Read Good Shit On Musings: independent film

Jonathan Demme’s ‘A Master Builder’ and the Elusive Magic of Bringing Stage to Screen

By Yasmina Tawil

By Tina Hassannia

Criterion’s three-film box-set of the works of Wallace Shawn and Andre Gregory—My Dinner With Andre, Uncle Vanya, and A Master Builder—features several supplements, including an interview between the theater artists and writer Fran Lebowitz. She makes a frank confession: “I don’t like watching theater.” Gregory, a man who’s spent his entire life in the theater, says he feels the same way.

Lebowitz explains that she loves to be drawn into a good film or novel, but, with the exception of Shawn’s work, she’s never experienced the same with theater. She’s not alone. While theater may not exactly be a dying art form, it was long ago upstaged by cinema and television as our de-facto entertainment, and our appreciation for it has dwindled in kind.

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Mirror, Mirror: When Movie Characters Look Back at Themselves

By Yasmina Tawil

By Sheila O’Malley

“I always feel it behind me. It’s myself. And I follow me. In silence. But I can hear it. Yes, sometimes it’s like I’m chasing myself. I want to escape from myself. But I can’t!” —Peter Lorre as child-murderer, M (1931)

There was a period in the ‘60s and ‘70s when you could barely call yourself a male movie star if you didn’t do a scene where you stared at yourself in the mirror, doing various “private” things. The device shows up before then, too, but the floodgates opened in the ‘60s and ‘70s. Meryl Streep has observed, “Often the scenes that are the most exciting, and most illuminating in film, are the ones with no dialogue…where a character is doing something alone, where the deepest most private self is revealed or explored. Exposed.”


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When Dirty Harry Fought Pauline Kael

By Yasmina Tawil

By Keith Phipps

“Dirty” Harry Callahan fought many bad guys across five films between the years 1971 and 1988, from a serial killer named Scorpio to violent revolutionaries to a gang of seaside rapists. But one of his most persistent foes lived off screen, which didn’t keep her from becoming a kind of obsession for the film series Harry called home. Directed by Don Siegel, Dirty Harry quickly became the subject of controversy and condemnation — as everyone making it no doubt knew it would, with its casual endorsement of police power and dismissal of accused criminals’ rights. But few were as vocal in their condemnation as Pauline Kael, who pinned on the series, and its star, an f-word both would have a hard time shaking. The “action genre has always had a fascist potential,” wrote Kael in The New Yorker, “and it has finally surfaced.” The review locked Callahan and Kael in a battle that would continue until both retired, leaving no clear winner at its end.


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