The film industry started making jazz-related features as soon as synchronized sound came in, in 1927: “I’m gonna sing it jazzy,” Al Jolson’s Jack Robin optimistically declares in the pioneering talkie The Jazz Singer, before taking off on Irving Berlin’s “Blue Skies.” (He gets closer to the jazzy mark whistling a quasi-improvised chorus of “Toot Toot […]
Unfinished works tease us. They come with baggage. They cling to their authors whose lives, in turn, weigh heavy upon them. Why were they broken off? How might they be continued?
The summer of 1939 was busy for Metro-Goldwyn-Mayer, one of Hollywood’s major studios, as it rolled out The Wizard of Oz, a movie musical almost two years in preparation. The budget for production and promotion was almost $3 million, making it MGM’s most expensive effort up to that time. A June radio broadcast introduced the songs and characters to the public.
The endtime is coming. The night is very long indeed; sun and moon have vanished. From the east march the frost-giants, bent on the destruction of all that is living. From the south come fiery powers, swords gleaming brightly. A dragon flies overhead. And, terrifyingly, the dead are walking too.
I’m anxiously awaiting the release of Bolden, a film about the New Orleans cornettist Buddy Bolden (1888 – 1933) who may actually have invented jazz. But since Bolden will not be released until May, and since April is Jazz Appreciation Month, now is a good time to talk about the cultural capital that jazz has recently acquired, at least in that […]
The 2018 movies Crazy Rich Asians, It, Black Panther, The House with a Clock in Its Walls, Mary Poppins Returns, and Beautiful Boy have very little in common with one another, except the fact that all are based on popular books.
Over his esteemed six decade career, Italian composer Ennio Morricone has scored hundreds of movies across numerous genres, most famously the Spaghetti Westerns of Sergio Leone.
This year’s Academy Awards presentation takes places at the end of Black History Month. The congruence of this fact with the increased profile of heretofore minority cinema is more than felicitous. Since the Twitter campaign #Oscarsowhite following the announcement of the 2015 nominations, both the Academy and the motion picture industry have made visible efforts to promote work by Asian, Latino, and African-American directors, writers, actors, and musicians.
Does it make you less of an intellectual woman, any less of a feminist, to derive insight and even pleasure from films where women appear as instruments in the service of male desire?
In the world of film, members of the audience perceive what they see on screen as realistic, even if what they’re seeing is not actually real. The role and influence of academic consultants has been debated as the impact of historical films in the lens of educating a populous is in question. On this episode, […]
In 1998 Thomas M. Disch boldly declared in The Dreams Our Stuff Is Made Of: How Science Fiction Conquered the World that science fiction had become the main kind of fiction which was commenting on contemporary social reality. As a professional writer, we could object that Disch had a vested interest in making this assertion, but virtually every day news items confirm his argument that SF connects with an amazingly broad range of public issues.
In 2001, the film Intimacy was screened in London as the first “real sex” film set in Britain. With a French director and international leads (the British Mark Rylance and New Zealander Kerry Fox), the film was controversial even before screening.
Despite numerous honors throughout his illustrious career, including being the only director to earn the “triple crown” of show business awards—the Oscar, Emmy, and Tony—all in one year, Bob Fosse remains underrated in terms of his influence on the presentation of dance on film. From Sweet Charity, his first film as a director, through his multiple Oscar-winning Cabaret, to his autobiographical, Felliniesque All That Jazz, Fosse created a template for filming dance that has remained influential and remarkably vital years after these films first appeared.
Are you familiar with the mullet? It’s a distinctive hairstyle—peculiarly popular in continental Europe in the 1980s—in which the hair is cut short on the top and sides but left long at the back. Whatever the aesthetic gravity of the mullet, it comes with a philosophy. The philosophy of the mullet is this: “Business in the front, party in the back.” I’ll argue that the reverse holds true for the horror genre, didactically speaking. Horror fiction is sexy. Horror has zombies. It has ghosts and vampires. It has Hannibal Lecter and Jigsaw, Michael Myers and Jason Voorhees, Freddy Krueger and Leatherface. It has cannibal hillbillies and crazed college kids.
The fictional world has always featured women who solve crimes, from Nancy Drew to Veronica Mars. Although men crime-solvers outnumbered women on TV, women detectives have increasingly become more commonplace. This trend includes the policewomen depicted on CSI and Law & Order: SUV as well as private detectives like Veronica Mars and Miss Phryne Fisher who are the chief protagonists of their series.
A rich sensuality of touch permeates Luca Guadagnino’s new film Call Me By Your Name, based on André Aciman’s 2007 novel of the same name. This tactile quality comes through not only in its evocative visual imagery: close-ups of hands and fingers and feet, shoulder rubs, sweaty bare skin glistening in the sun, bodies lounging on lush grass or jumping into chilly spring-fed ponds, soft-boiled eggs and ripe fruits bursting with juices, the broken limbs and pitted patina of ancient bronzes.