MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

Basic Skyline: tear down this phallus, Mr. Livingstone!

In the Guardian, Peter Bradshaw constructs prize contumely in: re a certain building being the anchor of today’s London skyline in movies: “And, please, what is it with the Swiss Re ‘gherkin’ building? Why is it that every film set in London has to feature the gherkin? It used to be that London films had Routemasters sailing past the Palace of Westminster as their establishing shot. 30 St Mary Axe Gherkin photo by Grant Smith.jpgNow it’s that bulbous, squat glass edifice poking up into the skyline as characters hurry in and out of cabs. Morrissey’s office is actually in the gherkin, one of the most implausible sets I have ever seen, with its cross-diagonal struts visible on the windows overlooking the city. Why not have his office on the London Eye for ‘Basic Instinct 3’? Our poor capital city adds nothing to the film, and the film contributes nothing to London; it might as well be set on one of Jupiter’s moons for all the atmosphere that is injected. Basic Instinct 2 resembles nothing so much as the toe-curling sex-obsession drama Killing Me Softly, another movie in which the UK is about as sexy as a pair of old Y-fronts.”

One Response to “Basic Skyline: tear down this phallus, Mr. Livingstone!”

  1. Kathy Boyes says:

    Down here at the bottom of the world in the Aussie sun we always thought the UK was about as sexy as a pair of old Y-fronts

Leave a Reply

Movie City Indie

Quote Unquotesee all »

“I’m an ardent consumer of Fassbinder. Years ago, when I heard that he was a big admirer of Douglas Sirk, I went straight to the source — to the buffet Fassbinder dined out on — and found that there was plenty more. And what palettes! I love the look of Fassbinder movies. Some of them are also hideous in a way that’s really exciting. When you go to Sirk, it’s more standardized. The movies produced by Ross Hunter — those really lush, Technicolor ones. I know Sirk was a painter and considered himself a painter first for a long time. He really knew how to work his palettes and worked closely with whatever art director he had. I was a guest speaker for the Technicolor series at TIFF Bell Lightbox and we screened Magnificent Obsession. To prepare for that, I watched the movie with a pen and paper. I wroteto down the names of the palettes. Soon, I realized those general color terms weren’t good enough. I used to be a house painter and I remembered the great names of the 10,000 different colors you could get in a paint chip book. So, I started to try to name the colors. Sirk used 100 different off-whites, especially in the surgery scenes in Magnificent Obsession!”
~ Guy Maddin On Sirk And Fassbinder

“I’ve never been lumped in with other female directors. If anything, I’ve been compared way too much to male filmmakers whom I have little to nothing in common with except visual style. It’s true that women’s filmmaking is incredibly diverse, but I am personally interested in how female consciousness might shape artwork differently, especially in the way female characters are constructed. So I actually would encourage people to try to group women’s films together to see if there are any threads that connect them, and to try to create a sort of canon of women’s films that critics can talk about as women’s films. One reason I want to be thought of as a female filmmaker is that my work can only be understood in that context. So many critics want to see my work as a pastiche of films that men have created. When they do that, they deny the fact that I am creating my own world, something completely original. Women are so often thought of as being unable to make meaning. So they are allowed to copy what men make—to make a pastiche out of what men have created—but not to create original work. My work comes from a place of being female, and rewrites film genres from that place. So it’s essential for me to be placed into a history of female-feminist art-making practice, otherwise it’s taking the work completely out of context.”
~ Love Witch Writer-Designer-Director Anna Biller