Hard Candy

Madonna's new album, Hard Candy, is out now. The cover photo and font look terrible, and it's certainly not one of Madonna's best albums.

The full track-listing is: Candy Shop, Four Minutes, Give It 2 Me, Heartbeat, Miles Away, She's Not Me, Incredible, Beat Goes On, Dance 2night, Spanish Lessons, Devil Wouldn't Recognize You, and Voices. An additional track, Ring My Bell, was included on the Japanese edition.

Inside Out, Outside In

Gallery VER, Bangkok, hosted a short season of indie films by Thunska Pansittivorakul and Panu Aree from 18th to 20th April. The event, Inside Out, Outside In, featured a complete retrospective of both directors.

Panu Aree's first film, Once Upon A Time, is a compilation of home movie footage of his family at an amusement park, and was edited by Apichatpong Weerasethakul. His other films are: Destiny, Postcards From Kaosan Road, In Between, The Magic Water, Stills, Parallel, The Lost Highway, and Silent Lights.

Thunska's excellent Middle-Earth originally screened at the 11th Thai Short Film & Video Festival, and his recent films Soak and Action! were screened at the 5th Bangkok Experimental Film Festival.

Thunska's early short films are:

Private Life
(Thunska's first film: he drives to the beach with his boyfriend, but they never make it and can't find the time or place to be alone with each other)

Lovesickness (aka Just A Life II)
(a man in his studio apartment, with only a goldfish for company; he treats it obsessively as a partner: feeding it rice, washing it with soap, and ejaculating into its water)

...For Shiw Ping 28/12/97
(faces filmed in negative, and footage of a rainstorm: Thunska's memories of his relationship with Ping in 1997)

Sigh
(two men have sex, with the images filtered by double-exposures, rapid editing, and low resolution)

Chemistry
(a man narrates his formative sexual experiences in voice-over)

Life Show
(a young actor is interviewed about his illicit sex-life, with nudity and smoking censored in the style of Thai TV)

After Shock
(a man masturbating in a boat; made for the Ministry of Culture in response to the 2004 tsunami)

Unseen Bangkok
(a split-screen film: a nude hustler discusses his clients, and a covert recording of a man taking a shower)

Endless Story
(a slideshow of Thunska's personal and graphic snapshots)

Vous Vous Souviens De Moi?
(a short story about a robot who cannot feel love, narrated over images of a nude man in an apartment)

Out Of Control
(a group of boys playing on a beach)

You Are Where I Belong To
(Thunska filming people he meets in Japan, as he tries to forget his ex-boyfriend)

Thunska's feature-length documentaries Voodoo Girls and Happy Berry (and the short sequel Happy Berry: Oops I Did It Again; all featuring frank discussions between groups of Thai youngsters), and his music video Blinded Spot (for Soundlanding) were also screened.

The Asphalt Jungle

The Asphalt Jungle, directed by John Huston, is a heist film starring Sterling Hayden. As in so many subsequent heist films, a gang of expert criminals is assembled to plan and execute the perfect robbery. Naturally, the execution doesn't quite go according to plan: a combination of coincidences and double-crossings ensure that crime does not pay (as dictated by the American film censors, of course).

While in later films it's often the chief of police who's revealed to be the most corrupt character, in The Asphalt Jungle it seems that every character except the chief is corrupt. In fact, the police commissioner makes an earnest speech about the necessity of law enforcement, which is out of place alongside the film's otherwise gritty dialogue.

This is Huston's third film noir, after The Maltese Falcon and Key Largo. Those two earlier films had noir plots, though they were both rather stagey (confined to unatmospheric interiors, with characters who are entertaining rather than menacing). The Asphalt Jungle, on the other hand, is more stylistically and emotionally a film noir. It's full of dark shadows, and the equally dark plot offers no redemption for any of the characters.

There's a notable pre-stardom cameo from Marilyn Monroe, though Sterling Hayden in the hardboiled lead role gives the film's greatest performance. He would later star in Kubrick's The Killing, a film whose plot owes a great deal to The Asphalt Jungle.

Syndromes and a Century:Thailand’s Edition

Following the Thai censorship of his film Syndromes and a Century (แสงศตวรรษ), Apichatpong Weerasethakul has agreed to present a censored version of the film (Thailand’s Edition) for Thai audiences. It will be screened at Paragon Cineplex in Bangkok, starting today (preceded by a panel discussion with Apichatpong at 6pm), for the next fortnight.

Silent leader footage will be projected in place of the censored scenes, to draw attention to the censorship of the film. Each ticket comes with a free Syndromes and a Century postcard, which features photographs of the censored scenes and links to YouTube where the censored footage can be seen, thus making a mockery of the censors’ decision.

