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The Awful Truth 1937
Within McCarey’s world the bedroom takes on a sort of symbolic role as the sanctuary for the married couple. Take for instance the final scene, where Jerry and Lucy lie down in their two separate beds in the divided bedroom. The bedroom, the room of marriage, is split in half and separated by a door with a broken lock.
As Jerry and Lucy realize that the lock is broken, Lucy repeats Jerry’s line “the lock isn’t very practical” then further…
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Half Past Dead 2002
Pleasantly surprising relic of studio filmmaking, although less as a Seagal vehicle than as a time-capsule of a transient space of early aughts pop culture. The film grammar is distinguished as much by its appreciation for the music and aesthetics of the era as its homages to a tradition of action cinema (nods to various Don Siegel films recur alongside its more direct riff on the Die Hard/The Rock template). In the era-specific cast, we get music artists Ja Rule,…
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Remains to Be Seen 1989
In an interview with David Grillo, Solomon describes the difference between his and Brakhage’s films by noting that, “there’s no sense for me of a body actually behind the camera as oppose to lets say Brakhage, where you almost always feel the human physicality behind the camera in his photographed work.” This distinction seems clear in how both filmmakers approach illustrating life, aging, and death - Brakhage overwhelms the senses while Solomon focuses them and whereas Brakhage’s films are always…
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La région centrale 1971
In some respects, Snow is positing an antithesis to Brakhage’s filmmaking, at least as far as Brakhage’s expressionism (the camera as representative of Brakhage’s eye) is at the opposite side of the spectrum from Snow’s impressionistic vision. From my own personal experience, La région centrale has informed my awareness of the distinction between what the filmmaker sees, what the camera captures, and what the audience perceives in the frame.
If one supposes that part of our attraction to cinema, as…
