The new Senses of Cinema has arrived. Among the highlights are Michael Pattison on the Surrealist bona fides of Lynch’s Mulholland Drive and Inland Empire, and Tom Ryan (in what’s billed the first of a series) looking at Sirk’s employment of and struggles with genre in three of his “lesser” films: Taza, Son of Cochise, Captain Lightfoot, and Battle Hymn. For the journals Great Directors series, Anton Karl Koslovic explores some of the contradictions of Cecil B. DeMille, racing through his filmography with only 15 uses of the phrase “love triangle.”
The surrealists also pop up in the new issue of Scope, where Seth Soulstein looks back at the cult they formed around the films of Harry Langdon, and convincingly argues that the Little Elf had a greater influence than has been acknowledged on those seminal masterpieces Un chien andalou and L’age d’or. Elsewhere Sarah Artt makes note of Lynn Ramsey’s brilliant silences (timely irony noted) in Morvern Callar, and Peter Lester explores the backlash the IMAX brand suffered after their 2008 announcement that they weren’t about big screens, you know, if that was a hindrance to market penetration. Via Film Studies for Free. (Article links are .pdfs)
“‘She was still really quite beautiful and, if you could forget her connections, really very charming, and I would think that, to many people, very convincing in her intensity about her art, her love of the mountains, and winter sports,’ he said years later. ‘She was really quite a—quite an imposing piece of work.’” In Tin House, Bruce Handy has the fascinating story of Budd Schulberg’s postwar efforts in Germany to hunt down incriminating film footage, and the assistance he received, in good faith or otherwise, from Leni Riefenstahl.