Infamously, Ladda Tangsupachai, the director of the Ministry of Culture’s Cultural Surveillance Department, once said: “Nobody goes to see films by Apichatpong. Thai people want to see comedy. We like a laugh.”

12:08 East Of Bucharest

12:08 East Of Bucharest is a comedy directed by Corneliu Porumboiu, set in the small Romanian town of Vaslui. It is one of a handful of recent Romanian films to receive international critical acclaim, including Cristian Mungiu's Four Months, Three Weeks, & Two Days.

The film is divided into two distinct halves. First, we are introduced to the three central characters on a typical morning. There is a TV host, trying to book guests for his cheap talkshow; later, he pretentiously introduces the show with quotations from ancient philosophers. Then a henpecked history teacher, who drinks too much and owes everyone money. Finally, a lonely old man, who is busy buying a Father Christmas costume so he can entertain school-children. The teacher and pensioner will be the only guests on the TV host's talkshow.

The second half is taken up entirely with the talkshow, and is filmed by the TV studio's camera. The show's topic is: was there a revolution in Vaslui, or not? Anti-Communist demonstrations led to Romania's self-appointed leader Nicolae Ceausescu fleeing Bucharest by helicopter at 12:08 on 22nd December 1989. The talkshow takes place on the sixteenth anniversary of Ceausescu's downfall, and hinges on a debate about when the population of Vaslui began demonstrating.

The teacher maintains that he was part of a small group of people who shouted anti-Ceausescu slogans in the town square before 12:08, though all of the show's callers disagree with him. Defending himself against accusations that he is a liar, he repeatedly recounts what happened in the town square, adding extra information each time. The callers (including an ex-guard, with all the best lines, who exposes the show's inadequacies) all offer their own different versions of what took place. As in Rashomon, objective truth remains elusive.

Death Proof

Quentin Tarantino's Death Proof was originally part of Grindhouse, a double bill also featuring Planet Terror. After the lukewarm American reaction to Grindhouse, the concept was dropped for international markets, and instead the films have been released separately. The revised release pattern enabled Tarantino (who also did his own cinematography) to add almost thirty minutes to Death Proof, including much more dialogue and a lap-dancing scene which was completely cut from the Grindhouse version. After reviving other 1970s exploitation genres (Blaxploitation in Jackie Brown and 'chop socky' kung-fu in Kill Bill), Grindhouse is a natural progression, in which he uses jump-cuts and scratched prints to recreate the lurid experience of 1970s grindhouse films. Death Proof was shot entirely on location, which adds to the cheap, gritty grindhouse look.

The film has two halves, which are roughly parallel. In each segment, a quartet of women is observed at a distance by Stuntman Mike, a retired film stuntman. Mike is one of the few characters in cinema to get sexual pleasure from car crashes (the only other example that comes to mind is Crash, the JG Ballard novel and David Cronenberg film). The first half of Death Proof ends with Mike crashing into the girls' car at 200mph, killing all four of them. In the second half, after he chases the girls (in a stunningly tense though implausible sequence) they are eventually able to overtake him, leading to a (convincingly grindhouse-style) feminist revenge ending.

Death Proof (titled Thunder Bolt in a split-second jump-cut during the title sequence) is exactly what you'd expect a Tarantino car-chase film to be. It's full of witty, profane, trivial, naturalistic dialogue; it has moments of bloody, stylised violence; there are constant references to cult cinema, music, and television; there's a cool 1970s soundtrack; there's a low-angle point-of-view shot (from inside a car bonnet, rather than the usual car boot); it exists within the self-referential Tarantino universe, with name-checks for Big Kahuna Burger and Red Apple cigarettes (from Pulp Fiction) and recurring characters (from Kill Bill). There are even in-joke references to his other films: Tarantino (in a traditional cameo) repeats the "tasty beverage" line from Pulp Fiction, and Rosario Dawson's ringtone is a Bernard Herrmann composition used in Kill Bill.

War Of The Worlds

War Of The Worlds (a remake of the 1950s classic The War Of The Worlds) is a major disappointment. Its director (Steven Spielberg) and leading actor (Tom Cruise) are arguably the two most successful men in Hollywood, and their previous collaboration, Minority Report, was a sophisticated sci-fi thriller, though War Of The Worlds pales in comparison.

Tom Cruise gives his standard Cruise smirk and nothing more, so his character has no real development. Dakota Fanning, playing Cruise's daughter, spends the entire film screaming, in a hugely irritating performance. The plot, which is sometimes borderline illogical, sets up several possibilities that are later simply dropped. The feel-good ending is implausible.

