Remarkably, the works of Bob Fosse have so far escaped me.  I’m acutely aware of his importance to Broadway musicals, a discipline which I have never fully embraced.  I also saw Cabaret when I was a teenager, foolishly catching up on Best Picture winners as though that would give me a worthwhile head start on film history.  I don’t recall much of it, and it’s certainly due a rewatch.  Of his other works, I’ve only seen parts of the much lauded Star 80, though I’ve always taken that film to have earned its reputation during the rise of film twitter.  I am aware of the stature of All That Jazz, but perhaps some interdisciplinary snobbery on my part led me to sit on it for a very long time. Read the rest of this entry »

During quarantine, I’ll be occasionally writing for 30 minutes on any film I happen to watch.  Today is La Dolce Vita, spurred on by a crossword question.

Having never fully embraced Fellini, other than a few notable films, including this one, I realized I hadn’t seen La Dolce Vita in its entirety since I was in my early 20s.  It was a film I actually watched semi-frequently owing to it being one of the few DVDs I owned when I first moved overseas.  It’s the most famous film from one of the most famous directors in history, so there’s not much I can add to the discourse that hasn’t been said time and time again over the decades, including in Roger Ebert’s fantastic Great Movies essay on it from the 90s.  Read the rest of this entry »