The Dark Side of the Screen
Although it can be traced to German Expressionism and French Poetic-Realism, Film Noir is quintessentially an American idiom. Not a genre but a mood, it centres on fatalistic dread.
Although it can be traced to German Expressionism and French Poetic-Realism, Film Noir is quintessentially an American idiom. Not a genre but a mood, it centres on fatalistic dread.
With this modernist masterpiece, Michelangelo Antonioni told a story that abandoned its initial plot. Booed at Cannes, it paved the way for a new cinematic form.
Ernest Hemingway hated what Hollywood did with his novels. The only film of his work he liked was this classic adaptation of his celebrated short story.
John Huston’s film of Dashiell Hammett’s classic novel was the third adaptation. How did he succeed where others had failed?
Whether it be theatre, film or TV, all stories need good plots and performances. But what elevated True Detective Season 1 to the status of classic was its structure.
This video-essay on Blade Runner examines how Ridley Scott visualizes the film’s numerous and seemingly disparate themes of urbanity, ecology, identity and mortality.
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