2 items from 2011
Vincente Minnelli's sugary 1950s confections are of another age, but as the re-released Meet Me In St Louis shows, they still sing
Released on Thanksgiving weekend in November 1944, only six months after the seismic morale-boost that was D-Day, Meet Me In St Louis offered a suddenly more optimistic wartime America the chance to wallow in the sugary comforts of hearth and home, to take refuge in innocence and nostalgia. With its sumptuous Technicolor tones, its American songbook classics, and its evocation of an idyllic, untroubled fin-de-siècle St Louis that surely never existed until Vincente Minnelli dreamed it up, Meet Me In St Louis is as midwestern Republican in its outlook as Minnelli himself (though, as a closeted gay midwestern Republican, he might well have seen the Gop as perfect camouflage). Yet, as with John Ford, you can forgive a lot politically when you get so well served aesthetically.
- John Patterson
Tuesday, DVD roundup day, is a fine day for taking a look at the new Summer 2011 issue of Cineaste, particularly since, among the online samplings this time around, DVD reviews outnumber all other types of articles combined.
To begin, Darragh O'Donoghue on Harun Farocki's Still Life (1997): "Five aphoristic essays on 17th-century Dutch still-life painting, of about three minutes each, bracket four documentary sequences of photographers creating modern still lifes for magazine advertisements. These two levels, though defined by opposites — stasis/motion, tell/show — are linked by visual motifs and rhymes, just as the modern products echo the subjects of the paintings. The documentary sequences have no commentary, mostly last ten to fifteen minutes, and take their cue from Farocki's earlier An Image (Ein bild, 1983). In that short, he recorded the shooting of a German Playboy centerfold spread, from the building of sets and the arrangement of props (including »
2 items from 2011
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