommunist, Nazi, Judaic, marital, domesticthat he cheekily but indubitably simplifies in pursuit of his homiletic agendas. But all of that said, The Aerial is patently an exercise in formal and stylistic brio, and in breathing witty, creative life into hard-leftist axioms. On these scores, the movie is a robust success. The antique, tungsten quality of the flickering light and the evocative, efficient editing achieve a splendid mixture of beauty and economy. The soundtrack is bright and unimpeachablenot just the warm, funny, inspired musical score but the ingenious instrumentation that also supplies all of the film's foley effects, including footsteps and gunshots. Sapir also has great fun throughout with the placement, phrasing, and materiality of his intertitles; characters are frequently spotted waving or shoving the text out of their way, or having the summary terms of entire emotional states scrawled right over their heads.
Best of all, the gusto with which Sapir reprises so many silent-era tropes while also flexing them for new expressive potentials rhymes perfectly with The Aerial's polemical support of creativity over convention, of under-exploited powers over institutionally regulated genres and boilerplates. Even as the movie assumes discordantly conservative notions of redemption through sentimentalized childhood and of the two-parent nuclear family as ethical building-block, the geometries and overlays and eccentricities of the film stoke the very imagination which Sapir's politics almost suppress. Compared to Maddin's frequently arch and esoteric approaches to the tropes of early cinema, Sapir shows a Pixar-ish loyalty to clear, clever, and spirited storytelling, over and above arcana and idiosyncracy for their own sakes. Thinner and less adventurous than first impressions imply, but a feast for the ear and the eye from start to finish. B
Photo © 2007 LadobleA