A forthcoming “En movimiento” column for Caimán Cuadernos de Cine. This is the original, longer version, before I had to trim it down to suit the magazine’s new design and format — J.R.
It’s logical and inevitable that the meanings of films change over time. After all, we’re the ones who determine, discover, and/or describe those meanings, and it’s obvious that we and our understandings change over time. At some point during my first decade, I saw a film in which poisoned biscuits played some role in the plot, and during a trip with my parents soon afterwards, I refused to eat biscuits in a hotel restaurant. I’ve subsequently been unable to remember or otherwise pinpoint the title of this film, even after several Google searches, but I’m sure that if I could resee it today, I wouldn’t take it as a practical warning about consuming biscuits.
I’ve had better luck in finding and revisiting another film that upset me during my early childhood. A protracted search in this case eventually yielded The Unfinished Dance (Henry Koster, 1947), which I most likely saw at a revival in my hometown in Alabama circa 1949 or 1950, when I was six or seven, and didn’t see again until over six decades later, after ordering a DVD.… Read more »