Personal Recommendation Hall of Fame VI

[PHOENIX74]

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Dead Man - 1995

Directed by Jim Jarmusch

Written by Jim Jarmusch

Starring Johnny Depp, Gary Farmer, Lance Henriksen
Michael Wincott & Eugene Byrd


"Every night and every morn / Some to misery are born / Every morn and every night / Some are born to sweet delight" Dead Man draws inspiration from many sources, one of which is the poetry of William Blake, and it's this poetry that makes it's presence felt most keenly all the way through a film many critics have described as a cinematic poem in itself. To me the film represents a journey from life to death, crossing over the border between worlds - and on the way gaining a sense of perspective relative to the Industrialization of the United States and the demise of Native American culture. Done in the form of an acid western, or what could be considered an anti-western, it significantly signified a departure for Jim Jarmusch, being his first period film. I find it visually stunning, and think the film's score is groundbreakingly alive in it's sound and composition. Narratively, it tells a beautiful story with it's central two characters both witnesses and protagonists that communicate everything the filmmaker is trying to say. I've always liked Jim Jarmusch, and this is surely one of his greatest films.

The film sets off on a train, with William Blake (Johnny Depp) travelling from Cleveland to the frontier town of Machine - an industrial outpost - to accept a position as an accountant at a metalworks. Upon talking to manager John Scholfield (John Hurt) and owner John Dickinson (Robert Mitchum - in his final film role) he finds out he's far too late, after taking two months just to get there. Low on money, and with his parents having died before he set out on his journey, he meets and takes up with a flower-selling ex-prostitute Thel Russell (Mili Avital) who is visited by a former lover, Dickinson's son Charlie (Gabriel Byrne) as he lays with her in bed. He shoots her, and the bullet passes through her body into Blake. He shoots and kills Charlie in return, and makes his escape on stolen horseback - later being discovered by Native American Xebeche - "He Who Talks Loud, Saying Nothing", otherwise known as "Nobody" (Gary Farmer), who proceeds to take Blake on his dying journey - all the while being chased by three bounty hunters (played by Eugene Byrd, Michael Wincott and Lance Henriksen) who have been hired by Dickinson to avenge the death of his son.

I've never seen a western quite like Dead Man, and it's one of the only westerns to really give itself over to a Native American perspective almost completely, except perhaps Dances With Wolves, but in a different way. In this film the industrialization of America feels like a looming disaster, as does the pointless shooting of buffalo on the train scenes just before the credits. Blake and Nobody's journey includes the use of peyote to gain a spiritual insight into what's happening to them, and towards the end, as Blake is nearing his spiritual and dying destiny, Nobody is offered disease spreading blankets but refused most other goods at a trading post. Blake's funereal canoe, dress and the ceremonial aspects of his approaching journey take place at a Makah camp, and it's Nobody who proves to be the guiding hand for a white man who seems lost for nearly all of this film, in a landscape he's not accustomed to and at a crossroads in his life he doesn't understand. Blake's dying journey mirrors that of the Native American culture which burns beside them as they travel, and the environment blighted by the progress brought from others. The stark photography often reminds me of a stark skeletal beauty - a moonscape littered with rocks and death, but one that never looks ugly or decomposed.

This stark cinematography has been handled by Robby Müller, the free-thinking director of photography much used by Wim Wenders and Lars von Trier - capturing the vision of some of my favourite films directed by those two. In this specific case he was inspired by the still photography of Ansel Adams, three examples of which I've included below. It's wonderfully composed, and interesting to watch for the whole feature - creating a visual movie that would be creditable enough if only notable for how it was filmed. This starkness that he captures is enhanced by the crisp and clear monochrome everything is presented in - not a small decision to be made, but an easy one. When you see colour photographs, you get a sense of what had to be sacrificed to portray everything this way (a wonderful cornucopia of vivid colours ranging across the whole spectrum), but this was absolutely crucial for what the film is and what it's about. When looking at a still of Depp lay down next to a shot fawn, the lack of colour adds to that feeling of all that's living having had it's lifeforce sucked out of it, with only the physical being left behind. This is a journey of the dead.

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Exciting also is the score from Neil Young, mostly coming from his guitar "Old Black" - powerful notes which loudly punctuate the atmosphere like gunshots. It will sometimes be rhythmic and tuneful, catching itself rolling along into some familiar melody from earlier, and at others marking out lone chords or notes that arise naturally from the film. Young composed and performed live while he had the film playing from all directions around him. Surrounded by the action, he'd pick up instruments and accompany what's happening based on how he felt. It matches what we see so perfectly that it's seamless, but it's also been noted by most as one of the greatest soundtracks as released on the Vapor label, and is a significant piece of work. Musical poetry, as much as Dead Man is cinematic poetry based on William Blake's poetry. Just as the Blake in the film lets his gun speak for him, the music in the film speaks and the vision speaks. It's an incredibly well coordinated film in this way, and it's easy to tune in to any aspect of it to enjoy even more. A music video was released with the main theme playing, and Johnny Depp reading Blake's poetry in the background.

The film itself has had a history that's typical of the worst behaviour the film industry has so often been seen to display, with Harvey Weinstein having capriciously decided to try and wreck it. Jim Jarmusch's refusal to edit the film to Harvey's specifications (although Mirimax had already signed a contract with Jarmusch explicitly stating that he had full control of any final cut) is what created the problem. When he resisted an attempt from Weinstein to bully him into submission, the film was released with restricted press access and minimal promotion and publicity - an attempt to basically destroy any chance it had of success. Some critics really didn't like the film, and I think perhaps Dead Man was far ahead of it's time and would confound some people who were looking to it as a traditional kind of western - and getting instead more of an arthouse kind of film. I'm personally on the same side as anyone who think's it's brilliant and sees it in the same light as films such as McCabe & Mrs. Miller and other revisionist westerns which look inwards towards the soul instead of to the excitement and danger which always captures the imagination of someone imagining the wild frontier. It's a very spiritual kind of film, and speaks not only to one man's soul, but to the soul of a nation and a people.

Something else I really enjoyed about it were all the familiar faces who show up in memorable ways. Alfred Molina as the trading post clerk, who shows favour on a white outlaw but complete disrespect to a Native American. Iggy Pop, Billy Bob Thornton and Jared Harris are a big highlight as a group of eccentric trappers who Blake encounters and must kill - all of them having memorable moments. Crispin Glover is unforgettable, even though he only gets some pre-opening credits screen time. His soot-covered Train Fireman has some amusingly stupefying lines that only an actor of such reputation could deliver so enjoyably. I loved his part. Lance Henriksen's bounty hunter, Cole Wilson, isn't only a cannibal (who we get to see munch on one poor man's skeletonized arm) but is also a damaged soul that is said to have had sex with his mother and father before killing them. Jarmusch's old west (it's set sometime in the 1870s) is one which civilization has a long way to catch up to. Robert Mitchum and John Hurt are both missed and awesome to watch in a film such as this. I absolutely loved all of their scenes.

Stretching out into the leading roles, you find that Gary Farmer has completely stolen the film from Johnny Depp. His Native American, often cursing white men (which is something the actor has said cost him a lot of future work - even if it was in the script) and having such an interesting history is a magnetic presence. His absolutely confounded confusion when meeting the namesake of his favourite English poet (he'd been transported to England as part of a circus as a boy) leads to him concluding that this is indeed the poet's reincarnation. As such, you'll hear Nobody repeat lines of William Blake poetry to Johnny Depp's character, constantly expecting the younger unrelated Blake to suddenly have some kind of comprehension and ancestral memory. These poetic lines also fit neatly into the narrative, as is so typical with all the parts this film is made of fitting so snugly together. Farmer appears to be the one actor who has been granted a very significant amount of freedom of expression, and he uses it, just as the director would have been hoping. His wisdom mixed with confusion creates a mix that's a pleasure to sit back and take in, and that makes Nobody the film's most memorable character - even if Blake is a lone face on promotional material.

