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04/29/15 7:17am
04/29/2015 7:17 AM |

Mikey-and-Nicky-1976

Mikey and Nicky (1976)
Directed by Elaine May
The camera presses in on the respectively Dionysian and repressed antics of John Cassavetes’s and Peter Falk’s small-time Philadelphia hoods like a sneering child placing a greasy nose on zoo glass to gawk at the tamed and emasculate dangerous creatures just on the other side. Scenes of petty belligerence, sexual rejection, and juvenile vulgarity paint an unsparing view of the inanity of male bonding. That’s nothing compared to May’s estimation of fundamentally masculine traits of self-reliance, which are rendered not as noble responsibility but blatant self-regard above all other considerations. New Hollywood was founded on macho seriousness and self-conscious artistry, and in pillorying the protagonists’ façade of strength, May excoriates her peers as much as her characters. Jake Cole (May 3-9 at MoMA; showtimes daily)

01/28/15 11:34am
01/28/2015 11:34 AM |

The Woman on the Beach (1947)

The Woman on the Beach (1947)
Directed by Jean Renoir
A steamy love triangle melodrama rendered as a despairing, expressionistic fugue, this quintessential film-noir was the French master’s last work in Hollywood, as well as the only screen pairing of Joan Bennett, femme fatale par excellence, with Robert Ryan, graven visage of mid-century America’s latent psychic turmoil. One of the cinema’s great what-ifs—retooled after an unsuccessful preview, Renoir’s original version is now thought lost forever—it remains, even in its compromised form, a singular testament to the director’s artistry. Clunky exposition and narrative gaps can’t obscure the feverish emotions inflecting image after image; no less an authority than Jacques Rivette pronounced it “pure cinema.” Eli Goldfarb (Jan 28-30, 1:30pm at MoMA’s “Acteurism”)