The View Beyond Parallax… more reads for week of May 11
The only links page that matters… except for all the others.
A few months ago you couldn’t throw a rock without beaning a think-piece on silent cinema prompted by The Artist and Hugo. Geoffrey O’Brien in the New York Review of Books caps the mini-genre with a winner, a lovely hymn to silent movies as “a perpetual learning how to see, and a way of coming to the truth of one of Emerson’s observations: ‘The eye is final.'”
Regrettable as it is that such a well-regarded figure in the New German Cinema as the late Werner Schroeter still requires an introduction before his first North American retrospective, Brooklyn Rail’s Mónica Savirón is ably up to the task.
“Let Britain brag her motley rag/We’ll lift the green more proud and airy/Be mine the lot to bear that flag/And head the men of Tipperary!” Apologies that my forgetfulness let slip the new issue of Screening the Past last week. The silent film journal devotes its entire issue to the 1918 Irish classic Knocknagow, placing the movie at the center of fascinating histories of Irish cinema, popular song, and even sport–with national pride coloring them all. Spotted, among others, by Film Studies for Free.
“In fact, it was such a drain on his finances that Barbara Stanwyck warned Sturges, ‘That goddamned greasy spoon is ruining you!'” The Lady Eve looks back on Preston Sturges, restaurateur, and his beloved The Players supper club.
Shari Kizirian finds die Lubitsch Berührung unmistakable throughout his German silents.
David Collard recounts the screenwriting career of W. H. Auden. Though the story you’ll remember is of the ambitious multi-screen documentary U S, and its dedicatee Hugh O’Connor.
“I’ll close all the doors in Hollywood to you. You will never be able to get a job. You will be blocked everywhere.” At The Chiseler, John Strasbaugh interviews Alfred Leslie on the making of the Beat classic Pull My Daisy, and the reception it got out west. Starring Leslie and Jack Kerouac, with cameos from Josef von Sternberg, Shirley Temple Black, and David Niven.
“Jesus Christ Almighty. You look terrific.” “Watch the suit.” In advance of the Fashion in Film Festival, Moving Image reposts an interesting piece from the 2008 catalog, Lorraine Gamman’s examination of the almost dandyish sartorial crispness of the typical film gangster, which becomes a salute to The Sopranos for “transform[ing] the shape of the gangster silhouette from well-clad lean and mean fighting machine into all underbelly.”
Adrian Curry interviews Christian Broutin, who from 1954 to 1966 created several excellent movie posters and at least one that’s immortal: Jeanne Moreau’s laughing face, framed by a colorful, angular sketch, for Jules and Jim.
More magnificent, hand-made posters, from the great 1920s painter Batiste Madalena, on display at the Old Hollywood tumblr; don’t miss the link posted near the bottom to see even more. Noted by David Hudson.
“If some people feel it’s not art, I won’t be offended.” Whether it counts as art or not, if you’ve never seen Takeshi Kitano’s painting and sculpture you might be surprised by the childishly bright and playful works on display at his new exhibit. (Click on Gallery at the second link to view.) Via Movie City News.
The Retronaut presents a charmingly staged 1940 Life photo shoot of Rita Hayworth and some girlfriends taking their bikes out for a picnic. It won’t ever become the first association you make between Hayworth and bicycles, but it’s a fun series nonetheless.
Maurice Sendak, children’s book author and illustrator, died at the age of 83. His cinema has more to do with inspiration than adaptation—his books have captured the imaginations and the emotional lives of so many children who went to be creators in the their own rights—but his co-wrote the big screen adaptation of the Spike Jonze-directed Where the Wild Things Are and The Nutcracker ballet, with designs by Sendak, was put on film by Carroll Ballard in 1986. Spike Jonze profiled the author in the documentary Tell Them Anything You Want: A Portrait of Maurice Sendak. Margalit Fox at The New York Times, and more remembrances and other pieces gathered by David Hudson at Fandor.
British Actress Joyce Redman, who earned Academy Award nominations for her performances in Tom Jones (1963) and Othello (1965), died at the age of 96. More from the BBC.
Seyfi Teoman, a rising young Turkish director (Our Grand Despair and Summer Book) and producer (Beyond the Hill), died at age 35 from injuries sustained in a motorcycle accident. Report via David Hudson at Mubi.
The weekly links page is compiled and curated by Bruce Reid in collaboration with the editor of and contributors to Parallax View.