Guy Crucianelli is an Associate Lecturer at the University of Wisconsin-Parkside. His work has appeared at Senses of Cinema, Bright Lights Film Journal and the Journal of Popular Culture. He is also a regular contributor to the 101 Movies You Must See Before You Die series.
Throne of Blood plays with Noh's frightening incongruity, its delicacy of movement expressing mortifyingly indelicate actions, as when Washizu and Asaji deflate like punctured blow-up dolls as they resolve themselves to treason.
Though Citizen Kane has cemented his place in film history, The Magnificent Ambersons -- especially had its original ending been kept -- would prove Orson Welles one of Hollywood’s greatest masters of tragedy, if not the greatest.
Cassavetes' aesthetic, both in front of and behind the camera, was less Method immersion than mad (as in gleeful) exploration, skirting the emotional edge without tripping into or wallowing in cathartic excess.
Through a series of chapters interspersed with interviews, “interludes”, “Q&A”’s, reviews and obituaries, Warner attempts to plot the links between Beat and rock, not only through music and lyrics, but also personality, even clothing.
This series documents the Louvre study days, wherein paintings are taken off the walls, unscrewed from their frames, pulled from their glass casings, and put on easels to be eyeballed by a group of international professionals.
Discussing Laurence Sterne, Friedrich Schiller, Adam Smith, Lord Shaftesbury, Charles Dickens, Joseph Conrad, Mary Shelley, D. W. Griffith, Frank Capra and others may seem culturally crowded, but Chandler is so learned, his prose so lucid, that he weaves them together with impressive dexterity.
Though Chuck Boyd shot “onstage, backstage, in the studio and elsewhere” and was essentially “with the band”, he was also fundamentally apart, in a place more penumbral and isolated, like a hovering Eye on guard.