Diamond Film Swap

[Philosophe_rouge]

I decided instead of genre films to go for the obscure, open up someone's eyes to a little seen gem that you think deserves more accolades.

The way we'll be measuring "obscurity" is by how many views it has on IMDB, anything with less than 1000 votes qualifies.

If you're unsure where you can find this stat, here is a helpful diagram:
http://i282.photobucket.com/albums/kk248/zombierougegrr/stel.png

Also, if you're only using Netflix for example, it might help to let your partner know this, so they can choose something that will be available to you.

Sign up now, "registration" will tentatively end on Wednesday, though if we can find two people willing after that date I see no reason why they shouldn't be allowed. I'll probably match you up on that date.

You have until October 31st to post your review in a seperate thread.

Groupings:
Boner & Grouchy
Brightside & Russ
Cult & ledfloyd
Fasozupow & Rowland
Sycophant & Kurious Jorge v3.1
Kurosawa Fan & Derek
soitgoes... & Winston*
Spinal & SirNewt
Thefourthwall & Chrisnu
Philosophe_rouge & Antoine
Stay Puft & Dreamdead
Qrazy & Epistemophobia
Raiders & origami_mustache

[Philosophe_rouge]

Damn, I forgot to change my thread title, meh

[Watashi]

I don't think I've seen many films with sub-1000 votes.

[Philosophe_rouge]

I don't think I've seen many films with sub-1000 votes.
You'd be surprised, there are a few that really surprised me when I found them.

[Spinal]

Damn, I forgot to change my thread title, meh

I can change it for you. What did you want it to be?

[Ezee E]

On power searches, only porn titles seem to come up.

[SirNewt]

How does this work?

Do I just post a film I think others should watch and then trade with someone who wants to?

I don't think it's that obscure but it has less than 1,000 votes.

The Browning Version (http://www.imdb.com/title/tt0043362/)

[Philosophe_rouge]

How does this work?

Do I just post a film I think others should watch and then trade with someone who wants to?

I don't think it's that obscure but it has less than 1,000 votes.

The Browning Version (http://www.imdb.com/title/tt0043362/)
No, you sign up and I match you with someone, and you trade with them. I made a short list earlier, and this was one that surprised me. Great film.

[Philosophe_rouge]

I can change it for you. What did you want it to be?
I actually hadn't decided yet, if I think of something I'll let you know, otherwise, I'll keep it as is.

[SirNewt]

sign me up.

[chrisnu]

Sure, I'll do it.

[Kurious Jorge v3.1]

sign me up

[Philosophe_rouge]

Yay for everyone who has volunteered so far :D

[origami_mustache]

cool I'm in

[Kurosawa Fan]

I'm in.

[dreamdead]

Most of my favorite contemporary filmmakers qualify for under 1,000 views by the IMDb audience, so I'm in. Should be interesting, though I'm surprised by some films (The Rapture, for one) that I thought wouldn't be over 1,000 and are...

[Raiders]

I'll participate

[Derek]

I'm in.

[Rowland]

Fo sho.

[Watashi]

I've seen a whopping 5 sub-1000 films.

Yeah, not participating in this.

[Sycophant]

Count me in.

[Kurosawa Fan]

How about expanding it to 1500 votes? Just a suggestion. I have a few under 1000, but I'd have many more options if we expanded to 1500. Might make it a bit easier for people to find available films that way.

[Kurosawa Fan]

Scratch that. The more I look, the more I'm finding. 1000 is a good limit.

[Watashi]

Scratch that. The more I look, the more I'm finding. 1000 is a good limit.

:|

Can we just have a regular film swap?

[Kurosawa Fan]

:|

Can we just have a regular film swap?

I like this way. It made me dig deeper and I have 16 films ready that I probably wouldn't have suggested otherwise. It's made me want to watch them again. This is a great idea.

[Watashi]

I like this way. It made me dig deeper and I have 16 films ready that I probably wouldn't have suggested otherwise. It's made me want to watch them again. This is a great idea.
A great idea for you maybe. I want to join this swap, but I've only seen 5 sub-1000 films and only one of them I would consider good.

Not everyone has access to KG.

[Kurosawa Fan]

A great idea for you maybe. I want to join this swap, but I've only seen 5 sub-1000 films and only one of them I would consider good.

Not everyone has access to KG.

All 16 of the films are available on Netflix. I didn't get any of them on KG. Are you sure you only have 5? I went through every film I rated 4 or 5 stars on Netflix and was really surprised that some of them hadn't received 1000 votes.

[Watashi]

All 16 of the films are available on Netflix. I didn't get any of them on KG. Are you sure you only have 5? I went through every film I rated 4 or 5 stars on Netflix and was really surprised that some of them hadn't received 1000 votes.
Yes. I did.

The only really good sub-1000 film I've seen is Park Row and that was thanks to KG.

I don't watch many obscure films like most people on this site do.

I vote for just a regular film swap and those paired up who want to swap sub-1000 films can do so.

[Kurosawa Fan]

Well, I don't think it's up for vote. This is Philosophe's swap. You may just have to opt out and wait for the next swap.

[Watashi]

Damn you rouge, this is all your fault.

Mutiny! Mutiny!

[Philosophe_rouge]

Damn you rouge, this is all your fault.

Mutiny! Mutiny!
If you want, you can do 1500 votes, if that expands it a little. I know I found a ton of films that just went over 1000. If that isn't any help, well, too bad :twisted:

[Spinal]

Sub-1000 is really not that obscure. Not sure what the big deal is.

I will participate.

[chrisnu]

Sub-1000 is really not that obscure. Not sure what the big deal is.
I agree. I'd keep the restriction at that level.

[Kurious Jorge v3.1]

dammit, the prospective movie I wanted to recommend is at 1,005 votes :frustrated:

[Spinal]

My suggestion will have less than 300 votes and yet is available through Netflix.

[Watashi]

Sub-1000 is really not that obscure. Not sure what the big deal is.

I will participate.
Again, to you it isn't.

I won't have any films to recommend if I join.

[Winston*]

I guess I'll play.

[Russ]

ok, me too

[chrisnu]

Again, to you it isn't.

