Winken and Blinken There is less reason to see this now than when it was made, except for the lesson that is more clear here than in current filmdom: how do you cinematically convey concepts that don’t fit our fairly limited vocabulary? The lesson here is stark, only because we have greater familiarity with computers… Continue reading War Games (1983)
Aguirre, the Wrath of God (1972)
The Women This is an amazing experience, becoming more so the further we get from it. When I see “Apocalypse Now, or even “Mosquito Coast” I see this. In fact whenever I see both an actor and a director/writer risking all in a coordinated way, I see this. And when I see a combination of… Continue reading Aguirre, the Wrath of God (1972)
The Hottest Show in Town
Seurat meets Welles There are a few things everyone should do, and one of them is to visit the Musee d’Orsay in Paris. But first, I see I am the initial commenter on this little film. So let me describe it because you are unlikely to find it. It is ostensibly a porn film, somewhere… Continue reading The Hottest Show in Town
Heart of Glass (1979)
The Heart of the Film Soldier Some films come wrapped in their own skins — distinct beings, which can be taken as they are. But many films come with connections to their context, usually in the distraction of seeing a familiar actor. Cinephiles follow certain filmmakers and develop certain expectations and understandings over a career.… Continue reading Heart of Glass (1979)
The Sinister Monk (1965)
4 Conspiracies In the heyday of mystery writing, we had Sayers, Christie, Chesterton and a dozen others who were artists of narrative curves. The game was to create a world, but us in it and only later let us know how wrong we were. And then we had formula pulp writers, many of whom had… Continue reading The Sinister Monk (1965)
Japanese Summer: Double Suicide (1967)
Solid Shadows with Death Wishes I know a few of this man’s films. They are among the richest experiences I know, but I was surprised at how deeply this one worked on me. The surprise comes in part from knowing how specific his target audience was. I am the right generation but the wrong decade… Continue reading Japanese Summer: Double Suicide (1967)
Exodus (1960)
Stalled Ship I wonder what damage we are doing to ourselves by writing false history. All history is fictional. It must be because it abstracts single narratives from the hubbub of life. We hope that the narrative models something that can be traced back to facts, can be proved to be what we call true.… Continue reading Exodus (1960)
Jim Hanvey Detective (1937)
Straw Dogs You can do better than watching most current movies by noodling around with old detective movies from the 30’s. They are generally not very good, but collectively they defined the base for our most common idiom. This one, thankfully, has no racist comedy player. It does depend on colourful characters and is staged… Continue reading Jim Hanvey Detective (1937)
The Phantom Empire (1935)
Subterranean Drugs I’m involved in a study of ‘folding’ in film; folding is a matter of overlain or referenced narratives. Sometimes the folding is something only of interest to highbrow specialists, but usually it is a matter of fun. Some folding is a matter of introducing bizarre conventions, and once they enter in one film… Continue reading The Phantom Empire (1935)
Double Door (1934)
Panic Room During the last depression, moviegoers were obsessed with the wealthy. As with the aristocrats in Europe, these folks neither created nor managed wealth. They just had it and wanted more. Here we have a domineering woman who believes she deserves it all, taking from rich peers in the same family. The thing can… Continue reading Double Door (1934)