The House Next Door

Archive: December, 2007

Links for the Day (December 31st, 2007)

1. Brussels cancels New Year's Eve fireworks.

["Traditional New Year's Eve fireworks in the center of Brussels have been canceled because the police contend there is a continuing terror threat to the Belgian capital, officials said Sunday.

The authorities have warned of an increased risk of attack over the holiday season since the police detained 14 people last week. They were suspected of a plot to break a prisoner linked to Al Qaeda out of a Belgian prison.

A judge ordered their release 24 hours later for lack of evidence, and all of the suspects have maintained their innocence. In a letter published by the newspaper La Dernière Heure, the prisoner, Nizar Trabelsi, denied the allegation that his supporters were involved in preparations for a jailbreak or a terrorist attack."] Continue Reading »




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Directorama #11

Click to enlarge: (To navigate previous episodes, click here.)

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Peet Gelderblom directs, edits and develops commercials, TV programs and broadcast design in Amsterdam. His writing and graphic criticism can be found at Lost in Negative Space and 24LiesASecond.




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Links for the Day (December 30th, 2007)


1. "The Irresistible Urge to Destroy New York Onscreen." By Sewell Chan, for The New York Times' "City Room" blog. See also: "10 Best Movie Destructions of New York City." Hattip: The Reeler. Continue Reading »




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Links for the Day (December 29th, 2007)

1. "Whatever It Is, Kill It." Marion Cotillard's performance as Edith Piaf in the biographical drama La Vie En Rose has drawn worldwide critical acclaim. Josh R. of Edward Copeland on Film begs to differ.

["The voice—a guttural hiss that shifts into an adenoidal, nails-on-a-chalkboard shriek when Edith loses her shit, which she frequently does—is pitched somewhere between The Lord of the Rings' Gollum and the cartoon hag in Snow White and the Seven Dwarfs (when she laughs she goes "heh heh heh"). The stoop-shouldered, saucer-eyed look, accompanied by a strenuous sucking in of the cheeks, which Cotillard affects for her representation of Edith in her twenties, is pure Marty Feldman circa Young Frankenstein. Again, it should be mentioned that when Feldman played Igor, his faces were intended to draw laughs—here they're done with such wormy sincerity that they suggest Hans Christian Andersen's Little Match Girl, trying to look as pathetically undernourished and bedraggled as possible, in order to maximize her profit margin soliciting change from guilt-ridden passersby."] Continue Reading »




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"On Broadway" and All That Jazz

All That Jazz

Bob Fosse directed five features in 15 years, starting with 1967's Sweet Charity and ending with 1983's Star 80. This pace suggests that Fosse was very deliberate in choosing his material, like Stanley Kubrick or Sergio Leone. Yes and no. Fosse was an obsessive artist, but not about movies—or rather, not just about movies. Seeming to believe that dance was the purest way to express joy, Fosse used moviemaking to exorcise joy's opposites: not just pain, but the obsessive nature of artists—particularly the way attention to detail can cause men to shut themselves off from the rest of the world. On stage, choreographing sexual-playful spasms of intricate movement, Fosse seemed to revel in his naughty-boy sense of play. But on film, he examined the self-destructive component of celebrity and asserted that self-loathing was the driving force of show business. Continue Reading »




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When Roxie Met Sally: Chicago vs. Cabaret

By Lauren Wissot

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Lenny and the Price of Freedom

By Bob Westal

[Editor's Note: This essay is published in conjunction with "All That Fosse", a retrospective of Bob Fosse's work on film, which plays Dec. 28- Jan. 1 at The Film Society of Lincoln Center in Manhattan.]

Lenny opens in shocking fashion, with an extreme close-up of Valerie Perrine's mouth. Perrine is playing Honey Bruce, the ex-wife of comic Lenny Bruce. Though it's a pretty obvious homage by director Bob Fosse to Orson Welles and one of the earliest, most famous shots in Citizen Kane, the effect is entirely different. The close-up is so extreme that the tiny hairs around Perrine's mouth are visible. The shot of Charlie Kane's mouth is fantastical; this shot of Honey's mouth is obscene. Continue Reading »




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Links for the Day (December 28th, 2007)


1. "Bhutto is Buried as Pakistan Reels." By Salman Masood and Victoria Burnett of The New York Times. See also: "Benazir Bhutto, 54, Weathered Political Storm"; "Seventeen Dead in Bhutto Protests in Pakistan." Related: "Candidates Talk Up Experience After Bhutto's Death"; "Al-Qaeda's New Terror Tactic?"

["The body of Benazir Bhutto was laid to rest in her ancestral village, as violence erupted in cities across Pakistan on Friday, a day after the former prime minister was assassinated at an election campaign rally...The death of Ms. Bhutto, who had been the leader of Pakistan's largest political party, throws Pakistan's politics into chaos less than two weeks before parliamentary elections scheduled for Jan. 8."]

