Archive for category: by Bruce Reid

The View Beyond Parallax… more reads for the week of July 25

25 July, 2014 (08:45) | by Bruce Reid, by Sean Axmaker, Links | By: Sean Axmaker

Noting there’s nothing all that wrong about auteurs making themselves a known brand, David Bordwell breaks down the impeccable Wes-Andersonness of Moonrise Kingdom, finding some unremarked subtleties amidst the fussiness, including a looping chronology that can slip by you the first time through and a drift away from his trademark center-frame shot-reverse-shot that marks the […]

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The View Beyond Parallax… more reads for the week of July 18

18 July, 2014 (10:28) | by Bruce Reid, by Sean Axmaker, Links | By: Sean Axmaker

The new (and newly re-designed) Senses of Cinema offers plenty to explore, including Stuart Bender on how Gravity’s sound design convincingly fakes reality and, sticking with Cuarón, Ben Ogrodnik trying to free Children of Men’s narrative use of the camera from overly politicized critical readings; Marc Saint-Cyr describing the humanist sympathy for the underclass that […]

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The View Beyond Parallax… more reads for the week of July 11

11 July, 2014 (09:32) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

After a sensible warning against film critics drawing too many real-world implications they barely understand from movies that maybe have politics less on the brains than they’d like, Nick Pinkerton proceeds to a fine analysis of 1970s Italian politics based on Anthology Film Archives series The Italian Connection: Poliziotteschi and Other Italo-Crime Films of the […]

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The View Beyond Parallax… more reads for the week of July 4

4 July, 2014 (09:37) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“How did you find America?” “Turned left at Greenland.” We pause our native readers’ patriotic reminiscences of 1776 to consider the British invasion of some 188 years later, when A Hard Day’s Night opened louder and brighter than any firework. Sam Kashner relates the making-of, including excerpts from a rare 2008 interview with Richard Lester […]

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The View Beyond Parallax… more reads for the week of June 27

27 June, 2014 (08:34) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“I am to be teamed with Billy Wilder, a young Austrian I’ve seen for about a year or two and like very much. I accepted the job joyfully.” Matthew Dessem does a fine job as researcher and writer on the team of Billy Wilder and Charles Brackett, one of Hollywood’s most fruitful examples of opposites […]

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The View Beyond Parallax… more reads for the week of June 20

20 June, 2014 (10:46) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“When I was delivering pizza, I saw people going to their offices and talking to each other and everyone appeared so relaxed, but I had skills dying inside me. They had their lives, but we didn’t.” Happy endings, despite their dominance in the movies, turn out rarer in real life. So all cheers to Jay […]

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The View Beyond Parallax… more reads for the week of June 13

13 June, 2014 (10:48) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“You know what everyone said.” “No, but I’m sure you do.” The Dissolve’s Movie of the Week is All That Heaven Allows. The roundtable, fine for what it is, ironically proves a lot less insightful and dancingly alert than Noel Murray’s solo survey of ten contrasting props, showing how much information Sirk could pack into […]

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The View Beyond Parallax… more reads for the week of June 6

6 June, 2014 (09:57) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“‘I’d learn from the crew whether a picture was good or bad. Electricians were my best critics, cause they watched the scenes from the day it was first rolling. If they said the picture was good, I’d go to the movie. If they said it was a turkey, I’d leave it alone.’ So he skipped […]

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The View Beyond Parallax… more reads for the week of May 30

30 May, 2014 (11:09) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“There’s three times in a man’s life when he has a right to yell at the moon: when he marries, when his children come, and…and when he finishes a job he had to be crazy to start.” For Geoffrey O’Brien, Red River is an epic that benefits from being made by “a director constitutionally averse […]

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The View Beyond Parallax… more reads for the week of May 25

23 May, 2014 (09:58) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

With their major Fassbinder retrospective kicking off, the Film Society and Film Comment are naturally shining a light on the director. Steven Mears and Max Nelson offer thumbnail introductions of some of his key early collaborators, including Schygulla, Raab, Raben, and ben Salem. (More are promised in the future.) John Oursler looks back at the […]

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The View Beyond Parallax… more reads for the week of May 16

16 May, 2014 (09:49) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“Mizoguchi finds a huge variety of ways of turning images into drama, and he has left us a rich repertory of staging strategies–if we only look. Young filmmakers, are you looking?” In an article adapted from a presentation he gave a few weeks ago at the Museum of the Moving Image’s Mizoguchi retrospective, David Bordwell […]

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The View Beyond Parallax… more reads for week of May 9

9 May, 2014 (08:51) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“It is also a landmark in the ongoing soap opera in which a man uses film to show what he feels for a glorious woman: it is of the same family as D. W. Griffith and Lillian Gish, Josef von Sternberg and Marlene Dietrich, Jean-Luc Godard and Anna Karina, Michelangelo Antonioni and Monica Vitti, and […]

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The View Beyond Parallax… more reads for week of May 2

2 May, 2014 (08:38) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“The Hotel des Artistes—built by artists, for artists. What the hell are we doing here?” Steve Johnson follows the time-honored tradition of mining for auteurist creds in a flawed, overlooked work, seeing the sure hands of Robert Wise’s architectural sensibilities in the fiery prologue and pained climax of the muddled Audrey Rose. “The key Morgan-Slim […]

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The View Beyond Parallax… more reads for week of April 25

25 April, 2014 (09:54) | by Bruce Reid, by Sean Axmaker, Links | By: Sean Axmaker

“He’s not a lost auteur—the kind of work he did bears little relation to what we now know as screenwriting, and no one’s ever said he was anything more than an adequate director. And he’s not a hero—his life ended in shame, dissolution, and tragedy. But at the height of his powers, Bruckman worked on […]

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The View Beyond Parallax… more reads for week of April 18

18 April, 2014 (09:35) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“Using light or steam to kill seems slyly self-referential: these are cinematic deaths, almost death by cinematography.” Imogen Sara Smith tracks Anthony Mann’s progress through three genres he embraced successively—the documentary-inflected policiers; the noirs, which sank the straight-arrow posturing of cops-and-robbers under a moral murk; and the wracked emotional landscapes of the ‘50s westerns—showing how […]

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