28 Film Discussion Threads Later

[baby doll]

Just watched Contempt for the first time in years and I'm kind of torn up. I suppose my sixteen-year-old self loved it on a formal level, but at that time in my life I seriously doubt I could've understood romantic conflict so complex, messy, intangible, etc. (It reminds me of last year's Everyone Else in this way.) Godard handled Bardot wonderfully, somehow not objectifying her as much as making another character out of her incredible beauty--one that not only inspires arousal but also jealousy and resentment.

If someone can convince me that 1) the camera pointed at us in the prologue suggests more than "oooh, meta and it's about me!" and 2) that the car accident shouldn't have been scrapped with the first draft of the script... then I think it could be my new favorite Godard.

1. There's a narrative justification in that it's a movie about filmmaking set partly on the back lot at CinecittÃ* (even if this shot exists outside the digesis). And the film ends with a similar shot of a tracking shot being executed, so there's an abstract formal justification as well.

2. That shot is awkward and perfunctory, but storytelling was never Godard's strong suit. In any case, considering what Godard does right, I can't see any reason to get all uptight about a couple of small flaws here and there.

[StanleyK]

I don't know why it took me such a long time to see my first John Ford film, but only today did I do so with Stagecoach. I wasn't terribly impressed; there's some strong craftsmanship, to be sure, but not enough to elevate the thin story and weak characterizations. The one action scene there is also gets pretty repetitive after a while: long shots, then a medium shot isolating an Apache, shot of John Wayne shooting at him, Apache is done for. The ending stand-off was much more well-executed, though. In the end what bothered me the most is the film's attitude towards women and natives, which I guess was to be expected but still not less of a problem.

[B-side]

I don't know why it took me such a long time to see my first John Ford film, but only today did I do so with Stagecoach. I wasn't terribly impressed; there's some strong craftsmanship, to be sure, but not enough to elevate the thin story and weak characterizations. The one action scene there is also gets pretty repetitive after a while: long shots, then a medium shot isolating an Apache, shot of John Wayne shooting at him, Apache is done for. The ending stand-off was much more well-executed, though. In the end what bothered me the most is the film's attitude towards women and natives, which I guess was to be expected but still not less of a problem.

Watch The Searchers. 7 Women is his best from a feminist standpoint, but certainly not his best film. I wouldn't go looking for modern feminism in a western. Ford loves his women, but they're not always a big focus of the narrative.

[Watashi]

Lawrence of Arabia in 70mm was amazing! This is the only way I could ever see it. I've been saving my first viewing for a theatrical viewing and it didn't disappoint.

The crowd was a little too into it. The place was packed and they treated it like a midnight showing of Harry Potter. They clapped and hollered at every character entrance and even said famous quotes out loud with the characters. It was kind of annoying. So many faux hipsters were there.

[Dead & Messed Up]

...said famous quotes out loud with the characters...

I hate this. I can't stand it. There was a lot of it at the Trek-a-thon I was at, and I wouldn't be able to handle it in Lawrence of Arabia. Ugh. What is it that compels people to say what the film's saying as it saying it?

[Winston*]

What's a faux hipster?

[Scar]

The crowd was a little too into it. The place was packed and they treated it like a midnight showing of Harry Potter. They clapped and hollered at every character entrance and even said famous quotes out loud with the characters. It was kind of annoying. So many faux hipsters were there.

Army of Darkness, sure. Star Trek, fine. Star Wars, fine. Snakes on a Plane, sure. Lawrence of A-freakin-rabia?! Fuck. That.

[EyesWideOpen]

I had the same problem when I saw A Clockwork Orange. The crowd was laughing hysterically at pretty much every moment in the movie. It's my favorite film and while it does have funny moments I find it quite disturbing to see people laughing out loud throughout the film.

[Mysterious Dude]

So, Bigger Than Life...



Intentional, or not?

[Watashi]

I had the same problem when I saw A Clockwork Orange. The crowd was laughing hysterically at pretty much every moment in the movie. It's my favorite film and while it does have funny moments I find it quite disturbing to see people laughing out loud throughout the film.

People were laughing hysterically during my showing yesterday. Sure, there are some funny moments in the film, but I was mostly grinning, not laughing like a hyena uncontrollably. I hate people like that.

[Raiders]

What the hell is there to laugh hysterically at in Lawrence of Arabia?

[Spinal]

You would think that anyone that familiar with Lawrence of Arabia would understand the opportunity to see it in 70mm is something that doesn't come along every day and be a little more respectful of those around them who actually want to watch the movie.

[Qrazy]

What's a faux hipster?

A description a hipster would use to describe other hipsters apparently.

