The Race to Finish Someone Else's Arbitrary Best of List

[Qrazy]

Racist.

I'm not prejudiced, one of my best friends has different movie taste than I do!

[B-side]

I'm not prejudiced, one of my best friends has different movie taste than I do!

:lol:

[soitgoes...]

#719 Love Me Tonight (Rouben Mamoulian 1932)

http://i233.photobucket.com/albums/ee171/soitgoes22/aRoubenMamoulianLoveMeTonightD VDPDV.jpg

Seeing this on a number of pre-1950 comedy lists a couple days ago piqued my interest. This film works quite well. Some great songs, "The Song of Paree" especially shows off how far talking pictures have come, as the camera follows the song down a Parisian street. This is something that probably couldn't have been done two years earlier. Maurice Chevalier plays what would become the typical sounding Frenchman, probably typical because of him, but looking back on it now he does come off to be more annoying than endearing. Overall I think this film's combination of great musical numbers and comedy work better than the Berkeley musicals released a year later.

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#720 Project A 2 (Jackie Chan 1987)

http://i233.photobucket.com/albums/ee171/soitgoes22/bscap0005tx9.jpg

This has some decent fight scenes, and there's a sequence where Jackie is handcuffed to another guy and must defend himself that had me laughing hard. I'm still left wondering, why this one as opposed to the better original? That one has some amazing fight choreography, an awesome bicycle chase scene, a vintage Jackie Chan "How the fuck did he not die?" moment, and most importantly, Sammo Hung Kam-Bo. This one did not. Well maybe it has that death defying moment. Still nice to see some Harold Lloyd and Buster Keaton homages in both films.

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287. All About My Mother (Pedro Almodovar, 1999)

Yeah, Almodóvar works for me. Quite well actually. His films sometimes do feel too "soapy." Broken Embraces did. I'm still thinking that Talk to Her will be your favorite, but from the looks of things that isn't saying too much.

[Qrazy]

#720 Project A 2 (Jackie Chan 1987)

http://i233.photobucket.com/albums/ee171/soitgoes22/bscap0005tx9.jpg

This has some decent fight scenes, and there's a sequence where Jackie is handcuffed to another guy and must defend himself that had me laughing hard. I'm still left wondering, why this one as opposed to the better original? That one has some amazing fight choreography, an awesome bicycle chase scene, a vintage Jackie Chan "How the fuck did he not die?" moment, and most importantly, Sammo Hung Kam-Bo. This one did not. Well maybe it has that death defying moment. Still nice to see some Harold Lloyd and Buster Keaton homages in both films.

Yeah I rewatched this one recently and I agree with you here. I think Project A may be his best. It made my top 80s film thread on RT.

[thefourthwall]

#718 "Dekalog" (Krzysztof Kieslowski 1989)


Nice. Dreamdead bought me this for Christmas; your review heightens my excitement to watch it (once we leave the in-laws).

And I find it annoyingly amusing that you both have different counting systems and thus make the race slightly harder to judge at a glance.

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Nice. Dreamdead bought me this for Christmas; your review heightens my excitement to watch it (once we leave the in-laws).

And I find it annoyingly amusing that you both have different counting systems and thus make the race slightly harder to judge at a glance.
Ha. It is bothersome. I'm thinking of switching to Roman numerals just for shits and giggles. :lol:

[soitgoes...]

Yeah I rewatched this one recently and I agree with you here. I think Project A may be his best. It made my top 80s film thread on RT.It probably is, but it isn't on par with the best Shaw Brothers stuff. His shitck doesn't always work for me.

[Qrazy]

It probably is, but it isn't on par with the best Shaw Brothers stuff. His shitck doesn't always work for me.

What is the best Shaw Brothers stuff? Chan's shtick works for me but sometimes the filmmaking is a bit crap.

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For fun, I thought I'd list my would be rankings for the individual Dekalog episodes.

I - 10/10
II - 8.5/10
III - 7.5/10
IV - 9.0/10 <---Interesting watch for the Le Incest thread people
V - 10/10
VI - 10/10
VII - 8.5/10
VIII - 9.0/10
IX - 9.0/10
X - 10/10

[soitgoes...]

What is the best Shaw Brothers stuff?
Eight Diagram Pole Fighter, released the same year as Project A, is much better. Liu's 36th Chamber, which I believe you weren't as fond of is better, as is most of Chang Cheh's work that I've seen.


Chan's shtick works for me but sometimes the filmmaking is a bit crap.
On his filmmaking, how do you feel about his multiple angle big amazing stunt sequences? Like his fall from the clock face in the first one or the mall scene in Police Story.

"Look at me! I just almost died! See? Did you see it from every possible angle? If not I'll show you again as the credits roll."

[Qrazy]

On his filmmaking, how do you feel about his multiple angle big amazing stunt sequences? Like his fall from the clock face in the first one or the mall scene in Police Story.

"Look at me! I just almost died! See? Did you see it from every possible angle? If not I'll show you again as the credits roll."

I enjoy them and I don't appreciate your tone.

:P

[Qrazy]

For fun, I thought I'd list my would be rankings for the individual Dekalog episodes.

X - 10/10

Yes!

[soitgoes...]

Yes!I'm not sure if it is the best. The first one is perfect in as far as it's a punch to the stomach, a great way to start off the series. The middle two while great, perhaps lost some of their impact because I'd seen their film releases already. The last one is a great counterpoint to the first, and it leaves you with some much needed humor. The last scene, the one involving the picture above, was simply perfect.

[Qrazy]

I'm not sure if it is the best. The first one is perfect in as far as it's a punch to the stomach, a great way to start off the series. The middle two while great, perhaps lost some of their impact because I'd seen their film releases already. The last one is a great counterpoint to the first, and it leaves you with some much needed humor. The last scene, the one involving the picture above, was simply perfect.

Yeah I agree with this and also with your picks for the four best.

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#721 The Thief of Bagdad (Raoul Walsh 1924)

http://i233.photobucket.com/albums/ee171/soitgoes22/bagdad0.png
"Ha ha! Look at my sexy chest!"

Douglas Fairbanks is little too over-the-top for my liking. I understand the need to pantomime in order to emphasize emotion, but man, he embraces it. The film takes off in the second half as it shifts towards fantasy. William Cameron Menzies deserves recognition for his wonderful sets. Overall, much better than its 1940 counterpart, though I'd really liked to have seen the genie incorporated into the story. I suppose it is nice to see a different take on the usual story.

[Philosophe_rouge]

I haven't been commenting, but I'm really enjoying your entries and work guys! It's a project I wish I could undertake, but I don't think I'm halfway through the list, so I don't have enough motivation.

[soitgoes...]

I haven't been commenting, but I'm really enjoying your entries and work guys! It's a project I wish I could undertake, but I don't think I'm halfway through the list, so I don't have enough motivation.Thanks! It's actually a little stressful. If I take a few days off from watching these films, I'm afraid Qrazy will watch like 10 films.

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#722 Deadly Is the Female (Joseph H. Lewis 1950)

Apparently this is the more common name for the film I have known as Gun Crazy. Sorry Qrazy, I saw this one a couple years back. It was very good. It isn't fresh in my mind, but I do remember an absolutely fantastic bank robbing scene. Seriously people, if you haven't seen this film (under either title), see it for this one scene alone.

[Qrazy]

A lot of the films we haven't seen seem to be the same ones.

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A lot of the films we haven't seen seem to be the same ones.There does seem to be a lot of overlap, but I do find it interesting that you've seen more from the middle years than I, whilst I've seen more early stuff.

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#723 Olympia (Leni Riefenstahl 1938)

http://i233.photobucket.com/albums/ee171/soitgoes22/fire.jpg

I'm not sure if you can make out what the above picture is of. Riefenstahl captured the sun setting into the Olympic flame, the heat distorting the sun. A pretty cool shot. The film is loaded with cool shots. Never feeling like a piece of propaganda like her own fantastic Triumph of the Will. Perhaps over-long, 3 and a half hours for this type of film seems a bit much. The first ten minutes, the prologue if you will, is amazing, and has me wondering what might have been.

Which begs the question, did Leni Riefenstahl reach greatness because of her Nazi backing or did her Nazi ties ultimately shorten something that could've been special? Though the latter feels better, I'm afraid she wouldn't have been able to accomplish what she accomplished without that blank Nazi check.

I'm curious to see if her fiction stuff works as well. I feel that there is a certain amount of "coldness" in her films that might dampen the human emotion found in fiction films. There's two films to choose: The Blue Light, her first film, a mountain film, where she has directorial help, or Tideland, the epitome of the evil Nazi film.

[soitgoes...]

#724 Force of Evil (Abraham Polonsky 1948)

http://i233.photobucket.com/albums/ee171/soitgoes22/assceneontv0005oh3.jpg

Most disappointing thing about Force of Evil is when I looked to see what else Polonsky had directed, and discovered he was one of the blacklisted in the late 40's. Visually, one of the more stunning noirs. Also great acting, especially by John Garfield and Thomas Gomez.

[soitgoes...]

#725 Storm Over Asia (Vsevolod Pudovkin 1928)

http://i233.photobucket.com/albums/ee171/soitgoes22/bscap0008-8.jpg

After this one I'll have only 4 more silents left, of course that's still about 12 hours of silents. Interesting early Soviet film, that follows their theory of montage, but at the same time has a very different look and feel than Pudovkin's contemporaries. Taking place in far east USSR our heroes are Mongol herdsmen and their enemies, the Capitalist English encroachers. The film features great location photography, and while montage is used, it is done in a more subtle fashion than say what Eisenstein used in Battleship Potemkin. Even though it isn't as apparent as Eisenstein, Dovszenko, Vertov, etc., Pudovkin's film still is very much a propaganda piece, albeit one wrapped in some sort of pseudo-documentary film.

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#726 A Time to Live and a Time to Die (Hou Hsiao-hsien 1985)

http://i233.photobucket.com/albums/ee171/soitgoes22/title-time.jpg

I'm need to reassess Hou Hsiao-hsien. The first Hou film I saw was The Puppetmaster, and while I was struck by the film technically, the story lost me. Next came Flight of the Red Balloon, and while I enjoyed it quite a bit more than The Puppetmaster, I still didn't seem to be jiving with Hou like others were. Then came A City of Sadness a few weeks ago, and now his best film I've seen A Time to Live.... Both of these films are similar on paper, but their differences become apparent as you watch them. A City of Sadness is a very personal film, a portrait of his people, the myriad of peoples that make up Taiwan. A Time to Live is also very personal, but it is about his family, about Hou. There were a couple of instances that were so touching where I nearly lost it. A boy and his grandmother. Beautiful, innocent scenes that I could instantly relate to on my own personal level. I can't wait to see another of his films.

Also here is a case of a film (A City of Sadness too) that is screaming for a pristine DVD release.

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I have three new entries to post. The best that can be said of them is one of them is kinda good.

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#727 Gaslight (George Cukor 1944)

http://i233.photobucket.com/albums/ee171/soitgoes22/gaslight2.png

I might have been higher on this a couple of days ago when I first watched it. I had a hard time buying the psychological mindfuck Boyer's character was playing on Bergman's character. Also, the twist at the end was eye-roll worthy. Or maybe I was just ambivalent to Bergman's character because she just plain annoyed me. I dunno. As for noir-ish atmosphere, this film is great. Nothing can beat late night, foggy Victorian London.

[soitgoes...]

#728 The Actress (Stanley Kwan 1992)

http://i233.photobucket.com/albums/ee171/soitgoes22/ruan.jpg

I really think Stanley Kwan has a great film in him. The only problem is that I've already seen the two films which are held in the highest regard, this and Rouge. What's funny is that both films involve a 1930's woman that commit suicide, one often plays a prostitute in films, the other is a prostitute. Both films though are very different otherwise.

The Actress is a biopic of sorts on the life and tragic death of early Chinese film star Ruan Ling-yu. What makes this film unique is that instead of a straightforward recount of Ruan's life, Kwan chooses to incorporate a sort of "Making-of The Actress" documentary into the actual film. We are left very aware that it is Maggie Cheung, beautiful as ever, playing Ruan. Maggie, Mr. Kwan and other cast and crew talk about the legend that is Ruan and how the film should be played. This is a bold move, and it is one that makes the film rather interesting. In the end I'm afraid that it fails. Ruan herself was a victim of gossip, so it's ironic to hear Kwan and Cheung still gossiping about her life 55 years later. Having Kwan ask Maggie if she'd ever consider suicide if she found herself in Ruan's shoes comes off as disingenuous. At the very least this film has me wanting to check out some more early Chinese films.

[Qrazy]

I guess I should do some more entries.

[soitgoes...]

#729 The Band Wagon (Vincente Minnelli 1953)

http://i233.photobucket.com/albums/ee171/soitgoes22/vlcsnap-507009.png

Perhaps minor spoilers, but really there isn't anything too important to spoil.

This is supposed to be great? It is pretty to look at, and some of the numbers are memorable. The story is just flat out atrocious. It's a bunch of musical numbers barely, if even, connected together by the slimmest of ideas. Now I understand that usually Golden Age Hollywood musicals tend to be short on story and heavily dependent on their musical numbers. This one just felt as if they had a bunch of ideas for musical numbers, but couldn't find a way to tie them together, so they just hoped their audience wouldn't care.

The story of a has-been actor joining forces with an at-his-peak theater director and an up-and-coming ballerina to create a smash hit Broadway musical. It flops, but that doesn't deter them. They come up with a new version of their musical. One whose musical numbers include a sort of sun princess ballet, a Louisiana hoedown, a disturbing ditty involving three adults looking like triplet babies, and a jazzy riff on film noir. How this could've sounded like a plausible story for the musical within the musical is beyond me, let alone ending up a smash Broadway hit. Great individual musical scenes, but they just seem forced on the audience when presented as a whole.

