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Joni Mitchell’s Blue – A Perfect Album; Bong Joon Ho’s Parasite – Best Film of the Year; Nordic Crime Fiction- Smilla’s Sense of Snow

Things I’m into right now!

“What makes a perfect record perfect?”

I remember the first time I heard a Joni Mitchell song. It was “Both Sides Now” – I came upon it directly after listening to Leonard Cohen’s “Famous Blue Raincoat” for the first time, which is as it should be, and a story of music and magical discovery all its own. What I remember about “Both Sides Now” is that it was one of the first songs to give me that sense that all great songs do: that is has always existed, that I was already aware of its existence, and that when I heard it, synapses in my brain fired to make this unknown thing instantly familiar, recognized, remembered – and loved. All of which is a long way to say: read this article – Anatomy of a Perfect Album: On Joni Mitchell’s Blue [Lithub]. “Both Sides Now” isn’t from Blue – “River” is, which is another classic, and a Christmas song, shot through with a gorgeous yet assenting wistfulness that sweeps you along its rich turns and delicate melancholy like the river of the title. Mitchell teaches us how to embrace loneliness as a friend rather than an enemy. “Only a phase, these dark café days.”

 

Bong Joon Ho’s Parasite placed first in the Indiewire’s critics poll for 2019, which polled 304 movie critics from around the world to pick the best movies and performances of the year. I loved Parasite, but the fact that it’s the pick for best movie of the year really speaks to the paucity of transcendent or even brilliant films this year. The movie is brilliant, but flawed, and it’s not even among Joon Ho’s two best films (of which one would certainly be the scorching, unforgettable Mother). The 50 Best Movies of 2019, According to 304 Film Critics [IndieWire]

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