Note: These musings are free of clear TLJ spoilers. 🙂
So you may have heard of a little film called The Last Jedi. Came out during Christmastime, made a bit of a splash, did pretty well at the box office and all.
And by now you’ve probably heard about the backlash against the film (much of which I, a major Star Wars fan, agree with). Although critics–surprisingly–seemed to embrace it with uncharacteristic enthusiasm, many fans have been lukewarm. Some outright hate many of the choices it makes, as you can see in numerous online articles and videos and doubtless in some face-to-face discussions as well.
Let’s just say obvious ploys to sell oodles of plushies are the least of its problems.
I’ve noticed that some folks have been countering the backlash with the retort, “Oh calm down, it’s just a movie.” (Fans of just about anything are sure familiar with that.) And I’ve been thinking over that retort, my friends, and it simply doesn’t sit well with me. Continue reading
Or so BFI likes to call him. At any rate, this is the 127th birthday of this legendary director, a man who kept his life so private that one biographer questioned if Lang’s first wife (#1 of 3 marriages) even existed.
So I’ve been thinking: good ol’ Internet listicles are fun. And depending on the context, they can tell you a little about the writer, too. Here I’ve been publishing posts on our beloved old films week in and week out, and never thought to write the most basic one of all–a “my favorite silents” list. So allow me to tell you a little about myself.
Needless to say, picking just ten films was a task akin to scaling Mount Everest. I don’t know if my list is the most surprising one in the world (no worries, it’s not smugly crammed with obscure social dramas from Finland or something), but here it is, in no particular order–except for #1! (Links are included for the ones I’ve reviewed so far.)
10. Metropolis (1927)
You run into it time and time again when reading about film history: “German Expressionism, German Expressionism.” It pops up even more than “French New Wave,” another term that tends to make people’s eyes glaze over. Silent newbies and casual fans probably wonder: just what exactly was this movement that all the film historians go nuts for?
To answer that, we have to glance through a little art history, learn a bit of theater history, reflect on WWI and Germany, and get acquainted with how “the ghosts which haunted the German Romantics had revived, like the shades of Hades after draughts of blood.”
Or something like that. Bear with me, for there’s a lot of pieces to put together to get a good picture of German Expressionism. Continue reading