What I’m Seeing This Week: I wasn’t able to make it to Poor Things in Baltimore during our holiday travels, so I’m going to catch a matinee screening at Cinemapolis on New Year’s Eve. Then, to avoid falling too far behind on new releases, I’m going to see Ferrari later in the week either there or at the Regal Ithaca Mall.
Also in Theaters: I’m at an unusual disadvantage in that I haven’t yet seen most of the films playing in Ithaca! Of those I have, though, my clear favorite is The Boy and the Heron, which continues its run at the Regal. As I mentioned a couple of weeks ago, seeing director Hayao Miyazaki’s Spirited Away was one of the great moviegoing experiences of my life. If you know his work, you should see his latest because it ranks with the best of his oeuvre; if you don’t, you should see it for the same reason by way of getting acquainted.
Home Video:One More Time, which is now streaming on Netflix with a subscription, is not a remake of Groundhog Day, but it features a similar “time loop” narrative and deliberately (there’s literally a scene in which the main character watches the earlier film for clues about what’s happening to her) hits a lot of the same beats. To take a cue from One More Time‘s soundtrack, it has a similar relationship to its inspiration as Ashnikko’s “L8r Boi” does to Avril Levigne’s “Sk8er Boi,” only Jonatan Etzler and company aren’t so much reconstructing a beloved text with a bad foundation as reworking the facade a bit. Crucially, they understand that Phil Connor’s journey was not necessarily toward becoming a *better* person, but rather one who knows what he really wants. Throw in a good lead performance by Hedda Stiernnstedt, colorful secondary characters, and a depiction of the early aughts that this member of Conestoga Valley High School’s Class of 2000 found convincing if a bit rosy, and you have a fine example of what My Loving Wife and I call a “Friday night movie.” Hat tip: Elisabeth Vincentelli in the New York Times.
Previous “Ithaca Film Journal” posts canbe found here.
What I’m Seeing This Week:Poor Things, which opened at Cinemapolis yesterday, is one of my most anticipated new movies of the year. We’ll be on the road all week, so I won’t be able to see it here, but I’m hoping to catch a screening at the Charles Theatre in Baltimore during our travels.
Also in Theaters: My top recommendation is The Boy and the Heron, which is at Cinemapolis until Saturday and at the Regal Ithaca Mall one day longer, albeit only with subtitles. Maestro is already available on Netflix (which is why I ended up choosing Dream Scenario over it last week), but you can see it on the big screen at Cinemapolis until Sunday. My Loving Wife, who is a rower, is excited to see The Boys in the Boat, which opens at Cinemapolis and the Regal on Christmas Eve. Ferrari, which opens at the Regal then as well and at Cinemapolis on Christmas Day, is directed by Michael Mann, which makes it an event for me. Last but not least, I’ve heard good things about The Iron Claw, which is at both Cinemapolis and the Regal all week.
Home Video: Michael Fassbender’s eponymous main character from The Killer and Alain Delon’s Jef Costello from Le Samouraï would probably enjoy not talking to each other over dinner. They’re both in the same line of work, are clearly intelligent, and appear to live according to a strict code. So why is one considered the epitome of a certain notion of “cool” while the other comes across as sort of a doofus? Part of this is attributable to costume design: the clothes they wear may both be precision engineered to blend in to their respective milieus, but it seems unlikely that The Killer’s German tourist attire will still regularly garner attention from fashion writers they way Costello’s perfectly calibrated fedora and trench coat do more than fifty years later. More importantly, though, we can hear The Killer’s thoughts and thus are privy to the DETAILS of his philosophy of life as opposed to just having a brief quote from a made-up samurai text to go on. And so it is that one man’s escape from the suddenly undeniably corrupt world he inhabits registers as noble and pure while the other’s decision to permanently retreat to an island paradise very much doesn’t. I revisted Le Samouraï as recently as just the other day and it remains one of the most icily beautiful films I’ve ever seen, but there’s a lot more going on in The Killer. I particularly enjoyed the main character’s fondness for Amazon lockers, Egg McMuffins, and rideshare scooters, which in addition to being character note are a reminder that an average middle class person in 2023 has access to luxuries that would be the envy of wealthy monarchs from centuries past. Meanwhile, Erik Messerschmidt’s cinematography is ostentatiously spectacular, and Trent Reznor and Atticus Ross have once again produced one of my favorite scores of the year, following up their work on Empire of Light with something similarly spare, but much different in tone. The Killer is now streaming on Netflix with a subscription. Highly recommended!