Dead Man I add to Broken Flowers, Paterson and The Dead Don't Die as Jarmusch films I'm particularly fond of. I have to admit that I may not have liked Dead Man if I'd seen it in 1995, but now is around about the perfect time to have added it to the collection of this director's films I've seen. I've always held him in particularly high regard, as he so rarely ever disappoints, but I never knew how well-suited he'd be to a period piece. I thought it might have been something he stumbled with, and admit that I was very wrong about that. His wonderfully poetic screenplay is really beautiful and full of deep, soul-searching meaning. His ability to get so much out of actors he's using for just a scene or two is always something notable. Of course, he gets a great amount from everyone he works with. His quirkiness is something I particularly love, and it's not something he uses to fill his films full of whimsy and wonder like Wes Anderson, but instead as a character-building signature which makes all of his films very unique, and unlike any others you can easily think of. There's never a sense that he's overdoing anything - never overreaching and trying too hard to showcase any one aspect of his particular style.

Dead Man has been one of those films which has slowly built in stature, having to be discovered long after it's initial theatrical run, and having to be appreciated in certain circles, but not universally. It sounds and looks like an ordinary western at any one specific moment, but if you watch for any longer than that it's obviously not one. The film is it's own genre, and we have to contort to get it to fit one. When scouting for locations to film in, if Jarmusch saw something scenic and yet typical of the kind of vista captured in many of the westerns he'd seen, he'd make a point of doing a complete 180 degrees and checking out what was facing him in the other direction. He wanted a complete departure from that kind of visually splendid panorama, and instead something more in tune to this specific film. The rhythmic jangle, the dark contrasts and the spiritual journey to take place somewhere unfamiliar. As unfamiliar as it must seem to an accountant from Cleveland leaving this life in a ceremonial boat, taken as a reincarnation of a famous British poet and attended to in Native American tradition, after becoming a murderer though having no ambition of being one. Such was the strange collision of culture and industrial revolution on the old frontier, as death and rebirth entered a whole new era.

4.5

[cricket]

Someone picked Secrets and Lies for me before and I absolutely loved it.

Seen Dead Man a couple of times and I very much dislike it!

[seanc]

Secret And lies is really good. It kind of shuffled to the middle of my Leigh list as I watched more, but it might be the first of his I really enjoyed.

I think Dead Man is fantastic. One of my favorite Westerns immediately. Really funny movie which always goes a long way with me.

Unsurprisingly, both are movies I have watched once and need a second look.

[Allaby]

Secrets and Lies is great. Someone picked Dead Man for me in a previous hall and I loved it.

[seanc]

Secrets and Lies is great. Someone picked Dead Man for me in a previous hall and I loved it.

I think it was me. I know I picked it for someone. Not this time though.

[Thursday Next]

Alphaville

I can see why some people love the French new wave, but I can also see why some people absolutely can't stand it. I'm somewhere in between.

I really liked the look of the film, the black and white cinematography. There are several really quite striking images and scenes in here - the swimming pool executions, for one.

The concept of a dystopian world where emotions are forbidden is interesting, but I didn't find that the concept quite held up - supposedly the principle underpinning the society is logic, yet some things in the society make no logical sense. The practicalities, the world building involved in this world are never really explored that much and I don't think Godard really had that much interest in them. It is just an exercise in pitting the (oddly emotionless) protagonist against the baddies of science and machines.

We get everything the 1960s thought was cool - hats, trench coats, shooting and slapping people, smoking and general sexism. Supposedly set in the future, it looks like 1960s Paris. If they had just stopped talking about galaxies and set it in a near-future or alternate reality, it would have seemed a lot more plausible.

It's not a long film, but it felt long. Part of the problem for me was the endless talking - dialogue and voiceover - a lot of general pontificating and very little meaningful interaction between characters.

One thing I wondered was whether this film was an influence on Blade Runner - the whole sci-fi/noir combination, for one thing, and the relationship between Caution and Natasha seemed similar to that between Deckard and Rachel in parts.

I'm glad I watched it, even if I didn't connect with it as much as I would have liked.

[CosmicRunaway]

I really didn't like Alphaville when I first saw it. I gave it another chance when trying to figure out what to nominate for the Sci-Fi Hall of Fame, but I don't even think I made it halfway through. I do like the concept and some of the visuals though.

[seanc]

Alphaville was the first Goddard that had me thinking I may like this director. I’m still about 50/50 on him. At the end of the day I am probably more of a fan of Karina.

[CosmicRunaway]

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All About Eve (1950)
Directed by: Joseph L. Mankiewicz
Starring: Anne Baxter, Bette Davis, George Sanders

All About Eve is full of self-obsessed characters who aren't particularly likeable, but are all incredibly compelling to watch. The story is a timeless tale of back-stabbing, manipulation, and personal aspirations. Many who have worked in the entertainment industry, be it on stage or in film, will find the quarrels and character dynamics quite familiar. The rivalry between the theatre and Hollywood is referenced many times as well, typically in a quick, yet witty manner.

There's a fair amount of humour to be found in the dialogue, which is immediately evident in George Sanders' opening narration. His rather scathing commentary and inflated ego sets the perfect tone for the film that follows. His voice is also incredibly easy to listen to, and I enjoyed every time he was on screen. Some of the performances are a little over-the-top, but in exactly the right manner for a story that features stage actors. Bette Davis was every bit as entertaining as she was overly dramatic. A very static camera, which is often a negative point in many films, is used rather successfully in All About Eve, since it is reminiscent of the theatre - a prominent part of the main characters' lives.

While the film tackles a lot of classic female tropes with a modicum of grace and sophistication, such as an aging star who feels threatened by others, and a sweet girl whose outward persona is just a facade, it also promotes uncomfortably sexist, patriarchal notions. Margo's speech in the car about how a woman can never be complete without a husband, and that any who prioritize their careers over a man are lesser creatures nearly derailed the rest of the film for me. Luckily the final act is strong enough to overcome such a blow, with an appropriate concluding scene that ends All About Eve on an absolutely fantastic image.

[CosmicRunaway]

While I did love that final shot of All About Eve, I also couldn't stop looking at this dude in the reflection who I don't think was supposed to be there.

Computer, enhance:

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[Citizen Rules]

Alphaville is appealing like some strange dish in a 5 star restaurant, you don't know if you should eat it or not but it does look intriguing laying on your plate. It's one film I'd like to watch again as it didn't gel with me and yet I'm still interested in exploring it...or maybe it's just Anna Karina.

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Dead Man I thought highly of it and I've been meaning to see more of Jarmusch's work ever since.

I seen Secrets and Lies in an old HoF, I liked it well enough but it's been a long time.

[Allaby]

I love Godard, but Alphaville is one of his weakest films. I've seen 17 Godard films and Alphaville would be in the bottom 3. I still rated it a 6/10 though.

[Allaby]

All About Eve is fantastic. I have the regular edition dvd and also the Criterion blu ray.

[Citizen Rules]

...Luckily the final act is strong enough to overcome such a blow, with an appropriate concluding scene that ends All About Eve on an absolutely fantastic image.

I've only seen All About Eve once but it's the one film that got me into watching classic movies. If it wasn't for me watching All About Eve years ago I'd never would've known MoFo even existed. In a way that movie changed my life, not by any of it's content but by making a classic film lover out of me. But not my choice for you.



*Oh and I can't begin to remember what that last scene was? Don't tell me!:p I'll just have to watch it again.

[seanc]

All About Eve is one of the greatest films ever made. Maybe the best script ever period.

[Citizen Rules]

All About Eve is one of the greatest films ever made. Maybe the best script ever period.Geez it's been almost 20 years since my one and only viewing of All About Eve, I'm so due for a rewatch...too many movies!