The original version is one of the greatest science-fiction films of the 1950s, and one of only a handful of films featuring a full-scale alien invasion. (Others include Earth Vs The Flying Saucers, Independence Day, and the parodic Mars Attacks.) It is also, however, an overtly Christian film, with a quasi-Biblical narration.

Surprisingly, this religious aspect has been retained in Spielberg's remake. Spielberg's film, a blockbuster 'event movie', was released around the world, yet he still included references to "God's creatures" in the narration, turning American cultural imperialism into proselytism.

Tomyam Pladib

Tomyam Pladib, which opened on 19th March until 5th June, is an exhibition of Thai and Japanese art hosted by The Jim Thompson Art Center in Bangkok. The exhibition features Morakot, a video by Apichatpong Weerasethakul. Morakot is the name of an abandoned Bangkok hotel, and Apichatpong's slow-moving camera films the hotel's deserted rooms filled with (digitally added) floating white feather-like objects. The effect is elegiac, evoking the memories of the hotel's long-departed guests.

Apichatpong discussed his various films and videos in a presentation this evening (Apichatpong On Video Works). He explained the origins of his multi-screen video installations (one of the more surprising sources being Thai melodramas), and played extracts from several of his films. He also screened a few short films in full:

Ghost Of Asia
(a man follows a child's instructions all day, with the action sped up for comic effect; part of the Tsunami Digital Short Film project),

0116643225059
(a telephone call between the director and his mother)

The Anthem
(a wonderful overture to cinema, first screened at the 11th Thai Short Film & Video Festival)

There was also a short Q&A session with the director.

5th Bangkok Experimental Film Festival

The 5th Bangkok Experimental Film Festival began yesterday, and runs until Sunday at Esplanade Cineplex. This year's event, organised by Apichatpong Weerasethakul's Project 304, has The More Things Change... as its central theme.

There will be two programmes commenting on post-Thaksin political instability (Learned Behaviour, 27th and 30th March; Track Changes, 26th and 30th March). Both of these programmes will include films from Spoken Silence at the 11th Thai Short Film & Video Festival, including Middle-Earth in Learned Behaviour. Another highlight is sure to be Thaiindie Buffet, featuring a selection of independent Thai films (Thaiindie Showcase, 29th March) and music videos (Experimental Music Videos, 27th March).

This evening, the Sompot+Thunska programme featured three works by Sompot Chidgasornpongse (Naoko Is Trying To Teach Me How To Make Tonkatsu In One Minute, 8,241.46 Miles Away From Home, and Landscape 101 01 1101 01...) and two new films by Thunska (Action! and Soak). There was also a Q&A session with Thunska.

Action! is a short compilation of out-takes from Zart Tanchareon's film God Man, featuring the actor Sitthipong Prempridi. Sitthipong died last year, and Action! is Thunska's tribute to him.

Soak stars Saifah Tanthana, who is filmed swimming in the sea (during which the soundtrack is dominated by the gurgling of the water) and riding a motorcycle, with the video camera representing Thunska's gaze. The film is an extended, improvised sequel to Thunska's first film, Private Life. It also recalls his film You Are Where I Belong To, which briefly features Thunska filming a man as they paddle in the sea.

Hajarat Muhammad

Rabindra Prasad Panda, author of the Odia-language book Hajarat Muhammad, has been arrested in Cuttack, India. The cover of his book features an image of Mohammed wielding a sword.

The Lord of the Rings:The Return of the King

The Return of the King is the final film in Peter Jackson’s trilogy The Lord of the Rings. The director’s cut is almost an hour longer than the theatrical version. This third film is more satisfying than the second, The Two Towers, perhaps because the battle of Gondor (in this film) has more narrative significance than the battle of Helm’s Deep (in the second film). In retrospect, the substantial time devoted to Helm’s Deep now seems more like an excuse for dramatic tension in the second film rather than an integral episode in the overall narrative.

The Lord of the Rings:The Two Towers

The Two Towers is the second film in Peter Jackson’s trilogy The Lord of the Rings, and the sequel to The Fellowship of the Ring. The director’s cut, which is substantially longer than the theatrical version, contains several unique sub-plots. It’s as impressive as The Fellowship, although slightly more conventional, as it intercuts between three plot strands. Andy Serkis is outstanding as the schizophrenic Gollum, physically ravaged and mentally unbalanced by his “precious” ring.

