As with every discussion that tries to adjudicate the pros and cons of the theatrical-vs.-home viewing experience, what I’m about to discuss is wholly subjective, steeped in nothing more than personal preference, even if others might relate to the feeling.
Speaking of Dekalog, where’s our 21st century Dekalog??
Two examples, each anchored around Eyes Without a Face, of how the ordering of a double feature can change how the viewer sees the second movie.
Speaking of McCabe & Mrs. Miller, here’s a cross-century scene comparison between westerns of a different color, anchored by a similar leading presence:
Pair McCabe & Mrs. Miller with 3 Women for a Robert Altman double-feature of titles that center characters who would otherwise be considered mere supporting players.
Continue reading “When It Comes to Character-as-Theme Titles, Robert’s the Altman”
A thought inspired by a recent debate between myself and a friend regarding the unspecified reason(s) Liza Minnelli’s character in Martin Scorsese’s New York, New York is attracted to Robert De Niro’s brutish saxophonist:
Write All Nite’s coverage of Tom Hardy’s career continues with:
Fellow geese, let’s gander at how the powers-that-be have shlock-cast Rose Byrne — one of our most spastically-gifted comedic actors working today — since her triumvirate breakout in Insidious, Bridesmaids, and Neighbors.
A double feature where the connections between the pieces of art are too numerous and incidental to justify elucidating, but still amusing for the seven of us who’ve seen both:
Though satires predominately revel in tomfoolery, the genre can reveal core truths regarding what’s being satirized that often require the hysterical (both meanings) amplification of their bombasticity to detect.
Write All Nite 