Is intellectual curiosity a privilege, or a basic human value? Springing off Matt Zoller Seitz’s twitter conversation this week about easy-access movies, we parse out how harshly one can judge anyone in this day and age for being behind the curve.
As we emerge from CES with news of the resurrection of film AND the advancement of virtual reality, we take a long rambling detour into the world of online piracy, outrage culture, and the homogenization of the human race. Only on Mamo.
Yes, these Bookmarks posts have been rather sparse for the past couple weeks, and yes, they will return to normal, soon. But for now, this series by Matt Zoller Seitz on the filmography of Terrence Malick, ALL THINGS SHINING. I’ve always enjoyed these pieces that Seitz puts together for the Museum of the Moving Image, but here he has outdone himself by an aesthetic that treats the editing and construction of the multiple essays in a similar vein as to Malick builds his films. Lots of insight and a gorgeous precis of imagery of the Malick’s filmography which are a (fully intentional) lead-in to the culmination of Malick’s career, Tree of Life (Kurt’s Review). Currently the series is up to the first half of The New World, with presumably one more episode for the directors Pocahontas tale and possibly a pair for Tree of Life (I’m not sure about this however, it takes a long while to properly process these films, and Tree of Life most of all.)
All current episodes are tucked under the seat.
This superb (and thorough) look at Wes Anderson‘s auteur influences was mentioned on the current episode of the Cinecast. The House Next Door founder, freelance writer and film director Matt Zoller Seitz narrates and edits a collection of side by side and annotated scenes from Wes Anderson’s filmography and connects the director’s aesthetic to Hal Ashby, Mike Nichols, Charles Schultz, Martin Scorsese, Orson Welles, François Truffaut and the written work of J.D. Salinger. High praise indeed, but the key here is that Anderson re-invents his influences into his own auteur stamp, one that has been imitated (From Napoleon Dynamite to Garden State), yet nevertheless remains instantly recognizable about the crowd.
The series: The Substance of Style, is in 5 parts, ending with a fully annotated playing of the sublime opening prologue of The Royal Tenenbaums.
The First Part is tucked under the seat.