These movies offer not just a twist, but a twist atop a twist, and a joke atop the joke: the “superjoke,” as Billy Wilder called it. Those themes repeat: the lively, often-painful love triangle, the sexual and romantic jealousy, the thrill of sex, and in this case, the carnal kicks co-mingling with the art of stealing, an act more erotic than gold-digging. (Gold-fleecing is much more penetrating.) And then—important during one of the worst economic times in America’s history—there’s Lily and Gaston’s hard, artful work, something to respect.
Ernst Lubitsch’s charming pre-Code transgressions
posted by timshel
on Nov 19, 2013 -
Lois Weber was an important early American film-maker who pushed the boundaries of film-making so she could better tell the stories she wanted to tell. Several of her early silent films are on youtube: Suspense
(1913; ~10 minutes) (she directs herself, experiments with the split-screen view and unusual and effective camera angles including shots from above and using the car's side mirror); Hypocrites
(1915; ~4 minutes) (featuring dual roles, nudity, and a strong use of techniques like multiple exposures and complex editing - as well as a strong moral message); and
Where Are My Children
(1916, ~1 hour, 10 minutes) (a complex and controversial film even then about birth control (pro) and abortion (anti)). [more inside]
posted by julen
on Sep 20, 2013 -
What's the relationship between the rise of film noir
and the national mood of post-war (WWII, that is)
America? "Was noir simply a way of reanimating the tired conventions of the pre-war crime film? Or did we need melodramatic illusions potent enough to overcome whatever disillusions strayed briefly into our minds as we surrendered to the mighty engines of prosperity? Or was it one of those cycles - like biopics, westerns, sci-fi, etc. - that Hollywood mysteriously embraces and then just as mysteriously abandons?" Via.
posted by amyms
on Aug 15, 2007 -