Oh, and Cyd Charisse is all sorts of hot in this.

[soitgoes...]

I guess I should do some more entries.
Please do.

[Spaceman Spiff]

I guess I should do some more entries.

Yeah, quit lollygagging.

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#730 The Tin Drum (Volker Schlöndorff 1979)

http://i233.photobucket.com/albums/ee171/soitgoes22/vlcsnap7305684rv6.jpg

Schlöndorff's adaptation of Grass's novel is an allegory of one person's stand against the world's cruelty. The one man is actually a child who by his own hand (will) freezes himself in the body of a three-year old. He also possesses the super power ability to shatter glass with his high pitched scream. This all could have failed miserably, the scream thing actually did for me, but it wasn't near enough to take down the whole film. Yes, the kid did occasionally come off as being obnoxious, but after all he is a three-year old.

[Qrazy]

Yeah I found The Tin Drum to be adequate but neither that nor Katharina Blum impressed me much. I actually liked his Death of a Salesman the most so far. It's rare for a foreign director's best work to be an English language film. Perhaps I'll have more luck with Coup de Grace.

[Qrazy]

Please do.

Is it my fault you're an overachiever? :P

[soitgoes...]

Yeah I found The Tin Drum to be adequate but neither that nor Katharina Blum impressed me much. I actually liked his Death of a Salesman the most so far. It's rare for a foreign director's best work to be an English language film. Perhaps I'll have more luck with Coup de Grace.I like Young Torless, probably to the same extent as The Tin Drum. He interests me enough to keep wanting to check out more of his work.

[soitgoes...]

Is it my fault you're an overachiever? :P

Overachiever? No. I just would hate to have to post 10 reviews just to catch up to the present. Which is weird because I procrastinate in almost every other aspect of my life.

[B-side]

Overachiever? No. I just would hate to have to post 10 reviews just to catch up to the present. Which is weird because I procrastinate in almost every other aspect of my life.

Priorities: Arbitrary movie list > life

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Priorities: Arbitrary movie list > lifeJust about. :)

[B-side]

Just about. :)

Haha, no worries. I'm the same way.:lol:

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#731 David Holzman's Diary (Jim McBride 1967)

http://i233.photobucket.com/albums/ee171/soitgoes22/snapshot200604091008240cm.jpg

Another film I hadn't heard of before this endeavor. David Holzman's Diary is a supposed first person account of the life of New York City resident David Holzman. As a pseudo-documentary this was groundbreaking stuff, as there wasn't too much of its type before it (Watkins is the only other guy that comes to mind). Too bad that McBride presents us with the life of a complete douchebag. Mr. Holzman leads the intellectual's life. He has a pretty model girlfriend who doesn't like his new hobby of filming everything (OMG just like in Paranormal Activity!). He films her anyways. She gets pissed. She threatens to leave him. He films her anyways. She leaves. Off camera they make up. He promises not to film her. He films her anyways while she is sleeping naked on the bed. She wakes up. Mayhem. He video stalks his neighbor and now estranged girlfriend. Yeah, douchebag. Cutting edge stuff. 70+ minutes of listening to him spout his ideas at me. Blech.

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#732 Song at Midnight (Ma-Xu Weibang 1937)

http://i233.photobucket.com/albums/ee171/soitgoes22/Midnight006.png

3/4 Phantom of the Opera and 1/4 Cyrano de Bergerac, Song at Midnight is the story of Sung Danping, Chinese opera star, who draws the ire of his lover's father. Her father is right-wing general. He is a left-wing revolutionary. The father disfigures Sung by throwing acid on his face. We fast-forward 10 years to see how it all plays out. Song at Midnight is an interesting film on a couple of levels. First it is a horror film, one of the earliest examples of this genre to exist from China. It isn't really scary, much in the way Phantom of the Opera isn't scary. It's about mood. It's also interesting to see it from a historical perspective. Sound made its way to China 7 years earlier in 1930, but it never really overtook silent films. Most of the films in the early thirties continued to be made as silents. What we get with Song at Midnight is a film very much like those transitional films from 1929 or 1930 that Hollywood was producing; actors continue to incorporate pantomime as an acting tool, music cuts off abruptly when there's a scene change, and not everything that should make a sound does make a sound. I do wonder if some of this can be due to the quality of the print. It was pretty abysmal, but I'm sure there aren't many options for a 1930's Chinese film available. I'm thankfully to have the opportunity to see any Asian films from pre-WWII.

[Qrazy]

286. Giant (George Stevens, 1956)

http://www.filmreference.com/images/sjff_01_img0196.jpg

No worries about not checking Gun Crazy Soitgoes because I'd forgotten I'd seen this one as well. I don't remember all the fine points either. I liked it. James Dean looks for oil for a while. He eventually finds it. He becomes an empty shell of a man. James Dean is very good here, playing by far his most flawed and retched character. This one was definitely a major influence on There Will be Blood.

[Qrazy]

285. Odd Man Out (Carol Reed, 1947)

http://img695.imageshack.us/img695/1155/27997.jpg

SOME SPOILERS

Here James Mason plays the head of a criminal 'organization'. The organization is never named explicitly but it's most likely an allusion to the IRA. The organization's end goals aren't criminal but their methods are. After a bank robbery gone wrong Mason spends the majority of the film with a gutshot gun wound trying to make his way to a safe haven. It's a very unique, engaging and deeply pessimistic noir. I recently saw The Fallen Idol and A Kid and Two Farthings also so I've become quite fond of Reed. I really liked The Third Man but I didn't feel it to be one of the best of all time so I held off on his other work until now. My favorite line in this film came from a dirty, poor alcoholic who late in hte film asks his mate... "What's faith?" His friend responds, "Only one man had it."

[Qrazy]

284. Captains Courageous (Victor Fleming, 1937)

http://www.doctormacro1.info/Images/Bartholomew,%20Freddie/Annex/Annex%20-%20Bartholomew,%20Freddie%20%2 8Captains%20Courageous%29_02.j pg

A spoiled rich brat has been cheating and lying at his private school. His tycoon of a father realizes he hasn't been spending enough time with the boy so he decides to teach him a little about life. Unfortunately before he is able to do so the boy falls off the cruise ship the two are traveling on. Rescued by a fisherman he's about to learn some hard life lessons. Spencer Tracy is terrific here as the Portuguese fisherman who rescues the boy. If his name hadn't been in the credits I would have had no idea it was him. The kid is an annoying brat for most of the film but you kind of feel bad for him and as you may have guessed he eventually learns his lesson so that part of the film works well enough. The story isn't a great one imo. It's all a bit schmaltzy and the message is cliche. And most of all this kind of fishing is not the great, happy fun time it's made out to be. Fishermen don't all love fishing. It's a hard job and a hard life.

[Qrazy]

283. The Bitter Tea of General Yen (Frank Capra, 1933)

http://i19.photobucket.com/albums/b200/ScreaminJayHawkins/sd/vlcsnap-1725211.jpg

This is certainly a rare Capra film. It doesn't contain his usual schmaltz in the slightest. It presents a very critical and pessimistic outlook about the clash of cultures, life and love. And it is indeed one of Capra's more formally interesting films. The story revolves around General Yen and a young Christian missionary who becomes his captive. He wishes to win her heart. She resists. It is a 30s film so racial issues are not treated overly sensitively. However they are at least treated with complexity. General Yen for instance is portrayed with great nuance by Nils Asther. While Yen may seem overly cruel and brutal at first he has his own set of principles and his reasons for sticking to them. Ultimately I didn't love it, but it's an interesting film.

[Qrazy]

282. The Reckless Moment (Max Ophuls, 1949)

http://mmimageslarge.moviemail-online.co.uk/18084_2-reckless-moment.JPG

Another James Mason noir (in content although not really in style), I really enjoyed this one. Ophuls direction is so tight, so precise here. I haven't seen all that much Ophuls but I'm guessing this is only a middle tier work. Don't get me wrong, it's very good, but it doesn't have the scope of Madame De or Letter from an Unknown Woman. The story is simple and effective but not one of the greatest ever told. That being said it's a joy to witness how much control Ophuls has over every moment. The characters are cleanly drawn and both Mason and Bennett are great. I really need to see more from the man.

[B-side]

Qrazy, check out Divine and Without Tomorrow.

[Qrazy]

Qrazy, check out Divine and Without Tomorrow.

Will do although probably not for a while. The race is too close, need to stick to list films. For that reason Lola Montes will probably be my next.

[soitgoes...]

282. The Reckless Moment (Max Ophuls, 1949)
This is my least favorite of his 4 American films. I'm definitely in the minority with that opinion. To counter Brightside, I say go the other direction, hit up his French period. Le plaisir and La ronde are two films that I don't think could be handled as well by anyone else.

[soitgoes...]

Will do although probably not for a while. The race is too close, need to stick to list films. For that reason Lola Montes will probably be my next.
:lol: I think my early next year prediction might be an overshot. The rate we're going, this September is a distinct possibility.

[Qrazy]

:lol: I think my early next year prediction might be an overshot. The rate we're going, this September is a distinct possibility.

That's if we take our time with it. :lol:

[dreamdead]

#728 The Actress (Stanley Kwan 1992)

The Actress is a biopic of sorts on the life and tragic death of early Chinese film star Ruan Ling-yu. What makes this film unique is that instead of a straightforward recount of Ruan's life, Kwan chooses to incorporate a sort of "Making-of The Actress" documentary into the actual film. We are left very aware that it is Maggie Cheung, beautiful as ever, playing Ruan. Maggie, Mr. Kwan and other cast and crew talk about the legend that is Ruan and how the film should be played. This is a bold move, and it is one that makes the film rather interesting. In the end I'm afraid that it fails. Ruan herself was a victim of gossip, so it's ironic to hear Kwan and Cheung still gossiping about her life 55 years later. Having Kwan ask Maggie if she'd ever consider suicide if she found herself in Ruan's shoes comes off as disingenuous. At the very least this film has me wanting to check out some more early Chinese films.

Yeah, the whole interviewing sequences fell flat for me, too. There was the chance of securing some greater agency for Ruan, but this approach is a misguided one, one that trades in commercial pop for substance. What the film achieves wonderfully, however, is a great sense of the time period through its costumes and framing. That more so than the characters is what sets the film apart, whatever its other failings.


#729 The Band Wagon (Vincente Minnelli 1953)

...

Oh, and Cyd Charisse is all sorts of hot in this.

Perhaps this is the reason that the film exists? Charisse's greatest problem, though, was that she was essentially playing a cipher for the storyline, and what with her not being the world's greatest actor, her character cannot overcome a slew of maudlin character shifts. Cool dance sequences when she's on screen, but otherwise way too rote.

Either of you already seen Housemaid yet? I'm very interested in your opinions on that one...

[soitgoes...]

Either of you already seen Housemaid yet? I'm very interested in your opinions on that one...Not yet for me (Qrazy too, I think). I'm interested in a Korean film that was made before 1999. I didn't think such a thing existed. :rolleyes:

I will try and throw some sort of priority on it, say before I reach #800.

[soitgoes...]

What the film achieves wonderfully, however, is a great sense of the time period through its costumes and framing. That more so than the characters is what sets the film apart, whatever its other failings. Most definitely. The screencap is a beautiful, poignant moment in the film, which is why I think Kwan has something better to offer me.

Have you seen Rouge yet? I think I like them about the same, but Rouge doesn't fall victim to Kwan's poor artistic decisions. It isn't nearly as audacious.


Perhaps this is the reason that the film exists? Charisse's greatest problem, though, was that she was essentially playing a cipher for the storyline, and what with her not being the world's greatest actor, her character cannot overcome a slew of maudlin character shifts. Cool dance sequences when she's on screen, but otherwise way too rote.
Charisse does seem a little wide-eyed, but I think she worked for her character who was also new to theater. Her problem is that since she doesn't exude the energy of her cohorts, she frequently gets pushed to the side. Someone with those legs should never be pushed to the side. Overall I think Nanette Fabray fit the film's feel better. This is one reason (of many) why Singin' in the Rain works and The Band Wagon doesn't. Debbie Reynolds can stand up to Kelly and O'Connor.

[Philosophe_rouge]

I am so very much in love with the Reckless Moment. On some days, it might be my favourite Ophuls.

I'm none to fond of The Band Wagon either, despite having a soft spot for classic Hollywood musicals. I've never quite pinned down why exactly, something about it just doesn't work for m.e

[Qrazy]

I haven't seen Hanyo yet either but as I've been hearing a lot about it lately I'll probably get to it soon.

[Qrazy]

This is my least favorite of his 4 American films. I'm definitely in the minority with that opinion. To counter Brightside, I say go the other direction, hit up his French period. Le plaisir and La ronde are two films that I don't think could be handled as well by anyone else.

When you say least favorite does that mean you still like it?

[Derek]

I am so very much in love with the Reckless Moment. On some days, it might be my favourite Ophuls.

I'm none to fond of The Band Wagon either, despite having a soft spot for classic Hollywood musicals. I've never quite pinned down why exactly, something about it just doesn't work for m.e

You are all sorts of win today. I love Reckless Moment as well - my second favorite Ophuls behind Madame de....

The Band Wagon felt way too disjointed to me, especially the final half hour.

[Qrazy]

281. The Ox-bow Incident (William Wellman, 1943)

http://www.starz.com/titles/TheOxBowIncident/PublishingImages/oxbow_incident_the_1943_685x38 5.jpg

This western is short and to the point. A lynch mob rounds up a group of suspects and decides to hang a murder charge on them based on circumstantial evidence. Are they guilty? Are they innocent? Only time will tell... and/or some intuition on the viewer's part as to the moral of the story. I kind of felt that Henry Fonda was largely wasted here but I suppose it's more of an ensemble film. Still why go to the trouble of establishing a former love interest for him and then go on to do so little with the character or that plot point. The film also gets off to a bit of a slow start and only kicks into gear when the lynch mob finds some suspects to accuse. Once it gets to that point it becomes a fairly compelling albeit explicit morality tale.

