Screening Log
This new site feature is a collective effort to summarize our viewing habits. Occasionally, you will find titles here that are coming to a theater near you, in addition to films viewed on television, and even films viewed in piecemeal. The screening log is archived each month; to view past entries select a month in the menu below.
June 2007 activity
Total Log Entries: 45
- Adam (9)
- Andrew (0)
- Chet (0)
- Chiranjit (7)
- David (0)
- Eva (0)
- Evan (0)
- Ian (7)
- Jenny (0)
- Katherine (0)
- Leo (0)
- Megan (0)
- Rumsey (3)
- Teddy (0)
- Thomas (0)
- Timothy (0)
- Victoria (0)
Total Comments: 14
- My Darling Clementine (0)
- Waitress (0)
- Venus (0)
- Under The Sun Of Satan (0)
- On The Waterfront (0)
- Pickpocket (2)
- Fantastic Four: Rise of the Silver Surfer (0)
- Ocean’s 13 (0)
- A Trip To Mars (0)
- The Candle And The Moth (0)
- Temptations Of A Great City (0)
- The Abyss (0)
- Brand Upon The Brain! (0)
- Six-String Saumurai (0)
- An Evening With Kevin Smith (1)
- The Bridge (0)
- The Hustler (0)
- Sherman’s March (0)
- Nana (0)
- La Fille de l’Eau (0)
- A Chorus Line (0)
- The Long, Hot Summer (0)
- God Said, ‘Ha!’ (0)
- Ocean’s 13 (1)
- Knocked Up (0)
- Marnie (0)
- Knocked Up (0)
- Kind Hearts And Coronets (0)
- Kiss Kiss Bang Bang (1)
- Casino Royale (2)
- The 40 Year Old Virgin (0)
- Vacancy (0)
- Pirates Of The Caribbean: At World’s End (0)
- Brideshead Revisited (2)
- Odd Man Out (0)
- Andrei Rublev (0)
- Imitation of Life (0)
- Waitress (0)
- Knocked Up (3)
- His Girl Friday (2)
- Knocked Up (0)
- The Lookout (0)
- Pirates of the Caribbean: At World’s End (0)
- Pirates of the Caribbean: At World’s End (0)
- Dirty Harry (0)
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Nana / France / 1926
There’s no doubt retrospective irony in Renoir’s minimally-talented wife Catherine Hessling starring in this role of Zola’s talentless courtesan Nana. The problem with the film is that the exclusively interior sets focus attention on Hessling’s character in a way that La Fille de l’Eau didn’t – in the latter film, the natural setting is as an important a character in the film as anyone. Hessling adopts a histrionic, overdone performance style (and a bizarrely overdone makeup style) which clashes with the more controlled,restrained, and convincing style of the male leads (e.g. Werner Krauss). The enormous sets look great, but you can’t escape the grotesque performance at the centre of the film.
by Ian Johnston | Source: Lions Gate DVD
20 Jun 2007 2:21 PM | Submit Comment