And another series back from very long hiatus (with a new name), and another well-meaning intention to do a better job of keeping up. I’d really like to do these every week, a task made more challenging and yet more fun by deciding to include more sections of links. The idea being that I can just keep this up as I read blogs and sites thoughout the week and have it all ready to go by the end of the week. Here’s hoping. As usual, most of these are movie-related links, but that won’t necessarily always be the case, and there are some music and gaming links in the subsections. Anything that’s a video will open in a lightbox, so you won’t have to go anywhere else to watch them.
The For the Love of Film Blogathon is now in its third year, with bloggers focusing on a specific aspect of film preservation, with the intent to raise awareness and funds for the National Film Preservation Foundation. This year, the focus is on the recently unearthed early Hitchcock film The White Shadow, one of a few films Hitchcock assistant-directed under director Graham Cutts in the early 1920s. The funds raised will support the costs of the NFPF streaming the film (that is, the four reels of it that still exist) on their website for four months. I’ve actually seen the film – I was at the Academy screening the Siren mentions – and though it certainly isn’t among the best silent films you’ll ever see, it does have more than historical interest, and it has a whole lot of that. The blogathon goes live in May, and I’m sure I’ll have more to say about it then.
Speaking of Hitchcock, The Lady Eve has been hosting a whole series on Vertigo, with this close-reading of a single shot of the film one of the highlights. Guest poster Joel Gunz looks at the shot of Madeline standing under the Golden Gate Bridge in terms of composition and cinematography, as well as artistic antecedents and psychological readings. By the end, he’s explicated a lot about Vertigo as a whole, simply by analyzing this one gorgeous still. Makes me want to go watch the film again immediately.
It’s almost a cliche at this point to mention that the films the end up on critical best lists (whether print critics or bloggers), the films that end up the year’s box office champions, and the films nominated for Oscars are pretty much three different groups of films. There may be some overlap here and there, of course, but by and large, the goals of each group seem to be irrevocably dissimilar. Jim Emerson invokes an article from Salon’s Andrew O’Hehir to explain a bit about the Academy’s point of view, and then points out that their nominations used to be more actually populist, rather than prestige-y the way it is now.
Lots of Oscar-y type talk this week, and I doubt that’ll stop until after the awards are announced and everyone’s done dissecting them. Here the always entertaining Wilde.Dash highlights a bunch of films that are widely considered top-notch classics yet weren’t even nominated for Academy Awards. Some of these (2001, Psycho) absolutely appalling to me. Just goes to show you, these little statuettes? Not that big a deal in the grand scene of things.
In a year when the Academy doesn’t nominate Andy Serkis for acing (perhaps because motion capture is too cartoony to go against live action) and doesn’t nominate The Adventures of Tintin for Animated Feature (perhaps because motion capture is too live action to go against animation), Landon Palmer discusses why mocap seems to be such a disdained technology – because the very idea of motion capture, which renders actors unrecognizable behind a veil of CGI, threatens the concept of celebrity upon which Hollywood is built. (To be fair, I wouldn’t necessarily argue that either of the “perhaps” clauses above are correct; but Palmer’s assessment of the threat of mocap is an interesting read.)
Everyone knows Walt Disney. But not everyone knows Ub Iwerks, who was with Disney almost every step of the way, from the very beginning when they were partners in Kansas City working on Laugh-o-Gram shorts, through the move to Hollywood and the creation of Oswald the Rabbit and Mickey Mouse. But Iwerks isn’t only Disney stuff – he also had many successful cartoons of his own in the early sound era. Brandie has the full story in two posts (the second part is here, and they’re well worth reading – just as Iwerks’ films are well worth watching.
Even a single viewing of Black Swan reveals the constant parallels that Aronofsky is making between Nina and Lily, with their faces often morphing into each other for split seconds here and there. But Sati has gone through the film with a fine-tooth comb and screencapped a TON of trick shots that I certainly never noticed before. As you look through these, some will seem obvious (Nina seeing herself on the subway or the sidewalk, or Lily’s face swapping for Nina’s during the sex scene), but most of the things during the club scene I hadn’t seen at all. Kudos to Aronofsky for his attention to detail, and kudos to Sati for uncovering that detail.
One of the most memorable and consistently awesome “hey, it’s that guy!” actors working today, William Fichtner shows up all over the place, and he’s often the best thing in any movie he’s in. Like, oh, say…Drive Angry for example. And many, many others. Alex Withrow runs down Fichtner’s best roles in this entry into his ongoing series highlighting character actors (the whole series is worth reading).
Speaking of ongoing series, I’ve been away from the blog-reading long enough I didn’t even notice he was doing this until now, but the Mythical Monkey has been posting entries every day with his alternate Oscars for each year since 1927. The awards (named for his wife) were his original impetus for starting his blog, but he’s since gotten lost in the silent era – lost in the best possible way. But he recently decided to get these posted and out there, and I gotta say, these awards are awesome. I don’t necessarily agree with them all (though mostly in cases where I haven’t seen all the films in question!), but they’re pretty great to read through. He just posted 1970, and is taking a break, but the whole series is worth a peruse.
Sam Fragoso of Duke and the Movies asks us to choose between Howard Hawks or John Huston. I picked Hawks, but that’s a tough question!
Kim Wilson at the Classic Film and TV Cafe reviews Man in Grey, a little-known British film that sounds rather transgressive for its time!
Sittin’ on a Backyard Fence announces the March in March blogathon – posts about Fredric March, in the month of March.
Hollywood Reporter explains why there are only two Best Song Oscar nominees this year.
Ryan at The Matinee kicks off his Blind Spot series by watching John Carpenter’s The Thing.
Alex Withrow of And So It Begins runs down the entirely of Spike Lee’s career.
Wilde.Dash of Love and Squalor picks her 30 most anticipated movies of 2012. Some great stuff to look forward to, for sure!
Nicolas Winding Refn talks to The Playlist about Drive
Bonjour Tristesse reviews Dario Argento’s The Bird With a Crystal Plumage, and likes it quite a bit. One I definitely want to catch up with.
Monty at All Good Things counts down his favorite actresses – some great picks here! Love the Lombard love.
Trailers of Interest
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Whit Stillman’s Damsels in Distress
Justin Kurzel’s The Snowtown Murders (though I think this one is better; so is the former name)
Juan Carlos Fresnadillo’s Intruders
Max Payne 3
Far Cry 3
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The ABCs of Cinema by Evan Seitz
The Knights Who Say Ni! Kinetic Typography by Evan Seitz
Salvador Dali on “What’s My Line”
Music Video: Jack White’s “Love Interruption” (from upcoming album Blunderbuss)
Music Video: YACHT’s “Shangri-La” (from album Shangri-La)
Live Performance: James Mercer singing “September” (from upcoming Shins album Port of Morrow)
News of Interest
Joss Whedon is writing a RomCom. Not my fave genre, but okay.
Netflix is developing an original series with Weeds creator Jenji Kohan
People are planning to remake Hitchcock’s Rebecca and Suspicion. WHY? Although, of all his films, those two are among the least untouchable.
Gina Carano lines up another action film: In the Blood. I’ll watch it.
Bonnaroo lineup is announced
Rockstar is bringing the original Max Payne game to iOS. Cool!
Touch Arcade reviews Beat Sneak Bandit, a new iOS game. I downloaded it; we’ll see what I think.