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

[soitgoes...]

As Qrazy and I near having seen 700 films off the 1001 Movies You Must See Before You Die list, we decided to have a friendly competition to help push us through the films we've been putting off. So a race has been declared, and sometime in the first half of 2011 a winner will rise up and thoroughly mock the loser for not shirking his other life obligations enough. We both watch films at a fairly decent clip (not like on fast-forward or anything), so we both feel that factoring in other viewings, just over a year should produce a champion. We have decided that you, Match-Cut poster, shall bear witness in our attempt to climb the cinematic viewing equivalent of Mt. Everest.

As there is a small difference in what we have viewed thus far, and Qrazy has finals or something, we will spend the next couple of weeks to round off our films seen at an even 700 (I have 9 to see, Qrazy 3). Then the flag will be dropped, and I will finally see Andrei Rublev, La Dolce Vita, and of course Dilwale Dulhania Le Jayenge. Qrazy will know the torture that is Bertolucci's 1900.

[Qrazy]

As Qrazy and I near having seen 700 films off the 1001 Movies You Must See Before You Die list, we decided to have a friendly competition to help push us through the films we've been putting off. So a race has been declared, and sometime in the first half of 2011 a winner will rise up and thoroughly mock the loser for not shirking his other life obligations enough. We both watch films at a fairly decent clip (not like on fast-forward or anything), so we both feel that factoring in other viewings, just over a year should produce a champion. We have decided that you, Match-Cut poster, shall bear witness in our attempt to climb the cinematic viewing equivalent of Mt. Everest.

As there is a small difference in what we have viewed thus far, and Qrazy has finals or something, we will spend the next couple of weeks to round off our films seen at an even 700 (I have 9 to see, Qrazy 3). Then the flag will be dropped, and I will finally see Andrei Rublev, La Dolce Vita, and of course Dilwale Dulhania Le Jayenge. Qrazy will know the torture that is Bertolucci's 1900.

More like '1900' Hours of My Life Gone Forever... amirite!? So my finals end in 8 days but yeah we'll start when both of us are at 700. This could either be in 8 days or take a little longer. Although given our viewing habits, I'm guessing the former.

[B-side]

k

[dreamdead]

Love it. So you'll be doing reviews of all 300 left to go?

I'm still only on 525. Need to get cracking myself.

[MadMan]

My money's on Qrazy. Why? I donno.

[Melville]

Cool idea.


Andrei Rublev, La Dolce Vita
I'm surprised by some of the movies you two haven't seen, given that you've both seen vastly more movies than I have. Glancing over Qrazy's icheckmovies list, I see he hasn't seen The Battle of Algiers. Craziness.

[Qrazy]

Cool idea.


I'm surprised by some of the movies you two haven't seen, given that you've both seen vastly more movies than I have. Glancing over Qrazy's icheckmovies list, I see he hasn't seen The Battle of Algiers. Craziness.

I've seen 2/3's of it in a class but I missed the first third so I feel it deserves a rewatch. What I saw I loved though.

[Qrazy]

My money's on Qrazy. Why? I donno.

:)

[Qrazy]

Love it. So you'll be doing reviews of all 300 left to go?

I'm still only on 525. Need to get cracking myself.

Brief thoughts more so than reviews probably unless we're feeling inspired... 3-4 sentences per film, otherwise we'll get too bogged down.

[Bosco B Thug]

Damn, 452. Bringing up the rear.


Good luck finally seeing Braveheart and finally your first Jerry Lewis movie.

[Qrazy]

http://www.icheckmovies.com/profile/qrazy/

Here's my link if anyone wants to peruse what I have left to see.

[soitgoes...]

And my list (http://www.icheckmovies.com/list/1001+movies+you+must+see+befor e+you+die/soitgoes/?order=year)

[soitgoes...]

Cool idea.


I'm surprised by some of the movies you two haven't seen, given that you've both seen vastly more movies than I have. Glancing over Qrazy's icheckmovies list, I see he hasn't seen The Battle of Algiers. Craziness.Just like Qrazy, I've seen the first half of both those movies, and then something came up where I couldn't finish them right away.

[Philosophe_rouge]

For shits and giggles, from what I've seen of your misses, my top five recs for each of you... though you'll get around to them all anyway!

Qrazy
Make Way for Tomorrow
Stella Dallas
Odd Man Out
Deadly is the Female
Meet Me in St. Louis

soitgoes...
The Bitter Tea of General Yen
Meet me in St. Louis
Deadly is Female
La Dolce Vita
Faster, Pussycat! Kill! Kill!

[Melville]

My favorites:

Qrazy
Diary of a Country Priest
The Battle of Algiers
Crumb
Masculine-Feminine
Deadly is the Female/Gun Crazy
A Passage to India
My Night at Maud's
Jeanne Dielman, 23 Quai du Commerce, 1080...
The Blue Angel
The Butcher Boy

soitgoes... (all 10 are in my top 100)
Andrei Rublev
The Mirror
Eraserhead
Diary of a Country Priest
A Woman Under the Influence
Au hasard Balthazar
Crumb
Scorpio Rising
Bigger Than Life
Masculine-Feminine

[Spaceman Spiff]

Crumb
My Night at Maud's
The Blue Angel
The Butcher Boy
Eraserhead
A Woman Under the Influence
Au hasard Balthazar
Bigger Than Life

Stunning movies.

[Qrazy]

Ahh my bad, I've seen Gun Crazy. Didn't realize it had that title also. Thanks for the recs guys although I"m not sure if I should see them first or space them out... probably the latter.

[Melville]

Ahh my bad, I've seen Gun Crazy. Didn't realize it had that title also. Thanks for the recs guys although I"m not sure if I should see them first or space them out... probably the latter.
Obviously you should watch the Godard immediately.

[Qrazy]

Obviously you should watch the Godard immediately.

Probably true because a) I'll like it or b) I won't like it and can get it out of the way sooner.

[B-side]

If you don't like Masculin feminin, you're just wrong.

[soitgoes...]

#691 The Chant of Jimmie Blacksmith (Fred Schepisi 1978)

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

Jimmie Blacksmith is a persecuted half-Aborigine fighting to earn what's his. The white man, as usual in these films, doesn't want to give him anything but grief. Jimmie gets pushed into a corner, and then Jimmie lashes back. Based on a true story, The Chant of Jimmie Blacksmith is at times a pretty good film (the above scene being an example), and though what Jimmie does when he hits his breaking point is shocking, the overall film comes off as over-the-top, at times almost laughably so, and predictable. I had never heard of this film before a couple of weeks ago. It interested me that a director I usually associated with mediocrity would have something included on this list. After seeing it, I'm pretty sure Schepisi's film is taking the place of someone's better film.


EDIT: I figured that even though the race hasn't begun, I might as well still post the films as I watch them.

[soitgoes...]

My favorites:

soitgoes... (all 10 are in my top 100)
Andrei Rublev -
The Mirror
Eraserhead
Diary of a Country Priest
A Woman Under the Influence
Au hasard Balthazar
Crumb
Scorpio Rising
Bigger Than Life
Masculine-Feminine
I have Andrei Rublev, Diary of a Country Priest and Bigger Than Life, so I should be seeing those fairly soon.

[soitgoes...]

If you don't like Masculin feminin, you're just wrong.
Godard is very hit or miss with me. To the point where I'm anxious when I start one his films. I will either love it or hate it.

[B-side]

Masculine-Feminine
My Night at Maud's
Andrei Rublev
The Mirror
Eraserhead
A Woman Under the Influence

You guys are in for a real treat with these.

[B-side]

Godard is very hit or miss with me. To the point where I'm anxious when I start one his films. I will either love it or hate it.

Interesting. I haven't disliked anything I've seen from him. Then again, I haven't seen some of his widely panned stuff.

[Qrazy]

[SIZE="3"]#692 The Chant of Jimmie Blacksmith[/B] (Fred Schepisi 1978)



Last Orders is supposed to be pretty decent as well I think.

[dmk]

Schepisi's debut - The Devil's Playground - is actually in a lot of ways, quite superb. Easily the best thing he's ever done.
I also quite like The Chant of Jimmie Blacksmith, but, naturally, I prefer the novel.

Skolimowski's Deep End is on that list. :)

[soitgoes...]

#692 The Golden Coach (Jean Renoir 1952)

http://i233.photobucket.com/albums/ee171/soitgoes22/83406582.jpg

It's nice to know that a director of Jean Renoir's caliber knew enough to just let Anna Magnani shine as the lead in his The Golden Coach. Sure the film is gorgeous to look at, Technicolor and Renoir's deep focus combined, oh my! But Magnani is the reason to watch this. You can still see where Renoir was trying to make socio-political statements in his films, but with the light airy feel (coupled with the Vivaldi score) this one isn't as hard-hitting as his 30's work. The ending was intriguing. I'm not sure I fully grasped his intent, but it seemed like he was trying to reach a bit too far. Real-life inside a play bundled in a film?

[soitgoes...]

Schepisi's debut - The Devil's Playground - is actually in a lot of ways, quite superb. Easily the best thing he's ever done.
I also quite like The Chant of Jimmie Blacksmith, but, naturally, I prefer the novel.Noted for future viewing, but nothing much from him has me eager to rush out and see more of his work. Thanks though. :)


Skolimowski's Deep End is on that list. :)I'm looking forward to this one.

[B-side]

Schepisi's debut - The Devil's Playground - is actually in a lot of ways, quite superb. Easily the best thing he's ever done.
I also quite like The Chant of Jimmie Blacksmith, but, naturally, I prefer the novel.

Skolimowski's Deep End is on that list. :)

Polo?

[soitgoes...]

#693 Enter the Dragon (Robert Clouse 1973)

http://i233.photobucket.com/albums/ee171/soitgoes22/enterdragon3.png

Yeah, I'd have an issue if this was included on a Top 1001 list. I can somewhat understand that the pick is for its place among martial arts films, though there are better choices. Actually, I suppose it's more for the opening of Western doors to martial arts films. Yes Bruce Lee is über-fast. Yes the hall of mirrors finale is cool to look at. But is there much else here? Two random Americans that really have no reason to be in the film except to help Western audiences relate to someone like them. Their roles could've been left out, and the film wouldn't be any weaker. All in all I suppose any review of this film should be limited to only one word:

BOLO!

[Melville]

Yeah, Enter the Dragon isn't very good, though Lee's charisma and the mirror scene save it to some extent. Based on your first three reviews, it seems like you're going to be watching a lot of films you don't like. :)

[Mysterious Dude]

I have 217 films to see from the "before you die" list. Mostly a lot of really obscure shit.

[soitgoes...]

Yeah, Enter the Dragon isn't very good, though Lee's charisma and the mirror scene save it to some extent. Based on your first three reviews, it seems like you're going to be watching a lot of films you don't like. :)I liked The Golden Coach, but yeah the other two fall on the negative side. My next entry is a film everyone needs to check out.

[soitgoes...]

I have 217 films to see from the "before you die" list. Mostly a lot of really obscure shit.
Thankfully I've "saved" myself some films I've been meaning to see for awhile. I figure if I can use some control and intersperse those films with the more obscure stuff I should be okay.

