Movie Diary 4/27/2021

The Day of the Jackal (Fred Zinnemann, 1973). It holds up extremely well – almost as though designed as a pushback to today’s blown-up style of suspense. Mechanical in the best sense; even Edward Fox comes across as a constructed operator, lean and robotic, his smiles engineered for temporary social effect. (This is especially good in contrast to Michel Lonsdale’s very human presence, his pants mottled with guano from his pet pigeons.) It’s all coiled and dryly laid out, ideal for Zinnemann’s careful method. The bitter taste of the Campari that Fox drinks with fusspot gun-maker Cyril Cusack prevails.

About Endlessness (Roy Andersson, 2019). The new one from the Swedish master is just now arriving for regular consumption, and it is much as before: brief blackouts, meticulously/obsessively presented. Andersson has stripped down his thing so that even less happens within these tableaux than before, perhaps the inevitable result of pursuing this style. Not so much Campari as – aquavit? (full review 4/30)