<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Parallax View &#187; Essays</title>
	<atom:link href="http://parallax-view.org/category/essays/feed/" rel="self" type="application/rss+xml" />
	<link>http://parallax-view.org</link>
	<description>Smart Words About Cinema</description>
	<lastBuildDate>Wed, 08 Feb 2012 16:26:40 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.3.1</generator>
		<item>
		<title>I Owe You This Much</title>
		<link>http://parallax-view.org/2012/02/08/i-owe-you-this-much/</link>
		<comments>http://parallax-view.org/2012/02/08/i-owe-you-this-much/#comments</comments>
		<pubDate>Wed, 08 Feb 2012 16:23:51 +0000</pubDate>
		<dc:creator>Sheila Benson</dc:creator>
				<category><![CDATA[by Sheila Benson]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Kenneth Lonergan]]></category>
		<category><![CDATA[Margaret]]></category>
		<category><![CDATA[You Can Count On Me]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10275</guid>
		<description><![CDATA[A few people have asked about the Margaret in Margaret, as well they might.  My apologies!   I think she was ungallantly left behind during a cut-and-paste from another version, although this may also have had something to do with it. In any case, here she is: “Margaret, whom we discover must be called Mar-gar-et to [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/02/08/i-owe-you-this-much/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The &#8220;Commercial&#8221; Life of Luis Bunuel</title>
		<link>http://parallax-view.org/2012/02/06/the-commercial-life-of-luis-bunuel/</link>
		<comments>http://parallax-view.org/2012/02/06/the-commercial-life-of-luis-bunuel/#comments</comments>
		<pubDate>Mon, 06 Feb 2012 18:01:17 +0000</pubDate>
		<dc:creator>Peter Hogue</dc:creator>
				<category><![CDATA[by Peter Hogue]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Abismos de pasion]]></category>
		<category><![CDATA[Death In The Garden]]></category>
		<category><![CDATA[Gran Casino]]></category>
		<category><![CDATA[Illusion Travels by Streetcar]]></category>
		<category><![CDATA[La Fièvre monte à El Pao]]></category>
		<category><![CDATA[La Mort En Ce Jardin]]></category>
		<category><![CDATA[Luis Bunuel]]></category>
		<category><![CDATA[Mexican Bus Ride]]></category>
		<category><![CDATA[Movietone News 51]]></category>
		<category><![CDATA[Robinson Crusoe]]></category>
		<category><![CDATA[Susana]]></category>
		<category><![CDATA[The Criminal Life of Archibaldo de la Cruz]]></category>
		<category><![CDATA[The Great Madcap]]></category>
		<category><![CDATA[The River and Death]]></category>
		<category><![CDATA[The Young One]]></category>
		<category><![CDATA[Wuthering Heights]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10267</guid>
		<description><![CDATA[[Originally published in Movietone News 51, August 1976] One tends to think of Luis Buñuel&#8217;s &#8220;early&#8221; career in terms of long desert spaces between highly personal landmarks: almost two decades of relative anonymity between the collaboration with Dalí—Un Chien andalou (1929) and L&#8217;Age d&#8217;ôr (1930)—and the explosive resurfacing occasioned by Los olvidados (1950), and then [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/02/06/the-commercial-life-of-luis-bunuel/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>They Shoulda Been a Contender: 2012 Oscar Snubs</title>
		<link>http://parallax-view.org/2012/01/24/they-shoulda-been-a-contender-2012-oscar-snubs/</link>
		<comments>http://parallax-view.org/2012/01/24/they-shoulda-been-a-contender-2012-oscar-snubs/#comments</comments>
		<pubDate>Tue, 24 Jan 2012 21:30:19 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Academy Awards]]></category>
		<category><![CDATA[Best of 2011]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10199</guid>
		<description><![CDATA[By sheer numbers, the 84th Annual Academy Award Nominations seems to belong to Hugo, with 11 nominations. But given those are largely in the technical / craft categories, the success story this year is The Artist, a modern silent movie, shot in black and white, with two French stars practically unknown in the United States. [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/01/24/they-shoulda-been-a-contender-2012-oscar-snubs/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Cluttered Homes and Haunted Houses: Matt Wilkins and &#8216;Marrow&#8217;</title>
		<link>http://parallax-view.org/2012/01/23/cluttered-homes-and-haunted-houses-matt-wilkins-and-marrow/</link>