I won't have any films to recommend if I join.
If we were to have an anime film swap, for example, I wouldn't have any films to recommend. Same difference. Would changing the rules to accommodate me be fair?

[Mysterious Dude]

I'll do it.

[Qrazy]

In.

[Watashi]

If we were to have an anime film swap, for example, I wouldn't have any films to recommend. Same difference. Would changing the rules to accommodate me be fair?
I don't want an anime swap.

A regular film swap would be open to anyone.

I just don't like feeling left out considering I wanted another film swap.

[Watashi]

I don't want an anime swap.

A regular film swap would be open to anyone.

I just don't like feeling left out considering I wanted another film swap.
I could always join and have someone recommend me a sub-1000 film, but I'll just recommend a film I think is underseen or such.

[Derek]

I won't have any films to recommend if I join.

Vagabond has 1,105 votes. If this has the fewest IMdB votes of any movie you've ever seen, which appears to be the case, then I'm sure no one will hold it against you for recommending it.

[Watashi]

Vagabond has 1,105 votes. If this has the fewest IMdB votes of any movie you've ever seen, which appears to be the case, then I'm sure no one will hold it against you for recommending it.
I've seen Park Row, but that's not available on Netflix.

Also, wouldn't that be kind of silly for someone to already know what I'm going to recommend?

[Bosco B Thug]

This sub-1000 guideline is pretty perfect in regards to splitting the decision whether one uses this guideline for good or for evil. I want to inflict someone with something, I'm in.

[Mysterious Dude]

Also, wouldn't that be kind of silly for someone to already know what I'm going to recommend?
So find a different movie that's close to 1000, so we can all get on with our lives.

[Derek]

So find a different movie that's close to 1000, so we can all get on with our lives.

This being the general point of my post...

If I can find one that's close to 1,000 votes in your signature Wats, I imagine you can find another film that you've seen at some point in your life that you like that also is somewhere near that range. As opposed to complaining and trying to get everyone to change a perfectly good film swap idea.

[Kurosawa Fan]

Christ Wats, she said you could expand to 1500 if you needed to. Find another movie and quit crying about it already.

[Raiders]

One thing is clear: IMDb is the root of all evil.

[Russ]

Christ Wats...quit crying about it already.
Really. She's already given you a hall pass, so just look at it as a great opportunity to be exposed to all the obscure gems that others will recommend.

[thefourthwall]

I'll play!

[Grouchy]

I'll play too.

For real this time.

[Derek]

One thing is clear: IMDb is the root of all evil.

http://images.publicradio.org/content/2007/09/14/20070914_tarr_square.jpg

[balmakboor]

I'm in.

[Rowland]

I saw 19 U.S releases last year with <1,000 votes.

[Stay Puft]

I shall partake.

[Watashi]

Really. She's already given you a hall pass, so just look at it as a great opportunity to be exposed to all the obscure gems that others will recommend.

Fine. I'll just wait until next year. Even when expanding it to 1,500 votes, it only adds two more films. Not worth it.

[Qrazy]

Fine. I'll just wait until next year. Even when expanding it to 1,500 votes, it only adds two more films. Not worth it.

You're being a tremendous anus.

[Boner M]

I'll play too.

[Russ]

Fine. I'll just wait until next year.
"Sounds like a plan" - Seymour Films

[ledfloyd]

i'm in, i found a movie i love that has 223 votes.

[Cult]

I'm in. I think. I assume I'll be able to find some, but I haven't checked yet.

[soitgoes...]

Hmm... I don't have the best record with these things, but I think I'll give it a go. Great idea.

[Cult]

I'm in. I think. I assume I'll be able to find some, but I haven't checked yet.
Affirmative. My first idea had all of 206 votes. :eek:

[balmakboor]

My first three ideas came in well under 1000. This is easier than I thought.

[Raiders]

Watashi the Populist.

[Mysterious Dude]

I am so ready for this thing.

[B-side]

Hmm. I kinda wanna participate. What if they recommend something you're not interested in seeing at all? Is it cool to try and find a middle ground, or are we going in blind?

[Epistemophobia]

This sounds strangely familiar.

[B-side]

This sounds strangely familiar.

Don't flatter yourself.:rolleyes:

:P

[Philosophe_rouge]

Hmm. I kinda wanna participate. What if they recommend something you're not interested in seeing at all? Is it cool to try and find a middle ground, or are we going in blind?
Pretend you can't get a copy, or else try to compromise with the person you'e with.... it's advisable though to actually see what is recommended to you, as it's meant to be an exchange of ideas and opening up your eyes to something you wouldn't have watched if you were choosing.


This sounds strangely familiar.
A great idea is always worth ripping off at least once.

[Mysterious Dude]

Hmm. I kinda wanna participate. What if they recommend something you're not interested in seeing at all? Is it cool to try and find a middle ground, or are we going in blind?
I usually give people a short list of options, but that's just me.

[Qrazy]

I usually give people a short list of options, but that's just me.

Yeah same, but usually because they may have seen it. Rouge is right though that even if it's a film they may not think they'll like they should still give it a shot in most cases.

[Grouchy]

I thought that was the whole point! Going into a movie blind just based on the fact that another person liked it enough to recommend it.

I got three options.

[B-side]

I thought that was the whole point! Going in to a movie blind just based on the fact that another person liked it enough to recommend it.

I got three options.

Yeah. I guess I just figured if we gave someone options they'd be more likely to actually watch the film, or at least much sooner. I understand the whole idea, though. I'll be giving options.

So yes, rouge, I want in.

[Epistemophobia]

I'd like to play too.

[Philosophe_rouge]

K, the groupings are done. Send your partner your choice as soon as you can :)

Boner & Grouchy
Brightside & Russ
Cult & ledfloyd
Fasozupow & Rowland
Sycophant & Kurious Jorge v3.1
Kurosawa Fan & Derek
soitgoes... & Winston*
Spinal & SirNewt
Thefourthwall & Chrisnu
Philosophe_rouge & Antoine
Stay Puft & Dreamdead
Qrazy & Epistemophobia
Raiders & origami_mustache

[Stay Puft]

Haha, dreamdead was my partner last time, too. And I know what he's watching.

