If He Unretires, There Will Be Lots of Bad Phoenix Puns
Labels: Joaquin Phoenix
Labels: Joaquin Phoenix
William Hogarth's 1733 etching, "Southwark Fair", was the inspiration for the 1905 film short "Tom, Tom, the Piper's Son", attributed to Billy Bitzer. In 1969, Ken Jacobs re-photographed the short for his structuralist landmark of the same name, shuttling the film backward and forward in a vibrant mass of pure motion, and then slowing it down to isolate the individual movements of the nameless players of this long-forgotten gem. In 2008, after years of tinkering with new computer technology, Jacobs has revisited the film in Return to the Scene of the Crime, which focuses on the representation of the Hogarth etching.
Labels: Ken Jacbos
Urban Network reports that a titan of 70s cinema has died. Rudy Ray Moore was a pioneering African American entertainer who turned his raunchy stand-up comedy (and his character "Dolemite") into an amazing series of blaxploitation films.
From 1969 to 1995, the moon-faced Kiyoshi Atsumi played Tora-san, a n'er do well itinerant salesman in the series It's Tough Being a Man. 48 times he was drawn back to his small town of Shibamata, falling into unrequited love and drunkenly offending everyone in sight. Penniless, loveless, foul-mouthed, and adorable, Tora-san became a national icon, his films akin to national holidays, released almost every New Year and August Obon season, until Atsumi's death in 1996.
A nasty little film, and the last from the great noir artist Phil Karlson (The Phenix City Story (1955), 99 River Street (1953)). A transparent bid to capitalize on the surprise success of Walking Tall two years previously, it's a bruising revenge story that finds the doughy strongman Joe Don Baker tossed into the swamp of state corruption. But he's not quite innocent. His fall is initiated in an animalistic brawl in his suburban garage, the dirty cop on his trail finding his end on a cement floor. Karlson's distanced framings capture every landed blow, allowing for a kind of meathead poetry in their stumbling, groping manuevering for dominance. Baker's character Ron, while set-up to take a fall, is solely responsible for the savagery of the killing, and Karlson never soft-pedals his unlikeability.
SLAM: I got you.
Gil: It’s called the Cool Aid (note: I couldn’t tell if he said Cool Aid or Cool Wave. Either way, copyright pending…) It’s like the microwave, but the Cool Aid. So for instance you can put a warm soda in the machine and boom, it’s cold. Most people, “Oh no, you call that the freezer”, but nah, the freezer takes two minutes. Just like you’ve got the oven and the microwave, you’ve got the freezer and the Cool Aid."
I saw this at the store last night (which has had a "FOR SALE" sign on the building for months). I took the image from here:
Four Nights With Anna, directed by Jerzy Skolimowski
Jia Zhangke's 24 City opens with a decaying factory in Chengdu, ancient machines churning out red-hot pliable metals. The subtitles read, "Hand me the rifle, Commandante!". Ah...there's nothing like a projection snafu to rile loyal NYFF patrons! The subs running beneath the image were from Che, a sneak peek for us lucky few in attendance. Hackles were raised, one disgusted gentleman booed with revolutionary lust, but eventually calm prevailed, and 24 Che returned to its City.