[soitgoes...]

#694 An Actor's Revenge (Kon Ichikawa 1963)

http://i233.photobucket.com/albums/ee171/soitgoes22/bscap012.jpg

The story of a theater actor, an onnagata (a man who plays female roles in the Kabuki), who plots revenge on those who drove his parents to death years before. What to say about this one? It completely took me by surprise. I figured it would be good (I like everything I've seen by Ichikawa), I just didn't think it would be this good. There is so much going on with the film that many directors wouldn't be able to pull it all together into something special. There's the score - part traditional Japanese Kabuki music, part jazz and part traditional Hollywood style score - each playing over specific scenes absolutely brilliantly. There's also Ichikawa's framing, pushing characters to the edge of the frame, creating negative space, very much like Yoshishige Yoshida (who I thought was the man at the forefront of such techniques) would do later in the 60's. The acting is superb all around, especially by Kazuo Hasegawa who plays a duel role, that of the lead and the thief/sometimes narrator. The film is so playful, having Hasegawa the thief comment on the reasons why Hasegawa the theater actor (or is it Hasegawa the film actor?) has accepted a certain role. The art direction, perhaps the best part of the film, is stunning. Blend Kabuki and film and this is the result. I could go on and on about this film. See it.

[Qrazy]

Thankfully I've "saved" myself some films I've been meaning to see for awhile. I figure if I can use some control and intersperse those films with the more obscure stuff I should be okay.

Hmmm there aren't very many films on the list that I'd label as obscure (maybe 25 or so?). Which films do you guys have in mind when you say that?

[Rowland]

Yeah, I was disappointed by Enter the Dragon. If Lee's skills were as impressive as his legendary status suggests, Robert Clouse didn't capture them very well. Truth be told, I prefer the schlockier modern iterations of the formula Mortal Kombat and DOA: Dead or Alive.

[soitgoes...]

#695 How Green Was My Valley (John Ford 1941)

http://i233.photobucket.com/albums/ee171/soitgoes22/JohnFord-HowGreenwasmyValley1941-5.jpg

I've seen over 30 John Ford films, and this one is on par with most of the rest. Ford consistently falls in the mediocre to very good range. Occasionally he would rise above and make something great, rarely he would make a dud. Pretty to look at, good acting (especially by Pidgeon), and a nice story, about 19th century Welsh coal miners, is rung through the Hollywood ringer. Instead of being gritty and dark, the film comes out somewhat sanitized.

[Qrazy]

What are your favorite Ford's and/or those you consider great?

[soitgoes...]

Hmmm there aren't very many films on the list that I'd label as obscure (maybe 25 or so?). Which films do you guys have in mind when you say that?
I guess obscure isn't right. Perhaps according to one's taste, questionable is a better word. There are a number of films I don't really look forward to seeing, but who knows? I've been surprised before. Those moments are more satisfying than when an expected great turns out to be just that.

[soitgoes...]

What are your favorite Ford's and/or those you consider great?The Grapes of Wrath, The Searchers and The Man Who Shot Liberty Valance would all be first tier (great). The Iron Horse, The Hurricane, Stagecoach and The Fugitive would all be second tier with this film being just below that.

[Qrazy]

I guess obscure isn't right. Perhaps according to one's taste, questionable is a better word. There are a number of films I don't really look forward to seeing, but who knows? I've been surprised before. Those moments are more satisfying than when an expected great turns out to be just that.

Ahh k yeah that makes sense to me. There are quite a few I'm not looking forward to either... Top Gun/Pretty Woman topping the list.

[Adam]

Why do you feel like you have to watch stuff like Pretty Woman?

[Qrazy]

The Grapes of Wrath, The Searchers and The Man Who Shot Liberty Valance would all be first tier (great). The Iron Horse, The Hurricane, Stagecoach and The Fugitive would all be second tier with this film being just below that.

Ah k, I quite like How Green was My Valley, but I agree that it's not excellent. Your criticisms are apt. My favorite part is the lighting in the shot when they bring the guy up from the mine shaft. It's probably a top five Ford for me but I'm not that big a fan. I really like Valance, Wrath, and Stagecoach also. Frankly I have major problems with The Searchers. but it's still pretty good.

I'll check out Horse, Hurricane and The Fugitive.

[Qrazy]

Why do you feel like you have to watch stuff like Pretty Woman?

Because it's on the list and the goal of our race is to complete the list?

[soitgoes...]

Why do you feel like you have to watch stuff like Pretty Woman?
In order to finish the list you have to be willing to watch some things you might otherwise avoid. I just look at it as inevitably I'm going to see bad films anyways. I had the foresight to see Pretty Woman and Top Gun already. ;)

[soitgoes...]

Ah k, I quite like How Green was My Valley, but I agree that it's not excellent. Your criticisms are apt. My favorite part is the lighting in the shot when they bring the guy up from the mine shaft.
It's definitely a good film. I just think it would be a better film if it was made in the 70's (which I guess there was a remake of it) or the 80's, freed from Hollywood and the Hayes Code. Some films can rise above that, this one didn't.

[Adam]

In order to finish the list you have to be willing to watch some things you might otherwise avoid. I just look at it as inevitably I'm going to see bad films anyways. I had the foresight to see Pretty Woman and Top Gun already.


Because it's on the list and the goal of our race is to complete the list?

Mmmmyeah, but I mean aren't there a few on the list you guys could mutually agree to take a mulligan on? I understand that kinda undercuts the whole deal here, but honestly, seeking out and sitting down to watch Pretty Woman or whatnot is just a completely pointless exercise you will get nothing out of

[Melville]

There are quite a few I'm not looking forward to either... Top Gun/Pretty Woman topping the list.
Bizarre entries like that are what makes the They Shoot Pictures list superior to the one you're working with. I guess they're included for their cultural impact, but they're just really crappy movies.

[soitgoes...]

Mmmmyeah, but I mean aren't there a few on the list you guys could mutually agree to take a mulligan on? I understand that kinda undercuts the whole deal here, but honestly, seeking out and sitting down to watch Pretty Woman or whatnot is just a completely pointless exercise you will get nothing out ofIt's not like we're talking about 200 films worth of dreck here. I actually don't have any of the Pretty Woman type films left to see. My question marks are mostly the Bollywood musicals and the Hollywood musicals, as well as films by certain directors who I haven't had an altogether pleasant experience with so far. But like I said above, who knows? I could end up liking them.

[Qrazy]

Bizarre entries like that are what makes the They Shoot Pictures list superior to the one you're working with. I guess they're included for their cultural impact, but they're just really crappy movies.

I prefer They Shoot Pictures as well... but I'm not as far along in that one. :)

I mean at least once I see Top Gun, Pretty Woman and Little Miss Sunshine I can stop having friends say shit like... 'You've seen so many movies but you haven't seen THAT?? Recent cinema really is a blind spot for you.' Now I can say 'Yeah I've seen it, and it was horrible shit!'

Erm... what I mean is... I'm going into all these viewings with an open mind... yeah...

[soitgoes...]

Bizarre entries like that are what makes the They Shoot Pictures list superior to the one you're working with. I guess they're included for their cultural impact, but they're just really crappy movies.I prefer that list too.

[Qrazy]

Mmmmyeah, but I mean aren't there a few on the list you guys could mutually agree to take a mulligan on? I understand that kinda undercuts the whole deal here, but honestly, seeking out and sitting down to watch Pretty Woman or whatnot is just a completely pointless exercise you will get nothing out of

I think what you're forgetting is that the website icheckmovies gives you digital awards for completing lists... and that's really what matters here.

[soitgoes...]

I think what you're forgetting is that the website icheckmovies gives you digital awards for completing lists... and that's really what matters here.
You can print them out and wear them like military ribbons and awards. That's what I do. Envy of the town, I am.

[Qrazy]

You can print them out and wear them like military ribbons and awards. That's what I do. Envy of the town, I am.

That's too IRL for me. I just post them onto my social networking sites and twitter out my list status. 301 to go!

[Melville]

You guys should try to become the top user on that site. Now that's a meaningless goal that takes some intestinal fortitude. Those top users must watch like 6 movies a day.

[Raiders]

You guys should try to become the top user on that site. Now that's a meaningless goal that takes some intestinal fortitude. Those top users must watch like 6 movies a day.

Or lie.

[Qrazy]

You guys should try to become the top user on that site. Now that's a meaningless goal that takes some intestinal fortitude. Those top users must watch like 6 movies a day.

The only one I know is Rich (number 4 on the charts)... Wolfgang Amadeus Mozart on RT... and yeah he's seen a shit ton of movies it seems.

For those of you who can't be bothered to check he's at 3,045 list films viewed.

[Melville]

Or lie.
Those sneaky bastards.

[soitgoes...]

I'll be posting entries on a few more films I've watched soon. I do wish this list had more silent entries.

[soitgoes...]

#696 Ali: Fear Eats the Soul (Rainer Werner Fassbinder 1974)

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

Well it was good. Something about Fassbinder's films just leave me cold. This is the third of his films I've watched in the past month (Love Is Colder Than Death, The Merchant of Four Seasons), and I just don't quite get the love. The most interesting thing about watching Ali was comparing the story, and Fassbinder's take on it, to Haynes's and Sirk's films - both of which I prefer to this one.

[Melville]

Something about Fassbinder's films just leave me cold.
I felt the same way about Ali and Maria Braun, but In a Year of 13 Moons was a stunningly gorgeous tragedy. Have you seen that one?

[soitgoes...]

#697 Footlight Parade (Lloyd Bacon 1933)

http://i233.photobucket.com/albums/ee171/soitgoes22/footlightparade1933dvdripxvidd 5.jpg

The third Busby Berkeley film I've seen (all released in 1933), and it's more of the same. Fast-paced comedy capped off with some amazing dance choreography at the end. This time the big scene takes place in a pool. I think Golddiggers of 1933 is the better film, mostly because it actually carries a pretty powerful message and better songs, but this one probably stands equal to 42nd Street. I always enjoy seeing James Cagney play someone not a gangster. What a versatile actor he was.

[soitgoes...]

I felt the same way about Ali and Maria Braun, but In a Year of 13 Moons was a stunningly gorgeous tragedy. Have you seen that one?
Not yet. I've seen Maria Braun, and probably feel it's his best I've seen thus far. I'm going to watch In a Year of 13 Moons next for the film swap. It isn't that I don't enjoy these films. I do. There's just something about them that just don't jive with me. Something that keeps me from thinking they're great.

[Qrazy]

Not yet. I've seen Maria Braun, and probably feel it's his best I've seen thus far. I'm going to watch In a Year of 13 Moons next for the film swap. It isn't that I don't enjoy these films. I do. There's just something about them that just don't jive with me. Something that keeps me from thinking they're great.

I agree.

Still, my favorites so far are Ali, Moons and Fox and His Friends.

[Spaceman Spiff]

Not yet. I've seen Maria Braun, and probably feel it's his best I've seen thus far. I'm going to watch In a Year of 13 Moons next for the film swap. It isn't that I don't enjoy these films. I do. There's just something about them that just don't jive with me. Something that keeps me from thinking they're great.

