Quote for the Day: November 28th, 2021

The Life of Emile Zola (1937); directed by William Dieterle

All my friends have told me that it was insane for a single person to oppose the immense machinery of the law, the glory of the army, and the power of the state. They warned me that my actions would be mercilessly crushed, that I would be destroyed. But what does it matter if an individual is shattered if only justice is resurrected?

The Life of Emile Zola (1937); directed by William Dieterle

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please like, comment, follow, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at fred.slusher@thevoraciousbibliophile.com or catch me on Twitter, Instagram, TikTok, and Pinterest @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: November 27th, 2021

The Life of Emile Zola (1937); directed by William Dieterle

Each serves his country in his own way – one with a sword, the other with a pen. Posterity will choose between your name and mine.

The Life of Emile Zola (1937); directed by William Dieterle

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please like, comment, follow, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at fred.slusher@thevoraciousbibliophile.com or catch me on Twitter, Instagram, TikTok, and Pinterest @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: November 22nd, 2021

Xavier Dolan as Maxime (left) and Gabriel D’Almeida Freitas as Matthias (right) in a scene from Matthias & Maxime (2019); directed by Xavier Dolan

Sometimes, you spend your life doing one thing, and in the end, it wasn’t your thing.

Matthias & Maxime (2019); directed by Xavier Dolan

Is this primarily a book blog? Yes. Have I been posting a lot of quotes from films? Also yes. Well, this is my blog, and I’ll post whatever I want whenever I want for as long as I want. I am also of the opinion that film, as much as literature, is text. Don’t take my word for it, though—Thomas C. Foster’s Reading the Silver Screen: A Film Lover’s Guide to Decoding the Art Form That Moves is the perfect place to start for any would-be cinephile or for that matter, anyone who appreciates the movies and wants to learn more about them.

There are hints of Bergman, of course. Some Truffaut and Fellini. Van Sant is flickering always in the background. But there’s something else there too, something which belongs wholly and exclusively to Dolan.

I love Xavier Dolan. Some of you may remember my review of his film J’ai tué ma mère (I Killed My Mother) (2009), which I called a “semi-autobiographical, near-perfect evocation of the vagaries of queer adolescence”. You can tell that the young auteur is well-read when it comes to great films from the way he sets up his mises en scène to the way he is able to harness every drop of emotional resonance in each frame. There are hints of Bergman, of course. Some Truffaut and Fellini. Van Sant is flickering always in the background. But there’s something else there too, something which belongs wholly and exclusively to Dolan.

The fact that Dolan is only 32 years old means that we’re hopefully only seeing him at the depth of his powers. I only hope the planet holds out long enough for us to see him at his height.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please like, comment, follow, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at fred.slusher@thevoraciousbibliophile.com or catch me on Twitter, Instagram, TikTok, and Pinterest @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: November 21st, 2021

Sound of Metal (2019); directed by Darius Marder

…so disconcerting the things that your memory holds onto without you knowing.

Sound of Metal (2019); directed by Darius Marder

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please like, comment, follow, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at fred.slusher@thevoraciousbibliophile.com or catch me on Twitter, Instagram, TikTok, and Pinterest @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: November 17th, 2021

The Human Comedy (1943); directed by Clarence Brown

Sing me a song, boy. Protect me from the murder of age and time. Protect me with your songs and your young dreams.

The Human Comedy (1943); directed by Clarence Brown

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please like, comment, follow, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at fred.slusher@thevoraciousbibliophile.com or catch me on Twitter, Instagram, TikTok, and Pinterest @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: September 18th, 2021

Conrad Veidt in a still from Robert Wiene’s The Cabinet of Dr. Caligari (1920)

We queens are not free to answer the calls of our hearts.

The Cabinet of Dr. Caligari (1920); directed by Robert Wiene

Revolutionary at the time were its sharp lines and angles, its use of shadows and light to heighten the viewer’s anxiety. Caligari quite literally helped to develop the language of cinema.

The Cabinet of Dr. Caligari (1920) is a masterpiece of German Expressionist filmcraft. Perhaps no other film in the history of cinema has received as much scholarly attention because it paved the way for so many films that succeeded it. Revolutionary at the time were its sharp lines and angles, its use of shadows and light to heighten the viewer’s anxiety. Caligari quite literally helped to develop the language of cinema. Without it, there would be no film noir. None of the great horror films made by Universal from the 1930s to the 1950s would exist.

It would be my contention, in fact, that you can draw a direct line that starts with Caligari and goes all the way to films like The Wolf House (2018), Us (2019), and Midsommar (2019). I could talk about it all day, but it’s really something you need to see for yourself to truly appreciate. What are you waiting for?

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please like, comment, follow, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at fred.slusher@thevoraciousbibliophile.com or catch me on Twitter, Instagram, TikTok, and Pinterest @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: August 7th, 2021

Close Range: Wyoming Stories by Annie Proulx

Forgive me this brief exposition, but one of the world’s greatest tragedies was Crash “beating” out Brokeback Mountain for the Academy Award for Best Picture. A tender portrait of the lifelong love between two cowboys, Brokeback Mountain was groundbreaking when it first hit theaters in 2005. Far from being just “that gay cowboy movie”, it really brought queer cinema into the mainstream. Whether they were praising it or bashing it (often without having watched it), *everyone* was talking about it.

The performances in this film are some of the best and most evocative in the history of cinema. Heath Ledger, Jake Gyllenhaal, Michelle Williams, and Anne Hathaway all did excellent work, and it is because of their efforts, along with those of Annie Proulx for her source material, Ang Lee for his directorial acumen, and Larry McMurtry and Diana Ossana for their faithfully adapted screenplay that the film will be remembered, discussed, and appreciated for as long as moving pictures are considered an art form.

Annie Proulx’s original story (of the same name) on which the film is based was originally published in The New Yorker on October 13th, 1997. It alone is proof that short stories can pack just as much of an emotional wallop as can novels or other works of narrative fiction. A slightly-altered version of the short story was published in the collection pictured above, which was itself a finalist for the Pulitzer Prize for Fiction in 2000. It is from the version published in Close Range: Wyoming Stories that today’s quote is taken.

There was some open space between what he knew and what he believed and nothing could be done about it. And if you can’t fix it, you’ve got to stand it.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.