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...memory is the root of identity for many of us, and for some of the best films at Cannes. One of these is Terence Davies' Of Time and the City, a dreamy documentary of Davies' home town of Liverpool. Shots of working-class Liverpudlians from the '30s, '40s and '50s doing the wash, or playing with school-friends, or preparing dinner, offer a fascinating, poignant glimpse of the rhythm of ordinary life - so precious because it is so rarely seen in documentaries...
...International conspiracies. Nazis in the first and third Indys, Indian Thugees in the second. But it wouldn't be the '50s without Commies, in the chic person of Irina Spalko (played by Blanchett with the severe demeanor of Cyd Charisse's Ninotchka in the 1957 MGM musical Silk Stockings and the black bob Charisse sports in The Band Wagon). Rather than the simple matter of conquering the West militarily, Irina is part of a Soviet plot to cloud our minds by getting access to some secret technology that is concealed either in an Area 51 warehouse or in the remotest...
...Singaporean film before the 1990s? KHOO: No, basically we had a very thriving film industry. But when Sir Run Run Shaw left for Hong Kong and [influential Malaysian actor and director] P. Ramlee went back to Malaysia, things changed. If you think of movies produced back in the '50s, the budgets were, like, up to a million, and they were huge in Southeast Asia. UEKRONGTHAM: It's not so much about social control but trying to focus on economic progress. And maybe now is the time when they can focus on creating a film industry. You must remember that...
Rauschenberg's early thinking crystallized in the late 1940s and early '50s at Black Mountain College, where he shared ideas with the composer John Cage, who was using chance and randomness as operating principles in his art. One famous Cage composition, 4'33", was just four minutes and 33 seconds of nothing, in which the silence and whatever random noises people heard (or made) in an auditorium became the music...
This was where Rauschenberg began to perfect the idea that he would eventually put this way: "Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)" By the mid-'50s, he was also in a romantic relationship with the artist Jasper Johns. Trading ideas at top speed, together they were a pivot point between the psychodramas of the Abstract Expressionists who came just before them and the cool ironies of the Pop artists who came after...