This originally appeared in Stop Smiling‘s “Hollywood Lost and Found” issue (2007); it’s also reprinted in my latest collection. — J.R.
The camera cranes around the grand façade of a palace, a chateau, or a luxurious grand hotel, peering obliquely through the windows at the various doings inside. Or it stays perched in a hallway, outside a bedroom or a suite inside one of these buildings, while servants, musicians, or cigarette girls enter or leave, encouraging us to imagine what romantic shenanigans might be taking place on the other side of the door.
These are the two main signature shots of the great Hollywood filmmaker Ernst Lubitsch — especially during his Hollywood heyday, the 30s -— and one can also find variations of the second kind, the outside-the-door interiors, in the more romantic movies of Billy Wilder, Lubitsch’s major disciple, whose own Hollywood heyday was the 50s. In Lubitsch’s Ninotchka (1939), which Wilder and his frequent writing partner Charles Brackett helped to script, we’re made to understand how much three Russians in Paris (Sig Ruman, Felix Bressart, Alexander Granach) on a government mission are enjoying themselves in their hotel suite when they order up cigarettes, meaning three cigarette girls.… Read more »
Published by DVD Beaver in August 2006. — J.R.
Even though I don’t have much of a head for science, and even though I agree with the field’s chief literary critic, Damon Knight, that “we have no negative knowledge” (meaning that we aren’t yet in a position to identify time travel as either science or non-science), I’d still maintain that the differences between science fiction and fantasy are important. (For Damon Knight’s criticism, see his superb though sadly long out-of-print collection In Search of Wonder.) Important enough, in any case, to make a list of favorite neglected SF movies distinct and separate from a list of neglected fantasy movies. So consider the following selection the first half of a two-part series.
French people tend to conflate SF and fantasy a little more readily than others do into a looser category known as fantastique which also manages to encompass Surrealism, some forms of satire and horror, comic strips, comic books, and graphic novels, among other things. But for the purposes of this particular exercise, credible extrapolations or fictions that at least pretend to have some relation to science —- by which I mean Charlie and the Chocolate Factory (admittedly a borderline case), The Nutty Professor, and The Incredible Shrinking Man, but not Pandora and the Flying Dutchman, The Tiger of Eschnapur, or Eyes Wide Shut —- qualify as science fiction.… Read more »