Brian Donlevy stan account.
Fourth favorite is a recent watch that I particularly dug.
Anna is a receptacle into which other people pour their loneliness and regret. At times, it's hard not to see her as a victim, a woman who stands still long enough for men she doesn't know to tell her about their emotional pain; their rootlessness; their fears for both themselves and their nations. Anna listens, but perhaps it's because she's been conditioned to do so. We see this with Ida, a family friend, with whom Anna sits, silently, listening to…
I love this movie beyond measure. I love its chokingly lyrical (and so very Raymond Chandler), inch perfect screenplay. I love its dark humor, and the absurdity of glamorous Phyllis and anxious Walter skulking around a grocery store so aggressively sterile it seems to come from inside the monolith in 2001. I love the long takes, and the way the austerity of Billy Wilder's shooting style contrasts so perfectly with the labyrinthine language and tale it's recording. But, most of…
There's never going to be a Chester Morris movie that I don't find a way to enjoy, no matter how bang average it is. In the case of Law of the Underworld — a gangster movie that gets distracted by a pair of innocent teenagers who just wanna get married and live wholesome lives — the way in is the film's first act, in which Morris plays a man about town who also happens to have the world on a…
Initially, I found Le Trou alienating, because it seemed to prioritize process and action over people. As someone who is often drawn into movies by the characters rather than what they do, I felt almost intentionally kept at an arm's length by this one, forced to engage with the minutiae of an escape attempt rather than the men making the attempt. Eventually, however, I realized something. While director Jacques Becker is, in fact, not particularly interested in his individual characters,…
There is a link between Double Indemnity and Touch of Evil that goes well beyond the shared genre the two films bookend, and it's one that can be found in the deep relationships between their male characters.
In Double Indemnity, Walter Neff and Barton Keyes are, in many ways, opposites. One young, brash, dynamic; the other older, quiet, contained. But they share an honesty and connection that neither shares with anyone else and, when one betrays the other, it goes…
2022 Asian Cinema Challenge
week 37: Directed by Akira Kurosawa
I have never seen blocking and stage direction so effectively create both interest and tension as they do in the first act of High and Low. Set almost entirely within the main room of the Gondo home, the opening section of the film is shot and performed like a play, with physical space as the absolute focus. The way the bodies in the scenes shift and move, coming…