Detective Tom Bob on the case, quadruple-Fantômas onslaught, Juve himself implicated. A costume party in this series of films is so inevitable as to be shockingly absent until now. I can conceive of Fantômas having every costume party for the next sixteen years marked on his calendar. To arrive at such a part and find yourself twice, with the knowledge that a fourth Fantômas is locked up in a Paris jail, must be ecstatic for the man. He is not…
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High and Low 1963
I have said it before. In a review that contained the words: objurgation, subdural, apertly, dilemmatic, prognostic, and the phrase: declarative ubicity of welkin wealth, I split High and Low into three films. Film one: High. Film three: Low. Film two: and. Even the byzantine swirls of such vocabulary could not hide this fundamental truth.
Film one.
One of Kurosawa’s great chamber dramas. Almost wholly set in the Gondo manor but not, as it would be a film in the…
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They Shall Not Grow Old 2018
Among the unruly film conservationist community – an elusive and underloved subsection of society at the best of times – there is much discontent afoot. Peter Jackson’s latest project, a commission from the Imperial War Museum to mark the centenary of the First World War’s conclusion, has been considered by some in said community to be an act of barbarity, an unjustifiable marring of historical record for the sake of empty titillation. This project, entitled They Shall Not Grow Old,…
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The Other Side of the Wind 2018
A cynic might suggest The Other Side of the Wind cannot be considered a true Orson Welles picture. After all, the man isn’t around to denigrate it, and hasn’t been for a long time. Isn’t this just a cobbling together by friends and colleagues; the long-dead resurrected, but not quite the same? But then, what Welles film is ‘true’, besides Citizen Kane? His filmography is a sort of grand tragedy, whereby a master at 25 was stifled for the remainder…
