The June issue of Sight & Sound has selected 75 "mainstream marvels of the last 30 years" - commercial films that deserve more critical appreciation or notice. I was glad to see a few of my favourites among the list, such as Excalibur, Deep Cover, Unlawful Entry, The Runaways, The Bounty, Breakdown, Femme Fatale, Footloose, Jennifer's Body, and Tombstone. I have to question the inclusion of The Devil Wears Prada, which seems to me to be an obvious classic already. Several key mainstream marvels could also be added to this list of 75 (for the full list get a copy of the magazine), such as Killing Zoe, Looker, Nacho Libre, Congo, Don't Say A Word, The Rainmaker, and JFK.
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. What do I mean by smart?
Comments
I really don't watch many films apart from French ones. Rusty has got hold of a copy of Midnight Cowboy which she insists that we are going to watch on bank holiday Monday. We'll see.
Best wishes from Simon