Monthly Archives: March 2017

Viewing Diary March 2017

Entries run chronologically from bottom to top.

The Marquise of O (1976), directed by Éric Rohmer

In static medium shots, actors share the screen with candlelit curtains, household statuary, and bowls of fruit. The camera keeps their delicate faces at arm’s length. Rohmer meticulously blocks their movements for the Academy ratio frame. Sometimes he composes whole shots within a doorway or ends them with a fade to black, swaddling the action in layers of decorum. The arcane rules of aristocracy circumscribe the widowed title character. Her destiny depends on her perceived sexual purity. When she grows visibly pregnant, her straits worsen, and her parents entangle her in a string of emotional gambits. Both her father (who forsakes her) and a persistent suitor (her likely rapist) lay claim to her. A marquise’s body can be anyone’s but her own.

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Viewing Diary February 2017

Entries run chronologically from bottom to top.

The Man I Love (1947), directed by Raoul Walsh

Ida Lupino’s eyes have heavy, steady lids. Her lips curl into a pout—is that insolence, or is it sorrow? Her face anchors the frame. She leads the cast of this noir melodrama as a torch singer lovesick over a jazz pianist. They wander the waterfront together. She calls up the club where he’s been working: “Is he there?” The bartender goes to check, and as she waits in the phone booth, the strains of her sweetheart’s furious playing pour through the receiver. “No,” lies the bartender. “He ain’t here.” She’ll end the movie by walking toward the camera, her eyes full of tears. She deserves happiness, especially after patching up her sisters’ love lives and extricating them from the grip of a sleazy impresario. But this is a downbeat Warner Brothers potboiler, so she’ll have to keep chasing her happiness after the credits have rolled.

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