		<comments>http://parallax-view.org/2012/01/23/cluttered-homes-and-haunted-houses-matt-wilkins-and-marrow/#comments</comments>
		<pubDate>Mon, 23 Jan 2012 14:23:11 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Eliza Fox]]></category>
		<category><![CDATA[Frances Hearn]]></category>
		<category><![CDATA[Marrow]]></category>
		<category><![CDATA[Matt Wilkins]]></category>
		<category><![CDATA[Todd Jefferson Moore]]></category>
		<category><![CDATA[Wiley Wilkins]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10176</guid>
		<description><![CDATA[Marrow, the second feature from Seattle filmmaker Matt Wilkins, screens at Northwest Film Forum for two nights, on Tuesday, January 24 and Wednesday, January 25, with director Wilkins in attendance. I wrote a profile of Wilkins and his film for the film&#8217;s local debut at SIFF 2011. I reprint the feature, originally published in Seattle [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/01/23/cluttered-homes-and-haunted-houses-matt-wilkins-and-marrow/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Streep for all seasons, especially this one</title>
		<link>http://parallax-view.org/2012/01/22/a-streep-for-all-seasons-especially-this-one/</link>
		<comments>http://parallax-view.org/2012/01/22/a-streep-for-all-seasons-especially-this-one/#comments</comments>
		<pubDate>Mon, 23 Jan 2012 02:32:46 +0000</pubDate>
		<dc:creator>Sheila Benson</dc:creator>
				<category><![CDATA[Actors]]></category>
		<category><![CDATA[by Sheila Benson]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Meryl Streep]]></category>
		<category><![CDATA[Sophie’s Choice]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10191</guid>
		<description><![CDATA[Have not awakened from deep Streep mode over here. Partly because the Weinstein Company has been working her like a dog to see that The Iron Lady gets a decent lift-off. Thus her Kennedy Center Honors now, a Vogue cover, a Newsweek cover, plus an appearance – and an unsurprising win — at the otherwise [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/01/22/a-streep-for-all-seasons-especially-this-one/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Films of Lamont Johnson: Two for the Doghouse</title>
		<link>http://parallax-view.org/2012/01/17/the-films-of-lamont-johnson-two-for-the-doghouse/</link>
		<comments>http://parallax-view.org/2012/01/17/the-films-of-lamont-johnson-two-for-the-doghouse/#comments</comments>
		<pubDate>Tue, 17 Jan 2012 19:19:06 +0000</pubDate>
		<dc:creator>Robert C. Cumbow</dc:creator>
				<category><![CDATA[by Robert C. Cumbow]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[A Gunfight]]></category>
		<category><![CDATA[Anne Bancroft]]></category>
		<category><![CDATA[Chris Sarandon]]></category>
		<category><![CDATA[Deadlock]]></category>
		<category><![CDATA[Lamont Johnson]]></category>
		<category><![CDATA[Lipstick]]></category>
		<category><![CDATA[Margaux Hemingway]]></category>
		<category><![CDATA[Mariel Hemingway]]></category>
		<category><![CDATA[Movietone News 51]]></category>
		<category><![CDATA[My Sweet Charlie]]></category>
		<category><![CDATA[That Certain Summer]]></category>
		<category><![CDATA[The Last American Hero]]></category>
		<category><![CDATA[The McKenzie Break]]></category>
		<category><![CDATA[You'll Like My Mother]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10135</guid>
		<description><![CDATA[[Originally published in Movietone News 51, August 1976] Lamont Johnson&#8217;s Lipstick is not as bad as it has been reported to be by many critics and reviewers, nor yet as good as it might have been. The ultimate failure of the film may be attributed to an insurmountable discrepancy of intention among writer, director, and [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/01/17/the-films-of-lamont-johnson-two-for-the-doghouse/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>MOD Movies: The Andy Hardy Collection, Volume 1</title>
		<link>http://parallax-view.org/2012/01/04/mod-movies-the-andy-hardy-collection-volume-1/</link>
		<comments>http://parallax-view.org/2012/01/04/mod-movies-the-andy-hardy-collection-volume-1/#comments</comments>
		<pubDate>Wed, 04 Jan 2012 21:09:24 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[DVD]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Andy Hardy Meets Debutante]]></category>
		<category><![CDATA[Andy Hardy's Private Secretary]]></category>
		<category><![CDATA[Ann Rutherford]]></category>
