Arts & Culture

‘Ride Lonesome’ at the Cornell Cinema

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Content Warning: This review contains discussion of violence and anti-Indigenous racism. 

Last weekend, the Cornell Cinema presented the 1958 low-budget Western Ride Lonesome on a tattered, well-loved 35 mm print, both a fitting visual experience for a genre which has largely fallen out of fashion with contemporary audiences and an ironic one, given the genre’s depiction of a lifestyle that, even in the genre’s hay day, remained a wistful reflection of a time since passed. Ride Lonesome, appearing as part of the Cinema’s Cinemascope series, is the most famous of the so-called Ranown cycle, a series of B-Westerns directed by Budd Boetticher and starring Randolph Scott at the tail end of a period of non-revisionist Westerns before Italian Spaghetti Westerns reimagined the genre in the 1960s. Underrated in their day, the films were quickly reappraised by French Critics and have since received wider acclaim stateside, being hailed by Martin Scorsese and awaiting canonization in the Criterion Collection this July. 

Ride Lonesome opens with a quintessential Western image: a lone figure on a horse riding through the dusty hills of an unknown, and perhaps unnamed, territory. Ben Brigade, played reservedly by Randolph Scott, is a mysterious bounty hunter, pursuing and capturing the murderer Billy John, who is to be hanged once the two get to town. As they go on, they are joined by a woman and two men who are themselves hunting after Billy John, all while fleeing from the looming threats of Native Americans and Billy John’s brother Frank, who is chasing the crew with his own gang of bandits. 

The West of Ride Lonesome is sparse, populated not by towns with saloons, railroads or ranches, but by isolated ruins, minimal structures and miles and miles of blank landscape.

Arts & Culture

The Un-Understandability of ‘Last Year at Marienbad’

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Cornell Cinema recently showed the 1961 film Last Year at Marienbad, a French film about an old hotel populated by wealthy guests. It focuses on an unnamed man, the narrator, who aggressively insists that he had met the female protagonist, an unnamed woman, one year ago and she promised to give him an answer as to whether or not they could be in a relationship. She, however, has no memory of ever meeting him. Most of the movie consists of the man trying to convince her that his memory is accurate and hers is inaccurate. He wants her to leave the second unnamed male character who may or may not be her husband, which, at the end of the movie, she does.

Arts & Culture

On Trigger Warnings and Watching Movies

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Asking someone to watch a film that taps into that trauma, in the hope that the difficult material will recontextualize the way they see their experience, risks just as much that it’ll set them back in grappling with said experience.

Arts & Culture

Missing the Beat: A Review of the Mini Series Daisy Jones and the Six

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Based on Taylor Jenkins Reid’s novel of the same name, the limited mini series Daisy Jones and the Six premiered on Amazon Prime Video in March. The show and book mostly have the same plot: the rise and fall of a 1970s rock band, loosely based on Fleetwood Mac. Like the book, the TV show is formatted as a documentary — as the characters are interviewed, they reminisce on their time in the band. As with most book-to-screen adaptations, I personally preferred the book over the show. The band first started as “The Dunne Brothers,” created by Billy Dunne (Sam Claflin) and his brother Graham (Will Harrison) with a group of friends in high school out of their garage.

Arts & Culture

XU | It’s a Lovely Day for alt-J

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I have been hunting for a specific kind of lyrical, melodic, soft electronica. I went through Sufjan Steven’s The Ascension (think “Video Game”), Jamie xx, a bit of Tame Impala and lots of Joji before remembering alt-J. The British band combines elements of electronica, rock and pop to create the distinct texture of their music. I knew their most popular song, “Breezeblocks,” but I had never really listened to their albums seriously up until now. It was down this lane of rediscovery that I stumbled upon alt-J’s version of Bill Withers’ “Lovely Day.”

Alt-J peaked around 2015.

Arts & Culture

“The Super Mario Bros. Movie ” – Lets-a-Go

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Nintendo’s beloved character Mario is one of the most iconic gaming icons since his first appearance in the 1981 arcade game Donkey Kong; the red hat, white gloves, overalls and mustache are universally recognizable, and the 200+ games that he has been featured in for the last 50 years have undeniably made an impact on our lives in one way or another. So when The Super Mario Bros. Movie was first announced back in 2018, fans were bubbling with excitement — only to be hit with a slight letdown from the first teaser trailer in October 2022. The original voice of Mario, Charles Martinet, had been replaced by Chris Pratt, who revealed an uninspiring Mario voice with a subtle Brooklyn accent, reminiscent of the one by Lou Albano in The Super Mario Bros. Super Show!, an animated series that aired on television in 1989.

Arts & Culture

XU | Broadway’s Fat Ham is a Twist on Shakespeare, But it’s Also Much More

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There is only one thing that makes me wish I wasn’t studying abroad this semester — Fat Ham, a comedy written by James Ijames, is on Broadway and I really want to go see it. The play ran from May to July last year at the Public Theater in New York, after premiering as a streaming production (thanks, pandemic) at Philadelphia’s Wilma Theater and winning the Pulitzer Prize in drama. Fat Ham, a comedic reinterpretation loosely based on Shakespeare’s Hamlet, caught my eye for two reasons: I had just finished writing a paper on a modern-day Shakespeare adaptation, and Colman Domingo (who plays Ali in Euphoria) is co-producing the play. He posted about it on Instagram — and yes, I follow Domingo on Instagram. Memorable adaptations of Shakespeare are few and far between.