"Tomorrow, we'll try again"
Oh Jesus Christ. For all our sakes, please don't.
Somehow this took the premise of an attractive woman being raped, then getting revenge in sexy costumes with a phallic object, directed by a man in the early eighties, yet managed to put forward some sophisticated gender politics?!? Oh, and had splattery headshots. So cool.
There are too many good bits to list in full, but some stand outs were:
* The camera tracking the loud, ostensibly more sexy co-worker whilst she gets wolf-whistled yet it’s the quiet, unshowy, ‘dowdy’…
Simplicity. If you have to sum up in one word why Casablanca is a classic, this has to be the one. For a film with, by all accounts, such a difficult route to the screen (it was shot sequentially because the script wasn’t finished when filming began) it’s amazing that what we got was so tight, so entertaining and so timeless.
Although the plot sounds reasonably sophisticated on paper (an American ex-revolutionary battles with his conscience, whilst trying to help…
When our narrator and ‘The European’ stumble into a room containing a man constructing his own coffin – a victim of the siege of Leningrad during World War II – its clarity of intent and desperate chill freezes the heart. Marble as white as death blend with drifts of snow coming through the windows. If the rest of the film deals with an afterlife and continuation, this short scene is very much about the terminus.
Undeniably beautiful technically, and logistically…