28 Film Discussion Threads Later

[Winston*]

Anyone familiar with Asghar Farhadi's work outside of A Separation? There are upcoming screenings of his previous four films and I was wondering what to prioritise.

[Russ]

The Big Night {Joseph Losey, 1951) pro

This followup to Losey's other 1951 films, M and The Prowler was an interesting, if uneven, film, and it's one of the more unusual part-film noir/ part-coming-of-age films you'll likely see. John Drew Barrymore is very earnest, but otherwise mostly convincing as the awkward youth who seeks revenge against the man who savagely beat his father. With the entirety of the narrative taking place over a 24 hour span, it seems to presage later, similar works (ie, Scorcese's After Hours), if not in content, then in structure. Barrymore gets a lot more than he bargains for in his quest, and is more than ably supported by a wonderful supporting cast, with Preston Foster (as the father), Joan Lorring (as a female companion) standing out, but especially Howard St. John, as the 'heavy', Al Judge (a crippled sportswriter). Yeah, this is one odd duck, alright, but it's also a pretty good one.

Losey adds some interesting touches, prominent among them a brief observation of a particular social issue regarding race (and it's a terrific scene featuring Barrymore's meeting with a nightclub singer played by Mauri Lynn). It's a very brief moment in the film that I will remember long after I’ve forgotten everything else about it. While Barrymore searches for the man who had beaten his father, he is taken to a nightclub, where he becomes fascinated by the club’s singer (Lynn). After the show, Barrymore goes outside where he encounters Lynn (she’s black, and you get the impression that he doesn’t have much social experience with people of a different race). Starstruck, he stammers and politely introduces himself and says, “I want you to know what I think. You’re the most wonderful singer in the whole world.” Lynn smiles radiantly and thanks him. He continues, “That isn’t all. ‘Cause also, you’re…so beautiful.”

“Even if you are a…”, and he catches himself, but it’s too late; the damage has been done.

The look on Lynn’s face when she hears those words, changing from one of pure joy to one of immense sorrow and sadness, was devastating. Even Barrymore’s apologetic pleas (“I didn’t mean to say it”) do nothing to erase the pain that Lynn has experienced.

This brief encounter, which is essentially a throwaway scene lasting less than a minute, lent nothing to the main plot, but it was Losey’s way of making a big statement on the state of race relations at the time the film was made. It’s a very powerful and emotional moment and did more to drive it’s point home than some entire movies devoted to the topic.

The film is on Netflix Instant, but I believe it will be expiring at the end of this month.


Black Tuesday (Hugo Fregonese, 1954) pro

The only copy I could find was a sub-sub par n'th generation print whose awful video was only surpassed by the dreadful audio accompaniement (a pristine copy might've easily garnered a top rating) - suffice to say, what we have here is taut and economical storytelling, centered around a prison death-row escape and its aftermath (including the recovery of $200k that has been socked away by one of the escapees).

No great shakes on the narrative, as it holds the usual staple of hostages (priest, doctor, reporter, prison guard, innocent girl) that are thrust front and center in the more stage-bound second half, where the gang is trapped in their warehouse hideout.

However.

Edward G. Robinson, as a brutal and uncompromising kingpin is SUPERB. He has never been better, and everyone else (including the spirited but lesser-talented Peter Graves) feeds off his energy. It's really something to see. Fregonese's inspired direction (espcially during the first half-hour inside the prison), and the magnificent shadowy cinematography by Stanley Cortez (Night of the Hunter, The Magnificent Ambersons) drive this film, with the performers capably adding to the mix.

Again, give me a great print of this and I'm likely in cinema heaven. Yes, it's a definite B-movie with a really low budget, but don't let that stop you from seeing this film. Just don't try to watch the one currently available thru torrents and such.

[Derek]

Anyone familiar with Asghar Farhadi's work outside of A Separation? There are upcoming screenings of his previous four films and I was wondering what to prioritise.

I've heard great things about Fireworks Wednesday, but don't know much about his other films.

[Kurious Jorge v3.1]

Anyone familiar with Asghar Farhadi's work outside of A Separation? There are upcoming screenings of his previous four films and I was wondering what to prioritise.

Fireworks Wednesday is really great. The one with Dust in the title (Dancing in Dust?) is good.

[Boner M]

Everyone says About Elly is good.

Also, why hasn't Spinal seen A Separation?!

[B-side]

Anyone familiar with Asghar Farhadi's work outside of A Separation? There are upcoming screenings of his previous four films and I was wondering what to prioritise.

Basically, all four of his previous films are pretty well regarded, so if you're into him, maybe try and see all four?

[Raiders]

Everyone says About Elly is good.

