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Scrappy Quilts Coloring Book

Joan Ford

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Book

Perfect for quilters and colorists, Scrappy Quilts Coloring Book , by best-selling author Joan...

The Conundrum of Masculinity: Hegemony, Homosociality, Homophobia and Heteronormativity

Nils Hammaren, Chris Haywood, Marcus Herz and Thomas Johansson

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Popular culture is awash with discussions about the difficulties associated with being a man....

Worry Less, Live More: The Mindful Way Through Anxiety Workbook

Susan M. Orsillo and Lizabeth Roemer

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Do you ever feel like you want more from your life--but get scared or overwhelmed by the idea of...

Andre Gregory recommended Cries and Whispers (1972) in Movies (curated)

Cries and Whispers (1972)

1972 | Drama, Romance

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Movie Favorite

"The first time I saw a Bergman film—it may also have been Wild Strawberries—I was a very young man, and I couldnt believe I was seeing what I was seeing. It was as if Moses had brought down the tablets into the movie theatrer. I mean, I’d been staggered by On the Waterfront, but when I saw Bergman—he was so bold, so experimental, doing things no one had ever done before. And now I’ve seen each one of his films so many times . . . I love the fact that the story of My Dinner with André actually begins with a Bergman film. The André character has gone to see Bergman’s Autumn Sonata and has run out of the theater in tears at the moment when Ingrid Bergman, who plays a concert pianist, says, “I was always able to live in my work, but not in my life”—the very dilemma from which André felt he was suffering at the time. Remember? And then a friend finds him leaning against a wall twenty blocks away, sobbing, and the friend tells Wally about it, and that’s what leads Wally to call André, which leads to the dinner. I love so many of Bergman’s films—Persona . . ."

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Allan Arkush recommended Written on the Wind (1957) in Movies (curated)

Written on the Wind (1957)

1957 | Classics, Comedy, Drama

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Movie Favorite

"I’ve been directing television for almost twenty-five years. In that time, one thing that I have learned for sure is that Douglas Sirk is the godfather of all dramatic television. It all comes from him. The best of television is redolent with his sense of ironic and knowing melodrama. He piles on the conflict in each and every scene. Bad things and disappointment stalk his characters, but always with style. The first ten minutes of Written on the Wind are literally drunk with this style. Robert Stack drinking from the bottle in an intensely yellow sports car, hundreds of leaves that blow through a Texas mansion, pages of a calendar that flip through time, and, above all else, Dorothy Malone. Nobody mambos like Malone: the sequence where she drunkenly mambos in her room while her father dies of a heart attack is choreographed for the camera like a Minnelli musical. Sirk blocks a scene with such dynamism and artfulness you can turn off the sound and know exactly what’s going on. All That Heaven Allows got me into Sirk, but Written on the Wind is the poster on my office wall—it’s a touchstone, a timeless piece of popular art."

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