Previous “Ithaca Film Journal” posts canbe found here.
What I’m Seeing This Week: My official selection is Maestro, which opens at Cinemapolis today, but I think we’re also going to take the girls to see It’s a Wonderful Life there on Sunday as part of the “Family Classics Picture Show” series. More information about this screening, which costs only $2 per person or $10 for a family or group, can be found here.
Also in Theaters: In 2002 a bunch of college friends and I piled into a car and headed north to attend the Toronto International Film Festival for one weekend. We prioritized a handful of new releases by directors we were already familiar with like Michael Moore’s Bowling for Columbine, but for the most part we just went by the descriptions in the program and created a schedule that allowed us to see as many movies as possible. And so it was that I found myself watching a man I had never heard of named Hayao Miyazaki introduce his latest film Spirited Away. The subsequent two hours remain one of the most magical and unexpected moviegoing experiences of my life, and the best compliment I can think to pay The Boy and the Heron, which is now playing at both Cinemapolis and the Regal Ithaca Mall, is to say that I believe I’d feel exactly the same way if *it* had been the film I had saw that day instead. The next best new film in local theaters that I’ve seen is The Holdovers, which ends its run at Cinemapolis on Sunday but continues at the Regal at least through the end of the week. Other holiday options include Die Hard, which continues at the Regal all next week; my most recent Drink & a Movie selection National Lampoon’s Christmas Vacation, which is there on Saturday; and The Polar Express, which is there on Sunday. Finally, two films open in Ithaca at the end of the week that I’ve heard nothing but good things about: Poor Things and The Iron Claw, which both arrive at Cinemapolis on Thursday. The latter starts a run at the Regal then as well.
Home Video: I’ve mentioned a few times recently that my family typically watches nothing but Christmas movies during the month of December, but we’ve actually done a pretty terrible job of it so far this year! We did all gather in the living room together for my December, 2022 Drink & a Movie selection Elf this past weekend, though, and I’m delighted to report that my oldest daughter is so interested in how films are made that she basically asked me to provide a commentary track focused on the practical effects used in the North Pole sequences, which is one of the cooler things that has happened in my life recently. We have it on DVD, but you can also stream it on Max with a subscription or rent it from pretty much any major platform. If you’re looking for anything but a holiday movie, the Shah Rukh Khan vehicle Jawan, which I enjoyed thoroughly when I saw it at the Regal in September, is now available on Netflix with a subscription.
Previous “Ithaca Film Journal” posts canbe found here.
What I’m Seeing This Week: Director Hayao Miyazaki’s latest film The Boy and the Heron, which opened at both Cinemapolis and the Regal Ithaca Mall yesterday, headlines this week’s new releases, but I’m confident that it’s going to stick around for awhile (and ready with a backup plan just in case), so I’m going with actor Nicolas Cage’s new movie Dream Scenario, which continues its run at the same two theaters.
Also in Theaters: This time of year is a mixed blessing: on one hand, there’s an abundance of films playing Ithaca that I want to see! On the other hand, there’s no chance I can make it to all of them. Critics whose opinions I respect seem to like Godzilla Minus One, which is at the Regal Ithaca Mall, but I’m probably going to need to wait to see it myself until it hits the streaming services next year. Ditto for Napoleon and Saltburn, which are more divisive, and which are at both Cinemapolis and the Regal. Of the new titles I’ve already seen, I heartily recommend The Holdovers, which continues its run at both Cinemapolis and the Regal Ithaca Mall, and Oppenheimer, which is back at the Regal. As far as repertory fare goes, Die Hard (which scholar David Bordwell called “masterpiece of Hollywood filmmaking” in a 2019 blog post that he re-posted earlier this week) and Love Actually are both at the Regal. There’s also a Frozen sing-along and mystery screening at Cornell Cinema on Monday before they go on hiatus for winter break. Finally, Ithaca mayor Laura Lewis is hosting a free screening of the documentary film It’s Basic at Cinemapolis on Tuesday. You can register for tickets here.
Home Video: I can tell my cinephile origin story in as few as two words: Star Wars. The “special edition” versions of the original trilogy were released theatrically in 1997, my freshman year of high school, and me and all of my nerd friends saw each film multiple times. When we started to get our driver’s licenses shortly afterward, we expanded our horizons slightly by going to all of the movies we had spent the previous months watching previews for. One was Starship Troopers, which I plan to cover in a future Drink & a Movie post; another was Event Horizon, which is now streaming on The Criterion Channel with a subscription. If that sounds wrong to you, go watch the movie! But if you need extra convincing, check out this interview with director Paul W.S. Anderson that film critic Bilge Ebiri conducted for Vulture last year. Ghost stories are, after all, a Christmas tradition!