		<category><![CDATA[Judge Hardy and Son]]></category>
		<category><![CDATA[Judy Garland]]></category>
		<category><![CDATA[Lewis Stone]]></category>
		<category><![CDATA[Life Begins For Andy Hardy]]></category>
		<category><![CDATA[Mickey Rooney]]></category>
		<category><![CDATA[Out West With the Hardys]]></category>
		<category><![CDATA[You're Only Young Once]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10080</guid>
		<description><![CDATA[The Andy Hardy Collection: Volume 1 (Warner Archive) The Andy Hardy films are a snapshot of Hollywood&#8217;s idea of small town Americana, circa 1936-1944. Simple, familiar, full of family values and homespun wisdom handed down by the thoughtful, white-haired patriarch (who just happens to be the local judge), these films defined MGM head Louis B. [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/01/04/mod-movies-the-andy-hardy-collection-volume-1/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Meryl the Magnificent</title>
		<link>http://parallax-view.org/2012/01/03/meryl-the-magnificent/</link>
		<comments>http://parallax-view.org/2012/01/03/meryl-the-magnificent/#comments</comments>
		<pubDate>Tue, 03 Jan 2012 17:15:15 +0000</pubDate>
		<dc:creator>Kathleen Murphy</dc:creator>
				<category><![CDATA[Actors]]></category>
		<category><![CDATA[by Kathleen Murphy]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Links]]></category>
		<category><![CDATA[Meryl Streep]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10075</guid>
		<description><![CDATA[From her first moments on-screen, Meryl Streep commanded the camera&#8217;s — and our — rapt gaze. It wasn&#8217;t just her luminous beauty. Even in early supporting roles, Streep&#8217;s acting radiated such remarkable passion and intelligence the Golden Girl stole center stage from anointed stars like Dustin Hoffman and Robert De Niro. Delivering stellar performances that [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/01/03/meryl-the-magnificent/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Woody Allen: Together Again for the First Time</title>
		<link>http://parallax-view.org/2011/12/27/woody-allen-together-again-for-the-first-time/</link>
		<comments>http://parallax-view.org/2011/12/27/woody-allen-together-again-for-the-first-time/#comments</comments>
		<pubDate>Wed, 28 Dec 2011 05:52:21 +0000</pubDate>
		<dc:creator>Greg Way</dc:creator>
				<category><![CDATA[by Greg Way]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Bananas]]></category>
		<category><![CDATA[Everything You Always Wanted to Know About Sex But Were Afraid to Ask]]></category>
		<category><![CDATA[Love and Death]]></category>
		<category><![CDATA[Play It Again Sam]]></category>
		<category><![CDATA[Sleeper]]></category>
		<category><![CDATA[Take the Money and Run]]></category>
		<category><![CDATA[Woody Allen]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10050</guid>
		<description><![CDATA[[Originally published in Movietone News 51, August 1976] Take the Money and Run and Bananas, Woody Allen&#8217;s first films as a writer-director-actor, were energetic messes redeemed by the novelty of seeing Allen&#8217;s comic vision transferred to the screen minus the dilutions of What&#8217;s New, Pussycat? and Casino Royale, on which he performed script and acting [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2011/12/27/woody-allen-together-again-for-the-first-time/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>10 War Films You Need to See</title>
		<link>http://parallax-view.org/2011/12/22/10-war-films-you-need-to-see/</link>
		<comments>http://parallax-view.org/2011/12/22/10-war-films-you-need-to-see/#comments</comments>
		<pubDate>Fri, 23 Dec 2011 00:06:35 +0000</pubDate>
		<dc:creator>Richard T. Jameson</dc:creator>
				<category><![CDATA[by Richard T. Jameson]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[war films]]></category>
		<category><![CDATA[War Horse]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10034</guid>
		<description><![CDATA[At the onset of World War I, young Albert Narracott of Devon, England, watches heartbroken as his horse Joey is commandeered for use by the cavalry in France. As the war rages, Joey will bear both British and German riders before being cast adrift in no-man&#8217;s-land. And eventually, Albert, never having forgotten his beloved steed, [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2011/12/22/10-war-films-you-need-to-see/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>

