Got around to watching Lemony Snicket’s long title. Did someone post about that previously?

Well…. I am not going to hash around much with the film overall; it sort of works, sort of doesn’t. I think at age 12 I’d have been in love, but I’m not sure at 37 I could get past the crude stitching of slapstick to dry bitter irony.

But my god it looked good. Without aping Gorey, the film’s production (and the animation on the dvd, and in the film’s credits) was equally baroque, brutal, wondrous. I think it’s worth seeing if just to revel in that look ….

the magazine outlook is celebrating its 10 year anniversary with a series of articles on indian film, 1995-2005. the entire issue is here. one of the more interesting articles is this one which makes the case that while bollywood has swamped all other indian cinema in marketing terms, excellent regional and parallel cinema continues to thrive. after summing up the dominance of bollywood chatterjee writes:

(more…)

(continuing from here.)

Stewart’s an emotional wreck in much of Hitchcock’s stuff. While Cary Grant maintains a kind of icy hauteur through the thick/thin of those thrillers, Stewart bubbles with barely-repressed confusion and turmoil. So–my wrongheaded snipe about melodramatics is completely, thoroughly wrong.

(I read an interesting little tidbit about Stewart yesterday in Jonathan Lethem’s collection, _The Disappointment Artist_–which I can’t recommend highly enough as a model of smart, personal criticism about art. He was noting how a biographer of Stewart had wondered how the “gentle” actor of early pictures turned, after his service in WWII, into the dark troubled soul of later pictures. And Stewart’s war record was, in part, sealed–protected as confidential. The biographer wondered if Stewart had been part of the Dresden bombing raid….)

There’s a project in here somewhere: Action films as male hysteria.

Shitty.

You liked this, Arnab? The camera did so many 360 turns I thought they had it rigged to a toilet. Okay, it wasn’t awful. But it wasn’t good, either. I don’t like it when there’s so much crying in an action movie. Suck it up, you fuckers. Sublimate your sadness in a good old-fashioned ass-whupping, like the rest of us.

I far prefer the action of “Nowhere to Hide” and the thriller politics of “J.S.A.” (and Park’s later films–”Sympathy for Mr. Vengeance” and “OldBoy”–are even better).

Anyone else seen this? Or heard of it? Low-budget anthology, all circling around “robots” introduced into an archetypal human experience (birth, love, and two about death). It’s a fine small film; smart, funny, compassionate. My favorite segment is called “The Robot Fixer,” and a distant mother grapples with her son’s comatose state by fixing up his collection of cheap quasi-Transformer toys.

And, okay, I admit: the film caught my eye first for its geeky premise, then for its almost entirely non-white cast. This cast is quite good, but it is striking–a sad commentary either on my own habits as a viewer or on the state of American film, or both–that I was/am surprised that a film so careful to cast predominantly Asian-American leads never mentions race, doesn’t bother to define race as central to the stories, doesn’t even hint at the ‘difference’ from mainstream cinema.

So my question out to all: is it racist to read the “robot” focus as in some way allegorical, or at least analogical, to the representation and experience of non-white racial identity in America?

Or–how about this: is this an “Asian-American” film? Debate.

Or don’t. Regardless, it’s a good flick.