I also agree. I find them to be relatively simple films done without much cinematic endeavor. They're certainly good movies, but they don't really impress me formally or thematically.

[Qrazy]

I also agree. I find them to be relatively simple films done without much cinematic endeavor. They're certainly good movies, but they don't really impress me formally or thematically.

I think he's one of those directors where the filmography is greater than the sum of it's parts. I certainly find him to be a unique and fascinating artistic voice, but I'm not blown away by any of his individual films. But his scripts are nearly always thoughtful and his aesthetic precise. I find him to be like many other high quality prolific directors. They make consistently good films (for the most part), but rarely great ones.

[B-side]

Fassbinder is terrific. He is fairly simple on the surface, but he owes a lot to Brecht, and his camera work is always great. He had a sense of humor, and his films are rife with irony and topicality.

[Melville]

I also agree. I find them to be relatively simple films done without much cinematic endeavor. They're certainly good movies, but they don't really impress me formally or thematically.
I thought In a Year of 13 Moons was awesome both formally and thematically. The way he set a scene visually and with audio (both music and dialogue) was seriously impressive, from the use of monochromatic color and Suicide's Frankie Teardrop in one scene, to the drifting of a tragic monologue over fluid shots of meat processors at work in another.

[B-side]

I thought In a Year of 13 Moons was awesome both formally and thematically. The way he set a scene visually and with audio (both music and dialogue) was seriously impressive, from the use of monochromatic color and Suicide's Frankie Teardrop in one scene, to the drifting of a tragic monologue over fluid shots of meat processors at work in another.

For sure. Interesting to note that he himself did the cinematography for that movie, and it might be his most visually impressive (that I've seen, of course).

You might be interested in checking this analysis (http://jclarkmedia.com/fassbinder/fassbinder32.html) out. I remember it revealing some layers and themes to me that I was totally ignorant to. Be warned, it's rather long.

[Melville]

For sure. Interesting to note that he himself did the cinematography for that movie, and it might be his most visually impressive (that I've seen, of course).

You might be interested in checking this analysis (http://jclarkmedia.com/fassbinder/fassbinder32.html) out. I remember it revealing some layers and themes to me that I was totally ignorant to. Be warned, it's rather long.
That is brutally long. My 5-minute attention span will never get me through it. I need the CliffsNotes version.

[Derek]

I think he's one of those directors where the filmography is greater than the sum of it's parts.

I'm with you here. I've only outright loved two of his films (Berlin Alexanderplatz and The Bitter Tears of Petra von Kant), but I always find myself drawn to his films and wanting to see more. He deserves his status as one of the greats even if he's not first-tier pantheon.

[Melville]

I'm with you here. I've only outright loved two of his films (Berlin Alexanderplatz and The Bitter Tears of Petra von Kant), but I always find myself drawn to his films and wanting to see more. He deserves his status as one of the greats even if he's not first-tier pantheon.
Did you see my question re. Up in the Air in that other thread (I don't recall which one now)? It seemed like it could be good, what with the Clooney involved.

[B-side]

That is brutally long. My 5-minute attention span will never get me through it. I need the CliffsNotes version.

Been too long for that, sorry. I do recommend you read it, though, if only in pieces.

[Melville]

Been too long for that, sorry. I do recommend you read it, though, if only in pieces.
Sure. I'll bookmark it.

[B-side]

Sure. I'll bookmark it.

You'll always be a part of me. I'm part of you indefinitely. Boy, don't you know you can't escape me. Ooh darling, cause you'll always be my baby.

/Mariah Carey

[Melville]

You'll always be a part of me. I'm part of you indefinitely. Boy, don't you know you can't escape me. Ooh darling, cause you'll always be my baby.

/Mariah Carey
I don't know what that means. Are you implying that I'm your darling, and you're Mariah Carey? 'Cause that's just creepy.

[B-side]

I don't know what that means. Are you implying that I'm your darling, and you're Mariah Carey? 'Cause that's just creepy.

Maybe. Don't pretend like we don't have something here. I'd never get over the disappointment.

[Derek]

Did you see my question re. Up in the Air in that other thread (I don't recall which one now)? It seemed like it could be good, what with the Clooney involved.

No, I must've missed it. Unfortunately, the film banks almost entirely on Clooney's charm. It so painfully desired to be a film of the zeitgeist, yet that aspect of the film (especially the interview clips which are a cheap ploy to elicit sympathy and add dramatic weight without doing any of the heavy lifting) feels completely shoehorned in. My friend made an interesting point saying that he wouldn't be surprised if the script were originally written simply about a man who travels a lot but was tweaked after the economic downturn. In essence, it's simply about a man afraid to commit and how the new young up-and-comer changes his outlook on life. It's rarely funny at all and again, banks on casting comedic actors like Jason Bateman and Danny McBride to get chuckles without the decency of actually giving them something funny to say or do. To be fair, I'm really not a fan of Jason Reitman, so you may have better luck with it.

[Melville]

Maybe. Don't pretend like we don't have something here. I'd never get over the disappointment.
:lol:


No, I must've missed it. Unfortunately, the film banks almost entirely on Clooney's charm. It so painfully desired to be a film of the zeitgeist, yet that aspect of the film (especially the interview clips which are a cheap ploy to elicit sympathy and add dramatic weight without doing any of the heavy lifting) feels completely shoehorned in. My friend made an interesting point saying that he wouldn't be surprised if the script were originally written simply about a man who travels a lot but was tweaked after the economic downturn. In essence, it's simply about a man afraid to commit and how the new young up-and-comer changes his outlook on life. It's rarely funny at all and again, banks on casting comedic actors like Jason Bateman and Danny McBride to get chuckles without the decency of actually giving them something funny to say or do. To be fair, I'm really not a fan of Jason Reitman, so you may have better luck with it.
Well, that's unfortunate. I mildly liked Thank You for Smoking and fairly strongly disliked Juno, but I thought that they each worked almost entirely in line with the strength of their script; Reitman's direction seemed essentially just innocuous. I had heard good things about the story in this one, and I really like Clooney, so I was expecting something at least moderately enjoyable.

[B-side]

The most important thing here is that Derek had the wherewithal to give Bad Lieutenant a good score.

[Derek]

The most important thing here is that Derek had the wherewithal to give Bad Lieutenant a good score.

Every once in a while, I like to come through for MatchCut's favorite poster policeman. :)

[soitgoes...]

#698 The Muppet Movie (James Frawley 1979)

http://i233.photobucket.com/albums/ee171/soitgoes22/Image9.jpg

An interesting film to be included on this list. I had seen this as a kid, but it has been years since then. It holds up fairly well. There's some good comedy, but the best part is seeing all the cameos. I had no idea all those people were in this film. Good entertaining diversion for 90 minutes.

[Qrazy]

Yeah I rewatched that this past year and still like it quite a bit. It's far and away the best of the Muppet films imo. Steve Martin's cameo is so great.

[SirNewt]

I have Andrei Rublev, Diary of a Country Priest and Bigger Than Life, so I should be seeing those fairly soon.

Can't wait to see what you think. If I was forced to pick an all time favorite, this might be it.

[soitgoes...]

Yeah I rewatched that this past year and still like it quite a bit. It's far and away the best of the Muppet films imo. Steve Martin's cameo is so great.
His was the best. I loved the shorts.

I've seen my 700th film, so you can start this whenever you're ready. I've got plenty of stuff to watch in the meantime.

[soitgoes...]

Can't wait to see what you think. If I was forced to pick an all time favorite, this might be it.
I'm pretty sure it (and the rest of my unseen Tarkovskys) will be good/great. Most East European and Scandinavian directors work for me. There's something about pessimism that I tend to enjoy.

[B-side]

Every once in a while, I like to come through for MatchCut's favorite poster policeman. :)

I'm no policeman.:sad:

[soitgoes...]

#699 The Hills Have Eyes (Wes Craven 1977)

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

Another head scratcher of an entry. Well, I can say it is better than the remake. It's also an improvement over Craven's own The Last House on the Left. So there's that. Oh, and the dog pretty much rocks. He was the only one I wanted to live.

[soitgoes...]

#700 Way Down East (D.W. Griffith 1920)

http://i233.photobucket.com/albums/ee171/soitgoes22/WayDownEast1920avi_001385343.j pg

Probably Griffith's best work I've seen, if only for the ending. I have of course heard and read about the ice flow scene ever since I've gotten into movies. Not only does it live up to its reputation, but the 20 or so minutes just prior to that scene are almost as riveting. Easily the best sequence from him, it saves an otherwise overlong film. To really understand what it took to film the scene, check out Kevin Brownlow's documentaries Hollywood or D.W. Griffith: The Father of Film. I still can't fully grasp that the scene, not only was attempted, but it was pulled off so brilliantly.

[Qrazy]

His was the best. I loved the shorts.

I've seen my 700th film, so you can start this whenever you're ready. I've got plenty of stuff to watch in the meantime.

3 days.

[soitgoes...]

3 days.
No worries! Enjoy your finals! ;)

[Qrazy]

No worries! Enjoy your finals! ;)

Only one left and then I graduate up out this bitch.

[Melville]

Only one left and then I graduate up out this bitch.
What are you doing after you graduate? (Have I already asked you that in the past?)

[Qrazy]

What are you doing after you graduate? (Have I already asked you that in the past?)

I have a job for a biofeedback company doing commercial video shooting/editing so I'll do that to pay the bills and hopefully get motivated enough to start making some of my own projects.

[Melville]

I have a job for a biofeedback company doing commercial video shooting/editing so I'll do that to pay the bills and hopefully get motivated enough to start making some of my own projects.
That sounds pretty sweet. So you don't plan on doing anything related to your field of study?

[Qrazy]

That sounds pretty sweet. So you don't plan on doing anything related to your field of study?

Nah. With philosophy I'd prob. have to do a PHD and then become a teacher to make ends meet and that's not really my bag. Plus I don't really care enough about psychology to continue with it either. Well that is to say I enjoy learning it on a theoretical level, but I can't see myself using it in a focused sense to earn a living. I suppose I do use the psych a bit already in my current job, but not exclusively.

Do you have a postdoc game plan?

[Melville]

Do you have a postdoc game plan?
I pretty much hate physics and math at this point, so I have no plans to do a postdoc. I was considering doing a masters in philosophy, but now I'm kind of indifferent to that notion. So now my plan is to hide under a pile of coats and hope that somehow everything will work out. If that fails, my backup plan is to crawl into a hole and die.

[Qrazy]

I pretty much hate physics and math at this point, so I have no plans to do a postdoc. I was considering doing a masters in philosophy, but now I'm kind of indifferent to that notion. So now my plan is to hide under a pile of coats and hope that somehow everything will work out. If that fails, my backup plan is to crawl into a hole and die.

Haha ahh it's not as bleak as it seems. I know what you mean though. I don't hate my subjects per se but I hate academia at this point. If all else fails we can always join the monastery.

[Melville]

If all else fails we can always join the monastery.
Do they, like, make you take an entrance exam on Christianity? Because I'd fail that like nobody's business. God might also strike me down when I enter the building.