[SpelingError]

Godard doesn't always click with me, but I did enjoy Alphaville quite a bit.

All About Eve is, of course, excellent.

[SpelingError]

or maybe it's just Anna Karina.

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Understandable. She's super attractive, so I'm fine with watching anything with her in it for that reason alone.

[Allaby]

I watched Wolf Children (2012) today. This was a good pick for me because I like animated films and I like cute children that look like wolves. Also, I look like a wolf myself most of the time. I enjoyed this quite a bit. The animation is beautiful and really well done. The character design is cute and the characters are interesting and likeable. It was a nice story and told in an effective way. There are some wonderful, lovely scenes and delightful moments. Somewhat surprisingly, this is the first film I have seen by Mamoru Hosoda. I will have to check out more of his stuff. My guess is that Cricket picked it for me. And if it wasn't Cricket, then it was likely Citizen Rules. Or CosmicRunaway. Or someone else. Anyway, good pick. Glad I watched it. 4

[SpelingError]

https://www.movieforums.com/community/attachment.php?attachmentid=88809

All About Eve (1950)
Directed by: Joseph L. Mankiewicz
Starring: Anne Baxter, Bette Davis, George Sanders

All About Eve is full of self-obsessed characters who aren't particularly likeable, but are all incredibly compelling to watch. The story is a timeless tale of back-stabbing, manipulation, and personal aspirations. Many who have worked in the entertainment industry, be it on stage or in film, will find the quarrels and character dynamics quite familiar. The rivalry between the theatre and Hollywood is referenced many times as well, typically in a quick, yet witty manner.

There's a fair amount of humour to be found in the dialogue, which is immediately evident in George Sanders' opening narration. His rather scathing commentary and inflated ego sets the perfect tone for the film that follows. His voice is also incredibly easy to listen to, and I enjoyed every time he was on screen. Some of the performances are a little over-the-top, but in exactly the right manner for a story that features stage actors. Bette Davis was every bit as entertaining as she was overly dramatic. A very static camera, which is often a negative point in many films, is used rather successfully in All About Eve, since it is reminiscent of the theatre - a prominent part of the main characters' lives.

While the film tackles a lot of classic female tropes with a modicum of grace and sophistication, such as an aging star who feels threatened by others, and a sweet girl whose outward persona is just a facade, it also promotes uncomfortably sexist, patriarchal notions. Margo's speech in the car about how a woman can never be complete without a husband, and that any who prioritize their careers over a man are lesser creatures nearly derailed the rest of the film for me. Luckily the final act is strong enough to overcome such a blow, with an appropriate concluding scene that ends All About Eve on an absolutely fantastic image.





I also love the climactic scene with Addison DeWitt, where it's revealed that, regardless of how hard the actors/actresses plot to get ahead of each other, they'll always be under control of their higher-ups.

[cricket]

I liked Alphaville but don't remember much about it.

Seen All About Eve a few times, always a good watch.

Wolf Children is one of my favorite animations. It was my back up pick for Allaby. Fortunately my first choice wasn't taken or I would've needed a back up to my back up.

[Citizen Rules]

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The Madness of King George (1994)

I really enjoyed watching The Madness of King George. My wife liked this movie too which is also a bonus as we always watch movies together. Luckily we have very similar taste in movies🙂

Unlike Cricket, I do love period piece dramas especially about British royalty. I like seeing the palace intrigue, the historical sets and the amazing costumes and if it's a PG-13 film all the better. I've seen a lot of movies about the British Royals and documentaries too. I've even seen Helen Mirren in The Queen (2006) twice...but I'd not heard of The Madness of King George before, so very happy to see it chose for me.

I won't analyze every aspect of film making here as to me what stood out was an interesting story based on historical facts and those amazing sets & costumes. I dig that women in the royal court wore those giant gray wigs and looked good too!

Fun movie!

[cricket]

I don't know anything about The Madness of King George. It looks like a real beaut though.

[Citizen Rules]

I don't know anything about The Madness of King George. It looks like a real beaut though.It's a lighter drama with a touch of comedy and one of your favorites Helen Mirren.

[cricket]

It's a lighter drama with a touch of comedy and one of your favorites Helen Mirren.

Oh yea she's in the pic

[Citizen Rules]

Oh yea she's in the picUnfortunately she didn't get that much air time but when she was on the screen it paid off.

[Wyldesyde19]

The Lives of Others
*warning, this review will involve personal family history, as watching the film I can’t separate my thoughts between the film itself, and tales involving my grandfather*

Living in East Germany before the unification was a dark time. Secret police. Illegal wiretapping. No free speech. My mother was lucky that her father, a German soldier of both WW1 (as a teenager) and WW2 (by this time in his late 30’s early 40’s, spirited them to West Germany before the wall was built. I think he may have been trying to hide from the Russians (a complicated story in itself involving his brother, my great uncle, but I digress)

By my mothers accounts he was a bitter man, after the war, especially towards Americans but also towards the Wall. It separated him from his family, brothers and sisters. I’m also sure he would have preferred East Germany, and it’s oppressive nature. He would have fit in well, sadly. Never questioning orders, but serving them for His Country.

I bring up that little bit of personal family history because I thought often about him, watching this movie. Captain Wiesel could have easily been someone like my grand father. Never questioning orders, always suspicious of others, and not above using illegal tactics to being about a conviction.

He’s assigned to spy on Georg Dreymond, a idealistic prominent figure in the theater. He brings up his own suspicions, privately, before a Minister also requests them to do so. The Minister has ulterior motives, as he wants Dreymonds girlfriend, the beautiful actress Maria, for himself, but needs Dreymond out of the way. So Wiesler spends his days listening to them, and gets to know them on a personal level.

At some point, he begins to sympathize with Dreymond. The change is slow, and sure. He starts to question why they do what they do? A dangerous proposition for a man in his line of work.
The main turning point seemed to be when a small child ask him if he is a Stasi, the secret police, stating innocently his father has warned of them being bad. Wiesler starts to ask for the child’s fathers name, but stops, as if to realize he has gone to far. This leads him to start looking at Dreymond differently. Perhaps it started sooner, when he realized how men like the Minister used their power to ruin a man just because he covets his girlfriend.

The Girlfriend….of course she isn’t just any girl. She’s a well known actress, but also very fragile. She has a drug problem, and is concerned about her career. Her tale is all the more tragic when she makes a fateful decision that changes….well, nothing. Her scene with The Minister earlier in the film is veritas emotionally, as we see her face, conflicted but also frightened of what this man is capable of. She gives into him, but not without guilt. But it is this guilt that leads to another decision that shows how the Stasi ruined lives in the name of duty.

Which connects them to the Nazis before them. And my thoughts on my grand father. Was he the kind of man who could have changed his world view, after witnessing the damage they had wrought? Would he have been capable of such thought? Or was he, by that age during WW2, too old and stuck in his ways to make any kind of personal reflection. Would he have dared? Wiesler finds the courage to do so.

An older man, perhaps in his 30’s, Wiesler is alone, and lonely. He has no friends, trusts no one, and suspects all. His only form of what passes as a “relationship”, is when he occasionally hires a prostitute. Sad stuff. In his line of work, he can’t afford friends.

Dreymond is his opposite. Respected by his peers, he also avoids speaking out against the regime. As such, he has avoided any suspicion, and lives comfortably, even while his friend, Jerska is black listed. He prefers to not rattle the cage, until a personal tragedy propels him and his like minded friends to action.

Watching this film, which is great, made me think often about that time, and my mothers family. I remember when the wall came down, and the next year, after not seeing them for over 20 years after arriving in the US, her brother and sister visited us with their children. I was too young to understand the relevance. The scene when they all walk out after hearing The Wall has come down was to them, a signal that things were about to change.

If there is one small issue it is that the films ending does tend to go a tad too long, or maybe I’m just being too nit picky.

