"In Dr. No, he even invites him to dinner and to drink a 1955 Dom Perignon. In other films, for example, the agent is tied in front of a saw that will cut him in half while receiving a lecture from his nemesis, who, film after film, always confesses his strategy; meanwhile, 007 usually resolves these confrontations with a quick shot. How can the same mistake happen again and again?"
"Wouldn't Mary have been happy without him? Couldn't she have gone to pursue a career in New York? And why do they sell us the idea that being a librarian is a dull profession? Why, in that case, does she wear glasses, dress in gray, and become a timid woman? It's a moment that takes me right out of the movie. Donna Reed, when her character Mary Hatch becomes a librarian in It's a Wonderful Life.'"
Recurring cinematic clichés and careless inaccuracies appear across many well-known films, from Bond villains explaining plans to being tied before a saw while lecturing, to Indiana Jones's unnecessary glasses and contradictory claims about archaeology. Films contain implausible set pieces, improbable scares, and visible production shortcuts, such as an Egyptian wall in the Indian Ocean, cylinders of fire driving off Roman legions, and a poster magically covering an escape hole. Juan J. Alonso, 63, documents and objects to these senseless errors, especially the reductive portrayal of Mary Hatch as a lonely librarian, challenging stereotypes about librarianship and character agency.
Read at english.elpais.com
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