If You Can See It: Elvis, Scorsese, and Will Mossop
It’s in Hobson’s Choice that De Banzie and Mills effect one of the warmest and most real accounts of love and marriage ever put on film. Of many effortlessly achieved[…]
Author: D. J. M. Saunders
D. J. M. Saunders is a practising artist who lives and works in Cardiff, Wales.
Not as we’d like but. . . . See you down the road anyway. I hope.
What I want to lose here is any suggestion that there’s only one solution to the problem of getting through tough times together. * * * Three Billboards outside Ebbing[…]
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Father’s Fine, Grandma Too: And When You Fall Down, So Are You (On Mandy, Dance Little Lady, and The Farewell)
In fact, until the appearance of this relatively unsung Russian actress, all of the above might easily have remained permanently stuck at the level of “stodgy melodrama.” Instead, we suddenly[…]
Drama · Religion & Spirituality · War
A Canterbury Tale: A Very British Spirituality . . . and European Too
Overt spirituality is often undermined in this film by bizarrely comic episodes from everyday life. Certainly the most bizarre plot element concerns the Glue Man – someone who attacks young[…]
A Fine Romance: When Love Neither Leaves nor Stays
But goes on being itself * * * True Love in cinema is more than fine acting, well-written scripts, or even directorial tone. Not that IMDb cast and crew should[…]
Drama · Essays · Uncategorized
Running, Reeling, Floating Free – On Hidden Figures, Humanity and Paper Balloons, City Streets
Isn’t something less reassuring and a lot more interesting going on – something more inclusive, diverse, and genuinely universal? * * * There are still too many human beings on[…]
Without Permission: Three Contemporary Feminist Films and One Classic (Suffragette, Mustang, Under the Shadow, Woman on the Run)
The women in these feminist films have power, but they’re more complex than fatale. * * * In the ultra-buoyant realms of badass, the femme fatale is equal to any[…]
How to Kill the Queen of the Night: Tragedy Is No Joke, but It Can Be Deeply Funny
O wad some Power the giftie gie us, to see oursels as ithers see us! – Robert Burns, “To a Louse, On Seeing One on a Lady’s Bonnet At Church.” * *[…]
Mapping the (Cinematic) Genome: Hiroshima, Mon Amour (1959); Peppermint Candy (1999); Black Coal, Thin Ice (2014)
Our cinematic genome, meanwhile, is becoming – if not always more clearly defined – certainly more rich and diverse and, at the same time, more universal than ever. * *[…]
Any Husband of Yours: Spellbound and 13 Minutes
Dreams and Pistol Shots * * * From Leslie Halliwell to David Thomson, capsule reviews of Hitchcock’s Spellbound have made sure we know that the psychiatry on offer is pure[…]
“I Used My Imagination”: Old Genres, New Jerusalems
What I find in Wim Wenders I find in William Blake (and all interesting artists): a desire for a better world that does not underestimate the difficulties of achieving it[…]
A Regular Film: Deluded or Clear-sighted? (When artist and critic are one)
Regular or otherwise, interesting films famously have the power to take us inside other people’s heads. * * * In the 2014 film Kumiko, The Treasure Hunter, director/co-writer David Zellner[…]
Film: An Adaptive Species. Part 2 of 2: Brainy, Sexy, and Not Totally Doomed
It’s more than magic * * * With Rachel Weisz as a fourth-century intellectual surrounded by far from intellectually questing males, Agora was Spain’s most commercially successful film of 2009.[…]
Drama · Essays · Writers & Critics
Film: An Adaptive Species. Part 1 of 2: Between a Book and a Hard Place
Lincoln (2012) & Wolf Hall (2015)/Les Miserables (1933) & Great Expectations (1946/2012) * * * So, notwithstanding humanist art or realistic biography, we go on hurting each other. “Everybody hurts,” as[…]
A Woman of Paris: She’s a (Universal) Artist, and She Don’t Look Back
Suddenly the whole medium grew up before my eyes . . . a grown-up film, with people behaving as they do in real life . . . . Nobody had ever[…]
Home Is Not Just for Christmas … or Thanksgiving … or Middle-Class Chaps, However Decent
To be clear, The Holly and the Ivy is not mistakable for a lost gem from Renoir or Mizoguchi. Yet it does make the most of a story told “in[…]
Everything Is Marvellous, but without Superbeings, what does that even mean?
When space seems polluted with far too many Superbeings, maybe cinema is not the first place to go for relief. Yet for those who have not given up looking for[…]
Going to Extremes #4: The Tempest (Oh, that magic feeling, nowhere to go)
“While I get Sam Goldwyn’s point about messages and Western Union, I think Shakespeare is always sending the same one: to overcome our worst weaknesses, first we must see them[…]
Going to Extremes #3: The Winter’s Tale (Danger: Twin Souls at Work)
“Everything goes on in the mind of a man who, nominally at least, has absolute power at court and who, until a few moments before, felt secure in the mutual[…]
Going to Extremes #2: Cymbeline (Sometimes in Britain)
Where all this takes me is to the thought that fiction frequently presents human personality as something lost or imprisoned – by self-ignorance and suspicion if by nothing worse. “We’re[…]
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