[Philosophe_rouge]

The more I watch of William Wellman, the more I like his work. I actually wasn't particularly fond of The Ox-Bow Incident the first time around, but I think I owe it a rewatch.

[Melville]

compelling albeit explicit morality tale.
I wish there were more well-done movies like that. Lots of movies tackle broad "issues", but off the top of my head, The Ox-Bow Incident and Gone Baby Gone are the only great movies I can think of that really carefully construct and delve into specific, compelling moral dilemmas.

[Qrazy]

280. Bull Durham (Ron Shelton, 1988)

http://images.starpulse.com/Photos/Previews/Bull-Durham-mv04.jpg

This isn't a very good movie. Tim Robbins and Kevin Costner co-star as minor league baseball players. The former wants to make it to the majors. The latter has already had and lost his chance at the spotlight. Still despite the fact that it's a very blandly shot and conceived film I guess it still manages to be semi-enjoyable. Costner has a few good lines and blah blah blah shouldn't be on the list blah blah blah if you like baseball maybe you'd enjoy blah blah blah more like blaséball blah blah blah I'm hoping blah blah The Natural is blah blah better. Blah.

[Qrazy]

I wish there were more well-done movies like that. Lots of movies tackle broad "issues", but off the top of my head, The Ox-Bow Incident and Gone Baby Gone are the only great movies I can think of that really carefully construct and delve into specific, compelling moral dilemmas.

12 Angry Men? :)

[Melville]

12 Angry Men? :)
Does that smiley face indicate that you already know my opinion of it?

[Winston*]

...Gone Baby Gone are the only great movies I can think of that really carefully construct and delve into specific, compelling moral dilemmas.

Bleh.

[Melville]

Bleh.
I'll interpret that as a sign of agreement.

[Winston*]

I'll interpret that as a sign of agreement.

The ending of that movie is ridiculous.

[Qrazy]

279. Out of Africa (Sydney Pollack, 1985)

http://blogs.amctv.com/shootout/out-of-africa.jpg

Are Isak Dinesen's books good? Because I can't say I was all that fond of the story of this or Babette's Feast. I suppose the mediocrity of the story can at least be blamed on the fact that it's based on the actual life of the author... but that doesn't help me all that much. Here Meryl Streep goes to Africa hooks up with Robert Redford, teaches some black kids how to read and therefore feels good about herself. Actually most of the time she feels like shit because she has a) syphilis b) no money c) a bunch of men in her life treating her like crap. To be fair the movie isn't really all that bad. It's just insufferably bland. The music is nice. The acting is generally good, there are a few decent shots and a couple of touching moments. However these moments are few and far between and the film feels interminably long.

[Qrazy]

Does that smiley face indicate that you already know my opinion of it?

Yes.

:lol:

[Melville]

The ending of that movie is ridiculous.
Yeah, kind of; it stretches credulity for sure. But it offers a perfect culmination of the moral quandaries that preceded it, forcing Affleck (and the audience) to make a genuinely difficult ethical decision. It's the kind of scenario that gets thrown into a Ethics 101 course: contrived but thought-provoking. And the final shot in front of the TV brings it all back home.


Yes.

:lol:
Excellent, that saves me from writing anything about it. ;)

[Winston*]

I don't think there is an ethical dilemma at the end there, even if the film tries it's hardest to make it seem like there are two sides to it.

You can't steal a kid. If this was real life, no one would think Morgan Freeman was in the right. Unless it actually was Morgan Freeman, the timbre of that guys voice could convince anyone anything.

[Melville]

I don't think there is an ethical dilemma at the end there, even if the film tries it's hardest to make it seem like there are two sides to it.

You can't steal a kid. If this was real life, no one would think Morgan Freeman was in the right there.
That's not true. Plenty of utilitarians would say that Affleck made the wrong decision. Lots of people think that the ends justify the means, and that happiness/well-being is always the end that should be sought.

[Winston*]

That's not true. Plenty of utilitarians would say that Affleck made the wrong decision. Lots of people think that the ends justify the means, and that happiness/well-being is always the end that should be sought.


Well, those people are stupid. Bested you at your own game, Melville.

[Melville]

Well, those people are stupid. Bested you at your own game, Melville.
:lol:

[B-side]

I have some personal stake in a very similar real life story right now, and it's certainly not an easy thing to grapple with.

[Melville]

I have some personal stake in a very similar real life story right now, and it's certainly not an easy thing to grapple with.
Somebody stole your baby?

Winston, do you think that it is justified for Children's Aid to take a child away from its parent? Does it become justifiable because the government agency has the implicit approval of society? Or is it just a matter of degree (i.e. Morgan Freeman's actions would have been justifiable if the child's life was significantly worse)?

[B-side]

Somebody stole your baby?

Winston, do you think that it is justified for Children's Aid to take a child away from its parent? Does it become justifiable because the government agency has the implicit approval of society? Or is it just a matter of degree (i.e. Morgan Freeman's actions would have been justifiable if the child's life was significantly worse)?

No, my little cousin who is only 17 has a child she's neglecting.

[Qrazy]

278. All That Jazz (Bob Fosse, 1979)

http://www.cinematographers.nl/GreatDoPh/Films/AllThatJazz.jpg

First off I am not a fan of films about filmmaking. By and large I find them self-indulgent, self-centered and self-serving. That being said I certainly have a couple of exceptions. It's hard to say no to 8 1/2 and I did like All that Jazz. But I didn't think it was great. Scheider gives a quality performance and Fosse is definitely an expert choreographer. However, I'm not convinced the film really cuts to the core of who Fosse or by extension Gideon are. I also (from this film alone) don't find Fosse's camera work to be all that great. A lot of the dance sequences feel as if they were shot live and with coverage rather than clarity of vision in mind.

So did the producers of the show hire that one nurse and more or less have him killed while he was in hospital to secure the profit?

B-

[soitgoes...]

When you say least favorite does that mean you still like it?
I like it, but not to the same level of the other three. The Exiled is Ophüls at his most un-Ophüls, Douglas Fairbanks Jr. can do that to a film. That makes it the most interesting of the four to me. It teeters very close to the edge of camp, but Ophüls manages to keep it, and Fairbanks, all together. You should check it out, if only for the reason that it will give you something not list related to watch, thus slowing you down. :evil:

[Melville]

No, my little cousin who is only 17 has a child she's neglecting.
Give her the movie as a birthday present. I was planning on giving Jesus Camp as a wedding gift to a friend of mine who became a born-again Christian. But then he didn't even invite me to his wedding, the jerk.

[B-side]

Give her the movie as a birthday present. I was planning on giving Jesus Camp as a wedding gift to a friend of mine who became a born-again Christian. But then he didn't even invite me to his wedding, the jerk.

You are a sinister man, Melville.:lol:

[Qrazy]

Give her the movie as a birthday present. I was planning on giving Jesus Camp as a wedding gift to a friend of mine who became a born-again Christian. But then he didn't even invite me to his wedding, the jerk.

Mail it?

[Qrazy]

I seem to remember you being a fan of A Passage to India Melville? I'm watching it now.

[soitgoes...]

The Band Wagon felt way too disjointed to me, especially the final half hour.It could've save itself with a huge, badass finale that made sense (many musicals have), but the finale was its biggest flaw. It felt like a Busby Berkeley musical. Showbiz shown inside a movie is very Berkeley-esque, but his musicals always wrapped things up in a way that made you forgive, if not forget, his films' earlier problems.

[Qrazy]

I like it, but not to the same level of the other three. The Exiled is Ophüls at his most un-Ophüls, Douglas Fairbanks Jr. can do that to a film. That makes it the most interesting of the four to me. It teeters very close to the edge of camp, but Ophüls manages to keep it, and Fairbanks, all together. You should check it out, if only for the reason that it will give you something not list related to watch, thus slowing you down. :evil:

To be honest I'm just trying to get a bit ahead so I'll feel comfortable taking a break for a few days to do some work haha.

[Melville]

You are a sinister man, Melville.:lol:
Well, my friend has a sense of humor. Or at least he did before he became a born-again Christian and starting snubbing me, the bastard.

[soitgoes...]

I seem to remember you being a fan of A Passage to India Melville? I'm watching it now.I like that one. It isn't Lean at his peak level, but it's still good.

[Melville]

Mail it?
Well, the guy's brother agreed to give it to him for me, but then he wussed out.


I seem to remember you being a fan of A Passage to India Melville? I'm watching it now.
Yeah, I loved it. Haven't seen it in years though.

[B-side]

Well, my friend has a sense of humor. Or at least he did before he became a born-again Christian and starting snubbing me, the bastard.

Heh. What would you mail a lay Buddhist such as myself?:P

[soitgoes...]

To be honest I'm just trying to get a bit ahead so I'll feel comfortable taking a break for a few days to do some work haha.
But... but... that's what I'm trying to do!

[Melville]

Heh. What would you mail a lay Buddhist such as myself?:P
I dunno. You already read Nietzsche's Anti-Christ, which contains the only criticism of Buddhism that I've encountered. Maybe I'd send you an edition of Nagarjuna with no commentary. That might convince you that Buddhism makes no sense.

[Qrazy]

But... but... that's what I'm trying to do!

http://img262.imageshack.us/img262/7351/admiralackbar2jl1.jpg

[soitgoes...]

I dunno. You already read Nietzsche's Anti-Christ, which contains the only criticism of Buddhism that I've encountered. Maybe I'd send you an edition of Nagarjuna with no commentary. That might convince you that Buddhism makes no sense.What kind of religion can it be if there isn't any scathing criticisms of it?

[soitgoes...]

To be honest I'm just trying to get a bit ahead so I'll feel comfortable taking a break for a few days to do some work haha.I've actually watched three films not on the list the past few days!

[B-side]

I dunno. You already read Nietzsche's Anti-Christ, which contains the only criticism of Buddhism that I've encountered. Maybe I'd send you an edition of Nagarjuna with no commentary. That might convince you that Buddhism makes no sense.

I just got to the part where he starts talking about Buddhism. Don't remember much in the way of criticism, except perhaps that he thinks Buddhism attempts to strive for perfection when I'm not sure that's the aim at all.

[Qrazy]

I've actually watched three films not on the list the past few days!

Hehe alright maybe I"ll take a break and watch some of the films I've been wanting to see for a while...

The Seventh Companion (German)
Garpastum (German Jr.)
Brat (Balabanov)
Irma La Douce (Wilder)
The Face of Another (Teshigahara)

[Melville]

What kind of religion can it be if there isn't any scathing criticisms of it?
One that doesn't incite fanaticism? Although there was that one group of monks who slowly killed themselves by living off tree bark. Their hero was a monk who cut off his genitals and gave them to a woman he desired, in order to quell his desire for her. Extreme!


I just got to the part where he starts talking about Buddhism. Don't remember much in the way of criticism, except perhaps that he thinks Buddhism attempts to strive for perfection when I'm not sure that's the aim at all.
His criticism of Buddhism is the same as his criticism of Christianity: that it is opposed to life. He admires Buddhism for being more upfront about it.

[Qrazy]

Universal reincarnation is a poopy idea but luckily not all Buddhists believe in it.

[B-side]

His criticism of Buddhism is the same as his criticism of Christianity: that it is opposed to life. He admires Buddhism for being more upfront about it.

I don't really see that at all, except in the realm of the most devout. At least he acknowledges the strengths of Buddhism that I see.

[soitgoes...]

#733 A Chinese Ghost Story (Ching Siu-Tung 1987)

http://i233.photobucket.com/albums/ee171/soitgoes22/ChineseGhost005.png
^^Not really a mustache.

This isn't really my thing. I like the martial arts films. When you mix comedy in with it, well sometimes it works, sometimes not. Throw in horror (fantasy) and it just becomes too much. Some good imagery and some great action sequences. The best part was seeing Leslie Cheung in a role I'm not accustomed to seeing him in.

[Melville]

Universal reincarnation is a poopy idea but luckily not all Buddhists believe in it.
I'm not sure I follow any part of that sentence.


I don't really see that at all, except in the realm of the most devout. At least he acknowledges the strengths of Buddhism that I see.
You don't see the opposition to life in Theravada Buddhism? Unless all the scriptures I've read have been misleading me, its fundamental tenets are that the Self doesn't exist, life is suffering, life/reincarnation is caused by desire/illusion-of-self-existence, and one's goal should be to cease desiring/believing-in-self in order to end the cycle of reincarnation. It's the exact opposite of what Nietzsche advocates.

[soitgoes...]

Hehe alright maybe I"ll take a break and watch some of the films I've been wanting to see for a while...

The Seventh Companion (German)
Garpastum (German Jr.)
Brat (Balabanov)
Irma La Douce (Wilder)
The Face of Another (Teshigahara)
It's nice living three time zones behind you. I can check if you've seen anything during the day, and then I know what I can watch at night.

You'll like Brat (I think) and The Face of Another (almost for sure).

[B-side]

You don't see the opposition to life in Theravada Buddhism? Unless all the scriptures I've read have been misleading me, its fundamental tenets are that the Self doesn't exist, life is suffering, life/reincarnation is caused by desire/illusion-of-self-existence, and one's goal should be to cease desiring/believing-in-self in order to end the cycle of reincarnation. It's the exact opposite of what Nietzsche advocates.

I tend to agree with all of that and it doesn't make me miserable doing so, so naturally I wouldn't say it opposes life. Not to mention that life is so broad in this context it's hard to pinpoint the differences.