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2. "Rosenbaum to Retire For Some Creative Loafing of His Own." By Hank Sartin of Time Out Chicago's blog. The veteran Chicago Reader film critic has announced that he will retire February 27, his 65th birthday. See also: "Jonathan Rosenbaum Turns a Leaf" at Green Cine Daily, which brought the story to our attention. Related: House contributor Jeremiah Kipp's interview with Rosenbaum, titled "To Understand Movies, You Have to Understand the World." Continue Reading »




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"Indie 500″: 1990s, Burial and The Brunettes

[Editor's Note: "Indie 500", a look at the music scene past and present, is published every other Thursday, alternating with John Lichman's Japanese cinema/anime column, "Idiot Savant Japan."]

For a certain kind of music nerd, the idea of the humorous rock song will always be blasphemy: rock is about rocking, fucking, liberation, etc. At least that's how it used to be; I suspect that the contemporary equivalent of the embittered rockist for whom Iggy & The Stooges are the pinnacle of civilization is the person outraged that most rock critics these days come from indie-rock land, where raw power is low on the priorities list and ass-shaking is optional. Continue Reading »




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Links for the Day (December 27th, 2007)

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1. "MCN Top 10: The Big-Ass Chart." Movie City News turns critical consensus into an easy-to-read spreadsheet. Place your Oscar bets today! Continue Reading »




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Drilling for art: There Will Be Blood, Take 1

By Matt Zoller Seitz

[Editor's note: Spoilers throughout.]

Paul Thomas Anderson's epic drama There Will Be Blood—in which Daniel Day-Lewis' prospector-turned-robber baron antihero, Daniel Plainview, pick-axes his way toward an oil fortune—isn't perfect or entirely satisfying, but it's so singular in its conception and execution that one can no more dismiss it than one can dismiss a volcanic eruption occurring in one's backyard. Continue Reading »




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American crude: There Will Be Blood, Take 2

By N.P. Thompson

I caught the latest Paul Thomas Anderson debacle at a press screening on November 28, well before the critical drum circle had risen to its current "Burning Man" pitch. In the clear light of late autumn drizzle, There Will Be Blood appeared to be no more and no less than what it truly is: a bomb, and an overwrought one at that. It may be a tonier work than the detestable Boogie Nights, but Anderson's underlying crudeness and his overkill "sensibility" haven't evolved an iota. (Yes, Virginia, I can hear the jihadists singing in the comments section already.) A friend who hated the movie as much as I did asked afterwards, as we dodged rain in the Oaktree Cinema parking lot, "Did that amount to anything beyond a couple of games of one-upmanship?" I confessed I hadn't thought of Blood in those terms. Still, her question perfectly encapsulated the anorexic one-dimensionality of the picture, and I had to agree. Continue Reading »




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"I'm Really Stoned, Sorry": Gregg Araki's [Smiley Face]

[Smiley Face opens today at Manhattan's IFC Center.]

The essence of stoner comedy is the unlikely triumph of the seemingly maladjusted stoner over normalized, disapproving society—Cheech & Chong miraculously arriving in time to Battle of the Bands, Harold & Kumar finally reaching White Castle. As the above duos imply, camaraderie is a big deal, and victory arrives in the most unlikely ways. So I'm not sure if [Smiley Face]—Gregg Araki's technically untitled new film—counts as a member of the genre: pitting one Jane F. (Anna Faris) against a world that ranges from indifferent to actively hostile, [Smiley Face]'s main innovation is making Anna lose big and end up alone. Continue Reading »




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Links for the Day (December 26th, 2007)


1. A very Happy Birthday to our illustrious editor-in-chief. (Look, he's blushing!) Two essays by him in celebration, both from The Criterion Collection: Man Bites Dog & Mon Oncle.

["There is mystery to Hulot, a sense that he lives mostly in his own world, occasionally adjusting the wider world to make it more livable—or at the very least, more reflective of his own eccentric desires. "] Continue Reading »




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I Believe. It's Silly, but I Believe

By Odienator

Santa Claus has assumed many guises in the cinema. Last year, I wrote about some of his naughtier instances. This Christmas, in order to avoid another year of coal in my stocking, I thought I'd talk about one of his nicer incarnations. After all, the only thing good about coal in your socks is that it stops your feet from stinking. I'd rather let Dr. Scholls take care of that. So here's a nice story about how Jolly Old St. Nick came to the greatest city in the world and taught it, 22 years before the New York Mets, that "You Gotta Believe."

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To read Odienator's ode to Miracle on 34th Street, click here.




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