[Philosophe_rouge]

Oooo right, don't forget to let us know what you're watching when it's sorted out with your partner.

[B-side]

So it appears we are partners, Russ. If you recommend me a stinker, I will slit your throat while you sleep. Just sayin'.:lol:

[Epistemophobia]

Qrazy? Hah. I'm not sure how I feel about this.

[Philosophe_rouge]

Qrazy? Hah. I'm not sure how I feel about this.
It's the luck of the draw. Wether the luck is good or bad, well... I can't say. I think both of you have combined seen every film ever made, you guys should join up to be super heroes or seomthing. I don't know what I'm talking about. Ignore this post.

[Philosophe_rouge]

I'll be watching Salesman (1968) and Antoine will be seeing La Ronde (1950)

[B-side]

Oh, and I use Netflix. So Russ should probably know that.:)

[Winston*]

Me- The Burmese Harp
soitgoes... - The Tracker

[Qrazy]

Qrazy? Hah. I'm not sure how I feel about this.

You feel great about it, you're seeing rainbows in glee.

[Spinal]

Spinal will watch The Browning Version.
SirNewt will watch Culloden.

[Stay Puft]

I will watch Virgin Stripped Bare by Her Bachelors (Sang-soo Hong, 2000)
dreamdead will watch Temptress Moon (Kaige Chen, 1996)

[Russ]

I have pm'ed some candidates to Brightside, waiting for a response.

[thefourthwall]

soitgoes... - The Tracker

Hey! That was one of my suggestions. I promise I thought of it before reading this. Are there rules against having the same film be in the mix for multiple pairs?

[chrisnu]

I will be watching When Brendan Met Trudy.
thefourthwall will be watching Mikey and Nicky.

[Kurosawa Fan]

I will be watching Salesman
Derek will be watching Zero Day

[Kurosawa Fan]

Crap. Scratch both of those. Didn't realize someone is already doing Salesman, and Zero Day went over 1000 (1003) since I last checked.

[balmakboor]

Crap. Scratch both of those. Didn't realize someone is already doing Salesman, and Zero Day went over 1000 (1003) since I last checked.

Personally, I'm not going to quibble over 3 votes.

[Kurosawa Fan]

Personally, I'm not going to quibble over 3 votes.

After all the noise in this thread about the vote totals, I'm sticking to under 1,000.

[Winston*]

Personally, I'm not going to quibble over 3 votes.I sure as hell fucking am.

[Russ]

Not to derail the thread, but when I was looking for titles, I was kind of surprised by the number of IMDb votes on some of them...what's the fewest votes you've found on one of yours? I thought one of mine with 32 was the winner until I found The Scenic Route with only 18 votes. It's not on Netflix and I treasure my VHS dub. Note: both these were for fairly recent films, not really obscure silents.

So, what was your low-vote winner?

[balmakboor]

Not to derail the thread, but when I was looking for titles, I was kind of surprised by the number of IMDb votes on some of them...what's the fewest votes you've found on one of yours? I thought one of mine with 32 was the winner until I found The Scenic Route with only 18 votes. It's not on Netflix and I treasure my VHS dub. Note: both these were for fairly recent films, not really obscure silents.

So, what was your low-vote winner?

Morgan's Cake has 7 votes. It is actually quite good and I've owned the VHS for about 15 years. Alas, the DVD isn't on Netflix. It is directed by the guy who wrote the book Feature Filmmaking at Used Car Prices and stars his son and his son's girl friend at the time.

Btw, it's vote breakdown is:

10 - 2 votes
8 - 3 votes
6 - 1 vote
1 - 1 vote

That last guy is a loser. I'd give it a 7.

[B-side]

Russ is watching Brand Upon The Brain! (Maddin, 2006)
I'm watching Careful (Maddin, 1992)

Maddin swap FTW!

[Raiders]

Raiders will be watching Parajanov's Shadows of Forgotten Ancestors
origami_mustache will be watching Shepitko's The Ascent

Long live Soviet cinema.

[Mysterious Dude]

Not to derail the thread, but when I was looking for titles, I was kind of surprised by the number of IMDb votes on some of them...what's the fewest votes you've found on one of yours? I thought one of mine with 32 was the winner until I found The Scenic Route with only 18 votes. It's not on Netflix and I treasure my VHS dub. Note: both these were for fairly recent films, not really obscure silents.

So, what was your low-vote winner?
On my top hundred, I have Glass Harmonica (1968) with 28 votes, and The Quiet One (1948) with 25 votes. I chose not to include either of them in my recommendations, though.

There are a total of 18 films on my top 100 with fewer than 1000 votes each.

[soitgoes...]

So, what was your low-vote winner?The lowest number of votes I can come up with is 11 for Alfred Lind's 1912 The Flying Circus. Also a couple early Borzage 2-reelers are awaiting 5 votes, and another has 7. I've seen a few East European shorts (by Polish documentarian Kazimierz Karabasz amongst others) that aren't even listed as existing according to IMDb.

[Qrazy]

Epistemophobia will be watching My Friend Ivan Lapshin, I'll be watching Pisma myortvogo cheloveka (Lopushansky, 1986)

[soitgoes...]

Epistemophobia will be watching My Friend Ivan Lapshin, I'll be watching Pisma myortvogo cheloveka (Lopushansky, 1986)How did I know you were going to get someone to watch My Friend Ivan Lapshin? :lol:

[B-side]

How did I know you were going to get someone to watch My Friend Ivan Lapshin? :lol:

I do see him whoring that puppy out quite a bit.;)

[soitgoes...]

I do see him whoring that puppy out quite a bit.;)In his defense it was great.

[Qrazy]

Haha well I did give him some options so just luck of the draw.

1. My Friend Ivan Lapshin (German)
2. The Ascent (Shepitko)
3. Satantango (Tarr)
4. Days of Eclipse (Sokurov)
5. Naked Island (Shindo)
6. Cantata (Jancso)

[Kurosawa Fan]

I'll be watching You Only Live Once (Lang)
Derek hasn't PM'd me back after my first choice didn't work, so I'm still not sure about him.

