Briefly noted: film and music, Highsmith and Welles

The new film Carol, about an illicit love affair between two women, is based on a fairly early novel by Patricia Highsmith (also the author of Strangers on a Train and The Talented Mr. Ripley), which she published pseudonymously. Margaret Talbot tells the story in a New Yorker article here. Delectable quotation from a diary entry by Highsmith, regarding a woman on whom she later based the character of Carol:

My green and red goddess, my jade and garnet, my moss and hollyberry, my sea and sun, my marrow and my blood, my stop and go baby, I adore you, I worship you, I kiss you, I cherish you, I defend you, I defy you ever not to love me, I caress your nipples with my tongue.

The film was shot in the Super 16 format, which isn’t often used in major American film or TV productions, though The Walking Dead uses it. Iain Stasukevich writes about the shooting of the film in an article for American Cinematographer here.

Alex Ross recently published a “short Wellesian barrage” (the phrase is from this blog post) as contributions to Orson Welles’s centennial year. There’s an essay on the man and his work here (also published in a New Yorker print edition), a discussion of Welles’s involvement in music here, and an interview here with actor and director Norman Lloyd, now 101 years old, whom Ross calls “undoubtedly the last person alive who can describe the beginning of the Welles phenomenon.”

Coming soon (God willing and the creek don’t rise, etc.): a short review of a recent book on crazy physics, and maybe a few remarks on the WGN series Manhattan.


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