Archive for Sight & Sound

Mondo Rondo

Posted in FILM with tags , , , , on January 29, 2022 by dcairns

I’ve just learned that I was runner-up for best interview, along with Daniel Ricuitto and our subject Barbara Steele, in last year’s Rondo Awards. Back in March. This was for the Sight & Sound piece which you can read here.

Good to know! I guess they didn’t know how to get in touch. If you ever see me nominated for anything, don’t assume I’ve heard about it.

More on Barbara soon…

Meanwhile, some limericks, this time about the 1950 D.O.A. (here, here and here) and Welles’ THE LADY FROM SHANGHAI.

So good they named it nice

Posted in FILM, literature with tags , , , , , , , , , on August 28, 2021 by dcairns

Watched Pretend It’s a City on Netflix and CAN YOU EVER FORGIVE ME? on Prime, and so I have nothing to show for it. That’s one problem with streaming services, if you’re (a) acquisitive and (b) like to frame-grab.

Netflix’s algorithm is so stupid that it never suggested the Scorsese-Leibovitz documentary series, despite my watching THE IRISHMAN, so I didn’t know about it until I read a letter in Sight & Sound complaining about the indifferent review it had received. I don’t believe S&S should bother printing letters in which readers complain about reviews they disagree with, because that’s dumb, but I was glad to learn of the series’ existence.

Unlike Scorsese-stamped things like the Bob Dylan series and the George Harrison series, this is (a) really interesting and (b) imbued with Scorsese’s personality, mainly because he’s in it, but also because the film clips and music are clearly more his sensibility than Fran Leibowitz’s. So you get a perfect blendship. One of the great pleasures of the show, which is FL’s observations on New York and life therein is the sight and sound of Scorsese hunched up with helpless mirth, almost constantly. A joyous thing.

Fiona had been keen to see CAN YOU EVER FORGIVE ME? since it came out but we hadn’t gotten to it. It’s really very good. Outstanding central perfs (Melissa McCarthy and Richard E. Grant carry pretty well every scene) and a lovely sense of the city. The soundtrack is beautifully chosen — like the Scorsese series, it’s eclectic (Scorsese casts his net wider than usual) but everything seems to marry together and forge a style.

CYEFM? should also be studied for the way it gets the viewer on the side of an “unsympathetic” character (actually she’s extremely sympathetic) and how it portrays someone in a miserable situation (capitalism, basically) without making the audience despondent, inclined to withdraw. Of course the rules of drama favour characters who find some means to struggle against what’s oppressing them, and therefore favour those who resort to crime… I was cheering the larcenous lead on all the way, saying to Fiona, “No, this is a good plan…”

So, now I like Marielle Heller not just as an actor but as a director, and the good news is I have a charity-shop-purchased DVD of A BEAUTIFUL DAY IN THE NEIGHBORHOOD all ready to run.

Triple Threat

Posted in FILM with tags , , , , on June 14, 2021 by dcairns

Announcing the appearance of the latest Sight & Sound, with three little pieces in it by me, might seem to break the flow of Chaplin Week, which just got started yesterday.

But NO — while one piece deals with the legendary — and still going strong — Teruyo Nogami, Akira Kurosawa’s right-hand woman, the other two actually continue the Chaplin theme. One is a profile of the late, great Norman Lloyd, who acted for Chaplin and, better yet, played tennis with him. The other covers Charles D. Hall, Chaplin’s great production designer, and the subject of ONGOING STUDIES here at Shadowplay.