[Derek]

I'll be watching You Only Live Once (Lang)
Derek hasn't PM'd me back after my first choice didn't work, so I'm still not sure about him.

Sorry, I thought I PM'd you yesterday

I will be watching Double Suicide.

[B-side]

In his defense it was great.

I suppose I should see it, then. He recommended it to me a while back.:P

[soitgoes...]

I suppose I should see it, then. He recommended it to me a while back.:PAll 3 of us on this site who've seen it thought it was great.

[Kurious Jorge v3.1]

I'm pm'ed Sycophant twice. He has evidently read them because they are marked 'read' in the outbox, but he doesn't respond. :confused:

[B-side]

All 3 of us on this site who've seen it thought it was great.

That's good news.

[Kurosawa Fan]

Sorry, I thought I PM'd you yesterday

I will be watching Double Suicide.


Nope, never received anything. No problem though. Hope you enjoy!

[Sven]

I'll be watching You Only Live Once (Lang)

A very, very good film. Although I'm biased, I guess. Pretty much anything Lang does is gold in my book. Except The Spiders. Stupid boring Spiders.

[balmakboor]

Rowland will be watching Gabbeh. I'll be checking out Evil Dead Trap.

[Grouchy]

Boner M. will be watching Salon Kitty.

I will be watching Mickey and Nicky.

It fucking rhymes!

[Spinal]

Boner M. will be watching Salon Kitty.


This automatically becomes my most anticipated review.

[Cult]

ledfloyd will be watching Love Conquers All, and I'll be watching Blues in the Night.

[Derek]

This automatically becomes my most anticipated review.

I a little more interested to find out who this Roland fella is and see what he thinks of Gabbeh.

[balmakboor]

I a little more interested to find out who this Roland fella is and see what he thinks of Gabbeh.

Actually, I mistyped the name. Rowland will be watching Gabbeh. And I too am interested in what he thinks about it. It seems so far removed from what he usually writes about.

[B-side]

Barring unforeseen circumstances, I'll be watching Russ' recommendation, Careful (1992), tonight.

[B-side]

Barring unforeseen circumstances, I'll be watching Russ' recommendation, Careful (1992), tonight.

Scratch that. Unforeseen circumstances occurred, but I fixed my lack of a DVD player problem, so that's good.

[Kurious Jorge v3.1]

Sycophant will be watching I Fidanzati.

Kurious Jorge will be watching Seance

[B-side]

Well, I enjoyed Russ' rec of Careful (Maddin, 1992). It's a neat little satire of high-society and repression. Don't know that I can say much more than that.

[Cult]

Well, I enjoyed Russ' rec of Careful (Maddin, 1992). It's a neat little satire of high-society and repression. Don't know that I can say much more than that.

Does this mean we don't have to write full reviews this time?

[dreamdead]

Does this mean we don't have to write full reviews this time?

I hope not. I look to these swaps to get a sustained consideration of films that weren't on my radar before. If people only write a two sentence response that doesn't offer any real insight, then what was the point?

Apologies if this seems harsh, but how does a sentence or two offer any real depth or do service to either the swap or the film itself?

[Russ]

I hope not. I look to these swaps to get a sustained consideration of films that weren't on my radar before. If people only write a two sentence response that doesn't offer any real insight, then what was the point?

Apologies if this seems harsh, but how does a sentence or two offer any real depth or do service to either the swap or the film itself?
Well, I certainly hope my tongue-in-cheek review of his Maddin recommendation (which I loved, btw) didn't influence Brightside's response. I guess I thought most folks would have figured that I wouldn't have put as much time and effort into that "review" (believe it or not!) if I didn't really like the film.

[B-side]

I wasn't aware of the details involving reviews, so I just shared some thoughts.:sad:

[origami_mustache]

The Ascent (Larisa Shepitko, 1977)

http://upload.wikimedia.org/wikipedia/en/thumb/a/a4/Ascent_poster.jpg/200px-Ascent_poster.jpg


"Barely two years after her greatest international triumph—winning the Golden Bear at the Berlin Film Festival for The Ascent—Ukrainian filmmaker Larisa Shepitko tragically died in an automobile accident. The Soviet cinema thus prematurely lost one of the major talents of its post-war generation, and the international film community was robbed of one of its emerging—and potentially most significant—creative lights."
—Rob Edelman


http://i260.photobucket.com/albums/ii2/mteste/s-01.png

The Ascent begins as a seemingly typical Eastern European film dealing with the hardships of war and the Soviet's struggle against the Nazis. It is comparable to the work of the other great Soviet masters, Tarkovsky, Parajanov, Eisenstein, Chukhrai, and Kalatozov, with it's unique compositions, brilliant cinematography, and beautiful snow covered woodland landscapes. I recall several surreal shots where the camera panned through tree-lines and another dream-like shot of a character surrounded by the pure white snow as if on a blank canvas. The plot centers around two soldiers, isolated from their squadron, who try to avoid, but are eventually captured by Nazis. For the most part the film is shot with a lot of very tight shots and close ups. The occasional wide shots capture how completely alone the men are; prisoners to their environment.


http://i260.photobucket.com/albums/ii2/mteste/s-03.png

Throughout the film both men are haunted by the thought of death, however their philosophies differ. Sotnikov prepares to shoot himself rather than be taken captive by the German soldiers, before he is rescued by Rybalk. Following this sequence Sotnikov remarks that he doesn't necessarily fear death, but rather the thought of dying alone in an open field like a dog, although it is a matter of getting used to the thought. Rybalk on the other hand, intends to survive at all costs, and daydreams about attempting to escape captivity only to be shot down. It becomes both a study of the human conscience as well as an overt transcendental Christian allegory, when Sotnikov offers to confess and take the blame in order to save the lives of the other four prisoners, which include an older gentleman, a young girl, and a mother of three children. Conversely Rybalk, takes on the role of Judas and the prisoners make their final ascent up a steep hill where their fate awaits.