[Qrazy]

Do they, like, make you take an entrance exam on Christianity? Because I'd fail that like nobody's business. God might also strike me down when I enter the building.

I'm really just gonna join to be a mole for the Jews.

[Derek]

Do they, like, make you take an entrance exam on Christianity? Because I'd fail that like nobody's business. God might also strike me down when I enter the building.

It can be overcome based on your results on the wood-whittling, gardening and chanting exams.

[Melville]

I'm really just gonna join to be a mole for the Jews.
:lol:

[Melville]

It can be overcome based on your results on the wood-whittling, gardening and chanting exams.
I'd fail those even worse. My chanting is really not up to par.

[Spaceman Spiff]

I thought In a Year of 13 Moons was awesome both formally and thematically. The way he set a scene visually and with audio (both music and dialogue) was seriously impressive, from the use of monochromatic color and Suicide's Frankie Teardrop in one scene, to the drifting of a tragic monologue over fluid shots of meat processors at work in another.

Haven't seen that one. I was referring to Maria Braun and Ali.

[Melville]

Haven't seen that one. I was referring to Maria Braun and Ali.
Ah, well, consider In a Year of 13 Moons recommended.

[Spaceman Spiff]

I'd fail those even worse. My chanting is really not up to par.

If you're like me, their Sin SONAR will be going off like crazy before they hand you anything.

[Qrazy]

I will watch the next film (on the list, that I haven't seen) the next person wishes me to see. Hit me with your best shot.

[Adam]

Pretty Woman

[Melville]

I was going to suggest Crumb. Watch that afterward, to cleanse your mind of the saccharine goo that is Pretty Woman.

[Spinal]

Pretty Woman

That's just mean.

[Qrazy]

Pretty Woman

Shit bag.

[soitgoes...]

Shit bag.

Hey, get the crap outta the way now, then it's home free. :)

I take it I can start watching films for reals?

[B-side]

Why doesn't your green light come on, soitgoes? IT'S NEVER ON! Are you never online? Are you using some strange interwebz proxy? I demand answers, otherwise I'll be forced to simply believe the obvious explanation. The explanation that says that you hate me and don't want me interacting with you.

[soitgoes...]

Why doesn't your green light come on, soitgoes? IT'S NEVER ON! Are you never online? Are you using some strange interwebz proxy? I demand answers, otherwise I'll be forced to simply believe the obvious explanation. The explanation that says that you hate me and don't want me interacting with you.
B-I-N-G-O. :P

I have the hidden status. A lot of times I'll just keep the Match-Cut page up when I'm away from my computer, so I figured the little green light thing is useless anyways. Plus the mystery factor. There's a few of us who role incognito.

I love our interactions btw. You're one of a handful of people still awake when I do the bulk of my posting.

[soitgoes...]

Also my first entry won't be for a bit. I'm gonna try and knock out one of the longer, non-Julia Roberts films first.

[B-side]

B-I-N-G-O. :P

I have the hidden status. A lot of times I'll just keep the Match-Cut page up when I'm away from my computer, so I figured the little green light thing is useless anyways. Plus the mystery factor. There's a few of us who role incognito.

I love our interactions btw. You're one of a handful of people still awake when I do the bulk of my posting.

:)

Awww. I love you, too. Err, I mean, I love our interactions, too.:pritch:

[Qrazy]

Hey, get the crap outta the way now, then it's home free. :)

I take it I can start watching films for reals?

Yeah, it's go time.

[B-side]

Now that you're on, I'll congratulate you on finishing your finals, Qrazy. I'm glad to hear it.:)

[Qrazy]

Now that you're on, I'll congratulate you on finishing your finals, Qrazy. I'm glad to hear it.:)

Thanks man, such a weight has been lifted. I feel like a new man, a man who can drink copious amounts of alcohol and pass out in many a gutter.

[B-side]

Thanks man, such a weight has been lifted. I feel like a new man, a man who can drink copious amounts of alcohol and pass out in many a gutter.

Is that not the American dream? You guys take all of our stuff, why not our "Dream"?

[Qrazy]

Is that not the American dream? You guys take all of our stuff, why not our "Dream"?

Ehh I'm a dual citizen. I straddle the two dreams. The Canadian dream is pretty lame but it also saves me from the hollow soulness that ultimately results in successively pursuing the American dream.

[soitgoes...]

#701 Intolerance: Love's Struggle Throughout the Ages (D.W. Griffith 1916)

http://i233.photobucket.com/albums/ee171/soitgoes22/intolerancespline36avi0ds4.jpg

I can understand why The Birth of a Nation gets all the attention when Griffith or film history is talked about. It is after all the marker for Hollywood's (present day film's?) beginnings, and also throw in a heavy dose of controversy. Intolerance released only 17 months later is Griffith at complete control of his craft. A film where there are 4 interwoven story lines linked by nothing more than a common theme is ingenious, and showed the world what was capable of film. Of course the Intolerance failed at the box office, but its impact is still felt today. I do wish that there was more balance given the four stories. The Babylonian and present-day stories get the lion's share of screen time. Perhaps justifiably so, they are the better written of the four, but that doesn't help pacing issues when we do poke our heads into Jesus World or 16th century France.

My earliest remaining film on the list is also the last Griffith. Having seen Griffith's "Big 5" (Birth, Intolerance, Broken Blossoms, Way Down East and Orphans of the Storm)I can say that he was definitely a force in cinema's early days, but maybe not the force.

PS: Lillian Gish rocking the cradle as a marker for an epoch change: Best idea in silent cinema? Maybe not best, but fucking awesome all the same.

[Thirdmango]

Considering of the two in the comp I know the best, I am going to vote for Qrazy to win.

[B-side]

I gotta be honest. The notion of watching a 3-4 hour long silent film isn't a very tantalizing one. Doesn't repel me like the thought of watching Transformers 2 or anything, though.

[soitgoes...]

I gotta be honest. The notion of watching a 3-4 hour long silent film isn't a very tantalizing one. Doesn't repel me like the thought of watching Transformers 2 or anything, though.Well, I can kinda see what you're saying, but if the film is good then I have no problem staying engaged I guess. There was I time when even the thought of watching 90 minute long silents would bore me.

[soitgoes...]

Considering of the two in the comp I know the best, I am going to vote for Qrazy to win.
:sad:

I honestly don't think either of us is going to let the other one get too much of a lead for it to be an outright win. It should be interesting, especially when looking at what we have left. Qrazy has more to watch from pre-1940, myself more in the 60s and 70s. Also we have about the same number of long films left, which I think to be as important as the total number of films left.

[B-side]

Well, I can kinda see what you're saying, but if the film is good then I have no problem staying engaged I guess. There was I time when even the thought of watching 90 minute long silents would bore me.

It's... well, it's intimidating. I've had experience with silents an hour and half long, but none whatsoever with silents over 2 hours that I can think of. I guess it's partially due to the era. The 10s seem to have more simplistic cinema than the 20s. The 20s seems to be where directors truly started experimenting with the medium. Take that with a grain of salt, though, as I've not much experience with either decade.

[Melville]

I gotta be honest. The notion of watching a 3-4 hour long silent film isn't a very tantalizing one.
Have you seen Napoleon? It's dazzling for all 4 of its hours.

[B-side]

Have you seen Napoleon? It's dazzling for all 4 of its hours.

Naaahhh. That intimidation, man. I really want to, though. Thing is, I have to watch these films on my computer, so I try to keep them around 2 hours or less so my discomfort doesn't get in the way of my enjoyment. I could break it up into 2 pieces, I guess...

[Winston*]

Have you not seen Metropolis, Brightside?

I have much more interest in Intolerance than The Birth of a Nation (which I can't see myself seeing).

[Melville]

Naaahhh. That intimidation, man. I really want to, though. Thing is, I have to watch these films on my computer, so I try to keep them around 2 hours or less so my discomfort doesn't get in the way of my enjoyment. I could break it up into 2 pieces, I guess...
Yeah, that seems like a good idea. Lately I've been breaking up even short movies into small viewing chunks, and it hasn't really affected my appreciation of them. I did watch Napoleon straight through, though, and I was never bored.

[Mysterious Dude]

The library I work at has a VHS of Napoleon. The bureaucrats in charge have decided to get rid of all the VHS tapes (even though they play better than most of the DVD's). Anyway, I'm trying to figure out how to steal it.

[soitgoes...]

It's... well, it's intimidating. I've had experience with silents an hour and half long, but none whatsoever with silents over 2 hours that I can think of. I guess it's partially due to the era. The 10s seem to have more simplistic cinema than the 20s. The 20s seems to be where directors truly started experimenting with the medium. Take that with a grain of salt, though, as I've not much experience with either decade.
What's neat, to me at least, is you can actually see the growth of film. There's a huge difference from a film made in the late teens to that made in the late 20's. Even experiencing the progression of Griffith from his first film, The Adventure of Dollie to Orphans of the Storm (13 years!), is fun to watch.

You should check out Brownlow's Hollywood. It's a mini-series on silent film he made in 1980 (important because enough of the silent era stars and crew were still alive to tell their own stories).

[soitgoes...]

I have much more interest in Intolerance than The Birth of a Nation (which I can't see myself seeing).Well, it's much better. I can only recommend The Birth of a Nation as an exorcise in learning more about film history.

[soitgoes...]

Have you seen Napoleon? It's dazzling for all 4 of its hours.
This is true. Also Les Vampires, at 400 minutes, is pretty great. The fact that it is a serial, thus conveniently broken down into 10 parts, makes it very watchable. Even on a computer Brights.

[B-side]

Have you not seen Metropolis, Brightside?

Yeah, it was one of the first silents I watched. I loved it back then.


Yeah, that seems like a good idea. Lately I've been breaking up even short movies into small viewing chunks, and it hasn't really affected my appreciation of them. I did watch Napoleon straight through, though, and I was never bored.

I've always been hesitant to do that for fear it'll ruin that sort of consistency in mood and aesthetic one gets while watching a film straight through. Looking at it from the other side, I see it as an opportune way to reevaluate what you saw and possibly see the next portion in a clearer light more conducive to one's enjoyment.


What's neat, to me at least, is you can actually see the growth of film. There's a huge difference from a film made in the late teens to that made in the late 20's. Even experiencing the progression of Griffith from his first film, The Adventure of Dollie to Orphans of the Storm (13 years!), is fun to watch.

You should check out Brownlow's Hollywood. It's a mini-series on silent film he made in 1980 (important because enough of the silent era stars and crew were still alive to tell their own stories).

Yeah, definitely. I actually found Broken Blossoms to be rather trite and simplistic, but I find it strange that people accuse Griffith of racism because of The Birth of a Nation, but he preached tolerance in Broken Blossoms. Did he only have an issue with black people?

[B-side]

This is true. Also Les Vampires, at 400 minutes, is pretty great. The fact that it is a serial, thus conveniently broken down into 10 parts, makes it very watchable. Even on a computer Brights.

Right on. It's been on my radar for a while.:)

[B-side]

That Hollywood doc is 13 episodes long! Man, do you guys ever want me to become employed?:lol:

[soitgoes...]

