2FL Glance

Along with our full articles, we also publish mini reviews entitled 2FL At a Glance.  These reviews are much like our 2FL Short reviews and are available within the LEFT OF THE LAKE magazine. This magazine is currently available in the Wisconsin/Illinois area, as well as by subscription.  To subscribe, visit: Left of the Lake Magazine



2013 - July
2FL At A Glance: “The Hitchcock 9”
by Lisa Adamowicz Kless

Alfred Hitchcock spent decades honing the directorial skills and talent that would make him a legend in the film industry, and during the 1920s, he was doing so with silent films.

July 2013 Issue
Beginning in the summer of 2013, homage is being paid to the cinema icon with “The Hitchcock 9”, a touring program dedicated to Hitchcock’s nine surviving silent films: “The Lodger” (1926), “The Pleasure Garden” (1926), “Downhill” (1927), “Easy Virtue” (1927), “The Ring” (1927), “Champagne” (1928), “The Farmer’s Wife” (1928), “Blackmail” (1929), and “The Manxman” (1929).

As part of the program, the films were restored by the British Film Institute, which also commissioned new scores for some of them.  As “The Hitchcock 9” makes its way around the U.S., it will be showcased in many venues, including the Brooklyn Academy of Music, the Seattle International Film Festival, and in the historic Castro Theatre, as part of the San Francisco Silent Film Festival.

Stephen Horne, a veteran of live silent film performances, composed a score to go along with a number of the films.  He’ll provide live musical accompaniment at select U.S. showings.

No plans have been made for “The Hitchcock 9” to become a DVD set, so if you have the chance, attend one of the programs while it’s still touring.



2012 - October
2FL At A Glance: Drive
by Jav Rivera

I had the privilege of attending a panel for the film "Drive" at 2011's ComicCon. They showed an intriguing scene in an elevator, which has now become one of the more popular scenes of the film. The "elevator scene" has a mixture of romance and disturbing violence. But it's not this that makes the film a success.

October 2012 Issue
Ryan Gosling stars as Driver, and, like Clint Eastwood before him, he plays a stark character with no name. For an actor who has done several odd characters (see "Lars and the Real Girl" and "Half Nelson"), "Drive" showcases Gosling as a quiet and very intense actor.

The lovely Carey Mulligan and wonderful Albert Brooks co-star, but it's Bryan Cranston and Gosling who steal the show. Cranston, better known for his father character in "Malcom in the Middle" and as Walter White in "Breaking Bad," shows a weaker side with a tragic past. Though not actually related in the film, their father-son relationship is the heart of the story. Their bond parallels Driver's protection over Mulligan's character.

And then there's the best aspect of "Drive" - its pace. It's slow, pulsating, and absolutely perfect. The first scene says it all. Driver's after hours gig as a getaway driver shows a chase unlike anything in cinema history. He's not fast or destructive - instead he's intelligent and patient. With a knowledge of the streets, Driver outsmarts the LA Police.

It's not what you think and unlike anything you'd imagine. "Drive" is sure to have a long life in cinematic history.

For more information, visit IMDb: www.imdb.com/title/tt0780504

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