Baz Hogan : Storm's dying down.
Nova Clarke : How can you tell?
Baz Hogan : Not as many sharks flying around.
Intricate and superficially clever. A soufflé of a film. There was a rash of movies in the 1960s and 1970s where the idea was to stack the cast with as many 'stars' as possible, each with a few scenes to work with, all bases were covered and everyone would have a good time. Agatha Christie stories ended up providing a template (I'm thinking 'Death on the Nile', 1978). Careers were revived. Only trouble is that the cast always looked like…
A fascinating insight into Frank Gehry's creative process. The easy fellowship between Gehry and Director Sydney Pollack is obvious and adds immeasurably to the film's value as a record and as an insight into a fascinating man.
My only criticism is that Pollack's anxiety to include contrary voices feels a bit tacked on, as if he was wary of the inevitable criticism that the film is a simple hagiography. It is not. The supportive voices, people like Ed Ruscha who has known Gehry since he was an architecture graduate in the early 1960s, are so insightful and subtle as to make such a criticism redundant.
In exile in Mexico after the Spanish Civil War, with a growing international reputation as the premier Spanish filmmaker of his day, Bunuel was invited back to the motherland by the fascist government who thought they could extract some cultural currency from their prodigal son. His condition was that he retain creative control apart from some really quite soft censorship restrictions (which arguably made him work harder and resulted in a tighter, note focussed work). He was immediately condemned by…