2 items from 2011
In the 10 years since the September 11 terrorist attacks, film directors have responded in myriad ways. Peter Bradshaw charts the rise and fall of the 9/11 movie
At the Venice film festival last week, George Clooney unveiled his new backstairs political drama, The Ides of March, about a Democratic presidential candidate getting bogged down in compromise, backstabbing and the dark political arts. Clooney said that he could conceivably have completed the film before now, but President Obama had been doing too well, and therefore the time wasn't right.
Perhaps Clooney was being serious and perhaps he wasn't. But the remark typifies the dwindling of the memory of 9/11 in Hollywood cinema. The Obama presidency, ushered in by the catastrophe of the Bush reign, is now perceived to be in trouble, and this enables a prominent Hollywood liberal to make the kind of savvy, ahistorically pessimistic political movie that could have been produced at »
- Peter Bradshaw
From innovative camerawork in the 20s to the Dogme manifesto in the 90s, here are medium-defining moments in film history
There's a great moment in Carol Reed's Odd Man Out: James Mason spills a drink, looks into its bubbles, and sees his troubles in them. Twenty years later, Jean-Luc Godard, who admired Reed, had a similar scene in his movie Two or Three Things I Know About Her. Ten years after that, Martin Scorsese had Travis Bickle in Taxi Driver stare into the bubbles of a drink. Scorsese is a fan of Reed and Godard. To watch such a visual idea pass from film-maker to film-maker is to look into the DNA of the movies.
Cinema has been the autobiography of our times, glammed up like biographies often are. But the hoopla about its box office, the pay packets of movie stars and the production costs of blockbusters »
- Mark Cousins
2 items from 2011
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