We kicked off The Week of The Dissolve with some personal reflections on what the site meant to me, and then followed that up yesterday with a few of the many highlights from its editors, staff writers, and contributors during its too-brief run.
Yesterday, we kicked off The Week of The Dissolve with what the site itself, in one of its “Movie of the Week” features, might’ve called a Keynote. Today, continuing this meta-One Year Later appreciation thread, we move on to some Essentials.
Quick! Free association game. I’ll go first: Maximilian Schell, Peter Ustinov, Melina Mercouri! Did you answer: Topkapi?
Probably not. (Though congrats if you did.)
These are huge names, but Topkapi is not. Between the three leads, they amassed 86 prestigious awards and nominations, including Oscars, Emmys, Grammys, Cannes triumphs, and whatever a CableACE award is.
It’s been a year since The Dissolve shuttered its virtual windows, packed up its stuff, and moved on.
Welcome to a week commemorating its passing.
Recently, I was talking to a friend, and started wistfully recalling it, in the hushed terms we usually reserve for good friends.
The title of this post is a lie in at least two ways: Girl Walk // All Day is neither new nor on Netflix.
But I only just came across Girl Walk (so it’s new to me). It’s readily available for your viewing pleasure (free on Vimeo and YouTube, so that’s even better than a paid streaming service for our purposes here).
In 1928, following the one-two punch of his celebrated U.S.-made releases Faust and Sunrise, and four years after he made The Last Laugh for UFA, the great German director F.W. Murnau predicted that the “films of the future will use more and more of these camera angles, or, as I prefer to call them, these dramatic angles.