Regardless, this is a great film that affected me on a personal level, and also a fantastic morality tale about what one man can do when he must make a decision between duty and ethics.

[Citizen Rules]

Wyldesyde19
I always like reviews that include one's personal take on the film, nicely written:up: So I gather some of your grandfather's relatives remained behind the wall in East Germany? I can't image what that would've been like. Have you seen other films about East Germany? I can only think of three that I've seen myself.

[Wyldesyde19]

Wyldesyde19
I always like reviews that include one's personal take on the film, nicely written:up: So I gather some of your grandfather's relatives remained behind the wall in East Germany? I can't image what that would've been like. Have you seen other films about East Germany? I can only think of three that I've seen myself.

I only know he had family in East Germany, and that he hadn’t been able to see them before his death, which was sometime in the 60’s, prior to my mother meeting my father. (Himself a soldier who would go on to serve in Vietnam). I don’t know what happened to them, however. That sides ultimate fate is lost to us.

I haven’t seen many films about East German depiction, or even many films from that period. I prefer West German films, particularly during that period of New German Cinema, of which most have been from Herzog.

[PHOENIX74]

I've done 4 of my films so far, and jeez they've been good. Real upper tier stuff, and without question this is the best 4 film opening to a Hall of Fame I've ever participated in. Some thoughts on the other films mentioned :

Secrets & Lies is assuredly one of Mike Leigh's best films, and the first one of his I saw way back. It had me checking out the films he'd already done and sticking with him all the way up to Peterloo. There have been some great movies amongst his filmography, and in this we get a down-to-earth, emotional and satisfying experience. I really need to get the DVD.

Alphaville I've been wanting to see for a while.

All About Eve I really liked when I saw it, and I've been meaning to see it again for a while now - I love Bette Davis and feel like it will get a lift in appraisal when I finally get to a second viewing. That first one was on VHS, so lord knows how long ago it was.

The Madness of King George I really enjoyed as well, and I'm looking forward to seeing it again (as well) - the only reason I haven't is that I haven't found the damned DVD anywhere yet. I know I can watch it anywhere, but after an initial viewing I generally wait until I have the movie. A really enjoyable and memorable one.

The Lives of Others is astonishing, a 10/10 for me and one of the best films I've watched over the last few years. Probably top 10 if I include everything I've seen. I wasn't even all that aware of it until the Top 100 Foreign Language Film Countdown came and it ranked pretty highly - if I'd already seen it, then the movie would have been getting some extra votes from me.

[Wyldesyde19]

It really was a great film to start with.
I also found it very interesting how Christais depicted as taking two showers in the film, both right after she has betrayed herself and her ethics, but both against her will. She feels a need to clean herself afterwards.

[CosmicRunaway]

The Lives of Others is a fantastic film. Unfortunately I think I've written so much about it in the past that my mind is drawing a blank on what I can say about it now. I'll just thank you for sharing your personal connection instead. <3

[Hey Fredrick]

All About Eve is my favorite Bette Davis film and every performance in the film is spot on perfect. Usually a movie has a line or two that you can remember, as it's just a little better than everything else but in Eve there are SO many great lines picking a fav is almost impossible. I think this is one of the top ten best written movies.

Didn't like Dead Man or Alphaville but I did finish Dead Man. Goddard is not for me. I couldn't get through Breathless either. I'd rather watch the Valerie Kaprisky-Richard Gere version of Breathless again and that's a bad movie.

Lives of Others was good, apparently. I don't remember much about it but I liked it enough right after watching it to give it a 4/5.

Black Narcissus is a watchlist movie and is one I started but never finished and when I say started I think I watched the opening credits.

Have watched half of Once Upon a Time in America, thought it was good but haven't gone back to finish it. It's my Moby Dick of movies. Something I've started several times but never seem to finish.

Haven't seen any of the others but The Madness of King George is on one of my watchlists and I know I started it once but was like, nah, not in the mood for this right now. I then probably loaded up some Ted V. Mikels film so I could sit in a duuhhhh state for about 90 minutes.

[cricket]

Amazing write-up Wyldesyde! I did not dislike anything at all about The Lives of Others, but I didn't get a lot out of it either. It's one of those times that I suspect that I may have failed the film. Definitely one I should see again.

[edarsenal]

Happens to me all the time that I watch a movie and I'm still not sure if I've seen it or not, or maybe even just seen bits of it at one time...

Did that a little over a month ago with Day of the Outlaw. Kept wondering through the first two-thirds how familiar it looked. Realized that I DID see it and, realizing I could not remember the ending, finished it off. lol

[Citizen Rules]

Did that a little over a month ago with Day of the Outlaw. Kept wondering through the first two-thirds how familiar it looked. Realized that I DID see it and, realizing I could not remember the ending, finished it off. lolI even knew you watched that one:D But only because I remember it was in a Western HoF...But like you I can't remember how it ended, heck I can't remember much other than it had Tina Louise...I hope it had her, I'm just posting this from memory.

[CosmicRunaway]

I've finished The Best Years of Our Lives. There was a single scene I had seen before, at the start in the plane when Homer lights the matches for everyone. We must've touched on that in one of my classes or something. That was the only one though, thankfully haha.

[cricket]

I've finished The Best Years of Our Lives. There was a single scene I had seen before, at the start in the plane when Homer lights the matches for everyone. We must've touched on that in one of my classes or something. That was the only one though, thankfully haha.

I love the beginning the most

[edarsenal]

I even knew you watched that one:D But only because I remember it was in a Western HoF...But like you I can't remember how it ended, heck I can't remember much other than it had Tina Louise...I hope it had her, I'm just posting this from memory.
That was the funny part that, along with Robert Ryan and Burl Ives, it was a MustSee! for Tina Louise, having never seen her in a serious role - or thinking I hadn't the second time watching it lol. Excellent western. The forgetting is purely a fault of the viewer :D

[Citizen Rules]

That was the funny part that, along with Robert Ryan and Burl Ives, it was a MustSee! for Tina Louise, having never seen her in a serious role - or thinking I hadn't the second time watching it lol. Excellent western. The forgetting is purely a fault of the viewer :D
The same year that she made Day of the Outlaw, she also made another excellent western, The Hangman (https://www.imdb.com/title/tt0052877/?ref_=nm_flmg_act_77). What I like about The Hangman is that Tina Louise has a large and pivotal role in the movie and it's an excellent western too. Geez I should watch both again! Actually I was trying to work on watching movies in her filmography but as usual I got side tracked and haven't gotten back to that yet.

[edarsenal]

I haven't seen Jaramusch's Dead Man since it premiered, and do imagine I would have a far greater appreciation, these decades later, on a rewatch of this cinematic poem.
LOVE this line in your review, Phoenix: The stark photography often reminds me of a stark skeletal beauty - a moonscape littered with rocks and death, but one that never looks ugly or decomposed.

My experience with Goddard is nearly nonexistent, with the meandering thoughts of Pierrot le Fou and Alphaville is one of three films (Band of Outsiders and Vivre Sa Vie) that I'm most interested in getting a stronger sense of Jean-Luc.
Though, after reading this,
I love Godard, but Alphaville is one of his weakest films. I've seen 17 Godard films, and Alphaville would be in the bottom 3. I still rated it a 6/10, though.
with ALL the amazing films you've chosen for me that I've been endeared to, I would be tickled by a rainbow of colors if you'd do the pleasure of sharing your thoughts. :)

I have not seen All About Eve since I was like thirteen and have forgotten SO MUCH I've been tempted to uncheck it on my List. Or better still, just f@ckin watch this again. lol

I watched Wolf Children (2012) today. This was a good pick for me because I like animated films and I like cute children that look like wolves. Also, I look like a wolf myself most of the time. I enjoyed this quite a bit. The animation is beautiful and really well done. The character design is cute and the characters are interesting and likeable. It was a nice story and told in an effective way. There are some wonderful, lovely scenes and delightful moments. Somewhat surprisingly, this is the first film I have seen by Mamoru Hosoda. I will have to check out more of his stuff. My guess is that Cricket picked it for me. And if it wasn't Cricket, then it was likely Citizen Rules. Or CosmicRunaway. Or someone else. Anyway, good pick. Glad I watched it. 4
That line just put a BIG FAT grin on my face.
I was giddy when I saw this nominated for you and had hoped you'd enjoy it as you did. I've sadly only seen this once and fell in love with it.

