1. “Jack the Ripper was Polish 23-year-old barber Aaron Kosminski, new book claims.” DNA evidence from victim Catherine Eddowes’ shawl was used for the research.
“Jack the Ripper was a 23-year-old Polish immigrant called Aaron Kosminski, according to an author claiming to have exposed the serial killer’s true identity using DNA evidence. Russell Edwards, who describes himself as an ’armchair detective’, believes he has identified the Victorian murderer for the first time after more than 120 years of mystery. He said Kosminski, who died in an asylum, was ’definitely, categorically and absolutely’ the man behind the grisly killing spree in 1888 in Whitechapel. Police had identified Kosminski as a suspect, Mr Edwards said, but never had enough evidence to bring him to trial. Chief Inspector Donald Swanson, who led the investigation, recorded a suspect named ’Kosminski’ in contemporary notes, saying he was a low-class Polish Jew and had family living in Whitechapel.”
2. “Quentin Tarantino on the New Beverly: ’After 7 Years as Owner, I Wanted to Make It Mine.’” Chuck Wilson, for The Village Voice, chats with the filmmaker about his plans for the New Beverly Cinema revival house.
“That was the thing that pushed me over to say, ’Now’s the time to do it.’ I want the New Beverly to be a bastion for 35mm films. I want it to stand for something. When you see a film on the New Beverly calendar, you don’t have to ask whether it’s going to be shown in DCP [Digital Cinema Projection] or in 35mm. You know it’s playing in 35 because it’s the New Beverly.”
3. “Fritz Lang, Film History and Fate” Aaron Cutler challenges assumptions about Fritz Lang’s incredible career.
“In a Lang film, nearly every death registers as a loss and, at some level, a crime. His vision fell firmly in defense of human life. The popular image of Lang as a clinician condemning his characters is disproved in several aspects of his work, such as the warmth and sympathy of his leading actresses. The diverse group, whose multi-film members included Gerda Maurus, Sylvia Sidney, and Joan Bennett, consistently do work of such rich feeling and tonal precision that they complicate Lang’s reputation as a harsh taskmaster with his casts. They stay in mind as the strident Maurus enacts and defies the age-old position of a woman held captive by male lust as the crime boss and bank head Haghi (played by Rudolf Klein-Rogge) lords over her in Spies (1928); as Sidney plays a woman convincing her ex-convict husband not to return to a life of crime in You and Me (1938) with such sweetness and charm that the film’s social drama knowingly leaves reality and enters fairy-tale land; and as Bennett brings so much hope and appeal to her performance as a working-class wartime London girl in Man Hunt (1941) that the fate she meets at Nazi hands enforces the Third Reich’s terrible power.”
4. “Todd Haynes to direct Reese Witherspoon in Peggy Lee biopic.” The actress disclosed the director’s involvement at the Toronto International Film Festival.
“Considering she won an Academy Award for her portrayal of June Carter Cash in Walk The Line, it’s unsurprising that Reese Witherspoon would want to take on the role of another famous singer. Reportedly she and Nora Ephron had long been working on a biopic about Peggy Lee, with Ephron as writer/director and Witherspoon set to star as the sultry singer, songwriter, and actor whose career spanned six decades. There’s been little news on the project since Ephron’s death in 2012, but now it seems the film may be back on track. At the Toronto International Film Festival, Witherspoon revealed that Todd Haynes will be taking over as the film’s director.”
5. “Letter to Harun Farocki.” A letter to the late filmmaker, written on the occasion of his 70th birthday tribute programme Searching Images at the Nightingale Cinema, Chicago, last February.
“I remember that I even failed that evening to introduce myself to you. I used to proudly identify myself as a cinephile, but lately I qualify that by calling myself a recovering cinephile, or a disenchanted cinephile. What do I mean by this? A certain prominent film scholar who shall go nameless here (though it should be acknowledged that this scholar has written eloquently about your work) once made an astute observation that the greatest sex in the world would also be the most horrifying sex in the world. By definition, the greatest sex in the world is the kind that you wouldn’t want to stop. And like many things (especially things I’ve encountered in my time at art school), sex that never ends sounds much more appealing in concept than in practice.”
Video of the Day: Channing Tatum wants the “dick graze” to be a thing:
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