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Thread: Fishing from the Dead Pool

  1. #1
    A Platypus Grouchy's Avatar
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    Fishing from the Dead Pool

    I have been doing this thing for a while where, whenever a talent of cinema dies, I search for a significant title of his filmography that I've never seen and that showcases his work and I watch it just for the pleasure of it. Last night I watched one of those and it was so good I decided I would do this thread and do mini-reviews. I don't know how long I will maintain the custom, but it's worth giving it a shot.


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    The Pan megladon8's Avatar
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    Sounds very cool! Looking forward to it!

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    Replacing Luck Since 1984 Dukefrukem's Avatar
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    Totally. Lay it on us.
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    I work in grocery. I have not gotten sick. My fellow employees have not gotten sick. If the virus were even remotely as contagious as its being presented as, why haven’t entire store staffs who come into contact with hundreds of people per day, thousands per week, all falling ill in mass nationwide?

  4. #4
    A Platypus Grouchy's Avatar
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    In loving memory of Sid Haig I watched...



    Pit Stop (Jack Hill, 1969)

    Renamed Pit Stop from the original title The Winner to avoid confusion with the Paul Newman racing vehicle Winning from the same year (although no character in this film ever hits the breaks for a pit stop) this is a treasure of B cinema. Jack Hill in general is the real deal when it comes to this type of films. It's awesome that when watching the first act, although stylishly written and acted, we have the feeling that we've seen this movie before - the loner hero, the abrasive antagonist, the girl, and eight figure racing as the arena for the conflict... Yet each player will have made completely unexpected choices by the end of the third act, which still make perfect dramatic sense. Since this happens with every character it's impossible to deny that it's deliberate. Sid Haig plays the villain Sydney Hawk and it's a compelling performance that completely steals every scene he's in and the film as a whole. His eyes are so expressive here and he's so over the top and yet believable and threatening. It's a career-making turn in a film that's not precisely filled with lightweights despite the low budget - there's Brian Donlevy on his last role and Ellen Burstyn on her first starring one. If there is one flaw to point out it's not even exactly a flaw. It's just that the races consist of documentary footage of real racing (in fact, it appears Hill was fascinated by the dangerous sport and started the project by documenting it raw) and so they don't always match the close-up shots of the actors behind the wheel or exiting their crashed cars. But other than that, this is a goddamn masterwork.

    Last edited by Grouchy; 10-29-2019 at 09:01 PM.

  5. #5
    A Platypus Grouchy's Avatar
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    Because of Carol Lynley I watched:



    Bunny Lake is Missing (Otto Preminger, 1965)

    It took me a long time to begin this mini-review because, apparently, Preminger changed the ending of the original novel significantly on his adaptation, but I couldn't find spoilers to tell me how the book ended anywhere on the internet and it's driving me crazy. If any Evelyn Piper fans can tell me how this whodunit ended on the printed page I'll be forever grateful. Otherwise, curiosity will get the better of me and I'll have to read it. Anyway, Otto Preminger tackles a paranoid thriller in the vein of The Lady Vanishes (where a character goes missing and the plot leads us to doubt whether it really existed or it's all in the lead's head), and I have to admit the resolution is much more satisying than the one Hitchcock presented. It's also better than Flightplan, heh. I love how Preminger starts his movie by subtly setting up, through long takes, the geography of the two main locations where the search and most of the action will take place - the mom's house and the school where her daughter was last seen. Preminger also shows his progressive side when he underlines how differently people treat Ann Lake once they wise up that she's a single mom. The cinematography by Denys Coop is a highlight, specially during a nightmarish sequence set in a dollmaker's shop, but also in the many exterior slices of wonderful '60s London life. Lynley is a compelling actress in a scream queen role before such a denomination existed. But the main appeal of this picture are the many supporting characters, like a pervert landlord played with relish by Noel Coward and the witty, pragmatical constable brought to life by Laurence Olivier. The ending sequence is wonderful and, if nothing else, proves that Preminger had watched and loved Psycho and was willing to go several steps further. That's why I'm so crazy about finding out exactly how different the book's ending was! I wouldn't like to close this blurb without mentioning the creative opening and ending titles by the Bass couple and the Zombies soundtrack.

    Last edited by Grouchy; 10-03-2019 at 08:05 AM.

  6. #6
    collecting tapes Skitch's Avatar
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    Good stuff.