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The Madness of King George (1994)

I really enjoyed watching The Madness of King George. My wife liked this movie too which is also a bonus as we always watch movies together. Luckily we have very similar taste in movies🙂

Unlike Cricket, I do love period piece dramas especially about British royalty. I like seeing the palace intrigue, the historical sets and the amazing costumes and if it's a PG-13 film all the better. I've seen a lot of movies about the British Royals and documentaries too. I've even seen Helen Mirren in The Queen (2006) twice...but I'd not heard of The Madness of King George before, so very happy to see it chose for me.

I won't analyze every aspect of film making here as to me what stood out was an interesting story based on historical facts and those amazing sets & costumes. I dig that women in the royal court wore those giant gray wigs and looked good too!

Fun movie!




I knew I had a slam dunk when I found this one for you. YAY!! Need to see this one again.

Quite the beautiful review of The Lives of Others, my friend Wyldesyde19. As CR stated, reading personal experiences within these reviews is wonderful. Thanks for sharing. Truly.
I saw The Lives of Others in an HoF, which of them I cannot find, but I do remember the chill I felt watching this. A sense of intimacy, coldly violated. Incredible film.

[edarsenal]

The same year that she made Day of the Outlaw, she also made another excellent western, The Hangman (https://www.imdb.com/title/tt0052877/?ref_=nm_flmg_act_77). What I like about The Hangman is that Tina Louise has a large and pivotal role in the movie and it's an excellent western too. Geez I should watch both again! Actually I was trying to work on watching movies in her filmography but as usual I got side tracked and haven't gotten back to that yet.
I'll have to look into that one. THANKS.
I feel your pain, I've wanted to see more of Greer Garson after seeing her in Mrs. Miniver this early and haven't.

[CosmicRunaway]

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The Best Years of Our Lives (1946)
Directed by: William Wyler
Starring: Dana Andrews, Fredric March, Harold Russell

Centred around the troubles faced by veterans returning home from war, The Best Years of Our Lives only briefly touches on how it was society who failed these men, and instead focuses on the soldiers' own individual perseverance and fortitude. Because of that, the film is able to maintain a feeling of optimism, despite otherwise not shying away from realistic reintegration issues, particularly those of Homer, who lost both of his hands during duty.

There are three distinct, yet intertwining stories featured in the film. Each man comes from a completely different walk of life, and has their own problems to face when returning from combat. Despite living in a smaller town, they likely never would have met if it weren't for the plane ride home. It shows how much of a levelling field the war was for different social classes, as the poorest man was the most decorated, and the youngest among them, who still had so much of his life to look forward to, lost the most.

A number of scenes are shot in a rather interesting manner, with background actions being just as important as those close to the camera. The smaller, more realistic sets sometimes gave a feeling of claustrophobia, which was effective at conveying similar feelings felt by the characters on screen. All of the performances were great, and for an untrained actor, Harold Russell was especially remarkable. His story was really the heart of The Best Years of Our Lives, while also providing a link to keep the others together. It was an outstanding film, and I appreciated how well it handled its drama without becoming overly sentimental.

[seanc]

Best Years is another I really liked that needs a rewatch. Wyler always feels underrated to me.

[Allaby]

The Best Years of Our Lives is a great film. I would rank it as Wyler's 3rd best film, out of the 9 I have seen.

[cricket]

Congratulations CosmicRunaway, you are the 2nd member to finish!

[Allaby]

I'll probably watch Underground tomorrow. I'm on vacation all this week so I have extra time for more movies. :cool:

[cricket]

I'll probably watch Underground tomorrow. I'm on vacation all this week so I have extra time for more movies. :cool:

Me too

[SpelingError]

The Best Years of Our Lives is excellent.

[Citizen Rules]

...The Madness of King George (1994)
I knew I had a slam dunk when I found this one for you. YAY!! Need to see this one again...I had thought maybe it was your choice for me, but my best guess would've been Thursday Next. Good thing I didn't guess as I would've been wrong...again:D

[rauldc14]

https://www.movieforums.com/community/attachment.php?attachmentid=88821

The Best Years of Our Lives (1946)
Directed by: William Wyler
Starring: Dana Andrews, Fredric March, Harold Russell

Centred around the troubles faced by veterans returning home from war, The Best Years of Our Lives only briefly touches on how it was society who failed these men, and instead focuses on the soldiers' own individual perseverance and fortitude. Because of that, the film is able to maintain a feeling of optimism, despite otherwise not shying away from realistic reintegration issues, particularly those of Homer, who lost both of his hands during duty.

There are three distinct, yet intertwining stories featured in the film. Each man comes from a completely different walk of life, and has their own problems to face when returning from combat. Despite living in a smaller town, they likely never would have met if it weren't for the plane ride home. It shows how much of a levelling field the war was for different social classes, as the poorest man was the most decorated, and the youngest among them, who still had so much of his life to look forward to, lost the most.

A number of scenes are shot in a rather interesting manner, with background actions being just as important as those close to the camera. The smaller, more realistic sets sometimes gave a feeling of claustrophobia, which was effective at conveying similar feelings felt by the characters on screen. All of the performances were great, and for an untrained actor, Harold Russell was especially remarkable. His story was really the heart of The Best Years of Our Lives, while also providing a link to keep the others together. It was an outstanding film, and I appreciated how well it handled its drama without becoming overly sentimental.




Wasn't positive if you would love it but I went for it for you anyways. Glad to see that was the case. I love the film too.

[Allaby]

I'm having a tricky time finding Underground (1995) with English subtitles. I found several different ones with no subtitles or with subtitles in another language, but for some reason can't seem to find one with English subs. If anyone knows where to watch Underground (1995) with Englsih subs send me a nice message please.

[SpelingError]

I'm having a tricky time finding Underground (1995) with English subtitles. I found several different ones with no subtitles or with subtitles in another language, but for some reason can't seem to find one with English subs. If anyone knows where to watch Underground (1995) with Englsih subs send me a nice message please.

Underground can be a tricky movie to find online as the only way I know how to watch it involves downloading the movie and then downloading a subtitle file from a separate site. I'll download the movie and the subtitle file to make sure they match up and if all's good, I'll DM you later today with directions on how to do it.

[Allaby]

Underground can be a tricky movie to find online as the only way I know how to watch it involves downloading the movie and then downloading a subtitle file from a separate site. I'll download the movie and the subtitle file to make sure they match up and if all's good, I'll DM you later today with directions on how to do it.

Thanks, I was finally able to find it.

[SpelingError]

Thanks, I was finally able to find it.

Oh, you already have it? Cool.

[Citizen Rules]

Underground can be a tricky movie to find online as the only way I know how to watch it involves downloading the movie and then downloading a subtitle file from a separate site. I'll download the movie and the subtitle file to make sure they match up and if all's good, I'll DM you later today with directions on how to do it.Have you ever used this to correct the timing of .srt sub files?
https://subshifter.bitsnbites.eu/

[cricket]

Thanks, I was finally able to find it.

I think it took me awhile to find a link where the subtitles matched up perfectly so watch for that

[SpelingError]

Have you ever used this to correct the timing of .srt sub files?
https://subshifter.bitsnbites.eu/

No, I haven't, but I'll definitely try that site out. I generally post the movie file in a video editing software and either add or remove some seconds off the start of the video to line the subtitles up, but that generally takes a while to do.

