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)
Frankenstein (1910)
The Witch’s Looking-glass I’m putting this on my list of films you must see. It is short and at first glance completely uninteresting. But look again. Here’s what happens: Young Frankenstein goes to college where he discovers the secret of life. Interesting that the filmmakers would think it cinematic to watch a man think and… Continue reading Frankenstein (1910)
Jack and the Beanstalk (1902)
The Movie Within I’m writing a book about “folding” in film, a situation in its simplest form is seen as a movie within a movie. This is the earliest example I know. The movie itself is about 12 minutes long. There are no dialog cards because presumably all viewers would know the story in detail… Continue reading Jack and the Beanstalk (1902)