2 items from 2017
With the new release of Mildred Pierce, the Criterion Collection appears to be solidifying a trend over the past couple years of providing a showcase for some of the greatest female actors from Hollywood’s Golden Age. Since late 2014, stars like Claudette Colbert (It Happened One Night, The Palm Beach Story), Rita Hayworth (Gilda, Only Angels Have Wings) and Rosalind Russell (His Girl Friday) have made their first appearances in the Collection, in what can be considered career-defining roles. These additions seem to be addressing a notable blind spot for Criterion. As impressive as their reach has been in bringing many of the most iconic women from the past hundred years of world cinema to the forefront, the continuing absence of silver screen legends like Bette Davis, Olivia de Havilland, Greta Garbo and Elizabeth Taylor, just to name a few, seems like a lingering oversight, a problem yet to be »
- David Blakeslee
In Scenic Routes, Mike D’Angelo looks at key scenes, explaining how they work and what they mean.
In the real world, making an entrance is something that you have limited control over. The people you’re hoping to wow may not be where you expected them to be; even worse, they may not see what you wanted them to see. In a movie, however, a director can painstakingly craft our initial view of a character, creating the precise impression that he or she desires. Often, this involves strategically hiding the actor at first, the better to whet our appetites. One option is simple, sustained absence—let others talk the character up for a while, then engineer an abrupt, striking introduction. (Rita Hayworth hair-tossing her way into the frame in Gilda qualifies; so does the moment in The Third Man when a beam of light cast from a window across »
- Mike D'Angelo
2 items from 2017
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