[Ezee E]

What the hell is there to laugh hysterically at in Lawrence of Arabia?

That's what I was going to say.

I guess no movie gets away from the midnight screening treatment.

Like in 2001, monkeys!!!!!!!!!!!!

[Derek]

A description a hipster would use to describe other hipsters apparently.

That's a meta-hipster, silly.

As for lousy crowds, I guess I'm lucky that I've never had a bad experience at any of the screenings of classic films I've been to.

[MadMan]

You would think that anyone that familiar with Lawrence of Arabia would understand the opportunity to see it in 70mm is something that doesn't come along every day and be a little more respectful of those around them who actually want to watch the movie.

Exactly. I would be really pissed at those people, and I'd probably get kicked out for yelling at them to shut the fuck up and watch the damn movie. You get a chance to view one of the greatest films of all time and you can't just view it in silence? *Shakes head*

I had the same problem when I saw A Clockwork Orange. The crowd was laughing hysterically at pretty much every moment in the movie. It's my favorite film and while it does have funny moments I find it quite disturbing to see people laughing out loud throughout the film.

WTF is wrong with those people. That movie is disturbing throughout, and I didn't think any of it was really particularly funny. Eventually I'll do a write up for the film, but I think its interesting that I found the second act more beyond messed up than the first half. Even though [

Show Spoiler

there was rape and murder committed before Alex being "cured."

]

[Spun Lepton]

I saw midnight screenings for The Exorcist and The Shining and both audiences were the same; obnoxious, loud, laughing at everything. I stopped going to midnight screenings because of it.

[Watashi]

Topsy-Turvy was an enjoyable film despite being 160 minutes long, but the production design and performances were all top-notch.

[Scar]

What the hell is there to laugh hysterically at in Lawrence of Arabia?

Weed.

[EyesWideOpen]

I saw midnight screenings for The Exorcist and The Shining and both audiences were the same; obnoxious, loud, laughing at everything. I stopped going to midnight screenings because of it.

Yeah, I saw The Exorcist re-release in theaters and people were laughing constantly. I don't see horror movies in the theater anymore.

[Mr. Pink]

A theater near me does two special screenings a month. One week it'll be a classic movie (Spartacus, Casablanca, etc.) and the next it'll be more of a midnight/cult movie (The Goonies, Indiana Jones, etc.).

During every cult movie screening, the audience is understandably excited and participates by clapping at character's first appearances, laughing more than they normally would at jokes, quoting lines, etc.

I expected the same thing at the Casablanca screening, due to the infinitely quotable lines and memorable characters. But the audience was dead silent. They laughed at the funny jokes, but no more than they would at any other movie. When Bogart first showed up, one guy did a half-clap but nobody joined in so he stopped. It was the same thing for It's a Wonderful Life.

It was strange. I was glad they were giving Casablanca the respect it deserves, but it was a little off-putting to not have anyone quote a single line, or clap when Bogart shows up.

[Irish]

Ouch: 3-D Starts to Fizzle, and Hollywood Frets

Slumping 3D ticket sales
2011 revenue down 9%
Video rental down 36%
DVD sales down 20%

[megladon8]

Remember back when Avatar was about to be released, and I was like "I think 3D is just a fad that will fizzle out in time" and others were like "no way, it's here to stay!"

Remember that?

[Idioteque Stalker]

1. There's a narrative justification in that it's a movie about filmmaking set partly on the back lot at CinecittÃ* (even if this shot exists outside the digesis). And the film ends with a similar shot of a tracking shot being executed, so there's an abstract formal justification as well.

2. That shot is awkward and perfunctory, but storytelling was never Godard's strong suit. In any case, considering what Godard does right, I can't see any reason to get all uptight about a couple of small flaws here and there.

The non-diegetic nature of the shot turns the reflective image into an academic exclamation point rather than a cinematic one, if you catch my drift. I know it's Godard we're dealing with here, so that kind of thing should be expected somewhat, but as you pointed out, the last shot mirrors it and the brief moment when the camera looks directly at us is much more meaningful in its relative subtlety.

I guess I can't accept an event so momentous for the characters as a small flaw. Considering how authentic the story feels until that point, surely Godard's intent was more considered than "Let's fuck with the audience's emotions," so I assumed he was going for some broader commentary on melodramatic Hollywood filmmaking or something (not that this would be much better).

In the end, though, you're right. I now consider it a masterpiece even with these flaws. But they still bother me and could foreseeably keep it from being an absolute favorite.

[Dead & Messed Up]

Remember back when Avatar was about to be released, and I was like "I think 3D is just a fad that will fizzle out in time" and others were like "no way, it's here to stay!"

Remember that?

Link?