Favourites of 2011
Author: Keith Little | Filed under: Books, Film, Music, Politics, Technology, TelevisionAh, the 2011 list. For a hack of a blogger like myself it’s my once-a-year bread and butter. This year instead of separating music, movies, and television I’ve decided to produce a comprehensive list and lump it all together. Hold onto your hats, and enjoy.
Favourite Films of 2011
I had a quick look around because I was curious and it seems like Tree of Life is topping everyone’s lists this year. We have it in the queue but haven’t got around to watching it yet. I’m curious now though and I wonder if it would change things if I were to watch it first.
The curious bit, however, about the two films that did make my list is that both feature the unmatched Paul Giamatti as the leading actor. This wasn’t intentional but when I looked at everything I’d watched this year and boiled it down to just a couple of my favourites… Do I have a particular bias towards anything that Paul Giamatti does? Perhaps. Is he undoubtedly the best actor working in Hollywood right now? Yes, sir.
Barney’s Version
Barney’s Version is a brilliant take on the novel by Canadian literary heavyweight Mordecai Richler. I remembering having to read The Apprenticeship of Duddy Kravitz in my O.A.C. (Grade 13) English class. I probably only understood about a third of what I read at the time but I can certainly appreciate a heavily nuanced and deeply moving plot a lot more now that I’m older. Barney’s Version is a movie about love, marriage, family, and memory. It’s wonderfully-acted (duh), well-written (duh), and unfolds itself in a fantastically pleasing fashion distilling all the very best parts of a well-developed Woody Allen movie. Complicated, comedic, and charming sums it up pretty well too.
Win Win
Win Win follows in the same genre of comedy as another of my all-time favourite movies Lars and the Real Girl. I’ll sum it up like this: Small town, quirky characters, social conundrums, and the kind of plot that sometimes seems like something you couldn’t make up if you tried. Like Lars, we’re treated to ninety minutes of some truly great and wholly surreal story-telling about people, a place, and a number of situations we’d never even thought about before. In this film, Giamatti plays and small-time lawyer and high-school wrestling coach as if he were born for the role.
Favourite Music of 2011
I have to be honest here, I’m losing my touch a little bit. It used to be that I’d troll around the Internet for hours every week seeking out new musical entrees to dig my teeth into. This past year, between teaching, walking the dog, union work, and taking a couple of extra courses online I haven’t had the opportunity to avail myself of a whole lot of new music. I worry I might’ve missed something great—it keeps me up at night.
Paul Simon, So Beautiful or So What
If you ever get a late night phone call from a heavily-disguised voice saying they’ve got me hostage and won’t release me unless you pay $1,000,000 the first thing you should do is ask some kind of question that only I can answer, just to prove they really have me and that I’m alive. If you asked who my favourite artist of all time is the answer, bar none, is Paul Simon. If the hostage-takers say differently then I’m probably already dead.
I didn’t love Paul Simon’s 2006 Surprise. Musically it had a lot going out and I loved that but Simon felt vocally weak, tired even. I don’t like tired Paul Simon. I used to put on Surprise and long for the Graceland days when Paul was younger and more energetic and I worried that maybe, finally, the great Paul Simon was on the out and out. Of course, I was absolutely wrong.
So Beautiful or So What is Simon’s greatest album since Graceland. It’s a guitar album—which is a pretty awesome direction for Simon—and features a lot of songs driven by virtuosic guitar melodies. It’s clear that Paul Simon has some serious guitar chops and he didn’t want us to forget. Both lyrically and musically this album is an absolute powerhouse. It runs the gamut from slow, lyrically rich near-ballads to lyrically rich up-beat, foot-stomping tracks and even some songs that are both.
tUnE-yArDs, w h o k i l l
Be honest, the first thing you think when you see a band name stylized like that is, “Avoid!”
Fortunately for me, when I first year about tUnE-yArDs it was on the CBC Radio’s Q—if I had actually seen their name first I probably wouldn’t even have given them a chance. Prejudice avoided!
tUnE-yArDs is mostly New England-based Merrill Garbus and a whole lot of loops. Her first album, I gather, was recorded entirely on cassette tape and was a one-woman show. 2011′s w h o k i l l is studio-produced and features help from some of her friends as well.
