Personal landmark: my 1000th post

Ugolin (Rellys)'s guilt turns into romantic obsession in Marcel Pagnol's Manon des Sources (1952)

It’s hard to believe, but this is my 1000th post since I started writing this blog back in October 2010. Not having missed a single week since that first post – and often posting more than once a week – my writing here has been the most sustained activity I’ve ever undertaken. While there’s no doubt an element of ego involved in putting this much personal opinion out into the world, the blog has served something of a self-therapeutic purpose, providing focus and a personal challenge to off-set the tedium of the federal government clerical job I landed after my editing career dried up. Having retired six months ago, I’m finding myself wondering whether the blog has served its purpose and the time has come to look for other creative pursuits.

Howard Hawks’ Scarface (1932): Criterion Blu-ray review

Tony Cramonte (Paul Muni) makes his last stand in his fortified apartment in Howard Hawks' Scarface (1932)

Howard Hawks’ Scarface: The Shame of a Nation (1932), newly restored in 4K and released by Criterion in a dual-format edition as well as a stand-alone Blu-ray, is in many ways the most modern of the 1930s gangster movies, filled with Paul Muni’s infectious energy as the ambitious Tony Cramonte, balanced by two string female characters (Karen Morley and Ann Dvorak), blending dark tragedy with streaks of comedy, and pushing violence as far as was possible in the years just before Hollywood established the Production Code.

Mikhail Kalatozov’s I Am Cuba (1964): Criterion Blu-ray review

A crowd bears away a murdered student in the wake of a riot in Mikhail Kalatozov's I Am Cuba (1964)

Mikhail Kalatozov’s I Am Cuba (1964) uses the striking cinematography of Sergei Urusevsky to create a fever dream version of the Cuban Revolution, a series of archetypal moments of oppression and resistance leading to an ecstatic explosion of justified communal violence. Filled with heightened emotions rendered in breathtaking images and seemingly impossible camera movements, the film looks gorgeous in a 4K restoration on Criterion’s Blu-ray.

Tod Browning’s Sideshow Shockers on Blu-ray from Criterion

Alonzo (Lon Chaney) realizes that his romantic feelings for Nanon (Joan Crawford) will never be returned in Tod Browning's The Unknown (1927)

Criterion’s two-disk Tod Browning’s Sideshow Shockers showcases three of the director’s best movies, including the peak of his long collaboration with Lon Chaney in The Unknown (1927) and Browning’s masterpiece Freaks (1932) along with the lesser-known The Mystic (1925). Fine 2K transfers and some illuminating extras leave you hoping that more of Tod Browning’s work will turn up on disk in restored versions.

Blasts from the past

John Saxon 1936-2020

Year End 2010

Recent Arrow viewing, Part Two

Demons and vampires from the ’70s

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