Why No One is Celebrating the 100th Anniversary of the Feature Film by Godfrey Cheshire at Vulture
When I first saw this article’s headline, I tweeted something snarky about Birth of a Nation not being the first feature film. That’s still true and I still think this is a dumb headline for the article, but I have to apologize for assuming the article didn’t have merit based on the title, because the rest of the article is really great – a discussion of Birth of a Nation‘s origins and initial reception, a thoughtful treatment of both its offensive content and incredible technical achievements, and some good insight into whether and how it should be seen today.
My own thoughts on these questions involve a recollection of teaching Birth a few years ago to a class of bright undergraduates at a Southern university, as part of a survey course on the history of film. Aware that young viewers today are notoriously resistant to anything old, black-and-white, and (especially) silent, I was expecting yawns and annoyed fidgeting. Instead, the film — its hypnotic power intact after nearly a century — held the class riveted for three hours, few students even taking bathroom breaks. Afterward, I asked: Should this movie be shown today, in this class or anywhere? Some white students, shocked and embarrassed by the film, said it shouldn’t be shown, at all. African-American and Asian students, on the other hand, felt just the opposite, saying it must be seen — as widely as possible.
Bombast: Lizabeth Scott by Nick Pinkerton at Film Comment
I admit to only having seen a couple of Lizabeth Scott films, but reading a few eulogies after her death last week has convinced me I ought to see more – particularly Pitfall.
Lizabeth Scott is an actress who always made an impression on me, through the fact of her existential presence if nothing else. Scott was a blonde. Not usually a platinum blonde, though she photographed that way, for her time in pictures was a great time—maybe the great time—for brunettes. She had a heavy sculptural brow, wide-set eyes, almost impossibly symmetrical features, a broad mouth that turned down ever so slightly at the corners, and, her calling card, a deep, damask-plush burr of a voice. Even when playing light comedy, Scott betrayed a close acquaintance with dolor. Commenting on the characters in The Strange Love of Martha Ivers (46), one of them played by Scott, a young Manny Farber wrote that they “act as if there were no evil that hadn’t been imposed on them.”