R. Emmet Sweeney
R. Emmet Sweeney

R. Emmet Sweeney grew up in Buffalo, NY, where as a teen he haunted the few art cinemas in town. Soon he was gainfully employed slinging popcorn and ticket stubs in one of those theaters, where the restorations of TOUCH OF EVIL and REAR WINDOW inflamed his cinephilic passions. Further stoked by the film sections at the Village Voice and the Chicago Reader, he devoured as many moving images as he could, becoming an unrepentant auteurist in the process.

He earned a Masters degree in Cinema Studies from New York University, and has been writing about the movies ever since. His work has appeared in Film Comment, Time Out Chicago, The Believer, IFC News, the Village Voice, Moving Image Source, and most proudly, Baseball Prospectus. He lives in Brooklyn with his wondrous wife and the Ford at Fox box set. Follow him on Twitter at @r_emmet.

Posts by R. Emmet Sweeney

Chimes at Midnight (1966) and The Immortal Story (1968) were the last two fiction features that Orson Welles completed. Still to come would be the self-reflective essays of F For Fake (1973) and Filming Othello (’78), as well as the perpetually promised to-be-finished projects like The Other Side of the Wind (1970-’76), but Chimes at Midnight and The Immortal Story mark an endpoint. Both deal with aging, obsolete […]

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I suffer from chronic list fatigue, initially eager to scroll through the latest re-ordering of greatest hits, but inevitably collapse into a heap before I ingest the whole thing. Enter the BBC to test my illness. Yesterday they unveiled the results of their mammoth “Greatest Films of the 21st Century” poll, in which 177 critics submitted […]

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“In general I am not interested in the events themselves but in what happens afterwards. Not the departure, but the return.” – Jean Cayrol In Muriel, or The Time of Return (1963), the repressed past infiltrates the present like a fungal growth slowly inching across the frame. A pre-World War II lover and a ghostly memory from […]

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Silk Stockings (1957) is remembered less for what it is than what it represents – the end of the Golden Age of MGM musicals. It was adapted from the last musical Cole Porter wrote for the stage, contains Fred Astaire’s final leading performance, and was director Rouben Mamoulian’s farewell feature film. Viewed outside of that melancholic […]

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“Film for film, William A. Seiter may have given more pleasure to more people than any other director of the classical Hollywood era.” – Dave Kehr, Film Comment William A. Seiter made companionable films, ones populated with sly comic actors given room to work. He started directing silent short comedies in 1915 and ended working on […]

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I am ending my Summer of Rohmer series with a film set in the spring. Yes, it is a shocking betrayal of the series’ seasonal brand, but I was eager to revisit The Romance of Astrea and Celadon (2007), and extend my stay in Rohmer’s world. Over the last six weeks I have traveled to a variety […]

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    My summer of Rohmer enters its fifth week by docking at the rocky Breton seaside town of Dinard, the location of A Summer’s Tale (1996). Like all of Eric Rohmer’s summer vacation films, it is about hesitation and uncertainty, the holidays a transient borderland before the return to adulthood, when decisions have to be made. A […]

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My Summer of Rohmer has been held over for its fourth smash week! For the uninitiated, I have been writing about the summer-set films of Eric Rohmer, allowing my vacation-less self to live vicariously through his characters. I have already traveled to Saint-Tropez for La Collectionneuse  (1967), the French Alps for Claire’s Knee (1970), and Normandy for Pauline at the Beach (1983). […]

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Welcome to the third week of my Summer of Rohmer, in which I fill the void of my own vacation-less summer by vicariously joining the beach holidays of Eric Rohmer’s neurotic, attractive, and hyper-articulate characters. I started the series by visiting a Saint-Tropez cottage in La Collectionneuse, followed with a scenic French Alps home in Claire’s Knee, […]

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My Summer of Rohmer continues with Claire’s Knee (1970), the fifth of the director’s Six Moral Tales. It is a story of fidelity and an experiment in desire, in which a betrothed vacationer enters into a flirtation with two teenage girls. As with La Collectionneuse (which I wrote about last week), it takes place within the span of a summer […]

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