Latino cinema has a long tradition of tweaking the Catholic Church for its supposed hypocrisy, involvement in secular politics and manhandling of sexual issues. Thirty-nine-year-old Argentine filmmaker Lucrecia Martel now joins in with her own rants on the rigidity and absoluteness of Catholic doctrine, especially as it pertains to children.
As a boy, I was a slave to DC Comics. When the new issues of Superman, Batman, Action, Adventure and World’s Finest hit the stands, I was off to the drugstore to purchase and devour a fistful of 12-cent comics. It was a ritual that continued for many years, until I finally moved on to sports biographies.
Confusing, how the landscape stumbles— there is sky beyond this sky, a backyard of chickens, a broken dog. Ambition, like green fields, slows upon autumns and the few ancient trucks. Work earth, plow and hoe, bent over the soil again. Years of this sameness. Years of the white sun.
To marry a girl was the one thing. The other, talk—long into nights out past the river. Sometimes three of us found ourselves there. We shared what we had, even failures we’d carried in our coats. In that certain dark, nothing but compassionate days, when our tilling turned the ground to wider orbits, to order.
A village closes upon itself. The road’s rise toward Copsa Mare is the firm hand urging. Doorways are boundaries children learn to respect. Someone, born to it, swells within his father’s isolation, painting his barn a fierce yellow. Hay in the lofts. I know how surely we fall to ourselves in this world.
Intelligently detailed, impressively mounted, absorbingly told and undeniably gripping, Sydney Pollack’s The Interpreter is a very satisfying movie—unless you’re seeking something more than a thriller that only superficially engages its political subject.
The diaries of World War I poet Siegfried Sassoon have been digitized and made available to the public by the University of Cambridge. Sassoon, a British soldier, was quickly disillusioned by the war and became an outspoken war critic. His diaries feature poetry, prose, and drawings and include his 1917 antiwar “Soldier’s Declaration,” which got him committed to a hospital for the duration of the war. He described the first day of the Battle of Somme as a “sunlit picture of hell” (BBC, July 31).