Yeah, definitely. I actually found Broken Blossoms to be rather trite and simplistic, but I find it strange that people accuse Griffith of racism because of The Birth of a Nation, but he preached tolerance in Broken Blossoms. Did he only have an issue with black people?
I think there's quite a bit of racism present in Broken Blossoms regardless of whether or not he was preaching racial tolerance.

Intolerance was made as direct answer to people calling The Birth of a Nation racist. I don't think he had any more an issue with black people, or any minority I suppose, than the majority of Americans had at that time.

[soitgoes...]

That Hollywood doc is 13 episodes long! Man, do you guys ever want me to become employed?:lol:Yeah, but it is in episodes. You can view one a week, or month even, and be fine. Their only link is silent Hollywood. No cliffhangers leading into the next episode. :)

[B-side]

I think there's quite a bit of racism present in Broken Blossoms regardless of whether or not he was preaching racial tolerance.

Eh. The whole "yellow man" thing was silly, but his heart was likely in the right place, and like you say below, considering the times, I'm inclined to give him a bt of a pass.


Intolerance was made as direct answer to people calling The Birth of a Nation racist. I don't think he had any more an issue with black people, or any minority I suppose, than the majority of Americans had at that time.

Look how far we've come...

...

Yeah.

[B-side]

Yeah, but it is in episodes. You can view one a week, or month even, and be fine. Their only link is silent Hollywood. No cliffhangers leading into the next episode. :)

In that case, I'm in. I hope you'll be participating in that silent film consensus I'm planning. Might as well start spreading the word now.:P

[soitgoes...]

Look how far we've come...

...

Yeah.
Some of the stuff in The Birth of a Nation would end someone's career today. The lazy black Congressmen scene is pretty much the most racist sequence in a film I've seen.

[soitgoes...]

In that case, I'm in. I hope you'll be participating in that silent film consensus I'm planning. Might as well start spreading the word now.:POf course I will.

[B-side]

Some of the stuff in The Birth of a Nation would end someone's career today. The lazy black Congressmen scene is pretty much the most racist sequence in a film I've seen.

Can one at least get a few laughs out of the racism in it?:D

[B-side]

Can one at least get a few laughs out of the racism in it?:D

*stretches collar*

Tough crowd.

[soitgoes...]

Can one at least get a few laughs out of the racism in it?:D


*stretches collar*

Tough crowd.
Ha, sorry I left to watch something. Nothing brings the laughs like a KKK rally. :lol:

Related story. When I was a kid I visited my grandparents who live in Pennsylvania. They took me to either Brandywine or Valley Forge or some Revolutionary War site. There happened to be a KKK rally going on near there. Looking back on having my grandparents try to explain what the KKK is, is funny. As is having two is's together in a sentence.

[B-side]

Ha, sorry I left to watch something. Nothing brings the laughs like a KKK rally. :lol:

Related story. When I was a kid I visited my grandparents who live in Pennsylvania. They took me to either Brandywine or Valley Forge or some Revolutionary War site. There happened to be a KKK rally going on near there. Looking back on having my grandparents try to explain what the KKK is, is funny. As is having two is's together in a sentence.

Haha. Oh, racism.

Silent film related: Halfway through Stroheim's Blind Husbands right now. It's very good so far. Will update my thread when I'm finished.

[soitgoes...]

#702 It's a Gift (Norman Z. McLeod 1934)

http://i233.photobucket.com/albums/ee171/soitgoes22/Pic1wc.jpg

The wife killed this for me. Hearing her constantly bicker was like nails on a chalkboard. There are a number laughs to be had, after all this is W.C. Fields, but most of them come when he is not playing off her. I won't turn down an opportunity to watch a Fields film, but if I had to choose between 30's comedians, I'd take Laurel and Hardy over him (or the Marx Bros.) any day of the week.

Check out W.C. Fields in The Old Fashioned Way for his amazing juggling routine.

Up next: another long silent film.

[soitgoes...]

Haha. Oh, racism.

Silent film related: Halfway through Stroheim's Blind Husbands right now. It's very good so far. Will update my thread when I'm finished.

I've only seen Queen Kelly which was only okay. In his defense the end product isn't really his anymore. Greed will be seen soon, but honestly I'm scared of this one. Long shots of stills to help reconstruct the film only have me wondering about pacing problems.

[B-side]

I've only seen Queen Kelly which was only okay. In his defense the end product isn't really his anymore. Greed will be seen soon, but honestly I'm scared of this one. Long shots of stills to help reconstruct the film only have me wondering about pacing problems.

So you'll be seeing the 1999 reconstruction? I think I'd rather sit through stills and get a sense of what he wanted to be there, than see the butchered 2 hour version. To think he meant it to be 10 hours long.:eek:

[Qrazy]

:sad:

I honestly don't think either of us is going to let the other one get too much of a lead for it to be an outright win. It should be interesting, especially when looking at what we have left. Qrazy has more to watch from pre-1940, myself more in the 60s and 70s. Also we have about the same number of long films left, which I think to be as important as the total number of films left.

I'm going to go ahead and make a hollow gesture here and vote for you to win even though secretly (or not so) I want to win. :P

[Qrazy]

Soitgoes is counting up so I'm going to count down.

301. Pretty Woman (Garry Marshall, 1990)

http://i171.photobucket.com/albums/u315/BrandoBardot/greygardens/loveprettywoman-1.jpg

Rich people have feelings. Poor people have feelings. Hookers have feelings. And they all value money, although not if it's getting in the way of their feelings. For you see feelings are more important than money, but only if you have enough money to sustain those feelings in the first place. Luckily Julia Roberts also has nice legs and her charisma saves this film from complete and total suck.

Grade: D

[Qrazy]

300. Ride Lonesome (Budd Boetticher, 1959)

http://img208.imageshack.us/img208/2317/vlcsnap1170082az0.jpg

This was a pretty good western dragged down by an oppressive score and some mediocre drama. Most of the characters play well off one another but sometimes you'll just get a scene that falls completely flat (a couple of the conversations between Scott and Steele). I could have used more Lee Van Cleef and I didn't feel the cross cutting with his posse was fully integrated but it worked. It was also great to see Coburn in his debut role. Boetticher balances character motivations well and the plot unravels in a succinct and compelling manner. I enjoyed it well enough.

Grade: B-

[Qrazy]

299. Winchester '73 (Anthony Mann, 1950)

http://img239.imageshack.us/img239/3519/bscap0000ed.jpg

The portrayal of the natives in both this and Ride Lonesome bothered me a bit but I suppose it comes with the territory. I think I was more bothered by this one because the natives felt like a malevolent force rather than some vaguely threatening force in the background. Anyway, those issues aside this was a fairly well crafted film. Mann knows how to put a scene together, but I was underwhelmed by the film's climax. The tension builds and builds with a prolonged shoot out which just suddenly ends. I was hoping for a better film capper there. I also have mixed feelings about the manner in which events transpire in the film. They're overly contrived and sometimes this works and other times it doesn't. Shelley Winters is also pretty annoying although I suppose she was less annoying here than she has been elsewhere.

Grade: B-

[Qrazy]

298. Mr Deeds Goes to Town (Frank Capra, 1936)

http://img512.imageshack.us/img512/8166/frankcapramrdeedsgoestotown24s .jpg

I'm not a big fan of Capra's schlock but I don't despise it either. That is to say that this film is at times funny and enjoyable but at not point did I find it charming. I don't have much to say about the film really. I find Capra for the most part formally tedious although he can certainly keep a plot chugging along. It's an enjoyable diversion but much like it's protagonist so naive and clumsy as to keep me from giving much of a hoot.

Grade: B-

[Melville]

I'm not a big fan of Capra's schlock but I don't despise it either. That is to say that this film is at times funny and enjoyable but at not point did I find it charming. I don't have much to say about the film really. I find Capra for the most part formally tedious although he can certainly keep a plot chugging along. It's an enjoyable diversion but much like it's protagonist so naive and clumsy as to keep me from giving much of a hoot.
Neg-repped.

[Spaceman Spiff]

I dig Capra, but I can understand someone finding his form tedious (in the 'too Classical Hollywoody') kind of way.

[Melville]

I dig Capra, but I can understand someone finding his form tedious (in the 'too Classical Hollywoody') kind of way.
I don't see it. I watched It's a Wonderful Life again a few days ago, and I was struck by three things. First, it's technically exciting: it's got a great freeze frame, lots of nice shots with barriers or objects in the foreground, tremendous use of expressionistic shadows and close ups, and an absolutely perfect use of music in several scenes. Second, it portrayed strong emotions much more honestly and unflinchingly than other Hollywood films of the time. Third, it's the most depressing movie ever.

[BuffaloWilder]

I used to have a staunchly atheist friend who used to alternate between two extremes regarding It's A Wonderful Life: "It's obviously being satirical about the use of angels and god," and "it's Christian propaganda, so it sucks."

Fuck that guy.

[Melville]

I used to have a staunchly atheist friend who used to alternate between two extremes regarding It's A Wonderful Life: "It's obviously being satirical about the use of angels and god," and "it's Christian propaganda, so it sucks."
:confused:

I'm staunchly atheist, and neither of those responses make any sense to me.

[BuffaloWilder]

He was also eighteen, at the time.

[Melville]

He was also eighteen, at the time.
That's no excuse.

[soitgoes...]

I started La roue last night completely aware that I wouldn't be able to finish it, it is four and a half hours after all. About an hour into it I was trying to bargain with myself if I could watch it all in one sitting. I decided that it couldn't be done if I wanted to have any semblance of a Monday. Amazing stuff thus far. I can't wait to watch the last 2 hours.

[soitgoes...]

I enjoy Capra. He was the perfect director for his times, uplifting films about human morality. He could get a little too schmaltzy at times.

[soitgoes...]

#703 La roue (Abel Gance 1923)

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With its fairly simplistic story, La roue is almost entirely dependent on Gance's direction in order to keep the viewers attention for 4 and a half hours. The film is about a train engineer who adopts a girl orphaned in a train wreck. Fifteen years pass and he comes to realize that he has fallen in love with her. Drama ensues. At times during the second part its length does become apparent. An hour or so shaved off this film, could've yielded Gance's masterpiece. As it is though, I'm inclined to give the nod to his Napoléon. Still from a technical standpoint, La roue might be the most outstanding film of the silent era. There are so many things going on here that make this film completely unique in how it was filmed.

First, and most noticeably, is Gance's use of the iris/masking. Every shot feels unique. He uses many stylized forms of the iris; circular, oval, squared off. Sometimes he blocks off the left and/or right portion of the frame, other times the top and/or bottom.

Second, is how he films movement. Almost everything moves from foreground to the background and vice versa. Hardly ever does movement go in a traditional left-right/right-left pattern.

Last, and perhaps his greatest achievement in this film, is the use of montage. Forget the Soviets, Gance had this perfected two years before Eisenstein burst onto the scene. There are three instances of montage use in La roue, one of which might be the best use of montage ever.

I can't recommend this film to all to see. I do understand a silent film of its length will keep it unseen by many, but if that doesn't scare you, then this is a must see. 8.5 or 9/10


Up next: something shorter.

