Tag Archives: Joel and Ethan Coen

Elsewhere: Classic Film References in Hail, Caesar!

I keep forgetting to mention over here when I’ve got something new up on the Flickchart blog. I’m continuing to do my TCM Guide monthly over there, and contribute to weekly blogger Q&As as I’m able, but my favorite recent piece over there is a look at some of the real-life and cinematic references in the Coens’ latest Hail, Caesar!. I had a lot of fun watching the film and putting together this post, so check it out and let me know what other references I missed, because I’m sure there are many!

The Roundup: April 2, 2014

The best things I’ve read over the past week; usually they were also posted during the past week, but I make no promises. Sometimes I read old stuff and think it’s still worth sharing, so hopefully I’ll highlight some good reads you hadn’t come across yet.

Cinema

Please, Critics, Write About the Filmmaking by Matt Zoller Seitz at RogerEbert.com

r-Seitz

I shared this article on its own earlier this week, but it has since become the talk of the film blogosphere. The discussion really started with an article from jazz critic Ted Gioia lamenting that music critics don’t talk about musicianship. Criticwire took it from there, polling a variety of film writers with the question Should Film Critics Be Filmmakers?. Matt Zoller Seitz’s article is an expansion of his answer, pleading with film critics to talk about film form and not just writing/acting/ideology. That set off a bunch of responses, including Sam Adams saying that Critics Should Definitely Write About Form, Except When They Don’t Want To, and several other responses, mostly saying that yes, film form is important, but not everybody has to write about it all the time. Personally, I can say that when I don’t include a discussion of form, it’s because I’m being lazy, and I should definitely do better than that. I love reading articles that discuss form, and I’m capable of writing it when I hunker down to it. That said, different critics are good at different things, and also just because they’re cognizant of form doesn’t mean that talking about it fits in with the article they’re trying to write. I don’t think you have to shoehorn it in just because you can. It’s a good discussion to have, though, because I think it’s easy to get lazy like me and just not take the time to really closely read filmmaking techniques.

We have several successive generations of film watchers—some of whom consume TV and movies voraciously and have surprisingly wide-ranging tastes—who don’t know how to interpret a shot, or how to think about what the size or position of characters in a frame might tell us about the story’s attitude toward those characters. That’s a problem. We have critics and viewers who can agree that a particular episode of a particular show ended in a “shocking” or “unsettling” way, but they don’t think about the role that, say, a jaggedly timed cut to black or atonal music cue might have played in provoking that reaction. That’s a problem.

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