A Woman, a Part
A Woman, a Part mixes passion and ambivalence to create a work whose ambiguities seem earned, and lived in
* 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.
Q. It recently came to my attention that there is a ghost in "Three Men and a Baby." If you start the tape at 1:01:13, the camera pans across a window behind Ted Danson and Celeste Holm, who are walking into a room, and at a spot by the window curtains, the rifle that was presumably used in the killing of a young boy may be clearly seen, with the barrel pointing down.
Q. Big problem arose last night for me at Spielberg's "Lost World: Jurassic Park." When T-Rex goes storming through San Diego, there's a brief shot of a group of Japanese businessmen fleeing along with the rest of the crowd. I laughed aloud (as did many others in the house). My spontaneous outburst, in appreciation of what I saw as Spielberg's tip of the hat to a convention of Japanese monster movies, set my fiancee off on a tear that began with an elbow in my ribs and a warning to behave myself, and a berating as soon as the house lights came up. Her reason: The folks seated to her left were Asian--and my applause was an indication of racism. Roger, look at that scene: It's shot from the same low, three-quarters behind the characters angle, with the characters' faces turned to look back as they flee (running slo-mo), just like any Godzilla, Rodan or Mothra movie. It is a tribute to the genre; use of a cinematic convention. She says it's a stereotype--because bad monster flicks "are all they make in Japan" and that Spielberg is no better for including it than I am for liking it. (Gerard Farrell, Bay City, TX)