[Melville]

I tend to agree with all of that and it doesn't make me miserable doing so, so naturally I wouldn't say it opposes life. Not to mention that life is so broad in this context it's hard to pinpoint the differences.
:confused: But its explicit goal is to end life. Nietzsche's ethos is all about embracing life. His Eternal Return is like the purposeful counterpoint to the Buddhist view of reincarnation.

[B-side]

:confused: But its explicit goal is to end life.

There's that word again. If you mean Buddhists tend to wanna escape mortality, then yes, but that does not rid the Buddhist of the immediacy of life. Reincarnation for me is the unceasing ability of oneself to live on in the thoughts and lives of others, almost vicariously after death. Even Mahanaya Buddhism is said to not meant to be read literally, but rather metaphorically and symbolically.

[B-side]

Nietzsche's ethos is all about embracing life. His Eternal Return is like the purposeful counterpoint to the Buddhist view of reincarnation.

I wouldn't know about that.

[Melville]

There's that word again. If you mean Buddhists tend to wanna escape mortality, then yes, but that does not rid the Buddhist of the immediacy of life. Reincarnation for me is the unceasing ability of oneself to live on in the thoughts and lives of others, almost vicariously after death. Even Mahanaya Buddhism is said to not meant to be read literally, but rather metaphorically and symbolically.
I don't know what you mean by Buddhists tending to want to escape mortality, or them not being rid of the immediacy of life. And what does your description of reincarnation have to do with self-perpetuating karma-formations? You make reincarnation seem like a neutral thing, as opposed to the "endless suffering" that it is referred to in Buddhist texts.

Unlike Theravada Buddhism, Mayahana Buddhism says that Nirvana is the same as the world we live in, but that we're living in it wrong. I don't know what you mean by reading it metaphorically and symbolically.

[B-side]

I don't know what you mean by Buddhists tending to want to escape mortality, or them not being rid of the immediacy of life. And what does your description of reincarnation have to do with self-perpetuating karma-formations? You make reincarnation seem like a neutral thing, as opposed to the "endless suffering" that it is referred to in Buddhist texts.

Unlike Theravada Buddhism, Mayahana Buddhism says that Nirvana is the same as the world we live in, but that we're living in it wrong. I don't know what you mean by reading it metaphorically and symbolically.

You've read more than I have, so you'd know more than I do of the texts. I can only inform you of my own interpretation based on the little I've read. Buddhist reincarnation has never seemed to me to be anything more than the obligatory comforting remark people give loved ones of a dead person, the whole, "he'll live on in our thoughts" sentiment. That's the escape from mortality. You're never truly dead if you're never forgotten.

Karma seems to me to be pretty self-explanatory. A person carries around a negative attitude and performs mischievous and selfish acts is likely going to stay miserable. If one doesn't take care to learn the necessary lessons from their behavior, they're doomed to repeat the same lifestyle. Not through fate or anything, but perhaps through subconscious imitation? I don't know. You're intimidating.:sad:

As for reading Mahanaya Buddhism symbolically or metaphorically, I was more referring to the forms of Buddha himself.

[Winston*]

Somebody stole your baby?

Winston, do you think that it is justified for Children's Aid to take a child away from its parent? Does it become justifiable because the government agency has the implicit approval of society? Or is it just a matter of degree (i.e. Morgan Freeman's actions would have been justifiable if the child's life was significantly worse)?

Yes, I think it's justified for Children's Aid to take a child away from it's parent, depending on the circumstances, but not for someone to fake a child's death and raise it as their own. Much like I think it's justifiable for society to put a man in prison for theft, but not for some random dude to secretly lock someone in their basement for the same crime.

[Qrazy]

I'm not sure I follow any part of that sentence.


Universal reincarnation is a poopy idea.
Not all Buddhists believe in universal reincarnation.

Universal reincarnation being my term for every living thing reincarnating versus say just a select few individuals reincarnating.

[soitgoes...]

Qrazy - Little Miss Sunshine! OMG!

[Qrazy]

#733 A Chinese Ghost Story (Ching Siu-Tung 1987)

This isn't really my thing. I like the martial arts films. When you mix comedy in with it, well sometimes it works, sometimes not. Throw in horror (fantasy) and it just becomes too much. Some good imagery and some great action sequences. The best part was seeing Leslie Cheung in a role I'm not accustomed to seeing him in.

Yeah I'm not too big on that one either although I do enjoy moments. The sequel is absolutely ridiculous.

[soitgoes...]

Yeah I'm not too big on that one either although I do enjoy moments. The sequel is absolutely ridiculous.Positive ridiculous or negative ridiculous? How much pot should I smoke if I watch this?

[Winston*]

I am happy you liked Old Joy a little, Qrazy. It seems like something you'd hate.

[Melville]

I wouldn't know about that.
Nietzsche said that because time is infinite, everything will repeat an infinite number of times, so we will be born again and again, experiencing every moment of our lives an infinite number of times. That argument doesn't make any sense, but it doesn't matter, because his point is that we should embrace each moment as if we will live it infinitely many times. Even if it's a moment of horrible anguish, we should say "Yes!" to it, we should say, "even if this is to happen again and again, then again and again I say Yes!"


You've read more than I have, so you'd know more than I do of the texts. I can only inform you of my own interpretation based on the little I've read. Buddhist reincarnation has never seemed to me to be anything more than the obligatory comforting remark people give loved ones of a dead person, the whole, "he'll live on in our thoughts" sentiment. That's the escape from mortality. You're never truly dead if you're never forgotten.
That's a very positive spin on it. But the Buddhist goal is to cease reincarnating; reincarnating is bad. Nirvana is the end of reincarnation.


Karma seems to me to be pretty self-explanatory. A person carries around a negative attitude and performs mischievous and selfish acts is likely going to stay miserable. If one doesn't take care to learn the necessary lessons from their behavior, they're doomed to repeat the same lifestyle. Not through fate or anything, but perhaps through subconscious imitation? I don't know. You're intimidating.:sad:
I don't intend to be intimidating. It sounds to me like you'd actually prefer Mahayana Buddhism.


As for reading Mahanaya Buddhism symbolically or metaphorically, I was more referring to the forms of Buddha himself.
Oh, yeah, Mahayana Buddhism is big on saying everything is Buddha. I am you and you are me and we are all Buddha. There's nothing that isn't Buddha. Not even the chair.


Yes, I think it's justified for Children's Aid to take a child away from it's parent, depending on the circumstances, but not for someone to fake a child's death and raise it as their own. Much like I think it's justifiable for society to put a man in prison for theft, but not for some random dude to secretly lock someone in their basement for the same crime.
Okay, so you're saying it's the powers vested in the government agency by the citizens that gives the agency the right to do what an individual should not do. I agree, but I think we both know from many a Barty-post that not everybody else does.


Universal reincarnation is a poopy idea.
Not all Buddhists believe in universal reincarnation.

Universal reincarnation being my term for every living thing reincarnating versus say just a select few individuals reincarnating.
But why is reincarnation a poopy idea, and which Buddhists don't believe in it?

[Qrazy]

Positive ridiculous or negative ridiculous? How much pot should I smoke if I watch this?

Semi-positive ridiculous I suppose but it's much the same as the first film except not as original. As in expect the same kind of thing from the second as you got from the first except new heights of ridiculousness.

[Qrazy]

Qrazy - Little Miss Sunshine! OMG!

Yeah... I wonder if people would despise it less minus the crappy way everything wraps up at the end? The entire thing has lots of problems but I was fairly mixed on it until the dancing on stage bit. More thoughts to come later.

[B-side]

Nietzsche said that because time is infinite, everything will repeat an infinite number of times, so we will be born again and again, experiencing every moment of our lives an infinite number of times. That argument doesn't make any sense, but it doesn't matter, because his point is that we should embrace each moment as if we will live it infinitely many times. Even if it's a moment of horrible anguish, we should say "Yes!" to it, we should say, "even if this is to happen again and again, then again and again I say Yes!"

Interesting.


That's a very positive spin on it. But the Buddhist goal is to cease reincarnating; reincarnating is bad. Nirvana is the end of reincarnation.

I'll have to give this some more thought.


I don't intend to be intimidating. It sounds to me like you'd actually prefer Mahayana Buddhism.

I'm a lay Buddhist, really. More lazily adhering to the principles I find palatable within. I don't know that I even have the dedication to research it as much as you have.


Oh, yeah, Mahayana Buddhism is big on saying everything is Buddha. I am you and you are me and we are all Buddha. There's nothing that isn't Buddha. Not even the chair.

Right, and the Medicine Buddha and all that good stuff.

[Qrazy]

I am happy you liked Old Joy a little, Qrazy. It seems like something you'd hate.

I respect purposiveness and meticulousness. So while I do feel the film could have expressed much more than it did and that certain metaphors were too forced/blatant... I respect Reichart's aesthetic focus as well as her general interest in a dying friendship. There aren't many films that address that issue.

[Melville]

I'm a lay Buddhist, really. More lazily adhering to the principles I find palatable within. I don't know that I even have the dedication to research it as much as you have.
I'll reiterate my recommendation of The Teachings of the Compassionate Buddha. It's only 200 pages long, large print, and it offers good summaries of both Theravada and Mahayana Buddhism.

[B-side]

I'll reiterate my recommendation of The Teachings of the Compassionate Buddha. It's only 200 pages long, large print, and it offers good summaries of both Theravada and Mahayana Buddhism.

I'll look into it. Thanks.

[Qrazy]

But why is reincarnation a poopy idea, and which Buddhists don't believe in it?

I am referring to the belief in 'individual reincarnation'.

For starters most people don't remember past lives. Secondly it doesn't make much sense that the experiences of a human generated by our neurological systems could be reconstituted in a slug. Third if in relation to reincarnation we're not referring to the identity of the person and no memories or personality remain from the past life, then what is it that is being reincarnated? Many Buddhists certainly believe in the preservation of these memories and in individual reincarnation. Finally the numbers from the beginning of the evolution of life don't add up. It doesn't make sense that every life came from a preceding life based upon what we currently know/believe about the beginning of life.

After the comma. (http://buddhism.about.com/od/karmaandrebirth/a/reincarnation.htm)

[soitgoes...]

My rankings 1/9-ish the way through:

1. Dekalog
2. A Time to Live and a Time to Die
3. Mishima: A Life in Four Chapters
4. La Roue
5. Deadly Is the Female*
6. Stroszek
7. Wings of Desire
8. Play Time
9. Olympia
10. Force of Evil
11. Intolerance
12. The Tin Drum
13. Love Me Tonight
14. Secret Beyond the Door...
15. Me and My Gal
16. The Actress
17. Utu
18. Willy Wonka & the Chocolate Factory
19. The Thief of Bagdad
20. The Masque of the Red Death
21. Blonde Cobra
22. Storm Over Asia
23. Mutiny on the Bounty
24. Song at Midnight
25. It's a Gift
26. Captain Blood
27. Project A 2
28. The Story of Cheat
29. Gaslight
30. A Chinese Ghost Story
31. The Band Wagon
32. The Wolf Man
33. David Holzman's Diary

[Melville]

I am referring to the belief in 'individual reincarnation'.
Oh, I thought you were referring to reincarnation as it's described in Buddhist texts: the perpetuation of karma-formations. At least that's the way it's described in everything I've read.


Third if in relation to reincarnation we're not referring to the identity of the person and no memories or personality remain from the past life, then what is it that is being reincarnated?
Karma-formations; patterns of action. In that sense, a "personality" is carried over to the next incarnation. Your other questions seem a bit too literal-minded for a religion that says trillions of Buddhas have lived over trillions of trillions of years.

EDIT: actually, after reading over that link you provided, it's not clear to me what it (or you) mean by "individual reincarnation". At first I thought it was referring to the transmigration of the soul, but now it looks to me like it's referring to the actual Buddhist doctrine.

[Winston*]

Okay, so you're saying it's the powers vested in the government agency by the citizens that gives the agency the right to do what an individual should not do. I agree, but I think we both know from many a Barty-post that not everybody else does.


I concede the argument. There are crazies in the world, people that side with Morgan Freeman, people that side with The Boondock Saints, people that side with another example. You win, Melville.

[Winston*]

I respect purposiveness and meticulousness. So while I do feel the film could have expressed much more than it did and that certain metaphors were too forced/blatant... I respect Reichart's aesthetic focus as well as her general interest in a dying friendship. There aren't many films that address that issue.
Have you seen Altman's California Split?

[Qrazy]

Oh, I thought you were referring to reincarnation as it's described in Buddhist texts: the perpetuation of karma-formations. At least that's the way it's described in everything I've read.

I am referring to the rebirth and transmission of personality's. I find there to be little evidence of this. The anecdotal cases which have been studied in the scientific literature suggest that some unknown phenomena is occurring. But it seems entirely nonsensical to me to leap from the position that a) a very, very small number of individuals 'seem to' remember 'previous lives' to b) every life comes from a previous life.


Karma-formations; patterns of action. In that sense, a "personality" is carried over to the next incarnation. Your other questions seem a bit too literal-minded for a religion that says trillions of Buddhas have lived over trillions of trillions of years.


I'm not all that interested in what they believe insofar as they believe it (in terms of establishing the reality of something... I am interested in terms of history, general knowledge, etc). I'm interested in the accuracy of the belief. Is there sufficient evidence to assert universal reincarnation? I don't think there is.

If the examples in the literature are not confidence tricksters it could equally be the case that there is some sort of collective unconscious at work or that reincarnation can only potentially be achieved but is not the norm.

[Qrazy]

Have you seen Altman's California Split?

Yeah, I like it quite a bit (definitely more than Old Joy) but I don't love it.

[Melville]

I am referring to the rebirth and transmission of personality's.
Yeah, but there's a lot of range in that definition. Are you referring to a transmigration of the soul, or are you referring to Buddhist reincarnation (as described in that article you linked)? I'm going to be talking about the Buddhist one, in any case.


