The Second Mother
A domestic comedy-drama that starts off from a fairly pat premise but builds strength over the course of its careful, empathetic, and crafty unpeeling of…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
The case against innocent bystanders; John McTiernan's "Basic"; Cause of addiction has been discovered; Remembering Dusty Rhodes; J.J. Abrams on Dick Smith.
A review of Terrence Malick's "Knight of Cups" from the Berlin Film Festival.
The best recent releases on Blu-ray and streaming services, including "Blue Ruin," "Middle of Nowhere," "Only Lovers Left Alive," and "Love Streams."
Peter Sobczynski ranks 27 films by Brian De Palma.
Marie writes: Behold an ivy covered house in Düsseldorf, Germany and the power of plants to transform stone, brick and mortar into a hotel for millions of spiders. To view an amazing collection of such images and showcasing a variety of buildings from around the world, visit The Most Colorful Houses Engulfed in Vegetation at io9.com.
This piece is about director Neil Jordan's seven most overtly supernatural, fairy tale-like films—The Company of Wolves, High Spirits, Interview with the Vampire, The Butcher Boy, In Dreams, Ondine, and his latest, the mother-daughter vampire shocker Byzantium. An infographic analysis of each—please refer to the key for each symbol's meaning—reveals this pattern and confirms Byzantium is the culmination of 30+ years of Jordan exorcising his personal demons on-screen.
"As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema." - Roger
Marie writes: Behold a truly rare sight. London in 1924 in color. "The Open Road" was shot by an early British pioneer of film named Claude Friese-Greene and who made a series of travelogues using the colour process his father William (a noted cinematographer) had been experimenting with. The travelogues were taken between 1924 and 1926 on a motor journey between Land's End and John O'Groats. You can find more footage from The Open Road at The British Film Institute's YouTube channel for the film. You can also explore their Archives collection over here.
Marie writes: The late John Alton is widely regarded as being one of greatest film noir cinematographers to have ever worked in Film. He perfected many of the stylized camera and lighting techniques of the genre, including radical camera angles, wide-angle lenses, deep focus compositions, the baroque use of low-level cameras and a sharp depth of field. His groundbreaking work with director Anthony Mann on films such "TMen" and "Raw Deal" and "He Walked by Night" is considered a benchmark in the genre, with "The Big Combo" directed by Joseph H. Lewis, considered his masterpiece. John Alton also gained fame as the author of the seminal work on cinematography: "Painting with Light".
The Big Combo (1955) [click to enlarge]
Marie writes: Kudos to fellow art buddy Siri Arnet for sharing the following; a truly unique hotel just outside Nairobi, Kenya: welcome to Giraffe Manor.
Marie writes: Christmas is almost upon us, and with its impending arrival comes the sound of children running free-range through the snow, while grown-ups do battle indoors in the seasonal quest to find the perfect gift...
We know that "Star Trek II: The Wrath of Khan" (1982) is the best of all of the "Star Trek" movies. I am not stating anything new here. The rest of the series of films struggled to repeat the mastery of this film, and the reboot has also fallen short, thus far. I did, however, watch Star Trek 2 recently to see if the overlooked "Star Trek: First Contact" was able to take the helm as the Best of the Treks. In the process, however, I realized that Star Trek 2 is a much better movie than I remembered. I invite everyone to watch this movie again to appreciate how great it really is. This is a great movie. It is exciting. It is complex. It is emotional and philosophical. It is one of the great adventure movies.
Marie writes: Once upon a time, a long time ago and in a childhood far, far away, kids used to be able to buy a special treat called a Frosted Malt. Then, with the arrival of progress and the subsequent destruction of all that is noble and pure, the world found itself reduced to settling for a frosty at Wendy's, at least where I live. Unable to support a "second rate" frosted malt for a second longer, I decided to do something about it!
Marie writes: I recently heard from an ex-coworker named Athena aka the production manager on an animated series I'd painted digital backgrounds for. She sent me some great photos she'd found on various sites. More than few made me smile and thus inspired, I thought I'd share them with club members. I've added captions for fun but if you can come up with something better, feel free to submit your wit by way of posted comment. Note: I don't know who the photographers are; doesn't say. (Click pics to enlarge.)