[Raiders]

I don't see it. I watched It's a Wonderful Life again a few days ago, and I was struck by three things. First, it's technically exciting: it's got a great freeze frame, lots of nice shots with barriers or objects in the foreground, tremendous use of expressionistic shadows and close ups, and an absolutely perfect use of music in several scenes. Second, it portrayed strong emotions much more honestly and unflinchingly than other Hollywood films of the time. Third, it's the most depressing movie ever.

Yes, and it is an exception and not the rule to Capra's oeuvre.

[Melville]

Yes, and it is an exception and not the rule to Capra's oeuvre.
Well, I liked Mr. Deeds and especially Mr. Smith, and I don't think either is close to being schlock (though they certainly have more than their fair share of schmaltz). And despite my loathing of Arsenic and Old Lace, I thought it was formally very well done. But you're right that my love of It's a Wonderful Life disproportionately influences my opinion of Capra.

[Philosophe_rouge]

The Bitter Tea of General Yen!

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[Derek]

I agree that It's a Wonderful Life is far-and-away Capra's greatest film, though I do wish more people would see Lady for a Day. The last 10-15 minutes of that film is the only time I've seen him approach the greatness of IaWL.

[Melville]

The Bitter Tea of General Yen!
Yeah, I've wanted to see that one for years. I should download it.

[Philosophe_rouge]

It Happened one Night is pretty great too

[Melville]

It Happened one Night is pretty great too
I barely remember that one. I should rewatch it.

[soitgoes...]

It Happened one Night is pretty great tooYes it is, my second favorite behind Mr. Smith.

[Qrazy]

I don't see it. I watched It's a Wonderful Life again a few days ago, and I was struck by three things. First, it's technically exciting: it's got a great freeze frame, lots of nice shots with barriers or objects in the foreground, tremendous use of expressionistic shadows and close ups, and an absolutely perfect use of music in several scenes. Second, it portrayed strong emotions much more honestly and unflinchingly than other Hollywood films of the time. Third, it's the most depressing movie ever.

I didn't say all his films were formally tedious just that I find him for the most part formally tedious, including this film. Sometimes he can compose an interesting shot but for the most part Deeds isn't a very visually interesting film.

[Qrazy]

Yes it is, my second favorite behind Mr. Smith.

I was going to say in my review that I think I found Deeds to be my least favorite (of what I've seen)... behind It's a Wonderful Life, You Can't Take it With You and It Happened One Night.

[Qrazy]

Well, I liked Mr. Deeds and especially Mr. Smith, and I don't think either is close to being schlock (though they certainly have more than their fair share of schmaltz). And despite my loathing of Arsenic and Old Lace, I thought it was formally very well done. But you're right that my love of It's a Wonderful Life disproportionately influences my opinion of Capra.

Alright then substitute schmaltz for schlock. I'm not that hung up on my use of schlock although I think I'm simply less fond of the schmaltz than you are hence it's relegation to the schlock category.

[soitgoes...]

I was going to say in my review that I think I found Deeds to be my least favorite (of what I've seen)... behind It's a Wonderful Life, You Can't Take it With You and It Happened One Night.

2nd tier for me. It is way better than Arsenic and Old Lace and Meet John Doe.

[soitgoes...]

Alright then substitute schmaltz for schlock. I'm not that hung up on my use of schlock although I think I'm simply less fond of the schmaltz than you are hence it's relegation to the schlock category.

Schmaltz has a negative sweetness quality to me. Schlock is just negative. They're pretty much the same, except they aren't. :)

[Melville]

I didn't say all his films were formally tedious just that I find him for the most part formally tedious, including this film. Sometimes he can compose an interesting shot but for the most part Deeds isn't a very visually interesting film.
Yeah, it was a knee-jerk reaction to Capra-bashing. My apologies.


Alright then substitute schmaltz for schlock. I'm not that hung up on my use of schlock although I think I'm simply less fond of the schmaltz than you are hence it's relegation to the schlock category.
I actually am not fond of the schmaltz; I think it's a major detriment to his films, but (in my opinion) it's more than counterbalanced by other things. Though there are some moments that others think are schmaltzy that I don't (e.g. the ending of It's a Wonderful Life).

[Qrazy]

Yeah, it was a knee-jerk reaction to Capra-bashing. My apologies.


I actually am not fond of the schmaltz; I think it's a major detriment to his films, but (in my opinion) it's more than counterbalanced by other things. Though there are some moments that others think are schmaltzy that I don't (e.g. the ending of It's a Wonderful Life).

I definitely like It's a Wonderful Life more but even it isn't my cup of tea. Still he certainly has his strengths as a filmmaker. Filmmaking is all about precision and he definitely knows what's essential to his storytelling.

[B-side]

Man, I really need to finally sit down and check out some Gance. Certainly before the silent film consensus, that's for sure.

[B-side]

Man, I really need to finally sit down and check out some Gance. Certainly before the silent film consensus, that's for sure.

I'm nabbing J'Accuse right now.

[soitgoes...]

I'm nabbing J'Accuse right now.

It's good, but not as good as Napoléon or La roue. I think Antoine might think differently though, I don't remember for sure.

[B-side]

It's good, but not as good as Napoléon or La roue. I think Antoine might think differently though, I don't remember for sure.

It's shorter than those 2, though.:P

I figure if I like J'Accuse enough, I'll move onto his longer work.

[soitgoes...]

#704 The Masque of the Red Death (Roger Corman 1964)

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I enjoyed this. The lighting reminded me of a Bava film. The sets, apparently borrowed from Becket, were fantastic. Art direction is top notch, as is Vincent Price. I had read the story in middle school, and I remember with vividness Poe's detailing of the separate rooms in the castle. Corman nailed this. Corman is a director I have neglected, but from what I've seen he is definitely in the same league as Fisher and Bava of his time period.

[soitgoes...]

#705 The Story of a Cheat (Sacha Guitry 1936)

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Have you seen Amelie? You know the first ten minutes or so where she recounts her life by narration. This film is that stretched over 70 minutes, only the narrator is the only voice we hear for 95% of the film. The only voice. The Cheat recounts his life to us from age 12, when his stealing humorously saves his life, through his present.

This is one of the few films completely new to me. I knew nothing about this before watching it. I wasn't even aware of its existence before this undertaking, though I had heard of Guitry. This didn't work for me. It actually was annoying because hearing one constant voice for that long is kinda boring. There's no banter, no interaction to hold your interest. At times the film was funny, the narrator had a nice cadence to his voice, but still... The narrator happens to M. Guitry himself. He also takes on the the duties of writer and the lead actor. He even personally introduces himself at the beginning, right before introducing the rest of the crew and cast on camera. I wonder if Jeunet has seen this film. I would think yes, because there are definite similarities to his film and The Story of a Cheat. His is just better.

[soitgoes...]

#706 Utu (Geoff Murphy 1983)

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After this is done I need to compile my own list of 1001 must see films. Another good film, but nothing really great that's included, I guess, because of the lack of New Zealand films on the list. It is a film about a Maori uprising in 1870 New Zealand. Replace the Maori and New Zealand with Indians and the US, and you have a typical western. The Cavalry vs. the Apache. Good acting by Maori "good" guy Anzac Wallace. The guy is scary. He's definitely the reason to see this.

[SirNewt]

Well, it's much better. I can only recommend The Birth of a Nation as an exorcise in learning more about film history.

I think you can glean pretty interesting things about the American psyche and American mythology from the film. For example the film's treatment of Abraham Lincoln. D. W. Griffith curses the north and its Union army even while he praises Lincoln. So while his grandfather's bigoted racism reached him, the American mythos was also casting a spell on his generation.

[soitgoes...]

I think you can glean pretty interesting things about the American psyche and American mythology from the film. For example the film's treatment of Abraham Lincoln. D. W. Griffith curses the north and its Union army even while he praises Lincoln. So while his grandfather's bigoted racism reached him, the American mythos was also casting a spell on his generation.There are other things there sure, but the main reason to watch The Birth of a Nation is for its historical placement in film lore. Personally I'd recommend watching Griffith's silents, then Judith of Bethulia and on to Intolerance to see his progression as a filmmaker (and you can get what you're talking about too, especially in the shorts), skipping Birth altogether. The fact that Birth is hailed as the first of its kind, and thus required viewing for film buffs, is ridiculous. The Europeans were already making feature length films, as well as epics. His film being a first in Hollywood is the reason for its supposed greatness.

[Qrazy]

297. Murder, My Sweet (Edward Dmytryk, 1944)

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Dmytryk serves up a delicious noir with Murder, My Sweet. I don't really have much to say about it. The dialogue crackles. As per usual Chandler weaves an engaging, intricate web of deceit. Dmytryk isn't the greatest visualist, but he manages to compose a number of compelling shots.

I'm not going to grade anymore because I don't find they accurately represent my response to the film... but neither do my brief thoughts... so you'll just have to imagine the intricacies of my responses yourselves and/or ask me questions about the film.

[Qrazy]

296. Women on the Verge of a Nervous Breakdown (Pedro Almodovar, 1988)

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This is a funny film executed with precision, but unfortunately I just don't care much for Almodovar's style in general. I tend to enjoy his films but find them underwhelming. Anyway, Almodovar does a bit of meta-commentary on language/voice-over/lies/persuasion. He also plays with soap opera conventions semi-engaging in them but also skirting around and making fun of them. It's fun to see Antonio Banderas at the beginning of his career. The best moments come near the end when all the pieces come together and everything begins to spin out of control.

[Qrazy]

295. The 36th Chamber of Shaolin (Chia-Liang Liu, 1978)

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A guy gets oppressed by some other guys so he decides to learn how to fight. He trains a lot, for most of the film in fact and by the end he knows how to fight. The training sequences are kind of cool I suppose. The film could have used less of the mad zooming that characterizes Chinese martial arts cinema, but what can you do. I'm not sure why there weren't any repercussions for starting the 36th chamber. I guess the head monk relented and stopped giving a shit about the fact that monks aren't supposed to pick sides. Fair enough. The story surrounding the training sequences is pretty bland but the training and fight scenes are solid.

[B-side]

I'm not going to grade anymore because I don't find they accurately represent my response to the film... but neither do my brief thoughts... so you'll just have to imagine the intricacies of my responses yourselves and/or ask me questions about the film.

Yup. I tend to regret my ratings almost immediately, but I don't like my writing enough to feel like it properly conveys my feelings, so I do both.

[Qrazy]

294. The Big Sky (Howard Hawks, 1952)

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Dewey Martin was a complete asshole for 2/3's of this movie. I suppose to a certain extent that was the point of the character, but man what an asshole. So yeah Martin's character arc left much to be desired nor did I really buy the friendship between him and Kirk Douglas. The story is fairly dull as are most of the character dynamics. And frankly for a film shot on location I didn't really feel that it capitalized on the wilderness imagery as well as it could have. I liked the idea of the story (fur traders make their way far up river) but I didn't care much for it's execution. Still, it wasn't all bad, don't get me wrong. It's a competent film in some ways.

[Qrazy]

Yup. I tend to regret my ratings almost immediately, but I don't like my writing enough to feel like it properly conveys my feelings, so I do both.

