By J. M. Tyree, Ben Walters
From Amazon: "Since its unlock approximately ten years in the past, the large Lebowski has develop into a cult vintage with a global following, having survived the baffled response of many mainstream critics. Its enthusiasts are typically fanatical, congregating at 'Lebowski Conventions' in bowling alleys throughout American and Britain, or even dressing up as characters from the movie. one of the funniest movies of the final twenty-five years, and one of many high-water marks of Nineties style recycling and pastiche, the massive Lebowski can also be suffering from playful and subversive references to movie historical past, particularly to Raymond Chandler's international of hardboiled detective classics and the area of movie noir. the large Lebowski is the rarest form of movie, a comedy whose jokes develop into funnier with repetition. a similar is going for its multitudinous jukebox-like references to different movies, a lot of which open up vistas for intertextual interpretation. beneath the film's breakneck pacing and foul-mouthed characters, a farcical choice of flakes, losers, and phonies, is a shockingly humane account of what fools we mortals be. it's one of many oddest blood brother movies ever made, with awesome performances through Jeff Bridges and John Goodman. during this research, the massive Lebowski is determined into the context of Nineteen Nineties Hollywood cinema, anatomised for its witty dating with the classics which it satirises, and mentioned when it comes to its key subject matter: the hopeless flailing of ridiculously unmanly males on this planet of discombobulated, mixed-up …. J. M. Tyree is an affiliate editor of latest England evaluation and the writer of BFI movie Classics: Salesman. Ben Walters is the writer of books on Orson Welles and The workplace. They contributed to Sight & Sound magazine's maximum movies ballot 2012, have spoken jointly at BFI's nationwide movie Theatre, and feature coauthored reports for Sight & Sound on No kingdom for outdated males, Burn After studying, and within Llewyn Davis."
Read or Download The Big Lebowski (BFI Film Classics) PDF
Best film books
Cinema and Spectatorship is the 1st ebook to concentration totally at the historical past and function of the spectator in modern movie reviews. whereas Seventies movie thought insisted on a contrast betweeen the cinematic topic and film-goers, Judith Mayne means that a really genuine friction among "subjects" and "viewers" is in truth primary to the research of spectatorship.
Whereas the wounded and anxious Monster he created spreads terror during the nation aspect, Dr. Frankenstein is persuaded via a colleague to create a girl to be the Monster's bride.
Famous as one of many prime experts on American movie, Leonard Maltin can also be a father or mother who's conscious of the variations among a child's and critic's viewpoint on motion pictures. each one movie indexed comprises its MPAA score, a proof of that score, classification, and the author's personal ranking method of even if a movie is sweet, undesirable, or ok for either older and more youthful young ones.
Knockout: The Boxer and Boxing in American Cinema is the 1st book-length examine of the Hollywood boxing movie, a favored motion picture leisure because the Nineteen Thirties, that comes with such classics as "Million greenback Baby," "Rocky," and "Raging Bull. " The boxer stands along the cowboy, the gangster, and the detective as a personality that formed America's rules of manhood.
- The 'I' of the Camera: Essays in Film Criticism, History, and Aesthetics (Cambridge Studies in Film)
- Black Space: Imagining Race in Science Fiction Film
- Impure Cinema: Intermedial and Intercultural Approaches to Film
- Discovering Orson Welles
- Working with Disney: Interviews with Animators, Producers, and Artists
- Mondo Macabro: Weird & Wonderful Cinema Around the World
Extra resources for The Big Lebowski (BFI Film Classics)
But if it can be said that there is a gl'eatest sequence in Bresson, it may well be the final section of his final film. The entire film leads up to it, of course, but it's no disservice to Bresson to say that he nevel' filmed anything quite so penetrating, so psychologically acute, so disturbingly perched between gl'ace and damnation as the final twenty-thl'ee minutes of I',Argent. 71 72 8FI MOOERN CLASSICS The Ending The prison door swings open, and Yvon waJks out, his belongings in two canvas bags, one hanging over each shoulder.
How much time has passed before the following shot, ofYvon walking down the stairs ayer the body of one of his murder victims? In The unnamed woman at the heart 01 the film L'ARGENT it doesn't matter. He goes to a sink to wash his hands, and Bresson cuts to a close overhead angle as the clear water starts running red and then goes clear again. Yvon wraps up his bloody pants and carefully places them in his bag before snapping it shut, fastens his belt buckle, steps behind the counter, opens two drawers and empties them of their cash (again, in close-up).
Psychology may be the last stop on Bresson's aesthetic and moral itinerary, but he certain]y betrays a profound understanding of it here - there's a whole biograpby of a family woven into these brief scenes. \'Vhen Yvon tells the woman that she should up and ¡eave, that her family treats her horribly, she corrects bim: '1 can't reach him,' she says of her father, 'he started drinking wben l11Y husband died. Then he lost all his pupils. ' It's easy to hear the cries of 'enabler' and 'dysfunctional family', but Bresson gets so deep inside the mecbanics of the situation that such labels seem meaningless.