3.32 – THE BEGUILED (2017) and Gendered Values

The final Coppola film in our mini-series is her latest, the 2017 re-make of THE BEGUILED. After our reviews, we talk about horror, tension, and the revision of traditional gendered values. This leads us on to a final discussion of Sofia Coppola’s oeuvre, when we take a look back at some new perspectives we’ve seen over the past month.

Next Week
Next week we embark on our next director, Baz Luhrmann, and his first film, 1992’s STRICTLY BALLROOM: https://www.amazon.com/Strictly-Ballroom-Gia-Carides/dp/B00622BF40.
This Week’s Media
JUSTIFIED (2010?15): Graham Yost, Timothy Oliphant, Nick Searcy
THE SPACE JAM CONTINUUM (2017?): Cal Noble, Chris MacLennan
Á LA CONQUÊTE DU POLE (1912): George Méliès, Charles Pathé
WONDER WOMAN (2017): Patty Jenkins, Gal Gadot, Chris Pine
PHONE BOOTH (2002): Joel Schumacher, Colin Farrell, Kiefer Sutherland
TIGERLAND (2000): Joel Schumacher, Colin Farrell, Matthew Davis
THE OTHERS (2001): Alejandro Amenábar, Nicole Kidman, Fionnula Flanagan

Here’s the link to Á LA CONQUÊTE DU POLE, available for free: https://www.youtube.com/watch?v=mOGuRCwVCD0. It’s not as short as Sam suggested, but it’ll still only take half an hour of your time. Have a read about the 1971 version of the film, based on Thomas P. Cullinan’s novel: https://en.wikipedia.org/wiki/The_Beguiled_(1971_film). This has more information about shooting with a long lens, as explored by Rob this week ? interestingly enough, as a part of wildlife film-making (which maybe says something about the film that we should have discussed more this week): http://www.untamedscience.com/filmmaking/advanced-filmmaking/shooting-long-lens. There’s more on Lord of the Flies here: https://en.wikipedia.org/wiki/Lord_of_the_Flies. And finally, here’s an simple introduction to the elements of preordained dramatic tragedy, that we were moving towards at the end of the episode: http://www.cameron.edu/~johnh/shakespeare/critical/tragedy.htm.