I rate things when I feel like it, I don't when I don't.
On the one hand, it's incredible that Hollywood put out a film this inscrutable and idiosyncratic at any time, let alone at the height of the old studio system; then again, the film is nothing if not a testament to the fact that it's easy to convince rich people to let you do just about anything if you know how to work them. I'm not sure what Lubitsch was like in real life, but I have to imagine he was something like Adam Belinski.
Watched after reading the source material, to which it pales in comparison, though that's to be expected, and I doubt Spike Lee would argue with the assertion.
A few issues did strike me, though: The first hour of the film feels lacking in detail and specificity compared to Malcolm's incredibly thorough account of the Harlem underworld—this whole ecosystem of people at society's lowest rung attempting to survive any way they can, which formed a significant part of the basis of…
I was thinking about the climax of this movie, mostly reminiscing about how hard it was for me to contain my laughter at old shriveled-up Palpatine hooked up to the mainframe or whatever's going on there, but I was also thinking about how many recent franchise films end with these inevitable battles between good personified and evil personified where the battle is carried out through these transfers of light and energy (the last Harry Potter, Wonder Woman, probably some others…
I was going to wait to write on this until after I saw it again in theaters (part of me suspects Brody is correct on this one, though perhaps that's only because I can't possibly imagine having a better experience of this film than my first time), but I wanted to address something that's been bothering me about the way this film has been interpreted.
A lot of people seem to be reading the Anna Paquin character as the film's…