So take the film on its own titular terms. What does
Love Actually tell us about love, actually? Well, I think it tells us a number of things, most of them wrong and a few of them appalling. Now, anyone who goes to the cineplex with any regularity knows that the last decade has seen more than its share of bad romantic comedies. But Love Actually is exceptional in that it is not merely, like so many other entries in the genre, unromantic. Rather, it is emphatically, almost shockingly,
anti-romantic. Love Actually Is the Least Romantic Film of All Time
posted by davidjmcgee
on Dec 7, 2013 -
"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
, running between 1988 and 2000 and presented first by Repo Man director Alex Cox
and then film critic Mark Cousins
. [more inside]
posted by Artw
on Aug 3, 2012 -
Drama is impossible today. I don't know of any. Drama used to be the belief in guilt, and in a higher order. This absolutely cruel didactic is impossible, unacceptable for us moderns. But melodrama has kept it. You are caged. In melodrama you have human, earthly prisons rather than godly creations. Every Greek tragedy ends with the chorus — "those are strange happenings. Those are the ways of the gods". And so it always is in melodrama.
His career as a film director lasted more than 40 years, but Douglas Sirk (1900-1987)
is remembered for the melodramas he made for Universal in Hollywood between 1954 and 1959, his "divine wallow
": Magnificent Obsession (1954)
, All That Heaven Allows (1955)
, Written on the Wind (1956)
, The Tarnished Angels (1958, William Faulkner considered it the best screen adaptation of one of his novels)
, Imitation of Life (1959)
-- all considered for decades little more than a camp oddity
. Now audiences are beginning to look deeper at the films of Douglas Sirk, at how, in megafan Todd Haynes' words, they are "almost spookily accurate about the emotional truths
". Now, lucky Chicagoans can enjoy "Douglas Sirk at Universal", matinees at the Music Box
. More inside.
posted by matteo
on Apr 29, 2006 -
"... we are sweeping everything under the carpet, but the oddness is cropping up all over the place. And then, the carpet starts to move…".
, "le manipulateur" who introduced his latest film, Caché
, at Cannes with a half-amused “I wish you a disturbing evening
”, is the proponent of a "cinema of disturbance
". A cinema of loving self-mutilation
, where time is non-linear
and everything happens in long take shots
; in Haneke's world, guilt destroys lives decades after the original sin
. All his male characters are "Georges" and his female characters are either "Evas" or "Annas", "because I lack fantasy
". Unsurprisingly, he is a Bresson and Tarkovsky fan
. He'll direct "Don Giovanni" at the Paris Opera in early 2006
: "In 20 years of working in the theater, I only staged one comedy, and that was my single failure".
posted by matteo
on Nov 18, 2005 -