It Can't Rain All the Time
The Crow
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It Can’t Rain All the Time weaves memoir with film criticism in an effort to pin down The Crow’s cultural resonance. A passionate analysis of the ill-fated 1994 film starring the late Brandon Lee and its long-lasting influence on action movies, cinematic grief, and emotional masculinity “A powerful reminder that the most powerful art reminds us how to feel.” — Anne T. Donahue, author of Nobody Cares Released in 1994, The Crow first drew in audiences thanks to the well-publicized tragedy that loomed over the film: lead actor Brandon Lee had died on set due to a mishandled prop gun. Bu...
It Can’t Rain All the Time weaves memoir with film criticism in an effort to pin down The Crow’s cultural resonance. A passionate analysis of the ill-fated 1994 film starring the late Brandon Lee and its long-lasting influence on action movies, cinematic grief, and emotional masculinity “A powerful reminder that the most powerful art reminds us how to feel.” — Anne T. Donahue, author of Nobody Cares Released in 1994, The Crow first drew in audiences thanks to the well-publicized tragedy that loomed over the film: lead actor Brandon Lee had died on set due to a mishandled prop gun. But it soon became clear that The Crow was more than just an accumulation of its tragic parts. The celebrated critic Roger Ebert wrote that Lee’s performance was “more of a screen achievement than any of the films of his father, Bruce Lee.” In It Can’t Rain All the Time, Alisha Mughal argues that The Crow has transcended Brandon Lee’s death by exposing the most challenging human emotions in all their dark, dramatic, and visceral glory, so much so that it has spawned three sequels, a remake, and an intense fandom. Eric, our back-from-the-dead, grieving protagonist, shows us that there is no solution to depression or loss, there is only our own internal, messy work. By the end of the movie, we realize that Eric has presented us with a vast range of emotions and that masculinity doesn’t need to be hard and impenetrable. Through her memories of seeking solace in the film during her own grieving period, Alisha brilliantly shows that, for all its gothic sadness, The Crow is, surprisingly and touchingly, a movie about redemption and hope. About the Pop Classics Series Short books that pack a big punch, Pop Classics offer intelligent, fun, and accessible arguments about why a particular pop phenomenon matters.
