Sunday, April 24, 2016

The Room (movie review)

"The Room" is just Room in the five year old's vocabulary, no definite article required.  Bucky Fuller used Universe the same way, saying "Universe" (as in "Room") not "the universe" (a more lowercase 3rd person view, not as place-based).

We're treated to "the omniscient camera" in its purest form in this well-crafted film.  "Camera" itself means "Room" in Italian.  Our "room" is the camera's "space of events" which includes hearing the child's thoughts.

We hear his little voice narrating, a somewhat metaphysical patter, as he sorts out Universe (Room), reviews his cosmology.

There's so much "place" outside Room that "time is spread thin" like too little peanut butter spread thinly on bread, and with everyone therefore stretched (stressed, pulled) to "hurry up" to cover all that Place.

In Room, Place was held constant so Time was less stressed.  Next week and next year still ran together as time was more immaterial.

Given our privileged Angelic viewpoint, we see far more than any one character.  We appreciate how really intelligent that back seat police officer is, putting a picture together of what crime to phone in.

Throwing a little kid on the ground and stalking off is a great way of calling attention to oneself.  Old Nick was a man of zero skills in the HR sense of the word.  He needed a room of his own.  The fictional Dexter, likewise a psychopath, was far more dangerous to others.

I immediately appreciated the parallels between The Room and 10 Cloverfield Lane.  Both are claustrophobic, about prisoners of a seemingly all-knowing patriarch.  Both feature the omniscient camera and its Angelic point of view.

The newscaster's questions don't really penetrate to the heart of what we've seen, and we know the newscast viewers will probably never understand.   The newscaster wonders if the mom had been selfish in not getting her baby out earlier, not appreciating how Old Nick could have tossed a baby off a bridge with a heavy weight in the bag. 

The mom took a calculated risk with a highly optimized plan that worked out.  She's right up there with those Covert Affairs characters, in engineering their ingenious escape.  She's not just a good mom, she's a highly professional mom.

What we don't see with our omniscient camera is what Old Nick was up to between tossing the kid down and heading back to the shed in his truck.  Given his temper, he could only have been thinking murderous and vengeful thoughts, and the mom was certainly expecting retaliation, but hoping the police would come first.

We're tracking with the police at that point in the story, are in the back seat with the kid, his Guardian Angel (angle) and then see a mother running towards us from the darkness, but not actually from the shed. 

We know Old Nick is still alive, but that's about all we know.  The police sirens may have had a deterring effect. 

So actually we're not omniscient at all, just have a unique angle, but with no ability to give testimony.