Kubrick, Scorsese, Coppola’s top 10 movies of all time. A lot of Fellini.
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Lore is available on Amazon instant video
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Kottke writes: “If Smashing Telly were still going, this would be perfect for it: every feature-length Andrei Tarkovsky film is available for viewing online for free.”
Indeed. See them all here.
For the record, Mirror is my favorite.
The BBC iPlayer link is here.
[Note this is not the creationist nonsense of the same name]
What Darwin didn’t know was exactly how right about natural selection he was.
This is a great documentary, not so much in terms of production, but solid content. It looks at the evolution of the concept of natural selection, from Darwin to evolutionary developmental biology, where the correspondence between the fossil and DNA records are exactly what prove the theory beyond all doubt.
The history of natural selection is the opposite of its popular perception, it is a story of slow acceptance in the scientific community culminating in total validation and proof rather than an antique concept which has raised recent doubts. Vapid but noisy objections emanating from the current rise of religious extremism are an irrelevance in terms of the time-line of evolution by natural selection as an idea and reasonable debate about it.
Who knew that without knowledge of genetics, Darwin’s humility in absence of absolute proof of his ideas, would allow him to insert in his last edition of the Origin of Species a nod to the possibility of Lamarckian evolution; that de Vries’ (false) idea of the origin of species as coming out of nowhere through single mutations almost replaced Darwin’s gradual selection after he died; or that for the 50th anniversary of his death, the Natural History Museum in London put on a show of Darwinian evolution that ignored the very idea of natural selection that makes it Darwinian in the first place?
Exotically named and unplaceable accented Dutch-Kiwi-Canadian-South-African biologist, Armand Marie Leroi, leads us through this history with the eventual triumph of natural selection. This culminates in the Neo Darwinian synthesis of evolution and genetics and the ‘evo-devo’ combination of evolutionary and developmental biology, which create an accurate view of the tree of life and realize the full grandeur of the mechanism that describes its growth – natural selection.
I have low tolerance for self indulgent artsyness and Tarkovsky films look superficially like they might be in this category, which is a shame because, as Tony the Tiger might say, they’re great. Nothing comes as close to a moving painting as a Tarkovsky film.
Here is a documentary where the director recounts his life and work.
This is a documentary about vogueing, and the extremely refined and detailed aesthetic sensibilities it reflects, shot in New York City around Chelsea, the Meatpacking District, and Harlem in the mid- to late-80s. The city has changed in dramatic ways since then, to say the least.
The characters of the film are complete outsiders with, at the same time, a deep understanding of the world they are outside of. As Terrence Rafferty wrote in The New Yorker, “the material is almost too rich, too suggestive. Everything about the ball culture signifies so blatantly and so promiscuously that the movie induces a kind of semiotic daze.”
It is certainly hard to view human behavior the same way after watching this film. I hope this low-quality version will be interesting enough to inspire you to rent the real thing.
(The video player embed here should allow you to watch all 11 segments of the film.)
The Crystal’s “He Hit Me (And It Felt Like A Kiss)“, caused a storm of protest when it was released in 1962, and its ambiguous sentiment underlies ‘It Felt Like a Kiss’, Adam Curtis’ new film. It is a portrait of America between 1958 and 1965, a period when radical individualism emerged with superficial freedom and underlying entrapment. The film has been conceived of as much as a multi-media art piece, as a TV documentary, the BBC having given Curtis an unusual degree of freedom, possibly because they are not quite sure what to do with him.
Curtis is like the Malcolm Gladwell of film making, there is a nagging doubt that what is being argued isn’t science but the delivery is so masterful and thorough that its utterly compelling. It Felt Like a Kiss looks stunning from the trailer (look out for the full version), but perhaps its rhetoric will elicit similar mixed feelings as inspired the subject. Regardless, Curtis, who creates movies that are like the conspiracy theory films that clog Youtube (except that they produced with intelligence), will no doubt become a web celebrity when his next film, which deals with the Internet itself is released combining the meme like qualities of his format with a self-referential subject.
The BBC, in their infinite wisdom, have regionally restricted everything including trailers of It Felt Like A Kiss, so I am linking to the Guardian. A full version of the film is on Curtis’ web site, but is also UK only (I cannot watch it, because I’m in France).
This film is from 1955. It depicts, or appears to (I have no idea if it’s all a fantasy), a cycling idyll, during a postwar period in England when the bicycle was a working man’s (and woman’s?) transportation, without intended symbolism or activism.
Sport clothing certainly has changed a great deal.
Avid cyclists will also notice the well-executed double paceline, at the start of the second clip. The announcer mentions that a “hard riding” sport cyclist of the time might be expected to cover 100 miles in a day. That figure hasn’t changed much, and I’m not too surprised. Aside from a major reduction in weight, the addition of more gears, and the removal of fenders the bicycles closely resemble modern ones (in fact, I suspect these bicycles might be a bit more comfortable, if heavier, than their modern equivalents). Then as now, a hard-riding cyclist might well cover 100 miles on a weekend club ride. These bicycles would have been all-steel, made relatively locally, in Birmingham rather than China. Many here are three-speeds; all have fenders.
My one hesitation in posting this film is that probably most of its irony is probably going right over my head. I’m sure David can provide some insight into the accents, the places, and other British detail that is, typically, lost on me.
Two new people will be helping me stoke Smashing Telly as editors. Their qualification? Both are great, independent minded, pickers and collectors and have something interesting to say. These seem to be paramount skills in this here Internet age. Both are living in New York, but that is co-incidence.
Jim Nachlin was brought up in a mini commune in a Soho Loft in the 70’s and learned to ride a bike in it because the streets weren’t safe. I like him because he is genuinely eccentric and insightful in a way that people who try to be never are – and because he only likes second hand things.
Hunter Gatherer is from Detroit and now also lives in New York. At first I though he was a brit because when he blogged about the UK it had insight that could only come from someone who had been brought up there. Now I realize that his perceptions came from watching TV. Anyone who has powers of observation like that would be a great contributor here.
A short film made in the early 1950s about the elevated rail line that traveled from the base of Manhattan, up the Bowery and 3rd Avenue, to Gun Hill Road in the Bronx.
New Yorkers, how many places do you recognize as they zoom by? What brewery was that on 3rd Avenue?
The characters are an arty type, a drunk, a little girl, a young couple, and the drama or plot, such as it is, revolves around a nickel stuck in the wooden floorboards of the train (also notice the padded seats). The main characters here are really the subway and the city.
(via The Prelinger Archives)
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