Do you read Jonathan Rosenbaum at all? Since retiring from the Chicago Reader, he’s been combing through and posting articles from his archives. The sheer volume can be a little overwhelming, and it isn’t as much fun as reading his essays just as the films come out. But that’s his task at the moment, and we benefit. I’ve thought of you (pl.) a couple of times while reading them – once here (a Michel Chion review): http://www.jonathanrosenbaum.com/?p=19904
and once here (Vigo’s Secret):http://www.jonathanrosenbaum.com/?p=7348
It amuses me that one part of the Chion review that reminds me of you (masc. sing.)also uses the phrase, “the old style.”
Rosenbaum offers engaging snippets from others, too:
‘Perhaps the best account of the limitations of The Third Man can be found in Manny Farber’s mixed review: “The movie’s verve comes from the abstract use of a jangling zither and from squirting Orson Welles into the plot piecemeal with a tricky, facetious eyedropper. The charm, documentary skill and playful cunning that fashioned this character make his Morse-code appearances almost as exciting visually as each new make-believe by Rembrandt in his self-portraits… Reed’s nervous, hesitant film is actually held together by the wires of its exhilarating zither, which sounds like a trio and hits one’s consciousness like a cloudburst of sewing needles. Raining aggressive notes around the characters, it chastises them for being so inactive and fragmentary and gives the film the unity and movement the story lacks.”‘ http://www.jonathanrosenbaum.com/?p=6466
Do you read Jonathan Rosenbaum at all? Since retiring from the Chicago Reader, he’s been combing through and posting articles from his archives. The sheer volume can be a little overwhelming, and it isn’t as much fun as reading his essays just as the films come out. But that’s his task at the moment, and we benefit. I’ve thought of you (pl.) a couple of times while reading them – once here (a Michel Chion review): http://www.jonathanrosenbaum.com/?p=19904
and once here (Vigo’s Secret):http://www.jonathanrosenbaum.com/?p=7348
It amuses me that one part of the Chion review that reminds me of you (masc. sing.)also uses the phrase, “the old style.”
Rosenbaum offers engaging snippets from others, too:
‘Perhaps the best account of the limitations of The Third Man can be found in Manny Farber’s mixed review: “The movie’s verve comes from the abstract use of a jangling zither and from squirting Orson Welles into the plot piecemeal with a tricky, facetious eyedropper. The charm, documentary skill and playful cunning that fashioned this character make his Morse-code appearances almost as exciting visually as each new make-believe by Rembrandt in his self-portraits… Reed’s nervous, hesitant film is actually held together by the wires of its exhilarating zither, which sounds like a trio and hits one’s consciousness like a cloudburst of sewing needles. Raining aggressive notes around the characters, it chastises them for being so inactive and fragmentary and gives the film the unity and movement the story lacks.”‘ http://www.jonathanrosenbaum.com/?p=6466
I don’t know why, but I was surprised to learn that Rosenbaum grew up in a Frank Lloyd Wright house:
http://en.wikipedia.org/wiki/Stanley_Rosenbaum_Residence