Clay Risen has an obit for Joan Washington, dialect coach for many a film actor.
“Cornish is harder and more nasal than Devon because it’s a windy peninsula,” she told The Sunday Telegraph. “If you’ve got the wind in your face, you’ve got to speak without giving much away.”
Cleaning out a file folder of clippings… I rediscovered this delightful pan of Episode III by Anthony Lane:
… I still fail to understand why I should have been expected to waste twenty-five years of my life following the progress of a beeping trash can and a gay, gold-plated Jeeves.
Twenty Thousand Hertz goes into the booth with a loop group.
Chris Ware, Ira Glass, Nico Muhly, and John Kuramoto, d.b.a. “Phoobis,” create an animated cover for this week’s issue of The New Yorker. Guest-starring a former Secretary of State.
A lovely simile linking the cinematic, literary, and pictorial worlds, from Anthony Lane’s review of P. T. Anderson’s adaptation of Thomas Pynchon’s Inherent Vice:
As a lyricist of California light, Pynchon is rivalled only by Richard Diebenkorn, who spent some twenty years painting his Ocean Park series in Santa Monica, and I doubt whether any director—dead or alive, Altman or Anderson—could really conjure a style to match the long surge of a Pynchon sentence as it rolls inexhaustibly onward.
June Foray is still doing comic voiceovers at 95, and now she has the Emmy to show for it.
Rosecrans Baldwin trashes one of my favorite movies, Choose Me.
Fade to black for visionary filmmaker Chris Marker, who made the genuinely one-of-a-kind La Jetée (1962). He was 91.
Wikipedia’s Film noir (with that fabulous still from The Big Combo) is featured article OTD.
Manhola Dargis responds to fellow Times columnnist Dan Kois:
…The Hangover Part II, which I find boring, raked in $137.4 million over the five-day Memorial Day weekend. It’s the kind of boring that makes money, partly because it’s the boring that many people like, want to like, insist on liking or are just used to, and partly because it’s the sort of aggressively packaged boring you can’t escape, having opened on an estimated 17 percent of American screens. Filled with gags and characters recycled from the first Hangover, the sequel is grindingly repetitive and features scene after similar scene of characters staring at one another stupidly, flailing about wildly and asking what happened. This is the boring that Andy Warhol, who liked boring, found, well, boring.