Mathematical Riddles

Peter Greenaway is not the sort of director who has ever tried to appeal to the average moviegoer or make a mainstream film but that doesn’t mean he hasn’t enjoyed a long and successful career in the cinema. In fact, his 1989 film The Cook, the Thief, His Wife & Her Lover was a surprise box office hit, grossing more than 7.7 million dollars in the U.S., which was highly impressive for an art house flick. Still, his filmography might seem intimidating or of little interest to most American viewers but several of Greenaway’s feature films from the 1980s are quite accessible, if only curious movie lovers would give them a chance. The Draughtsman’s Contract (1982) and The Belly of an Architect (1987) are good places to begin but my personal favorite is Drowning by Nights (1988), which is a subversive black comedy involving murder, game playing, and a fascination with numbers.

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Terence Stamp is Timeless

Time travel has been explored in countless science fiction novels and movies over the years but it is not often treated in such an abstract and ethereal manner on screen as it is in Hu-Man, a 1975 French film from director Jerome Laperrousaz. Except for popping up at a few film festivals in the seventies, Hu-Man went missing for years and was assumed to be lost until clips from it appeared in 1998 on the BBC interview series Scene by Scene, hosted by Mark Cousins. Terence Stamp, the star of the film, was the subject of a career retrospective and Cousins was particularly interested in asking Stamp about some of the more challenging and unusual roles in his filmography such as Hu-Man.

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Oedipus Rex in Drag

Next to William Shakespeare, Sophocles is probably the most enduring and internationally renowned dramatist in terms of his work still being adapted for the stage, television and cinema and I doubt you will find a more bizarre or outre version of his Greek tragedy Oedipus Rex than Funeral Parade of Roses. Directed by Japanese avant-garde filmmaker Toshio Matsumoto, this revelatory 1969 movie – it was his first feature film after several experimental shorts – is just as fresh and startling today as it was when it first appeared over fifty years ago.    Continue reading