F Marion Crawford's The White Sister was a perfect match for the generic/thematic concerns of Mexican melodrama, boy oh boy! Hollywood versions in 1923 and 1933; I wonder why it took so long for Mexico to work up a copy.
"1960 but looks like 1952," as the saying goes.
I wonder if the fiance was as as big an abusive, emotional-blackmailing control freak in other versions as he was here.
"Poet's theatre" featurette, Greenwich Village surrealism-lite a la Henry Miller, Kenneth Patchen etc.
Art and romance just keep busting out like magic in spite of all the systems of control set into place by the guardians of WesternCiv, whose ultimate agenda is to turn everything that could be a source of beauty into a graveyard.
Too narrative-driven to be called 'experimental film' -- it's not even as formally challenging as the collab films Broughton made in San Francisco in the…
Glib and carelessly-imagined ode to privilege. I tried to ignore my distaste for the superficial artsiness of the characters, but after the scene where the blonde girl decided it would be kicks to go to a slummy-looking neighborhood and photograph sex-workers I just couldn't. Esp. when the SW were all "Hello, American Lady Woman! We love you! Come taste the wines and cheeses of my village!"
Art is one thing, lifestyle-pimping is another.
It's got a gun and it's got a girl, so it's cinema. I think the only thing I can do right now is transcribe the notes I made to myself while I was watching it. Sustained thought? It's usually beyond me... and I want to read up on secondary materials before I commit to anything.
Episode 1:
It's absolutely a sequel to L'Amour Fou -- in that one, the characters were struggling against the collapse of meaning, and in this…
