The Tomorrow Man
Lithgow and Danner show us characters who may qualify for Medicare but are every bit as vulnerable and as eager to matter to someone as…
* 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.
Emma González's confidence; Cost of erasing cyber-reality; Barry Jenkins on "Beale Street"; Becoming parents; Oakton College's pop-up film festival.
A celebration of Anna Magnani's acting career on the occasion of a retrospective at the Lincoln Center running May 18-June 1.
Revisiting Dwight Macdonald's famous essay, "Masscult & Midcult," and other ideas old and new -- continued from "When 'I get it!' means 'I don't get it!' and vice-versa."
"It seems to me that nearly the whole Anglo-Saxon race, especially of course in America have lost the power to be individuals. They have become social insects like bees and ants. They are lost to humanity, and the great question for the future is whether that will spread or will be repulsed by the people who still exist..." -- Roger Fry (1866-1930), from a letter quoted "Roger Fry," a biography written by Virginia Woolf(1940); also quoted by Dwight Macdonald in "Masscult & Midcult"
A while ago I added to the epigraphs in the upper right corner of this page a quotation from writer-actor-director Tom Noonan that echoed something I had long felt to be true, but had never articulated: "I don't think you go to a play to forget, or to a movie to be distracted. I think life generally is a distraction and that going to a movie is a way to get back, not go away." I don't feel that way very often anymore; gone are the days, when I was first discovering the richness of the still very young art of film, when I might see several masterpieces in a week, or even a day -- in classes, film series, rep houses, art houses, mainstream cinemas or on TV. But I was inclined to feel that movies,the art form of my time (and literature, music, art of all kinds), brought me closer to my own life by focusing my attention on what it means to be alive. Like millions of others, I found the only religion in which I could whole-heartedly believe in movie theaters, libraries, bookstores, and concert venues.¹
In "Masscult & Midcult" (1962), published when "Citizen Kane" was as old as "GoodFellas" and "Miller's Crossing" are today, Dwight Macdonald contends that art (movies included) no longer seeks engagement with an audience, but is content to serve as another opiate of the masses: "The production line grinds out a uniform product whose humble aim is not even entertainment, but merely distraction."
The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.
Some of the critics said "For Love of Ivy" was just one more stereotyped Hollywood boy-gets-girl comedy, only this time Sidney Poitier got Abbey Lincoln instead of Cary Grant not quite getting Doris Day. "Well, yes, we're all stereotypes," Abbey Lincoln said. "That's because people tend to be alike. In the movie, Ivy is a colored maid. But if she had been a doctor, her emotional experiences would have been the same. And the movie could have been shot in Japan or Germany, and you would still care about what happens to Ivy."