It is. Very good actually. If you like A Separation, pretty sure you'll like it as well. Farhadi is an amazing storyteller. Every angle, every glance, every moment, just feels so well-informed and subtly important to the overall view of Iranian life and customs. I hesitate to say after two films, but his is as powerful a vision as Panahi's for me.

[Morris Schæffer]

A Pierce Brosnan retrospective:

http://www.empireonline.com/features...pierce-brosnan

oh sweet lord, that last entry, page 14, is astounding.

[Kurious Jorge v3.1]

Guerin's Innisfree...anybody seen it? What a crazy film.

Some viewings:

Innisfree: Guerin's cinema has been a bit obtuse for me based on only one film I had seen (Train of Shadows) but Innisfree despite being absurdly dense and experimental in form is unbelievably absorbing and moving. 5/5

Trial of Joan of Arc: Not my favorite Bresson and a bit too basic in style (obviously Bresson makes basic an art form in many of his stronger films). The lead actress is great in her unemotional intensity and the film really picks up towards the end of its brief runtime but something felt a bit lacking about the whole experience. 4/5

King of Ads: Disc 1: A 2-disc collection of television ads made by famous filmmakers. This disc was astounding and had more of a consistent theme amongst the selections including the revelation that Hugh Hudson may be among the greatest filmmakers to ever put his skill to advertisements. Each Hudson commerical on this disc was astounding. 5/5

Drowning By Numbers (3rd viewing): Showed some friends this one when they asked for some Greenaway. It sunk a bit in my books on this viewing but its still a remarkable film - I would still consider this film part of the four masterpieces Greenaway has made (Zed, Cook, Prospero's, Drowning). The Fish Beach scene still gets me all emotional and the youngest Cissie's immortal words in an early scene to her suitor ("I'll marry you on two conditions. One, you learn to swim and two, you never ever take me from the front") still crack me up. Greenaway has an acutely crude sense of humor throughout his films, coupled with his meticulous eye for composition. 5/5

[Derek]

Guerin's Innisfree...anybody seen it? What a crazy film.

Been meaning to check out more Guerin after loving In the City of Sylvia a few years ago. Boner called it something like an academic Tati film which sounds pretty awesome to me, though I think he meant it more as a shot. Lovely film and a wonderful, formally inventive take an otherwise slight premise.

[Kurious Jorge v3.1]

Been meaning to check out more Guerin after loving In the City of Sylvia a few years ago. Boner called it something like an academic Tati film which sounds pretty awesome to me, though I think he meant it more as a shot. Lovely film and a wonderful, formally inventive take an otherwise slight premise.

Boner called Innisfree Tati-esque or In the City of Sylvia? Innisfree reminded me most of something like 2 or 3 Things I Know About Her or maybe even a Vertov film. I am really excited to see more of his work. I thought Train of Shadows was good but it never got me anxious to see more like Innisfree did.

[Winston*]

Watched Badlands at the cinema. Didn't remember how funny this film is, with the deliberate banality of the dialogue and Spacek's voiceover. It's almost a comedy.

Spacek: "That's Montana over there."

Sheen: "I never been to Montana... Acquaintance of mine has, but I
hadn't... Never had any reason to."

*pause*

Spacek: "State bird's a meadowlark."

[Izzy Black]

Definitely. Like a Flannery O'Connor short.

[Ezee E]

I rewatched Jaws for the first time in probably ten years or so. I never realized how Hitchcockian it is with its shark attacks.

I was also always a fan of Scheider in the movie, but it's Robert Shaw that absolutely steals any scene he's in. I couldn't imagine this type of movie being a summer headliner nowadays. 470 million, back in the 70's? Holy crap.

[Boner M]

Watched Badlands at the cinema. Didn't remember how funny this film is, with the deliberate banality of the dialogue and Spacek's voiceover. It's almost a comedy.

Spacek: "That's Montana over there."

Sheen: "I never been to Montana... Acquaintance of mine has, but I
hadn't... Never had any reason to."

*pause*

Spacek: "State bird's a meadowlark."

"Somebody dropped a bag on the sidewalk."
"If everybody did that, the whole town'd be a mess."

[wigwam]

Tonight I saw a movie called Gimme the Loot. It's a really good laidback comedy where 2 graffiti writers scheme their way thru a naturalist filthy and cluttered New York City. It feels as scripted as it is, and there's some iffy acting by the main guy and a white girl who looks like Amy Adams and talks like Greta Gerwig (down to the slight lisp) but the main girl is amazingly good with the layers to her character's persona (also she has similar facial expressions to AnnaSophia Robb, which endeared me immediately). The characters' relationship and how they go about negotiating their relative marginality is like a much better version of The Whole Shootin' Match, much less those Safdie Brothers NYC mumblecores. Also the music is awesome and lends the film the perfect vibe to match the visual modesty. Instead of the expected hiphop it's all this rocksteady-ish 60s soul/R&B stuff, another relaxed choice in a film filled with them and comprising a really fun surprise.

