Dear Mike Frank and others who are generally bothered when a film gets
ticks and accents right but leaves out guts, heart and balls:
 
Film has no way of including guts, heart and balls.  What film can
coassemble, distort, and in other ways contrive to represent, is
precisely ticks and accents, surfaces, surface assemblages,
contextualities, and so on.  If film could represent guts and heart, in
VERTIGO, when "Madeleine Elster" is seen by Scotty midway through the
film to topple to her "death" from the "tower," *we, too* would be
sickened to mourning, and that would be the end of the film for us.
 
Murray
Toronto
 
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Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama.