The High Tower Apartments and Robert Altman’s The Long Goodbye and Raymond Chandler’s The High Window.
Ta-Nehisi Coates writes an interesting post about Philip Marlowe, masculinity, biology and misogyny at The Atlantic: “I’ve consumed art like this all my life–men claiming invulnerability, against all I know of maleness and human attraction. Misogyny is not merely a moral problem, but a problem of art. It takes half the world and caricatures it. […]
Elliott Gould and Michael Connelly talk about Robert Altman’s film adaptation of The Long Goodbye. (via @cinebeats)
At MovieMorlocks.com, Susan Doll shares her thoughts on film noir dialogue: “The volley of barbed wisecracks is not only an indicator of sexual attraction but also a substitute for sex in the era when the Production Code did not allow direct depictions or expressions of lust and desire.”
Ian Fleming interviews Raymond Chandler. Yes, Ian “James Bond” Fleming and Raymond “Philip Marlow” Chandler.
It’s been just over a year since I became a partner in the Mayfair Theatre, Ottawa’s oldest operating cinema. We’ve shown a lot of films in that time (we average about 40 a month), and I’ve written the synopsis for almost every one.
As you might know, if you’ve read my bio here on the Gutter, I’m a partner in Ottawa’s oldest surviving cinema, The Mayfair Theatre. In August, we showed two films that on the surface have little in common: Robert Altman’s neo-noir The Long Goodbye and Woody Allen’s slapstick political parody Bananas. Obviously, though, they do […]
Chandler had his Poodle Springs. Ian Fleming might have his Devil May Care. Sebastian Faulk takes up James Bond on his centenary. Excerpt here.
In 2001, Catwoman was everything I ever wanted in a comic. I admit I was a sucker for her new look. A woman’s stompy black boots are her pride and Catwoman’s boots were stompy, black and flat after years of thigh high Pretty Woman stilettos. Not to mention that zippers with rings, black leather, kitty […]