Miracle XXXI: Comment saint Jherome et son conpaignon veirent ung dyablot dessus la queue de la robe d’une bourgoise de Bethleem (‘How Saint Jerome and his companion beheld a devil under the train of the dress of a woman of Bethlehem’)
Jean Miélot, Jean Le Tavernier (illuminator), La Vie et Miracles de Nostre Dame, Audenarde 1456.
BnF, Français 9198, fol. 91r
A kitten aboard a floating Victoria water lily pad in the Philippines, 1935.Photograph by Alfred T. Palmer, National Geographic Creative
SUBMISSION: 9 Wrenches, from the series One for sorrow; Two for joy, by Johanna Inman
Cold in July is a brutal film. I mean that in the best way, of course. If you watch the trailer, you will get a sense for the first half an hour of the plot, which rapidly changes thereafter. I got the overall sense that the writers took three film genres and placed them side by side in Cold in July—and to a dazzling effect.
Michael C. Hall plays a dopey, frightened man, whose masculinity is questioned again and again throughout the film. The director, Jim Mickle, plays around with perspective in quite a few scenes, allowing the viewer to almost enter the mind of this individual. Sam Shepard plays a terrifying ex-con, whose gentle voice when juxtaposed to his actions makes him even more frightening. Don Johnson plays the comedic cowboy in the film—a private investigator and friend to Shepard’s character. All three play their roles in very different ways, providing a realism to the film rarely seen these days. The latter two roles are men of some confidence. Their internal dialogues are held closer to their chest, so to speak. But Michael C. Hall has many decisions to make, throughout the film, that reflect on his character.
It makes for a very interesting film.
[My one complaint is the wife, the only female character of any importance, whose role is fairly standard and boring. ]
I don’t know why it took me 31 years to see this movie.
Bonnie and Clyde