Posted by Susan Doll on January 19, 2015
So many faceless movie reviewers with forgettable names and interchangeable writing “styles” populate the Internet that it is hard to imagine a time when reviews were penned by established authors, historians, or intellectuals with distinctive voices. Writers and thinkers such as John Grierson, Carl Sandburg, Alistair Cooke, Vachel Lindsay, Grahame Green, and James Agee all reviewed Hollywood movies in their time. A few months ago, a colleague lent me a copy of Agee on Film published in 1958. The book consists of a collection of Agee’s reviews from The Nation and Time, plus two essays on film originally published in Life.
I became an Agee admirer after reading Let Us Now Praise Famous Men, a chronicle of the struggles of three Southern sharecropping families. At once brutal and poetic, the book includes photos by Walker Evans. The pair was originally assigned by Fortune magazine to produce an article about the conditions of sharecroppers in the Deep South during the Depression. Agee rejected a traditional reporting style and authored an impressionistic portrait of three rural Southern families living in extreme poverty—a class of people usually ignored and generally scorned by society. Needless to say, Fortune was not thrilled with the artistic approach when they issued the articles in 1939. In 1941, Agee and Evans published their work in book form. Let Us Now Praise Famous Men flopped at the time, but it is now considered an important social document as well as a milestone in modern journalism. Though often described as a journalist, he was no mere reporter. Agee’s style was literary, evocative, and expressive but also accessible.
Posted by Kimberly Lindbergs on February 27, 2014
On Sunday many of us will be glued to our television sets watching the annual Oscar ceremony unfold. At this time of year I tend to contemplate all the new releases I’ve seen in the past 12 months or more and linger over the films that have captured my imagination, awed me, inspired me or just made me think about old ideas and tired truths in new ways.
Posted by Susan Doll on July 30, 2012
As part of Summer Under the Stars, TCM has selected August 16 to showcase the movies of Elvis Presley. To prime viewers for the 14-film marathon, I offer the second in my two-part series about the publicity and promotion surrounding Elvis’s movie career. Viewing Elvis’s stardom through the perspective of contemporary reviewers, fans, and costars will put a different spin on his movies as you watch them.
“Why Sure, Sideburns!”
For many years, the press was obsessed with Elvis’s sideburns. During the 1950s, his personal appearance consisted of pegged pants, wildly colored shirts, baggy suit jackets, a long ducktail haircut that required three hair creams to control, and long sideburns (see left). Throughout 1956, the year that Elvis became a national phenomenon, the press repeatedly made a connection between rock ‘n’ roll music and juvenile delinquency, with Presley as their main target. It didn’t take them long to equate his unusual personal appearance with a delinquent mentality, honing in on the sideburns, which many identified as a fad among Southern truck drivers. By 1957, the word “sideburns” had become synonymous with delinquency and bad taste, so when a tough-talking punk sneers, “Why sure, Sideburns,” to Elvis’s character in Loving You, it was an insult that echoed the real-life criticism of Elvis in the press.
Posted by R. Emmet Sweeney on June 26, 2012
The influence of Andrew Sarris’ film crticism has become so omnipresent it is now invisible, part of the received wisdom of how we approach and watch movies. This has only become clearer after his death last week at the age of 83. You can see his mark in the marketing of the upcoming “Hitchcock Masterpiece” Blu-Ray collection from Universal, and in every movie review that even mentions the name of the director. The auteur theory will be his legacy, regardless of how often it is misinterpreted as some kind of iron law rather than the policy of “perpetual revaluation” that he proposed it as. Enough has been written about auteurism though, and not enough about the constant sense of discovery in reading his seductively winding prose. He approached films like an explorer, traveling down a multitude of paths, be it historical, stylistic or even personal, searching methodically for flashes of insight or originality, whether from the director or any of the film’s collaborative artists. His sentences would gather long strings of actors, colors and themes, as list-happy as in The American Cinema, seemingly sussing out his opinion along the way – a perambulating, open-air kind of criticism where interruption, digression and contradiction are welcome.
There are plenty of moving and detailed remembrances of Mr. Sarris around the internet (Matt Singer has gathered tributes at Indiewire, as has David Hudson at the Fandor Keyframe blog), so instead I asked a number of writers and academics to choose their favorite excerpts of his writing (Tom Gunning recited his from memory!), and to add comments if they had any. Below I have listed their responses, while including my own favorite Sarrisms at the end.
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