[Ezee E]

Figured this may get more people to see Trance, and is more beneficial here then that thread:

Full-frontal Rosario Dawson. Multiple times.

[B-side]

Train of Shadows is brilliant. Aesthetically, probably one of the best films ever made. I have Innisfree. Kinda wanted to wait until after I'd seen The Quiet Man, and now that I have, I can watch it.

[Russ]

(film title maybe nsfw)

[

Show Spoiler

The Dog Star Man Has A Too Big Flaming Cock For The Sheba Queen

] (Fredéric Charpentier, 1991) PRO

Experimental porno deconstruction presented as loving Brakhage tribute. As essential as it sounds.

[Yxklyx]

Mike Leigh's Hard Labour (1973) is one of the bleakest films I can recall seeing. Nothing is more depressing than watching two loveless old people getting old together. There is no humor to be seen anywhere as in Leigh's later films. Reminded me a bit of one of Lynne Ramsay's early shorts. Was very cool to see a very young Ben Kingsley and Bernard Hill (Theoden from LOTR) in small effective roles. Excellent cast and acting from everyone - felt like I was watching a documentary.

[Russ]

Bibliothèque Pascal (Szabolcs Hajdu, 2010) PRO

Comparisons to Fellini, Kusturica, Gilliam and Lynch are all warranted in another one of those films where fantasy and reality are seemingly at odds in conveying the real story beneath the surface. A woman attempts to regain custody of her child, whom she left in the care of an aunt, while she went abroad under dubious circumstances to make money to support them. She uses a fairy tale-like fantasy to relay the backstory to the social worker in charge of the case and to mask her own personal pain resulting from her misguided choices. Bright colors do little to hide the dark material contained herein. Think Amelie as a character in A Clockwork Orange.

You can view it on Amazon instant video for $3.99. It's worth it. Some will like it, others will hate it. If the above synopsis piques your interest, go for it.

The director's wife, Orsolya Török-Illyés, is a study in controlled emotion in a demanding and courageous performance. Big thumbs up.

[Sven]

Mike Leigh's Hard Labour (1973) is one of the bleakest films I can recall seeing.

You really ought to try Bleak Moments. Good grief.

[Derek]

You really ought to try Bleak Moments. Good grief.

Ironically, despite the title, I found Hard Labour to be the bleaker film. Bleak Moments had a few flashes of Leigh's dark humor even if it's still depressing as hell. Hard Labour is just brutal every step of the way.

[Winston*]

Speaking of Leigh. In retrospect I think Another Year might be my favourite film so far this decade. It's definitely the one I think about the most.

[wigwam]

Pain & Gain is top of the line, primo craftsmanship (albeit derivative of Tony Scott as Bad Boys and pretty much all of Bay's stuff is, but "steal from the best" as they say) and the sheen and clarity of the colors popping and the dutchangles locking aren't just eye candy but visual crackrock and the editing is both breakneck and nano-precise in ways that few movies (successfully) are. The humor, characterwork and performances are hilarious and intoxicating and career-bests for most involved (not that there's much competition in certain cases, but Whalberg's career-making intensity from Fear and career-solidifying humor from later works are synthesized here to an awe-inspiring degree). There is a shot where The Rock is in a strip club, staring stonefaced in a non-reaction to something his character doesn't understand, and the staccato lights and their oscillating colors ricocheting off his bald head is some of the finest cinema pur since ...well To the Wonder the other night, or Spring Breakers weeks ago (I actually prefer this club scene to those of Spring Breakers who were sorta sub-Hype Williams to me), and while in reference/association mode I should also own up to feeling echos of GoodFellas, Boogie Nights and Badlands at different points in the 2nd half of the movie (when the cocaine and high-living get going; naturally my favorite part of the film).


The reality of the source material fluctuates in relevance and believability countless times throughout the movie, and the coda showing real pictures of the individuals did import some gravitas to what had only been levity or entertaining suspense, but even without such a device, the choices and scope Bay works with here are so impressive, effective and admirable, on their own but especially in context with his past "sins" if you will (and you will): the best moment for me was a climactic moment articulating the realness of the situation with a single drop of blood bouncing onto an apron, a moment so thrilling, gutpunching, darkly hilarious and just plain cool in ways that all the Decepticons punching all the CGIscrapers in all the Digiopolises never ever were, could or will be.