Download Heat (BFI Modern Classics) by Nick James PDF

By Nick James

From Amazon: "For Nick James, the pleasures and virtues of this movie are combined and complicated. Its targeted compositions and minimalist sort are entangled with a specific form of extravagant bombast. The complexities upload to the curiosity of this formidable film." Nick James is the editor of Sight and Sound journal.

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Heat (BFI Modern Classics)

From Amazon: "For Nick James, the pleasures and virtues of this movie are combined and intricate. Its targeted compositions and minimalist variety are entangled with a specific form of extravagant bombast. The complexities upload to the curiosity of this formidable movie. " Nick James is the editor of Sight and Sound journal.

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Example text

Next, production—and a theater circuit. FBO’s talent roster was hardly first tier, but that didn’t matter. The company specialized in B films, the kind that played in theaters throughout side-street America, not in movie palaces. But with the movie craze, 18  " , / / Ê /   - t 19 star quality was not the important factor; product was all. At best, FBO could offer the public cowboy star Fred Thompson and football player Harold “Red” Grange—and later, the better known Evelyn Brent, Viola Davis, and Bob Steele, the western hero and occasional villain (The Big Sleep [1946], which may be the film for which Steele is best remembered).

But that purity was partly the result of August’s lighting, which washed over her face and complemented what lay within. There was not one false note in Loretta’s performance. To watch her wash and iron like a seasoned homemaker, preside over a kitchen stove as if it were her domain, and hear her lyrically ungrammatical speech— reminiscent of Clifford Odets’s street poetry—is to see a twenty-year-old actress in total command of her character. That she had had some contact with working women does not entirely explain her performance.

That may have been fine for Lola, but as an actress, Loretta had to breathe credibility into a script that discredited wives who succeeded while their husbands failed. Loretta was not Lola, yet she was so convincing that it seemed she would make the same sacrifice in real life. A script is a script, however unenlightened. Weekend Marriage was one of six films she made in 1932. She was expected to make Lola believable, and she did. She had a career to pursue and a mansion to maintain. They Call It Sin (1932) revealed Loretta’s burgeoning ability to balance the extremes of the conventional rich boy/poor girl plot with the excesses of lurid melodrama.

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