I'm not all that interested in what they believe insofar as they believe it (in terms of establishing the reality of something... I am interested in terms of history, general knowledge, etc). I'm interested in the accuracy of the belief. Is there sufficient evidence to assert universal reincarnation? I don't think there is.

If the examples in the literature are not confidence tricksters it could equally be the case that there is some sort of collective unconscious at work or that reincarnation can only potentially be achieved but is not the norm.
Okay, I'm interested in it in the opposite way: its place in Buddhist philosophy, rather than its scientific justification. I certainly don't see any scientific evidence for it. However, I also don't think your arguments against it rule it out.

You say that "most people don't remember past lives." But I don't think memories of past lives would be carried over in Buddhist reincarnation. The idea is that a group of patterns of desiring and acting are carried over, which I don't think requires personal memories to be carried over too. Maybe once you reach Buddha status you become aware of all your past lives.

Next, you say "it doesn't make much sense that the experiences of a human generated by our neurological systems could be reconstituted in a slug." But it's my understanding that Buddhist reincarnation is a very gradual process: the difference between a human incarnation and a slug incarnation is thousands of lifetimes or more.

Last, you say that "the numbers from the beginning of the evolution of life don't add up." But I don't think that's relevant. It's not like you need to start off with a certain number of identities that then drop out one by one as people reach Nirvana. Buddhists teach that there is no identity. The feeling of identity, the illusion of self-existence is what gets reincarnated. So new identities can pop up any time. Even if you don't allow that, reincarnation can still make sense (e.g. if things are reincarnated in the past rather than the future, or if the universe is an endless cycle of big bangs and big crunches—the big bang theory as it stands is almost certainly wrong, so it doesn't really rule anything out).

[Qrazy]

Whether it's transmigration of the soul or Buddhist reincarnation I am opposed to the belief of a personality being reborn.


Yeah, but there's a lot of range in that definition. Are you referring to a transmigration of the soul, or are you referring to Buddhist reincarnation (as described in that article you linked)? I'm going to be talking about the Buddhist one, in any case.

Okay, I'm interested in it in the opposite way: its place in Buddhist philosophy, rather than its scientific justification. I certainly don't see any scientific evidence for it. However, I also don't think your arguments against it rule it out.

Not necessarily solely scientific evidence but just evidence in general. That is to say there are plenty of philosophical positions which I maintain which aren't/can't be backed by science.


You say that "most people don't remember past lives." But I don't think memories of past lives would be carried over in Buddhist reincarnation. The idea is that a group of patterns of desiring and acting are carried over, which I don't think requires personal memories to be carried over too. Maybe once you reach Buddha status you become aware of all your past lives.

There are a number of people who 'seem' to 'be aware' of 'past lives' who have not attained Buddha status. If the goal of the story of reincarnation is to explain something that is actually occurring then the theory and reality don't mesh. I don't know what it means for a pattern of desire or action to carry over without any memories. Your identity is your memories. Self-consciousness isn't possible without memory. What is the nature of a pattern of actions if it is not held in existence, unified by the memory of those actions. Are you saying that memory transfers but just not a conscious awareness of that memory? That would be consistent but I don't see much reason to believe that it makes sense in relation to what we know about neurology and memory (conscious or not).


Next, you say "it doesn't make much sense that the experiences of a human generated by our neurological systems could be reconstituted in a slug." But it's my understanding that Buddhist reincarnation is a very gradual process: the difference between a human incarnation and a slug incarnation is thousands of lifetimes or more.

Ah well I wouldn't know the official dogma. My understanding of many lay peoples (some Buddhist) belief in reincarnation was that if you were a horrible bastard you could be reborn as a 'lower' life form.


Last, you say that "the numbers from the beginning of the evolution of life don't add up." But I don't think that's relevant. It's not like you need to start off with a certain number of identities that then drop out one by one as people reach Nirvana. Buddhists teach that there is no identity. The feeling of identity, the illusion of self-existence is what gets reincarnated. So new identities can pop up any time. Even if you don't allow that, reincarnation can still make sense (e.g. if things are reincarnated in the past rather than the future, or if the universe is an endless cycle of big bangs and big crunches—the big bang theory as it stands is almost certainly wrong, so it doesn't really rule anything out).

If new identities are popping up then we're not all reincarnated which was the original position I was opposed to.

[Melville]

There are a number of people who 'seem' to 'be aware' of 'past lives' who have not attained Buddha status. If the goal of the story of reincarnation is to explain something that is actually occurring then the theory and reality don't mesh.
But the goal is not to explain the "memories of past lives" that a negligible number of people have. The goal is to provide a (perhaps purely metaphysical) framework that explains existence.


I don't know what it means for a pattern of desire or action to carry over without any memories. Your identity is your memories. Self-consciousness isn't possible without memory. What is the nature of a pattern of actions if it is not held in existence, unified by the memory of those actions. Are you saying that memory transfers but just not a conscious awareness of that memory? That would be consistent but I don't see much reason to believe that it makes sense in relation to what we know about neurology and memory (conscious or not).
Something like muscle-memory is carried over: dispositions, desires, preferences, habits of action. The existence of these things at death causes another being to be born with a related set of attributes. They attach consciousness to the world and to the illusion of self; if they do not exist, there is no reincarnation. They lead to a setting apart of the "self" from the world, the desire from the desired. (The "self" is an illusion of a synthetic unity, or maybe even an underlying analytic unity, where in reality there is only an aggregate, each member of which is always changing.) There is never really "identity"; there is only a sequence of impersonal events strung together by karma. Long-term memories help build up the illusion of self, but they needn't be transferred in the process of reincarnation as part of the karmic package.

To quote Wikipedia,

The lack of a fixed self does not mean lack of continuity. One of the metaphors used to illustrate this is that of fire. For example, a flame is transferred from one candle to another, or a fire spreads from one field to another. In the same way that it depends on the original fire, there is a conditioned relationship between one life and the next; they are not identical but neither are they completely distinct. The early Buddhist texts make it clear that there is no permanent consciousness that moves from life to life.



If new identities are popping up then we're not all reincarnated which was the original position I was opposed to.
That doesn't follow. Each person gets reincarnated when he or she dies (unless he or she has attained Nirvana), but that doesn't mean that every person who is born must be the reincarnation of a previous thing.

EDIT: Oh, I guess you're saying that you're opposed to the position that every person is a reincarnation. I thought you were saying you were opposed to the position that each person will be reincarnated. Sorry 'bout the mixup.

[soitgoes...]

#734 Silver Lode (Allan Dwan 1954)

http://i233.photobucket.com/albums/ee171/soitgoes22/bscap2239pw.jpg

I was excited for this one. I generally am a fan of Westerns, if I don't think they're great I am at least entertained. Coupled with my desire to see more of Allan Dwan, a director who was around for ages directing over 400 films! The Silver Lode is a typical B Western from its day, tackling McCarthyism as many films from then were doing. The story seemed familiar to me as I was watching. It clicked that it is similar to Decision at Sundown, minus Boetticher's use of atypical Western ending. Still good times to be had.

[Qrazy]

But the goal is not to explain the "memories of past lives" that a negligible number of people have. The goal is to provide a (perhaps purely metaphysical) framework that explains existence.

As I said I'm not interested in the Buddhist position for it's own sake. I'm interested in whether or not there's any evidence for it. People that believe in reincarnation frequently cite the examples of people with 'memories' of 'past lives' as evidence for reincarnation.


Something like muscle-memory is carried over: dispositions, desires, preferences, habits of action. The existence of these things at death causes another being to be born with a related set of attributes. They attach consciousness to the world and to the illusion of self; if they do not exist, there is no reincarnation. They lead to a setting apart of the "self" from the world, the desire from the desired. (The "self" is an illusion of a synthetic unity, or maybe even an underlying analytic unity, where in reality there is only an aggregate, each member of which is always changing.) There is never really "identity"; there is only a sequence of impersonal events strung together by karma. Long-term memories help build up the illusion of self, but they needn't be transferred in the process of reincarnation as part of the karmic package.

Whether the self is illusory or not, in order for reincarnation to have any practical meaning something must be transferred. If you lose your memories you lose your identity. As we now know different areas of the physical brain effect disposition. Phineas Gage did not escape his accident with his prior disposition intact, so why would any karmic package survive death intact? The karmic package seems to me just like every other religious moral system out there. Reincarnation attempts to assign universal relevance to moral/spiritual action.


That doesn't follow. Each person gets reincarnated when he or she dies (unless he or she has attained Nirvana), but that doesn't mean that every person who is born must be the reincarnation of a previous thing.

EDIT: Oh, I guess you're saying that you're opposed to the position that every person is a reincarnation. I thought you were saying you were opposed to the position that each person will be reincarnated. Sorry 'bout the mixup.

Yeah I was saying I'm opposed to the former but I"m also opposed to the latter for different reasons. But yeah my earlier posts and my issue with the numbers are in relation to everyone being a reincarnation.

Still, why can new identities come into being but old identities can't discontinue being unless they attain nirvana? Why is the disposition to favor chocolate over vanilla ice cream so strong that it must endure after death? It doesn't make sense to me that a blow to the head completely shift someone's personality, their disposition and their likelihood of acting in any given way... and yet this completely shifted personality will still be reborn in the karmic cycle. I see no more practical evidence for reincarnation than there is for the Holy Trinity or Quetzalcoatl. We can certainly accept any of these on faith but the proponents of the reality of 'universal individual' reincarnation (sorry my term and not a great one) seem to maintain that there is phenomenological evidence for reincarnation (the examples cited earlier).

[Melville]

As I said I'm not interested in the Buddhist position for it's own sake. I'm interested in whether or not there's any evidence for it. People that believe in reincarnation frequently cite the examples of people with 'memories' of 'past lives' as evidence for reincarnation.
Okay, since we're interested in completely different things, we're just talking past each other. Let's call it a day. Write some more reviews.

[Qrazy]

Okay, since we're interested in completely different things, we're just talking past each other. Let's call it a day. Write some more reviews.

No you write some movie reviews! ARGHAHKLR: ... Oh right I'm supposed to for the thing. Shit.

:)

[soitgoes...]

#735 Voyage in Italy (Roberto Rossellini 1953)

http://i233.photobucket.com/albums/ee171/soitgoes22/vlcsnap2009091419h18m03.png

Oh my. Thank goodness Rossellini finished the film with maybe his best 30 minutes sequence, that I've seen anyways. A film about a married couple who discover on an impromptu trip to Naples that they are bored with each other, frankly, bored me. I'm not sure the ending saved it. That dig scene, though. Oh my.

[soitgoes...]

#736 The Bird with the Crystal Plumage (Dario Argento 1970)

http://i233.photobucket.com/albums/ee171/soitgoes22/tbwcp1.png

Minor spoilers of events that happen in the first 20 minutes.

Argento's best. Maybe. He's presents some great thrills. The above scene is flat out amazing. Locking our protagonist between twin sets of glass doors outside an art museum as a woman is being attacked. Genius. Morricone score is excellent, but that isn't too surprising. Its weak points lie in the script. The police find a glove, some ash, and a tiny piece of fabric and they have a detailed description of the bad guy the next day. Uh, okay. Good police forensics guys they have there in Rome. The witness almost gets axed at the beginning, and laughs it off and says nothing to the police?

[B-side]

Crystal Plumage was my first Argento. Good film, that one.

[soitgoes...]

By the way, if someone told me I'd like the Argento film more than the Rossellini film I would have said they were crazy.

[Raiders]

Crystal Plumage is good, but it is nowhere near Argento's best. It's got all his pet themes and motifs to an extent, but only to the point where it is a film I like, not love.

[Philosophe_rouge]

Bird with the Crystal Plumage is my second favourite Argento behind Suspiria, I'm extremely fond of it. Then again, I'm a bit of an outsider with his films because I thought Deep Red was a bore-fest.

[Rowland]

Crystal Plumage may be Argento's most all-around competent package, and thus the one I imagine playing better for modern audiences than most of his later efforts, which tend to inspire mockery. Even my girlfriend, who loves the artistry in Suspiria, can't help but laugh at its campier elements. Crystal Plumage on the other hand may be his most sane, coherent film, before he began testing the boundaries of his baroque, flamboyant sensibilities. The whole Animal trilogy is damn good though, The Cat o' Nine Tails featuring some of the finest acting/writing of Argento's ouevre and Four Flies on Grey Velvet his first really outré stabs at formal and tonal experimentation. Tenebre may be my favorite of all his work, while Phenomena, despite being loaded with memorable imagery, music, and one of his most WTF plots, is his clunkiest pre-90s effort. Avoid Phantom of the Opera at all costs.

[soitgoes...]

#737 San Pietro (John Huston 1945)

http://i233.photobucket.com/albums/ee171/soitgoes22/pietro.jpg

A documentary concerning the Battle of San Pietro in southern Italy during WWII. Considered ant-war by the military, the film was cut severely by censors for public viewing. Even in its present condition the film graphically shows what war is really like. It isn't nearly as sanitized as most war docs before it. Huston does a superb job setting up the battle, showing us the lay of the land, as well as the need for the Allies to take it. Then comes the battle, the crew right in the middle of it all. Lastly, Huston shows us what the Allies were fighting for, freeing the local populace. Even though their town is ravaged by the battle, the people persevere.

[soitgoes...]

I need to re-watch the three other Argento films I've seen. It's been three or four years, but they aren't nearly as vivid in my memory as say Bava who I tend to prefer. This film has me intrigued to check out some of his other early work (thanks Rowland), but I'm sure that that will be a few months down the road, after I'm done with this.

