Brian Donlevy stan account.
Fourth favorite is a recent watch that I particularly dug.
The way our reactions to pieces of art shift over time is a vivid reminder of the way we ourselves are changing, and the ways in which our places in our own lives affect what we find important. When I discovered The Manchurian Candidate in my late teens, it was one of the first films I loved for its craft; for the brilliance of its construction and presentation. Later, my affection for it began to focus more on its interaction…
I love this movie beyond measure. I love its chokingly lyrical (and so very Raymond Chandler), inch perfect screenplay. I love its dark humor, and the absurdity of glamorous Phyllis and anxious Walter skulking around a grocery store so aggressively sterile it seems to come from inside the monolith in 2001. I love the long takes, and the way the austerity of Billy Wilder's shooting style contrasts so perfectly with the labyrinthine language and tale it's recording. But, most of…
2022 Asian Cinema Challenge
week 1: Kinema Junpo Awards Winners
The Ball at the Anjo House is an extraordinary piece of work, one that masterfully blends white-knuckle, personal melodrama with class conflict in the midst of massive social upheaval, all packed into 90 staggeringly assured minutes. Superficially, the film is an examination of the fall of an elite Japanese family as the post-WWII land reforms take place, summarily dropping them to the economic and social level of those…
Portrait of a Revolutionary was filmed by Yolande du Luart, a radical French film student at UCLA, in 1969 and 1970, during the controversy over Angela Davis' presence at the school as a philosophy professor. The 27-year-old (!!!!) is seen in a variety of contexts in the film: in the classroom with students,* preparing at home alone for class, speaking at rallies, meeting with fellow activists, and talking directly to the camera about her ideas.
No matter the environment, Davis…
I love the production design — by Joan Mocine and Jack Fisk, who is apparently Mr. Sissy Spacek?! — of Messiah of Evil. The art in the house is incredible (Did Arletty's dad really just do that to an Airbnb tho?), and each of the major set pieces is so cleverly constructed, including not only the much-discussed Ralph's sequence, but also the movie theater scene shortly thereafter, and the repeated shots of a figure outside the house, and the way…
2022 Asian Cinema Challenge
week 37: Directed by Akira Kurosawa
I have never seen blocking and stage direction so effectively create both interest and tension as they do in the first act of High and Low. Set almost entirely within the main room of the Gondo home, the opening section of the film is shot and performed like a play, with physical space as the absolute focus. The way the bodies in the scenes shift and move, coming…