[B-side]

That sounds great. I already have it queue'd, but I'm now looking forward to it even more.:)

[Bosco B Thug]

[center]The Ascent (Larisa Shepitko, 1977) I saw this yesterday at a screening. Definitely a brilliant movie. It's very much an art movie, but it's also exciting, funny, and lively. Some fun buddy comedy elements in there too. Sotnikov is a brilliant character, taking on the Christ role because he apparently thinks too much and it seems the only way he can fit into the war-torn world. It begs the question if the real JC did all the courageous stuff he did hoping to impress someone? Sotnikov's space outs are brilliant structural moments.

I can't believe it about Larisa Shepitko's death. Tragic.

[dreamdead]

Man, I need to see Ascent so bad. I don't think I've read a single mediocre review of it.

I'll have my Temptress Moon review up sometime over the weekend. Grading student essays until then...

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/browning1.jpg

The Browning Version (Asquith, 1951)

Recommended by: Sir Newt

Unless you are familiar with the original play or have read the synopsis carefully, there is a period of time at the beginning of The Browning Version where it is unclear just who the subject of our story will be. With the setting as one of those English schools that are frequently used in the movies as a demonstration of government's capacity for soul-crushing rigidity, you may think that you are in store for something like Jean Vigo's Zero for Conduct or Lindsay Anderson's If ... in which the focus is on the students and how they manage to keep the human desire for freedom and imaginative exploration alive in the face of stern discipline. Perhaps that young boy who drops his hat and consequently arrives late to school will become the focus and we will see him struggle against authority. Or perhaps the film will be about that new teacher with the fresh young face who has arrived on the scene and how he inspires the apathetic youth to find vitality, inspiration and joy in those dusty old classics. While the themes of rigidity versus personal freedom are still present, The Browning Version tackles them from a different perspective: by making the monster into the sympathetic protagonist.

Michael Redgrave (father to Lynn and Vanessa) plays an emotionally cold, widely reviled master with the rather unfortunate name of Andrew Crocker-Harris, known to his students as 'The Crock' as well as other worse things that are whispered behind his back. In early scenes, we see that his sole admirable quality as a teacher is his ability to maintain order. He is knowledgeable about his subject matter, the early Greek play, Agamemnon; yet, he strangles the life out of it by deriding his students' attempts at translation and focusing on grammatical minutiae rather than the exhilarating story of passion and violence. In scenes outside of class, we see that he is unable to maintain such neat and tidy order in his own life. Despite his fastidious insistence on keeping the clocks running accurately, his wife is engaged in a rather indiscreet affair with the school's science teacher. And although the headmaster publicly declares the great sadness that will meet Crocker-Harris' imminent retirement, it is painfully clear that his lifetime as an educator has earned him little to no respect from the people with which he has come into contact.

In the way that it places us at a critical moment in time and asks us to look back on a man's lifetime consumed by failure, The Browning Version is reminiscent of Ingmar Bergman's great film, Winter Light, or even Dickens' A Christmas Carol. As his farewell date approaches, Crocker-Harris is forced to reflect upon the sum total of his life, and he finds that it really hasn't added up to all that much. In scenes that approach the naked cruelty of a Neil LaBute script, Crocker-Harris must confront his wife, his headmaster, as well as the man who has made him a cuckold. He must also suffer supreme indignity before finally facing up to the students who hold him in utter contempt. The result is a film that despite its modest focus is surprisingly captivating and emotionally harrowing. Redgrave is outstanding in the lead role, never making himself more likable than he needs to be, yet coloring the teacher with gentle sprinkles of life, helping us to envision the man who was once a highly decorated scholar. Note how he insists on the word 'gentle' during one key moment where he is translating from the Greek and you will see how Redgrave suggests the pulse beating beneath his stoic exterior.

The film builds towards a conclusion that may be on the outskirts of what might be considered realistic; however, it would difficult to deny it's cathartic power after witnessing one ordinary man put through the wringer and then find the desire to be extraordinary again. Sometimes it's nice to find yourself capable of a little sympathy for the devil.

[***1/2]

[soitgoes...]

http://i233.photobucket.com/albums/ee171/soitgoes22/Image1-1.jpg

The Tracker (Rolf de Heer, 2002)

Recommended by Winston*

Rolf de Heer's The Tracker is an examination of Australia's dark past. A time when the indigenous population was considered second-rate, and was expected to bend to the will of the "civilized" white man. This very well could be the description for any number of westerns set in the late 1800's, where the white law tracks the Indian fugitive through hostile desert landscapes. But de Heer's film has a feel all to its own, a feel that is uniquely Australian.

The film starts with a group of 4 men on the trail of an Aborigine who is accused of murdering a white woman. The men are led by The Fanatic (an officer who is the epitome of a racist), The Follower (a young man who is new to the Outback), The Veteran (a local enlisted to help with the search), and The Tracker, an Aborigine pressed to lead the white men. The time is 1922, and de Heer paints the film as though it were approaching legend. The soundtrack is that of an Aboriginal folk singer, and de Heer intercuts traditional looking paintings during scenes of violence.

At the center of the film is David Gulpilil (Walkabout, Crocodile Dundee) as The Tracker. Such a wonderful performance. Always leading the white men to their quarry, albeit at a pace that keeps them a half day behind, he is the embodiment of appeasement, until turned away he flashes a smile that lets you know that he is undoubtedly in control.

The Tracker has me eager to see what else de Heer has made, but more so it left me wanting to see more of Gulpilil. Thanks for the recommendation Winston*.

[dreamdead]

Fantastic thoughts, Spinal and soitgoes... I haven't seen either film, but both have now been pushed to the top of the queue. You make them sound breathtaking.

[Raiders]

The Tracker (Rolf de Heer, 2002)

Nice. And just because (http://www.match-cut.org/showpost.php?p=43320&postcount=1).

[Derek]

Double Suicide (Masahiro Shinoda, 1969)

Recommended by KurosawaFan

From its densely packed, geometrically organized mise en scene to its highly stylized sets confining its characters to its very title, Double Suicide‘s fatalistic vision is all-encompassing and at times it’s a downright vicious attack on the oppressive nature of 18th Century Japanese culture, particularly towards love and freedom. Masahiro Shinoda infuses post-modern stylistic flourishes with the ancient traditions of the Banraku to create a hopeless battle between the disenfranchised individual and the long-standing social mores that hold every character, even our fated central couple, in their grasp. Mid-film set changes and men dressed in black looming in the background may seem superfluous, but they stress the extremity of the power and control that norms and laws of the time held over the people. These men in black, agents of fate, specters of death, what-have-you, peer in on the action, occasionally interrupting the drama by expediting the characters journey towards their tragic demise, making their presence felt like a puppeteer manipulating a puppet to do his bidding.

