Lost in Yonkers

I sometimes wonder how David Simon feels about politicians. He’s definitely critical to the point of cynicism of the machinations of politics, as he is of so many of the systems we create, but having watched The Wire, Treme and now Show Me a Hero, I’ve come to the conclusion that he doesn’t hate politicians altogether, except for a certain kind of politician interested only in self-enrichment. With some of them, I actually think he feels sorry for them.

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A Damn Fine Cup of Culture Podcast #27: Quentin Tarantino

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Whether you’re an Elvis man or a Beatles man, tune in to our latest episode of A Damn Fine Cup of Culture, because we’re finally getting around to talking about the man who doesn’t need us to tell him how good his coffee is: on the occasion of the release of his latest film, Once Upon a Time… in Hollywood, your cultural baristas are having a chat about writer-director Quentin Tarantino, his films, his music, his women, his use of violence and his very particular brand of nostalgia. How much Tarantino is that? A lot!

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The Stars My Dadstination

Director James Gray’s Ad Astra, apart from being beautiful to look at (down in front, Brad Pitt fans!), also sets out to be that rare, beautiful thing: a sci-fi movie of ideas. It is interested in outer space as much as the universe inside the metaphorical man in the moon. If only it trusted those ideas to speak to its audience loudly enough, because then it might not have felt the need to spell them all out in explicit, clunky voiceover.

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The Rear-View Mirror: Shane (1953)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

How many movie tropes are there that are common knowledge, yet if you were to ask what films actually use them you would draw a blank?

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The Rear-View Mirror: Lolita (1955)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

It took me ages to read Lolita. No, that’s not quite correct: it took me ages to get around to reading Lolita. I avoided the book for a long time because it sounded offputting: an older guy lusting after a young girl. You don’t need to read literature, you see that everywhere, every day already. In the end, my first encounter with Lolita was, well, not even the 1962 adaptation by Stanley Kubrick but the glossy, shallow film version by Adrian Lyne. It’s a miracle I ever did get around to reading Vladimir Nabokov’s novel after that.

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A Hooplehead Reunion

The first half-dozen years or so of the 21st century saw some of the strongest arguments that a Golden Age of Television had arrived. Many of those were produced by HBO, from the New Jersey mobscapades of The Sopranos to the sprawling social canvas of The Wire. While it was cancelled after three season, the Western series Deadwood stands tall among the standouts of that time. Even thirteen years after its cancellation, it’s difficult to find a series as accomplished, with an ensemble cast as strong, and with writing as distinct.

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A Damn Fine Cup of Culture Podcast #26: In the Mood for Love

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After spending much of our summer looking into the abyss with our two episodes on cinematic psychopaths, A Damn Fine Cup of Culture is heading for British Hong Kong, 1962: we’ve rewatched Wong Kar-wai’s In the Mood for Love (2000) and we’ve got some things to say about it, from commenting on the echoes to Billy Wilder’s The Apartment to discussing the film’s sartorial choices. On our way there, we also touch upon the Elton John biopic Rocketman, the Nazi-shootin’ B-movie thrills of Wolfenstein: The New Colossus and the grandpappy of silent Soviet cinema, Battleship Potemkin… set to a live orchestra’s renditions of Shostakovich. How better to finish a summer of culture?

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Americans, animals, but neither fish nor fowl

We’ve all been there. You find yourself in your late teens or early twenties with a profound sense of existential malaise. You’ve been to school for most of your life and you could go to school for a bit longer, but why? What for? To prepare for a job that, at best, bores you if it doesn’t outright depress the hell out of you? To lead a life of quiet desperation? Some try to escape by means of alcohol, drugs or sex, but not you. Oh, no.

Instead, you do you. You try to give your life a sense of meaning by organising an insane art heist with the aim of stealing the ultra-rare books on display at your university’s library. It’s obvious if you think about it.

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The Rear-View Mirror: The Dumb Waiter (1957)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

GUS: What do we do if it’s a girl?
BEN: We do the same.
GUS: Exactly the same?
BEN: Exactly.

Pause.

GUS: We don’t do anything different?
BEN: We do exactly the same.
GUS: Oh.

GUS rises, and shivers.

Excuse me.

He exits through the door on the left. BEN remains sitting on the bed, still.
The lavatory chain is pulled once off left, but the lavatory does not flush.
Silence.

What a scorcher: bearing the brunt of Harold Pinter’s temper was one of life’s central experiences
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The Compleat Ingmar #7: Summer with Monika (1953)

Summer with Monika (1953) is an odd yet fitting film with which to continue our Tour d’Ingmar. Like Crisis, A Ship to India, To Joy and Summer Interlude, its protagonists are flawed young characters in the process of becoming adults, though unlike many of the Bergman films earlier in the collection, the young man, Harry (Lars Ekborg), is selfless and arguably the more mature one, while Monika (Harriet Andersson), the female protagonist, is self-serving and at times downright unpleasant.

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