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by Bruce Reid

The View Beyond Parallax… more reads for week of April 13

The only links page that matters… except for all the others.

Seattle screenings and cinema events are surveyed at Parallax View here.

She Who Is Called Feather Meets He Who Is Called Chance

“She Who Is Called Feathers manifests the most dazzling changes in raiment.” David Bordwell and Kristin Thompson’s mock exegesis on Rio Bravo isn’t just a delightfully sustained gag, but a vessel for several profound interpretations of the film, including a deconstruction of some song lyrics that is, keeping with their conceit, revelatory.

A father’s haunting anecdote about the moral confusions of living in a nation under occupation kicks off what is shaping up to be a lovely project from Vermillion and One Night’s Murderous Ink: a survey of Japanese films from 1949 that the writer digs his way into by scratching at items ostensibly in the margins. Thoughts on the superstitions around Crepe Myrtle and the rareness of tomatoes expand a grief-ridden scene from Kurosawa’s Stray Dog; and Ozu’s Late Spring and Tadashi Imai’s Green Mountains become two more stops in Japan’s ongoing anxieties over women riding bicycles.

Your latest round-up on the hazards and economic hardships of switching to digital projection comes via the L.A. Weekly.

The article above opens with a discussion of Christopher Nolan’s recent screening for fellow filmmakers of a sequence from The Dark Knight Rises, in an attempt to proselytize for the benefits of 35mm over video. Nolan discusses the subject, as well as his directing style (which, surprise, is highly pragmatic and orderly) with the DGA’s Jeffrey Ressner. Link via Movie City News.

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The View Beyond Parallax… more reads for week of April 6

The only links page that matters… except for all the others.

Seattle screenings and cinema events are surveyed at Parallax View here.

Watching Monica watching us

Issue two of the feminist film journal Joan’s Digest has arrived, keeping up the high quality of its debut. Among the highlights, Miriam Bale charts an unacknowledged genre, the “persona-swap” film, named for Bergman of course but ranging from Hawks to Rivette to Schroeder; Camila de Onís poetically recalls being in swoon to Monica Vitti, trying to find a place for her infatuation outside the male gaze; and Abbey Bender cheers the unpretentious but unmistakable feminism of Seidelman’s Desperately Seeking Susan.

“A few years ago, I thought I might open a chain of eulogy stores where you could go in off the street and, for twenty bucks, they’ll tell you all the nice things they’re going to say about you after you croak. But I don’t want people to say wonderful things about me when I can’t hear them. Tell me now, while I’m still here.” The multilingual journal La Furia Umana takes Jerry Lewis at his word, making him the subject of their latest issue. Plenty of good stuff here even for those of you currently rolling your eyes, from Sadarshan Ramani’s tracing Lewis (and Tahslin) as inspiration for King of Comedy‘s Rupert Pupkin; Steven Shaviro’s closely observed defense of Smorgasbord‘s (aka Cracking Up) “therapeutically purging” humor; and if you missed it the first time around (2003, in The Believer), B. Kite’s magisterial The Jerriad: A Clown Painting, one of the finest bits of writing ever done on Lewis, not least for its succinct delineation of an essential opposition: “Buster makes extraordinary feats look incredibly easy. Jerry makes mundane activities seem extremely difficult.”

The timing for such celebration, of course, is that The Kid just celebrated his 86th Birthday. Publicly, in fact, with Richard Belzer as MC and an audience Q&A that went pretty much the way you think it did. J. Hoberman fills in the details.

Related, David Bordwell and Kristin Thompson’s latest film books roundup and recommendations introduced me to the blog of Tashlin biographer Ethan de Seife, who’s posted a sharp look at the ambiguities—cultural, racial—of the music selections in The Girl Can’t Help It.

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