The AV Club's diaspora, The Dissolve, has spent a week analyzing Terry Gilliam's dystopian masterpiece Brazil. The keynote essay. Brazil Forum: style, gallows humor, the past as future, and more. Duct to the future: The nightmare of Brazil never arrived, but it’s still resonant
"What is a cult film? A cult film is one that has a passionate following, but does not appeal to everyone. James Bond movies are not cult films, but chainsaw movies are. Just because a film has become a cult movie does not automatically guarantee quality. Some are very bad; others are very, very good. Some make an awful lot of money at the box office; others make no money at all. Some are considered quality films; others are exploitation movies. One thing cult movies do have in common is that they are all genre films - for example gangster films or westerns. They also have a tendency to slosh over from one genre into another, so that a science fiction film might also be a detective movie, or vice versa. They share common themes as well, themes that are found in all drama: love, murder and greed." - of the British TV film slots accompanied by an introduction perhaps the most celebrated is Moviedrome, running between 1988 and 2000 and presented first by Repo Man director Alex Cox and then film critic Mark Cousins. [more inside]
"I believe in the things I make. The fact that God doesn’t want me to make them is beside the point."
"The thing is, some really good scripts come my way, but there’s nothing in them for me to come to grips with, they are complete in themselves ... There’s no uncertainty. I don’t look for answers; I look for questions. I like when people leave the cinema and feel like the world has been altered for them somewhat." Terry Gilliam: The Heir of Fellini and the Enemy of God. (Also, recently on the blue.) [more inside]
"You must always be appearing. If you are not appearing, you are disappearing" -- José Mojica Marins, "the murderer of Brazilian cinema"
In October 1963, the Brazilian movie writer, director, and actor José Mojica Marins was having trouble with a movie he was working on, and fell asleep at the dinner table. He dreamed of being dragged to a cemetery by a creature in black, who showed Marins his own tomb stone, with the dates of his birth and death (YT: 9 min). That dream lead to the creation of Zé do Caixão (anglicized as Coffin Joe), the main character in Brazil's first horror movie, and Marins' first big movie success: À Meia-Noite Levarei Sua Alma (YT: 1hr 22min w/English subs) (At Midnight I'll Take Your Soul). This was one of the up-ticks in a life of some ups and lots of downs for the South American Roger Corman or Ed Wood (NYT), and the birth of a character who would become Marins public persona. [more inside]
The Burton Holmes Archive has information about Burton Holmes, the travel writer who became the first person to make filmic travelogues. More importantly, they also have a lot of film clips by Holmes and his associate, André de la Varre, who was also a great travelogue maker himself. Watching these clips is not quite time travel, but it is as close as we can get. Take a look at Reykjavík, Iceland, in 1926, Lake Michigan in 20s, Cairo in 1932 and the 1955 Rio de Janeiro carnival. The later films have sound and narration, but I prefer the silent ones. [Burton Holmes previously, André de la Varre previously, and the Travel Film Archive, which runs Burton Holmes site, previously]