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    Here till the end MadMan's Avatar
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    Pretty cool idea.
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    A Platypus Grouchy's Avatar
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    The death of Robert Forster led me to:



    Medium Cool (Haskell Wexler, 1969)

    Directed by the cinematographer behind Who's Afraid of Virginia Woolf? and In the Heat of the Night amongst other classics, this is an adventurous, experimental film that could only have been made at that period in time. I was expecting a political thriller with Forster as a journalist hero, so imagine my surprise when I was thrown into this mix of documentary footage from the 1968 elections and the resulting riots in Washington (some of which seemingly features the actors playing their roles in the middle of real events) and vignettes with Forster as a more-or-less cynical reporter (to be honest, his motivations are a bit of a cypher) facing different social issues. Of these, maybe the best is the one where Forster interviews a subject inside a building on an impoverished black neighborhood and is accosted by the other tenants - that segment is as current as it was in 1969 and deals with black representation and the utilitarian way in which white media shows the conflicts of the community. Wexler has made a film that's challenging, intelligent, and visually creative, but on purely cinematic terms, it's not perfect or even great. The narrative thread throughout is so flimsy that as a whole, even if I admired it, I wasn't all that compelled. I never really cared where any of the characters would end up because they're not all that well drawn. It might be deliberate for Forster's journalist to be a complete blank (no fault of the actor, who is as good as ever) but his partner or his girlfriends don't get much development either. The only one who stands out is his second girlfriend's son, but that's also the most boring and clichéd subplot. Still, I can only imagine this film must have been hugely influential at the time, specially with US viewers who weren't paying attention to the French New Wave, which gets its due acknowledgement with a huge poster of Belmondo in a girl's flat.

    Last edited by Grouchy; 10-14-2019 at 03:33 PM.

  9. #9
    A Platypus Grouchy's Avatar
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    My homage to Silvia Montanari was:



    The Retaliation (Juan Carlos Desanzo, 1983)

    In this noir gangster thriller, Rodolfo Ranni plays Parini, a stereotypical family man and frustrated writer with a declining marriage with Montanari's character Teresa and two children. One night, his old childhood friend Celco calls him out for a drink in one of his nightclubs - it becomes clear he's a pimp and probably engaging other criminal activities. Then, as Parini drunkenly muses to Teresa about the great life his friend Celco is living, said friend is muscled off the road by another car and murdered. His mistress survives the attack and calls Parini with some surprising news - Celco left orders for him to become the new boss of his criminal empire. Such is the premise of this clumsy movie which is a faithful example of the kind of shoddy filmmaking of Argentinian cinema in the years between the late '40s and the beginning of the XXIth century. Of all the things wrong with this film I believe the worst is the forced dialogue - the cast displays wildly different levels of ability (and Montanari is honestly one of the best) but the scenes don't do the actors any favors. They seem written by someone with only a vague knowledge of human interaction. About the kindest thing that can be said about this movie is that it has an intriguing first act and a solid premise but it doesn't go anywhere good with it. The comedic potential of a writer suddenly turned into a crime boss is wasted by the sour approach which makes a bad contrast with the cartoonish depiction of the world of organized crime. There's a very young Ricardo DarÃ*n as a hitman and Celco's role is filled by TV mogul Gerardo Sofovich in what amounts to a metatextual cameo since he was sort of a media pimp to be honest.

    Last edited by Grouchy; 10-29-2019 at 09:00 PM.

  10. #10
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    Some of these are gonna be embarassing, and you are going to wonder about my position as a member of this respected community for not having seen them. Such is my pick for honoring Robert Evans:



    Marathon Man (John Schlesinger, 1976)

    With Midnight Cowboy, The Day of the Locust and this, I believe it's time to delve a little more actively into Schlesinger's filmography. Unlike those other two, though, this is an entertaining thriller that, while handling some mature themes and attitudes, aims for simple macabre entertainment. Hoffman is absolutely perfect as Babe. The movie is kind of a unique coming-of-age story with Hoffman as an introvert, conflicted man child who wants to make ammends in life for his father who killed himself when he was a child as a result of being prosecuted by Senator McCarthy. Enter his brother, the spy known simply as Doc (played with relish by Roy Scheider, man, that guy's been in some entertaining cinema) caught in a web of violence with an ex-nazi (the famous performance by Laurence Olivier) closely inspired by Josef Mengele. With William Goldman adapting his own novel and cinematography by Conrad Hall, this is the kind of grand Hollywood film that Scorsese is referring to about when he says artistic high budget cinema is losing ground in the modern landscape. I mean, just look at the list of names I just mentioned. Outside of the world famous dental torture sequence, I was highly impressed by Doc's fight with the assassin in the hotel room - and I wonder if Cronenberg intended to one-up this scene with the sauna fight in Eastern Promises. I think the third act is weaker than the rest, and Hoffman's final confrontation with Dr. Szell was somewhat disappointing - probably because Schlesinger was a brilliant filmmaker but not an action director. Oh and, by the way, the Amazonian jungle is not on Uruguay, do your research, movie.

