News that the world's most French, most prestigious, and most pretentious film magazine, Cahiers du Cinema, has neglected to list a single "British" film in its top 100 has put the British critics and pundits into apoplexies of Blimp-like consternation. What?!!! No Powell and Pressburger? No Lean? No Reed? How dare they? In fact, there are several British auteurs in the list - Hitchcock and Laughton make the top ten; Chaplin is also there. Given that the magazine's perspective is on director, not nation of production, this should limit the insult. Still, Carol Reed's The Third Man is, frankly, one of the greatest films, and should be there. So too, I think, should Black Narcissus. Still, it is good to see "Kane" still at number one, 67 years on. Given how Welles died thinking himself a failure, that's a moving tribute.
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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