I reviewed Song Hwee Lim’s book on Slow Cinema and the films of Tsai Ming-liang earlier, and called Lim’s book the first appropriate book on Slow Cinema. Ira Jaffe’s Slow Movies is supposed to be a book about the phenomenon as such, which looks at several different directors to give a broad overview of what is out there. Sadly, I have to say that the book fails completely.
First of all, the title is misleading. It is true that the title “Slow Movies” may perhaps mean something other than Slow Cinema. But given that it was published at a time when Slow Cinema is receiving increased attention, you would expect that Jaffe has just used a different name. And somehow, I’m still not clear what he is actually talking about. In the introduction, he clearly sets out the characteristics of Slow Cinema. But then he gives examples that contradict his own approach, and uses film examples that are – I believe – in no way Slow Cinema.
Second, Jaffe brings very little to the field. Especially the first two chapters of the book are rather boring, and make slow films terribly unappealing. I’m thinking in particular about his section on Gus van Sant’s Elephant. We’ve seen it, lots has been written about, and everything he has mentioned has been there before. Reading this section is a waste of time, and of paper (and therefore of trees!).
There are also contradictions within his chapters. There are two examples I would like to point to. First is his use of Dead Man by Jim Jarmusch. I haven’t seen the film, but what he describes is not Slow Cinema. And true to the matter, he even says that Dead Man is an exception. He says that it is “not a slow movie in every respect.” Apart from the recurring on-screen (human) violence, which I judge as a no-go for Slow Cinema, he identifies shot/reverse shots, frequent cuts, close-ups and the use of gimmicks like flashbacks as elements that do not comply with the characteristics of what he faithfully calls ‘slow movies’. So what exactly is Dead Man then? Jaffe spends page after page on the film, and it becomes clearer and clearer that Dead Man shouldn’t be in the book at all.
Another irritating section was the one on 4 Months 3 Weeks 2 Days by Cristian Mungiu. On the one hand, he says that the characters “evince” a lot of emotion, but restraint of emotion is a key theme. So what exactly is the key theme? Again, he points out that the presence of emotion is not a key characteristic of slow movies. I have seen 4 Months and I know that it’s not Slow Cinema. It is slow, but it’s not Slow Cinema. This makes the entire book wholly confusing, because Jaffe appears to hop between Slow Movie and Slow Cinema. If all this is about slowness in films only, then this book is a useless piece because it has appeared in books on Antonioni, Gus van Sant, Sokurov etc before. In writing about exactly those directors, it is therefore a mere compilation of what has been there before. There was little point in bringing up the old topic again.
If it was an attempt at writing about Slow Cinema, the book has failed. Some film examples frankly don’t make sense, especially if the author himself says that they do not quite fit the trope. On top of it, I miss original analysis. Most of it is content description, with a few quotations – some of which return over and over again – thrown into it. Reading the book does not give me the feeling that Jaffe is an expert in slow movies. Nor does he seem to be totally immersed in it. Again, like Andras Balint Kovacs’s book on Béla Tarr, this one feels like a quick shot; the result of a race to be the first to publish on a new subject.
The hare and the turtle. I do have to say that for years I had wanted to be the first to publish on Béla Tarr. That one has obviously not materialised, but the first proper book is a failure, because it was a quick shot, exactly what I had in mind for myself. Then I wanted to be the first to publish a book on Slow Cinema. Jaffe’s book is a failure, a quick shot.
I’m really glad that I have become the turtle!
[Slow Movies – Countering the Cinema of Action, by Ira Jaffe, London: Wallflower Press, available on Amazon]