Daily Xpress

Today saw the launch of Thailand's first free daily newspaper, the Daily Xpress, published in Bangkok by The Nation. (The Nation is one of two daily English-language newspapers on sale in Thailand, the other being the Bangkok Post.)

The first issue of the Xpress has forty-eight pages. Even with ten pages of classified ads, it's an impressive total for a freesheet. 100,000 copies will be distributed every day. The emphasis is on features, human interest, and lifestyle.

The Xpress does have a surprising amount of entertaining and original content. It is, however, disposable rather than informative, and it can't replace other titles as a news source.

To coincide with the Xpress launch, the Nation itself has been rebranded. It now styles itself as "Thailand's biggest business daily", and has shifted its focus almost entirely to business news. Politics and international news have been reduced to one page each, and sports news has been moved over to the Xpress. There is no coverage of general Thai news at all.

This is a risky decision, as it narrows the Nation's target market and takes it out of direct competition with the Post. The new business focus also makes it an odd bedfellow for the Xpress, as the two papers are aimed at opposite audiences. While the Xpress may attract young readers who pick it up for free, the copies bundled with the Nation will probably remain unread.

The Stranger

The Stranger was the first film directed by Orson Welles following his Rio documentary It's All True. His work on It's All True earned Welles an unfair reputation: that he was profligate and extravagant. The Stranger was a conscious (and successful) attempt to prove otherwise - to show that he could make a regular, popular film within the studio system, on-budget and on-schedule.

In the film, Welles plays a Nazi war criminal (the architect of the Holocaust, no less) who has changed his identity and escaped to a small American town. He marries a judge's daughter, played by Loretta Young, to keep up appearances. Edward G Robinson plays a detective attempting to track him down.

A similar situation occurs in Alfred Hitchcock's Notorious, made in the same year, with the major difference being the role of the Nazi's wife: Loretta Young's extremely naive character is very different from the Ingrid Bergman role in Notorious. A more general comparison could be made with Hitchcock's Shadow Of A Doubt, in which a killer seeks refuge in a small American town; in that film, it is the killer's sister who is (initially) as naively unsuspecting as Young is in The Stranger. Welles's line about watching people from the clock tower "like God, looking at little ants" anticipates his role in The Third Man, when he looks down from the ferris wheel at the "dots" below.

The Stranger is a less personal project than Welles's other films, though it does include numerous high-angle and low-angle shots which add visual interest. The dark lighting and heavy shadows are not only typical of early Welles but also typical of the period, as by this point film noir had caught up with Welles's eccentric cinematography. (Welles later directed the final film in the classic noir cycle, Touch Of Evil.)

Indie Sex

Indie Sex is a series of documentaries broadcast on America's Independent Film Channel last year. Each episode deals with a different theme: Censored, Taboos, Teens, and Extremes. Each show features critics and directors discussing the history of (almost exclusively heterosexual) sex in cinema. Most of the film clips (with a few exceptions) are very tame, though the DVD includes more graphic sequences.

The first episode, Censored, gives a detailed history of American film censorship (and is less polemical than This Film Is Not Yet Rated). There is quite a lot of overlap, though, with the same points being made, and the same films being discussed, in several episodes. Among the directors interviewed are John Waters (discussing A Dirty Shame), Fenton Bailey (discussing Inside Deep Throat), Catherine Breillat (discussing Anatomy Of Hell), and John Cameron Mitchell (discussing Shortbus).

Navar Igen IV

The editor of a Swedish newspaper has received death threats after he published a poster featuring Satan defecating on Jesus. The poster, advertising the Navar Igen IV: Punx Against Christ! festival, was censored by the local council, though the Ostgota Correspondenten newspaper published it uncensored yesterday.

A World History Of Photography

The fourth edition of Naomi Rosenblum's A World History Of Photography has recently been published. The book's 800 images are beautifully reproduced, the text is as wide-ranging as the title suggests, and there is a useful annotated bibliography. At the end of each chapter are themed albums of full-page photographs, profiles of significant photographers, and technical histories.

The wealth of visual and textual information could, however, be more clearly organised and more up-to-date. Rosenblum acknowledges that the book is "structured in a somewhat unusual way", with chapters arranged thematically rather than chronologically (rather like the Tate Modern galleries). The book is divided into twelve major chapters, including portraiture, landscape, still life, art, and media. The chapters are too broad, however, a problem compounded by the lack of detail in the table of contents and the scarcity of subheadings within chapters. This also makes the layout feel rather dated, as do the line drawings in the technical history sections - does a book about photography really need to use line drawings? Similarly, there is not enough space given to recent and contemporary photographic artists and technologies: only a general account of digital technology, nothing about war photography after 1945, and no examples of contemporary fashion or advertising images.

