Kiss Me, Stupid (Billy Wilder, 1964) Martyn Bamber April 2020 CTEQ Annotations on Film Skewering celebrity vanity, the allure of success and the obsession with fame, Kiss Me, Stupid (1964) takes a long, hard look at these subjects and is...
A journey through 1930s Japan: Mr. Thank You (Hiroshi Shimizu, 1936) Nicholas Bugeja April 2020 CTEQ Annotations on Film The bus driver (Ken Uehara) at the heart of Mr Thank You derives his eponymous sobriquet from what he says to those roving through rural Japan when th...
Starstruck (Gillian Armstrong, 1982) Ben Kooyman April 2020 CTEQ Annotations on Film Pauline Kael, the great American film critic, was decidedly lukewarm on Australian cinema. In an interview with Cinema Papers, she elaborated that “Mo...
The Masquerade is Over: Billy Wilder’s The Private Life of Sherlock Holmes (1970) Adrian Danks April 2020 CTEQ Annotations on Film The Private Life of Sherlock Holmes (1970) was one of the projects closest to Billy Wilder’s heart – an organ that some commentators question even exi...
The Servant (Joseph Losey, 1963) Martyn Bamber April 2020 CTEQ Annotations on Film The subject of The Servant (1963) is the English class system and its tensions in swinging sixties London. The battleground for this class struggle is...
G’day Comrade: Cecil Holmes’s Three in One (1956) Adrian Danks April 2020 CTEQ Annotations on Film This is an extended and amended version of an article that first appeared in Directory of World Cinema: Australia & New Zealand, edited by Ben Gol...
That which is planted: A Time to Love and a Time to Die (Douglas Sirk, 1958) Grant Bromley April 2020 CTEQ Annotations on Film To every thing there is a season, and a time to every purpose under the heaven: A time to be born, and a time to die; a time to plant, and a time to ...
Creating light, sharing concern: Little Women (Gillian Armstrong, 1994) Kristi McKim April 2020 CTEQ Annotations on Film Necessity is indeed the mother of invention. Somehow, in that dark time, our family, the March family, seemed to create its own light. – Jo March (Wi...
A cinema of resistance: My Brilliant Career (Gillian Armstrong, 1979) Gabrielle O'Brien April 2020 CTEQ Annotations on Film Loneliness is a terrible price to pay for independence. Sybylla, don’t throw away reality for some impossible dream. - Aunt Gussie (Patricia Kennedy)...
Bad love: The Night Porter (Liliana Cavani, 1974) Jeremy Carr April 2020 CTEQ Annotations on Film There has scarcely been a more unsettling and perversely potent love story than that which stimulates the precarious heart of Liliana Cavani’s Il port...
Stalag 17 (Billy Wilder, 1953) Brad Weismann April 2020 CTEQ Annotations on Film Stalag 17 is not the original prisoner-of-war film, nor the first escape film. Its most notable predecessors include such films as Mervyn LeRoy’s I am...
Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2010) MaoHui Deng April 2020 CTEQ Annotations on Film The narrative of Apichatpong Weerasethakul’s Loong Boonmee raleuk chat (Uncle Boonmee Who Can Recall His Past Lives, 2010) follows the last days of it...
