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ShaunHuston filmblog

  • At-Home: Metropolitan (1990), One (or two) thing(s)

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    Under discussion:

    Barcelona  (1994)

    Metropolitan  (1990)

    Anne-Marie and I started our At-Home Film Festival this past week with Metropolitan (1990). I'm going to adjust the "One thing ..." format for movies from our home library, and write about the reasons I'm glad we have these films on DVD rather than one thing that makes them good, wonderful, fun, etc. So, here goes ...

    One reason two reasons why I'm glad we have Metropolitan in our collection is are Christopher Eigeman and Taylor Nichols. Both have a real facility with Whit Stillman's arch, formal, and, probably, overly literate dialogue. However, they each handle it in very different ways. The words just roll off of Eigeman's tongue, while Nichols is so earnest that he sells it even if it never quite sounds "natural." It isn't hard to understand why Stillman wanted them both in Barcelona (1994) and Eigeman in The Last Days of Disco (1998) (and, yes, Nichols shows up here, too, but only in a cameo as Charlie from Metropolitan).
    Originally posted on:Short-Circuit Signs

  • Previous "One thing ..." posts

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    Here are my first "One thing ..." posts on Spout.

    Once (2007)
    Nancy Drew (2007)
    Originally posted on:Short-Circuit Signs

  • At-Home: Metropolitan (1990), One (or two) thing(s)

    Was this review helpful? [Be the first to tell us!]

    Anne-Marie and I started our At-Home Film Festival this past week with Metropolitan (1990). I'm going to adjust the "One thing ..." format for movies from our home library, and write about the reasons I'm glad we have these films on DVD rather than one thing that makes them good, wonderful, fun, etc. So, here goes ...

    One reason two reasons why I'm glad we have Metropolitan in our collection is are Christopher Eigeman and Taylor Nichols. Both have a real facility with Whit Stillman's arch, formal, and, probably, overly literate dialogue. However, they each handle it in very different ways. The words just roll off of Eigeman's tongue, while Nichols is so earnest that he sells it even if it never quite sounds "natural." It isn't hard to understand why Stillman wanted them both in Barcelona (1994) and Eigeman in The Last Days of Disco (1998) (and, yes, Nichols shows up here, too, but only in a cameo as Charlie from Metropolitan).
    Originally posted on:Short-Circuit Signs

  • You Kill Me (2007): One thing (and a little more)

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    Under discussion:

    Sexy Beast  (2000)

    You Kill Me  (2007)

    One thing that makes You Kill Me one of the best movies I've seen so far this year is Jeff Jur's photography.

    You Kill Me is shot in cool tones (notice how strong the blues are in dusky interiors). In bright light, the image flirts with overexposure. The first choice underscores the cool, hardbitten nature of the film's characters, most of whom have spent their lives in literal and metaphorical shadows, away from others, a quality connoted by the near washing out of the image when they are drawn into the light.

    Jur also makes selected use of rack focus to bring the audience into Frank's (Ben Kingsley) point of view. There are three shots in particular where this device is put to use: one where Frank catches his reflection in a window while talking to his soon-to-be AA sponsor, Tom (Luke Wilson), one where Frank looks up at the top of the Golden Gate Bridge while talking to Tom about “accepting a higher power,” and one where he fixes on one of his fellow alcoholics, Becky (Katie Messina), whose confessional moves him to speak. In each of these moments the shift in focus from Frank to what Frank is looking at pulls the audience, briefly, into his way of viewing the world and his place in it. Very subtle, but effective and not at all jarring.

    (It would be very wrong to write about this movie without mentioning the performances, particularly Téa Lenoi as Laurel. Watch how she uses the smallest of facial expressions and shifts in posture to convey her character's reaction to Frank's self-introduction to his San Francisco AA group. As for Kingsley's Frank, it would be easy to write this character off as a version of Don Logan, but beyond their superficial similarities, the two men are very different. Logan is a force of nature. Frank Falenczyk is all scarred humanity. Bill Pullman's Dave is far more complicated than he has any right to be, and Philip Baker Hall and Dennis Farina are exactly what they need to be. I'm not one to measure a film's worth by such things, but, seriously, at Oscar time You Kill Me will get no recognition, not even Leoni, and that will be a shame).
    Originally posted on:Short-Circuit Signs

  • "One thing ..."

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    When I started using Spout, I began an exercise in writing about film in ways that would allow me to express myself as both an academic/critic and moviegoer/fan. I am also searching for a way of writing that is concise, but still intellectually and emotionally satisfying. With some of my earlier bloggish endeavors, I found myself feeling trapped by the self-imposed purpose of writing extended reviews and commentaries about films I had seen. I initially reacted against this by shifting to a mode where I began writing too infrequently about what I was seeing. My current experiment is to write about, at least, "One thing ..." that a film should be noted for. Read more about this on my Spout blog.
    Originally posted on:Short-Circuit Signs

  • Introduction

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    This journal is the newest incarnation of my search for a space where I can informally write and share about film, television, and related arts and media. I am an associate professor in geography and film studies at Western Oregon University. The demands of academic and professional writing, while allowing me to write critically and creatively about film and other visual arts and media, don't leave much room for simple appreciation. That work also tends to be solitary and static. Here I want to reach for a synthesis of critical analysis and love for film (et al). Most of the content posted here will be cross-posted to my Spout blog, where you can also view films that I've been watching and thinking about. I am cojoining this journal to my space on Spout so I can use LiveJournal's superior tagging capacity. LiveJournal is also a more open platform for sharing.
    Originally posted on:Short-Circuit Signs

 

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