The Killing Directed by: Stanley Kubrick Written by: Stanley Kubrick, Jim Thompson Starring: Sterling Hayden, Colleen Gray, Vince Edwards, Jay C. Flippen, Elisha Cook Jr., Marie Windsor Cinematography by: Lucien Ballard Music by: Gerard Fried Release: May 20, 1956 When you think of Stanley Kubrick, which of his many films come to mind? The Shining? 2001: A Space Odyssey? A Clockwork Orange? Perhaps Dr. Strangelove? If there’s a single common throughline linking each of these pictures together- though many might argue that there are many- it’s influence, as in the influence that his work has had on cinema as a medium from the 60’s going forward. Note, for example, how much impact The Shining had…
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The Criterion Files: Kiss Me Deadly
Kiss Me Deadly Directed by: Robert Aldrich Written by: Mickey Spillane (story), A.I. Bezzerides (screenplay) Starring: Ralph Meeker, Maxine Cooper, Albert Dekker, Gaby Rodgers Cinematography by: Ernest Laszio Music by: Frank DeVol Release: May 18, 1955 “Va-va-voom! Pow pow!” Those words may encapsulate the masculine, grunting energy of Kiss Me Deadly, Robert Aldrich’s noir masterpiece, better than any of the film’s most striking images or its myriad other memorable lines of dialogue. After all, if you want to understand what makes Mike Hammer tick, you only need to look as far as the cars he drives; they’re the sleek, muscular sort of vehicles most men covet and can only dream of owning…
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The Criterion Files: In the Mood For Love
In the Mood For Love: Directed by: Wong Kar-wai Written by: Wong Kar-wai Starring: Tony Leung, Maggie Cheung Cinematography by: Christopher Doyle Music by: Michael Galasso, Shigeru Umebayashi Released: September 29th, 2000 Wong Kar-wai’s role as a cinematic innovator on a local level has been well-established since the 90s, when Days of Being Wild— which announced his arrival to the film world despite being his sophomore effort– saw him strive to break away from the storytelling and artistic standards typical of most Chinese cinema of the period. Arguably, Wong didn’t really come into his own until 1994, the year he unveiled both Ashes of Time and Chungking Express to critics and audiences alike;…
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The Criterion Files: Sisters
Sisters: Directed by: Brian De Palma Written by: Brian De Palma, Louise Rose Starring: Margot Kidder, Jennifer Salt, William Finley, Charles Durning Cinematography: Gregory Sandor Music by: Bernard Herrmann Released: March 27, 1973 How does a film about voyeurism stand out in the oeuvre of Brian De Palma? By existing as a work of pure, interconnected, voyeuristic thrills. De Palma has been fascinated with the subject for nearly the span of his entire career, and even a cursory glance at his body of work reveals countless pictures into which voyeurism figures as a theme or motif, from obvious entries such as Blow Out, Dressed to Kill, and Body Double and…
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The Criterion Files: Homicide
Homicide: Directed by: David Mamet Written by: David Mamet Starring: Joe Mantegna, William H. Macy, Ving Rhames Cinematography: Roger Deakins Music by: Alaric Jans Released: October 9, 1991 David Mamet might today have greater notoriety as a font of controversy and ideological invective than as a filmmaker (and perhaps even as a playwright). Maybe one could argue that that’s merely a symptom of being a conservative convert in an industry dominated by adherents of liberalism, but the more likely cause for his infamy is his own mouth; Mamet’s anti-left wing diatribes could turn even Ann Coulter a bright shade of red. But common wisdom dictates that we can separate the art…
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The Criterion Files – Peeping Tom / 8½
“I have always felt that Peeping Tom and 8½ say everything that can be said about film-making, about the process of dealing with film, the objectivity and subjectivity of it and the confusion between the two. 8½ captures the glamour and enjoyment of film-making, while Peeping Tom shows the aggression of it, how the camera violates… From studying them you can discover everything about people who make films, or at least people who express themselves through films.”– Martin Scorsese I often feel that film critics, scholars, and writers are naturally more drawn to “movies about movies”– pictures which shed light onto the filmmaking process at any angle– and tend to show them more favor than the average moviegoer.…
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New Feature: The Criterion Files – Cul-De-Sac/Metropolitan
A bit of a foreword for Go, See, Talk! viewers who are unfamiliar with the Criterion Files: I started this series over at A Constant Visual Feast back in February of this year as a way of covering older ground as well as some contemporary territory in cinema by delving into the massive and varied assortment of films gathered together in the much-vaunted Criterion Collection. In each Files entry, I’ll talk about two different Criterion releases– not necessarily connected by anything other than bearing the Criterion seal of approval– speaking to the films themselves and possibly their contexts and positions in film history. Think of it as me doing my…