It’s begun. Click through to EW for an new, acceptably funny outtake of Lucille and Buster.
So I’ve been told I need to lay off the mysogo and brush up on my dinner party small talk
What happens when you pay two monkeys unequally?
I cannot believe it’s taken so long for me to properly watch The Great Dictator. I recently watched Chaplin’s final film and was completely taken by the final scene. Recently it seems to have become a bit of an internet touchstone and this version has a ton of Heavy Handed Hans Z over it, but it’s not really called for. (I struggled to find the original version in decent resolution)
Chaplin said that if he had known the horrors of the holocaust he would have not made the film, I think that would have been a shame.
This is part of a great essay for Criterion
The greatness of the film lies in the bridge Chaplin builds between the little guy and the bully, so that in an amazing spiral, the thugs who pursue Chaplin as victim are under the orders of Chaplin the boss. He is his own persecutor, and at the end, he is the voice of resistance to his own mania. The effect is not to humanize Hitler but, in part—and this is an aspect of the film’s courage—to Hitlerize Chaplin…
There is a complex bit of history behind this setup. The Gold Rush had been banned by Goebbels in 1935 because it did not “coincide with the world philosophy of the present day in Germany,” and Chaplin had been caricatured in various anti-Semitic publications as the archetypical Jew, in spite of the fact that he wasn’t Jewish. “Jewish,” for the propagandists, meant crafty and inventive and possessed of all the unheroic advantages of the underdog, just the resources that Chaplin’s screen character had so often availed himself of. In The Great Dictator, he chose both to repeat his old act and to repeal it. His antifascist argument pursues the fascist in all of us, and the implication of his equation of the victim with the dictator is not only that the comic could have been the madman but that even the good guys and the persecuted, represented by the world’s best-loved clown, are not to be trusted with absolute power. Chaplin’s finest further touch, having made his dictator ridiculous, is to remind us of how much harm even ridiculous people can do. Nothing in the film is quite as frightening as the sight and sound of the ludicrous Hynkel casually ordering the execution of three thousand striking workers. We should know better, but we easily forget how lethal the ludicrous can be.
Criterion also has some great behind the scenes photos too.
A still image from Raoul Peck’s film Fatal Assistance, which focusses on misguided philanthropy after the 2010 Haitian earthquake.
“Help,” as it turns out, is not on the way when it comes to Haitians post 2010 earthquake. Promised eleven billion in aid that never arrived, the nation was a victim of not only natural disaster but a man-made one, which Raoul Peck details in Fatal Assistance. The film has its U.S. premiere at the San Francisco International Film Festival, which opens today. Peck, the creator of political thriller Lumumba (2001) is a fearless filmmaker and Port-au-Prince native who now spends his time in France, the U.S. and Haiti, where he served for a short time in the mid-1990s as Minister of Culture. In this interview, which was conducted when the film played Berlin this past winter, Peck makes the case for passionate, point-of-view filmmaking. Unfortunately, he reminds us, some points of view are buried. “Places like Haiti and an overall two-thirds of the world don’t have access to their own storytelling. We don’t own our stories.”
Clicl through to Keyframe for an interview with Raoul Peck, and here’s the trailer.
This is a fun game. Try pick Norma Jean in this 1941 class photo.
(click here for a full-res version)
Tip no 1: She’s wearing grey
Tip no 2: Her hair is the same as above and she’s in a jacket with big assed shoulder pads.
Tip no 3: Click here
You can buy this photo for $10k if you’re interested.
Nathan For You: Uncensored - Caricature Artist
I just stumbled on to this Nathan Fielder guy. Cold blooded.