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Posted in FILM, Politics with tags , , , , on September 27, 2016 by dcairns

I don’t usually do fundraisers (except my own) on Shadowplay, but this one is special.

Funded by Scottish Film Talent Network, who funded my own THE NORTHLEACH HORROR, it’s directed by Gordon Napier who was our location manager and is a really striking and promising filmmaker, and the costumes are by Ali Mitchell who designed our mad scientists, Nazis etc (as well as creating the world’s best clown costumes for CRY FOR BOBO).

If you have the wherewithal, please consider helping.

Indiegogo page. Facebook page.

(More NORTHLEACH news soon!)

X?

Posted in FILM, Television with tags , , , , , , , on September 26, 2016 by dcairns

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For some reason we’ve started looking back at The X-Files. Partly this was a result of the revival of the series, which yielded two interesting episodes and a lot of really awful waffle from creator Chris Carter, whose indigestible exposition-dumps of mythos/backstory/conspiracy were the reason we stopped watching in the first place.

CC’s best show was probably the pilot, in which Fox Mulder (that name! that impossible name!) is much more eccentric and interesting, something they stamped on later. Then you had a season of the show being a bit too cheap and a bit too repetitive, before they learned that Dan Scully couldn’t always be skeptical and wrong without learning something (Mulder is always right) and then things started to get better, particularly when Darin Morgan was writing and the show could spoof itself while still being itself.

While Morgan’s latest episode drew fire for being TOO silly (and was cannibalized from an abortive effort to revive Kolchak: The Night Stalker), we rather enjoyed it, and got a lot of pleasure out of revisiting Clyde Bruckman’s Final Repose (Emmy-winning per by the great Peter Boyle), War of the Coprophages (a plague of killer roaches — but each incident comes with its own debunking, with a real alien invasion lost in the shuffle) and Jose Chung’s From Outer Space (a RASHOMON of nested unreliable narrations).

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Then we moved onto Vince Gilligan’s episodes, all of which happened after we’d moved on, so they were all new to us. Gilligan didn’t bother deconstructing the show on a weekly basis, which probably allowed him to be more prolific. You do get more of a sense of the stories falling into a format which gets predictable, but on the other hand his specific twists usually still surprise even if you know when they’re coming. And here’s Bryan Cranston, showing what he can do as a racist conspiracy nut with an inner ear condition that will make his head explode if he stops driving, in Drive (basically SPEED, but with an actor’s head instead of a bus). And here’s Diana Scarwid being good and scary as a psychic who can make people do whatever she wants, and SEE whatever she wants.

Nice to see Gilligan addressing the kind of characters conspiracy theories actually appeal to — I mean, apart from everybody. The casual anti-Semitism of Cranston’s character is really surprising, and too complex to resolve in a 45-minute essay (or in a few thousand years of human civilisation, apparently).

The Sunday Intertitle: A Film in Intertitles

Posted in FILM with tags , , , , on September 25, 2016 by dcairns

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Time to give your negative capability a workout, folks! Reduced to its title cards, the 1915 slapstick romance WISHED ON MABEL, starring Mabel Normand and Roscoe “Fatty” Arbuckle, becomes both abstract and winsome. Which it is, anyway, when you watch it straight. But my way is quicker.

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Richard J. Anobile, eat your heart out! The other advantage of watching the film this way is that it eliminates most of the laughs, which could be useful if your intercostal muscles are feeling bruised or weary.

Next week: Erich Von Stroheim’s GREED reduced to its intertitles. We are confident he would have released the film this way, if he had thought of it.