Monthly Archives: February 2011

Images of the Week – The Searchers

Written by . Posted on February 26, 2011. Filed under Images of the Week. Tagged , , , , . No comments.

From John Ford’s The Searchers. One of the key shots from one of the greatest Hollywood films. The secret connection between little Debbie and Ethan Edwards (John Wayne) is never more clear than in this shot. Ethan enters at the back of the room, and as he walks closer to Debbie, the camera tracks in, until finally he has placed his hands on the back of her chair. He is wearing a red shirt, and she has red ribbons in her hair, as well as red on both her handkerchief and top. If the prior gestures between these two characters weren’t enough to suggest a father/daughter relationship, then surely this emphatic masterpiece of a shot is.

The Man Beside the Stage

Written by . Posted on February 23, 2011. Filed under Video. Tagged , , , . 1 Comment.


I’ve seen nearly every film Werner Herzog has made. The exceptions are films that seem to be impossible to see as there are no existing releases or any copies circulating the internet. One of the films that had eluded me until recently was The Transformation of the World Into Music, which although available on the internet, had no english subtitles. Thankfully, a kind fellow pointed out to me that there was a subtitled DVD released in Australia. I promptly ordered it off of Ebay. As I had expected, it is a minor documentary, but certainly worth watching for Herzog diehards such as myself. Also, there are a few moments and a couple scenes that are invaluable. At one point we get to see Herzog directing three young boys for an opera, which is fascinating. We also get to see a glimpse of the opera being staged (and it is as visually spectacular as any of his films!). The best scene in the film is classic Herzog. While an opera is being performed, Herzog finds a man at the side of the stage who is the resident fireman for the Bayreuth Festival. While something grandiose occurs mere feet away, Herzog is far more interested in this one little man. The result is an immensely touching scene that ranks with some of Herzog’s very best. Seeing as how this film will largely go unseen, I thought it a good idea to at least share this one remarkable segment.

Images of the Week – The Social Network

Written by . Posted on February 18, 2011. Filed under Images of the Week. Tagged , , , , , . No comments.

From David Fincher’s The Social Network

The creation of a social network, the deletion of socialization.

The opening breakup scene between Mark Zuckerberg and Erica Albright. The only sincere and proper social moments in the film.

Upon the entrance of his best friend, Eduardo, Zuckerberg immediately turns his back and creates a large space between them. Eduardo shares good news, Zuckerberg has more important things to attend to than friendship.

Eduardo reminds Zuckerberg that they have a date with two girls they don’t even know, and Fincher cuts immediately to them fooling around in a bathroom.

The shot-reverse shot between Zuckerberg & Erica can now only exist through Facebook.

Verhoeven’s Jesus

Written by . Posted on February 16, 2011. Filed under Literature. Tagged , , , , , . 1 Comment.

The following is a quote from Paul Verhoeven‘s book, Jesus of Nazareth. It describes how he would open his hypothetical “Jesus movie”…

Naked feet dangle beside a beam. Nails are hammered through a heel bone. Agonized screams. The camera glides upward, showing a naked man on a cross. It zooms out, and we see that three men, and not just one, have been crucified. The camera moves back until we see ten naked people on two hundred crosses., which line the winding road to Sepphoris. The city is in flames. Roman soldiers lead men, women, and children out of the burning metropolis and into slavery. We are in Galilee. It is 4 B.C.

We shift to the middle of Sepphoris, where Roman soldiers are pillaging the town and raping the women. A Jewish girl, no older than sixteen, hides inside a house. Her family has been brutally slain. A Roman soldier finds her and rapes her. The girl’s name is Mary…Then there is a sudden cut, and we see Jesus at the age of thirty.

Verhoeven’s book rarely contains passages like this, wherein he describes his vision of his long planned film about Jesus Christ. Mostly, Verhoeven shares his research and thoughts on the true history of one of the world’s most famous and mysterious people. Jesus of Nazareth is interesting to read, but a small pittance when compared to the possibility of the film. Here’s hoping Verhoeven will still manage to make it someday.

Viewing Diary – Every Man For Himself, Serenity, The Bridges of Madison County

Written by . Posted on February 14, 2011. Filed under Reviews, Viewing Diary. No comments.

Sauve qui peut (la vie)/Every Man for Himself (1980)

Dir. Jean-Luc Godard

I can’t abide to those who disregard late Godard and more importantly I can’t abide those who claim his films are devoid of emotional resonance. A film like Every Man For Himself acts as case and point against both of these misconceptions. Admittedly, the power the film had over me was rather inexplicable, as I couldn’t make heads or tails of some the film’s finer points, but several passages moved me. In particular I was struck by the denouement which, as I see it, portrays the rebirth of Godard. Above all else, including whatever intellectual musings are to be found within Every Man, its mastery rests in the authority of images.

Serenity (2005)*

Dir. Joss Whedon

I’ve seen Joss Whedon’s Serenity, the conclusion to his short lived series Firefly, a great many times (I estimate between 10-15 viewings, or 15-20 if we include viewings with audio commentary). I only recently realized, as I was going through the preceding TV series again, that 2010 was the first calender year during which I did not watch the film (since its’ release, of course). While I couldn’t correct that error, I quickly jumped into my first Serenity viewing of 2011. When one watches a film so many times, they begin to see more and more of the parts that make up the whole, which, on one hand, includes noticing a fair share of kinks in the armor, and on the other can reveal more about what makes it such a special work of art. After all the hours I’ve spent with Whedon and the crew of Serenity, I no longer see the auteur as primarily a master of moments, at least not exclusively. Whedon’s humanism & existentialism are embedded in everything: each character decision, each step of the narrative, and in his famous dialogue, which is oh so much more than witty. All the more reason for The Avengers movie to be among my most anticipated in the near future.

The Bridges of Madison County (1995)*

Dir. Clint Eastwood

This is a great film for a number of reasons, the most prominent of which, vague though it may be, is its profoundly simple beauty. This is a quality that defines Eastwood. It’s something that he can pull off effortlessly and that few others can accomplish. There’s no rush to the romance, no needless conflict, just people and their feelings. The Bridges of Madison County is a great film for creating a captivating romance in a country home kitchen. It’s great for articulating the small as if it were the gargantuan. Eastwood validates the everyday, the meanings we imbue into silly little objects and gestures. It’s rough around the edges, but sincere to the core & immensely moving.

*Both Serenity and The Bridges of Madison County share Jack Green as Director of Photography