Directors · Theory · Writers & Critics
One of Assayas’s most ferocious articles he ever wrote (and also one of the most theoretical) attacks le cinéma publicitaire – a film aesthetic (associated in France with Jean-Jacques Beineix[…]
By all accounts The Drop Edge of Yonder, or Zebulon as the script was titled, was truly one-of-a-kind, going way beyond the acid-western genre Wurlitzer helped create. In part we[…]
Drama · Theory · Writers & Critics
Bazin would always harbor reservations about The Third Man, but, due to that film, Greene’s presence would continue to loom large in discussions of Orson Welles, who was, of course,[…]
If Harry, viewed through the lens of Greene’s perverse Catholicism, is some kind of dark Jesus, then Holly is his betraying Judas, and Anna is his Magdalene. Both Harry and[…]
SF & Fantasy · Women in Film · Writers & Critics
A Boy and His Dog’s promotional advertisements also reveal how the novella was adapted and modified to suit the tastes of the American popular film-going public. The movie’s promo posters[…]
Hollywood · Literature and Film · Production History · Writers & Critics
“The Cinematic Faulkner” includes excerpts from The Life of William Faulkner, Volume 1: The Past Is Never Dead 1897-1934 (March 2020) and Volume 2: This Alarming Paradox 1935-1962 (September 2020), with the permission of the University[…]
Directors · Literature and Film · Production History · Writers & Critics
Conrad was more than a mere influence. He was also a direct source of story material. Welles considered himself “made for Conrad” and frequently returned to Conrad’s original stories. Adaptation[…]
Crime · Neo-Noir · Writers & Critics
So what the fuck happened? * * * 8 Million Ways to Die is a mess. Not a glorious mess, or an interesting mess. It’s not a fiasco on the[…]
Production History · Writers & Critics
In My Man and I, “it seems that America has fallen into decline and the Stones and Nancy Walkers of America need the redemptive power, the cultural revivification offered by[…]
For a variety of reasons, then, despite its high-gloss finish, the film did not achieve any real commercial success. This is not to say it was an artistic letdown, as[…]
Altman admitted never finishing the novel and saw no need to remain faithful to it. For that reason, the movie wasn’t well received by Chandler fans. Most didn’t appreciate the[…]
Literature and Film · Writers & Critics
The most substantial changes in Nightmare Alley are between the novel and the screenplay. For example, in the novel, Stan, who covets Zeena and her act, kills the alcoholic Pete[…]
Horror · Women in Film · Writers & Critics
Despite the fact that Wray had no previous screen credits, Lewton hired her to rework the story of I Walked with a Zombie with only two months to go before[…]
Horror · LGBT & Queer · Writers & Critics
One of the few indelible images in director Robert Mulligan’s 1972 film of The Other is that of Niles in the freaks’ tent at the 4th of July fair, gazing[…]
Biopic · Directors · Writers & Critics
Rather than trying to frame the narrative as a means of truly understanding the mind of its subject, the film emphasizes that the central figure himself controls access to his[…]
Drama · Essays · Writers & Critics
Today (July 20) is Cormac McCarthy’s birthday. He’s 83. We send birthday wishes his way by reposting Sophia Nguyen’s persuasive discussion of McCarthy and the book/film of The Counselor, which[…]
Activist & Political · Drama · Essays · War · Writers & Critics
The response to The Deer Hunter amounted to a serious public debate over the Vietnam War that extended beyond film critics to engage a wide range of viewers. It wasn’t[…]
Essays · Experimental & Underground · SF & Fantasy · Writers & Critics
These things never happen but are always. – Sallust The dead love the most, love the longest. – Malvina von Stille * * * INTRODUCTORY Centuries of thought and imagination,[…]
Crime · LGBT & Queer · Writers & Critics
Someday someone will tease apart the many layers of Damon’s performance: the charming Ripley, the frightened Ripley, the exposed Ripley, his voice subtly betraying him even as face remains serene.[…]
Directors · Interviews · Visual Artists · Writers & Critics
MIKE LEIGH: People have said to me, “Oh, I’m surprised Turner was like that, I would have thought he would be rather Byronic and beautiful and ascetic and nervously brilliant”[…]
