Archive for the FILM Category

The funny thing is, they make such damn good cameras

Posted in FILM, Mythology with tags , , , , , , on January 16, 2017 by dcairns

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Sorry for the, as usual, flippant title. We really liked Martin Scorsese’s SILENCE. It’s long but engrossing. The shooting choices are unobtrusive but shrewd and imaginative (all the shots from inside the cage!). The performances are marvelous, discounting the now-you-hear-it-now-you-don’t “Portuguese” accents (doesn’t matter). The photography is stunning — ALL photography seems to be stunning nowadays, but the intelligence behind this made it more than just pretty pictures.

It is a long film about apostasy, which not everybody cares about. I mean, religion is all nonsense to me, but I can get behind the issue of suffering for an ideal, whatever it is. (Nagging voice in head while the virtues of the Catholic faith are preached under torture: “Yes, but what about the Spanish Inquisition?”) My favourite Catholic film is THE DEVILS.

So we saw it in the refurbished Cameo 2, which has now been rotated 90 degrees so that instead of a long corridor-shaped room with a tiny screen, it’s a big screen with only three rows of seats. All the seats at the sides will give you a distorted angle, and the front row is too close, so I’d say there’s about ten good seats. The front row was empty (Saturday afternoon). So this one may not have the B.O. appeal of THE WOLF OF WALL STREET.

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Scorsese was a little perturbed when Sergio Leone told him “It’s your most mature film,” I think after KING OF COMEDY. To Marty and his friends, “mature” was a euphemism for “boring”. But while you could praise WOLF OF, as Fiona did, as being a young man’s film, the equivalent praise for SILENCE would focus on its, yes, maturity. But it’s not boring at all, it’s fascinating. And has a surer grasp of its subject and its world than KUNDUN did. I liked KUNDUN, but I found it a little unclear. Because there’s a lot of “Yes, but” when it comes to making a film about the heroic Dalai Lama, having to do with theocracy and so on, and this is all stuff the film very much doesn’t want to deal with. Like Howard Hughes being a horrible, horrible person — THE AVIATOR should really have been a lot more like THE WOLF OF WALL STREET.

In this case, omitting the church’s more horrendous side is acceptable, I guess, because it’s not part of this story. We might wish Scorsese would make a film about Catholicism’s dark side, a film which would be more current, and we might say how interesting that would be — but it would only work if Scorsese were interested in that story. And I guess he isn’t. Besides, by his aesthetic, you couldn’t make a film about, say, child abuse without showing it. That’s what he does with unacceptable images — he watches them and then forces us to.

SILENCE deserves to be seen — you’ll have a good time, I swear. It’s a top filmmaker at the top of his game, really engaged in what he’s doing. And the overhead shots from TAXI DRIVER and LAST TEMPTATION OF CHRIST are back (one early on, on the church steps, seems to have been lifted from Preminger’s THE CARDINAL) and this time, for the first time I feel they’re Hitchcockian — God’s POV. He may choose not to speak, mostly, but He’s watching.

The Sunday Intertitle: The Mystery of Mister Mistol

Posted in FILM with tags , on January 15, 2017 by dcairns

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DAS GEHEIMNIS DES AMERIKA-DOCKS (1919) is an early effort by E.A. Dupont, and it’s uncharacteristically… sprightly? A rather testy master detective is called in when Mr. Mistol is unexpectedly defenestrated from his chemical plant. Zestful, if somewhat grotesque and overbearing performances from the cast, in what is basically a Weimar whodunnit

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The surviving print has Dutch intertitles, and many the characters seem to have Dutch names, robbing the thing of a certain Amerikan atmosphere. Also, is it really wise to print CINEMA PALACE on every intertitle? Doesn’t that tend to take people out of the film? Ah well, maybe it’s Brechtian.

The film has little or nothing to do with Amerika, or docks.

The best touches are little humanizing moments of comedy: as he and his associates are about to hide to await the killer, the detective advises anyone who needs to sneeze to get it over with now.

Actually, I don’t know if Mistol is a Dutch name, nor Hatt, or if they’re the Germans’ idea of Amerikan names. Can’t ask anyone from the picture, that’s for sure.

 

Words are such small, squiggly things

Posted in Dance, Fashion, FILM, MUSIC, Theatre with tags , , , , , , on January 14, 2017 by dcairns

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ZIEGFELD FOLLIES is vulgar, shapeless and indigestible. Everything in it is too long, and too beautiful. I may have to watch it every year, drunk.

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