A Selection of this week’s viewing (19/09/10 - 26/09/10)

Films

Elmer Gantry (Richard Brooks, Elmer Gantry Productions, USA, 1960)

Funny Face (Stanley Donen, Paramount, USA, 1957)

Gigi (Vincente Minnelli, MGM, USA, 1958)

Killer’s Kiss (Stanley Kubrick, Minotaur Productions, USA, 1955)

Wild River (Elia Kazan, Twentieth Century Fox, USA, 1960)

·         Very interesting use of mise-en-scène in Killer’s Kiss. The conclusive fight between Rapallo (Frank Silvera) and Davy Gordon (Jamie Smith) over their love interest, Gloria Price (Irene Kane), takes place in warehouse full of female mannequins. These mannequins could be an external projection of their ‘prize’, Gloria, which in turns reminds the audience of what these individuals are truly fighting for.

- I apologise for the slightly misogynist ‘prize’ analogy for the central female character. As she is an agent for desire, I thought it was an appropriate semantic choice because of the protagonist’s, Davy, profession as a boxer.

Television

The only significant programmes watched on television were, the continuation of the series This is England ’86, The Inbetweeners and Mad Men.

ITV’s new series Downton Abbey looks like a winner. A slightly different standard to the usual ITV fair (not just The X Factor, but also their lacklustre attempts at literary adaptations), and such big hitters like Maggie Smith and Julian Fellows. Is it a change of image or are they anticipating the ratings, of the to be screened, special of Upstairs, Downstairs on the BBC?

Why do people enjoy historical dramas? Nostalgia for a past not experienced? There is a trend in recent programmes, look at the melancholy nature of Lark Rise to Candleford and Cranford (Though technically, it is present in Gaskill).

Is the past a safe space where we can view a hierarchical society in comfort, in a time where social class is less transparent?