"I want a peanut for every photo you took of me..."
Marie writes: yet again, we have intrepid club member Sandy Kahn to thank for the following find. She sent me some links devoted to automata and how I ultimately discovered the amazing work of artist Keith Newstead...
Marie writes: Okay, this is just plain cool. This is clearly someone using their brain, in combination with "what the hell, let's just go ahead and try it..."
Dr Julius Neubronner's Miniature Pigeon CameraIn 1903, Dr Julius Neubronner patented a miniature pigeon camera activated by a timing mechanism. The invention brought him international notability after he presented it at international expositions in Dresden, Frankfurt and Paris in 1909-1911. Spectators in Dresden could watch the arrival of the camera-equipped carrier pigeons, whereupon the photos were immediately developed and turned into postcards which could be purchased. (click images to enlarge.) - from The Public Domain Review. Visit the site to see even more photos.
Marie writes: If you're like me, you enjoy the convenience of email while lamenting the lost romance of ink and pen on paper. For while it's possible to attach a drawing, it's not the same thing as receiving hand-drawn artwork in the mail. Especially when it's from Edward Gorey..."Edward Gorey and Peter Neumeyer met in the summer of 1968. Gorey had been contracted by Addison-Wesley to illustrate "Donald and the...", a children's story written by Neumeyer. On their first encounter, Neumeyer managed to dislocate Gorey's shoulder when he grabbed his arm to keep him from falling into the ocean. In a hospital waiting room, they pored over Gorey's drawings for the first time together, and Gorey infused the situation with much hilarity. This was the beginning of an invigorating friendship, fueled by a wealth of letters and postcards that sped between the two men through the fall of 1969."
Marie writes: remember "The Heretics Gate" by artist Doug Foster? Well he's been at it again, this time as part of an exhibit held by The Lazarides Gallery - which returned to the subterranean depths of The Old Vic Tunnels beneath Waterloo Station in London, to present a spectacular group show called The Minotaur. It ran October 11th - 25th, 2011 and depending upon your choice (price of admission) dining was included from top Michelin-star chefs.Each artist provided their own interpretation of the classical myth of Theseus and the Minotaur and as with The Heretics Gate before it, Cimera, Doug Foster's new and equally as memorizing piece made it possible to project whatever comes to mind onto it, as images of body forms and beast-like faces take shape and rise from the bowels of earth. (click image to enlarge.) Photo by S.Butterfly.
Lesson for the day: How to have fun while wasting time... Marie writes: welcome to DRAW A STICK MAN, a delightful Flash-based site prompting viewers to draw a simple stick figure which then comes to life! Ie: the program animates it. You're given instructions about what to draw and when, which your dude uses to interact with objects onscreen. Thanks go to club member Sandy Kahn who heard about it from her pal Lauren, in Portland Oregon.Note: here's a screen-cap of what I drew; I've named him Pumpkin Head.
Pedro Almodovar's movies are so beguiled by lustrous surface textures and colors (fabrics, hair, makeup, architecture, upholstery, jewelry) that the title "The Skin I Live In" (or "The Skin That I Inhabit," as I've seen "La piel que habito" translated elsewhere) would serve well as the name of his artistic autobiography. It's a shimmering horror-farce-melodrama quilted together from scraps of Georges Franju's 1960 "Eyes Without a Face," Andre de Toth's 1953 "House of Wax" (without the one-eyed 3D) and Douglas Sirk's 1954 "Magnificent Obsession" and 1959 "Imitation of Life" -- though it doesn't stop there -- about a mad doctor, a pioneering plastic-surgeon Dr. Frankenstein named Robert Ledgard (Antonio Banderas, of course) whose personal life has been scarred by tragedy.
That's all I'm going to say about the plot because stitching together all the parts is so much of the pleasure of watching the movie. It begins in the middle, folds back to fill in a few mysterious spots in the patchwork, and then unpredictably pieces together the rest of the picture, bit by bit, for an absurdly touching and tentative finish.