[CosmicRunaway]

Certain media players allow you to adjust the timing of subtitle files without needing to edit the video, subtitle file, or bother with an outside application. I use VLC, which even has keyboard shortcuts, G and H by default, that add and subtract 50ms at a time from the subtitles. You can also use J and K to correct audio sync issues the same way.

[cricket]

The Servant (1963)

https://64.media.tumblr.com/9544e065dcdc03301a75cbd24cb76948/4753b831e0ac3983-57/s640x960/179403fe65f0f2f513f12750f3f500a2a658a5c0.gifv

Blind watch except I knew it was the oldest movie picked for me and that it's in black and white. There's an advantage with those things because they make the movie stand out, and of course I was looking forward to it because of that. It's on the British films list at #22 and it was really something.

For all I knew, this could have been some kind of prim and proper film and I could have been disappointed. Prim and proper plays a large role but this movie is full of decadence. Just to put it briefly, an upper class London man hires a man servant. His fiancé suspects there is something up with him and she is right. Things get even more complicated when the servant asks to bring his "sister" in to help as a maid.

I think the fact that the movie is in black and white makes it seem older than it is, and that makes it seem even more racy than it is. I was never quite sure what type of movie it was going to settle into being. I thought horror, thriller, or maybe dark comedy, but in the end it's just a mischievous psychological drama that had me on edge the whole time. It would be more well known if the director or cast was more well known. Performances, camerawork, and score are all strong assets. This was a great choice for me.

4

[Allaby]

Out of all the films nominated for me, Underground (1995) was the one that felt like the riskiest choice. Reading the description, it didn't really interest me very much. I watched Underground today and the results were decidedly mixed. There are a few really good moments and strong elements, but a lot of it didn't really work for me. I didn't find the characters compelling (except for maybe the monkey) and couldn't get very invested in what happened to them. The story wasn't all that interesting, for the most part. This is a long film and it felt too long. There was a lot they could have cut out and I think I would have liked it more if it was shorter. Also, most of the humour didn't land for me. I really liked the cinematography and the music though. Performances weren't bad, but no one really impressed me (other than the monkey). I hadn't seen any of this director's films before and I can't say that this motivates me to check out his other films. There were some things I liked in Underground, but not enough to justify its run time or to keep me engaged throughout. 3

[SpelingError]

I liked Underground quite a bit, personally. I felt some of the political themes went over my head, but I remember being just as impressed as I was baffled by the time I finished it. Definitely a film I might go back to in the future.

[cricket]

Out of all the films nominated for me, Underground (1995) was the one that felt like the riskiest choice. Reading the description, it didn't really interest me very much. I watched Underground today and the results were decidedly mixed. There are a few really good moments and strong elements, but a lot of it didn't really work for me. I didn't find the characters compelling (except for maybe the monkey) and couldn't get very invested in what happened to them. The story wasn't all that interesting, for the most part. This is a long film and it felt too long. There was a lot they could have cut out and I think I would have liked it more if it was shorter. Also, most of the humour didn't land for me. I really liked the cinematography and the music though. Performances weren't bad, but no one really impressed me (other than the monkey). I hadn't seen any of this director's films before and I can't say that this motivates me to check out his other films. There were some things I liked in Underground, but not enough to justify its run time or to keep me engaged throughout. 3

Someone picked it for me and I loved it. I thought it was a great choice for you-WRONG!

[cricket]

Congratulations Allaby, you are the 3rd member to finish!

[Allaby]

I think the lesson of this hall is clear. In the future, everyone should pick movies for me that start with the letter W. Guaranteed I will love it! ;)

[Allaby]

Congratulations Allaby, you are the 3rd member to finish!

:D Hooray! What do I win?

[cricket]

I think the lesson of this hall is clear. In the future, everyone should pick movies for me that start with the letter W. Guaranteed I will love it! ;)

That settles it, W.R.-Mysteries of the Organism for you!

[Allaby]

That settles it, W.R.-Mysteries of the Organism for you!

Sounds hot. ;)

[cricket]

:D Hooray! What do I win?

https://media.giphy.com/media/26gs8nKrs7uduirss/giphy.gif

[Allaby]

https://media.giphy.com/media/26gs8nKrs7uduirss/giphy.gif

Yummy! Looks good!

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2F1.bp.blogspot.com%2F_AXUc_zAntRQ%2FTTi-4PhTKSI%2FAAAAAAAAAE8%2F4itZLSayxC4%2Fs1600%2FArmy%2Bof%2BShadows%2B7.png&f=1&nofb=1Army of Shadows (1969)

The style of direction is sublime...it suits me. Look at that image, what do you notice? Empty space, a small figure in a cavernous room. The set is so large that even the empty desk looks forlorn. That composition speaks volumes. I loved the way Army of Shadows was shot, the long scene takes that lingered long enough for them to seep into the mind, giving time to feel what we just seen. I loved the coldness of the blue green palette which is the opposite of warm and cheery colors. The camera work was effectively still, no 'trick shots' for the sake of showing off. The camera moves when it emphasizes a need for movement and the camera is still when stillness best delivers the ambiance of oppression.

Definitely liked this one. I'm guessing it's a Sean choice.

[Frightened Inmate No. 2]

night and fog
https://cdn.thewire.in/wp-content/uploads/2022/07/06141054/Screenshot-2022-07-06-at-2.10.46-PM.png
a difficult film to write about for somewhat obvious reasons. there's the harrowing subject matter that certainly left enough of an impression on me to make it impossible to discuss the film in terms of "enjoyment," countered by the fact that i went in worrying that i might be too desensitized to images of atrocity to have the gut-level emotional reaction that the film should rightfully produce on aesthetic grounds. while no individual component of the film feels particularly distinct from what one might find on the history channel, the film gains its power in its editing and framing, so unflinching and unadorned, yet not without a certain horrific visual poetry. there's no question its the most artistically accomplished of any document of the holocaust. while desensitization may have prevented the kind of nausea that one should have while looking at these images, there were still several instances where i felt stricken anew with the unfathomable suffering and cruelty of which humanity is capable.

feels weird to rate this one but since i have to rank it against other films at some point anyway so i'll say 4+

[Allaby]

I have Army of Shadows on Criterion blu ray, but have never seen it. Night and Fog is a devastating masterpiece.

[Citizen Rules]

night and fog
...while desensitization may have prevented the kind of nausea that one should have while looking at these images, there were still several instances where i felt stricken anew with the unfathomable suffering and cruelty of which humanity is capable...I seen Night and Fog very recently...If you don't mind me asking, which scenes were the worst for you?

[Frightened Inmate No. 2]

I seen Night and Fog very recently...If you don't mind me asking, which scenes were the worst for you?

the pile of severed heads and the mound of hair are the shots that will stick with me the most probably. honorable mention to the shot of the body getting thrown in the mass grave and really any shot that shows how emaciated the people had become.

in a different way, the shot where you see some of the prisoners' passports was also very striking to me because of how nice and normal the passport photos looked, reminding you that like, these emaciated figures we see once led perfectly healthy, normal lives. puts into perspective what was taken from them.

[cricket]

Army of Shadows is like the other Melville films I've seen, really good but not favorite material. They generally leave me a little cold.

Night and Fog packs a hell of a punch in a short amount of time. It did well on my Doc's ballot.

Finished The Square, going to sleep on it.

[SpelingError]

Love Army of Shadows and Melville in general, with Le Samourai being my favorite of his films. I'd also recommend Le Cercle Rouge and Bob le Flambeur. The latter film is very atypical of Melville, but while it dragged for me at times, it's also good. The final 20 minutes, in particular, are great.

Night and Fog is obviously great, though as I said in the 5th Shorts Hall of Fame, it's the kind of film which worked best the first time I watched it since it has diminishing returns.

