I’m fascinated by this excerpt from Cheshire’s review of Altman’s The Player because it touches on something I think critics rarely do: how many films could be said to overtly encourage the pleasures they covertly deride.pic.twitter.com/4YRyf1M3bI
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I’m fascinated by this excerpt from Cheshire’s review of Altman’s The Player because it touches on something I think critics rarely do: how many films could be said to overtly encourage the pleasures they covertly deride.pic.twitter.com/4YRyf1M3bI
In his review of Scorsese's adaptation of Edith Wharton's The Age of Innocence, critic Godfrey Cheshire says the film "feels like the opposite of Merchant and Ivory's period dramas: where they use cinema to approach literature, Scorsese uses literature to exalt cinema."
That's the kind of observation that stays with me.
Unforgiven was one of my first "wow" films. At the time, it seemed to do so much to comment on the Western genre. Spot-on, of course, in pointing out that it merely nodded briefly toward the women. Twenty-two year old me thought even that was impressive, sadly.
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