stop being ironic
Lolita - The End of Wholesome Americana
When Stanley Kubrick made Lolita, the United States was firmly at the top of the world. Postwar American society was perhaps the peak of what the country was able to achieve - a middle class that was thriving, and one that valued purity. Scenes from that society are now iconic examples of Americana - white picket fences, drug stores, soda fountains, the Chevrolet Bel Air. All of which has been captured retrospectively in…
Mr. Arkadin - Demythologizing a False God
The films of Orson Welles all take place in a heightened reality. He’s a theater man at heart, but that’s not the sole reason for his low-angles, Dutch-angles, or short focal lenses. They are all there to aide in Welles fragmented vision. He’s a novelistic filmmaker – traditional continuity has seldom mattered to Welles. The Stranger might be the only film of his that follows any kind of normal narrative structure (which also…
Reckless optimism held together by an emphatic vision of humanity’s future and Homeric spirituality. The existentiality and importance of outer space has never been more fully realized. Nor have science and spirituality ever been more in unison. It’s not so much a case of one not existing without the other, but rather a case of one (technology) used to help regain the other (spirituality). Nietzsche cried out “God is dead,” but who’s to say that he cannot be revived? Who’s…
It's been way too long since I've seen this one. Charlton Heston and Franklin J. Schaffner turn camp into sci-fi gold. Sterling's script given to any other director not named John Frankenheimer would've ended up a tonal and total mess. Zauis was right, which is why the film is so monumental - the cynical, cautionary brother of 2001. Both released on the same day in 1968 no less. Between this and Soylent Green, Heston became something of a cautionary sci-fi icon - two revelatory endings.
And Goldsmith cuts loose.
"IT'S A MADHOUSE"
This movie is awful in ways I can't even begin to comprehend yet. It's been almost 24 hours since I watched it and I can't get over how stupid it was. It's the ultimate smart-guy simulator - sit and listen to two idiots rattling off about mindless philosophy and name-dropping authors and filmmakers for two hours. Being smart sounds awesome. But more importantly, everything and everyone in this movie is so fucking ugly. It's like the worst looking scenes from…
Impossible to take seriously. I'm also not gonna buy that this was some purely ironic, dadaist attempt at religious satire. There's too much *real* occult/gnostic symbolism that's played straight for me to pass this off as being totally meaningless. If you've seen JODOROWSKY'S DUNE, you'll know that he's a guy that takes himself extremely seriously (i.e. rape Frank Herbert with love). There are meaningless moments in this, yes, but there's a broader, much more sinister cloud that hangs above the…