[Qrazy]

You'll be happy to know I'm going skiing all weekend so I won't have time for any viewings. :)

[Rowland]

they aren't nearly as vivid in my memory as say Bava who I tend to prefer.What Bava movies have you seen? My favorite is Black Sabbath (in its original cut), followed by Kill Baby Kill and Blood and Black Lace. The only lousy movie I've seen by him is Baron Blood, but even two of his most celebrated efforts, Black Sunday and The Whip and the Body, struck me as merely okay. Give me Danger: Diabolik or his underappreciated Five Dolls for an August Moon any day.

[Qrazy]

277. The Nutty Professor (Jerry Lewis, 1963)

http://impnerd.com/wp-content/uploads/nutty-professor-jerry-lewis.jpg

Jerry Lewis can be a little grating at times (that's kind of his schtick) but for the most part I like him. The hat sketch in The Ladies Man is probably my favorite comedy routine from him so far, just priceless. I've also seen The Bellboy and Artists and Models, which will be reviewed in due time. Compared to The Ladies Man and the Bellboy this is a much more unified film. Lewis plays a college chemistry professor who after experimenting in the lab ends up creating a Jekyll and Hyde formula in order to become less of a dweeb. This is a light, funny, enjoyable film and while the humor may be a little too broad and not entirely on the mark at all times, it's definitely an enjoyable diversion.

[soitgoes...]

What Bava movies have you seen? My favorite is Black Sabbath (in its original cut), followed by Kill Baby Kill and Blood and Black Lace. The only lousy movie I've seen by him is Baron Blood, but even two of his most celebrated efforts, Black Sunday and The Whip and the Body, struck me as merely okay. Give me Danger: Diabolik or his underappreciated Five Dolls for an August Moon any day.

Black Sunday (1960)
Erik the Conqueror (1961)
Hercules in the Haunted World (1961)
The Whip and the Body (1963)
Blood and Black Lace (1964)
Planet of the Vampires (1965)
Kill, Baby… Kill! (1966)
Danger: Diabolik (1968)
Five Dolls for an August Moon (1970)
Bay of Blood (1971)

Bay of Blood and Danger: Diabolik (insanely fun) are my two favorites. I did not like Five Dolls at all. It was the last of his films that I watched in a two week spree where I saw all the above. Maybe I was burned out. The rest vary from bad (Hercules) to very good (Blood and Black Lace, Black Sunday). I love the way his films look.

[soitgoes...]

You'll be happy to know I'm going skiing all weekend so I won't have time for any viewings. :)You are so dead. I'm calling in sick to work. :P

I probably won't go ape shit on you. I'll take advantage some, but I'll also take an opportunity to watch some other stuff I've been neglecting.

[Qrazy]

276. The Outlaw Josey Wales (Clint Eastwood, 1976)

http://alsolikelife.com/shooting/images/Outlaw_Josey_Wales/josey14.jpg

I'm not a big fan of Eastwood as a director but after having seen a few more of his westerns I can safely say that I prefer them to his later work. However, I still didn't think this was a great film or that he's a great director. This was a solid western but felt really unfocused to me. Josey Wales (Eastwood) wanders around from location to location killing people, on the run from Union trips. The plot is very thin and the individual scenes/set pieces aren't all that dramatically involving or tense. A lot of the characters are cliches. The relationship and rapport between Eastwood and his Indian buddy doesn't really carry the emotional weight it probably ought to. On the plus side there are a couple of witty one-liners and Eastwood certainly generates his own unique, desperate Western atmosphere. But with many sequences (rescuing his Indian friend) I can't shake the feeling that Eastwood is trying to ape Leone and coming up short. He just doesn't know how to generate the same degree of tension or establish the same sense of geography as his teacher.

[Qrazy]

You are so dead. I'm calling in sick to work. :P

I probably won't go ape shit on you. I'll take advantage some, but I'll also take an opportunity to watch some other stuff I've been neglecting.

Time to finish the IMDB top 250?

[soitgoes...]

Time to finish the IMDB top 250?

That one movie? Nah, probably not. I got my eye on some more Hou.

Hey, not that you care, but I'm number one on the Kinema Jumpo list and #5 on the Chinese one. Asian Cult status confirmed.

[Qrazy]

275. Animal Farm (Joy Batchelor, 1954)

http://img.metro.co.uk/i/pix/2008/08b/AnimalFarm270808_450x341.jpg

SPOILERS

This was a suitably chilling and excellent adaptation of Orwell's classic, except for the ending which has been changed. The story in a nutshell... a bunch of farm animals decide to rebel against their human masters. The book's ending closed with the animals noticing that Napoleon's regime had become more and more human, to the point where even their physical characteristics now resembled human beings. The pigs became that which they had originally rebelled against.

Now, the film maintains this shift (to a degree) but whereas the short novel closed with a sense of utter hopelessness in the face of corruption and abuse of power, this film features a second revolution. Napoleon gets his just deserts and is overthrown. I suppose such an ending could be in keeping with the spirit of the original novel if it were to insinuate that even this second revolution will fail and there will be an endless cycle of revolutions stretching ever onward. But I"m not sure the film successfully implies this because Benjamin the donkey is no Napoleon. Still, the film does remain somewhat ambiguous as to what will happen next. It is possible that even Benjamin will be corrupted by absolute power. However, while the concept of an endless series of revolutions is an interesting idea, I think that even this approach misses one of Orwell's major cautions. Both in Animal Farm and in 1984 Orwell suggests that perhaps there will come a time where revolution is no longer possible. A time where the lower class is so broken down and the ruling class has such a fierce grip on power, that a social shift becomes impossible.

And now more than ever I think this is a crucial caution. Can you imagine what would happen if another totalitarian society came into power? The internet may unite us but it also lays us bare. We feed so much information about ourselves into these machines. We are completely at the mercy of anyone who has absolute control over the technology that we depend upon.

[Qrazy]

That one movie? Nah, probably not. I got my eye on some more Hou.

Hey, not that you care, but I'm number one on the Kinema Jumpo list and #5 on the Chinese one. Asian Cult status confirmed.

Nice. I was actually pretty astounded at how few of the Kinema Jump list I've apparently seen. I knew my Chinese viewings were lacking but I really thought I'd made a dent in Japanese cinema.

[soitgoes...]

275. Animal Farm (Joy Batchelor, 1954)I really like this one. I agree about the ending, but I think it's forgivable.


Nice. I was actually pretty astounded at how few of the Kinema Jump list I've apparently seen. I knew my Chinese viewings were lacking but I really thought I'd made a dent in Japanese cinema.
The Japanese list gets very obscure, but I'm still surprised that no one has even seen half of the films on it. I think the Chinese list would actually be easier to finish, but even there, only one person has seen at least half of the films.

For those not in the know: the Japanese list (http://wildgrounds.com/index.php/2008/12/29/kinema-jumpos-top-100-japanese-movies-of-all-time/) and the Chinese list (http://www.monkeypeaches.com/050316A.html).

*Brightside, you will notice film #2 on the Kinema Jumpo list. :P

[soitgoes...]

You'll be happy to know I'm going skiing all weekend so I won't have time for any viewings. :)
I forgot to say, I hope you have fun this weekend. :)

[Qrazy]

I forgot to say, I hope you have fun this weekend. :)

Thanks. :)

[B-side]

*Brightside, you will notice film #2 on the Kinema Jumpo list. :P

If that's the standard for Japanese cinema, then it was in dire straits.:lol:

[soitgoes...]

If that's the standard for Japanese cinema, then it was in dire straits.:lol:While I don't always agree with what Kinema Jumpo chooses as their best films (no Grave of the Fireflies?!?), after your Floating Clouds debacle, my stock in them is a wee bit higher than in you in regards to Japanese film. :P

[B-side]

While I don't always agree with what Kinema Jumpo chooses as their best films (no Grave of the Fireflies?!?), after your Floating Clouds debacle, my stock in them is a wee bit higher than in you in regards to Japanese film. :P

I love Kobayashi.:sad:

[soitgoes...]

I love Kobayashi.:sad:Okay, you are forgiven.

[B-side]

Okay, you are forgiven.

Yay.:)

[soitgoes...]

#738 The Horse Thief (Tian Zhuangzhuang 1986)

http://i233.photobucket.com/albums/ee171/soitgoes22/bscap00115fh.jpg

The story of Norbu, a Tibetan nomad, and his young family trying to balance survival and religious faith in the harshest of landscapes. Norbu doesn't necessarily want to steal, but occasionally he feels he needs to steal in order to be able to feed his wife and young son. He even gives a majority of his "earnings" to the local temple. He means well. The clan doesn't approve, so out they go. The clan doesn't want to let evil in to their community. Norbu and his family must now make their way alone, and Tibet doesn't forgive easily.

Tian gives us a stunning film, heavy on imagery and light on dialogue. The balance between survival and faith can be precarious. The Tibetans, it seems, have reconciled that in order to survive they have to be very deep in faith. The two are intertwined. Norbu's actions act as a shortcut. Instead of praying for the needs to survive, he acts by stealing.

Also it should be noted, I have a strong desire to name my first born son Zhuangzhuang. Also, how the hell do they light all those candles? Getting ten lit on a birthday cake can be a chore.

[soitgoes...]

#739 The Young One (Luis Buñuel 1960)

http://i233.photobucket.com/albums/ee171/soitgoes22/2cwl9g1.png

I did not think a film like this would have been made in 1960 anywhere. Turns out Buñuel made it, and in English no less. I'm not sure what audience he was striving for, because I doubt this film was well received in the States. The story of a bigoted white game warden and a young 13 year old girl living on a Carolina island. A black man fleeing the cries of rape from the mainland happens onto their island. The obvious clash of race is there, but the shocking part is Buñuel throws in some ideas on sex. Yeah, that's right. The cast consists of 4 men total and a thirteen year old girl, and the story has a strong sexual message. Bernie Hamilton is superb as the black musician on the lam. I'm not sure the resolution totally jives with me, but regardless the film is a treat. This is the film to see if you're looking for an entry point into Buñuel's work. Not his best film, but still great nonetheless.

[soitgoes...]

#740 Roman Holiday (William Wyler 1953)

http://i233.photobucket.com/albums/ee171/soitgoes22/vlcsnap-2009-12-31-12h17m44s244.jpg

Roman Holiday is all about Audrey Hepburn. I think if she isn't in this film, I wouldn't be talking about it today. Oh sure it's good enough, but really without her, what else are we left with? This isn't exactly a Wyler type film, Wilder perhaps. And Gregory Peck? Well he's a little wooden to be playing a journalist methinks. Audrey pulls it all together. The film did have a few perfect moments: The "Mouth of Truth," motoring around Rome on a Vespa, and the ending, such a great ending.

[soitgoes...]

#741 Lola (Jacques Demy 1961)

http://i233.photobucket.com/albums/ee171/soitgoes22/lola.jpg

To be honest, I knew nothing about this film going in. I had heard of it, knew Demy directed it, but that was about the extent of my Lola knowledge. I guess you can say I was somewhat shocked. My Demy experience is limited to The Umbrellas of Cherbourg and The Young Girls of Rochefort, which are two very different films... in a way. Gone are the vibrant colors and the beautiful singing which gives the other two films a sense of happiness, even if happiness isn't being depicted. What Lola gives us is stunning black-and-white from the hottest cinematographer in 1960's French cinema, Raoul Coutard. Demy also gives us Max Ophüls. Right there at the beginning we see his name, and throughout the film we see a sort of Ophüls touch filtered through Demy. The camera swirls around the actors, but not quite with the fluidity of an Ophüls film. Still quite the feat for a first time director.

[soitgoes...]

45 minutes into Mother India and I can sense that the 3 or 4 Bollywood films I have in front of me will be a chore. Ugh.

[soitgoes...]

#742 Mother India (Mehboob Khan 1957)

http://i233.photobucket.com/albums/ee171/soitgoes22/MI5.jpg

First off, it should be said that this actually turned out to be better than my initial expectations. The best parts of the film were actually the songs, which is surprising because I would have thought the opposite to be true. The film itself is about how much heartache one woman can endure. Anything and everything happens to Radha, and yet she endures, first for her husband, then her sons and finally her village. She will, and indeed does, sacrifice everything for their survival. I imagine that this would be an absolute beauty in a theater with an immaculate print, but alas, I got to see a very sub-par transfer at home. All in all surprising, and I guess I can say I'm not as scared of what Bollywood features my future holds, then again this was rated as the best Bollywood has to offer. We'll see.

[B-side]

Mehboob

Heh.

[soitgoes...]

Heh.
At the end of the film it reads: It's a Mehboob Production.

I chuckled.

[soitgoes...]

#743 High Sierra (Raoul Walsh 1941)

http://i233.photobucket.com/albums/ee171/soitgoes22/bscap00012.jpg

An early proto-noir teaming of Walsh, Bogart, and Lupino, who it's interesting to see get top billing (one of the last films Bogart was in in which he doesn't get top billing?). I enjoyed how Bogart's character isn't shaded as completely bad. He is undoubtedly the bad guy, but we are able to sympathize with him. The scenes with a young clubbed foot girl help with this. A great car chase at the end is somewhat lost with the over-climactic conclusion. Hollywood and its Hayes Code once again robbed a film of any chance of a surprise ending. The biggest drawback is the awful stereotypical black man who tends to the cabins Bogart and his cronies are staying at.

[Qrazy]

Ah sorry dude I saw that one (High Sierra) this year but forgot to check it.

[Derek]

Ah sorry dude I saw that one (High Sierra) this year but forgot to check it.

What's the site that let's you check of all those lists? I created a username, but I can't for the life of me remember the url.

[soitgoes...]

What's the site that let's you check of all those lists? I created a username, but I can't for the life of me remember the url.

http://www.icheckmovies.com/

[soitgoes...]