Once upon a time I was a decent writer. I employed metaphor, appeals to the senses, rarely used 'to be', cut down on my adverbs and had something to say. I'm not sure if I just got lazy or if my brain turned to a puddle of mush from watching too many movies. Either way at this point I tend to find just ranting on about a film a pain in the ass. However, I do like getting into discussions. So if someone engages me in discussion about any of these films I'll be more likely to say something worthwhile.

[Qrazy]

293. Guys and Dolls (Joseph L. Mankiewicz, 1955)

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This was highly enjoyable. I witnessed a production of the play once about a decade ago and have wanted to see the film ever since. The acting is uniformly great. The songs are classics. The dancing and general staging is hilarious and the use of color on the costumes and scenery is quality. My only complaint is that Mankiewicz keeps the production a little too theatrical. Now I have no problem with the intentional artificiality of the set. What I mean by my criticism is that he'll set up a scene and then shoot it for the most part (not completely) from an outside angle as if the camera were an audience viewing the play. It's nice to see a dance sequence in a long take but it would also have been nice to change up the imagery once in a while. A set can be intentionally artificial and still be shown from multiple angles. This helps establish the geography of locations and just gives a scene a greater sense of lived in space and depth.

[Qrazy]

292. Fires Were Started (Humphrey Jennings, 1943)

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For some reason imdb labels this as a documentary. It really isn't in the slightest. But it does take a naturalistic approach to it's subject matter, that subject being firefighting during air raids in WWII. Apparently most if not all the actors were actual firefighters and this does show in their general knowledge of the trade. All in all the film is alright. It accomplishes it's aim of demonstrating the hardships involved with firefighting during an air raid and a real sense of camaraderie is established amongst the men. On the other hand there's just not that much to the film and it feels a bit slight.

[soitgoes...]

You've been holding out on me. :eek:

[Qrazy]

You've been holding out on me. :eek:

Sorry, I watched them all over the last few days. I just didn't have the energy to post anything.

[Spaceman Spiff]

[SIZE="4"]This is a funny film executed with precision, but unfortunately I just don't care much for Almodovar's style in general. I tend to enjoy his films but find them underwhelming.

What are you expecting? Almodovar's comedy is pretty much the equivalent of post early 90s Allen (but with a more consistent aesthetic, maybe). They're pretty much only meant to be light and fluffy, yet executed with precision.

[Qrazy]

What are you expecting? Almodovar's comedy is pretty much the equivalent of post early 90s Allen (but with a more consistent aesthetic, maybe). They're pretty much only meant to be light and fluffy, yet executed with precision.

I just don't like his visual style much. He keeps the camera very close to his actors most of the time and what's there, his mid shots and close-ups, aren't all that dynamic. It's more than that though, his pet themes and predominant atmospheres just don't engage me as much as some other filmmakers. It's not a specific criticism per se, just a personal preference.

[Spaceman Spiff]

I just don't like his visual style much. He keeps the camera very close to his actors most of the time and what's there, his mid shots and close-ups, aren't all that dynamic. It's more than that though, his pet themes and predominant atmospheres just don't engage me as much as some other filmmakers. It's not a specific criticism per se, just a personal preference.

What did you think of Hable con ella?

[Qrazy]

What did you think of Hable con ella?

Haven't seen it yet I think it's on the list of films to see though. I've seen Bad Education and Volver.

[Qrazy]

Sorry, I watched them all over the last few days. I just didn't have the energy to post anything.

If you check my icheckmovies though you can see all the ones I've watched. I check them right after I watch them although I don't write the review right away.

[Spaceman Spiff]

Haven't seen it yet I think it's on the list of films to see though. I've seen Bad Education and Volver.

It's his best by a large margin, and I'm pretty sure you'll feel similarly. It's a much more stylistic film, with interesting compositions and one totally awesome dream sequence that young Bunuel would have been proud of, while still being grounded by Almodovar's typical themes. It also might be his darkest film.

[Qrazy]

It's his best by a large margin, and I'm pretty sure you'll feel similarly. It's a much more stylistic film, with interesting compositions and one totally awesome dream sequence that young Bunuel would have been proud of, while still being grounded by Almodovar's typical themes. It also might be his darkest film.

Awesome, yeah sounds up my alley.

[soitgoes...]

It's his best by a large margin, and I'm pretty sure you'll feel similarly. It's a much more stylistic film, with interesting compositions and one totally awesome dream sequence that young Bunuel would have been proud of, while still being grounded by Almodovar's typical themes. It also might be his darkest film.
I concur. His best that I've seen, but I like everything else he's done too.

[soitgoes...]

Sorry, I watched them all over the last few days. I just didn't have the energy to post anything.


If you check my icheckmovies though you can see all the ones I've watched. I check them right after I watch them although I don't write the review right away.

Oh I'm not too worried. If you had 20 films left, then I'd be more cconcerned.

[Qrazy]

Oh I'm not too worried. If you had 20 films left, then I'd be more cconcerned.

Yeah I'm probably going to take a break soon because I want to watch a few other things including a lengthy TV miniseries.

[soitgoes...]

#707 Stroszek (Werner Herzog 1977)

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Let me say that Werner Herzog was the best director the 70's had to offer. Some might find that a stretch, with the likes of Altman, Coppola etc., but I don't think their bodies of work can hold up to what Herzog was able to put together that decade. Even his failure, Fata Morgana (some would say triumph), is at the very least something interesting, different.

Stroszek is an enigma. It is at times funny, but always underneath is sadness. As we are shown an example of the great "American Dream," we realize that more times than not, that dream is only that.

[soitgoes...]

A two-fer:

#708 Captain Blood (Michael Curtiz 1935)

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# 709 Mutiny on the Bounty (Frank Lloyd 1935)

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These two had a number of the same qualities going for them, so I decided to watch the pair one after the other. Both were released the same year, and have the same swashbuckling theme. They also feature actors whose accents don't match their nationalities, something Hollywood always had a problem with. In Captain Blood we have Australian Errol Flynn playing Irish surgeon turned criminal Peter Blood. Pressed into slavery in the West Indies, Blood makes woos the local governor's daughter, makes his escape and then wreaks havoc by way of piracy. Mutiny on the Bounty has the very American Clark Gable and Franchot Tone, playing two of the main actors, alongside the great Charles Laughton. Laughton, in one of his finest roles, nails Captain Bligh. Both films seem to me to be nothing more than average, or slightly above, adventure films of their time. Not too much sets them apart from their counterparts. Captain Blood has some German Expressionism qualities, Mutiny has Laughton.

[soitgoes...]

#710 Secret Beyond the Door... (Fritz Lang 1948)

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A little talked about Lang film that happens to be one of his more interesting, not necessarily best films. Lang, who was a master of noir, makes this film during noir's peak, and yet this film turns out to be something more than noir. There are certainly noir-ish touches, but this is a film more concerned with the mind of someone unhinged. Some neat symbolism and Lang even tackles a pretty interesting dream sequence. The film fails to reconcile a few plot points, and Michael Redgrave's character comes off as a douche, so it is hard to sympathize with him. Recommended, but not essential Lang, but to be fair I'm only a big fan of Fury and Beyond a Reasonable Doubt since his move to America.

[Qrazy]

Yeah I remember liking that Lang.

[soitgoes...]

Having a horrible case of food poisoning has been beneficial for watching movies.

[Qrazy]

Having a horrible case of food poisoning has been beneficial for watching movies.

Sorry to hear that. :( As for me my computer died today (been working all day to fix the error) so that has not facilitated my movie watching.

[soitgoes...]

Sorry to hear that. :( As for me my computer died today (been working all day to fix the error) so that has not facilitated my movie watching.Sorry to hear that too. :(

At least my problem helped me lose a couple pounds.

[soitgoes...]

#711 Play Time (Jacques Tati 1967)

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This is probably one of those head-scratcher films. "Why hasn't he seen that one until now?" Well, while I can appreciate Tati's films on a technical level, a lot of his humor falls flat. Play Time is Tati at his best, or so most will tell you, and I agree with that. The world that Tati created is nothing short of marvelous. Sure, while his humor still doesn't quite click with me (the above scene is a major exception), it does do better than his previous films. Everything outside of that is perfect. The sets, the cinematography, the sound editing, all of which has me agreeing that seeing this on the biggest screen possible would make for the best experience. Since Tati has so many layers of action going on, repeat viewings are almost a must to fully grasp everything that is going on.

[B-side]

Yeah, I remember not really clicking with much of the humor myself. That was about 2 or so years ago, though. Anxious to rewatch it.

Why haven't you answered my question in my silent film thread?:sad:

[soitgoes...]

#712 Me and My Gal (Raoul Walsh 1932)

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A pre-code crime-comedy that smacks of an early slapstick comedy. Spencer Tracy plays a cop on his beat down at the docks. He falls for waitress Joan Bennett, whose sister's boyfriend happens to be a wanted bank robber. Tracy inadvertently falls into a right guy in the right place scenario. All of that is a side story though, as Tracy and Bennett's rapport with each other is the main attraction. Quick one-liners and lewd innuendoes abound in this early Walsh talkie.

[soitgoes...]

Yeah, I remember not really clicking with much of the humor myself. That was about 2 or so years ago, though. Anxious to rewatch it.

Why haven't you answered my question in my silent film thread?:sad:Which one? About the screen caps? Of course I like them.

I'm just left dumbfounded by your response to some of these films. :P

[B-side]

Which one? About the screen caps? Of course I like them.

I'm just left dumbfounded by your response to some of these films. :P

I'm a pretty wacky guy. I've received plenty of flack on RT for my opinions.:P

[Spaceman Spiff]

I think Playtime is something that needs to be seen in a theater. A 35mm screening of it last year made me do a total 180 on the film. Awe-inspiring cinema.

[soitgoes...]

#713 The Wolf Man (George Waggner 1941)

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Not one of Universal's better efforts. Lon Chaney Jr.'s not a very good actor, and his character is a dolt. Claude Rains is a non-factor. Most importantly, the werewolf makeup/costume looks horribly dated.

[Qrazy]

Nothing needs to be seen in a theater. I watched Playtime on a regular sized screen and was entirely enthralled upon my first viewing. You people just need to have better opinions. That's all. :P

[soitgoes...]

Nothing needs to be seen in a theater. I watched Playtime on a regular sized screen and was entirely enthralled upon my first viewing. You people just need to have better opinions. That's all. :P
Whatever Mr. My Night at Maud's Isn't as Good as Avatar guy.

[B-side]

Whatever Mr. My Night at Maud's Isn't as Good as Avatar guy.

:lol:

[Qrazy]

Whatever Mr. My Night at Maud's Isn't as Good as Avatar guy.

The script is much better but Rohmer's direction remains underwhelming to me. He should have been a playwright. That is to say Avatar succeeds at being spectacle better than My Night at Maud's succeeded at it's more contemplative aims.

But I have also gone on record as stating that my ratings are purely subjective judgments. That is to say that I preferred the relative execution of the aims of Avatar over My Night at Maud's. This is not to say that one is better than the other in every respect and dimension.

[soitgoes...]

