In my very first review I was already jaded, observing of “Galia,” an obscure French film, that it “opens and closes with arty shots of the ocean, mother of us all, but in between it’s pretty clear that what is washing ashore is the French New Wave.” My pose in those days was one of superiority to the movies, although just when I had the exact angle of condescension calculated, a movie would open that disarmed my defenses and left me ecstatic and joyful.
I didn’t have a stop watch, but it seemed to me the elephantine action scenes were pretty much spaced out evenly through the movie. There was no starting out slow and building up to a big climax. The movie is pretty much all climax. The Autobots® and Decepticons® must not have read the warning label on their Viagra. At last we see what a four-hour erection looks like.
If we wish to know the force of human genius, we should read Shakespeare. If we wish to see the insignificance of human learning, we may study his commentators.
I much prefer the sharpest criticism of a single intelligent man to the thoughtless approval of the masses.
ALGERNON. Literary criticism is not your forte, my dear fellow. Don’t try it. You should leave that to people who haven’t been at a University. They do it so well in the daily papers. What you really are is a Bunburyist. I was quite right in saying you were a Bunburyist. You are one of the most advanced Bunburyists I know.
The scenery was beautiful, but the actors got in front of it.
Interpretation is the revenge of the intellect upon art. Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world – in order to set up a shadow world of “meanings”.