    Last edited by Grouchy; 10-29-2019 at 09:05 PM.

  11. #11
    Here till the end MadMan's Avatar
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    Marathon Man is a really good 70s thriller. Lots of fun even if it is goofy at times, and parts of it work better as horror than suspense. I saw it years ago on TCM.
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  12. #12
    Quote Quoting MadMan (view post)
    Marathon Man is a really good 70s thriller. Lots of fun even if it is goofy at times, and parts of it work better as horror than suspense. I saw it years ago on TCM.
    I saw it in a cinema when it came out ...

  13. #13
    Replacing Luck Since 1984 Dukefrukem's Avatar
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    I watched MM recently, and I was bored by it.
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  14. #14
    Here till the end MadMan's Avatar
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    Quote Quoting kuehnepips (view post)
    I saw it in a cinema when it came out ...
    Lucky.
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  15. #15
    A Platypus Grouchy's Avatar
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    I decided I needed to do a Halloween movie and I turned to Édith Scob's legendary performance in...



    Eyes without a Face (Georges Franju, 1960)

    1960. Perhaps the greatest year for Horror in the history of cinema? We have high class milestone classics like Psycho and Peeping Tom (both anticipating the slasher era), B-list masterpieces like Little Shop of Horrors (introducing Jack Nicholson!), Village of the Damned and Black Sunday, Poe adaptations like Ibáñez Menta's Masterworks of Horror and Corman's The Fall of the House of Usher, a great Hammer entry like The Two Faces of Dr. Jekyll and this one, misunderstood and despised on its original release but hugely influential for generations of future filmmakers. This movie's footprints are all over Jess Franco's filmography just to name one example, and Almodóvar's The Skin I Live In is almost an unofficial remake. So how does it fare today? Well, I believe the movie's main appeal is its unique, grotesque imagery. There's a dreamlike quality to the whole affair that sells the movie based on atmosphere alone. Maurice Jarre's soundtrack and Eugen Schüfftan's cinematography are big contributors to this heavy mood that sets the film apart from its contemporaries. Franju's classic is also notorious for pushing the boundaries of censorship. The filmmakers were strongly urged to discard some elements that are key to the novel it's based on, such as explicit gore, animal abuse and Nazi-like mad scientists. So the screenplay, a collaboration between Claude Sautet and the Boileau-Narjerac team (of Les Diaboliques and Vertigo fame), is heavy on suggestion and implied violence, although the surgery scenes are excruciating enough and late in the film there's a knife to the throat that sticks on the mind - I wasn't expecting that on a 1960 title. Perhaps as a result of all these impositions, I was left yearning for some missing dramatic elements. How did the doctor acquire such precise surgical skills? Why does he have car accidents so often? Is he a drinker? Is he doing it on purpose? What is the nature of his relationship with his female assistant? I feel the characters are left mysterious enough that there was room for more development. Not for Scob's Christiane, though. Her performance is great and she manages the difficult feat of making an antagonist that we can empathize with and relate to even as she's calmly examining her father's restrained victims.

    Last edited by Grouchy; 11-02-2019 at 05:11 PM.

  16. #16
    Here till the end MadMan's Avatar
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    Ah that one is so good. I should rewatch my Criterion copy some time. I actually first saw it thanks to TCM.
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  17. #17
    Replacing Luck Since 1984 Dukefrukem's Avatar
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    Do Lawrence G. Paull.
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  18. #18
    A Platypus Grouchy's Avatar
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    In memory of Luis Ospina, whom I briefly met at the Buenos Aires Film Festival:



    Everything Started at the End
    (Luis Ospina, 2015)

