Michael Wood is an emeritus professor at Princeton. He has written books on Yeats, Nabokov, Stendhal, Hitchcock and Empson, among other things.
Roberto Bolaño likes to prolong his jokes well past the moment when even the slowest reader has got the point. Nazi Literature in the Americas, for example, looks like a single gag – the brief deadpan biography of an imaginary Fascist or near Fascist writer – multiplied by 30-odd cases over 200 pages. But then it dawns on even the slowest reader that what looked like the...
As the credits appear at the end of the movie, it turns abruptly into what it was always longing to be: a musical. The bright colours and the noise become decor and disco. The railway station, once the location of panic and poverty and violence, becomes scenery. The beat is heavy and fast, the hero and heroine line up together, happily stomping and pumping in the front row of a vast dancing...
‘At night,’ Roland Barthes once wrote, ‘the adjectives come back.’ It’s an eerie and sobering thought for writers who have been trying to clean up their act during the day, but for Lawrence Durrell as for Conrad adjectives don’t come back because they never left. If there is a mystery in Conrad it’s inscrutable, if there’s a tangle in Durrell...
Gus Van Sant’s new film, Milk, is thoughtful, patient, funny and touching, and both Sean Penn and James Franco should get Oscars, but it doesn’t answer the questions any biopic raises for me: what’s it for and why now? Or perhaps it does have the answers, but we have to do our own digging for them.
Harvey Milk was an elected official of the city of San Francisco, said to be...
Whatever else it may be, Jean-Luc Godard’s Histoire(s) du cinéma (now available on DVD from Artificial Eye) does not resemble the afternoon bill at the old Plaza or the new Cineplex. He first thought of creating a history of cinema in 1978. It would be told, he said, ‘archaeologically and biologically’. In spite of the metaphors, the plan seemed conventional enough: an...
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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