Do so.
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Nicely shot in crisp black and white, The Priest and the Girl concerns the arrival of a priest in a very conservative town to bless another priest on his death bed. The dying priest's constituent hustles the blessing along in fear of what happens moments after the new priest's arrival: the confession that sets the narrative in motion, information that shocks the film into focus not 10 minutes in. It turns out both of them have been having sex with an orphaned girl left with one of them during harder times. During the burial procedure, a drunk and erratic man espouses the all too conservative nature of the village, declaring that they've simply resigned themselves to God's will and refuse to be proactive. As it happens, this man, who holds the town's supply of medication, also slept with the girl, who after her father figure insists they marry to cover up the scandal, confesses to the new priest that she doesn't see herself belonging to any of them, but that she's rather infatuated with him. The grip of love on the new priest drives his existential crisis and continued denial of his feelings for her, especially being that she "belongs" to another. She's tainted herself with premarital intercourse, and her sexual identity confounds his spiritual ideal. Torn between being the town's much needed mediator and pursuing his love interest, the priest breaks down and finally gives into the throes of passion, much to the scorn of the witch-hunting villagers. Bergman-esque in its exploration of faith and conviction, though it does lack the introspective resonance of a Bergman, it retains its own quiet power. A good, if not great, film.
Wyler's Dead End is a wholly solid crime drama. Shot by the masterful Gregg Toland, beautiful crane shots bookend the film, the opening few lowering you into a world in which the rich hover over the poor below, celebrating their wealth while the impoverished fight and envy those above. Wyler affords neither side the benefit of all of his sympathy. The wealthy refuse to be poor at all costs and the poor will do whatever necessary to cease being poor. "Baby Face" Martin wanders about, watching over the gang activity of the young ones, offering advice and smiling when they commit crimes. The kids play gangster games, trying hard to grow up into the world "Baby Face" already exists in. He's rich, and he's murdered people. The kids talk tough, fight and commit petty theft. The dead end street stage is terrific, and as the populous pours in and out of the street, the set feels very lived in and animated. The film's highlights are generally its more intimate moments; watching "Baby Face" face one disappointment after another after returning to his childhood home are the best moments in the film. They're tender and highly effective dramatic pieces.
Well, I love Dead Poets Society. A wonderful cast of young talent, but Robin Williams is amazing too.
Joshua Logan's Picnic was sort of interesting but also sort of crap. It vacillates between emotional honesty in relation to the relationships at the film's core (between two sisters, between two old friends and between an older man and woman) and total dramatic contrivance. A lot of scenes are painfully melodramatic and simply don't play well. I fault weak dialogue for some of this but the acting and direction is also part of the problem.
The oddly creepy Neewalloh ceremony in the middle of the film was by far the best part. James Wong Howe (cinematographer) finally had a chance to shine there. I watched this one mostly for him although tangentially for Logan after thoroughly enjoying Paint Your Wagon. I have Body and Soul up next from Howe.
LeRoy's Two Seconds is fire-breathing drama. A conflagration of the 1930s working man's fears. It's clear that Edward G. Robinson was one of the greatest actors to ever grace the screen. Riveting, intense stuff.
I think it's contrived melodramatic hogwash with an embarrassing central performance and no actual ideas beyond a vague notion of day-siezery that never manifests into anything meaningful. But Robin Williams does those impressions he does, so it's all good.
The greatest satisfaction Ramona Reyes (my movie club) has given me so far - the crowd after the end of Sunset Boulevard, speechless and dumbfounded, unable to talk about anything other than the film they'd just seen.
Nuit Noire (Olivier Smolders, 2005) PRO
Has anyone else seen this? It's an instant favorite for me, tho I can see how it's obliqueness might be a turnoff to some.
If you truly want to see the future David Lynch, it's Olivier Smolders. Never, ever has a film about African colonial guilt and insects been so captivating. It's Eraserhead meets Microcosmos by way of Heart of Darkness. Absolutely stunning. Hyperbole aside, it's this decade's surreal masterpiece.
:cool:
Well I just watched Funny Games (1997). I think this is the first movie in a long time that inspired numerous reactions. Really I'm not even sure if I liked the movie or not, and I'm attempting to gather some thoughts. I will say that I am probably not in either extreme camp (loved it, hated it) but I fall somewhere in the middle, probably.
There are some issues, though.
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Something tells me I'll prefer the remake more. After all, it features American actors, even though it is apparently a [] I imagine that Haneke made it so that some hack director wouldn't go and make a crappy remake that would piss all over his ideas. Fair enough. That said, I'm actually interested in watching his other movies. He clearly has style, interesting things to say, and hey most of Match-cut likes his movies so he must be doing something right.
However people I must admit that Scream (1996) really did this whole horror movie commentary on violence in the media meta thing a little better. It may be not as smart as Funny Games, sure, yet I feel it has just as much to say about the subject.
Just got back from seeing Battle Royale. That's gonna stick with me for a while.
What the fuck is this?
http://www.imdb.com/title/tt1230552/
Before this falls into the annals of FDT's back pages, I want to re-emphasize my giddy enthusiasm of this discovery. Rather than try to clumsily put into words my feelings, I want to encourage interested parties (and there are definitely certain people on this site -- and you know who you are -- who really need to see this film) to check out the following review, which nails everything I felt about Black Night and conveys the film's essence brilliantly. I agree with every word of it.
http://www.cinelogue.com/reviews/nuit-noire
Anyone who appreciates amazing surreal imagery and impeccable sound design (again, think Lynch) should make this film a priority.
If you're still not convinced, here's the NSFW trailer:
[youtube]zRgfUnFnndQ[/youtube]
Started to watch it last night, and I had a difficult time with the obvious digital look of the movie. I really wish I could go back to a time when everything was shot on magnificent film stock. I'll try and give it another go today maybe.