The Beautiful and the Darned: Avenging TWILIGHT
Bright Lights After Dark Oct 28 09It's massively popular, it's ridiculously mopey, yet it's also brooding, purple and relatively un-headache-inducing... in short, it's everything you hate and love about Seattle if you ever tried to move there. TWILIGHT captures the "real" version of the icy self-importance that suffuses the locals, as opposed to the foggy eccentricites of, say, TWIN PEAKS...it celebrates alienation, emotional distance and the ability to suppress darker instincts... and youth oriented product positioning! I haven't read the TWILIGHT books but that doesn't mean I can't comment on the movie... plus, that Kristen Stewart is a little flannel-wearing hottie with a brain ("Earlier this month, Stewart was made to clarify some comments that she made about fans of the vampire romance, after calling them “f**king psychotic” in an interview. Full story...
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Bright Lights issue 66 now online
Bright Lights After Dark Nov 01 09Issue 66 of Bright Lights Film Journal is now online.
From the editor
Keep watching the lights.
Have a Blaisdell Halloween!
Bright Lights After Dark Oct 31 09
Paul Blaisdell (July 21, 1927 - July 10, 1983) was a science fiction illustrator (The Ant Men, above), a special effects artisan, and an inspired designer of imaginative costumes and props for a series of low-budget horror, monster, and sci-fi films released by American International Pictures and Allied Artists in the 1950s.
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Bright Lights After Dark Oct 30 09When you believe in things you don’t understand, you suffer. –Stevie WonderIn 1949 Walt Disney Studios produced the last, and arguably the best, of their “package” films – barely-feature length vignette collections made on reduced budgets during World War II for theatrical distribution – though the dyad of animated novellas included are improved little by their seemingly haphazard juxtaposition.
Disney Imagery in Citizen Kane
Bright Lights After Dark Oct 24 09
Watching the marvelous Blu-ray edition of Disney's Snow White and the Seven Dwarfs (1937), I was struck by how certain shots foreshadowed the imagery of Orson Welles' Citizen Kane (1941) released by the same studio, RKO, only four years later: the gothic castle at night with its one glowing window .
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