I have a mind and sometimes there are things on it. Given that I have a bad back, this space is where I hope to unload them.
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The next post will be a comparison of the original 1951 film The Day the Earth Stood Still by Robert Wise and the 2008 remake by Scott Derrickson. In the meantime here's a little something to tide you over. J
Tony Leung and Maggie Chung in In the Mood for Love (Wong Kar-Wai, 2001) Wong Kar-Wai I am often asked what my favourite film is, to which I generally reply - "Pffft!". I know! Why people ever ask me anything is quite beyond me too. But my reason for mentioning that particular flaw in my character is that while it seems utterly out with my ability to choose a particular favourite, or indeed to respond to the question in a civil, adult and mannered way, I do have a list. This list may grow and shrink over time, but in 2001 I added a film to it and it has been there ever since. In the Mood for Love was a defining moment for me and my connection to cinema. This movie more than most underlined the notion that what particularly moves me is film form; rather than just character, narrative or singular technical aspects, it is the collision of these things that resonates for me in film and makes them stay with me. Tony Leung in the sumptuous In the Mood for Love The fi...
I'm going to try and arrange letters in such a way that you'll get an idea of why I think Brief Encounter (David Lean, 1945) is one of the greatest films I've ever seen (to give this claim some frame of reference I draw your attention to the fact that I have seen in excess of 17 films). This kinda feeds from my last post in a way, as too long ago now I visited Cranforth station in Lancashire, the main setting of Brief Encounter , it wasn't planned and when the opportunity came up I was genuinely excited. When we got there, I squealed and ran around taking poorly composed photographs, and looking at memorabilia, and strongly fighting the urge to sit and watch the film that was about to begin on a small TV in the station, and drinking tea through a big soppy grin, and pretty much everyone else didn't care. It was there though that I realised just how much I really cared about this film and when I came back I gushed at folk and foisted poorly co...
Howdy. Offt! March is looking like a very strong month of films at the cinema and I'll tell you what, I'm going to try and see them, and then write about them and then…ehh…maybe watch a bit o' telly or something. What is catching my eye in particular is: Nymphomaniac (parts I and II) (Lars von Trier, 2013); Her (Spike Jonze, 2013); Only Lovers Left Alive (Jim Jarmusch, 2013), The Grand Budapest Hotel (Wes Anderson, 2014) and Under the Skin (Jonathan Glazer, 2013) Let's kick this of with Nymphomaniac (Lars von Trier, 2013). In typical style there was a buzz around - no! A furore - No! A brouhaha (doesn't fit as well as furore but I like the sound of it) around the film. The controversy, or expectation, or umbrage, or what ever swell of feeling, is often stimulated in no small part by von Trier himself (see the publicity shot) . This time Lars von Trier has remained muted about the film in a self...
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