Word: cinemas
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Dates: during 1980-1989
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...dismal urban landscape carry a carefully calculated moral weight, and their story is clearly intended as a microcosmic portrait of contemporary English life. So call it, perhaps, a fable on the sneak. And call it something else too: yet another carefully handmade ornament of the new British cinema, which includes such small recent marvels as My Beautiful Laundrette; Rita, Sue and Bob Too; Withnail and I and Wish You Were Here...
Leigh, whose rigorous improvisational techniques have made him a guru of British theater (Goose-Pimples) and TV (Abigail's Party) for two decades, brings to his work the same anti-Thatcher animus that energizes much of today's British cinema. But unlike Laundrette and the rest, High Hopes derives much of its energy and some of its best comic strokes from a conscious, open acknowledgment that to be postmodern is also to be post-Marxist. In a time when people rise and fall freely, unhindered by traditional class structures, they become, according to Leigh, quite unhinged by their inability...
Certainly not Hollywood, which was beginning the greatest year of its Golden Age. In fact, it was to be the most memorable twelve months in the history of the American cinema. There was Gone With the Wind, of course, whose production attracted more intense public curiosity than any other film ever made. When Vivien Leigh -- beautiful, talented, but indisputably English -- was cast in the role of the Old South's own Scarlett O'Hara, thousands of Americans reacted with patriotic fury, as if the Redcoats had burned Washington again. "Why not cast Chiang Kai-shek and change the part...
...Gilliam's picture worth all the fuss? Sure, because he has tapped the cinema's capacity for lying with a straight face. If you can create a vision onscreen, then it's true. At the start, Baron Munchausen (John Neville) strides onstage to recount his hoodwinking of a sulky Sultan (Peter Jeffrey), his dalliance with the Queen of the Moon (Valentina Cortese), his flirtation with the goddess Venus (Uma Thurman), his captivity inside a giant fish, and his long-odds battle with the Turkish army. Except for young Sally (Sarah Polley), his listeners don't know if he's telling...
...Cinema...