A movie log formerly known as Bookishness / By Charles Matthews
"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Sunday, March 27, 2016
The Manchurian Candidate (John Frankenheimer, 1962)
North by Northwest (Alfred Hitchcock, 1959) -- goes nowhere: Leigh's character serves no further discernible role in the narrative. But it serves nicely to keep the viewer off guard as things grow increasingly bizarre. The weakest performance in the film is probably that of Laurence Harvey as Raymond Shaw. Harvey can't seem to be bothered to keep up an American accent, but somehow even that fits the ambiguity of his character. Angela Lansbury, as Raymond's mother (this is the point where it's usual to mention that she was only three years older than Harvey), is absolutely terrifying as one of the movies' greatest female villains. It earned her an Oscar nomination, but she lost to Patty Duke in The Miracle Worker (Arthur Penn). James Gregory, as her Joe McCarthy-like husband, would not be out of place in the current presidential campaign.