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Cosmos

Witold Gombrowicz and Danuta Borchardt

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Milan Kundera called Witold Gombrowicz one of the great novelists of our century. His most famous...

Doing Text: Media After the Subject

Julian McDougall and Pete Bennett

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Book

This collection re-imagines the study of English and media in a way that decentralises the text...

Matthew Weiner recommended Sunset Boulevard (1950) in Movies (curated)

Sunset Boulevard (1950)

1950 | Classics, Drama

8.5

(8 Ratings)

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"Sunset Boulevard is the ultimate film noir for me. It has this incredibly unpleasant main character, who is played with a lot of charm by William Holden, and he thinks he’s really smart, and it turns out that he’s kind of in over his head. I love the environment. I love the way the story is told in flashbacks. I love the sense of Los Angeles. I love the humor in it — it’s a really funny movie — and it’s just one of those iconic things that, if you know the movie, you run into it once a month in some way, especially living in L.A. It’s got great lines in it. There’s incredible dialogue, incredible visual moments. Surprises. It’s a horror movie and a comedy at the same time; it’s all over the place in terms of genre. When I first saw it, I just couldn’t believe that it was a big Hollywood movie made by a studio because it’s so peculiar."

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Richard Hell recommended Sweet Smell of Success (1957) in Movies (curated)

Sweet Smell of Success (1957)

1957 | Drama, Film-Noir

9.0

(1 Ratings)

Movie Favorite

"Like many of these, this movie qualifies for me partly because it was an unexpected thrill when I first saw it in the early seventies. I’m neither much a Tony Curtis nor a Burt Lancaster fan, and I’d never heard of Alexander Mackendrick (he made half his relatively few films, including The Man in the White Suit and The Ladykillers, in the UK; a later, strong U.S. job was A High Wind in Jamaica). Sweet Smell of Success, again, too, is quasi-noir. It’s a black-and-white, urban, small film about people’s bad luck and bad character, set in the Broadway cubicles and show-biz restaurants of New York’s sleazy show-world underbelly. Despite my prior relative indifference to the actors in it, they’re perfectly cast—against their standard types—in this, and do terrific jobs, and the script, by the highly skilled and literate Ernest Lehman and Clifford Odets, is spectacular. James Wong Howe shot the cold-ass thing."

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