Red Queen (no date) by Jo Brocklehurst.
• Happy birthday to Kenneth Anger, 90 years old this week. In 2008 Anger was interviewed by Nicolas Winding Refn at the National Gallery of Denmark, Copenhagen.
• “Fabeness be to the Auntie, and to the Homie Chavvie, and to the Fantabulosa Fairy”. “Church ‘regret’ as trainees hold service in gay slang.”
• Andrew Male on Michael Chapman, an exceptional guitarist, and “the man who connects Elton, Bowie, Nick Drake and Sonic Youth”.
• A trailer for A Life In Waves a documentary about synth composer Suzanne Ciani by Brett Whitcomb and Bradford Thomason.
• The website for design company Barnbrook has been relaunched, as has the site for Jonathan Barnbrook‘s personal work.
• Mixes of the week: Secret Thirteen Mix 209 by Umwelt, and XLR8R Podcast 475 by Melina Serser.
• Ryan Gilbey: “From Sean Connery to Harrison Ford: actors who secretly played roles gay.”
• Writer and editor Russ Kick is selling his huge book collection.
• Lucifer Sam (1967) by Pink Floyd | Lucifer (1968) by The Salt | Lucifer Rising (2002) by John Zorn
Given the chronology this should really be “Metropolis vs. Blade Runner” but most people are more familiar with Ridley Scott than Fritz Lang so I’ve let Blade Runner determine the order of the shots.
These shot comparisons aren’t exactly news but they’ve become more evident since rewatching the restored print of Metropolis. Among other things, the rediscovered footage yielded a scene with a character reading a newspaper that’s a match for Harrison Ford’s first appearance. The similarities extend, of course, to the thematic: futuristic megacities, flying vehicles, the creation of artificial human beings. Both films also end with a struggle to the death on the roof of a building. The cinematographer for Blade Runner was Jordan Cronenweth; Metropolis was the work of Karl Freund, Günther Rittau and Walter Ruttmann.
Continue reading “Blade Runner vs. Metropolis”