Second #4277, 71:17
1. This is the first time that Frank, Dorothy, and Jeffrey appear together in the same frame.
2. “Oh, you’re from the neighborhood,” Frank says. “You’re a neighbor. Well what’s your name neighbor?”
3. The ratings for “Mister Rogers’ Neighborhood” peaked in 1985, the year before Blue Velvet was released.
4. It’s not only Frank’s eyes that terrify, but his voice, tinged with sarcasm, delivered in Dennis Hopper’s flat, Midwestern accent. And then, buried in the soundtrack, there’s a low, faint rumbling, like the sound of thunder arriving from hundreds of miles away, having crossed vast, empty fields.
5. John Belton, from his essay “Technology and Aesthetics of Film Sound”:
What the sound track seeks to duplicate is the sound of an image, not that of the world. The evolution of sound technology and, again, that of studio recording, editing, and mixing practice illustrate, to some degree,...
1. This is the first time that Frank, Dorothy, and Jeffrey appear together in the same frame.
2. “Oh, you’re from the neighborhood,” Frank says. “You’re a neighbor. Well what’s your name neighbor?”
3. The ratings for “Mister Rogers’ Neighborhood” peaked in 1985, the year before Blue Velvet was released.
4. It’s not only Frank’s eyes that terrify, but his voice, tinged with sarcasm, delivered in Dennis Hopper’s flat, Midwestern accent. And then, buried in the soundtrack, there’s a low, faint rumbling, like the sound of thunder arriving from hundreds of miles away, having crossed vast, empty fields.
5. John Belton, from his essay “Technology and Aesthetics of Film Sound”:
What the sound track seeks to duplicate is the sound of an image, not that of the world. The evolution of sound technology and, again, that of studio recording, editing, and mixing practice illustrate, to some degree,...
- 3/18/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Second #3995, 66:35
1. Jeffrey, just after the kiss with Sandy, is on his way up the dark, industrially-vibed staircase to Dorothy’s apartment. He has had his chaste kiss; new he wants more. He is hungry for Dorothy, who dispenses with shy-girl playfulness and gives Jeffrey the Real Thing.
2. The blackness of the frame. The amount of screen space dedicated to the experience of no visible light. There is light, of course–just enough–but Jeffrey travels in these moments mostly through the dark.
3. In He Died with His Eyes Open, the first of Derek Raymond’s British crime noir Factory series novels, the unnamed Detective Sergeant has a terrible dream that remotely echoes Jonathan Edwards’s famous 1741 sermon “Sinners in the Hands of an Angry God.” He is prone to such dreams, which seem somehow to clear the way for him to face the brutalities of the waking world:
I dreamed that far below me,...
1. Jeffrey, just after the kiss with Sandy, is on his way up the dark, industrially-vibed staircase to Dorothy’s apartment. He has had his chaste kiss; new he wants more. He is hungry for Dorothy, who dispenses with shy-girl playfulness and gives Jeffrey the Real Thing.
2. The blackness of the frame. The amount of screen space dedicated to the experience of no visible light. There is light, of course–just enough–but Jeffrey travels in these moments mostly through the dark.
3. In He Died with His Eyes Open, the first of Derek Raymond’s British crime noir Factory series novels, the unnamed Detective Sergeant has a terrible dream that remotely echoes Jonathan Edwards’s famous 1741 sermon “Sinners in the Hands of an Angry God.” He is prone to such dreams, which seem somehow to clear the way for him to face the brutalities of the waking world:
I dreamed that far below me,...
- 3/2/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Second #3807, 63:27
1. “Today,” Jeffrey tells Sandy at Arlene’s, as we see a flashback of what he’s describing, “I staked out Frank’s place with a camera. Now, there’s another man involved in all this. I call him The Yellow Man.” These shots, in the bright of day, are some of the most quietly beautiful in the film with their burnt-orange 1940s-era Allied Vans, as if Walker Evans photographs had switched to color.
2. In Derek Raymond’s novel The Devil’s Home On Leave, the nameless Detective Sergeant recalls a terrible dream:
But in the night I dreamed that two figures appeared at the foot of my bed in Earlsfield. The one in front was a thickset, middle-aged man, heavy-featured and dressed in a cap and a thick grey coat. He made as if to chop at me with his hand. Black matter seeped out of his mouth...
1. “Today,” Jeffrey tells Sandy at Arlene’s, as we see a flashback of what he’s describing, “I staked out Frank’s place with a camera. Now, there’s another man involved in all this. I call him The Yellow Man.” These shots, in the bright of day, are some of the most quietly beautiful in the film with their burnt-orange 1940s-era Allied Vans, as if Walker Evans photographs had switched to color.
2. In Derek Raymond’s novel The Devil’s Home On Leave, the nameless Detective Sergeant recalls a terrible dream:
But in the night I dreamed that two figures appeared at the foot of my bed in Earlsfield. The one in front was a thickset, middle-aged man, heavy-featured and dressed in a cap and a thick grey coat. He made as if to chop at me with his hand. Black matter seeped out of his mouth...
- 2/20/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Two films out this week find themselves startlingly in touch with the culture of violence on our city streets
Now and then, the movie-release schedule snaps into line with real-world events. This time last week I'd already planned to write something about a pair of new films touching on cinema's age-old idea of the city as dark, perilous and eternally menacing. As it turns out, the week in London and elsewhere made most of that feel wincingly redundant. The films themselves, however, are anything but.
The first is The Interrupters, veteran documentarian Steve James's remarkable portrait of a trio of former gang members physically intervening in outbreaks of street violence; the second: Elite Squad 2, Brazilian director José Padilha's sequel to his queasy, but vastly successful, 2007 story of a mob of Rio supercops. In pretty much every aspect of their work, James and Padilha couldn't be more different, but each...
Now and then, the movie-release schedule snaps into line with real-world events. This time last week I'd already planned to write something about a pair of new films touching on cinema's age-old idea of the city as dark, perilous and eternally menacing. As it turns out, the week in London and elsewhere made most of that feel wincingly redundant. The films themselves, however, are anything but.
The first is The Interrupters, veteran documentarian Steve James's remarkable portrait of a trio of former gang members physically intervening in outbreaks of street violence; the second: Elite Squad 2, Brazilian director José Padilha's sequel to his queasy, but vastly successful, 2007 story of a mob of Rio supercops. In pretty much every aspect of their work, James and Padilha couldn't be more different, but each...
- 8/12/2011
- by Danny Leigh
- The Guardian - Film News
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