    Like I said, while I briefly met and talked with the director of this movie, I only read about him later and to be honest I still hadn't watched his stuff when I read he passed away. Ospina was the surviving member of a trio of adventurous filmmakers who came of age in the early '70s, and this documentary (which is as long as The Irishman) is their story and the one of a lot of writers, set designers, editors, musicians and poets who lived a Bohemian, rock & roll lifestyle for the better part of two decades, working in the margins of the mainstream (and occassionally adapting to it) in CalÃ*, Colombia and who appropriately called themselves Caliwood. They were Ospina himself, who directed two genre films (Pure Blood and A Blow of Life) and a humbling amount of documentaries, Carlos Mayolo (a sort of alcoholic Colombian Orson Welles who did everything) and Andrés Caicedo, better known as a writer and poet (although he also delved in filmmaking and wrote two Lovecraft adaptations which he tried to sell to Roger Corman) who killed himself at the age of 25 per his stated wishes. This epic documentary starts with some personal statements explaining that the film changed after Ospina was diagnosed of cancer, which I also didn't know when I talked to him. Look, I'm not usually a fan of cinematic autobiographies but this film simply has to be experienced. Like I said, it's three and a half hours long, but you leave the theater feeling like you actually met a group of human beings for an extraordinary amount of years. It's a labor of love devoted to the archive for posterity of an artistic collective which, even in a disbanded state, continued to produce work. It's also a worthy and sometimes brutal meditation on a number of circumstances present on any life. Considering all this Irishman controversy, this is something that really benefits from a theatrical experience like the one I had at the Mar del Plata film festival. It's simply easier to watch a demanding, epic work of art when you can't hit pause for any reason.


  19. #19
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    For Syd Mead I watched Mission: Impossible III, a movie where he is credited as "mask maker design". Funny this was the only Mission: Impossible I had left to watch and it came up so short after The Risible Skywalkers. Well, I think this might be the only film directed by Abrams I didn't actively dislike (yes, even Super 8 I find so overrated) because it's anchored in the simple but effective premise of an in media res flash-forward of a damsel in distress getting shot in front of Ethan Hunt and how do we get there. I get that humanizing Hunt was a new feature of the character back in 2006 - by 2019 I think the makers of the M:I franchise (which clearly include Cruise himself) understood that Hunt is beyond human being status and gave a little more room for the supporting characters. The movie has some fun set pieces and ideas but to be honest I can't tell if it's better or worse than the second one which at least had John Woo's graceful style going for it. After hearing so much about Hoffman's villain in this installment I found him underused. And I can't really get over the fact that the IMF acronym actually should stand for International Monetary Fund.

    1. Mission: Impossible - Ghost Protocol
    2. Mission: Impossible - Rogue Nation
    3. Mission: Impossible
    4. Mission: Impossible 2
    5. Mission: Impossible III
    6. Mission: Impossible - Fallout



    For Sue Lyon it was The Night of the Iguana, a Tennesee Williams adaptation from none other than the master John Huston. A Tennessee Williams adaptation by Huston is basically what the doctor ordered for any waking moment in life and this one doesn't disappoint. Richard Burton stars as Reverend Shannon, a priest who was defrocked due to his sexual behavior and who runs a hellish group of church-going old spinsters through a Catholic road trip in Mexico. Concealed amongst the tourist group is Sue Lyon, playing off her Lolita typecasting as an underage temptress whose rich father sent away from a stalker and who complicates things for Shannon. And that's even before Ava Gardner and Deborah Kerr's characters are introduced into the story! Really, I set out to write a review but at this point I'm just resorting to writing names to convey how awesomely written, directed and acted this is. I'm not enough of a theater buff to comment on its strenght as a Williams film but as a film it's fucking bananas. I'd love to see how this would play with a modern day "woke" audience.
    Last edited by Grouchy; 01-10-2020 at 11:46 PM.

  20. #20
    Here till the end MadMan's Avatar
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    Heh I prefer Fallout the most out of the MI series. Three is decent.
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  21. #21
    collecting tapes Skitch's Avatar
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    Yeah your M:I ranking is all scrambled up.

  22. #22
    A Platypus Grouchy's Avatar
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    I'd really enjoyed Rogue Nation but hated Fallout, and I think it's because it just got two pretentious with its running time and multiple storylines - these movies should live and die on the strenght of their suspense/action set pieces. I said before none cares about Hunt, but scratch that, none cares about any character, they can all be enemy spies or be wearing a mask at any time.



