Michael Wood is an emeritus professor at Princeton. He has written books on Yeats, Nabokov, Stendhal, Hitchcock and Empson, among other things.
Moonlight is full of amazing silences, at times almost a silent movie. Until the last section, when it is so obvious what the characters are thinking that they might as well be shouting. As in the Billy Joel song they are sharing a drink they call loneliness but it’s better than drinking alone.
The first person we see in the film talks a bit but we learn far more from what we see...
‘Gotta dance,’ Gene Kelly shouts towards the end of a famous Hollywood movie. He’s right, he doesn’t have any option, he’s in a musical, and he’s been dancing (and singing) since the film started. But that’s not what the words mean for his character. They mean that dancing is his dream and his destiny, he will be nobody if he doesn’t dance....
One of the lasting impressions left by Abel Gance’s film Napoléon (1927), now showing in a new, digitally remastered print at the BFI and the Lumière, is that it consists solely of close-ups and crowd scenes. This impression is too simple, but it doesn’t go away when you correct it with the modest, more diffuse truth. There are shots that do not linger on iconic...
On 2 December 1978 Roland Barthes reported to an audience at the Collège de France on his desire to change as a writer, and told them about a specific moment when the thought of a ‘conversion’ hit him: 15 April that year.
Casablanca. The sluggishness of the afternoon. The sky clouds over, a slight chill in the air … a kind of listlessness … bears upon...
We know what black comedy is but I wonder whether some stories don’t call for another colour. Pale grey, for example, might be about right for Anne Fontaine’s Gemma Bovery (2014), a stately, not obviously funny film in which an English woman stumbles into Flaubert’s plot and dies not deliberately by arsenic poisoning but accidentally by swallowing, or rather failing to...
Michael Wood talks to Malin Hay about the recent list from Sight and Sound of the ‘greatest films of all time’ (in which he voted), and what considerations could, or should, go into...
Michael Wood talks to Adam Shatz about critical theory, its origins, developments and various diversions, and where it stands today.
Michael Wood looks at how Fritz Lang uses sound in his first two sound films, M (1931) and The Testament of Dr Mabuse (1933).
Michael Wood reads his take on Joseph L. Mankiewicz’s Cleopatra.
O n the face of it a Dictionary of Untranslatables looks like a contradiction in terms, either self-imploding from the word go, or, if pursued, headed fast down a cul-de-sac in which it is...
It took a very special kind of invention to get an awareness of the ‘erratic truth of death’s timing’ into a medium of mass entertainment.
I don’t believe in astrology, but I also know that not believing in astrology is a typically Taurean trait. When I first caught a bright young friend browsing in the astrology section of a...
Above the entrance to the saloon bar there is a picture of Shakespeare on the swinging sign. It is the same picture of Shakespeare that I remember from my schooldays, when I frowned over Timon of...
Musing over Don Juan, Byron asked his banker and agent Douglas Kinnaird a rhetorical question: ‘Could any man have written it – who has not lived in the world? – and tooled in a...
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