Dailies: A Week in Review


Good afternoon. This is my blog’s one week anniversary, and the poor thing’s gone through several metamorphoses: anywhere from 5-10 theme/font/header/tagline changes, plus several edits of posts, and other sundry tweaks and twiddles; I only finally nailed down the theme and configuration I wanted yesterday. Even in the last twenty four hours I’ve made some key tweaks that (I bloody hope) have made the posts and pages more readable, accessible. I owe a boatload of thanks to the WordPress.com folks and fellow bloggers at the Blogging 201 “Commons.”

One recent tweak is this little post here: “Dailies” will now be my way of tying things together, hinting at what’s to come, and (ideally) saying something about film art (and TV that relies on it). So, I suppose, this is my one chance to diverge from the usual retrospective glance. And also: any feedback on what I’m covering or what you’d be interested in seeing covered would be greatly appreciated. Now, with the future in mind, I’ll say a bit more about what I have planned…

My “Why we love…” series will continue, until about September 28, and after that… well, I haven’t thought that far. Any suggestions for a TV/film phenomenon you’d be interested in seeing me cover?

I just posted the first of my Features; you can expect these to either discuss a few films by a single director or offer a (probably briefer) analysis of a single film. For example, I have in mind two single-film reviews for the upcoming weeks: Prince Avalanche, by David Gordon Green (writer and director), and A Girl Walks Home Alone at Night, by Ana Lily Amirpour (writer and director).

My first Genre Review is definitely going to be John Ford: specifically, I’ll offer some thoughts on what some critics consider the “end” of the western, at least as it was configured in the 1950s. Films I’ll probably discuss: Stagecoach (1939), The Searchers (1956), and one or both of Fort Apache (1948) and Rio Grande (1950). Again, I would urge you to see especially The Searchers, if you haven’t seen it already: it is a remarkable piece of filmmaking, and I can see why many contemporary directors (including the great Martin Scorsese) include it in their top 10 lists.

Finally, a word on October: I’ve been meaning to watch and rewatch some films in the horror genre, so the approach of Halloween seems to justify a special focus on key examples. I’m thinking, movies of the The Cabinet of Dr. Caligari (1920) variety; I recently watched Mad Love (1935), so that’s a candidate, and The Island of Lost Souls (1932) is actually on my bucket list… The possibilities are endless. But please send me some suggestions if anything comes to mind.

And keep looking back.



    1. Oh yes, for sure. Off the top of my head, I’ll likely tackle Andrei Tarkovsky at one point; I may do a feature on Andrey Zvyagintsev (I think Leviathan is one of the best foreign films in many years). I also like Werner Herzog (the last one I saw was The Enigma of Kaspar Hauser; weird and very funny!).

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