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Category: Genres

La Petite Marchand

Directors · Reviews · Silents

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From La Fille to Dr. Cordelier: Character and Environment in the (Mostly) Early Works of Jean Renoir

  • January 31, 2013

“Renoir’s static images contain a great deal of emotional intensity — like that last lyrical shot of the sun setting in La Fille — and the sheer beauty of his two-dimensional compositions generates an emotional involvement within the viewer (like that in the viewer of a painting) and a sense of emotional treatment of the romantic material within the frame, yet preserves an awareness of the existence of a larger world beyond the borders of the frame.”

Daniel Day-Lewis as Lincoln

Historical & Epic · Reviews

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Father of His Country: On Spielberg’s Lincoln

  • January 31, 2013

“Spielberg’s post-millennial Lincoln epitomizes the more experienced politician’s awe for Justice (as distinguished from the malleable Law), which is to be sought by whatever means necessary and inevitably involves sacrifice, perhaps of one’s very soul. There’s more than a touch of Faust in this script.”

'Mitt Romney is trying to kill me!'

Activist & Political · Essays · TV & Streaming

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When the World Was Wide(r): A Requiem for PBS: Why are there no nonpartisan attacks on the Corporation for Public Broadcasting?

  • January 31, 2013

“There was a time when the Corporation for Public Broadcasting, ‘formed as an educational, non-commercial, and public interest alternative to the vast wasteland of commercial networks,’ meant something other than drearily underproduced Anglophone mysteries, self-help seminars for pensioners and forced retirees, staged cooking lessons, cheapjack puppet shows, and various and unspeakable retrenchments of the petit bourgeoisie.”

I Know Where I'm Going!

Essays · Historical & Epic · Music & Musicals

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The Music of Words: Storytelling in Two Powell & Pressburger Films

  • January 31, 2013

“While Powell and Pressburger were masters of the classic show-don’t-tell method, they also daringly broke the rule by telling, not showing. Both techniques ultimately serve the same purpose. Despite the aesthetic of excess often attributed to the Archers’ films, they gain power by withholding certain elements, requiring the audience to supply what’s not there.”

Eleanor Parker in Caged

Essays · Genres

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The Women in Prison Film: From Reform to Revolution 1922-1974

  • January 31, 2013

“The cheap production values of most WIP films required them to rely on the promise of forbidden spectacles such as sex (‘Love Starved Women!’), violence (‘Rape, riot, and revenge’), and often the pretense of an exposé (“The story of a woman’s prison today’) to attract moviegoers.”

Vidya Venkatesan Bagshi in Kahaani

Asian · Crime · Reviews

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Pushing Limits: On Crime, Bollywood, and Kahaani

  • October 31, 2012

“Kahaani captures this moment of rising disillusionment and change in the world. There is no ‘riding-into-the-sunset’ happy ending, for Vidya still remains an unhappy widow at the close of the movie: perhaps an appropriate resolution for these angsty times.”

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