“Film might be at its best . . .”

Glynn Marshes writes:

“. . . when it’s telling no story at all.”

From the video essay The Art of Editing in The Good, the Bad and the Ugly, a professorial analysis of the Trio scene. (Very professorial. Be prepared to be annoyed by the tone :-))

But here’s my question: was any of this done consciously by Leone? My guess is “no.” Absolutely not.

Acknowledged btw by the narrator (Max Tohline) at the end of the lesson when he asks

What else can editing do? As with all aesthetic questions about film, we can never really be sure what else will be until artists discover it.

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The Camera Loves…

Blowhard, Esq. writes:

Click on the image to enlarge.

annamaywong1938

…Anna May Wong. Photograph by George Hurrell, 1938.

Related

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Art Du Jour

Blowhard, Esq. writes:

Click on the image to enlarge.

calaveraThe Calaveras of José Guadalupe Posada

calavera

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“Broke”

Fabrizio del Wrongo writes:

broke

I really like the documentary work of Billy Corben. He’s got a feel for muckraking sensationalism as well as a knack for weaving talking-head interviews into dense, colorful swathes of information. You can sense his inquisitiveness, his wiliness, and his sensitivity: his movies brush up against all sorts of unusual, sometimes un-PC ideas without becoming declamatory or turning into polemics. And he seems to have a talent for getting folks to open up. “Broke,” Corben’s ESPN piece about the money mismanagement habits of professional athletes, is both empathetic and unsparingly clear-eyed concerning the mental faculties of its subjects, whose cluelessness seems of a piece with their bravado. Even now, talking about how they squandered millions, they seem to be bragging. As if their recklessness served as further proof of their greatness.

Related

  • “Broke” is on Netflix Instant.
  • This Distracted Globe on Corben’s 2006 “Cocaine Cowboys.” It might be the most riveting gangster movie of the past 10 years. It, too, is on Netflix Instant.
  • Also on Netflix Instant: Corben’s “Cocaine Cowboys 2,” which is good but not nearly as juicy as its predecessor, and “The U,” which deals with the University of Miami football program. In some ways “The U” is a more appropriate sequel to “Cowboys”; it shares the earlier film’s focus on money, ego, and ethnicity, and the roles they played in shaping 1980s Miami.
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A Modern Recording of Mussorgsky for Disney’s “Night On Bald Mountain”

epiminondas writes:

I guess Halloween is as good a time as any to take another look at the Mussorgsky piece in Disney’s 1940 film masterpiece Fantasia. However, the music score has been replaced with a modern recording. I think the effect is actually more moving, more viscerally compelling in relation to the visual imagery. What do you think?

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Actors (etc.) in Hats and Headgear …

Sherbrooke writes:

Myrna Loy–the early years.

.Image

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Art Du Jour

Blowhard, Esq. writes:

departureofthewitches1878luisricardoDeparture of the Witches by Luis Ricardo Faléro, 1878

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David, Victor, and Stanley

Fabrizio del Wrongo writes:

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Another Era

Paleo Retiree writes:

The way it used to be:

A more recent staging of the same tune:

Fun fact: Bob Crewe, the man behind this wonderfully arousing music — as well as behind rockin’ performances by the Four Seasons and Mitch Ryder and the Detroit Wheels — is a gay man. He also supervised the music for that paragon of sci-fi lounge fantasy, “Barbarella.”

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Rant Du Jour

Paleo Retiree writes:

Fred Reed thinks that boys should be taught by men.

Women are totalitarian. Men are happy to let boys be boys and girls be girls. Women want all children to be girls. In school this means emphasizing diligence—neat homework done on time, no matter how silly or academically vacuous—over performance, meaning material learned. Women favor docility, orderliness, cooperation in groups, not making waves, niceness and comity. For boys this is asphyxiating. If women wanted to start a bar for women only, men would not care. If men want a private club in which to enjoy male company, women go explode in fury. Totalitarian.

Maybe he’s onto something

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