HBO’s New Show Has Good Credentials, But Is That Enough?
February 14, 2012
Last Friday, the New York Times ran a double-page-spread ad for the new HBO series Luck. It featured quotes like “Sumptuous,” “Addictive,” “Compelling,” “Brilliant,” “Astonishing,” “Breathtaking.” (You know the sort of thing, you could write it yourself.) But after three episodes of Luck, I’m still hedging my bets and crossing my fingers—or just waiting to hear a line clearly. The show has plenty of credentials and promise.
TNR Film Classics: Screen Version (October 19, 1932)
February 11, 2012
Not long ago, apropos of the film version of Eugene O’Neill’s “Strange Interlude,” I wrote an article in which I said that so far as I knew, the moving pictures had not yet turned out a play of significance, that even when the play on which the film was based had been of some importance, the screen result had not.
Stanley Kauffmann on Films: Nudes and Others
February 08, 2012
Crazy Horse Return The Hunter Where is Frederick Wiseman taking us now? Beginning in 1967, when our pre-eminent maker of documentaries brought us into a hospital for the criminally insane in Titicut Follies, Wiseman has shown us American lives in—among many other places—high schools, a hospital, a monastery, a welfare agency. Lately he has been drawn to France, to some Parisian institutions: the Comédie-Française and the ballet of the Paris Opera.
The Iranian film A Separation, written and directed by Asghar Farhadi, seems to me the best film of 2011. It is one of the Academy Award nominees for Best Foreign Picture, but by any sense of justice in any nation (let alone the self-assessed greatest in the world) it would have been nominated for Best Picture before anything else. The ways in which the characters in A Separation struggle for truth and honor, while yielding sometimes to compromise and falsehood, is not foreign to us. Few other films made last year give such a striking sense of, “Look—isn’t this life?
David Thomson on Films: A Requiem to an Unjustly Forgotten Filmmaker
February 02, 2012
In a recent article published in Sight & Sound just days after the death of Theo Angelopoulos, the director is quoted: “The only place I really feel at home is in a car next to a driver. I don’t drive myself, but I find the simple act of passing through landscapes very moving. The way I look at the world on my various travels is what essentially defines my filmmaking.” Sometimes artists die in what might be incidents from their own work.
TNR Film Classics: American Silent Film (July 1, 1978)
January 27, 2012
If sensation-gorged sound movie audiences think about silent films at all, it is in that narrow category bounded by the ridiculous on one side and the grotesque on the other.
The Ambiguous Future of 3D Movies
January 24, 2012
It was in 1985 that the German film director Wim Wenders first saw the Pina Bausch dance company. He later admitted that he had had to be dragged to the event by a girlfriend. Though a lover of many types of music, Wenders was one of those who believed he simply didn’t get ballet or modern dance. But after a few moments of the performance, he was on the edge of his seat, so moved he was crying. He felt his life had been altered. Pina Bausch had been born in Dusseldorf in 1940 (that made her five years older than Wenders).
TNR Film Classics: ‘The Great Gatsby’ (April 13, 1974)
January 21, 2012
When I saw the 1949 film of The Great Gatsby, the only other person in the screening room was Edmund Wilson(whom I didn’t know). Afterward, as he left, a smiling Paramount publicity man asked him how he had liked the picture. “Not very much, I’m afraid,” said Wilson,and kept walking to the elevator.
Why Lisbeth Salander Beats Margaret Thatcher
January 17, 2012
In The Iron Lady, a figure named Margaret Thatcher orders the sinking of the Argentinean battleship, the Belgrano. She “wins” the war of the Falkland Islands, just as she had won leadership of the Conservative party in Great Britain and had become the nation’s first female prime minister. As such, she imposed austerity cuts; she beat down the trade union movement; she gutted many parts of her country, especially the manufacturing north; and she restored a version of prosperity in the financial services industry that was lifted on the wave of the Internet.
TNR Film Classics: ‘The Age of Innocence’ (October 18, 1993)
January 13, 2012
The basic trouble with Martin Scorsese’s The Age of Innocence (Columbia) is Edith Wharton’s novel. Looking back fifty years in 1920, Wharton conceived a tale of love versus honor set in New York high society of that past era, and she embodied it in a full-dress novel. But her material would have served only as a short story, at most a novella, for Tolstoy or Chekhov. What helps to sustain Wharton’s more extended treatment is the attractive prose in which she wraps her narrative.