Posts by: Nicholas Rombes
This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Marnie, directed by Alfred Hitchcock (1964):...more
Beyond the Black Rainbow (Panos Cosmatos, 2011) has the feel of a slow march through a black swamp. There is a majesty and a tar-pit trap power in the wordless matching of moving images and music....more
This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine I Shot Andy Warhol, directed by Mary Harron (1996):...more
This coming Wednesday, March 30, a new 10/40/70 experimental film column will be published here at The Rumpus.
In the spirit of the absurd beauty of spring, if you can identify the film I’ll be writing about from this single frame, e-mail me at nrombes AT hotmail.com with your address and I’ll mail you a frame from a mysterious 16mm film I discovered recently in an archive, as well as a short note typed on interesting letterhead....more
In at least two of his novels, Thomas Pynchon mentions a Porky Pig cartoon from the 1930s.
Here is the reference from The Crying of Lot 49 (1965), as Oedipa Maas listens to an old man named Thoth, whose grandfather was an Indian killer: “Did you ever see the one about Porky Pig and the anarchist?” he asks her....more
Before the fiasco of the “rock musical” Spider-Man: Turn Off the Dark, Julie Taymor worked in smaller savageries, especially Titus (1999), her adaptation of Shakespeare’s Titus Andronicus.
The movie was a bit of an easy target. It was released after Richard III (1995) with Ian McKellan, and Romeo + Juliet (1996) directed by Baz Luhrmann, both of which scrambled time and place and tone in ways that seemed to reflect the shallow, ahistorical excesses of postmodernism....more
Another clip from Polish director Andrzej Zulawski’s masterpiece Possession (1981), starring Isabelle Adjani and Sam Neill.
The movie piles on one outrageous, tornado-like scene after another, but it is often the quiet, in-between moments that are more deeply eerie. In this scene such a moment occurs at around 1:50, just after the cars fall off the truck....more
A few years ago, when I was finishing up the final edits on Cinema in the Digital Age, a colleague and I got into a heated debate about a section of the book where I argued that some of the images and sequences in The Ring (Gore Verbinksi, 2002) were as visually radical and avant-garde as, well, so-called avant-garde films....more
The 2010 Sundance Film Festival Shorts came through town for a one-night only showing, which I caught earlier this week at the grand old Michigan Theater in Ann Arbor.
The jury prize winner in international filmmaking, The Six Dollar Fifty Man (New Zealand, 15 minutes) was supposed to be poignant and funny and a little scary, and it was all of those, but not in a good way....more
This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Machine Gun McCain, directed by Giuliano Montaldo (1969):...more
I’ve had the book for about a year. Margaret Drabble’s Thank You All Very Much, originally published in 1965 as The Millstone.
My copy, a Signet edition from 1969, was given a new title, I think, to coincide with a 1969 film adaptation of the book called A Touch of Love, which was re-titled Thank You All Very Much....more