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one month passes...
Nick Pinkerton on Maahk and the cinemaaaaah
Smith’s 2008 book Renegade, a free-associative wander through his autobiography with doggerel “tales” stuffed in its crevices, ends with the author drawing a curious comparison between his own creative approach and that of another profligate raconteur, Orson Welles. In a typically cracked, piss-taking tribute, Smith breezes through his appreciation of Welles’s films, lingering instead on outtakes of the Magnificent Ambersons director’s degrading for-hire work as a pitchman for “fishfinger and processed-pea commercials.”
“The funniest part of it is that he can’t read the script,” wrote Smith. “He needs to know the thread of the story. And he keeps asking questions like ‘Who wrote this?’ and ‘How do the fish get into the fingers?’—he’s obviously drunk and can’t grasp the fundamentals behind it… He was in another zone. Telling stories on stories until in the end he himself is a story. He didn’t seem afraid of living in that world; and it’s childish in a way, but when you can deal with it and use it, the results are evident.”
A valentine from one genuine one-off to another. The aspect of self-portraiture is clear here; in a 2011 interview Smith named Welles as one choice to play him in a biographical film—an answer changed in a later interview to Rip Torn, incorrectly presumed to be dead. If we want to carry the Welles-Smith comparison further we might note that the former radio actor and the frontman with the declamatory delivery were unparalleled in their respective art forms in the attention they gave to the voice and qualities of cadence—through the long lifespan of The Fall, during which time 60-some members passed through the band’s ranks, Smith’s spoken, slurred, and occasionally squalled delivery was the foundational rhythm instrument on which The Fall’s sound was built.
https://www.filmcomment.com/article/totally-wired/
― ice cream social justice (Dr Morbius), Friday, 9 March 2018 18:13 (six years ago) link