as i sit here i am looking at a copy of far from heaven that was found on the endcap of a save-a-lot register and purchased for the bargain basement price of five dollars. i remember that price strictly based on the fact that the dvd remains wrapped even though i purchased it quite a few weeks ago. what can i say, to paraphrase kip from all the real girls: when it comes to todd haynes movies, far from heaven ain't my number one best friend anymore, hell...it ain't even in my top ten. which would be helpful if i had, in fact seen ten todd haynes movies, which i haven't. either way, that isn't anything i can't overlook by sucking down another master cylinder and reminiscing about my prized purchase.
a last minute stock up for cookout supplies, i had my hands full of groceries as the save-a-lot at 10th and arlington has a ridiculous cart return system that employs the "quarter deposit system" and i found myself without proper coinage. so anyways, there i was, hands full of all meat and potato chips and buns i could carry when i look down and what do i see sitting there amongst a pile of random shit like fine tooth combs and stress balls but two brand new copies of far from heaven selling for the usual deep discount provided by the save-a-lot experience. the odd part is the fact that there weren't any other movies for sale anywhere in the store.
now usually i don't do impulse buys, but something about the mix of finding an art film on sale in a place which would best be described as leaning towards kinda ghetto made me immediately pick it up and add it to my bill. i felt that mr haynes, the semiotics major, that he was would appreciate this sort of connotation/denotation interplay in my reasoning for holding onto this object as one of a few of my favorite things. to take things further and add a new layer of symbolism to the object, i decided to keep it wrapped up, price tag proudly displayed until the point that i actually would like to see the film again.
which may be a while, especially when my original lukewarm reception to the film has kept me from going back and even attempting to rediscover it. if i need me a fix of todd haynes i will just go watch the velvet goldmine or go downstairs and pop in my old vhs copy of safe, the true masterpiece produced by the julliane moore/todd haynes dynamic. and as protective of artist's are of their work, i feel todd haynes would have no problem with this.
his education on the systems of language and symbols would allow him to see that far from being just a film that i wasn't crazy about, far from heaven has become a relic, consistently recapturing, re-framing, and resurrecting an experience that i want to always remember. it's no longer a tale of a suburban houswives rebellion against outdated social taboos, it is now about the fact that in the smallest, dankest corners of unlikelihood, an area of interest and something beautiful can be obtained.
a tree grows in brooklyn or something like that.
and i think todd haynes would be good with that. because no matter how heady, how precise and exacting, how intelligent the amalgamation of images are when cobbled together, an artist really just wants his work to touch people in some way. by any means necessary...right?