Archive for The Forgotten

The Image

Posted in FILM, literature with tags , , , , , on July 23, 2015 by dcairns

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This fortnight’s edition of The Forgotten looks at THE MAN WHO LIES, by writer-director Alain Robbe-Grillet. I’ve meant to write something about him for ages, but never found an angle that made him clear to me. His erotic fantasies — sexy but queasy and dodgy — are presented in detail but never explored as to meaning, and don’t seem particularly connected to his interest in deconstructing narrative. A clue was provided by Mme. Robbe-Grillet’s revelations about her marital life, and I now see Robbe-Grillet as some kind of Hitchcockian fetishist, constructing filmed rituals as a kind of sublimation of the conventional sex drive.

As I explain here.

Hail Satan!

Posted in FILM, Mythology with tags , , , , on July 9, 2015 by dcairns

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SPLAT! Something splodgy happened to the print, so the hand-tinting of the flowers Lyda Borelli is holding in this frame from RAPSODIA SATANICA goes ker-splotch and pinks a great portion of the screen, just for a frame, like Donald Sutherland’s bleeding slide in DON’T LOOK NOW.

RAPSODIA SATANICA is the subject of this fortnight’s edition of The Forgotten, here, and you can if you choose watch the whole film (it’s well under an hour and completely delirious).

Incidentally, I had a missed date with Lyda Borelli. Preparing to attend the Milan Film Festival, I looked up cinematic connections with the city, and discovered that she was interred there. I trotted along to the church to pay my respects, but could find no trace of the deceased diva, though there was a scary mummified saint, which made the trip well worthwhile. Now, when I look up Borelli, I find she’s actually buried in Rome, which explains why she stood me up. But the internet DEFINITELY said Milan around 2002, because where else would I have gotten the idea? After all, in 2002, I had never HEARD of Lyda Borelli…

Talking Turkey with Death

Posted in FILM, Mythology with tags , , , , , on June 25, 2015 by dcairns

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Maybe my favourite show at EIFF this year — so far — has been MACARIO, which happens to fit neatly into this fortnight’s edition of The Forgotten. It may be the best-known Roberto Gavaldon film, but let’s face it, there ARE no well-known Roberto Gavaldon films. Based on this evidence, there should be.

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