8/14/2004

Der Guardian zu "Spuk um Mitternacht"

Der Guardian über die Wiederentdeckung des "Laurel & Hardy"-Films (unsere Meldung im Newsblog) Spuk um Mitternacht, einer alternativ erstellten Sprach- und Schnittversion zweier Kurzfilme, in denen die Komiker, statt einer Synchronisation, phonetisch deutsch sprechen.

8/10/2004

Village Voice: Guy Maddin und Anthony Mann

Zu den jüngsten Texten auf der Village Voice-Website gehört Jim Hobermans kurze Kritik zum (nicht mehr ganz) neuen Film von Guy Maddin, Cowards Bend the Knee, dem er attestiert, er sei "hardcore Maddin", was gewohnheitsmäßig soviel heißt wie: Feines Kino-Recycling, immer an der Grenze zum Experimentalfilm.
Entsprechend zeigt sich Hoberman begeistert:

The murky ambience, and even some of the motifs, suggest early-'30s horror films like The Mystery of the Wax Museum or Mad Love. But what's truly extraordinary about this movie—which strikes me on two viewings as Maddin's masterpiece—is that it not only plays like a dream but feels like one.

In Verbindung mit der Retrospektive im New Yorker Walter Reade Theater gibt es in Village Voice außerdem einen Artikel zum leider im Schatten des thematisch oft ähnlich ausgerichteten John Ford etwas vergessenen Anthony Mann. In seinem Text betrachtet Elliott Stein vor allem die häufig genannte "Erwachsenheit" der Westernfilme Manns und konstatiert:

Mann adopts a tougher approach to western mythology than John Ford; his West is not Ford's majestic pastoral. It's a lonely, primal, often savage place, where the landscape, if striking, is indifferent or hostile to man. He brought noir techniques to his oaters—nearly all of them pick up on elements from the early thrillers. His western heroes are rarely true heroes—when Stewart acts heroically, it's usually with great reluctance.

Auf der Website des Walter Reade Theater sind zudem kurze Zusammenfassungen zu allen 25 Filmen der Retrospektive zu lesen.

"... an intensely beautiful film."

"Continue in the same direction, is the logical yet surprising answer. With Vital he digs deeper, past the skin and into the body, his camera exploring our innermost like the modern-day equivalent to Leonardo DaVinci's sketchbook. Rest assured, though, for just as A Snake of June steered well clear of exploiting the topic of female sexuality, Vital wisely avoids lingering close-ups of organs and body cavities. Tsukamoto's goal is a much more philosophical one; his search is for our individual personality and where in our bodies we might find it."

Tom Mes auf Midnight Eye über Shinya Tsukamotos neuen Film Vital.