Gratitude and Ambivalence

No film has ever touched me more deeply than Ingmar Bergman’s Cries and Whispers, which portrays the reunion of three sisters, one of whom (Harriet Andersson) is dying of cancer. She is nursed through her agony by a servant (Kari Sylwan) who shows her more humanity than her unhappy siblings. Sylwan cradling Andersson to her

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Morning Bird

In the wee small hours of the morning, after I’ve been roused by strange noises, strange intestines, strange movements, or strange music, I often think about my dog. Muriel’s sleep is deep enough that on my own sleepless nights I can (quietly) move around a bit upstairs, as long as it’s not yet 4 am.

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Crankcast, Vol. 4: Crankenstein Talks Murder Ballads (and a Site Update)

I’ve written a bit here about Crankenstein and music in the past — see “By Way of Sorrow” and “Jesus to a Child” — and here we are in conversation about one of her favorite genres: depressing and distressing Celtic and Appalachian folk music. There are no explicit lyric warnings on these songs, but would

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Gone Girl

Watching Right of Way recently, with Bette Davis and James Stewart as elderly spouses conspiring to end their lives together, I couldn’t help but think of other films with suicidal characters. Two were mentioned unfavorably in my review: Hal Ashby’s Harold and Maude and Tom Moore’s g’night, Mother, adapted by Marsha Norman from her play.

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