Perhaps the weakest points of the biography are McGilligan’s basic treatment of the films proper.
Almayer’s Folly is a work of engulfing jungles and rivers, vehement and incantatory speeches, and piercing female gazes in front of and behind the camera.
A film like Certified Copy explodes truisms about acting.
I’m sure Contempt was something to see in 1963.
When one thinks of parody, one might immediately think of blitzkrieg spoofs like the Mel Brooks movie satires.
Ultimately, the broad question I would like to pose is: is Tarantino really a Jean-Luc Godard of the 1990s and today?