The Furniture: The Gas Lighting of Gaslighting in Gaslight

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

This week I’d like to talk about gas lighting. That’s in addition to gaslighting, which is obviously related. Basically, I’d like to talk about the way that Gaslight (1944) uses gas lighting to distill the concept of gaslighting. It was so effective that “gaslighting” stuck, and has remained a popularly understood concept nearly 75 years after the film debuted.

Of course, these days the term has been almost completely divorced from memory of the original play or its various adaptations. The 1944 version is mostly remembered for winning Ingrid Bergman her first Oscar, and deservedly so. Her performance is astonishing, newly powerful with each successive viewing.

However, the film did win a second Oscar. Not for director George Cukor, who wasn’t even nominated. Nor for cinematographer Joseph Ruttenberg, who lost to Joseph LaShelle’s work on Laura...

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Beauty vs Beast: Original Sinners

Jason from MNPP here. It is October when a young man's fancy will turn to cable-knit cardigans and exquisitely plotted murder schemes, but it's more specific this week than the usual - tomorrow night the New York Film Festival is screening the premiere episode of David Fincher's Mindhunter series (which stars Jonathan Groff as an early FBI profiler) and then on Friday The Snowman (Tomas Alfredson's film starring Michael Fassbender as Detective Harry Hole - yes really - on the trail of a Frosty-fixated killer) comes out. And so what better time to transport "Beauty vs Beast" back to the wet streets of an anonymous city on the brink in Fincher's film Se7en...

PREVIOUSLY I assume some of y'all saw Blade Runner 2049 this weekend (fewer than anticipated though!) and have opinions, but last week you shared your opinion on the original film, and while it bounced back and forth over the course of the week it was Daryl Hannah's Pris who finally squeezed the life out of Deckard with those glorious calves once and for all, taking just under 55% of the vote. Said kermit_the_frog:

"Daryl Hannah showed such promise (I'd argue that she has, unfortunately, never bettered this performance - admittedly, a high bar was set)..."

YNMS x 3: Wonder Wheel, Crooked House, Replicas

Time to catch up on recent trailers that slipped pass us in a difficult week. Ready set - go for discussions on the latest star vehicles for Kate Winslet and Keanu Reeves and a new Agatha Christie movie Crooked House.

The trailers with quickie YNMS breakdown are after the jump...

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Podcast: Festival Goodies Opening Very Soon

Nathaniel, Nick, Joe and Chris (who all attended TIFF together) discuss highlights from this past month of festivals, some of which are just opening in theaters.

Index (42 minutes)
00:01 Florida Project, Professor Marston...
07:00 Mudbound, First They Killed... and BPM
14:50 Under the radar beauties like Disappearance and A Fantastic Woman (and the joy of festivalling with Nick Davis)
27:00 Hoping to see again: Lady Bird, On Body and Soul, Three Billboards
34:00 We JUST saw: Mr Gay Syria, Spoor, and Wonderstruck
41:00 Byeeee

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

Related Reading
Three Billboards (Chris's review)
Downsizing (Nathaniel's first impression)
First They Killed My Father (Joe's review)

Festival Fun. Coming Soon

Nick's Foreign Film Take, Pt 1: Sheikh Jackson, First They Killed My Father...

by Nick Davis

There’s niche-marketing, and then there’s micro-targeting, and then there’s saying to your friend Nathaniel, “I hope you’ll still keep an eye out for Shahrbanoo Sadat’s Wolf and Sheep, even though Afghanistan didn’t select it as their Oscar submission.” We really do live in a weird bubble, but that is why one is grateful for The Film Experience, where folks are all the same kind of different as you. And as we all know, this site has been a longtime devotee of the Best Foreign Language Film Oscar in all stages of curation and competition. So, seizing the opportunity of a sympathetic audience, and amidst a season where many of the 84 movies put forward by their home countries as Academy Award contenders are floating around at festivals—big and small, rural and urban, American and elsewhere—I thought I’d weigh in on the titles I’ve caught.

Argentina, Zama
It’s an amazing vote of artistic confidence for Argentina to choose Lucrecia Martel’s deeply demanding, deeply rewarding colonialist-bughouse period drama as their contender. They passed over all three of her previous features as their submission, and as always, they had plenty of viable possibilities this year, including Santiago Mitre’s The Summit, an absorbing drama of North and South American political machinations. That movie’s somewhat televisual style might have made it palatable to some voters. Zama, by contrast, is as cinematic as they come. In fact, “they” don’t really come like this: a movie almost without establishing shots or hand-holding narrative cues, aggressive with its weird ambient sounds and literally eccentric frames. The movie telegraphs the protagonist’s escalating madness but without letting him go Full Aguirre and without entering the kind of outsized, Lynchian vortex that unmistakably makes the point: it’s easy to watch and think that you, not Zama, are failing to keep up. This seems like a Shortlist prospect with Oscar at the very best, but it’s also guaranteed to be among the year’s most extraordinary movies. Talk about a summit!
My grade: A 

Austria's Happy End, Cambodia's First They Killed My Father, and Egypt's Sheikh Jackson are after the jump...

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