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Consuming Passions

The New Yorker|November 21, 2022
“The Fabelmans” and “Bones and All.”
- By Anthony Lane
Consuming Passions

In Steven Spielberg’s semi-disguised autobiography, the protagonist worships film.

A Roman Catholic kid of my acquaintance, on his first trip to the cinema, paused to genuflect in the aisle before taking his seat. A perfectly understandable mistake. The same kind of awe consumes Sammy Fabelman (Mateo Zoryon Francis-DeFord), a young Jewish boy, as he yields to the ineffable mystery of the big screen, at the start of Steven Spielberg’s “The Fabelmans.” No bending of the knee, but Sammy has never seen a film before, and his eyes widen, in delicious dread, at the sight of a train crash in “The Greatest Show on Earth.” For him, I reckon, that could be the title of every movie ever made.

この記事は The New Yorker の November 21, 2022 版に掲載されています。

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Consuming Passions
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この記事は The New Yorker の November 21, 2022 版に掲載されています。

7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,500 以上の雑誌や新聞にアクセスしてください。

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