"I'm hard to get, Geoff, all you have to do is ask me." What a fucking line.
Haynes's skill as a filmmaker is in its fullest expression in MILDRED PIERCE and here, where he does everything that he did in PIERCE's five and a half hour runttime and does it in less than two. It never quite achieves the scathing Fassbinderean distanciation that PIERCE does, instead replacing it with a Sirkean humanism––but, more importantly for Haynes as a filmmaker, it peacefully integrates the queer arm's length view of human bodies and sexuality that he practiced in his…
For a very long time, I was very mild on THE SEARCHERS, I liked it pretty much least of all among mature Ford films. The last few months have been a sort of renaissance with me and Ford––I've watched about a dozen, finding them for the most part richer than before, sometimes by complete orders of magnitude. I can just about say that the films John Ford made with Frank Nugent are some of the most complex documents on how…
The first Hitchcock film, perhaps. Certainly an incredible specimen of structure and pacing. Almost unsettling how discrete the intertwining of sex and violence is, how innocent the film can seem compared to VERTIGO or even NOTORIOUS.
First time watching after having read Buchan's novel, and it's interesting to see various elements reconfigured and recontextualized, and the way that Hannay's run-in with the police is handled almost feels like Hitch trolling readers of the novel!