Michael Wood is an emeritus professor at Princeton. He has written books on Yeats, Nabokov, Stendhal, Hitchcock and Empson, among other things.
Shane Carruth’s Upstream Colour, like his first film Primer (2004), is a curiously patient, unindustrial affair, even if it cost a little more money to make. Carruth wrote both films himself, starred in them, composed the music as well as directing them, or perhaps we should say meticulously arranging them. Upstream Colour, in particular, feels like a jigsaw puzzle of which some pieces...
‘Only God forgives’ could be the motto for many crime stories, starting with Dostoevsky and perhaps earlier. One of the most pointed if least high-toned of its meanings suggests that human forgiveness is bad for business in the underworld, because it undermines discipline and encourages rogue initiatives. Better leave it to God and stick to punishment instead. The fantasy here,...
Borges said his essay ‘The Homeric Versions’ represented his first appearance as a Hellenist. ‘I do not think I shall ascend to a second,’ he added. This modest forecast was based partly, as Borges recognised, on his ‘convenient ignorance of Greek’, but his tone allows all kinds of intriguing questions to creep in. What kind of Hellenist could one be...
Age cannot wither her, but it doesn’t improve her much either. Not when she is Elizabeth Taylor as Cleopatra. Age seems simply to have left her alone, as it often does with movie actors. But then the chance of time travel is very real, especially since a restored print of the film is now showing at various cinemas around the country. The trip doesn’t have to be nostalgic. It...
At least three different films are competing for the same slot in Steven Soderbergh’s Behind the Candelabra, one about glamour and kitsch, one about marital fatigue and one a sort of vampire tale. Unfortunately, the middle one gets the most time and a lot of solemnity and the third vanishes almost as soon as it appears. The first is by far the most interesting and Soderbergh knows this,...
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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