By Kevin Murphy
For a few of us, moviegoing is an occasional excitement. Kevin Murphy made it his obsession, and he did it for you.
Mr. Murphy, recognized to legions of fanatics as Tom Servo at the mythical television sequence Mystery technological know-how Theater 3000, went to the flicks on a daily basis for a 12 months. That's every unmarried day, humans. For a whole fricken' year. and never in basic terms did he suffer, he prevailed -- for this is often the hilarious, poignant, attention-grabbing magazine of his adventures: the 1st booklet concerning the video clips from the audience's aspect of view.
Kevin went to the multiplex, certain. yet he didn't cease there. He stumbled on the world's smallest advertisement movie show. one other one made thoroughly of ice. looked at flicks in a tin-roofed hut within the South Pacific. Tooled around the wilderness from drive-in to drive-in in a fab convertible. Lived for every week exclusively on theater meals. Took six diverse ladies to a similar date motion picture. Dressed up as a nun for the Sing-Along Sound of Music in London. Sneaked into the Cannes and Sundance movie fairs. Smuggled a whole Thanksgiving dinner right into a movie show. And observed 1000's of flicks, from the Arctic Circle to the Equator, from the chic to the unspeakable. Come alongside on a joyous international social gathering of the cinema with a guy on a undertaking -- to spend A yr on the Movies.
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Additional info for A Year at the Movies: One Man's Filmgoing Odyssey
With regard to the primary triangle in this thriller narrative (Michel, Nicole and Christina), something very queer is going on. And it comes down to this fundamental question: who and where is the femme fatale? Traditionally, the expectation would be that the femme fatale would occupy the apex. Clearly, this is not exclusively the case; in male-centred films noirs the hero victim will be the camera’s focus. But to return to our femme fatale. She would be the chief object of scrutiny. Alternatively, the murdered body, or vanished body (as long as it too is female), can be at the top of the triangle and the object of prurient investigation (in this context Otto Preminger’s Laura, 1944, is a classic).
This in turn will allow us to see, in our analysis, how much Clouzot’s text adheres to, yet resists, the French model. Historically, and arguably, French noir predates American noir. Films of the French poetic realist tradition of the late 1930s were black pessimistic films and have, with hindsight, been considered as one of the precursors to noir films. 2 42 LES DIABOLIQUES Although there is some overlap in the visual style, tone and narrative of the American and French noirs, the actual literary sources of the scenarios help point to a first difference.
M. Raymond and M. Herboux’ know-it-all behaviour is a mirroring of Nicole’s own need to assert her knowledge (on a couple of occasions she asserts the superiority of her knowledge over Drain and Raymond). Christina, for her part, finds a ready mirroring in Plantiveau, the man who is kind and concerned when it comes to the well-being of the schoolboys. He too is worried about the poor quality of their nutrition, but is as ineffectual as Christina in getting Michel to change his mean ways. M. and Mme Herboux, living upstairs in the Niort house, are mirror images of the strange couple – Nicole and Christina – below.