Bogart never says "Play it again, Sam" in Casablanca, and most noirs don't feature slinky jazz scores, but the misconceptions persist. In the case of the latter, it's easy enough to see why: A wailing saxophone doesn't seem far removed from the femmes fatales and smoky nightclubs that populate film noir. But, alas, many of these movies were made before Hollywood discovered jazz — a development that largely took place in the 1950s. Read more »
The significance of a different numeral is noted near the finale, but the number in the title of Matthew Barney's Drawing Restraint 9 makes it clear that the film is but one chapter within a gargantuan project that Barney has been working on for close to two decades, the first seven entries an array of vitrines and video installations predating and possibly even anticipating his Cremaster cycle. Read more »
The sales pitch is "democracy," suggesting national autonomy and individual choice. But the reality here and abroad is free-market corptocracy, which delivers pretty much the opposite. Yet for all their control on government policy and civilian life, corporations largely remain invisible to those not directly involved with them.
So, corporate culture — and the face-lifted culture it exports for public consumption — may be this century's Esperanto, a language everyone ought to speak but few have bothered to learn. Read more »
There are some serious-minded films on the program of this year's San Francisco Documentary Film Festival, like Cracked Not Broken, about a stockbroker turned crack addict, and The Chances of the World Changing, about one man's crusade to save endangered turtles. But when there's an option in life to sample something called Pizza! The Movie, there's really no way around it. You have to go for the pie.Read more »
Harry Smith is a folk hero. Smith's masterwork, the definitive, meticulously edited Anthology of American Folk Music (1952), was the bible of the ’60s folk movement that spawned Dylan, Baez, Fahey, and others. To discover it is to stumble into a forgotten, marginalized world, a portal to — as Greil Marcus put it in his book about Dylan's Basement Tapes — "a weird but clearly recognizable America."Read more »
Imagine being a moviegoer, say, 60 years ago. Then, as now, Hollywood prompted wiseguys and eggheads to complain that the average picture was made by idiots for idiots. In particular, what could be more brain-deadening than yet another 90 minutes spent enduring gaudy production numbers, rickety romance plots, stale patter, throwaway songs, and forced (as they used to put it) gaiety?Read more »