Arquivos da categoria: Anos 20

Favoritos vistos/revistos em 2020

Dos 1050 filmes que assisti em 2020 fiz minha lista de filmes mais queridos dentro os que vi/revi, os vinte primeiros eu gosto mais (dei nota 10), os 80 restantes gosto de forma parecida (entre 9 e 9,5). 1- Guerra e Paz (Война и мир, Sergey Bondarchuk, 1966) 2- O Raio Verde (Le rayon vert,Continuar lendo “Favoritos vistos/revistos em 2020”

24 Frames: The Great White Silence (Herbert G. Ponting, 1924)

2018 é o ano de centenário do crítico francês André Bazin, por isso estou repassando os filmes que ele cita em Qu’est-ce que le cinéma? e eventualmente farei vários 24 frames de filmes que assistirei pelo caminho. Os filmes vistos e revistos durante o ano podem ser todos encontrados nessa minha lista no Letterboxd.

Centenário de Loretta Young

Top-dúzia:

(not so) Happy Michaelmas!

Not every man has gentians in his house in soft September, at slow, sad Michaelmas. Bavarian gentians, big and dark, only dark darkening the daytime, torch-like, with the smoking blueness of Pluto’s gloom, ribbed and torch-like, with their blaze of darkness spread blue down flattening into points, flattened under the sweep of white day torch-flowerContinuar lendo “(not so) Happy Michaelmas!”

Ingram & Powell

I had been in on the creation of the Witch’s Sabbath in Rex Ingram’s The Magician, based on Somerset Maugham’s short novel, in which the portrait of the magician was based on Aleister Crowley. In the film Alice Terry has a vision in which she is raped by a faun, danced by Stowitts who wasContinuar lendo “Ingram & Powell”

Gross – Richthofen – Lawrence

Lawrence’s encounter with Frieda Weekley in March 1912 profoundly affected the composition of the final version of Sons and Lovers later in that year. Through Frieda, he would break from his past at every possible level: personally in his sexual relationship with her; geographically with their departure from England to Germany, then Italy; culturally throughContinuar lendo “Gross – Richthofen – Lawrence”

Suite in B Minor for Flute and Strings

Meanwhile the music played on–Bach’s Suite in B minor, for flute and strings. Young Tolley conducted with his usual inimitable grace, bending in swan-like undulations from the loins, and tracing luscious arabesques on the air with his waving arms, as though he were dancing to the music. A dozen anonymous fiddlers and ‘cellists scraped atContinuar lendo “Suite in B Minor for Flute and Strings”

Huxley, Lawrence, Jung, Gross

Aldous Huxley’s evolution as a novelist may be described as the succession of three distinct phases. First, one finds the group of the early novels. They are bright and amusing, but also sharply satirical at times, and they express that growing dissatisfaction with our civilized world which comes to a climax at the end ofContinuar lendo “Huxley, Lawrence, Jung, Gross”

Travelling (Auf Reisen, Emeric Pressburger)

At that time a village stood on the site of this town, the mail coach was running instead of the fast train and my grandfather was travelling instead of me. A young lady and an old man were sitting opposite him. The man was snoring, drawing deep, heavy breaths. A signet ring glittered on oneContinuar lendo “Travelling (Auf Reisen, Emeric Pressburger)”

O de sempre…

“At this very moment,” he went on, “the most frightful horrors are taking place in every corner of the world. People are being crushed, slashed, disembowelled, mangled; their dead bodies rot and their eyes decay with the rest. Screams of pain and fear go pulsing through the air at the rate of eleven hundred feetContinuar lendo “O de sempre…”

Mann, Diaghilev, Mahler, Powell, Visconti, Russell

Serge Diaghilev and Thomas Mann never met, it seems. Yet the life of one and the imagination of the other overlapped to an obviously extraordinary degree. Coincidence is our term for concurrence that is not consciously willed and that we cannot explain in any definitive sense. However, if we retreat from the restrictive world of linear causality and think in terms of context and confluence rather than cause, then it is undeniable that there were many influences – to begin with, those of Venice and Wagner – at work on the imagination of Mann and Diaghilev, two giants of twentieth-century aesthetic sense, influences that led one to create a certain fiction and the other actually to live strikingly near that fiction.
Moreover, one must ask whether Mann’s story was any less real than Diaghilev’s life. Heinrich Mann, in review of his brother’s novella, saw that the central issue of Death in Venice was “Which came first, reality or poetry?” In his “Life Sketch” of 1930, Thomas Mann spoke of the “innate symbolism and honesty of composition” of Death in Venice, a story that, he asserted, was “taken simply from reality.” Nothing was invented, he claimed, none of the settings, none of the characters, none of the events. Tadzio, it has since been established, was in fact a certain Wladyslaw Moes, a young Polish boy on holiday in Venice. Jaschiu was one Janek Fudakowski. Aschenbach bore a distinct resemblance to Gustav Mahler, who died in 1911. Thomas Mann, whose art as a whole is striking in its fusion of autobiographical and imaginative experience, called his novella “a crystallization.”

Rites of Spring: the Great War and the birth of the Modern Age – Modris Eksteins