[PHOENIX74]

https://i.postimg.cc/hjtRktfN/make-way.jpg

Make Way for Tomorrow - 1937

Directed by Leo McCarey

Written by Viña Delmar
Based on a novel by Josephine Lawrence

Starring Beulah Bondi, Victor Moore, Fay Bainter
Thomas Mitchell & Maurice Moscovitch

This review contains spoilers

Make Way For Tomorrow cuts right down into the personal - deep into what we feel when we think of our mother and father, and the degree of empathy we share when we hear about someone old who has had to suffer the heartache and disappointment of being forsaken by their sons and daughters. It makes me glad to have not abandoned my mother during the last years of her life, although there's always the wish that I'd done more and been better. Those were hard years, but I figured that if I'd put her into a nursing home, that would have haunted me for the rest of my life. Watching this film is no less haunting, for it's one of the saddest and most heartrending films ever committed to celluloid. It began life as a novel penned by advice columnist Josephine Lawrence, and was adapted into a play before Viña Delmar wrote the screenplay that would become one of Leo McCarey's best films. McCarey had enough clout to resist tacking on a 'happy ending', and as a result left audiences in tears after every showing.

Barkley Cooper (Victor Moore) and his wife Lucy (Beulah Bondi) have gathered four of their five offspring at their house, as they have some upsetting news - the bank is taking their dwelling as they've been unable to keep up with the payments needed. They need urgent help. Unfortunately, none of the Cooper's sons or daughters have enough room to house both parents, so George (Thomas Mitchell) and his wife, Anita (Fay Bainter) take Lucy, while Cora (Elisabeth Risdon) and Bill Payne (Ralph Remley) take Barkley. While Barkley looks for work that would help the couple reunite and be independent again, Lucy starts to make life difficult in George and Anita's household. She has to share a bedroom with their daughter Rhoda (Barbara Read) which means her friends neglect to visit, and Anita won't get to keep an eye on which boyfriends she spends time with. When Barkley gets sick, Cora uses this as an excuse to have him move to the warmer climate in California with daughter Addie. As there's only room there for one, it means Barkley and Lucy have only a few hours to say their goodbyes to each other as he heads West, and Lucy heads into a nursing home - feeling unwelcome at her son's place.

The film is a mix of comedy and drama, but the drama is such that it takes root at every stage of the story and therefore the comedy plays only a supporting role to the pathos of Barkley and Lucy's situation. I found the amusing aspects very endearing. The best example for me was when Anita is teaching bridge to a collection of well-to-do clients at home, and Lucy has her rocking chair brought in. Before long we're hearing a *creak* *creak* *creak* which pervades the entire space and distracts everyone from what they're doing. Lucy has an air of surprised, slight embarrassment when she realises what's happening, and tries to rock more quietly, but it's not long before Barkley calls her on the phone, and she's chatting to him in a boomingly loud voice - as older people often do. This is where the comedy slides gracefully into the poignancy of the situation, and as most of the bridge class can't help but hear everything she's saying, they display looks of bemusement at first, but after a while they start to feel awkward as more personal matters are discussed, and then solemnly sad as they realise a looming sense of tragedy and sorrow - these two people dearly miss each other, and are pained by the place they find their lives in. Leo McCarey's direction is amazing, and everything is expertly modulated.

Beulah Bondi is my favourite performer from the cast, and it's interesting to note that she's only in her mid-40s. Both Boni and Victor Moore wore make-up to make them look older than they were. She gives her character a sweet, sensitive edge, but also appears as someone very much aware and intelligent despite her advanced years. When she takes away her son's discomfort, and instead suggests to movie into a nursing home herself, it's a devastating moment - and one where she's only thinking about him, no matter what kind of pain she's in. Her caring extends to her granddaughter when they both go to the cinema, and Rhoda sneaks away to visit her boyfriend. When she returns, Lucy agrees not to give away her secret as she perhaps thinks in the moment that Rhoda needs this at a time when she's sharing a room with her and robbing her of privacy and space. For a moment it feels like an extension of friendship and solidarity, and peace. Later, Lucy will bare the brunt of her daughter-in-law's fury for not having revealed this, and again Lucy doesn't contest but apologizes. She's in an awful position, with no home of her own and her family feeling as if she's a burden. Beulah Bondi is the actress I take away from this film, although Thomas Mitchell is also excellent.

The cinematography was the responsibility of old hand William C. Mellor, who later went on to work on a 1951 personal favourite of mine - A Place in the Sun. He continued to work on important films up to his death in the early 1960s, and visually this film reminds me of a film that it shares more than a visual similarity with. Tokyo Story. I kept thinking of Yasujirō Ozu and that film in particular while I was watching this, so it didn't surprise me that it was one of the biggest influences on that film and Ozu's work. There are numerous times in this film when we as spectators feel as though we're in a direct line of sight between two of the characters, especially during charged moments - with characters looking directly into the camera. I felt a part of what was going on to a further extent than with any other film from this time period, with a less distanced feel to everything. It was the black and white cinematography that made it at all possible to age two actors to the degree they'd been aged, and I was worked towards the expressiveness of their faces. It was interesting to see some shots of the old pair walking in New York with a backdrop being used - it must have been far too difficult with that day's technology to capture those shots on location.

Make Way For Tomorrow was somehow never nominated for any Oscars, although Leo McCarey won a Best Director Academy Award for The Awful Truth, which came out the same year. The way he thought about the former was such that he's quoted as saying "Thank you, but you gave it to me for the wrong picture." The film garnered a reputation as a "depressing" film, and as such failed to make an impact at the box office, but seen in retrospect, this indeed did deserve Oscar recognition and popularity. It at least has managed to cement a place as a great film over the years, and I agree heartily with that assessment. The message of the film is still very much relevant today, and my feelings are so in tune with it that it affected me on a personal level, as I said at the beginning. The film also had a political message at the time, with the American Social Security Act only having been enacted in 1935 (which was fought, much like Health Care reforms are today.) For the elderly to be left in such a situation is a sad indictment on any society, so it was a sign of progress and obviously this film very much agrees with that fact.

The last act of Make Way For Tomorrow deals with Barkley and Lucy in New York - due to appear for a last dinner at their kids' place, but deciding they'd rather spend that time together, and alone. As they pay a visit to the hotel they went to on their honeymoon, people they come across are generally very kind to them. These are the people who can afford to be kind, for their time with the elderly couple is brief. Often it's harder to get on well with those we know well and live with, for responsibility, habits, needs and wants create tension and animosity. I really admire this film for it's ability to say so much about a complicated issue, and to explore it in so many interesting ways. Of course, it's this final stretch that proves to be so heartbreaking - for Barkley and Lucy love each other so dearly, and this is their last few moments together. Their kids have decided not to put up with them, and because of that they're going to suffer. Leo McCarey won't demonize them though, and instead gives us both perspectives. Personally, I felt a little resentment towards these people - but not only do Barkley and Lucy care enough about them to want them to be happy (they want their happiness much more than their own) - but they're much better people than I am.

I was able to connect with this film on a far deeper level I thought I'd ever connect with a 1930s film - it's focus on family and elderly parents felt familiar to me. I agree with "Honour thy father and thy mother" - which is a quote the film directly reminds us of at it's very start. All the way through, it was sweet, amusing and had me emotionally involved. If there's a film that was going to make me interested in more of Leo McCarey's work, it's this one - and I felt I could really get closer to the characters here than I usually can in a 1930s film. I come at it as a big fan of Ruggles of Red Gap, a film McCarey made two years previously, and a film with some of the same traits this one had, so I can't say that this is the first of his films I've seen, but it's the one that confirmed to me how very much I love his work. Quite a number of great directors and filmmakers single out their praise for Make Way For Tomorrow, and I enjoyed it quite a bit. I'm glad to have been able to get to know it, and it's another enjoyable step on an upward journey in discovering all cinema has to offer.

4.5

[cricket]

Been a while but that's a terrific movie that made my 30's ballot. I remember the comparisons to Ozu.