#744 Black Orpheus (Marcel Camus 1959)

http://i233.photobucket.com/albums/ee171/soitgoes22/blackorpheus05.jpg

Great films made by directors who really didn't do much else of consequence always interest me. What aligned for this one film to come together so well, when all of the director's other films feel so average? In the case of Marcel Camus it was Rio. The world never saw or heard a film like this. Bossa nova hadn't made its splash yet. João Gilberto's sound hadn't made it out of Brazil, and Cinema Novo hadn't yet been born. The world was introduced to Brazil through Camus's film, and what an introduction!

The tale of Orpheus, of Greek mythology, loosely placed in Rio de Janeiro during the Carnaval, has young Orpheus falling in love with Eurydice. She is visiting the city in order to get away from a stalker who wants her dead. He is a streetcar driver who also happens to play guitar and drive all the local ladies crazy with his fierce good looks. He's recently engaged, but all that changes when he meets Eurydice for the first time. Off to Carnaval they go, and the Greek tragedy plays itself out to the beats and colors of Rio's nightlife. A simple story that really takes the backseat to the energy of the city. Great film. I wish Camus made something else near the level of Black Orpheus, but at least he made this one film.

[soitgoes...]

Ah sorry dude I saw that one (High Sierra) this year but forgot to check it.No worries. How was the skiing?

[Qrazy]

No worries. How was the skiing?

Pretty awesome, definitely my sport of choice. I actually have a weekday seasons pass at another hill. Gonna start going at least once a week.

And yeah Black Orpheus is all sorts of good. I feel like Camus must have done at least one other halfway decent film. I should check some of his others out.

[soitgoes...]

And yeah Black Orpheus is all sorts of good. I feel like Camus must have done at least one other halfway decent film. I should check some of his others out.Best of luck finding something else of his to watch. There's only one other film on KG (no subs) that got no downloading love even from the French members. I'd be interested too, but I'm afraid I'll only ever see one of his films.

[Qrazy]

Best of luck finding something else of his to watch. There's only one other film on KG (no subs) that got no downloading love even from the French members. I'd be interested too, but I'm afraid I'll only ever see one of his films.

Balls.

[soitgoes...]

#745 Report (Bruce Conner 1967)

http://i233.photobucket.com/albums/ee171/soitgoes22/bc0011th.jpg

Using only found footage, Bruce Conner is able to weave together an auditory and visual display mirroring mostly closely the confusion people must have felt the day JFK was shot. Never showing the actual moment of assassination and yet still building a high level of tension and anticipation is a testament to his editing style. Probably the best of the handful of Conner films I've seen. A great pairing with the other found footage short by Álvarez released the same year, LBJ.

[B-side]

Love it.

[soitgoes...]

#746 Sans soleil (Chris Marker 1983)

http://i233.photobucket.com/albums/ee171/soitgoes22/vlcsnap-12534532.png

The film opens with the above segment. A woman narrates the writings of Sandor Krasna, a sort of surrogate name for Marker I guess, saying that the three children best encapsulate what happiness is. He doesn't know how to connect the short little snippet of film with the rest of the "narrative," so it is presented here at the beginning by itself followed by black leader. The woman tells us that if we don't see the happiness at least we'll see the blackness of the leader. That was the high point for me. The rest I feel would work better without the narration or at least with the narration toned down. There are a number of instances of sheer brilliance. The girl whose eyes are "caught" by the camera for 1/24 of a second is an instance that I would think most directors would kill for.

[Qrazy]

How did you manage to have so many excellent films to see. Lucky. :)

[Qrazy]

274. High Sierra (Raoul Walsh, 1941)

http://4.bp.blogspot.com/_f9pvdIisA48/SfyWJk0HbzI/AAAAAAAAAEI/UyJIKRoHd8I/s400/High.sierra.jpg

Reposted from page 980 of the film discussion thread.

'This is not a bad film per se but it's also an incredibly uninteresting one. There's no vision, nothing to care about. There's a yappy little dog, a black caricature, a tedious bank robbery. The whole thing is just dead on arrival. Which reminds me I ought to watch DOA soon.'

This actually makes it sound like I disliked it more than I did. Bogie is fun to watch as per usual. The film is what it is. It's a relatively solid crime flick. I much preferred White Heat though.

[soitgoes...]

How did you manage to have so many excellent films to see. Lucky. :)I'm halfway through Andrei Rublev too. ;)

Hey you just marked off one of my favorites today.

[soitgoes...]

274. High Sierra (Raoul Walsh, 1941)

http://4.bp.blogspot.com/_f9pvdIisA48/SfyWJk0HbzI/AAAAAAAAAEI/UyJIKRoHd8I/s400/High.sierra.jpg

Reposted from page 980 of the film discussion thread.

'This is not a bad film per se but it's also an incredibly uninteresting one. There's no vision, nothing to care about. There's a yappy little dog, a black caricature, a tedious bank robbery. The whole thing is just dead on arrival. Which reminds me I ought to watch DOA soon.'

This actually makes it sound like I disliked it more than I did. Bogie is fun to watch as per usual. The film is what it is. It's a relatively solid crime flick. I much preferred White Heat though.I found it hard to believe that this was made before Bogart made it huge. He is so old looking in this film. Granted he was in his 40s, but he looked older than his later films.

[Qrazy]

273. High Plains Drifter (Clint Eastwood, 1973)

http://www.vormedia.com/images/high_plains_drifter_01.jpg

SPOILERS

I'd seen some of this film before on television and it didn't leave much of an impression. It must have been from the first half of the film. When I started HPD this time around I initially had that same sensation of being vaguely underwhelmed. However around the halfway point the film really picks up and everything that came before suddenly becomes relevant and meaningful. This is perhaps my second favorite Eastwood film. I suppose I'd have to give the edge to Unforgiven. Everything here is just so gritty and relentlessly ugly.

Now that ugliness is definitely not what won me over about the film. It was early days for Eastwood's directorial career and it does show. Either before or after raping a girl there's a rather overly blatant low angle shot from the POV of the girl looking up at Eastwood. It doesn't really work. A few such missteps aside I think what I liked about the film was probably the inevitable sense of tragedy to the second half. The geography of the town is also laid out very well here. It's obvious that a town was built just for this film perhaps just so it could be laid to waste. The final reckoning at the end of the film feels almost Biblical in proportion.

[Qrazy]

I'm halfway through Andrei Rublev too. ;)

Hey you just marked off one of my favorites today.

Two birds with one stone. Here I come film swap thread! :)

[Qrazy]

I found it hard to believe that this was made before Bogart made it huge. He is so old looking in this film. Granted he was in his 40s, but he looked older than his later films.

Definitely. I really like seeing him play bad eggs even if I don't always love the movies the performance comes in (Petrified Forest also).

[soitgoes...]

How did you manage to have so many excellent films to see. Lucky. :)
All of these that you have left are excellent (I'd rate at least a 9):

The Big Parade
Napoléon
The Crowd
The Blue Angel
Make Way for Tomorrow
Le Jour se lève
Mr. Smith Goes to Washington
An Autumn Afternoon
An Actor's Revenge
The Battle of Algiers
Gimme Shelter
Ucho
A Time to Live and a Time to Die
Story of Women
A City of Sadness
La belle noiseuse
Yi yi
The Gleaners & I
Talk to Her

[soitgoes...]

Keep going Qrazy. Only 20 or so more entries to do until you're all caught up. :P

[Qrazy]

Keep going Qrazy. Only 20 or so more entries to do until you're all caught up. :P

FML.

[Qrazy]

The Crowd
Make Way for Tomorrow
An Actor's Revenge
The Battle of Algiers
Gimme Shelter


Nice. I particularly think these will mesh with my sensibilities. I also think I'll like Dr. Mabuse because Lang hasn't steered me wrong yet.

[soitgoes...]

#747 El Norte (Gregory Nava 1983)

http://i233.photobucket.com/albums/ee171/soitgoes22/elnorte3qa2.png

Here's a film that probably carried much more importance when it first came out 27 years ago. Sure its message is till important, but it's something I've seen and heard of countless times. Roger Ebert called El Norte the Grapes of Wrath of our times. Well he's right inasmuch as both films are about migrants looking to escape an awful situation, but running into problem after problem. Let's face it though, David Villalpando is no Henry Fonda, and Gregory Nava is definitely no John Ford. In fact he is the reason this film went wrong. He is as subtle as a hammer to the head. Heavy handed symbolism - check. Music designed to pull at our heartstrings at the right time (Adagio for strings even!) - check. Intercutting showing us exactly what our protagonist's choices are in case we can't follow the film - check. Making our two leads so nice and lovable that when the rug gets pulled out from under them it will be to even greater effect - check. Melodrama gone wrong.

[soitgoes...]

Nice. I particularly think these will mesh with my sensibilities. I also think I'll like Dr. Mabuse because Lang hasn't steered me wrong yet.Yeah, I look forward to Mabuse too.

Looking over what you have left, there's quite a few I'm high on. Most of the silent stuff is at the very least good.

[soitgoes...]

#748 Andrei Rublev (Andrei Tarkovsky 1966)

http://i233.photobucket.com/albums/ee171/soitgoes22/Andrei.jpg

In Which I Confuse Qrazy, Melville, and Possibly Many Others

Yes, I fall in the "I'm not sure I get the love for Andrei Rublev camp." This was an endurance test for me. I felt every minute of its 3 and a half hour running time. I can say that technically the film, and Tarkovsky's crafting of it was brilliant. His mise-en-scene, cinematography, sound, whatever you have is damned near perfect, but I can't help but feel like I have no idea why I just sat through all of that. It boils down to by the end me not caring. Tarkovsky created history, and presented the era well, but man, bore me less please. I've only seen Solaris and Ivan's Childhood, both of which I enjoyed. With Solaris it took me two viewings to get to enjoyment. Perhaps that's what Andrei Rublev needs. The problem is I can't see myself giving it another chance.

Sorry Qrazy. I have failed you. The good news is that I have more Tarkovsky ahead of me, which may lead to some sort of redemption.

[B-side]

Hmm. I need a rewatch of Rublev before I can totally condemn you. I remember feeling the runtime myself, but still enjoying it. I love it more in retrospect.

[StanleyK]

#748 Andrei Rublev (Andrei Tarkovsky 1966)

I was underwhelmed on a first viewing, too, but on second viewing, it became one of my favorite films; maybe it helps that there was well over a year between them.

[soitgoes...]

Well my next entry is also about Russians, and was made by one of my favorite directors.

[soitgoes...]

Hmm. I need a rewatch of Rublev before I can totally condemn you. I remember feeling the runtime myself, but still enjoying it. I love it more in retrospect.
Not to change the subject, but what did you think of The Hand?

[B-side]

Not to change the subject, but what did you think of The Hand?

Dug it. Definitely. I'll be seeking out more from this Trnka fellow.

[soitgoes...]

Dug it. Definitely. I'll be seeking out more from this Trnka fellow.
Yeah, I watched it last month or so, and was blown away. That's a film that should be on a list like this. A great use of animation as a political tool.

[B-side]

Yeah, I watched it last month or so, and was blown away. That's a film that should be on a list like this. A great use of animation as a political tool.

Definitely.

[Qrazy]

#748 Andrei Rublev (Andrei Tarkovsky 1966)

http://i233.photobucket.com/albums/ee171/soitgoes22/Andrei.jpg

In Which I Confuse Qrazy, Melville, and Possibly Many Others

Yes, I fall in the "I'm not sure I get the love for Andrei Rublev camp." This was an endurance test for me. I felt every minute of its 3 and a half hour running time. I can say that technically the film, and Tarkovsky's crafting of it was brilliant. His mise-en-scene, cinematography, sound, whatever you have is damned near perfect, but I can't help but feel like I have no idea why I just sat through all of that. It boils down to by the end me not caring. Tarkovsky created history, and presented the era well, but man, bore me less please. I've only seen Solaris and Ivan's Childhood, both of which I enjoyed. With Solaris it took me two viewings to get to enjoyment. Perhaps that's what Andrei Rublev needs. The problem is I can't see myself giving it another chance.

Sorry Qrazy. I have failed you. The good news is that I have more Tarkovsky ahead of me, which may lead to some sort of redemption.

The Sacrifice or Stalker are probably your best bets.

[soitgoes...]

The Sacrifice or Stalker are probably your best bets.
Well The Mirror and Stalker are needed for this, so I'll make Stalker my next Tarkovsky.

[Qrazy]

Well The Mirror and Stalker are needed for this, so I'll make Stalker my next Tarkovsky.

What's your av from?

[soitgoes...]

What's your av from?Flash Gordon. See it if you haven't. Unbelievable lolz.

[Qrazy]

Flash Gordon. See it if you haven't. Unbelievable lolz.

Will do.

[Spaceman Spiff]

See Flesh Gordon, while you're at it.

[monolith94]

Interesting… Andrei Rublev to me passed by relatively quickly, while it was Solyaris which seemed to go more slowly…

[soitgoes...]

#749 Archangel (Guy Maddin 1990)

http://i233.photobucket.com/albums/ee171/soitgoes22/vlcsnap4434.png

Guy Maddin is a director who I can see people not liking. He does have a very unique style that runs through all of his films, whether it is 4 minutes long or 90 minutes. Archangel is no different. A throwback to silent films, it does have dialogue (that cheesy, flat dialogue I've come to expect from a Maddin film) intermixed with title cards (also cheesy). Maddin's stories are usually simple, albeit strange, but he is not about the story. Rather, he's about how the story is told. I can't say that Archangel is my favorite of his works. Actually it might be my least favorite of his feature length films, but it is still a good film that helps support a great director's body of work.

When discussing the best directors of the past decade, Maddin's name should be included on the shortlist. Discuss.

[soitgoes...]

