Perhaps because it’s one of the youngest artistic forms, cinema is often assessed in much different manner that literature, or the visual arts. We discuss it in terms of genre, not in terms of thematic offering. Comparing, for example, Corpse Bride and Up because they’re both animated leads to some dubious discussion especially when – like any art form – thematic elements examined in cinema and the way different filmmaker address them make for some stimulating discussion.Motifs in Cinema is a discourse, across eleven film blogs, assessing the way in which various thematic elements have been used in the 2011 cinematic landscape. How does a common theme vary in use from a comedy to a drama? Are filmmakers working from a similar canvas when they assess the issue of the artist or the family dynamic? Like everything else, a film begins with an idea – Motifs in Cinema assesses how the use of a single idea changes when utilised by varying artists. Continue reading “Motifs in Cinema ’11: Loyalty and Solidarity”
I recently saw Tinker Tailor Solider Spy. Again.
This adaptation of John Le Carre’s espionage novel is one of my favorite films from last year and one of the few I actually want to watch again. (There are not that many. 2011 was such a meh year for movies.) Director Tomas Alfredson and cinematographer Hoyte van Hoytema have made an exceptionally well-crafted film. And then there is Gary Oldman; his performance as George Smiley is quietly powerful and those are the best kind of performances. These are a few thoughts about what stood out to me about Tinker Tailor Soldier Spy the second time around.
I have been commissioned to write some sort of “Best of 2011” list. The problem is I don’t believe in “Best of” lists. Instead, this is just a list of 15 movies from 2011 I liked, in alphabetical order. (Disclaimer: You can blame Ally (and some other Tweeps) if you don’t enjoy this list.)