The queerness is too subtextual for me. Men are too centered.
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Casablanca 1942
There will never be another film like Micheal Curtiz’s Casablanca (1942); few films have ever glimpsed the level of intertextuality while maintaining their humanity and sincerity. It’s a film of a million tropes, as Umberto Eco infamously writes in his article Casablanca, or, The Clichés are Having a Ball, “Two cliches make us laugh. A hundred cliches move us. For we sense dimly that the cliches are talking among themselves, and celebrating a reunion.” Eco’s thoughts on the emergent quality…
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Bicycle Thieves 1948
Italian neorealism is fairly characterized as revolutionary cinema, its socialist themes and documentary-like production values placing the movement in firm opposition ideologically and technically to the Hollywood product of the time. Vittorio De Sica’s Bicycle Thieves (1948) is one of the more well known films in the tradition, famously making use of non-professional actors and on location shooting to tell a story composed of chance occurrences instead of the traditional connected chain of events. The camera follows Antonio (Lamberto Maggiorani)…
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