The love story between Jihei and Koharu is interesting not only because of the style, but because it avoids the Us vs. Them mentality that could have marred a more simple-minded film. The forces constantly working to keep them apart are also instilled in them, as their place in the social order is almost constantly informing their decisions. They wish nothing more than to be together yet the dishonor of running away together is ultimately a concept worse than death. Familial obligations, the strict restrictions of the courtesan and the rigidity of the conventions of the time all work in unison to turn the wheel fate and slowly lead the couple to their predestined fall. The outcome is no surprise, but Double Suicide is interested more in the sociological aspects of the story than the personal and in created an overwhelming sense of hopelessness in the face of deep, passionate love, the film does not fail to deliver.

[Kurosawa Fan]

Awesome. Glad you liked it. You pretty much nailed it.

[Epistemophobia]

My Friend Ivan Lapshin (Aleksei German, 1984)
recommended by Qrazy

The technique of switching between colour and black and white from one scene to the next has always fascinated me. It is such an effective stylistic tool for quickly creating atmosphere and striking a contrast. It's also a powerful way to jolt the viewer into a dialogue with the film. My Friend Ivan Lapshin begins in colour, with a long handheld tracking shot that examines various objects and people as it searches carefully through a quiet house. This is the only time we will experience such ultra-personal camera work, as the film soon jumps back 50 years to the mid 1930s, now in a mesmerising black and white. Our narrator continues speaking from his present time, reflecting through memory on his experiences as a child living in a small town in Soviet Russia just before the Great Purge. It is essential to keep this time period in mind to fully appreciate the contradictions and ultimate decline that the film explores. The parties, the music and laughter, the joking and pranks, all mislead and clash with the depressing situation that surrounds the town, expressed elegantly through the constant thick fog.

Editing is used sparingly, placing value on the natural progression of time. Long tracking shots quickly become familiar as they fluently create a circling world which is able to encompass expansive outdoor locations as easily as it manages confined indoor spaces. Haphazard jumps between scenes often occur without any causal reasoning, resulting in a level of chaos and confusion that reflects the social and political situation present within the film. For the most part the narrative works as a stream of consciousness, and this allows for dramatic shifts in mood and importance whenever necessary. There is still a plot, and even a few subplots, but these fall secondary to the precise study of life, which is exemplified in a number of near silent moments that watch characters from a distance as they go about routine daily tasks. Such scenes are contrasted with loud, grandiose street marches, and then again with serious, dramatic instances of desperation. Clever uses of light, snow and night photography create images of exquisite beauty out of ugliness. As the world declines into darkness the use of colour also disappears, leaving us to pessimistically contemplate the bleak future ahead.

http://i146.photobucket.com/albums/r257/derZornGottes/wordpress/ivanlap.jpg

[thefourthwall]

Mikey and Nicky (Elaine May, 1976)
Recommended by chrisnu.

http://www.altfg.com/Stars/m/mikey-and-nicky.jpg

Well, you learn new things all the time—John Cassavetes acts? News to me, but he wasn’t too bad and playing opposite of him is the incomparable Peter Falks. The two portray friends Nicky and Mikey (respectively) since childhood with Mikey responding to Nicky’s call for help as he is on the run from a mob boss he’s swindled. The film takes place over the course of an evening as the two erratically change plans and go about the city of Philadelphia, visiting bars, Nicky’s mistress, a graveyard, a movie theater, doing a lot of walking and bus riding.

The film is mostly concerned with the friendship and history of the two men. Nicky is needy and paranoid for the first half of the film, so much so that I hardly believed his rational speech and behavior in the second, but his turning point seems to come as he and Mikey visit Nicky’s mother’s grave and they share stories of their childhood, like the fact that Mikey had a brother who died, that even Mikey’s wife doesn’t know. Nicky affirms that their lives are more authentic because they were witness to each other—their memories confirm and validate that the other lived, hinting at postmodern paranoia about existence. This is the great strength of the film, the exploration of what these two men mean to each other, how they’ve treated each other, and how that has determined who they are and what will happen to them.

I was surprised that with a female writer and director the role of women in the piece was so---terrible. I realize that how the men treat the women tells more about the character of the men than the women, but it was still disturbing. While Nicky’s mistress, who reads and watches the news, tries to have an intelligent conversation with Mikey, she is easily put off by Nicky who treats her in an appalling, undignified manner. Both Mikey’s and Nicky’s wives are shown but also have little backbone, buying their husbands’ lies and surrendering their own agency.

All in all, a film worth the effort, but not without its problems—82/100.

[Qrazy]

Mikey and Nicky (Elaine May, 1976)
Recommended by chrisnu.

http://www.altfg.com/Stars/m/mikey-and-nicky.jpg

Well, you learn new things all the time—John Cassavetes acts? News to me, but he wasn’t too bad and playing opposite of him is the incomparable Peter Falks.

Hrm... well if you want to see more of his acting do check out... Rosemary's Baby, Husbands, Opening Night, The Dirty Dozen and Love Streams.

[Kurious Jorge v3.1]

I missed the dealine but I will have my review this weekend.

[Sycophant]

I missed the dealine but I will have my review this weekend.

Yeah, I'm late, too. Should watch it this week and hopefully have something written by the weekend.

[chrisnu]

Glad you like the film, thefourthwall. I missed the deadline, too, but I should be able to see my film... today sounds good!

[Qrazy]

Probably going to take me a while. I lost my karagarga... had like .38 and needed .4 so it will take some time to locate the film.

[thefourthwall]

Hrm... well if you want to see more of his acting do check out... Rosemary's Baby, Husbands, Opening Night, The Dirty Dozen and Love Streams.

Thanks, I did enjoy him.


Glad you like the film, thefourthwall. I missed the deadline, too, but I should be able to see my film... today sounds good!

