Word: polito
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...movie or read a word of English. You'll learn how films should be seen, and how the language can be twisted, refined, expanded, improved, undercut, remade. (The frustrating news is that Negative Space represents only a small fraction of the Farber canon. The exhilarating news is that Robert Polito, one of the best of many writers on Manny, is preparing a multivolume set of the complete criticism, to be published by Harvard University Press...
...people." Six years later, considering the posthumous collection Agee on Film, Manny was less generous. The essay, "Nearer My Agee to Thee," alternates salutes and bitch-slaps so rapidly it seems simultaneously a military tribute and a Three Stooges routine. But that's par for a Farber piece. As Polito notes, he "sustains strings of divergent, perhaps irreconcilable adjectives such that praise can seem inseparable from censure - Touch of Evil, he writes, is 'basically the best movie of Welles's cruddy middle peak period...
...margin. Thanks to the yeoman work of Arts maven Amy Goehner and ace librarian Bill Hooper, we have a firmer handle on Manny's Time work. We can't speak with certitude, since other names - probably the researchers', less likely other reviewers' - occasionally appear with his. When Polito compiles his Complete Manny Farber edition, we'll know for sure. For now, I'm taking on faith his authorship of all Time movie reviews from Sept...
...there too for The Ladykillers, even though the Coens have been batting around .333 since Barton Fink; I’m sick of paying $10 just to hear George Clooney use “hydroelectric” as a verb, or to hear Jon Polito emphasize the wrong syllable in “dry cleaning...
...actors act out stereotypes as directed. On the overacting side of the spectrum sit Michael Badalucco as Doris’ portly dolt of a brother and Polito as the comical entrepreneur. Thornton, on the other hand, is so dry that he makes Clint Eastwood looks like Richard Simmons, and McDormand is positively wasted as a dull pawn of Ed’s and the Coens’ plottings. Gandolfini, never better than when flaunting a corker of a malicious smile, lingers securely in the middle of the scale. Tony Shalhoub makes the film’s best showing...