3 items from 2012
We love crime movies. We may go on and on about Scorsese’s ability to incorporate Italian neo-realism techniques into Mean Streets (1973), the place of John Huston’s The Asphalt Jungle (1950) in the canon of postwar noir, The Godfather (1972) as a socio-cultural commentary on the distortion of the ideals of the American dream blah blah blah, yadda yadda yadda…but that ain’t it.
We love crime movies because we love watching a guy who doesn’t have to behave, who doesn’t have to – nor care to – put a choker on his id and can let his darkest, most visceral impulses run wild. Some smart-mouth gopher tells hood Tommy DeVito (Joe Pesci), “Go fuck yourself,” in Scorsese’s Goodfellas (1990), and does Tommy roll with it? Does he spit back, “Fuck me? Nah, fuck you!” Does he go home and tell his mother?
He pulls a .45 cannon out from »
- Bill Mesce
What's Jack Nicholson's secret? Maybe it's the eyebrows, hovering like ironic quotation marks over every line reading. Maybe it's the hooded eyes, which hold the threat of danger or the promise of joviality -- you're never sure which. Same with that sharklike grin. Or maybe it's the voice, which has evolved over the years from a thin sneer to a deep rumble, but is always precisely calibrated to provoke a reaction. Put them all together, and they say: "I am a man to be reckoned with. Ignore me at your peril." Nicholson, who turns 75 on April 22, is often criticized for relying on his bag of tricks, for just showing up and doing Jack Nicholson (though indeed, he often seems to have been hired precisely for that purpose). But he's also capable of burrowing deep into a character, finding his wounded heart, and revealing the ugly truth without fear or vanity. »
- Gary Susman
Zoe’s continues her journey through the turbulent history of one of Hollywood’s most influential studios, as we arrive at MGM's post-war golden era. Plus, a bit of 3D, too...
As the end of World War II approached, a new world dawned for MGM – a world which had changed dramatically. Attitudes and lifestyles had changed, but most importantly audiences had changed. Here was an opportunity: MGM’s chance to start afresh. And so in 1944, MGM embarked on what would become the most successful period in its history. After the war, the slate was wiped clean.
Gone were the tired, tried-and-tested formulas, and gone were the aging names and stars, as a new unit was established at MGM. It was up to this unit, anchored by an experienced producer and made up of bright young talent, to transform MGM’s signature high-production style into something new and modern in order »
3 items from 2012
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