3 things about Luis Buñuel’s THAT OBSCURE OBJECT OF DESIRE

That Obscure Object of Desire [1977]

1. “I have a friend who loves women very much, but he claims they’re sacks of excrement.”
2. He kisses her hair through the bars of the window, burying his face.
3. The woman sits in the window of the shop mending a filthy, torn garment with needle and thread. He watches her, fascinated, and hardly notices when Conchita storms off.

Buñuel’s last movie is one of his greatest. The ending is so mysterious, so perfect–hard to put into words the effect it has on me. It expresses longing, but also metes out a kind of justice. And Buñuel doesn’t even need to use words.

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3 things about Steven Soderbergh’s MAGIC MIKE

Magic Mike [2012]

1. “So, how pregnant did you make that girl’s mouth?”
2. Does the loan officer recognize him?
3. She discovers him lying on his side on the carpet. The tiny pig snacks on the puddle in front of his mouth.

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3 things about David Cronenberg’s A DANGEROUS METHOD

A Dangerous Method [2011]

1. “Angels always speak German. It’s traditional.”
2. Her jaw.
3. Extensive use of split-focus. Reminiscent of looking at two different things under a microscope simultaneously. Clinical.

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3 things about Clarence Brown’s POSSESSED

Possessed [1931]

1. She watches the train as it slowly rolls into the station. Each train car features a compartment, brightly lit, illustrating the kind of glamorous life she craves: various servants and porters performing tasks for the passengers, members of the idle rich who are dressing for dinner, shaving, dancing to the music from a radio. As the caboose comes into view the train finally comes to a stop. An older gentleman is leaning over the railing, a cocktail glass of “champagne” in his hand. He says hello and offers her some. (I think he’s gay.)
2. The menu is all in French; she can’t read it. She orders roast beef, startling the waiter. “You heard madame,” Clark Gable says. “I’ll have the same.”
3. Amazing scene: first he teases her for not kissing him; when he finds out she’s been seeing Whitney, he calls her a streetwalker; then, realizing that her influence is the key to getting the contract, he hastily apologizes and entreats her to call up Whitney at once. She walks across the room, picks up the telephone and informs the doorman that a gentleman is on his way down and needs a cab.

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3 things about Lloyd Bacon’s FOOTLIGHT PARADE

Footlight Parade [1933]

1. “Last time I saw you, your vocabulary was practically dese, dems, and doses.”
2. An enormous female zipper.
3. The flag briefly turns into an image of FDR.

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3 things about Michael Winner’s THE NIGHTCOMERS

The Nightcomers [1971]

1. A toad smoking a cigarette.
2. Directorial choice: zooms are emphatic.
3. The corpse is completely rigid.

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3 things about Werner Herzog’s THE ENIGMA OF KASPAR HAUSER

The Enigma of Kaspar Hauser [1974]

1. He jerks his hand back from the flame. Silently, he begins to cry.
2. The professor cannot accept his question.
3. He pictures a caravan crossing the Sahara. Flickering, super 8 footage.

Am I the only one who thinks that Bruno S. resembles Neil Young?

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3 things about Ridley Scott’s PROMETHEUS

Prometheus [2012]

1. Stephen Stills’ concertina.
2. Onboard, everyone wears flip-flops.
3. Sphincter-cobra.

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3 things about Jean-Pierre Jeunet’s ALIEN RESURRECTION

Alien Resurrection [1997]

1. He kisses the glass.
2. The blood is viscous.
3. “I get that a lot.”

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3 things about David Fincher’s ALIEN³

Alien³ [1992]

1. She wakes up, rolls over, and notices the bar code on the back of his head.
2. Curiously elegant glass coffee mugs.
3. Foundry as cathedral, molten lead as baptismal water.

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