Marie writes: At first you think you're looking at a photograph. Then the penny drops, along with your jaw..."Alan Wolfson creates handmade miniature sculptures of urban environments. Complete with complex interior views and lighting effects, a major work can take several months to complete. The pieces are usually not exact representations of existing locations, but rather a combination of details from many different locations along with much of the detail from the artist's imagination. There is a narrative element to the work. Scenarios are played out through the use of inanimate objects in the scene. There are never people present, only things they have left behind; garbage, graffiti, or a tip on a diner table, all give the work a sense of motion and a storyline. Alan's miniature environments are included in art collections throughout the US and Europe." - Alan Wolfson - Miniature Urban Sculptures
"FOLLIES BURLESK" (1987)14 1/4 x 19 1/4 x 21 1/2 inches(click images to enlarge)
"I realize that most of the turning points in my career were brought about by others. My life has largely happened to me without any conscious plan. I was an indifferent student except at subjects that interested me, and those I followed beyond the classroom, stealing time from others I should have been studying. I was no good at math beyond algebra. I flunked French four times in college. I had no patience for memorization, but I could easily remember words I responded to. In college a chart of my grades resembled a mountain range. My first real newspaper job came when my best friend's father hired me to cover high school sports for the local daily. In college a friend told me I must join him in publishing an alternative weekly and then left it in my hands. That led to the Daily Illini, and that in turn led to the Chicago Sun-Times, where I have worked ever since 1966. I became the movie critic six months later through no premeditation, when the job was offered to me out of a clear blue sky."Visit "I was born inside the movie of my life" to read the opening pages from Roger's forthcoming memoir to be published September 13, 2011.
"I love music so much and I had such ambition that I was willing to go way beyond what the hell they paid me for. I wanted people to look at the artwork and hear the music." - Alex Steinweiss
Marie writes: this past Monday, the Chicago Sun Times updated "Movable Type" - a program used to create blogs. Roger's journal for example. Other newspapers might use "Word Press" instead; same idea though. Any-hoo, it's hosted on the "new" server at the Sun-Times and as is customary, you have to login to use it. It's online software. Meaning you're totally at the mercy of any freakiness that might be going on.I mention this because there was indeed some weirdness earlier (server choked) and that, plus the fact Movable Type does things differently now, put me behind schedule. So I don't really have anything for the front page. I can go look, though! Meanwhile, just continue reading and if I find anything interesting, I'll let you know....Ooo, clams...
This morning, Pedro Almodovar, Spain's biggest big-cheese filmmaker, handed us a limp noodle with "The Skin I Live In," his entry in the Cannes competition. The film stars Antonio Banderas (who began his career in Almodovar's early films) and Elena Anaya, who looks like a cross between Penelope Cruz and Audrey Hepburn. Even a second-best Almodovar film has its delicious moments, but "The Skin I Live In" is flat compared with his best work, including "Broken Embraces," "Volver," and his Oscar winner "All about My Mother."
Typical of Almodovar, the film is a melodramatic farce. Although it's based on the novel "Mygale" ("Tarantula" in English) by Thierry Jonquet, the story is also strongly reminiscent of the 1960 French horror classic "Eyes without a Face" by Georges Franju. In the Franju film, a surgeon kidnaps women in order to graft their faces onto the head of his disfigured daughter. In "The Skin I Live In," a plastic surgeon is engaged in highly experimental work in order to create synthetic skin as a tribute to his dead wife, who was burned to death in a car crash. He subsequently uses the results of his research in service of a unique punishment for his daughter's rapist.
This story has a lot of twists, and the element of surprise is important. I don't want to give away too much, especially since it's due to open in the U.S. in the fall. I haven't read "Mygale," but I understand that the narrative is fragmented into sections that all come together in the end. In this, Almodovar appears to have followed the structure of the book, perhaps too closely. One of the principle weaknesses of "The Skin I Live In" is that the story is scattered in pieces. Characters and subplots are introduced then dropped. They are loosely but not completely tied together in the end.