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
Saturday, October 8, 2016
Rosemary's Baby (Roman Polanski, 1968)
His Girl Friday (Howard Hawks, 1941), to the distinguished, gentlemanly, but sometimes sinister character in films like Trading Places (John Landis, 1983) and Pretty Woman (Garry Marshall, 1990). It's also good to see other veteran actors -- Sidney Blackmer, Elisha Cook Jr., and even that well-cured ham Maurice Evans -- doing fine ensemble work. Richard Sylbert's production design makes the most of the spooky gothic apartment house -- the exteriors are of the Dakota, but the interiors are sets. And Krzysztof Komeda, who had worked with Polanski in Poland, provides a score that's atmospheric without being overstated -- until it needs to be.