Tag: mock-documentary

October 8, 2015 / / Main Slate

Vampires are arguably the most attractive classification of monster. They may want to kill people because they need our blood to live, but that is the lethal end of their powers of human seduction. They are often beautiful, frozen in the prime of their youth. They are wealthy, as their immortality grants them the ability to live long past their mortgage and student loan payments. They are learned and worldly. Authors from Bram Stoker to Anne Rice have recognized this innate sexiness, which has then been brought to screen by actors from Bela Lugosi to Brad Pitt.

January 27, 2007 / / Film Notes

by Paul Monticone

“See, death is the only ending I know. A movie doesn’t end; it has a stopping place. That story, those people don’t die then: they live on and have terrible lives if it’s a happy ending, or if it’s a sad ending, they may survive it and recover and have happy lives. So death is the only ending and I deal with death as an ending. The people I have die are usually the wrong people, the ones you don’t expect to die. That’s the way it seems when people die.” (Robert Altman, 1992)

Altman’s quote, initially describing his resistance to narrative closure before digressing into the sort of modest wisdom that marked all of his interviews, sprung to mind on November 2oth. To anyone who takes American film seriously, the passing of Robert Altman was the sort of news that makes the world seem a little smaller and dimmer. Whether one thinks Altman the greatest American filmmaker since John Ford or a self-indulgent provocateur, the vitality and exuberance of each of his films is beyond dispute, to such an extent that the death of a frail, old man, who had just made the perfect swan song, Prairie Home Companion, came as something of a shock. The prodigious output of the indestructible Hollywood rebel had inexorably stopped, and a world without future Altman films is still hard – if not downright depressing – to imagine. To quantify what it is that we’ve lost, we can look to the works he left us, and his films of the 1970s – a decade of filmmaking that many identify with Altman – is the most obvious point of departure.