Gass, “The Pederson Kid,” finished: that didn’t go where I thought it was.
Blackmail (1929): Starts off like a silent film, but after an opening sequence the narrative unfolds following a detective from Scotland Yard. Interesting montage of similar images that are meant to indicate a character’s mental state: a woman sees a passed out drunk’s arm that reminds her of the arm of the man she killed. Two scenes though stand out, although I’m not sure why, in both a character’s field of view should include another person who represents a threat, yet they do not see them. A film infrastructure problem.
The Expanse (2015), 1.3-4
Tolstoy, 10 pp.: Bezukhov joins the Masons?!