PT Klein

@ptklein.com

Film historian and cultural critic. Movie theaters, cinema spaces, and filmgoing cultures. Radically optimistic. Writing at www.howtoreadmovies.com, Metro Weekly, Film Atlas, and elsewhere. Cohost @ColdWarCinema.com. He/Him/His.

I’m fascinated by the circling of the wagons following Wilson’s review. @elazic.bsky.social on one aspect of this: “Refusing to engage with Nolan’s The Odyssey as a film, with its own rules and organising principles…perpetuates the idea that cinema is inherently inferior to literature and poetry.”

Elena Lazic@elazic.bsky.social · 7d ago

Emily Wilson's piece on Christopher Nolan's THE ODYSSEY for the LRB went viral and was received very positively by many — but not by virtually every film critic I know. For @animusmagazine.bsky.social I wrote about why: animus-magazine.ghost.io/a-tale-as-ol...

Saul Bass’ arresting, kinetic title design, beginning with its electric green and gray variation of MGM’s logo, immediately pulls you into North by Northwest’s thrills. Its linear graphics offer the first of the film’s many surprises as they fade into a midtown Manhattan facade.

Adaptations, as Wilson writes, “needn’t and shouldn’t follow the original with anything like the exactitude of a translation.” But in her takedown of The Odyssey she is more interested in critiquing a film that she wants, not what Nolan made. That might make for conversation, but it’s bad criticism.

lrb.co.uk