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  • Th-Th-That's All Folks: THE SCREENGRAB CURTAIN CALL!



    So, th-th-that's all folks. Enjoy the last precious remaining hours of the Screengrab while you can, and be sure to look for us here at hooksexup.com, in the archives at www.thescreengrab.com, at our new blog the Screengrab In Exile, and also...

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  • Screengrab's Favorite Movies About Music: Non-Fiction Edition (Part Three)

    Lauren Wissot's Favorite:

    JOY DIVISION (2007)




    My first boyfriend when I came to NYC, the lead singer of a local goth band, introduced me to Joy Division – not the band itself, and not the music, since I was already a goth and well-aware of their songs – but the phenomenon. I was a big sound Sisters of Mercy chick who didn’t quite get it, a fan of over-the-top goth like Bauhaus, and the catchy dance beat of the band Joy Division evolved into, New Order. Joy Division itself was more like those minimalist 4AD bands – goth lite. The boyfriend was long out of my life by the time I realized my mistake. You can’t just listen to Joy Division – you have to absorb their aura. Now thanks to Grant Gee’s documentary Joy Division (written by punk rock’s tireless chronicler Jon Savage), which Surround Sounds the story of the band with the feel of Manchester through a collage of images, I understand why this is. The British director, by placing himself in the environment that birthed Joy Division, soaks in the band’s essence. This is something that Anton Corbijn, a Dutch photographer and cinematographer who shot the infamous video for “Atmosphere” (and appears in Gee’s doc), and tread the same material in his biopic Control, completely lost amidst his lush, gorgeous and painfully stark imagery. Corbijn’s certainly got more artistic talent than Gee, but less of an understanding of the band he knew as a young photojournalist. There’s just less substance in Control.

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  • Hollywood Goose-Steps Into the New Year

    Ben Crair at Slate writes that "One way to measure the approach of the new year is to count the Holocaust films at your local multiplex. The holidays arrive just as studios begin wooing academy members with serious dramas, and there's nothing more serious than genocide." This year has certainly filled theaters with a bumper crop of Nazi slash Holocaust movies, including Bryan Singer's Valkyrie, Stephen Daldry's The Reader, Edward Zwick's Defiance, Paul Schrader's Adam Resurrected, Good, which is based on C. P. Taylor's play and which opens in select cities today, and The Boy in the Striped Pajamas, which was sent from Hell by the devil in lieu of a new STD. Crair breaks these kinds of films down into various categories, such as the ones hailing the courage of "Good Germans", such as Valkyrie (as well as earlier films such as The Desert Fox, starring James Mason as Rommel, Marlon Brando's Nazi of conscience in The Young Lions, and, of course, Schindler's List; tributes to the bravery of "Resistant Jews", such as the ones in Defiance, who have the good fortune to be led by someone played by the actor currently employed as James Bond, Daniel Craig; "Redemption Stories" about survivors trying to find their way back to normal life and human feeling, such as Adam Resurrected or the Sidney Lumet film The Pawnbroker, starring Rod Steiger, which yesterday was inducted into the Library of Congress's National Film Registry. Crair also has a category called "The Fable", which may be just because he had to come up with something to call Roberto Benigni's Life Is Beautiful, and Slate he couldn't have called it what I would have called it because Slate does not carry an "Adults Only" advisory.

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