The past few days have been too full of martinis and gin and tonics to get any movie watching in. Oh, and that MLS SuperDraft. About 75-80 Crew fans showed up, suprisingly outnumbering Chicago's supporters on the day. And, then the Crew shocks us all by trading the number two pick for a player to be named later, effectively taking the air out of the group. Soon enough though, we found the player was Andy Herron from Chicago Fire, which brought some life back to the group. The Dispatch has a good rundown of draft day action, and Sigi's reaction. MLS season can't start soon enough. April 7 for those keeping track at home.
So after two days of drinking and chanting Crew songs in the middle of Indianapolis in January, I spent most of last night running through various blogs, etc.
Jim Emerson's Scanners has been in the in the midst of "Contrarian Week, almost all week. Plenty of good reading to be done there and some especially good conversation brought on by a Cinema-Scope article questioning, "Do We Really Need Scorcese?" Jim's take is here
David Bordwell has an excellent essay on Walt Disney.
Wong Kar-Wai films always get me. I'd been unable to figure out why. They just creep up on me. And as I find myself looking back on them days after seeing them I find myself thinking even more fondly of them than I did while initially viewing them. Possibly the best review or reaction I have read of 2046 is over at not coming. The final paragraph, especially...
I suppose this scenario fits the third category of romance, that is, the great obstacle to love. Here’s a film where the obstacles are the lovers themselves. They want to be together yet, unconsciously, tragically, they want more to have their lover break their hearts thereby completing the cycle of heartbreak which began with a former lover some time in the past.
Oh yeah, that's what hit me so damn hard about that film.
One more, at Unspoken Cinema is a blogathon on Contemplative Cinema, going on through the end of January. Contemplative Cinema meaning: the kind that rejects conventional narration to develop almost essentially through minimalistic visual language and atmosphere, without the help of music, dialogue, melodrama, action-montage, and star system. And there are already more than enough essays there to keep me busy throughout the weekend.
Finally, both Volver and Old Joy finally hit Indy this weekend. And with any luck I will see both next week, Tuesday and Thursday, hopefully.
Subscribe to:
Post Comments (Atom)
2 comments:
A friend of mine recently watched In the Mood for Love and didn't understand my love for it. I told him "because it's fucked up and fucked up is how most people act while in love or when they think they're in love" and he thought I was wierd.
Is there any Wong Kar-Wai movie that at least subtextually doesn't deal with the undefineable distance between lovers?
Post a Comment