Yays! (Although, I'm a bit worried that your suggestion was better than mine...)

[dreamdead]

Mikey and Nicky (Elaine May, 1976)
Recommended by chrisnu.

I was surprised that with a female writer and director the role of women in the piece was so---terrible. I realize that how the men treat the women tells more about the character of the men than the women, but it was still disturbing. While Nicky’s mistress, who reads and watches the news, tries to have an intelligent conversation with Mikey, she is easily put off by Nicky who treats her in an appalling, undignified manner. Both Mikey’s and Nicky’s wives are shown but also have little backbone, buying their husbands’ lies and surrendering their own agency.

All in all, a film worth the effort, but not without its problems—82/100.

Most of the film criticism of the film talks about how much May sublimated her style into the Cassavetes method of shooting improv scenes between Falk and Cassavetes, so it's no huge surprise that this lacks any real solid female. That said, this film's biggest flaw, and what's truly worrisome, as you note, is how very passively the women are portrayed. There's an obvious disregard for their agency, but that can work on two levels. On the one level, it's May simply not taking enough time (or care) to establish three dimensional characters around Mikey and Nicky. On the second level, the docile women act as a meta-critique of their nonexistent functionality in film noir, since this is obviously a reworking of that genre. If we want to give May that much credit, then the film's terrible portrayal doesn't so much damn the film as it does damn the genre itself.

[Derek]

Probably going to take me a while. I lost my karagarga... had like .38 and needed .4 so it will take some time to locate the film.

If you need another invite, PM me.

[Spinal]

SirNewt will watch Culloden.

Or will he?

[B-side]

Hrm... well if you want to see more of his acting do check out... Rosemary's Baby, Husbands, Opening Night, The Dirty Dozen and Love Streams.

Yes. He's very good in both Rosemary's Baby and Opening Night. He may have been my favorite part of Opening Night.

[chrisnu]

I watched my film! Review coming tomorrow! Woohoo!

[Derek]

I watched my film! Review coming tomorrow! Woohoo!

You're still faster than my partner.

*Shakes fist at KF*

[Kurosawa Fan]

You're still faster than my partner.

*Shakes fist at KF*

*hangs head in shame*

Take comfort in the fact that I haven't watched anything else instead. I'm just in a serious funk with films. Aside from theater viewings, I think I've watched 3 Netflix films since June. I'm sorry man. I'll try to really make it a priority. It's at the top of my queue, I just need to watch The Scarlett Empress first.

[Raiders]

Mine has been skipped over by Netflix twice now. I called and they confirmed I'll be getting it once they receive the movie I just sent back. So, hopefully by this weekend I'll have a review for it.

[Winston*]

I still intend to watch my film. I'll try to get to the video store that has it in the next week or two.

[Derek]

*hangs head in shame*

Take comfort in the fact that I haven't watched anything else instead. I'm just in a serious funk with films. Aside from theater viewings, I think I've watched 3 Netflix films since June. I'm sorry man. I'll try to really make it a priority. It's at the top of my queue, I just need to watch The Scarlett Empress first.

If you're in a funk with film, you could always watch a television series, perhaps one involving Ian McShane and enough cursing to make Qrazy blush... :)

In all serious, I know you haven't been watching much recently and you're not likely to disappear without a trace, so I'm only busting your balls.

[chrisnu]

http://i22.photobucket.com/albums/b344/chrisnu/brendan_trudy.jpg

When Brendan Met Trudy

Directed by: Kieron J. Walsh
Year: 2000
Recommended by: thefourthwall

When Brendan Met Trudy is the tale of a young man who has gradually realized that life has been slowly drained of all its wonder and enchantment. He has become very specific and organized in his habits and interests, but the rituals have become perfunctory and soulless, primarily due to such having been enjoyed alone. He is awkward and afraid of the unknown, and yet is longing for a taste of something deeper, something human.

Everything changes, of course, when he meets Trudy. It’s not a case as simple as opposites attracting each other. It’s that she’s alive in ways he’s never allowed himself to be. Vulgar, gregarious, impulsive. She opens up a joy for life in him. He becomes more outspoken, passionate, and adventurous. However, there are some moral wrinkles which interrupt his bliss, threatening to send him back to that place of isolation and mundane misery.

What makes this film distinctive is the fact that although our ordinary hero undergoes a transformation of character, he remains who he is. Brendan doesn’t drink a magical potion that suddenly changes himself into everything he ever wanted to be. That eliminates the joy in discovery, both positive and negative, after all.

Another intriguing aspect of Brendan’s character, and the film’s construction, is that he is a lover of films. He initially finds the reality of films more appealing, and easy, than forging his own reality. He uses films to inform how he responds to real life, as a means to connect. The film’s stance on his obsessions is compassionately neutral, neither dismissive nor adulatory. His moments with Trudy are a cornucopia of scenes from his own personal film.

While other films are used to inform the events in Brendan’s life, the film not only toys with our expectations based on other moviewatching experiences, it openly, lovingly mocks them. It questions the idea that we can chronicle real life in a method similar to bulletin points in a film summary. Real life can’t be contained or categorized in that manner. That’s part of what makes it worth living. When Brendan Met Trudy is joyously, ardently pro-life.

[chrisnu]

You know what? I needed a film that makes me feel awesome. Thank you, thefourthwall.

[thefourthwall]

You know what? I needed a film that makes me feel awesome. Thank you, thefourthwall.

Yay!!! I'm so glad you liked it. I spent a summer studying Irish film, and it's just about the only happy one I saw, but boy is it ever uplifting!

[Boner M]

Do I really have to review a Tinto Brass film? Really? Salon Kitty is a terribly directed film whose only purpose is to titillate the raincoat brigade of the 70's while reassuring them that they're 'learning something' simply because it's set in Nazi Germany. The WW2 drama could use this kind of assault on middlebrow sensibilities, but it needs a competent storyteller and visual eye, and Brass just ain't the man for the job. If anything, my esteem for Verhoeven's Black Book just went up after sitting through this, which basically amounts to an epic-length Russ Meyer film, if his actresses were made to read verbatim from teleprompted wikipedia pages rather than actually have memorable dialogue. And the film's only erotic insofar as the actresses involved are hot (Teresa Ann Savoy... jkwsbdhfhsdgfj); Brass seems to think that creating eroticism involves zooming into a woman's pubes whenever things are starting to drag (which is often). Overall, better than what I've seen of Caligula, but then, it'd have to be.

