Sometimes a movie can intrigue based solely on descriptors used when people talk about it. A Girl Walks Home Alone at Night is summed up as “the first Iranian vampire western;” it is made by a woman, and it is also shot in black and white, and it is also a sexy romance. Also also rock and roll. So, naturally, I eagerly awaited its release, and finally finally caught a showing at Coolidge Corner, in their ultra-tiny screening room that seats 14 people, and lo, it was good. Written and directed by Ana Lily Amirpour, the film follows the goings-on of a small, sad town called Bad City, whose denizens are lost and lonely, whose streets harbor a silent killer, a vampire who stalks repugnant men.
When fresh-faced small-town radio personality Marcia Jeffries (Patricia Neal) interviews a disheveled crooner in an Arkansas holding cell, she is convinced she’s discovered a new star. Larry “Lonesome” Rhodes (Andy Griffith) is a charismatic-beyond-belief hooligan with a ratty guitar and a drinking problem, and the magical ability to get people to listen to him. Marcia gives him a radio show, and from there his career soars higher than anyone could have imagined, leading to multiple nationally-televised talk shows that primarily involve Lonesome effortlessly spewing his own brand of folk wisdom and political commentary.
So yes, the Thon is about halfway over, many hours have passed. I’ve lost some of my patience with the “Close the door” running joke, and the kids sitting behind me have been way too chatty, but I’m feeling awake, and excited about the next several films, and my companions have been staying strong. Plus I know I’ve got some Dunkin in my future, always a pleasant thought. (God, I’m, like, so New England.) So here we go.
Medieval art has always been one of my semi-blind spots within art history. Russian art draws an even greater blank in my mind, with little knowledge of art before the twentieth century. With the HFA screening some Tarkovsky this month, it seemed like a fine time to get a bit of art history in with my classic film viewing. Andrei Rublev depicts several (mostly imagined) scenes in the life of the titular artist, a medieval master about whom little is actually known. Played by Anatoliy Solonitsyn, he is a thoughtful, creative monk who struggles with both his artistic subject and his faith. He hopes to spread joy and divine inspiration through his work, but the church enforces terrifying representations of the Last Judgment.
When I fell in love with The Haunting a few months ago, several people recommended The Innocents, another atmospheric horror movie from the 60s, though with fewer gay undertones and more children. Deborah Kerr stars as Miss Giddens, new governess to orphaned children Miles and Flora. Provided for by their wealthy uncle but rarely shown any affection by him, they live in a large country estate with various servants and caretakers. Miss Giddens is instantly smitten with her precocious charges, but feels there is an unfriendly presence in the house. After hearing about the recent deaths of the previous governess and a domineering valet, she becomes convinced that their ghosts have remained on the grounds and are exerting a dangerous influence on the children.