1. ”Godfather Cinematographer Gordon Willis Dies at 82.” He shot the Godfather trilogy and such Woody Allen classics as Annie Hall, Manhattan, Broadway Danny Rose and Zelig.
“Gordon Willis, the acclaimed cinematographer behind the Godfather trilogy and such Woody Allen films as Annie Hall, Manhattan, Broadway Danny Rose and Zelig, has died. He was 82. Richard Crudo, the president of the American Society of Cinematographers, confirmed the news Sunday night. No other details were immediately available. Willis’ credits also include Klute (1971), The Paper Chase (1973), The Parallax View (1974), The Drowning Pool (1975), All the President’s Men (1976), Comes a Horseman (1978), Allen’s Interiors (1978), The Purple Rose of Cairo (1985) and Stardust Memories (1980). Willis received Oscar nominations for Zelig and The Godfather: Part III and earned the ASC’s Lifetime Achievement Award in 1995. In 2010, he was awarded an Honorary Oscar ’for unsurpassed mastery of light, shadow, color and motion.’ He was given the nickname ’The Prince of Darkness’ by fellow cinematographer Conrad Hall for his daring use of using as little light as possible.”
2. “Iranian actress Leila Hatami’s kiss at Cannes Film Festival angers authorities back home.” Iranian actress Leila Hatami has angered authorities in Tehran by kissing the Cannes Film Festival’s president on the cheek, an act seen as an affront to the “chastity” of the Islamic republic’s women.
“A photograph carried by Iranian media shows Hatami kissing Gilles Jacob at the opening of this year’s festival. ’Those who attend intentional events should take heed of the credibility and chastity of Iranians, so that a bad image of Iranian women will not be demonstrated to the world,’ deputy culture minister Hossein Noushabadi said, in quotes carried on the website of state broadcaster IRIB. ’[The] Iranian woman is the symbol of chastity and innocence.’”
3. “Why Victims’ Families Are Furious About 9/11 Memorial Museum.” The 9/11 Memorial Museum, set to open to the public this Friday, is at the center of an intense debate.
“The New York City-based museum costs $24 to enter, and the gift shop offers pricey coffee mugs, T-shirts, key chains and stuffed animals. A separate part of the museum also houses some 8,000 unidentified human remains from the terrorist attacks. Those juxtapositions—tribute and commercialism, trinkets amid tragedy—have victims’ families fuming. Jim Riches doesn’t plan on visiting. His son Jimmy, a firefighter, was 29 when he died in the attacks. It took more than six months to find some of Jimmy’s remains. The rest, Riches believes, are unidentified and in the repository. ’My son’s friends are going to have to pay $24 to go down and pay their respects,’ Riches said. ’I think that’s a disgrace. It’s the only cemetery in the world where you have to pay a fee to get in.’”
4. “How the structure of restaurants breeds rebellion.” Today’s special: arbitrary rules.
“Some characters defy order and upset the humorless stability of a well-run restaurant because they’re a free spirit, and, well, just not a rule-follower. John Belushi’s Bluto in Animal House only cares about immediate gratification and having fun—there’s probably a sign in that cafeteria not to eat the food until you pay for it, but reining in his appetite to follow instructions is not even on Bluto’s list of considerations. The conservative, rule-following, top-of-the-power-structure students try to maintain status quo and smother Bluto’s chaotic influence, but are clearly outnumbered based on how quickly the food fight ignites. The idea that ’50s society was repressed is a basic trope, but the cliché is more fun if we get the sense that it’s always on the verge of subversive release and somebody’s about to get a face full of green Jell-O.”
5. “Bombast: This Print Could Be Your Life.” Nick Pinkerton gives 35mm a farewell tour.
“Rather than by scarcity, our relationship with the media we consume is now dictated by the myth of everything-available-all-the-time-always bounty, which is pervasive and pernicious. The thinking goes: there is no pressing reason to make it to a screening, because you can see it on DVD, Netflix, Hulu, etc.—nevermind that you’ll be seeing something entirely different when you do, and that the absence of any sense of urgency means that you’ll very possibly put off seeing whatever it is in perpetuity. Meanwhile, in erstwhile cultural capitol New York City, the disappearance of video stores has continued apace with Manhattan’s being denuded of bookstores, meaning that it has rarely been more difficult to see precisely what you want to see, precisely when you want to see it. Hail thee, o Internet, for ushering in this New Jerusalem of cultural bounty!”
Video of the Day: The trailer for Christopher Nolan’s Interstellar:
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