This week on IFC News:
I was concerned at the beginning: Are we going to have enough material? And I was also asking myself the question whether "fuck" was over. Was it shocking anymore, would this film be the least bit provocative, since it’s everywhere, now â€” it’s on TV, it’s in the movies, it’s in music, Dick Cheney uses it, Barbara Streisand uses it. I don’t think you can get two people on the farther ends of the spectrum than those two. But the more I looked into it, the more I realized that the word really still does have power. And by the time the film was well into production, I realized I had to scale back, because there was so much stuff to talk about.
In this week’s podcast, we discuss the dearth of traditional biopics this year.
[Vidor]’s also managed to make the only true Futurist film in American cinema, with a distinctive cement-and-bleached-beam veneer and a maniacally didactic narrative style. Little effort is made to persuade us that these are real characters, not just walking, ranting points of view, and in fact the film seems to have been made in an alternate universe where architecture is the country’s most imperative public concern, architects are thought literally heretical if they experiment, and hordes of citizens riot if a newspaper supports (on its front page) an untraditional building.