How to describe how great w h o k i l l is? I’ll say a few things. First, Garbus evidently spent some time in Kenya, a place that I’ve been to as well, and adapts a lot of African percussion rhythms into her music. Second, there are saxophones. Third, well OK, tUnE-yArDs is like a jazz, afro-funk, nouveau politique explosion that packs so much power I feel like you could take this record, play it for the people of North Korea, and instantly the entire country would rise up, overthrow their government, and democratically elect a new leader. Oh, and it’d be a she.
Bon Iver, Bon Iver
I missed the Bon Iver craze the first time around. Despite the best efforts of my good friend Andrew, I never really bothered with Justin Vernon’s 2008 For Emma, Forever Ago. I heard all about the mystique of being locked in a cabin in the woods, writing and recording using an old reel-to-reel recorder or something like that. I liked the idea but, for whatever reason, not enough to actually do any investigating. Finally—through what must’ve been an act of compassionate grace from the God—I decided to check out Bon Iver’s self-titled second album.
What how.
Bon Iver (2011) is like a sonic dream that Brian Eno would be envious of. What sets this album a part from everything else released in 2011 is the kind of depth packed into every track. The songs are stories about people and places set to music that can only be described as something out of someone’s wildest imagination. It’s soft and subtle and you kind of just float a long but there’s so much going on at the same time that you’re swept away just trying to take it all in. Not to mention Vernon’s now-trademarked vocal delivery which is, also, like something out of a dream I had once.
R.E.M., Part Lies, Part Heart, Part Truth, Part Garbage (1982 – 2011)
It turns out that half of my picks this year were thanks to one particular friend with very good musical tastes.
I’ve always liked R.E.M., kind of in the background. Growing up when I did I missed my chance to like them when they were at their very best so whenever I thought about accessing their catalog of music it always seemed a little bit daunting. Where to begin? I knew, from loving Taking Heads, that I would like their early stuff but I was dying for some kind of career retrospective, something to serve as an overview.
Thankfully, Part Lies, Part Heart, Part Truth, Part Garbage came out and it was a steal on iTunes—40 tracks for $16. As far as retrospectives go, you really can’t go wrong here.
Favourite Television of 2011
It’s been a decidedly good year for television and if I’ve been remiss when it comes to seeking out good new music I think I’ve compensated in terms of what we’re watching these days. There’s a lot out there so it’s been a bit of a challenge picking out just a couple but here they are.
The Good Wife
The Good Wife is a legal drama with a lot of layers. Underneath the normal case per episode format is a pretty hefty plot line about politics, adultery, and corruption—a depth that sets it a part from all the other legal dramas that came before it. It’s as much a character study as it is a series of cases to be solved and that’s what I like about it. It’s timely and relevant and tackles big issues with a great cast of characters.
Once Upon a Time
From some of the people behind the epically successful LOST, Once Upon a Time takes a bunch of fairytale characters and plunks them down in the real world with absolutely no idea who they are. Like LOST, Once Upon a Time plays with the idea of alternate universes, alternate identities, memory, and mystery. I’ll say this: Finally, a show that we can really sink our teeth into.
Honourable mention goes to shows that have become reliable stalwarts like Modern Family (which never ceases to be funny) and Being Erica (which ended its run in dignity after jumping the shark mid-season).
The best tv of 2011 was by far Community. They had a clip show made from entirely new clips (including a speech that spanned 8 locations like haunted house, racist old west town, and padded white room). They had an entire episode take place during a dungeons and dragons game. The characters sat at a table and spoke their turns and yet it was compelling, deeply funny television. They had an episode told across 6 timelines that subtly revealed something about every member and their place in the group. Unlike other group-of-friends shows they are not afraid to admit the group would better off without some members and even questions whether any of them are redeemable people. Seinfeld did that for laughs but the writing staff of Community really seems to be unsure. They also had a campus-wide paint war that paid homage to spaghetti westerns and culminated in a character, a plumbing savant who refused to use his gift, hooking an entire building up to rain paint from the sprinkler system. There is nothing else on tv with that kind of creativity and willingness to play with their episode structure.
“Fifth Business” was written by Robertson Davies, not Richler.
Thanks Cyril, I did get the title wrong. I read both novels that year, and it’s been a while.