Arguably the first book to present the history of photography as an art form, emphasising aesthetics alongside technology, was Beaumont Newhall's The History Of Photography, first published in 1937 and last revised in 1982. The first edition of Rosenblum's survey appeared in 1984, and since then it has been generally accepted as a successor to Newhall in scope and authority.

Both Newhall and Rosenblum begin their histories in 1839, with the invention of the Daguerreotype, though they also provide extensive pre-photographic background, as the invention and initial demonstration of photography was a process of simultaneous experimentation rather than a single 'eureka moment'. The first extant photograph, taken by Joseph Niepce in 1827, appears in Rosenblum's first chapter; it was discovered by Helmut Gernsheim, author of The History Of Photography, published in 1955.

The most recent historical survey of international photography is Mary Warner Marien's Photography: A Cultural History. It has 200 fewer pages than Rosenblum's, and 200 fewer illustrations, and is subsequently less in-depth in its coverage. On the other hand, it is more clearly organised and feels more up-to-date (with a large Andreas Gursky reproduction, for example). Marien's chapters are more specfic, and are subdivided more clearly. Her final chapter discusses photography after 1975 (and in the second edition she adds a new post-2000 chapter), whereas Rosenblum's final chapters begin as far back as 1950.

L'Erotisme

L'Erotisme is an anthology of eleven underground films, inspired by Georges Bataille's excellent book Eroticism, a study of sex and death as cultural taboos:

Ritualis
(a Black Mass ritual set to Heavy Metal music; directed by Pat Tremblay)

Maldoror: A Pact With Prostitution
(a man meets a prostitute in a cemetery, and kills a grotesque glow-worm [!] with a rock; directed by Nate Archer and Micki Pellerano)

Ass
(as a woman fingers herself, the red-tinted film intercuts rapidly between her face and her buttocks; directed by Usama Alshaibi)

KI
(partially obscured glimpses of a man receiving fellatio; directed by Karl Lemieux)

La Fin De Notre Amour
(an artist and an unidentified woman cut themselves with razors and surgical instruments; directed by Helene Cattet and Bruno Forzani)

Extase De Chair Brisee
(a rape-revenge story: a woman kills two masked men with a drill, after they molest her in a park; directed by Pierre-Luc Vaillancourt and Frederick Maheaux)

Baby Doll
(a doll is tied up and fondled, in a bondage fantasy; directed by Serge de Cotret)

The Loneliest Little Boy In The World
(a pig's head is licked and worshipped by a nude woman; directed by Mike Dereniewski)

Paranoid
(a woman films herself with a camcorder as she inserts a dildo; directed by Anna Hanavan)

D'Yeux
(a slide-show of erotic photo-montages featuring body parts and meat; directed by Monk Boucher)

Imperatrix Cornicula
(a woman rubbing herself with feathers, and birds gathering in the sky; directed by Jerome Bertrand)

Almost all of these short films are silent, except for Ritualis (which features slowed-down incantations as dialogue, though would be more effective as a silent film). Maldoror even adds mock-Victorian inter-titles, to add to the silent film aesthetic.

Maldoror's occult symbols evoke Kenneth Anger's treatment of magick, and the film's decaying, abject glow-worm could be a refugee from David Lynch's Eraserhead. It's one of the best films in the anthology.

Another highlight is KI, the only film to cross the borderline into hardcore imagery. Its intentionally degraded and washed-out images resemble Peggy Ahwesh's The Color Of Love, another porn/sex scene rendered semi-abstract by degraded film-stock, though KI is less confrontational than Ahwesh's uncomfortable film.

I also like La Fin De Notre Amour very much. It's filmed as a series of static images (like La Jetee), and, though it's perhaps a bit too stylised (tinted red and blue), it is certainly disturbing.

In my opinion, the weakest films are Ritualis (cliched, verging on self-parody) and, especially, Extase De Chair Brisee. This latter film is like a cross between I Spit On Your Grave and The Driller Killer - in other words, it's an exercise in gratuitous exploitation; the unconvincing acting, costumes, and make-up remove any sense of empathy or engagement, and the camerawork is frequently out of focus.

100 Best Films

Today, The Sunday Telegraph newspaper, in its magazine supplement Seven, has published a 100 Best Films list. The list was compiled by Catherine Shoard, Jenny McCartney, Alan Stanbrook, and Mike McCahill. It is divided into ten categories: drama, thriller/action, comedy, animation, horror, romance, kids, musicals, documentary, and world cinema. Each category has ten films, arranged preferentially.

