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The Last Days of FilmStruck: The Immortal Story (1968)
Filmed for French television, The Immortal Story is Orson Welles’ first foray into color film. It is also his shortest film ever made, clocking in at 60 minutes. Welles was an admirer of Isak Dinesen,...
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News about the Criterion Collection
I completely forgot to mention the news about the Criterion Collection. If you care even a little bit about the things I’ve been writing on here, please support this endeavor right now. There are no...
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The Last Days of FilmStruck: Osaka Elegy (1936)
Seen as a companion piece to Kenji Mizoguchi’s next film, Sisters of the Gion, Osaka Elegy is assaulting but just as descriptive in its critiques of prewar Japanese culture. [spoilers herein] I have...
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The Last Days of FilmStruck: Sisters of the Gion (1936)
Sisters of the Gion, one of Kenji Mizoguchi’s most celebrated early sound films, was an arresting experience. Seen as a companion film to Osaka Elegy, released the same year, Sisters of the Gion is a...
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The Last Days of FilmStruck: When a Woman Ascends the Stairs (1960)
The quiet and balanced brilliance of When a Woman Ascends the Stairs is Mikio Naruse’s greatest triumph. Naruse’s approach to film is perhaps best articulated as pessimistic (or perhaps if we’re...
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The Last Days of FilmStruck: Tokyo Story (1953)
Tokyo Story is a film directed and cowritten by the prolific Yasujirō Ozu. Based on the American film, Make Way for Tomorrow, Tokyo Story looks at the life of an elderly retired couple in post-war...
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The Last Days of FilmStruck: Hiroshima mon amour (1959)
In his first feature film, Alain Resnais made what some have considered to be “the most important film since the war, the first modern film of sound cinema.” Indeed, Hiroshima mon amour feels — in all...
View ArticleGodard on Bresson
“Robert Bresson is French cinema, as Dostoevsky is the Russian novel and Mozart is the German music.” — Jean-Luc Godard
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The Last Days of FilmStruck: Pickpocket (1959)
Pickpocket served as my introduction to the films of Robert Bresson, of whom I have heard so much. The film showcases Bresson’s spartan style — both for dialogue as well as for aesthetics. I was struck...
View ArticleThe soul is in contact with God
“There is the feeling that God is everywhere, and the more I live, the more I see that in nature, in the country. When I see a tree, I see that God exists. I try to catch and to convey the idea that...
View ArticleShmuel Ben-gad on Robert Bresson
Bresson insists on realism in a less subtle way, namely, in his avoidance of acting. He does not use actors, and refers to the people who appear in his films as “models.” Through extremely precise...
View ArticleWilliam Shakespeare, Sonnet LXXIII
That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin’d choirs, where late the sweet birds sang. In me thou...
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The Last Days of FilmStruck: Mouchette (1967)
“Mouchette offers evidence of misery and cruelty. She is found everywhere: wars, concentration camps, tortures, assassinations.” — Robert Bresson1 Minimalistic, spare, assaulting, tragic: Mouchette is...
View ArticleTarkovsky’s interests
“I am only interested in the views of two people: one is called Bresson and one called Bergman.” — Andrei Tarkovsky
View Articlea full mind as well as a lively heart
If you are a writer or have ever thought yourself inclined to be one, Alan Jacobs provides some really, really good insights to take to heart.
View ArticleMath books
Read about the history of the first printed math books over at I Love Typography. It’s a gratifying and fascinating read.
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Morning devotionals
I just came across this little treasure from C. Michael Patton at Credo House. Read at your own risk!
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