I write stuff and run the press office at the Royal Albert Hall. Big fan of Lillian Gish and The Magnificent Ambersons.
Surprisingly effective, given that like the films of Brideshead and Tinker Tailor it needn’t necessarily exist, a definitive TV version having already been made. Lacking the time to tell the story as the BBC’s 1995 series did, Wright instead uses space, the action given literal room to breathe, as his camera wanders houses or stands way back to take in pastoral scenes. Then when it gets hungrily close to hands or lips, you feel that proximity, loaded with import.
Racist bilge in which the filthy, devious Mitteleuropean of the title (John Barrymore) hypnotises a young model (Marian Marsh), taking her away from the Aryan she loves before creepily transforming her into a great singer.
In subject matter and approach, it's not far removed from the Nazi film, Jew Suss, and even if you can clamber over its dearth of morality, it’s almost bereft of artistic merit. There is one incredible shot in the ‘summoning’ scene, a sometimes vibrant performance…
You can take your Juno, your Scott Pilgrim, even your Heathers, and chuck them in a skip, because Ghost World just does it all so much better. Well, all of it that's worth doing. I'm beginning to think this melancholy, bitingly hilarious crystallisation of teen ennui might be the only film I'll ever really need.
*SOME SPOILERS. ALSO, IF YOU AREN'T INTERESTED IN ORSON WELLES, YOU WILL FIND THIS BORING. EVEN IF YOU ARE INTERESTED IN ORSON WELLES, YOU MAY FIND THIS BORING*
"Something had happened. A thing which years ago had been the eagerest hope of many, many good citizens of the town. And now it came at last: George Amberson Minafer had got his comeuppance. He got it three times filled and running over. But those who had so longed for it were…