Drama

1. The Conversation
2. Strangers On A Train
3. There Will Be Blood
4. Winter Light
5. Dogville
6. Raging Bull
7. The Godfather I-II
8. Double Indemnity
9. Apocalypse Now
10. Chinatown

Thriller/Action

1. North By Northwest
2. Raiders Of The Lost Ark
3. Manhattan Murder Mystery
4. Heat
5. The 39 Steps
6. Terminator II: Judgment Day
7. Once Upon A Time In The West
8. The Ladykillers
9. The Silence Of The Lambs
10. Die Hard

Comedy

1. Some Like It Hot
2. Annie Hall
3. Meet The Parents
4. Withnail & I
5. His Girl Friday
6. The Odd Couple
7. Zoolander
8. Stir Crazy
9. Gregory's Girl
10. Tootsie

Animation

1. Dimensions Of Dialogue
2. The Jungle Book
3. Spirited Away
4. Toy Story
5. Composition In Blue
6. Grave Of The Fireflies
7. The Secret Adventures Of Tom Thumb
8. Finding Nemo
9. Perfect Blue
10. Snow White & The Seven Dwarfs

Horror

1. Psycho
2. Frankenstein
3. The Exorcist
4. Night Of The Living Dead
5. Twin Peaks: Fire Walk With Me
6. Dead Of Night
7. The Wicker Man
8. The Blair Witch Project
9. Vampyr
10. The Kingdom I-II

Romance

1. Before Sunset
2. Head-On
3. I Know Where I'm Going!
4. Brief Encounter
5. The Lady Vanishes
6. The Quiet American
7. Hannah & Her Sisters
8. Bringing Up Baby
9. Days Of Heaven
10. Casablanca

Kids

1. Back To The Future
2. ET: The Extra-Terrestrial
3. Babe: Pig In The City
4. Freaky Friday
5. Addams Family Values
6. Mean Girls
7. Anne Of Green Gables
8. Clueless
9. Enchanted
10. Wallace & Gromit: The Curse Of The Were-Rabbit

Musicals

1. West Side Story
2. The Sound Of Music
3. Cabaret
4. Top Hat
5. Chicago
6. Mary Poppins
7. Singin' In The Rain
8. Nashville
9. Woodstock
10. My Fair Lady

Documentary

1. American Splendor
2. The Sorrow & The Pity
3. American Movie
4. Touching The Void
5. Capturing The Friedmans
6. Spellbound
7. To Be & To Have
8. Hearts & Minds
9. My Kid Could Paint That
10. Neil Young: Heart Of Gold

World Cinema

1. Battleship Potemkin
2. The Passion Of Joan Of Arc
3. The Rules Of The Game
4. Tokyo Story
5. Seven Samurai
6. Pather Panchali
7. Smiles Of A Sumer Night
8. A Man Escaped
9. Andrei Rublev
10. The Colour Of Pomegranates

The animation section is surprisingly diverse and even avant-garde. That's the exception rather than the rule, though, because, in general, this list is terrible.

Dividing the 100 titles into ten rigid categories is asking for trouble. Manhattan Murder Mystery, for example, is listed as a thriller/action film (the third greatest thriller/action film, no less), but it's actually a comedy. Why it's listed at all is a mystery, because it's a pale imitation of Annie Hall. Bringing Up Baby appears in the romance list, even though it's one of the most famous comedies ever made.

The inclusion of so many very recent films is bizarre. Is Enchanted (released last year) really one of the greatest children's films ever made? Is There Will Be Blood (released this year) really one of the best dramas of all time? Is it really necessary for seven of the ten documentaries to be films made after 2001? Emphatically no, in all cases.

Why is world cinema relegated to only ten films, as if it were a genre? Are 90% of the 100 'best films' really English-language? No. The world cinema category whitewashes whole chapters of film history: no German Expressionism, no French New Wave, and no Italian Neorealism.

Oh, and the compilers seem to have forgotten about science-fiction and westerns altogether. D'oh! So there's no place for Blade Runner, 2001: A Space Odyssey (no Kubrick films at all, in fact), Metropolis, Stagecoach, The Searchers, or High Noon.

Finally, what about Citizen Kane? I'd like to think that the compilers were making a revisionist statement by omitting it, but I'm more inclined to believe that they simply forgot about it because it doesn't fit into one of their ten categories.

(Note that Frankenstein is, of course, the superior James Whale sound version, not the Thomas Edison silent film; and Psycho is the original version. Also, Some Like It Hot is the 1959 comic masterpiece, not the obscure 1939 comedy.)