#750 3-Iron (Ki-duk Kim 2004)

http://i233.photobucket.com/albums/ee171/soitgoes22/vlcsnap11534492jc4.png

After this was over, I was amused that I had inadvertently chosen to watch this film right after Archangel. There's really only one similarity between the two, and it's there willingness to be silent, almost. 3-Iron is about sounds, but not the sound of voices. Ambient sounds that are drowned out by everyday talking are all heard here. The film is about a drifter, or transient, who breaks into vacationing people's houses to live for a few days. He doesn't steal, in fact he usually does something to improve their home. He eventually gets "caught" by a woman in an abusive relationship. She tags along, and thus begins a beautiful, short-lived romance. I'm sure this film says a lot about some Eastern religion of what I'm not totally aware. What I do know is that Kim left me with a wonderful, idiosyncratic love story that I'll not soon forget.

[Beau]

Interesting… Andrei Rublev to me passed by relatively quickly, while it was Solyaris which seemed to go more slowly…

I agree. It was a pretty painless three hours for me. I have an inordinate amount of patience, as I am always forced to point out (I think Stalker is almost edge-or-your-seat material -- true story). But I never felt restless with Rublev. It's a very tight film even, in the sense that each scene contributes to the larger theme somehow. Everything builds up effectively and explodes with the undeniably powerful bell-boy episode. Or, if you prefer it as a climactic point, the final 'unveiling' of Rublev's paintings, which is the theme's pay-off.

[Boner M]

I agree. It was a pretty painless three hours for me. I have an inordinate amount of patience, as I am always forced to point out (I think Stalker is almost edge-or-your-seat material -- true story). But I never felt restless with Rublev. It's a very tight film even, in the sense that each scene contributes to the larger theme somehow. Everything builds up effectively and explodes with the undeniably powerful bell-boy episode. Or, if you prefer it as a climactic point, the final 'unveiling' of Rublev's paintings, which is the theme's pay-off.
Same. I can honestly say that I found Andrei Rublev a total breeze the first time I saw it, on a double bill with Stalker in my mid-teens in a downtown arthouse... granted, I saw it before I'd been exposed to a lot of art cinema's greats (even before Bergman, surprisingly), so part of the appeal was the buzz of being exposed to something completely different from anything I'd seen before, but even on recent subsequent viewings I find the film incredibly propulsive in its fluidity and spectacle.

[StanleyK]

I agree. It was a pretty painless three hours for me. I have an inordinate amount of patience, as I am always forced to point out (I think Stalker is almost edge-or-your-seat material -- true story). But I never felt restless with Rublev. It's a very tight film even, in the sense that each scene contributes to the larger theme somehow. Everything builds up effectively and explodes with the undeniably powerful bell-boy episode. Or, if you prefer it as a climactic point, the final 'unveiling' of Rublev's paintings, which is the theme's pay-off.

Agreed completely; the last 8 minutes are one of the best stretches of pure cinema I've ever seen.

[soitgoes...]

#751 Shadows (John Cassavetes 1959)

http://i233.photobucket.com/albums/ee171/soitgoes22/pdvd017wc1.png

Confession time! I hadn't actually seen a Cassavetes film before last night. John Cassavetes that is. Well, one that he directed. This list offered me a number of choices to remedy that. I figured I'd start at the beginning. I know it isn't his highest regarded work, but I like to start a director's filmography where he himself started, so there you go. I was worried I wasn't going to like this. Improvised, especially when made largely by amateurs, can come off bad. There were times during this where I winced at the bad acting, but I think with Shadows I can almost overlook it. This really is something different. Something American film hadn't seen before. That's exciting even when viewing it 50 years later. Cassavetes uses lots of extreme closeups, and the grainy 16mm film adding a realistic, gritty feel. Oh, and anything with Mingus is bound to be positive. All in all, an exciting if flawed film, that has me looking forward to what else Cassavetes has to offer.

[B-side]

You're in for a treat with Cassavetes. Shadows isn't his best, that much is true, but it's still damn good. My favorite is probably either Opening Night or Faces.

[soitgoes...]

You're in for a treat with Cassavetes. Shadows isn't his best, that much is true, but it's still damn good. My favorite is probably either Opening Night or Faces.
Faces will be next. Opening Night will probably be in a few months at the earliest. I have to choose my non-race films wisely. Qrazy isn't allowing much leeway in what I watch. :)

[B-side]

Faces will be next. Opening Night will probably be in a few months at the earliest. I have to choose my non-race films wisely. Qrazy isn't allowing much leeway in what I watch. :)

You guys should really take a break for a few days at least.

[soitgoes...]

You guys should really take a break for a few days at least.
I actually don't plan on watching anything today.

Unless Qrazy does... :evil:

[Qrazy]

I actually don't plan on watching anything today.

Unless Qrazy does... :evil:

I only watched one and I'm three films behind ya.

[soitgoes...]

Define today.Well I'm still in Friday. Saturday is tomorrow still for me. All bets are off for then.

[soitgoes...]

I only watched one and I'm three films behind ya.I know, but I also know that if I step away for a few days I'll be 3 films behind you.

[Qrazy]

I know, but I also know that if I step away for a few days I'll be 3 films behind you.

Nahh this race is exhausting. I need some breathing room too. I do want to catch up but I have no compulsion to create a substantial gulf between our viewings.

[soitgoes...]

Personally I don't have a problem with the pace. I've seen some amazing films over the last month, films I would've continued to put off for who knows how long. I'm still eager to watch the next film off the list.

EDIT: This was posted without seeing your above post.

[Qrazy]

Personally I don't have a problem with the pace. I've seen some amazing films over the last month, films I would've continued to put off for who knows how long. I'm still eager to watch the next film off the list.

Definitely. I love a lot of the films you've been viewing.

[soitgoes...]

Nahh this race is exhausting. I need some breathing room too. I do want to catch up but I have no compulsion to create a substantial gulf between our viewings.I'm down for some other viewings too. If you wanna call a breather for a bit, I'd be okay with that. I don't want you to get burnt out and hate me. Whatever works. I'm flexible. :)

A breather would have the added bonus of giving you some time to post thoughts on some of the films that I'm interested in hearing about said thoughts. ;)

[Qrazy]

I'm down for some other viewings too. If you wanna call a breather for a bit, I'd be okay with that. I don't want you to get burnt out and hate me. Whatever works. I'm flexible. :)

A breather would have the added bonus of giving you some time to post thoughts on some of the films that I'm interested in hearing about said thoughts. ;)

Let the games continue!

[soitgoes...]

Let the games continue!Nice. Competition is grand.

[soitgoes...]

The bright side is we're already a sixth of the way there. Well I am, you're a shade over a sixth of the way, but whatever.

[soitgoes...]

#752 Cairo Station (Youssef Chahine 1958)

http://i233.photobucket.com/albums/ee171/soitgoes22/Clipboard03-29.png

Here's another film I was looking forward to seeing. I hadn't seen a Chahine film yet, and outside of Iran, my Middle Eastern film experiences are very much lacking. Chahine stars in this thriller as a young newsstand vendor in a Cairo train station, who also happens to be a bit slow and gimpy. His shortcomings draw the ridicule of other local workers. He has a an unhealthy obsession for a lemonade vendor who is engaged to marry someone else. Oh, and there's a murderer on the loose. Chahine uses this setup as a tool to show us a cross-section of Cairo society. We don't see the exotic Cairo locals a foreign director would show us. He presents us with the Cairo its citizens see everyday.

[soitgoes...]

#753 Tampopo (Juzo Itami 1985)

http://i233.photobucket.com/albums/ee171/soitgoes22/tampopo7xe9.jpg

Tampopo shows a love a food like know other film ever has. This is probably the funniest Japanese film I've seen. I was laughing throughout. It has an interesting structure, not unlike The Grapes of Wrath (the book, not the movie). The main story of a man who helps a lady noodle shop owner figure out how to be successful is interwoven with amusing vignettes of the love of food. These vignettes were more interesting and entertaining than the main story, but not to sell it short, the main story was pretty fantastic itself. Very much recommended.

[Beau]

Interesting how the novel Macho! completely rips-off the structure of Grapes of Wrath. It's probably a homage and/or a self-reflexive performance suggesting a continuity of "travelers:" the Joads, now the Mexicans.

What? No, this has nothing to do with the topic at hand. I can't think of many films that do something similar to the above. Examples lead me in wild directions like Starship Troopers.

[Pathétique]

I need to see an Egyptian film for a project I'm doing over at RT. Cairo Station sounds like it would be a good one.

[soitgoes...]

I need to see an Egyptian film for a project I'm doing over at RT. Cairo Station sounds like it would be a good one.

Well, it's the only one I can recommend. It's also the only one I've seen, I think. :)

[soitgoes...]

#754 Gigi (Vincente Minnelli 1958)

http://i233.photobucket.com/albums/ee171/soitgoes22/gigi.png

Well, Minnelli made a musical worse than The Band Wagon. Gigi also is the worst Best Picture winner I've seen. I have no idea how this pulled off 9 (!!!) Oscars. Two, definitely. The art direction and costumes were exquisite. That's all though. The songs are sterile and have no life. There's no dancing, no multiple singers. Just the main singer, singing his/her song and that's all. Maurice Chevalier is a creeper in this. I'm not sure if it speaks poorly of the movie or the times we live in now, but his "Thank Heaven for Little Girls" song seems so inappropriate when he's singing it while looking at pre-pubescent girls.

I can't believe how many of these Holywood musicals are present on this list. For a cross-section of what all film can offer, it seems a tad excessive. Thankfully I don't have too many more left.

[soitgoes...]

#755 Orpheus (Jean Cocteau 1950)

http://i233.photobucket.com/albums/ee171/soitgoes22/orpheus.jpg

Seeing this so soon after seeing Camus's Black Orpheus is bound to have me drawing comparisons between the two. Put a gun to my head, and I'll tell you Black Orpheus is the better film, but that isn't fair to Orpheus. Cocteau's film is much more faithful to the source material, technically it is better, has better acting and utilizes some great special effects, but still Black Orpheus is so much fuller of life, energy. I was emotional attached to the leads in Camus's film, whereas Cocteau never drew me in. Still it was great, but something tells me I should have waited awhile to watch it.

[Philosophe_rouge]

I hate Gigi, I don't like The Band Wagon, but I somehow adore Vincente Minnelli.

[Beau]

Nobody actually discussed Maddin when soitgoes... asked people to discuss him. Discuss.

[B-side]

Nobody actually discussed Maddin when soitgoes... asked people to discuss him. Discuss.

I like Guy Maddin. He's good.

[Mysterious Dude]

I'm just glad someone is keeping silent movies alive.

[Beau]

I like Guy Maddin. He's good.

Yeah! Yeah? I interviewed Maddin. The article sucked because my college newspaper articles were always early-morning quickies done before more important things, like studying and playing video games, but now I get to say that I interviewed Maddin and was mesmerized by his corpulence. I wish he had screened one of his movies that night, instead of some cheesy Demille religionfest with embarrassing crucifix symbolism that could wipe Qrazy off the face of the earth. But hey, I interviewed Maddin. Later on, I actually watched his films. Or two of them. My Winnipeg and Brand Upon the Brain! He has a way of making completely ridiculous films about completely ridiculous topics and topping them all over with ridiculous aesthetic sprinkles and cheesy acting, and somehow, because of all this ridiculousness, his films are actually and essentially deeply tragic emotional affairs. It's like a clown trying to be as outlandish as possible in order to forget about his house that just burned down, but no matter how outlandish he gets, he can't forget what he'd like to forget, and then he remembers, and then he gets all sad, and then his mind goes round and round everything he lost, and in the meantime he's still doing the outlandish performance for us, for himself, for... he doesn't even know now, since he's all obsessed with the house that burned down. And that's Maddin!

[B-side]

Yeah! Yeah? I interviewed Maddin. The article sucked because my college newspaper articles were always early-morning quickies done before more important things, like studying and playing video games, but now I get to say that I interviewed Maddin and was mesmerized by his corpulence. I wish he had screened one of his movies that night, instead of some cheesy Demille religionfest with embarrassing crucifix symbolism that could wipe Qrazy off the face of the earth. But hey, I interviewed Maddin. Later on, I actually watched his films. Or two of them. My Winnipeg and Brand Upon the Brain! He has a way of making completely ridiculous films about completely ridiculous topics and topping them all over with ridiculous aesthetic sprinkles and cheesy acting, and somehow, because of all this ridiculousness, his films are actually and essentially deeply tragic emotional affairs. It's like a clown trying to be as outlandish as possible in order to forget about his house that just burned down, but no matter how outlandish he gets, he can't forget what he'd like to forget, and then he remembers, and then he gets all sad, and then his mind goes round and round everything he lost, and in the meantime he's still doing the outlandish performance for us, for himself, for... he doesn't even know now, since he's all obsessed with the house that burned down. And that's Maddin!

Well said.:D

[soitgoes...]

I hate Gigi, I don't like The Band Wagon, but I somehow adore Vincente Minnelli.
I think he's pretty good when he's handling dramas, it's when he does the lighter stuff I can't stand him. Here's hoping Meet Me in St. Louis wins me over. I'm pretty sure that will be the last film of his I see for awhile.

[Winston*]

Here's hoping Meet Me in St. Louis wins me over. I'm pretty sure that will be the last film of his I see for awhile.

It sucks. Have you seen The Bad and the Beautiful? That one's great.

[soitgoes...]

It sucks. Have you seen The Bad and the Beautiful? That one's great.Yeah, that and The Clock are the main reasons for my statement. You've really got me pumped for Meet Me in St. Louis.

[Philosophe_rouge]

I think he's pretty good when he's handling dramas, it's when he does the lighter stuff I can't stand him. Here's hoping Meet Me in St. Louis wins me over. I'm pretty sure that will be the last film of his I see for awhile.

Meet Me In St. Louis is one of my favourite films.

[soitgoes...]

It sucks


Meet Me In St. Louis is one of my favourite films.
Conflict! Only I can break this deadlock to decide whether or not Meet Me in St. Louis deserves the recognition it gets.