The Observer's new Film Quarterly magazine is chock full of all kinds of candy that's bad for you, but that seeks to sell, deliciously, mainstream industrial cinema (I mean, that Hollywood stuff we love and love to knock, us Art Housed). Okay. And it has a very fun and quite considered Top 10 of Film Villains, selected by their best critic, Philip French. I was very pleased to see Joseph Wiseman's Dr. No (many might have thought Goldfinger the best Bond baddie), Lorre's M, Palance's killer from Shane, Welles in non-cuckoo-clock mode, and Hopkins as pure sociopathic evil. - etc. Some of the great villains were not included, including: Mr. Bates from Psycho; Darth Vader; Malkovich's weird assassin in In The Line of Fire; and Brando's Kurtz (Mister Kurtz, He Bad). Who else? Well, The Jackal in the film of the same name (original version). One pleasant, refined choice: James Mason in North by Northwest (a subtle choice, that).
When you open your mouth to speak, are you smart? A funny question from a great song, but also, a good one, when it comes to poets, and poetry. We tend to have a very ambiguous view of intelligence in poetry, one that I'd say is dysfunctional. Basically, it goes like this: once you are safely dead, it no longer matters how smart you were. For instance, Auden was smarter than Yeats , but most would still say Yeats is the finer poet; Eliot is clearly highly intelligent, but how much of Larkin 's work required a high IQ? Meanwhile, poets while alive tend to be celebrated if they are deemed intelligent: Anne Carson, Geoffrey Hill , and Jorie Graham , are all, clearly, very intelligent people, aside from their work as poets. But who reads Marianne Moore now, or Robert Lowell , smart poets? Or, Pound ? How smart could Pound be with his madcap views? Less intelligent poets are often more popular. John Betjeman was not a very smart poet, per se....
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