It's beguiling, complicated in a sly way, and quite fascinating once you get into its slow rhythm. But it's not exactly entertaining, and it certainly won't show up at your nearest multiplex. Snow always has a new trick up his sleeve, though, and his latest is a doozy. So Is This is the title, and it's as funny as it is rigorous, as engaging as it is inventive. Try to picture it.
The ''characters'' are words, flashed on the screen one at a time.
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Sound infuriating? That's what I thought, too, until I found myself chuckling at the very outlandishness of such a movie. Then the words began cooperating with my mood, tossing in jokes and surprises - testing the limits of their own monotony, and looking for variations in their punctilious parade through the projector. Some of the jokes are mere vulgarities, looking rather out of place amid the growing sophistication of this very clever film. Some of the surprises are ingenious, though, as Snow plays with the shapes, speeds, and rhythms that are his raw materials.
The marching words take on lives of their own, inviting us to ponder basic issues of cinema and literature, movies and books, the very acts of watching and reading. Is this really a film in the accepted sense?
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I think so. It has a flow of images and a clear sense of development, and that should be enough to qualify as bona fide cinema. It even has visual treats to offer, albeit subtle ones, as bits of stray light play about the edges of the otherwise black-and-white frames. In any case, it made me laugh and think at the same time, and I'll vote for any strip of celluloid that pulls this off. Look for this elegant opus at museums and other noncommercial showcases - I caught up with it at the New York Public Library - and be ready for a most uncommon treat.
Ultimate movie aristocrat. So wrote David Niven, who passed on recently, in ''Bring on the Empty Horses, '' an amusing memoir of Hollywood high life published nearly 10 years ago. Yet egomania seems to have passed him over during his long and prosperous career, which carried him from extra to Oscar-winner and was still coasting along as recently as a few months ago. On screen, Niven has always struck me as the ultimate movie aristocrat, as courtly - and removed from the lives of us plebians - as anyone in films. So when I met him a few years ago, I was unprepared for the warmth and friendliness that positively radiated from him.
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As the elevator door opened, there he was in stockinged feet, strolling down the hotel corridor to welcome me. He ushered me to his room with an arm draped cordially around my shoulder. Our conversation was a delight, and he followed it up a few weeks later with a chatty, hand-written letter from his Swiss home. The fact that a star of his stature had no need to woo or flatter the press only made his gentlemanly behavior the more striking.
As for ego, he remarked that seeing himself on screen made him feel like ''a dog watching a snake'' - just waiting for the wrong or miscalculated move that was sure to come if he just looked long enough. Niven started his career as a bit player in the s, making a major impression in ''Wuthering Heights'' as early as , but reaching stardom after World War II in which he actively served in such still-admired pictures as ''A Matter of Life and Death'' known to Americans as ''Stairway to Heaven'' and, later, ''The Moon Is Blue.
He also played in stage and TV productions. This was justified by the alleged heinousness of the criminals, a rationalization that extended to the narratives that later accompanied southern lynchings, Arellano writes.
Lady Justice and the Vigilante Released by Mystery Author Robert Thornhill - axuhurajowoj.gq
Lawlessness was assigned a racial identity, and in the Jim Crow South it was the chivalric duty of white men to defend their women against such crimes mostly unsubstantiated in the most brutal ways possible. Arellano explores the work of Ida B. Wells, an anti-lynching activist whose pamphlets began to erode the southern lynching myth in the s and s.
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