Michael Wood is an emeritus professor at Princeton. He has written books on Yeats, Nabokov, Stendhal, Hitchcock and Empson, among other things.
A detective is chatting to a young local at a crime scene, the body a few feet away, all the technicians and policemen going about their business. What has happened, the boy says, is that the dead man, who has been coming every Friday to a craps game on the street and snatching all the money as soon as the pot grew large enough for him, got killed because one of the other players ran out of...
The car ferry looms towards the camera, head-on, lights glittering in the pouring rain. It’s a figure of menace, looks like a Transformer about to sprout arms and a face, but it’s just a way of getting from the mainland to the island. It lifts its moveable snout and the cars start to pour off. All except one, stationary, driverless. In the next shot we see a body washed up on a...
Don DeLillo’s Underworld (1997) was in many ways a farewell to paranoia. Not the paranoid style in American politics, to quote the title of a famous essay by Richard Hofstadter (how could anyone say farewell to a mode so lavishly on the rise?), but to the paranoid fictions that animated DeLillo’s own novels The Names (1982) and Libra (1988), and went all the way back to...
The title of Tim Burton’s new film plays an elegant and dizzying little game, entirely in keeping with its tone and theme. This movie shows us Alice in Wonderland but it is not a film of Alice in Wonderland, or indeed of Through the Looking-Glass, although most of its characters are drawn from these two books. The screenplay is by Linda Woolverton. Alice is 19 now, she has been dreaming...
Many film-makers create worlds we imagine we could inhabit, and some of them specialise in this effect, set up whole colonies of the imagination for us. We experience the eeriness of an empty street and we know we are in a Hitchcock movie, The Man Who Knew Too Much, for example. Certain steep angles of vision make us think we must have stepped into Citizen Kane, and there are forms of panic...
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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