    For Anna Karina it was Pierrot le Fou. Yes, a 32 year old cinephile just watched this for the first time. I don't know how to explain myself other than that I'm not really the biggest Godard fan. I enjoy his good stuff like My Life to Live or Breathless but get lost when it comes to his cinematic essays or movies where he completely departs from narrative. Fortunately, Pierrot is not completely one of those, and it's anchored by Belmondo and Karina's natural charisma as a typical French New Wave "lovers on the run" combo. Godard is again doing his deconstructivist takes on pulp fiction, and this might be one of his greatest achievements on making a sort of anti-movie which is constantly reminding us that we're there and that this was made by a group of filmmakers with a lot of aesthetic baggage. Look, I'm not going to kid myself that I can offer some new perspective on a classic like this one, so let me privately rejoice that I've covered yet another huge gap on my mental film library.

  23. #23
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    For Buck Henry I saw Catch-22. The fact that this film and I hadn't crossed paths so far probably has a lot to do with the Joseph Heller novel not being the formative classic in Argentina it obviously is in U.S. culture. I think a lot more people in South America gravitate towards Vonnegut and Slaughterhouse-Five for this kind of narrative. Without having read the source material but being aware of its existence, it was obvious to me that the unusual structure of the film was an attempt to translate the experience of reading Heller to cinematic language. And it worked - I felt like I was drawn into a world filled with nuance and complexity like few others. Buck Henry's screenplay (praised by Heller himself) had a lot to do with that but other crucial components were the cinematography by David Watkin (seriously, Catch-22 has some long takes involving helicopters and turrets that are incredible for its time) and of course the awe-inspiring cast roll call - including Henry himself, Alan Arkin, Bob Balaban, Martin Balsam, Art Garfunkel, Charles Grodin, Anthony Perkins, Martin Sheen, Jon Voight and Orson Welles. The movie underperformed notably at the box office, and it has been conventionally agreed that it was because of the success of Patton and M.A.S.H. earlier that year and artsy war movie overkill. It's a shame because while I still haven't seen Patton this flick has aged much more gracefully on a technical level than the Altman comedy.

    Oh and by the way, I've been reading Ed Snowden's book Permanent Record which is very engrossing, and the fact that the dead soldier in Catch-22 has the same last name kind of blew my mind a little.
    Last edited by Grouchy; 01-14-2020 at 07:24 PM.

  24. #24
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    For the writer Peter Wollen I watched The Passenger. Same as with Godard, I started watching Antonioni's most famous films until I stopped enjoying his work and so a considerable amount of films got left out. Such was the case with this incredible slow-paced cross between a thriller and an intimate character study. Nicholson dials down his acting style for the part of David Locke, a reporter who sees an opportunity to fake his death and escape the constraints of his life when a casual acquaintance he made on a plane to Africa dies in a God-forsaken hotel of a heart condition. Antonioni's framing has never been more exquisite. My jaw was literally on the floor for quite a few shots, although there are two very famous ones that every review mentions - the in-shot flashback that goes from Locke tampering with the passports to the balcony where he's talking with his friend Robertson a few days ago and the one before last that literally left me scratching my head and wondering how was it even possible to film that. Although a rewatch and reading about it gave me some answers the first effect was one of absolute amazement. The film's story might prove difficult to follow for audiences not used to a slow pacing and paying attention to information that's very subtly delivered, but there is an urgency and suspense to this plot that other Antonioni films lack and that makes it stand out in my opinion. This plays like an intellectual version of a Tom Ripley novel.

  25. #25
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    Branded to Kill featuring Joe Shishido is not my first Seijin Suzuki film (that would be Princess Raccoon) but it is my first foray into the weird yakuza output that he's mostly famous for. The movie starts out great, with cool music and stark black and white compositions announcing that we're in for a stylistic fear. It eventually completely loses track of this tone by going completely bonkers, which I guess was what Suzuki was really going for. Reading about the film afterwards, it seems like a great deal of its satire is lost nowadays because of our distance with the original yakuza films it's making fun of and their customs. However, the movie is still enjoyable for its weirdness and occassional detours into psychological Horror territory. It just failed to blow me away like I expected it to.



    Every Man for Himself is a classic raunchy comedy from the Argentinian duo made up of Alberto Olmedo and Jorge Porcel, and I watched it because of the late Beatriz Bonnet, who made headlines after her death for the complete lack of attendance to her funeral (!). Even admitting Olmedo and Porcel are good comic actors, the movie is difficult to defend in any way. It doesn't have any coherent plot, instead resting on extended gag scenes until the two actors are randomly reunited for the final reel, and the jokes are definitively dated.

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