2 items from 2016
From the first time I saw it until this moment, two days before what might just be the most important, potentially resonant (for good and ill) American presidential election since the days of the Civil War, no other movie has expanded in my view more meaningfully, more ambiguously, with more fascination than has Robert Altman’s Nashville. We often hear of movies which “transcend” their genres, or their initial ambitions or intentions, and often built into that alleged transcendence is a condescension to said genre, or those ambitions or intentions, as if the roots were somehow corrupt or unworthy, in need of reconstruction. If the form of Nashville transcends anything, it’s the shape and scope of the multi-character drama as we’d come to know it in 1975, which was dominated at the time by disaster movies and their jam-packed casts filled with old Hollywood veterans and Oscar winners. But »
- Dennis Cozzalio
There’s an alternate version of Brian De Palma’s career where 1972’s Get to Know Your Rabbit stands as one of the most seminal entries. The last of De Palma’s early-70s comedies, the film is most readily recognized as a prelude to his directorial turning point. Just a year later, he began a string of legacy defining films: Sisters, Obsession, and Carrie.
But this early-period black sheep is more than a mere historical footnote. It’s the transitional fiasco that De Palma needed. Coming after the modest hits of Greetings and Hi, Mom!, this was the big leagues, a chance for the nascent but rising director to work with Hollywood and establish himself as a conjunction of artistic and financial impulses.
It’s only inevitable that even De Palma’s crowd-pleasing comedy scans as commentary about the prison of working with studios. In an impish reversal of the artist’s own circumstances, »
- Michael Snydel
2 items from 2016
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