Previous “Ithaca Film Journal” posts canbe found here.
About a decade ago I started watching National Lampoon’s Christmas Vacation more often each December than any other holiday movie. I’ve been meaning to explore why this is ever since I started this blog in 2018, which is right around the same time I discovered food writer Michael Ruhlman’s aged eggnog recipe. And this, dear reader, is how a Drink & a Movie pairing is born! To begin with the former, this is the specific eggnog that I make every year as one of our family’s holiday traditions. I don’t remember where I first came across it, but considering that planning ahead and preserved foods are two of my favorite things in the world, I imagine it was love at first sight! It also allows plenty of room for variation, so it never becomes boring, and someday if I come into a pile of money at just the right time I’m totally going to try it with a single malt from Oban as suggested in the notes section of Ruhlman’s blog post. The toasted sugar Tennessee whiskey meringue (which is a fantastic way to utilize the egg whites that don’t go into the nog) is a twist on the brown sugar bourbon meringue published on the blog Proportional Plate a few years ago, with toasted sugar a la Stella Parks (cooked for three hours to a light ivory color) replacing the brown and a little “help from Jack Daniels.” Here’s how we made the batch pictured below:
Whisk egg yolks and sugar together in a large bowl until well-blended and creamy using a stand mixer or by hand, then add remaining ingredients and stir or whisk to combine. Transfer mixture to a one-gallon glass jar or multiple smaller jars and place in the refrigerator for 30 days. Serve in a moose-shaped glass topped with a dollop of toasted sugar Tennessee whiskey meringue and garnished with freshly-ground nutmeg.
Ruhlman correctly observes that this is a boozy concoction and it’s also quite rich, so you’ll want to go easy, but this is a feature not a bug as far as I’m concerned: if something takes up space in my fridge for a month, I want it to last awhile! Dark rum adds the molasses notes that I’m looking for in a winter beverage, but you could substitute Smith & Cross if you want to highlight the funkiness which I otherwise find surprisingly mild: the real benefit of aging is that it allows all the flavors to marry. You could also, of course, use Jack as your primary base spirit if you wanted to forgo the meringue but maintain the Christmas Vacation connection.
Speaking of which, here’s a picture of the Warner Home Video Special Edition DVD release which hangs out in a box in a basement with all of our other Christmas movies for most of the year:
It can also be streamed via Max with a subscription or Apple TV and Prime Video for a rental fee.
On June 21, 1987 the New York Times published an interview with Stanley Kubrick by Francis X. Clines which began with the legendary auteur praising a series of recent Michelob beer commercials: “they’re just boy-girl, night-fun, leading up to pouring the beer, all in 30 seconds, beautifully edited and photographed.” The person who directed them was one Jeremiah S. Chechik, and according to a 2016 Slash Film oral history by Blake Harris, his phone started ringing off the hook the next day. Less than two years later he was directing his first feature film. “Economy of statement is not something that films are noted for,” Kubrick went on to tell Clines, and Christmas Vacation is no exception, but as Dave Kehr noted in a contemporary review for the Chicago Tribune, it definitely does exhibit a “fine sense of timing.” Nowhere is this more apparent than in my favorite scene. Hapless patriarch Clark Griswold (Chevy Chase) has found himself trapped in a cold attic while his family goes shopping:
While searching for warm clothing, he finds a box of home movies:
The scene which follows is a smidge under two minutes long and begins with a 37-second lateral tracking shot which brings Clark into the right third of the frame with a film projector in the foreground:
Then swings around to show us what he’s watching from over his shoulder:
There’s a cut to a head-on shot of Clark occupying the left two-thirds of the screen and the light from the projector filling the rest which lasts about three seconds:
Then a cut to a title card followed by approximately twelve seconds of home movie footage starring people identifiable as younger versions of characters from Christmas Vacation:
This sequence repeats itself with very similar timing, but this time the camera also tracks in on Clark slightly:
Cut to an exterior shot of the rest of the Griswolds arriving home:
Then back to twelve more seconds of home movie footage followed by another ten seconds spent tracking in to an even tighter close-up of Clark’s face:
Cut to a shot of Clark’s wife Ellen (Beverly D’Angelo) coming up the stairs with an armful of presents which ends with a close-up of her gloved handing grasping for the chain one pulls to open the attic:
Followed by one last close-up of Clark which holds for just a second or two before the music abruptly ends and he falls through the floor:
Considered against the entire sweep of film history, Chechik and crew aren’t doing anything original in this scene, but it stands out within the realm of holiday movies because it finds a perfect balance between sentimentality and slapstick. The pratfall at the end of this scene is funny because it’s surprising: we know something is coming, but not what, since we have no way of knowing that Clark set his projector up right on top of the attic door. Meanwhile, the 2:1 (after the initial tracking shot) ratio of documentary evidence of what the “fun, old-fashioned family Christmas” that he’s trying to recreate looked like to his emotional responses to it helps us understand what he’s struggling to achieve elsewhere in the film and why. Last but not least, the marriage of these images to Ray Charles’s “That Spirit of Christmas” is absolutely perfect.
