Watching A Serious Man again this weekend. That and Machete.
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Watching A Serious Man again this weekend. That and Machete.
Weekend:
Malice
The Kids Are All Right
Just saw Brick, and thought it was pretty awesome. One thing though, I would have liked it a lot better if it had more of those 'film noir' clashing with 'high school genre' elements. I guess it would have altered the atmosphere of the film significantly, as it would be difficult to balance the two, yet keep the dark/foreboding line that runs deep, but it would have made for a much more interesting flick, I think. Too often I felt it just played as a straight up Sam Spade flick, which was a little disappointing given how much room Johnston gave himself to work with in terms of genre mixing.
Still, very good. I also didn't know JGL could act, considering I only really remember him from Inception, so that was a nice surprise too.
I have decided that Maurice Chevalier irritates me.
Good points, all. I was actually wondering if the short version would just be an extended version of the Vienna segment. I think a 2.5 films about the leadup and aftermath would actually be quite manageable.
I think my favorite scene was the apartment/informant bit at the end of P1 - the camera circling the ukelele players, the surveying of faces... sadistic tension at its best.
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You can watch Harmony Korine's new short film here.
Korine fans will be pleased. I certainly was.
It's okay. I consider myself a "Korine fan", but at this late in the game, his approach to filmmaking is reaching a point where each individual film (with the exception of Mister Lonely, which takes a more polished approach to the same idea) seems like a continuation of the basic concept Herzog presents in Even Dwarfs Started Small. Korine's distinction—a retro found-footage approach to documenting fictional lower class citizens—works for me, but beyond that, I can see Korine's films forcibly having to rely solely on character structuring. (At this point, I think he's done a good job mythologizing lower classes and is as respectful to and as interested in them as a sociologist would be a third-world country.)
By the way, recent Criterion newsletter clues indicate Broadcast News and Kes are on the way.
Is it true that Broadcast News is loosely inspired by the on-air suicide of Christine Chubbuck?
Reading Chubbuck's wiki entry, I guess there could be some similarities with Brooks' character. Having a love triangle where a person ends up hurt has happened on film hundreds of time. But set it around a television news set...
I don't agree. I grew up in an extremely lower class town and the disgusting filth mongering Korine partakes in is nothing like the reality of the 'lower class' (that which a sociologist would be interested in). Korine's films may have some sense of disturbed and heightened fringe reality, the one percenters of the 'lower class' if you will, but only barely. Even the mentally ill and (separately) violent youth of my childhood were no where near the brand of ugliness Korine generates. Korine is not interested in respecting the lower class as a sociologist would (this entails approaching some degree of care and reality with his characters), nor is he interested in mythologizing them. John Ford mythologizes the lower class. Korine approaches them in a Lynchian manner, exposing what he feels to be their underbelly.