#714 Willy Wonka & the Chocolate Factory (Mel Stuart 1971)

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

Yeah, of course I've seen this before, but it's been over 20 years since I've seen it. I remember it not being a favorite as a kid, but I don't remember why. I can say safely that the absolutely best part of Willy Wonka is Gene Wilder. What a treat! I've always have been a fan, but this has to be one of his best roles.

There are a couple negative points that bothered me, one a little bit and the other quite a lot. Spoilers to follow:

First, I had a problem with how Wonka doles out punishment, and for the reasons given. Chewing gum? Watching too much TV? Yeah, I guess that's fine and all, but Charlie goes behind his back, and drinks the Fizzy drink and he's cool with that. Maybe not cool, but it isn't off with the Oompa Loompas like the others. Also the Oompa Loompa songs are a little preachy. All of that is somewhat minor when compared to what's next.

Grandpa Joe. How was this character ever seen as being positive in a kids film? Let's see: He lays around in bed for 20 years(!) only to immediately get up and dance a jig and sing a song when Charlie invites him on the tour. He smokes, but the family is barely surviving and he brings nothing to the table. Charlie invites him over the other three grandparents (who, I should add, are pretty much completely ignored by Charlie) and his mother, who actually you know, works hard for a living (biggest slap in the face). He coaxes Charlie to drink the soda which eventually leads to trouble. When getting caught he says they should give the Eternal Gobstopper to Mr. Slugworth. He's just an all-around bad example.

The movie as a whole is fun, and definitely worth seeing if only for Wilder and the wonderfully imaginative sets and songs. I don't however agree with the film's philosophy or the messages it is sending.

[soitgoes...]

#715 Mishima: A Life in Four Chapters (Paul Schrader 1985)

http://i233.photobucket.com/albums/ee171/soitgoes22/mishimaalifein4chaptersPDVD_01 0.jpg

Maybe a spoiler or two, but only if you haven't a clue who Yukio Mishima is.

Beautiful. I want to see a film made using the kind of world Schrader gave us in his interpretations of Mishima's works. It reminded me of An Actor's Revenge in a way, but with even more stylized sets.

As far as biographies go, this is one is unique. While the title states that there will be four chapters, it is the three "times" of Mishima's life that matter most. The flashbacks, filmed in black-and-white give us a background history of what shaped him into the man he'd become. The highly colorful, stylized segments are interpretations of 3 of his works (Temple of the Golden Pavilion [great book by the way], Kyoko's House, and Runaway Horses [also a great book, though I prefer Spring Snow by a mile]). These interpretations give background, through his own works, of the trajectory of his own life, and its, and the film's eventual outcome. Last we have present day, Mishima's last day, filmed in normal color. This section gives us the events that transpired on his ultimate day. The build up and execution of his suicide is so well done. The three sections are interwoven throughout the 4 chapters, which in turn act as a rough framework.

Philip Glass contributed a wonderful score, that I questioned at first, but I eventually came to love. Great everything else in addition to a fanboy type love for the subject, and you have one of the best films of the 80's.

[soitgoes...]

#716 Blonde Cobra (Ken Jacobs 1963)

I'm not going to post a pretty picture here, because I honestly doubt that a pretty picture of this film exists (ever existed?). A 30 minute short, this is some of the obscure off of this list of films I have left. Jack Smith gives us a sort of improvised voice over narration that sometimes has something to do with what we're shown on screen, but most of the time it's just his random musings. Sometimes there are long stretches of black leader with only his voice guiding us to the next segment. This has me at least interested in what else Mr. Smith gives us in Flaming Creatures, a film I really had no desire to see before watching this.

[soitgoes...]

#717 Wings of Desire (Wim Wenders 1987)

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

Again with the beautiful 80s films. I don't know if it's Wenders's best work, I might be partial to Paris, Texas, but it is his most striking. Black-and-white abruptly switch to color, as Damiel, the ever-watching angel, gives in to what it is to be human. A dreamy score accompanies the looming, peering camera, as we see and hear what the angels around a divided Berlin witness.

[Qrazy]

291. Man of the West (Anthony Mann, 1958)

http://i612.photobucket.com/albums/tt207/tcs350/vlcsnap-2010-01-03-12h35m03s14.jpg

This was my favorite Mann film so far. It's one of those quintessential films about the death of the old west. The gunslingers here are portrayed as a despicable, grotesque lot. Link Jones (Gary Cooper) had attempted to escape his history as an outlaw, but as we all well know, you can't outrun your past. You have to face it head on. It's a very dark and pessimistic western. Everyone is pretty much doomed from the start, although perhaps not in the ways we may initially suspect. The film does have some of Mann's typical use of contrivance but this time (unlike the The Naked Spur or The Man from Laramie) that contrivance feels necessary and significant rather than forced. Link had to face his past once more, it was an inevitability. The gun fighting scenes have a strong sense of geography, although I doubt anyone was counting the number of bullets fired. The only scene which didn't really work was a prolonged fight near the middle of the film. The idea behind the scene and the fallout is significant but the fight choreography is fairly weak.

[Qrazy]

290. Poltergeist (Tobe Hooper, 1982)

http://thesoniashow.files.wordpress.c om/2009/09/poltergeist1.jpg

After loathing The Texas Chainsaw Massacre Hooper has redeemed himself for me. This does indeed feel like a Spielberg film so perhaps I should really be giving the kudos to Spielberg but whatever. I'm sure Hooper had quite a bit of influence also. The film makes great use of set details to communicate information about these characters. Everyone's greatest fear is established early in the film and then allowed to manifest as the supernatural element kicks into full gear. In typical Spielberg fashion the film becomes quite sentimental in places but the circumstances are compelling enough and the acting relatively quality to warrant this sentiment. Some dated effects work and a bit too much silliness with some of the ghosts are perhaps the film's biggest weaknesses (the effects are still pretty good for the most part especially given when it was made).

[Spaceman Spiff]

[SIZE=4]After loathing The Texas Chainsaw Massacre

Only the bestest movie ever.

[Melville]

After loathing The Texas Chainsaw Massacre Hooper has redeemed himself for me.
The best thing about this sentence is that it technically says that Hooper loathed The Texas Chainsaw Massacre. (The second best thing about it is that it has to do with loathing The Texas Chainsaw Massacre.)

I like the large number and succinctness of reviews in this thread. Good stuff. And Man of the West sounds awesome.

[Spaceman Spiff]

The best thing about this sentence is that it technically says that Hooper loathed The Texas Chainsaw Massacre. (The second best thing about it is that it has to do with loathing The Texas Chainsaw Massacre.)

I like the large number and succinctness of reviews in this thread. Good stuff.

The worst thing about this post is EVERYTHING AND YOUR FACE.

[Melville]

The worst thing about this post is EVERYTHING AND YOUR FACE.
How is my face 'about' that post? And if it is, then shouldn't it be included in the 'everything'? Start talking sense.

[Qrazy]

The best thing about this sentence is that it technically says that Hooper loathed The Texas Chainsaw Massacre. (The second best thing about it is that it has to do with loathing The Texas Chainsaw Massacre.)

Ahh punctuation failure... but since you liked it I"ll leave it as is. :)

[Melville]

Ahh punctuation failure... but since you liked it I"ll leave it as is. :)
[point about grammar, to be ignored by those who can't stomach such things]

Actually, the sentence is incorrectly punctuated, since it's missing a comma, but even if you corrected that, the introductory phrase "After loathing The Texas Chainsaw Massacre" would still modify the subject (Hooper) in the main clause.

[/point about grammar]

*can't help derailing threads into irrelevant minutia*

[Qrazy]

289. Say Anything (Cameron Crowe, 1989)

http://www.popserious.com/wp-content/uploads/2009/06/saya.jpg

I don't like Cameron Crowe movies much but I wouldn't say I outright dislike them either. They're just kind of bland and sentimental. Still for films of their type they are perhaps more competent than most. There's an undercurrent of genuine feeling to Say Anything that keeps it afloat, and most of us can identify with high school heartbreak. I suppose for fans of 80s romantic comedies it's a pretty good film, for me it was passable.

[Qrazy]

288. My Night at Maud's (Rohmer)

http://auteurs_production.s3.amazonaw s.com/stills/5927/Film_345w_MyNightMauds.jpg

Boo yeah copy/paste!

I think I like Rohmer well enough but so far I've only seen this one, Chloe in the Afternoon and Suzanne's Career. The first two were quite solid, Suzanne's career was a bit of a bore. Still I enjoy his work much more as a writer than as a director. There's nothing about his formal approach or scene construction that really piques my interest. But his explorations of morality and character psychology is revealing. I have to say that while I love philosophy I find Pascal's wager to be a rather uninteresting proposition but not for the reasons discussed in the film. So on an intellectual level I didn't find the script's musings about the wager particularly interesting, although on the level of character they do effectively communicate a great deal about who these people are. So once the film got these concerns out of the way (about the half hour mark) it did a compelling job of examining the nuances, contradictions and hypocrisies of it's protagonist(s). The protagonist is in a nutshell, the type of man who inadvertently does what his religion considers proper (not to have casual sex) and then later lies about his inaction in order to appear to be what his perception of secular society deems proper (or at least to seem like more of a 'man').

B-

[Melville]

I have to say that while I love philosophy I find Pascal's wager to be a rather uninteresting proposition but not for the reasons discussed in the film.
Aw. I love that wager, despite (or maybe because of) its ridiculousness. And the film applied it so beautifully to so many subjects, from politics to falling in love. The ending, especially, worked wonders with it.

[soitgoes...]

#718 "Dekalog" (Krzysztof Kieslowski 1989)

http://i233.photobucket.com/albums/ee171/soitgoes22/Dekalog10A.jpg

If asked at the start of this endeavor, which entry I thought I had the best chance of liking the most, I would have given this "film" as my answer. I knew that I'd end up liking this, if only because I loved his films that were expanded out of episodes five and six. It didn't disappoint. I watched this over the course of a week. Some days I'd watch one episode, others two. There are probably 4 episodes I'd consider just perfect in their own right, but the beauty of the Dekalog isn't how the episodes work on their own, rather how the interact on the whole. Each entry has its own look, feel, even different variations on the score, but they are all very familiar. We see some of the same faces, hear of stories we've already been told, all because of this wonderful world presented to us by Kieslowski and his co-writer Piesiewicz.

[Qrazy]

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

SPOILERS

http://media.sbs.com.au/films/upload_media/site_28_rand_1410723480_all_ab out_my_mother_maxed.jpg

This was probably my least favorite Almodovar so far. When he's doing comedy (Women on the Verge) he may not be my favorite director in the world but at least it's meant to be funny. In this one some moments are meant to be funny but by and large it's a tragic drama and boy oh boy could I not take it seriously. Car accidents! Long lost transvestite fathers! Aids! Drug use! Everyone having sex with everyone and then dying! This is basically a soap opera with much better acting. I suppose that's his angle on some level but it really doesn't work for me. The narrative is too absurd for me to give a shit or to accept the fact that the actors are taking the material seriously. I'm putting all my hopes into Talk to Her.

[B-side]

I love All About My Mother.

[Qrazy]

I love All About My Mother.

I'm not surprised.

[B-side]

I'm not surprised.

Racist.