Music is a crucial aspect of a number of other scenes as well. Angelo Badalamenti’s use of a drum to accompany Clark’s reaction to his son Rusty’s (Johnny Galecki) question “did you bring a saw?”
And then a lone, melancholy (French?) horn playing “O Come, All Ye Faithful” over footage of the tree they picked out tied to the top of the Griswold’s “front-wheel drive sleigh” is why this gag works:
And the decision to let the rendition of “Silent Night” which plays over footage of the rest of the family asleep in their beds end before the shot of Clark on his ladder underneath a huge moon re-checking each of the thousands of bulbs which failed to light earlier in the evening makes him seem even more cold and lonely:
Which brings me back to the question I mentioned at the outset of this post: why did I all of a sudden become much more interested in Christmas Vacation about ten years ago? After all, although I wouldn’t say I “grew up” with this film, it is one I watched for the first time as a child, when family lore has it that I started bawling my eyes out after Aunt Bethany’s (Mae Questel) cat meets its demise:
In a contemporary review for the Los Angeles Times, Michael Wilmington observed that Chechik and screenwriter John Hughes “deliberately mix up horror movies and sentimental family comedies in their imagery.” He’s specifically talking about this scene near the end of the film when Clark “fixes the newel post”:
Which, per Wilmington, “fuses imagery from ‘It’s a Wonderful Life’ and ‘The Texas Chain Saw Massacre’ in a single visual gag,” a connection we are prepared to make by an earlier scene in which Clark dons a hockey match before cutting his tree down to size:
Wilmington is dead-on when he notes that point is to underscore the “fiery obsessiveness behind [Clark’s] desire, constantly thwarted, to construct the ideal Christmas.” The key is that the childhood holidays immortalized in film strips Clark finds in his attic weren’t perfect–as he says to his father (John Randolph) a bit later on, “all our holidays were always such a mess.” His desire to improve upon them comes from a good place: he wants to give his family an experience that they’ll still remember fondly 30 years later, just as he was moved to tears by images of “Xmas 1955.” But it’s also at its core a selfish project and thus not one that he necessarily deserves to be celebrated for. The final line of Christmas Vacation is one I think of often when we host holiday get-togethers. As a chaotic Christmas Eve improbably ends with everyone happily singing and dancing:
Clark and Ellen share a kiss outside:
She joins the rest of the family inside, leaving him alone. “I did it,” he says with a smile:
One way to interpret this is as further evidence that Clark is delusional. But another, more charitable explanation is that he has finally realized that the work is the reward, which I think would be enough to make this a movie about hosting Christmas and hospitality in general. It hardly seems like a coincidence that I would really begin appreciating Christmas Vacation at the same time I acquired in-laws and planning seasonal gatherings became a prominent part of my life.
I thought about ending this post with a more in-depth discussion of the eggnog scenes, but although “it’s good, it’s good” is invariably what I say whenever I quaff this particular beverage:
It’s really nothing more than a prop for Chevy Chase and Randy Quaid (who plays Cousin Eddie) and a showcase for the glassware so delightfully cheesy that we just had to have it:
Another option would be to call out the incredible ensemble cast that plays the Griswold grandparents, which in addition to John Randolph as Clark, Sr. also includes Diane Ladd as Clark’s mother, E.G. Marshall as Ellen’s father, and Doris Roberts (who I mentioned in my September, 2022 Drink & a Movie post about Hester Street) as her mother:
Or these ridiculous tracksuits worn by the Griswold’s yuppie neighbors Todd (Nicholas Guest) and Margot (Julia Louis-Dreyfuss):
Or Brian Doyle-Murray’s bad boss for the ages Frank Shirley:
Or one of the other lines we quote over and over again each December like “lotta sap in here. It looks great! Little full, lotta sap.”
