Like a lot of somewhat snobbish institutions, it seems that Criterion has made an effort to make representation a cornerstone of its business in the past few years. This is what has (thankfully) led to an overlooked director like Dorothy Arzner having some of her films recently enter The Collection, as Arzner was essentially the only female director working in Hollywood during the ’30s and ’40s. This could lead one to ask whether Arzner’s work is only worth revisiting just because she was the first to do it. However, that question becomes silly when you take into account that most barrier-breakers are able to do so because they’re so impeachably talented that the gatekeepers of their industries are forced to reckon with them. Continue reading →

I was not expecting a science fiction movie from the 30s to be at all relatable, but after living through the most apocalyptic year and a half I can remember, that wasn’t the case. While Things To Come deals mostly with the very 20th century threat of constant war, it also manages to pack in a section where humanity is burdened by “the wandering sickness”, which uh, may sound a little familiar. Maybe it’s not so brilliant that a science fiction film would include a deadly virus since they have plagued civilizations for centuries. But it does add another layer of thoughtfulness when the film already does a harrowing job of predicting that a widespread war could have devastating effects on the world just a few years prior to the outbreak of World War II. Continue reading →

“Dos monjes” (Two Monks)
(Sung to the tune of “Two Princes” by the Spin Doctors)

One, Two Monks is a movie
from Juan Bustillo Oro
Two Monks, who really hate each other
In a drama from Mexico now
One thinks the other stole his lady
Many years before now
The other said I think you’re crazy
But he got beat with a cross, now

This film has German Expressionism
That’s what I said now
Dutch angles and lots of symbolism
How ’bout that now
Two Monks is a split narrative movie
How ’bout that now
In flashbacks, we see both sides the story
Like Rashomon, now

Who is wrong? Who is right?
The woman they loved got shot one night
She was just trying to break up their fight
But I know what a Monk and lover ought to be
I know what a Monk and lover ought to be

(Scat Interlude)

3 1/2 Stars.

Much like John, I always feel a little out of my element talking about silent film, but then again, who doesn’t? Not only is this the oldest, most archaic era of film history, it’s also the one that’s been most lost to history. Just looking at director Josef Von Sternberg’s filmography, this film is sandwiched in between two “lost films” (The Dragnet and The Case of Lena Smith), the latter of which was hailed as one of Von Sternberg’s best films. You’d think there would be some sort of apparatus in place for keeping great films from being lost, but alas, human beings make mistakes and even physical media can be just as fleeting as that on the internet. Still, you have to be thankful a film like The Docks of New York is able to survive and that a company like Criterion is willing to keep its availability alive. Continue reading →

Hey everybody it’s Criterion Month! For those who don’t know, this an entire month we devote to watching and reviewing films in the Criterion Collection. The reasoning is it’s the time of year that Barnes & Noble (which I think still exists) has their 50% off sale on Criterions. It also means I get to watch 90-year-old silent movies in 90+ degree weather in an attempt to provide some kind of insight. Ha, yeah, we’ll see about that.

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