A good double feature with Meet Me In St. Louis, a coming of age musical set in something that resembles paradise, with hints of the hard times that will come. Not that Lee isn't here shying away from the hard times that already plague his family: a black neighbor is arrested on the basis of a white man's call, paying off the electric bill is never guaranteed, and food stamps are a part of life. Lee's story, written with his…
Stray thoughts on an umpteenth viewing, first time in 70mm.
-A lot of science fiction critics will cite films for what they get right and wrong about the future, which always strikes me as a very dumb way to look at any type of science fiction. And even for what Kubrick gets "right" here, we also have companies like Pan American Airlines, Liberty Bell Telecom, and Howard Johnson's hotels. But there is a point in the emphasis on technology here.…
City Of Sadness
Seen in a retrospective.
As both story and memory.
Contemplation before Marlboros.
A filmic life becomes a real life, except it goes too far. The film works partially on three layers that define its three act structure. There is the short film, the man reflecting on the film and trying to re-create it in some ways, and finally the revelation (perhaps a lie) that the man was already the reality reflected onto film. Either way,…
Same principle of shot composition as I found in Godzilla, but almost worst here, because the shots so deliberately call attention to themselves that they end of refracting nothing beyond their own creation. There’s no suggestion of an inner life, no gestures that take on a physical quality, only an artificial surface. (And do not compare to Bresson – yes there’s questions of faith and some rigor, but his shots were simple, rarely long takes, and build around patterns of…
Sacrificing one for all.
Prepared for weeks
Shortened in seconds.
Some of the same formal qualities that made the shots of Lapid's 2nd feature, The Kindergarten Teacher, which I saw at Cannes, an exciting approach to formalism that didn't stay trenchant in one type of shot. One of the best aspects of his new feature, I remarked, was that it was nice to see an Israeli film on the festival circuit that had no interest in…
John Huston's "fake" propaganda movie, but unlike other faked documentaries covered by Mark Harris's book, San Pietro won large favor with critics and audiences for its aesthetic brutality. Both James Agee and Manny Farber went for it, the latter calling it, "breathtaking reality, fullness of detail and sharp effect from shot to shot." Knowing the footage is "fake" thus makes watching it strange. My favorite moment in Wyler's real Memphis Belle was watching the 16mm footage of a downed B-17…
Lord and Miller want to be Joe Dante, but there's a fundamental issue that has held back this and The Lego Movie for me: these films need to be able to be taken at face value at the same time they can be seen as satirizing/critiquing their subjects. I don't remember the first film being this sloppy, whether it was the lazy camera images that seem rarely planned with the same visual sophistication (see: the "stoner" in the background of…
A mama's boy paints
A portraiture of resistance.
The leaps of legends
As fantastic as ghosts.
Bow before Buddha.
Using what critical facilities I have when it comes to 1960s-70s Asian cinema (ie. fairly limited), what is striking to me in the work of King Hu is how pointedly different it is from an action choreographer like Lau Kar-Leung. Notably, Hu's action is at one more simple and more fantastic. The sequences here (which the first only happens after an…
Deconstruction of Hollywood
As reconstruction of a hidden life.
Truth within the pauses.
Reviewed from the new transfer on the All That Heaven Allows Blu-Ray. Since this release, a few people I know have slammed this crass and homophobic, which I honestly don't get. I think part is that Rappaport's on screen Hudson is not Hudson himself, and not necessarily the voice of the director. If you want that, read here. It's hard to see anyone who was trying to…
Gets a worthy front-show.
Cliches of t-shirts
Turns dance, sex, and violence
All into Heat.
Finally viewed in preparation for reading It Doesn't Suck, which I discussed with its author Adam Nayman on the latest podcast. Like Adam suggests, it's odd to think that Verhoeven never winks during this while his other films all too constantly wink. Some of this may be Berkley's go-for-nuts performance, which the film needs to have in order to work. Otherwise, it's fun…