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Jenni Olson recommended Sweet Smell of Success (1957) in Movies (curated)

 
Sweet Smell of Success (1957)
Sweet Smell of Success (1957)
1957 | Drama, Film-Noir
9.0 (1 Ratings)
Movie Favorite

"This whirlwind cautionary tale, which explores the dark dynamic between powerful newspaper columnist J. J. Hunsecker (Burt Lancaster) and the obsequious lapdog of a publicist Sidney Falco (Tony Curtis), is a cinematic marvel—especially for the jaw-dropping dialogue of the screenplay, which was cowritten by Clifford Odets and Ernest Lehman and adapted from Lehman’s autobiographical novelette about his early experiences working for a Broadway publicist. With its high-contrast, black-and-white cinematography and jazzy Elmer Bernstein score, the film conveys a certain kind of mythical 1950s New York City more vividly than any other film I can think of. And the on-location street scenes are to die for."

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Ed O'Brien recommended Black Orpheus (Orfeu Negro) by Luiz Bonfa in Music (curated)

 
Black Orpheus (Orfeu Negro) by Luiz Bonfa
Black Orpheus (Orfeu Negro) by Luiz Bonfa
1959
(0 Ratings)
Album Favorite

"This is from a fantastic 1950s film that exposed Brazilian music to the outside world. It's the story of Orpheus set to Brazilian carnival, and it's very beautiful, melancholic, and full of these really captivating rhythms. I got into it first on tour doing OK Computer, a time where I felt very lost, personally and emotionally, which felt ridiculous when I was on the top of the world with my band. Inside, I needed to sort my shit out, and this album allowed me to cry. A few years later, my first son kicked for the first time when he heard his, and that's why we called him Salvador.
"

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Keegan McHargue recommended Eating Raoul (1982) in Movies (curated)

 
Eating Raoul (1982)
Eating Raoul (1982)
1982 | Comedy, Crime
(0 Ratings)
Movie Favorite

"This is just one of those movies that leaves you feeling queasy all over. Eating Raoul plays on all the stereotypical shock/schlock clichés typical of so-called B culture, which at the time (the early 1980s) was also being probed by Paul Bartel’s fellow Angelenos Mike Kelley and Jim Shaw (and perhaps further up the coast by the Kuchar brothers), who were also fascinated with and inspired by the prudish 1950s. Is there a moral here? Does there need to be? Why, exactly, is this film in the Criterion Collection? All questions better to put out of your mind when you pop it in."

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