Amidst the newly translated selection of articles from Cahiers du CinÃ©ma up online is one in which Herve Aubron, in a piece that also considers "The Queen," "Capote," "Private Fears in Public Places" and "The Host," argues for "Lady in the Water":
Lady in the Water was not loved, because she was often envisaged via the old framework of belief. It is true that until Lady in the Water, Shyamalan seized again this question on the mode of anti-ironic political activism. To caricature it: we must continue to believe in the supernatural, even if we know it is not true. Conceived thus, Lady in the Water might have seemed to have ODed on angelism, at the risk of silliness. Except that here, Shyamalanâ€™s question is not â€œDo we still believe?â€ but: â€œDo we still feel?â€
We’re pleased that an outlet has staked out this cause â€” any actual consideration of arguments of merit aside, Shyamalanâ€™s film is really as choicely perverse a pick as one could come up with to hail as great.
The San Francisco Bay Guardian has a section on "The Host" that includes a nice piece from Johnny Ray Huston in which he writes that "With his latest film, Bong [Joon-ho] announces himself as the heir apparent to Steven Spielberg â€” an heir who replaces Spielberg’s reactionary tendencies with an acutely observant antiestablishment viewpoint."
The cinema, in which actors appear to be moving in consecutive time through patches of genuine space, has always created a strong expectation of realistic narrative. But hereâ€™s the paradox: thanks to the mechanical nature of the recording medium (still photos, or digits, strung together in rapid succession), playing with sequence and representation is almost irresistible. As soon as film was invented, experimental film was invented. Some of the fooling around was just exuberant exploration of a fabulous new toy, but some of it arose from political or philosophical convictions, and was intended to turn us upside down.
Meanwhile, Arriaga and IÃ±Ã¡rritu continued their very public spat over credit for their films. Natalie Finn at E! Online reports that a letter published Monday in Mexican magazine Chilango reads, in part: "You weren’tâ€”and you never let yourself feel likeâ€”part of the team, and your comments are [a] lamented and belittling end to this marvelous and collective process that we have all experienced and are now celebrating." The letter was signed by, among others, IÃ±Ã¡rritu and costars Gael GarcÃa Bernal and Adriana Barraza.
MTV: What sort of things have you brought back?
Stone: Well, there was sexual material in there that was pretty controversial. There’s a eunuch in the new version â€” a eunuch is like a third species. They had enough problems with [Jared Leto‘s character] Hephaistion hanging around.
+ Breaking the Ice (Cahiers du CinÃ©ma)
+ Bong hits the mainstream (SF Bay Guardian)
+ THE NEW DISORDER (New Yorker)
+ Towers of Babel Crumble (E! Online)
+ Oliver Stone Promises Third ‘Alexander’ Cut Is The Last (MTV)
+ Children of Men: The Ads (ForeignOffice.com)