First of all: As a folk archetype, a supervillain for our times, this is the best we can come up with? A vaguely Eurotrash schoolboy who eats people’s cheeks? And secondly, where do we get off using the trauma of the Second World War as an excuse for Hannibal’s (that is, our) insatiable appetite for murder? If pop-culture fantasies really do serve as a psychological X-ray of our collective fears and desires, this is one sorry-ass session on the couch.
Mmm…cheeks. Also meditating on national identity is "Shaun of the Dead"/"Hot Fuzz" star Simon Pegg, who, at the Guardian, dwells on the differences between British and American senses of humor and whether or not Americans understand or appreciate irony.
When Americans use irony, they will often immediately qualify it as being so, with a jovial "just kidding", even if the statement is outrageous and plainly ironic. For instance…
A: "If you don’t come out tonight, I’m going to have you shot… just kidding."
Of course, being America, this might be true, because they do all own guns and use them on a regular basis (just kidding). Americans can fully appreciate irony. They just don’t feel entirely comfortable using it on each other, in case it causes damage. A bit like how we feel about guns.
According to BBC, the Serbian village of Zitiste, 33 miles north of Belgrade, will construct a Rocky statue to ward off decades of bad luck.
The idea came from Bojan Marceta, a village resident, when he saw the latest Rocky film "Rocky Balboa".
"I felt as if Rocky has come from our village, he had to fight to win his place in society," he told B92 radio.
John Koopman at the San Francisco Chronicle reports that the Maltese Falcon has been stolen.
John Konstin, the owner of San Francisco’s John’s Grill on Ellis Street, said someone broke into a locked cabinet on the second floor of his establishment and took a signed reproduction of the Maltese Falcon — one used for publicity stills for the movie — along with several vintage and signed books by and about Maltese Falcon author Dashiell Hammett.
It wasn’t until I myself returned and saw the film a second timeâ€”and stayed long enough to confirm the identity of the film clip you see at the very endâ€”that the merits of this subtle new film started to affect me, and I began to see what a great change in ideas it represents. For if Bellissima is about a mother whose fantasies of glamour adversely affect her family’s ability to live real life (the Anna Magnani character uses up their small funds for grooming little Maria), what’s interesting and, finally, moving about Volver â€”what suggests that it’s the logical (if not quite as extraordinary) next step from the masterful All About My Motherâ€”is that in AlmodÃ³var’s new film, motherhood trumps Art.
+ Eurotrash Schoolboy (Slate)
+ What are you laughing at? (Guardian)
+ Serbian village venerates Rocky (BBC)
+ Maltese Falcon swiped from SF restaurant (SF Chronicle)
+ Baz as a Bard man (The Australian)
+ Murder, They Wrote (NY Times)
+ The Women of Pedro AlmodÃ³var (NY Review of Books)