Seattle screenings and cinema events are surveyed at Parallax View here. Spotlight this week is on Noir City 2013.
Even if Oscar predictions and politicking hold as little interest for you as for me, you can still relish the ballot provided by an anonymous director to the Hollywood Reporter. Not least for the way his explanations of the votes—some reasoned, some petty—ring out with the unexamined jealousy and casual rage of a true insider. Via Richard Jameson.
For decades, as Ted Scheinman tells it, slapstick “flirted with the notion of inflicting serious pain on the dainty female body without quite allowing it to happen.” But now Melissa McCarthy has arrived, and he’s anxious to see if her fearless leaps of knockabout will continue to succeed on her terms or instead be flattened by her crueler, misogynistic collaborators. Also at the LA Review of Books, Julie Cline interviews Errol Morris about Jeffrey Macdonald, the unacknowledged legacy of psychiatrist Hervey Cleckley, and “our almost unfettered ability to foster, create, engender error.”
“”Argus”—good name for a cinema.” In an engrossing bit of literary detection, David Brody hunts down the movie clues—Disney, Garbo—to explain what’s going on in Nabokov’s Laughter in the Dark, while simultaneously looking at the relative success and failure of some recent movies that attempt something like the “beautiful idea” of an animated tableau vivant that grips the novel’s protagonist. Via David Hudson.
In what seems to be a recurring feature now (a previous installment featured Janusz Kaminski) Vulture’s Kyle Buchanan sits down with Roger Deakins to explain the method and reasoning behind ten of his iconic shots—one of which, Fargo‘s opening drive, he’s gentlemanly enough to admit was second unit.