Cumhuriyet

Two Turkish cartoonists, Musa Kart and Zafer Temocin, have been charged with defamation, after the Cumhuriyet newspaper published their caricatures of Turkish President Abdullah Gul. Kart's cartoon, depicting Gul as a scarecrow, was published on 28th November 2007. Temocin's caricature, of Gul in an envelope, appeared the next day.

Fast Food Nation

Richard Linklater's film Fast Food Nation is a drama inspired by the superb investigative book of the same name by Eric Schlosser. It follows two recent documentaries on the secretive and unhealthy nature of McDonald's and its products, McLibel and Super-Size Me.

The exploitation of the American fast food industry is illustrated by the experiences of Mexican immigrants working at a meat-packing factory, a student activist who has a McJob at Mickey's (the fictional company created for the film), and a Mickey's executive who investigates claims of contaminated beef. Though the characters are fictitious, the film concludes with genuine Blood Of The Beasts-style slaughterhouse footage.

The narrative intercuts between a series of concurrent stories, though characters from separate stories never meet (except for one shot in which vehicles from two different segments unknowingly stop beside each other at a traffic light). The structure doesn't quite work, though, because it's too episodic. Characters are introduced, they have one or two major scenes, then they are never seen again, leaving numerous plot points unresolved. This pattern is repeated throughout the film, which has an impressive ensemble cast but no strong central plot line to link everything together.

The Seven-Year Itch

The Seven-Year Itch is a comedy directed by Billy Wilder, starring Marilyn Monroe and Tom Ewell. Like all 20th Century Fox productions of the period (the mid-1950s), it was filmed in CinemaScope. Wilder would later direct Monroe in his fantastic Some Like It Hot.

Ewell plays Richard Sherman, a New York publisher whose wife and son go on holiday for the summer. Monroe's un-named character sub-let's the apartment above Sherman's, and he fantasises about seducing her while his wife is away. In the earlier play of the same name, they do have an affair, though in the toned-down film version he is only unfaithful in his imagination. (Some of the fantasy sequences are parodies of popular films, such as From Here To Eternity.)

At the start, the premise is laboured a bit too much, with repeated emphasis on Sherman's regular office job and normal marriage, and several references to the New York wives who apparently all go on summer vacations without their husbands. It seems a bit strained, as if it were attempting to normalise an unrealistic scenario.

There's a bit too much of Ewell, who narrates the story and appears in every scene, though when Monroe appears she is sensational. She has some great lines, such as recognising classical music because "there's no vocal". This film also contains Monroe's most famous scene: standing over a subway grating, her skirt billowing above her waist. (A similar scene was filmed by George S Flemming and Edwin S Porter for What Happened On 23rd Street in 1901.)

A nude photograph of Monroe had been published by Playboy the year before the film was released, and in an interesting parallel, Monroe's character had also previously posed for a cheesecake photo. In an even more blatant in-joke, Sherman, discussing Monroe's character, says "Maybe it's Marilyn Monroe"!

A Coup For The Rich

Giles Ji Ungpakorn's book A Coup For The Rich: Thailand's Political Crisis has been banned by the Thai police. In his introduction, Ji writes: "The coup of 2006 can only be understood as a "Coup for the Rich" against the interests of the poor." Thammasat University Bookstore, the only outlet where the book was on sale, has received a letter from the police to the effect that the book is being investigated for lèse-majesté (due to eight paragraphs in its first chapter) and must therefore be removed from sale.

To Catch A Thief

To Catch A Thief is in many ways a typical Alfred Hitchcock film, though it doesn't have the tension or cinematic sophistication of much of his other work. The sophistication on display here relates to the costumes and locations, rather than the camerawork or editing. The pace is extremely slow, with excessive establishing shots of scenery and grand buildings, and over-long helicopter shots and chase sequences.

Cary Grant, one of Hitchcock's favourite actors, plays John Robie, a cat burglar who has retired to the French coast. Grace Kelly, probably Hitchcock's favourite actress, plays Frances Stevens, who falls in love with him. Robie is that archetypal Hitchcock figure, the persecuted innocent: he gave up burglary years before, though he is framed for a spate of recent jewellery thefts. To prove his innocence, he must catch the real burglar himself. The final revelation of the burglar's identity is hardly a surprise, and the whole plot is rather flimsy.

There are some amusing double-entendres, including Kelly asking Grant if he wants "leg or breast" (she's talking about pieces of chicken). Apparently, these moments were improvised by Kelly and Grant. Interestingly, Grant's character explains that he travelled around Europe performing in a circus during his youth - which is exactly what Grant did in his own youth. Grant is always a superbly suave actor, though he was better in Hitchcock's North By Northwest and Notorious. In this film his skin is alarmingly dark; his tan actually makes it difficult to recognise his face in some scenes.

