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book one redone - Coldbacon

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writing/anthonylane-mariaproblem.html<br />

Anthony Lane’s essay, “The Maria Problem” (sous-titled “Going Wild for<br />

The Sound of Music”) is okay, but it has problems. I will explain them. It<br />

starts off like this:<br />

“Let’s start at the very beginning (it’s a very good place to start.) Maria<br />

Augusta Kutschera was born in 1905.”<br />

This is the best reference to The Sound of Music in the history of writing.<br />

(It’s a very good reference to start.) This beginning reminds me of the<br />

time David Lynch’s Dune, which may or may not be a bad film, kicked<br />

off with the Padishaw Emperor’s daughter: “The beginning is a delicate<br />

time. Know then that it is the year ten something.” But I digress. So Maria<br />

Augusta Kutschera was born in 1905. My childhood friend and archnemesis<br />

T seems to think Anthony Lane is the greatest film critic since<br />

Von Kesselstat, and The New Yorker can and has d<strong>one</strong> nothing wrong,<br />

ever. Yes, well.<br />

Herr Lane then goes on to spend the next eight pages of my life<br />

establishing context. Using def journalistic skillz and his usual divine<br />

inspiration, he describes the phenomenon wherein a bunch of dedicated<br />

fanatics dress up in various Sound of Music-inspired costumes and<br />

participate in ritualistic beatings. This all happens at the Prince Charles<br />

Cinema.<br />

The problem here is if you know what the hell he’s talking about, then<br />

you don’t really need this explanation, or at least, you don’t need this<br />

much explanation. If you’ve ever been to <strong>one</strong> of these cult-audience<br />

participation things, like church, you’d know that being there is at least<br />

twice as good as watching it on DVD and eight times better than reading<br />

about it in The New Yorker. In fact, the only reason to read the first eight<br />

pages is to be reminded that Mr. Lane lives in London, and you don’t.<br />

And he knows a lot about movies. Why won’t he write about them? If he<br />

wanted he could use his vast knowledge of film to draw connections, to<br />

explain, to teach, to challenge. If he wanted. Or perhaps you are reading<br />

him in hopes of scoring some cut-rate cultural insight. After all, there was<br />

that <strong>one</strong> time where he pointed out:<br />

147

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