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You know a body's got to breathe
1. My poem "Drowning Like You Mean It" has been accepted by Sirenia Digest. The title came first, and then ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
strange_selkie asked me for a poem: I think it's one of the best poems I've written about the sea. You should have a subscription in any case, but consider this an incentive to pick one up.
2. Last night I watched The Hands of Orlac (Orlacs Hände, 1924), the silent original with Conrad Veidt. What surprised me most about the film was not its dreamy body horror—it was directed by Robert Wiene, so Veidt's mounting self-suspicion is sometimes bewildered and naturalistic, sometimes a paralyzed mime—but the fact that it turned out much more like a postwar psychological thriller than a monster movie, which I did not expect from summaries like, "An experimental graft gives an injured concert pianist the hands of a murderer." I also taped The Spy in Black (1939) and Contraband (1940), one of which I'm hoping to watch tonight. I am very fond of Conrad Veidt.
3. I think Alex Jennings may be in danger of getting typecast, but at least he's getting typecast as artists I really like!
I am going for a walk. The hurricane isn't supposed to be until Sunday.
strange_selkie asked me for a poem: I think it's one of the best poems I've written about the sea. You should have a subscription in any case, but consider this an incentive to pick one up.2. Last night I watched The Hands of Orlac (Orlacs Hände, 1924), the silent original with Conrad Veidt. What surprised me most about the film was not its dreamy body horror—it was directed by Robert Wiene, so Veidt's mounting self-suspicion is sometimes bewildered and naturalistic, sometimes a paralyzed mime—but the fact that it turned out much more like a postwar psychological thriller than a monster movie, which I did not expect from summaries like, "An experimental graft gives an injured concert pianist the hands of a murderer." I also taped The Spy in Black (1939) and Contraband (1940), one of which I'm hoping to watch tonight. I am very fond of Conrad Veidt.
3. I think Alex Jennings may be in danger of getting typecast, but at least he's getting typecast as artists I really like!
I am going for a walk. The hurricane isn't supposed to be until Sunday.
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It's one of the few films left by Powell and Pressburger that I haven't seen; I'm really looking forward to it. Ditto The Spy in Black.
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Oh, my God, that film is brilliant.
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And isn't Conrad Veidt SEXY?!
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Where did you get a legitimate DVD from? I want the Criterion edition—if they can do 49th Parallel (1941), they have no excuse for ignoring this!
And isn't Conrad Veidt SEXY?!
I knew Conrad Veidt was sexy! I just didn't think anyone had written him roles that let him prove it!
(Also, why the hell is Valerie Hobson remembered for being Henry Frankenstein's useless wife? They have scenes I didn't know you could film in 1940—"Do you trust me?")
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Yes, there's no doubting the fact that they're totally doing it when they get back to the ship.
She was also the older Estella in Great Expectations, I think.
Now my husband is chanting NOT MR. PIGEON in the background.
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Yes, and I hold David Lean responsible for the fact that I've never thought she was as convincing as Jean Simmons as the young Estella; she should have knocked the screen's socks off.
Now my husband is chanting NOT MR. PIGEON in the background.
Your husband rocks.