Screening Log: 2/3 – 2/10

The House of the Devil (West, 2009) – The slow burn of Horror, every shot precisely retrograded to brilliantly reference a menacing slice of voyeuristic nostalgia. West uses silence  like a knife, peeling away his protagonist’s safety one layer at a time. The stalking credit sequence is not only a throwback usage of freeze frames, but a stunning photo album of one woman’s grey, empty, and conflicted universe. It provides a wonderfully diverse parallel to the film’s bonkers ending, a scattered and messy piece de resistance against the devil himself. Guess who wins?

The Bicycle Thief (De Sica, 1948) – For my money the best way to introduce Italian Neorealism to a group of non-film majors. Maybe it’s De Sica’s masterful use of the roving medium shot, but I’m always drawn to Bruno and his crumbling facade of strength. Also, one of the most depressing endings in film history, and rightfully so.

Rear Window (Hitchcock, 1954) – Hadn’t seen this in years, but decided to show it to my students for Hitchcock night. Still might be my favorite Hitch, the way his meticulously meandering camera scales walls and window panes like a thief in the night, subverting POV at every turn until we can’t trust anything we’ve seen. Basically a greatest/worst hits of martial bliss, with all the quiet and lovely moments in between. Still think each window represents a different future path Jefferies could take, as his reality slowly gets consumed by his perception of guilt, love, and responsibility. And has there been anyone more classically striking than Grace Kelly? Maybe the best American film of the 1950’s.

The Palm Beach Story (Sturges, 1942) – The best Screwball Comedy ever? Count me in. Sturges at his most charming and sublime, existing simply to hear wit seamlessly bounce back and forth like a tennis match in the clouds. Here’s another credit sequence that freezes, but this time to excentuate complex romantic history in all its zany glory. Sturges decides to end the film with another whimsical twist of fate, layering our perception of character times three. Brilliant in every sense.

The Lady Eve (Sturges, 1941)

I prefer The Palm Beach Story as the penultimate Screwball Comedy, but The Lady Eve produces equally brilliant and zany set pieces, mixing slapstick with flawless zinger dialogue to create an altogether seamless world of innuendo and charm. As the wheeling and dealing con artist Jean Harrington, Barbara Stanwyck personifies the perfect Sturges heroine: smart, conniving, sexy, and completely vulnerable. This just gets better with age.