Artspace Germany

Artspace Germany, organised by the Goethe Institut of Bangkok, is an excellent opportunity to see works by highly influential modern artists. Arguably the highlights of the show are the sculptures by Nam June Paik and Joseph Kosuth.

Paik is regarded as the father of video art: in 1965, he and Andy Warhol, working independently, were the first artists to incorporate video footage into their work. Two of Paik's iconic video sculptures, constructed from TV monitors, are included in this exhibition: Internet Resident and Candle TV.

Kosuth's work demonstrates the principles of semiotics, with a real object exhibited alongside a photograph and dictionary definition of the object. Kosuth first demonstrated this concept in 1965, with a real chair, a photograph of the chair, and a written definition of 'chair' presented side-by-side. In this exhibition, the same principle is applied to a frying pan (One & Three Pans).

Artspace Germany is showing at PSG (Silpakorn University) from 6th-27th February.

“Joining the government won’t be a problem...”

The formation of a coalition government is now almost complete. Following the dissolution of Thai Rak Thai, it was reincarnated as the People Power Party, led by Samak Sundaravej, and the PPP won last month’s election though without an overall majority. Samak is now likely to become prime minister, taking over from Surayud Chulanont, who was appointed by the coup-makers. (The country also has a new constitution, as the the draft charter was endorsed by 57.81% of voters in last year’s referendum.)

Before the election, candidates and factions were grouping and regrouping on a daily basis, with seemingly no consideration of party ideology whatsoever. In the end, every other political party except the Democrats has joined in a PPP coalition. The final coalition partners, Puea Paendin and Chart Thai, announced their membership yesterday, after more than two weeks of negotiations; they had used the mourning period following the death of Princess Galyani to buy themselves more time. Chart Thai’s leader Banharn Silpaarcha announced that “joining the government won’t be a problem”.

The Supreme Court yesterday dismissed six cases against the PPP and the Election Commission of Thailand. The New Aspiration Party had alleged that the Commission was not authorised to organise absentee ballots and advanced voting before the election. Democrat candidate Chaiwat Sinsuwong claimed that the PPP was not legally allowed to contest the election, as it is a TRT nominee, Samak is a Thaksin proxy, and PPP candidates distributed Thaksin VCDs. All of these complaints have been dismissed by the Supreme Court. (The Democrats had earlier asked Chaiwat to withdraw his allegations, and he has now resigned from the party.)

The PPP’s last obstacle was Yongyuth Tiyaphairat, one of the party’s deputy leaders. He was among many PPP candidates accused of vote-buying, and he has been under ECT investigation. The ECT must endorse at least 95% of MPs before a new parliamentary term can begin. Thus, the ECT were under pressure to complete their vote-buying investigations as soon as possible. Fearing demonstrations from PPP supporters, the ECT delegated the Yongyuth investigation to a sub-committee. Then, when Yongyuth was invited to view the evidence against him (an incriminating VCD), he missed the appointment. However, Yongyuth has now received ECT endorsement. Indeed, the ECT rushed to endorse some twenty-nine candidates yesterday, in order to meet the deadline. (Previously, candidates had been endorsed in dribs and drabs, averaging three per day.)

Japanese Film Festival 2008

The 2008 Japanese Film Festival, organised by the Japan Foundation, takes place from 18th-25th January in Bangkok. The event's subtitle is The Hidden Treasures Of Japanese Cinema: Masterpieces From Its Golden Age - 1950s-1960s.

The 1950s were indeed a golden age for Japanese film (as, previously, were the 1920s), with Akira Kurosawa's Rashomon introducing international audiences to Japanese cinema for the first time. However, the cinema of Japan does not begin and end with Kurosawa. The Japanese Film Festival emphasises the lesser-known directors of Japanese cinema's second golden age.

The schedule includes Gion Bayashi (Saturday) by master director Kenji Mizoguchi, and the historical drama Wild Geese by Shirou Toyoda (Sunday). Also included is The Ghost Of Yotsuya (Sunday), a classic interpretation of Japan's most famous ghost story by its greatest horror director, Nobuo Nakagawa. (The legend of Yotsuya is the Japanese equivalent of the Thai folk tale Mae Nak, on which Nang Nak was based.) There are also two films by Mikio Naruse: Repast (Thursday) and Sound Of The Mountain (Friday). All films will be screened, free of charge, at the Grand EGV cinema, Siam Discovery Center.