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La Belle captive
John Phillips

film. When a girl dies in a fall from a cliff path, A caresses her breasts and kisses her, licking blood off her toe. This gesture is echoed later as A licks red wine off the body of a prostitute, lingering at the corner of A’s mouth, cutting to the shot of a man lying in a pool of blood. In a clear parody of the vampire theme, red marks are found on Nora’s/lawyer’s neck: ‘Ce n’est pas du sang, c

in Alain Robbe-Grillet
Marriage, remarriage and screwball comedy
Kathrina Glitre

Could Only Cook, Midnight), pretend they are not married (The Palm Beach Story), think they are married (Mr and Mrs Smith (1941) ) or get divorced (His Girl Friday). Engagements are made to be broken (My Man Godfrey, Bringing Up Baby, Holiday), implied adultery abounds (She Married Her Boss, The Awful Truth, Topper) and bigamy seems almost inevitable (Libeled Lady, My Favorite Wife (1940) ). Every variation on the themes of marital duplicity and infidelity appears in screwball comedy. Indeed, there are hardly any happily married characters: it is a world peopled with

in Hollywood romantic comedy States of the union, 1934–65
Cristina Johnston

(herself fresh from the bisexual experimentations of La Maman et la putain/The Mother and the Whore) perform a girl-on-girl routine in the strip-joint where they are employed as dancers. In Hugo Santiago’s little-seen Ecoute voir…/See Here My Love (1979), an offbeat mixture of Chandler and Feuillade, Deneuve’s private investigator Claude (complete with Marlowe-esque hat and trench coat) enjoys an on-screen kiss with the

in From perversion to purity
Lucy Robinson

pictures of Judith Butler so [Judy included a picture of] … another Judy [Garland]’. (It was not just Russo who recognised Garland’s queered significance.) Academic theories were ‘crushes’ and rock star fan gossip was replaced with spottings of Julia Kristeva, Butler, Eve Sedgwick and Diana Fuss. Judy included multiplechoice quizzes like those in women’s and girls’ magazines; ‘are you a theoryfetishizing biscuithead?’ The second issue teased ‘dirty pictures of Julia Kristeva’.62 Similarly, a contemporary Brighton zine, Fan Girl Fan Club, puts the affective labour of icon

in Ripped, torn and cut
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Doctor Zhivago (1965), Ryan’s Daughter (1970) and A Passage to India (1984)
Melanie Williams

critical reaction to Zhivago was lukewarm then, as we have seen, it was positively venomous for Lean’s subsequent production. Ryan’s Daughter was conceived and made on an epic scale but dealt with the ‘small’ topic of an Irish girl’s journey from adolescence to adulthood: her marriage, her affair and the subsequent punishment for that transgression. It is the film where that growing tension between epic and feminine in Lean’s later career is most pronounced, having been judged a deficient epic on the grounds of a perceived incompatibility between feminine subject matter

in David Lean
Marion Schmid

boys and girls of their age ) commissioned for the French national arts channel La Sept/ARTE. Nine directors of different age groups, including, amongst others, Claire Denis, André Téchiné and Olivier Assayas, were invited to film an autobiographically inspired tale of adolescence set against the backdrop of their own teens. Based on personal memories, the series was thus designed to reflect the spirit, atmosphere and socio

in Chantal Akerman
Gender, the family and eroticism
Kate Ince

chauffeured car at his school just as a blonde girl of about his age emerges from the Métro into which he is to descend. She turns towards him, and he smiles at her from the car; she then smiles back as she passes. Once the boy is in the Métro, the start of his dream is signalled by his walking down the rising escalator on which he has in fact just fallen asleep. An apparently empty train moves through the station he finds himself in, but

in Georges Franju
Don Fairservice

Crucifixion, and the last-minute rescue of the Boy. Interestingly, Griffith declined to give the characters specific names, which is the way that we identify people and relate to them. As indicated in the above synopsis, the characters are given descriptive names – the Boy, the Dear One, the Lonely One – and so on, and this nomenclature is applied to other stories, the Rhapsode and The Mountain Girl in the Babylonian story and Brown

in Film editing: history, theory and practice
Boom! (1968), Secret Ceremony (1968) and Figures in a Landscape (1970)
Colin Gardner

’s avenging angel Leonides is now Leonora Grabowski (Elizabeth Taylor), a small-time, Anglo-American prostitute living in a modest London bedsit. Leonora is haunted by the tragic loss of her ten-year-old daughter Judith, who was accidentally drowned five years earlier. The mother blames herself for the young girl’s death, for in a scene subsequently cut from the release print Leonora is seen making love to her American husband

in Joseph Losey
Abstract only
Steven Peacock

meet her ideal (‘But in August I want to see the sea, to swim’). One of Babie’s young children is perched on Delphine’s knee. Whilst distractedly answering her sister, Delphine makes a fuss of her fidgety niece, straightening the little girl’s outfit and smoothing her hair. She does the same with her own neckline, her hand dabbing around the broad collar of her pale blue sweater. Then, as she loosely entertains the idea of

in Colour