WEEK 50

50. THE LEOPARD MAN, dir. JACQUES TOURNEUR, 1943

HAAAAAAAAAAAAPPPPPPPPPPYYYY HHHHAAAALLLLOWWWWEEEEEENNNNNNN.
the best holiday.
and in celebration, a revisiting of jacques tourneur + val lewton (of the glorious cat people of posts of yore).
viva halloween!

WEEK 49

49. THE PUBLIC ENEMY, dir. WILLIAM WELLMAN, 1931

WEEK 48

48. WHITE NIGHTS, dir. TAYLOR HACKFORD, 1985

the poster tag line is killer.
today was not a very good day.
this may seem an ill-fitting film orgy pick in comparison with weeks 1-47, which kind-of-generally-but-i-guess-not-always follow the loose trend of enabling us to slowly but surely make it down our films-i-need-to-see-before-i-die lists.
white nights might not make the cut but
i haven't seen this since i was a kid, and i loved it then.
twyla tharp did the choreography,
and though i have a feeling it will feel very dated and/or convoluted in terms of narrative, good dance never goes out of style, and, not having seen it since i was maybe 8 or 9, i'm really in the mood for this mid-80s mikhail baryshnikov - gregory hines vehicle. this baby clocks in at over two hours, so my main concern: more dance, less KGB-impregnated plot.
{haneke discussion to come}

WEEK 47

47. THE SEVENTH CONTINENT, dir. MICHAEL HANEKE, 1989

i dropped the ball last week. i've yet to get my hands on a copy of LA CAPTIVE, though i intend to bypass netflix and rent it at the local video store tonight. discussion is definitely forthcoming.

there's a profile of michael haneke in the most recent new yorker. it got me thinking about his movies. it's also october, so i figured it might be appropriate to explore HORROR in all the meanings of the word. shall we look?