This review may contain spoilers. I can handle the truth.
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The Umbrellas of Cherbourg 1964
Glance into the camera only when you have nowhere else you can look to. Somewhat clunkier than I remembered it. But the anonymous black umbrellas at the end of the title sequence; the brief seconds during which natural sounds must register before the music; the self-emptying swing around Passage Pomeraye, in colors and shapes almost intrusive to the rest of the movie, and yet not intrusive enough, compared to how things were in ’61. All the times Guy has to…
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Judge Priest 1934
Dialogue (word of law):
– He’s a spellbinder and a silver-tongue from way back. I’m just an old Country Jake who’s kind of a baby-kisser. I ain’t got much to offer the boys in the way of rhetoric.
– I understand he doesn’t approve of your grammar.
– My grammar? First thing I learned in politics was when to say “ain’t.”
[[[...transformed into...]]]
Fordian dialogue (spirit of law):– He’s a spellbinder and a /.../ and a silver-tongue from way…
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The Man I Love 1946
Soooo good. Looks at everything and everyone with zero regrets; absolutely no excess of portraiture, only the incredible intimation of how far away or out of sight someone stands, the force of this intuition constantly taking over the will to hone in on a face. All the time lost in between scenes left me feeling uncannily at home, reinstated after the fact; people change each other but it doesn't add up. I don't have in my recent memory any other movie so committed to being of one substance with its lines and lyrics. Always conclusions from recognition, no middle voice premises.
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