[dreamdead]

Yeah, that's the right response. I thought the premise of this film would lead to something interesting, but any subversive element is too on-the-nose to act as subversion and Brass quickly reveals a disinterest in actually engaging ideas of rebellion. Instead, it's a sex scene every ten minutes or so, but few advance the plot or serve as anything other than ornamental flourish to an empty product. The only nice thing I can say about it is that the cinematography looks pretty for the whole time.

I loved the dubbing of the second in command's voice, as he shouted out every line and still had no inflection. A marvelous feat, that.

[balmakboor]

Gabbeh is a really good film. Really, it is.

[Kurious Jorge v3.1]

Watching Seance tonight. Only 1 + months past the deadline...

[thefourthwall]

[center]The Ascent (Larisa Shepitko, 1977)

It becomes both a study of the human conscience as well as an overt transcendental Christian allegory, when Sotnikov offers to confess and take the blame in order to save the lives of the other four prisoners, which include an older gentleman, a young girl, and a mother of three children. Conversely Rybalk, takes on the role of Judas and the prisoners make their final ascent up a steep hill where their fate awaits.

While I see Sotnikov attempting to take on the savior role at the very end and Rybalk is called Judas, I don't really think you could call this an allegory because the parallel is not consistent or pointed for the entire film, nor does it seem to be attempting to suggest any sort of Christian point or theme.

I can see how Sotnikov is a Christ figure of sorts, with the young boy who watches him die and who looks condemningly at Rybalk as a disciple. But the film doesn't begin or end with him, rather it ends with Rybalk (as a failed Judas if you'd like) who can't kill himself, nor does he have the courage to attempt escape, instead imagining being shot in the back. His cowardice despite his physical strength makes him pitiful in comparison to the sickly, yet faithful Sotnikov, but that doesn't really seem allegorical to me.

[Qrazy]

Gabbeh is a really good film. Really, it is.

Meh I'm not super huge on it although I don't dislike it. I did just get The Cyclist though so hopefully that will work better for me. A Moment of Innocence and Kandahar also look very good.

[Winston*]

Before I forget, I saw my movie, last week. Liked it a lot, especially the fantastic scene where the British soldiers and the Japanese come to an accord through the shared knowledge of a song rather than one overcoming the other through force. Anti-war sure, but who isn't? What I got most out of the film was it's super optimistic view of humanity because I'm all about humanity. Probably not going to spend my life burying corpses in the third world though.

Blackface Indian soldiers were pretty distracting and the film really could've done without the training parrots to say redundancies stuff, but whatever. Good film.

[Spinal]

I think I'm done with film swaps for good.

[Winston*]

I think I'm done with film swaps for good.

What was it about my review that put you over the edge?

[Spinal]

What was it about my review that put you over the edge?

Where to start?

[Derek]

I think I'm done with film swaps for good.

Same here, at least the review "requirement" part. I like getting an off-the-radar recommendation, but everything else about it pretty much sucks.

[balmakboor]

Same here, at least the review "requirement" part. I like getting an off-the-radar recommendation, but everything else about it pretty much sucks.

I thought it was fun and got what I wanted out of it. I saw something I would have never seen and then felt obligated to write about it. I don't think I would have given the film as much attention if it was just a casual watch.

Plus, if all I want is off-the-radar recs, all I have to do is read the Discussion Thread daily.

[Ezee E]

I like my version of Film Swapping more.

[Derek]

I thought it was fun and got what I wanted out of it. I saw something I would have never seen and then felt obligated to write about it. I don't think I would have given the film as much attention if it was just a casual watch.

Plus, if all I want is off-the-radar recs, all I have to do is read the Discussion Thread daily.

Yes, this is all fine and good, but it's the whole relying on others who sign up for it to feel that same obligation part that ruins it.

[Rowland]

I totally forgot to ever say anything about it, but my Netflix copy of the movie I was assigned skipped so badly that it was unwatchable, so I sent it back and tried to find the movie at local rental chains to no avail. The first twenty minutes of the film that I managed to watch were visually arresting, but I don't have much else to say without seeing the rest of it, sorry. The bit with the teacher teaching his students colors was charming.

[Qrazy]

Yes, this is all fine and good, but it's the whole relying on others who sign up for it to feel that same obligation part that ruins it.

Meh everyone will do it eventually the timeline is simply too restrictive, particularly for obscure films.

[Qrazy]

Apologies for being a horrible bastard, I finally got around to watching the film Epi rec'd me.

Letters from a Dead Man (Lopushansky, 1986)

http://img341.imageshack.us/img341/1396/letterssssu6.jpg

I'll start with the pros: This is certainly one of the better post-apocalyptic films ever made. It has tremendous atmosphere, and some fantastic set design. The film screams despair throughout it's short run time. The film focuses on a man and his dying wife and his day to day life and associates in a post-apocalyptic landscape. It's primarily an introspective film which examines the hopelessness of the time period. It's on par with Time of the Wolf as one of the more brutal apocalyptic films I've witnessed. Apparently it's based on a Strugastky brothers story as all awesome Russian sci fi seems to be. And also, apparently pretty much all of Lopushansky's films are post-apocalyptic narratives so I'm looking forward to some more solid sci fi and world building from this guy in the not too distant future.

Cons: Lopushansky has a bit of an uneven aesthetic. The film possesses a number of terrific shots but they're unfortunately interspersed with mediocre ones. The same can be said for the editing. Some sequences are absolutely excellent (when we witness a flashback to the nukes) and other sequences are just average. His staging isn't all that dynamic and he is not able to establish a strong sense of geography in the film.

All that being said, the film's atmosphere and it's ideas are potent and there are a number of stand out moments even if they don't all gel together perfectly. Perhaps postmodern fragmentation is part of the point but I think the film could have used a little more aesthetic fluidity. All in all, well worth seeing.

B

Thanks for the rec Epi!