Instead, I’ll conclude with a question: what in the world are we supposed to make of the fact that the animated opening credit sequence appears to show that Santa’s hat has a skeleton?
Now *that’s* horrifying. Cheers!
All original photographs in this post are by Marion Penning, aka My Loving Wife.Links to all of the entries in this series can be found here.
What I’m Seeing This Week: It’s a close call for me between the documentary Smoke Sauna Sisterhood, which screens at Cornell Cinema on Monday, and Nicolas Cage’s latest film Dream Scenario, which opened at Cinemapolis and the Regal Ithaca Mall yesterday. I’m currently intending to go with the former, but reserve the right to change my mind at the last minute! My Loving Wife and I may also see Napoleon, which continues its run at both of those same theaters, with her history buff uncle depending on how many other relatives come to Ithaca this weekend for our girls’ Irish dance recital and how willing they are to babysit.
Also in Theaters: It has been a few years since I literally recorded music onto an actual audiocassette, but I still use the term “mixtape” for certain Spotify and iTunes playlists. The thing they all have in common is intentionality: I restrict them to a certain length and put thought into how the songs flow into one another and fit together as a whole. I’ve always believed that you can do the same thing with movies. A film studies course syllabus is one obvious example, and a film series is another. Holiday movie watching can be, too, if you approach it the right way. We binge on Christmas movies each December in our house, but I don’t want the exact same thing over and over again. The Holdovers, which continues its run at Cinemapolis and the Regal Ithaca Mall this week, has the potential to be a great “holiday mixtape movie” in that it’s set during a private boarding school’s winter break and features twinkling lights and Andy Williams singing “The Most Wonderful Time of the Year,” but also quite a few somber notes, making it a seasonally appropriate change of pace. More traditional holiday fare screening at local theaters this week includes The Polar Express and National Lampoon’s Christmas Vacation (the subject of my next Drink & a Movie post!), which are at the Regal Ithaca Mall on Saturday and Sunday respectively.
Home Video: Another great holiday mixtape movie is Metropolitan, which a friend of mine mentioned in an email earlier this week. Although the 10-day period when it unfolds spans Christmas Eve and Day, its focus is specifically on the debutante parties which take place in Manhattan during this time. The Oscar-nominated screenplay is absolutely brilliant and contains one of my single favorite lines from any movie ever, Tom Townsend’s observation to Audrey Rouget that her behavior is “not something Jane Austen would have done.” Edward Clements and Carolyn Farina are terrific in those two roles, and the rest of the cast is great as well. Metropolitan is a Criterion Collection title and is now streaming on both The Criterion Channel and Max with a subscription.
Previous “Ithaca Film Journal” posts canbe found here.
What I’m Seeing This Week: My Loving Wife and I are excited to finally see The Holdovers, either on a date night at Cinemapolis while visiting relatives watch our kids or at the Regal Ithaca Mall while they see Trolls Band Together or Wish in an adjacent theater.
Also in Theaters:Killers of the Flower Moonis *probably* still the best new movie now playing in Ithaca that I’ve seen, but Priscilla made it a lot closer than I expected. From the opening close-up of one of its lead actress’s (here Cailee Spaeny, who is outstanding) body parts to her final plunge into the great wide open, it’s very much in conversation with Lost in Translation, which like many people I’ve always regarded as my favorite film directed by Sofia Coppola. The big surprise is that I might actually prefer Priscilla! What I haven’t figured out yet is how much of this is attributable to the movie itself, and how much of it is the fact that Coppola and I are both twenty years older than we were in 2003 and I’m now a father of two girls. Either way: recommended! As is Elf, my favorite Christmas movie of all time, which has a 20th anniversary screening at the Regal Ithaca Mall on Sunday.
Home Video: As I mentioned last week, the first movie my family watches after Thanksgiving is traditionally Miracle on 34th Street, so that’s got to be my recommendation. We’ll be viewing our trusty old 20th Century Fox Special Edition DVD release, but it can also be streamed on Disney+, Hulu, and Prime Video with a subscription and most other major commercial platforms for a rental fee.
Previous “Ithaca Film Journal” posts canbe found here.
