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!
You don’t have to be into movies all that much to have been scared by Bernard Herrmann (1911-1975). He started composing when still a teenager and also worked as an orchestrator and conductor later on. One of his first notable contributions was for Orson Welles’ original 1938 broadcast of War of the Worlds. Hermann’s music must have had a hand in the fact that so many listeners thought that the Martians were really coming.
Continue reading →
Yes, I know. I’ve been pretty absent lately, for which I apologise. In the last few weeks I’ve had a couple of blog entries half-formed in my head, but no time and/or energy to commit them to the screen and the depths of the internet. Here’s hoping that writing about my blogging anxiety might make me pull myself together and actually write a damn blog entry. That is, one that goes beyond a semi-interesting link. Talking of which:
Taxi Driver sequel in the works?
If it features Travis Bickle and Rorschach joining up to fight crime, one dead pimp at a time, I might just about watch it. Two psychopaths, both alike in’sanity…
Let me be clear. Taxi Driver and Raging Bull are great cinema, and they deserve all the accolades they get. But they’re the kind of movies I appreciate rather than enjoy. Watching Raging Bull yesterday, for the second or third time, I was struck less by the virtuoso cinematography and editing, by Martin Scorsese’s effective use of music (yet again), or by the performances, than by the sheer masochism in the movie. LaMotta’s masochism, where especially the later fights are extended bouts of self-punishment for his dimly understood sins. De Niro’s masochism, putting on 60 pounds for the role. But there’s also an element of masochism in sitting through this masterpiece. Paul Schrader (probably more so than Scorsese) writes the most effective guilt trips, but it’s difficult not to flinch and despair a little more at mankind (it’s really the men who come off looking worst in the guilt stakes) when LaMotta punches the walls of his prison cell or when he does his “I coulda been a contender” speech, or when Travis Bickle puts a finger dripping with blood to his temple and mimes blowing his head off.
On a less masochist note: last night’s episode of House, M.D. (“Que Sera, Sera”) featured a remarkably controlled performance by both Pruitt Taylor Vince and his fat suit, transforming him into a 600-lb patient. While the episode was far from perfect, kudos ought to go to the House team for an astute handling of what could have been eminently tasteless TV.