The new issue of La Furia Umana spotlights three distinctive filmmakers. (Four, actually, but the journal asserts its multilingual nature by presenting all the articles on René Vautier in French; if any of the batch is must-read, let me know.) Julie Grossman does a fine job situating Ida Lupino’s originality within noir and melodrama traditions; while Claire Denis’s freewheeling, allusive method of adaptation in Beau Travail and her drawing us past comfort into the transgressions of Trouble Every Day are explicated by Adelmo Dunghe and Jessica Felrice, respectively. But the bulk of articles are devoted to William Wellman, with fine contributions from Toshi Fujiwara on The Ox-Bow Incident and J. Hoberman on The Next Voice You Hear. (As well as the thoughts of Bertrand Tavernier, again in French.) Capped by a dazzling photo-essay (with poetic interludes) celebrating the special place woman’s work holds in Wellman’s cinema, from Gina Telaroli.
Your latest updates on the death of cinema, 2012 edition: the NY Review of Books excerpts J. Hoberman’s latest, Film After Film, to lay it at the feet of cgi and The Matrix; at Salon, Andrew O’Hehir thinks TV wielded the killing blow; while Vadim Rizov wonders, “what death?” (That last link via Glenn Kenny.)
Peter Bradshaw celebrates Antonioni’s centenary by surveying the serene summits of a master—and the earlier films that, however superficially conventional, display their “own mysterious brilliance [which] has been forgotten.”
“His principal direction of us was the reaped [sic] request, ‘Plus lentement!’ (‘More slowly!’), although at one point he called an extra over and, smiling, said, ‘You like to walk fast. All right, walk fast.'” Jonathan Rosenbaum recalls his two nights as an extra on Bresson’s Four Nights of a Dreamer.
“If you don’t like my stories, you don’t have to listen to my program.” Peter Tonguette praises the character studies at the heart of The King of Marvin Gardens.
David Kalat finds Cary Grant’s debut in This Is the Night only a particularly noticeable exemplar of the new comedic sensibility and sophistication the sound film offered in comparison to its silent predecessors.
Over the next month you can get your political fix from various mushmouthed partisan wonks or from Orson Welles, whose articles for The Free World will be posted by Wellesnet till the election. Up now is his debut column, a 1943 call against the tide of fascism that ends with the kind of wry exhortation to the future they don’t just make anymore, and was a pretty rare bird back then as well: “To the generations sleeping in our loins: Be of good heart! The fight is worth it.”
“If you fell asleep with a cigarette in bed either it is put out in its own, or your house can catch fire. Doubt is like a cigarette, it either does nothing or destroys everything.” Fandor’s Miriam Bale presents five valuable lessons from Buñuel excerpted from his episode of Cinéma, de notre temps. Related: tumblr This Must Be The Place offers Buñuel’s magnificent review of Keaton’s College, with its compact argument for a less self-consciously expressive cinema and its famous assertion the movie is “as beautiful as a bathroom.”
As you’d expect of one who’s crafted such sensual images, cinematographer Agnès Godard has interesting thoughts on digital photography (which she just employed for the first time), and communicates them to the Times’s Kristin Hohenadel.
“I was interested in Marxism and communism, but I never espoused them. I was anarchistic in my beliefs. I wanted to march against all institutions, from the family to the government.” Marco Bellochio talks about his latest provocation Dormant Beauty—and the rerelease of one decades old, In the Name of the Father—with Nigel Andrews.
“It was funny seeing Noah [Baumbach]’s movie the other day, about the relationship between the women. Much more nurturing. It’s completely unsexual, while mine is filled with dark desire!” Brian De Palma’s interview with Mubi’s Daniel Kasman has all the wicked humor and cinephile asides you’d expect—as well as spoilers giving pretty much the whole game away on his latest, Passion (as well as the Corneau film it remakes), so, you know, fair warning.
“They called the film Outback. I said, ‘Outback? That makes it sound like a National Geographic documentary about Australia. What’s the matter with Wake in Fright?’ They said, ‘It sounds like a Hitchcock film.’ I said, ‘That’s bad?'” Kevin Canfield interviews Ted Kotcheff about his fourth feature, hailed at Cannes in 1971, dumped unceremoniously by its distributor, and now rediscovered and rereleased.
Daniel Schweiger interviews Nathaniel Méchaly on the mix of adhering to formula and venturing afield it takes to be a house composer for Luc Besson’s production company. Also at Film Music Magazine, the audio from a pair of panels at the Fans of Film Music 3 conference, with participants including Bruce Broughton, Trevor Morris, Marco Beltrami, and Richard Sherman.
“Since you’re trapped here, finish the noodles.” Criterion’s gallery of hallways and alleys from In the Mood for Love reminds you how lovely the movie’s confining corridors are.
“He created “The Maltese Falcon,” “Sam Spade” and “The Thin Man” But he didn’t write this mystery thriller…HE LIVED IT.” Mark Fertig is approaching halfway through another poster countdown at his blog Where Danger Lives, this time tallying the 75 greatest posters from neo-noirs. As always, the graphic designer’s perceptive critiques are worth it just as much as the images. Part 1 (75-61) here and Part 2 (60-46) here.
The fourth annual Maelstrom International Fantastic Film Festival opens Friday, October 5 at SIFF Film Center with the black comedy Mon Ami and plays through Sunday, with midnight shows Friday and Saturday at The Uptown. Schedule, tickets, and passes here.
It’s up against another film festival this weekend, the fourth annual Seattle Latino Film Festival, which plays Friday-Sunday at The Uptown. Opening night film is the family drama Meu País/My Country from Brazil. Schedule, tickets, and passes.
Ira Sachs’ Keep the Lights On, which won the Teddy Award at the Berlin International Film Festival, opens at The Uptown this weekend and SIFF offer a special Q&A with Sachs, via Skype, after the 7:15pm show on Saturday.
Grand Illusion is dedicated their October calendar to horror and cinema of the fantastic, beginning Friday night with a return engagement of the uncut Possession from Andrzej Zulawski (I reviewed for Seattle Weekly earlier here) and two screenings of the documentary The American Scream on Saturday night in addition to runs of John Carpenter’s The Thing and Greydon Clark’s Without Warning, matinees of Bert I. Gordon’s knights and dragons The Magic Sword and a midnight screening of Sam Raimi’s Evil Dead. Groovy! All except the documentary are on 35mm. Schedule here.
The weekly links page is compiled and curated by Bruce Reid, with Seattle Screens curated by Sean Axmaker and other contributions from friends of Parallax View.