Also in Theaters: Lots of big movies open later in the week in advance of Thanksgiving, including Wish, a new Disney animated film, at the Regal Ithaca Mall; Napoleon, director Ridley Scott’s latest effort, at Cinemapolis and the Regal; and Saltburn, actor Barry Keoghan’s follow-up to his Oscar-nominated performance in The Banshees of Inisherin. My youngest daughter’s next Friday Movie Night selection will probably be Trolls Band Together, which opens at the Regal today. My Loving Wife and I are looking forward to seeing The Holdovers at Cinemapolis after the holiday. But the best new movie I’ve seen now playing in Ithaca remains Killers of the Flower Moon, which continues its run at the same theater.
Home Video: We celebrate Canadian Thanksgiving in my family, so “the holidays” begin for us in early October. This creates a bit of a conundrum during the weeks in early/mid-November when we’re in the mood for something festive but in between horror movies and Miracle on 34th Street (which of course begins with the Macy’s Thanksgiving Day Parade). Enter Meet Me in St. Louis, which has all-time great Halloween and Christmas scenes, but also spends half its runtime in the spring and summer months and thus is appropriate for any time of year. The version we’ll actually be watching this weekend is our two-disc special edition DVD release by Warner Home Video, but the film is also available on pretty much every major commercial streaming platform for a rental fee. As far as non-holiday fare goes, I recommend checking out Afire, which I saw at Cinemapolis a few months ago, after it debuts on the Criterion Channel on Tuesday if you subscribe to that platform.
Previous “Ithaca Film Journal” posts canbe found here.
What I’m Seeing This Week: Between its excellent trailer and the fact that I’ve loved just about every film that Alexander Payne has ever directed, The Holdoversis probably my most anticipated movie of the year. My Loving Wife wants to see it, too, though, so we’re going to wait for Thanksgiving break when we’ll have plenty of relatives in town who are willing to babysit. My choice is therefore Priscilla, director Sofia Coppola’s latest film, which is at Cinemapolis.
Also in Theaters: I wrote about the 4k restoration of WerckmeisterHarmonies which screens at Cornell Cinema tonight as part of their “Restorations and Rediscoveries” series after seeing it at the Maine International Film Festival this summer. Highly recommended! Palme d’Or winner Anatomy of a Fall and director Martin Scorsese’s latest film Killers of the Flower Moon, both of which are now at Cinemapolis, are the two best new movies now playing in Ithaca. Each one is about the potentially cavernous gap between what we think we know and what we really do and which one I’d recommend to you depends as much on how much time you have (the latter is nearly an hour longer than the former) and what else you’re into as the relative merits of either film. Much of Anatomy of a Fall takes place in a courtroom, and the film’s message is that no matter how many facts you have about a case, you can’t really be certain what happened unless you were actually there. Killers of the FlowerMoon is a gangster film which mostly takes place *outside* the courtroom, although it also features a trial, and it is more concerned with the lengths we go to on both on the individual and societal level to convince ourselves that no really, we’re the good guys. You really can’t go wrong either way! Killers of the Flower Moon is also at the Regal Ithaca Mall.
Home Video: Other films directed by Alexander Payne available via subscription streaming services include his charming last effort Downsizing, which is on Netflix; Election, the first one I ever saw (at the United Artist Pacific 4 in Lancaster, PA (RIP) while I was still in high school–I remember it clearly because it was also the first time I ever had an entire movie theater to myself), which is on Max; and my personal favorite, his contribution to the anthology film Paris je t’aime, which is free on Prime Video with ads. Sideways, which also stars Paul Giamatti and which I remember fondly whenever I drink “fucking merlot,” is available on pretty much all the major platforms for a rental fee as well.
Previous “Ithaca Film Journal” posts canbe found here.
Home Video:Piccadilly, which I saw for the first time Cornell Cinema last week, is even better after a second viewing! Like Anatomy of a Fall, it ends with a murder trial. Like Pyaasa, the subject of my last Drink & a Movie post, it uses close-ups and camera movements which come to rest on faces to link characters through their emotional responses to the same event. It’s far more cynical than either of them, though. Highly recommended as a testament to how sophisticated late-silent era audiences were at following complex storytelling techniques and of course for the excellent performance by Anna May Wong! Charles Laughton is also pretty great in an uncredited role as an unhappy diner who sparks an all-too-familiar passing of the buck all the way down the club’s hierarchy from its owner to Wong’s dishwasher Shosho. The stunning BFI restoration I watched both times is now streaming on The Criterion Channel with a subscription and may be available on Kanopy as well if your local academic or public library purchased a license like we did at Cornell.
Previous “Ithaca Film Journal” posts canbe found here.
The Prodigal Cinephile 