[cricket]

The Square (2017)

https://static01.nyt.com/images/2017/10/27/arts/27thesquare1/27thesquare1-superJumbo-v2.jpg

Cannes winner here. Didn't know what to expect and I'm still not sure what to make of it. It's about the curator of a museum in Sweden, his work and his personal life. Looking at it as a satire of the art world is my preferred way to go with this, and I see it as sort of an abstract film. There's a lot more here though but I started to sour a bit towards the end when it seemed to get preachy. Almost 2 1/2 hours long but very watchable, there's not really a plot. It's very funny at times in subtle and unusual ways so a lot of credit to the filmmakers. The acting is great especially from the lead. My wife surprisingly enjoyed it. Going into the last half hour, my rating could have been a full popcorn more or less than what I eventually settled on. A very interesting and unique film.

3.5

[SpelingError]

Make Way for Tomorrow is excellent. One of my favorites of the 30's.

[rauldc14]

I gave Phoenix Make Way For Tomorrow. Truly a sensational film

[Citizen Rules]

the pile of severed heads and the mound of hair are the shots that will stick with me the most probably. honorable mention to the shot of the body getting thrown in the mass grave and really any shot that shows how emaciated the people had become.

in a different way, the shot where you see some of the prisoners' passports was also very striking to me because of how nice and normal the passport photos looked, reminding you that like, these emaciated figures we see once led perfectly healthy, normal lives. puts into perspective what was taken from them.It was all shocking to me but what really struck me cold was the huge piles of human hair that filled a warehouse and the giant piles of personal items like the passports. I think seeing such a volume of things like shoes in the 100,000s really brought home just how many people were killed in just one concentration camp. That and the attempts to make soap out of the victims...Soap! out of people! That is so damn twisted that it makes me realize how just how dangerous and evil human beings can be.

[Citizen Rules]

Make Way For Tomorrow was pretty special and I rated it highly in the HoF it was in...but I don't really have a desire to see it again. Nor do I have a desire to watch The Square again, it was OK even interesting at times, but not my cup of joe.

[CosmicRunaway]

Man, the worst thing about having a good selection of films is that it's impossible to make a voting ballot you're happy with. I'm giving you guys a heads up now: some great films are going to be upsettingly low on my list.

[Citizen Rules]

Man, the worst thing about having a good selection of films is that it's impossible to make a voting ballot you're happy with. I'm giving you guys a heads up now: some great films are going to be upsettingly low on my list.I feel your pain, making it even harder for me is do I go with the best film as highest rated OR do I go with films that are best suited for my taste? So hard to decide:p

[seanc]

Army Of Shadows, Night And Fog, and Make Way For Tomorrow are all excellent in very different ways. Not surprising that the Melville is my favorite. Not surprising that Citizen guessed I was the one who recommended it. I have always felt Citizen should love Melville and apparently I will just keep recommending Melville flicks to him till it happens.

I saw and like The Square a lot. Surprisingly for such an odd film it hasn’t really stuck with me. I do recall moments, but the overall plot is gone.

[PHOENIX74]

The ape-man performance art scene in The Square will stick with me for a very long time - it had everything, and pushed "art" beyond acceptable boundaries (despite being quite illustrative), as performance art will sometimes do :

The Square (https://www.youtube.com/watch?v=pUhmUR8gcgU)

I watched Army of Shadows some time after the Foreign Language Film Countdown and thought it was an absolute masterpiece. Likewise Night and Fog, which I've seen a couple of times now - a must-see film when talking about the Holocaust.

[Citizen Rules]

...Not surprising that Citizen guessed I was the one who recommended it. I have always felt Citizen should love Melville and apparently I will just keep recommending Melville flicks to him till it happens...Fine by me:) So far I've liked the Melville films I've seen but I ain't see many, not yet.

[Thursday Next]

Army of Shadows is brilliant. I would recommend Army of Shadows, Le Cercle Rouge and Le Samourai to everyone (although didn't specifically in this HoF!).

Night and Fog was my pick for Inmate. I remember when I watched it (I think for a HoF on here) thinking at the start that it wasn't going to be anything I hadn't seen before, that it might not have the punch it would have had when released, but it definitely still had a punch; a very well -made presentation of the awful facts. I would recommend this to everyone too.

Make Way For Tomorrow is another excellent film. I think I nominated this for raul in a previous personal rec hof - glad to see he liked it so much he's recommending it for other people!

[cricket]

CODA (2021)

https://cdn.mos.cms.futurecdn.net/5enkfTB77armTMAX3B5BS6-1200-80.jpg

All I knew going in was that it won best picture and that it was filmed in Gloucester.

For me right off the bat this movie has one major thing going for it and one major thing going against it.

On the positive side, I have an extra affinity for movies set or made in Massachusetts. I'm a big fan of movies like The Town, The Departed, Good Will Hunting, and many more. Gloucester is about 45 minutes north of Boston. I'm there twice a week for work and have been many times on personal time. The bar in the movie is Prattys; I've delivered there and I've drank there. What's really strange to me is that I never knew they were filming in Gloucester, but it's probably because these days I'm usually done and out of there by 9am. Berklee School of Music is a couple of blocks from Fenway Park and I lived at a hostel around the corner for a short time when I first moved to the area.

On the negative side, movies with characters who can't or don't talk frustrate me. I understand the characters are usually deaf, but it's all about the time it takes to communicate. I'm not sure why this is, but even when there's a character who doesn't have a disability, but refuses to talk even for a short period of time, it drives me bananas. On the other hand I'm a big fan of stutterers so go figure. I ended up not being bothered by it in this movie, and I think a big reason why is that they didn't feel the need to translate everything. That was an interesting and smart decision.

For the first 5 or 10 minutes I thought I was going to dislike this movie. I now believe it was all about perception. Even for much longer it felt like I was looking for negatives. I was thinking it seemed more like a made for TV after school special than a best picture Oscar winner. I still kind of think that, but that doesn't mean it can't be great. I was thinking that it's not much of a story and that they just threw in some people who were deaf, but I certainly changed my mind with that. People that know me here know that I'm really just a softy, and what can I say, it completely won me over. Every single character is just so damn likable and it ended up being the 3rd movie in 2 days to bring tears to my eyes. There was one moment that particularly blew me away. It was when the family was watching her sing, and suddenly we got to know what it felt like from the father's perspective when everything went silent. Wow, I loved it.

4+

[cricket]

I was looking up some reviews because I was wondering what CODA meant and if it were a true story. This was the page that popped up lol

88922

[CosmicRunaway]

Well at least that Jazmín person waited ~6 months to copy the review. If they'd been posted around the same time it might unintentionally look like paid positive reviews, or bots being used to inflate the film's score. Funny that they showed up back-to-back now though.

[seanc]

I thought Coda was solid, with a pretty great ending. The conversation around it will always be kind of divisive because of it being a BP winner. That’s kind if a bummer I think because there’s nothing wrong with being just a solid, easy to watch movie.

[cricket]

I thought Coda was solid, with a pretty great ending. The conversation around it will always be kind of divisive because of it being a BP winner. That’s kind if a bummer I think because there’s nothing wrong with being just a solid, easy to watch movie.

I think we're on a long run of winners that are mostly terrific, but not enduring classics.

[CosmicRunaway]

In 20 years, I think the only one of the last dozen or so BP winners I'm going to still remember vividly is Parasite. I mean, I've already forgotten everything about Moonlight, and it completely slipped my mind that The Shape of Water and Birdman even won, and I was legitimately surprised to see them on the list just now haha.

[cricket]

The Shape of Water is my favorite since No Country for Old Men, and I may even like it more than that.

[CosmicRunaway]

I was looking forward to The Shape of Water, especially after Doug Jones hyped it up at a convention I attended. But then our theatre was months late getting it, and I think it only did because it had been nominated for the Oscars at that point. So I think the extra anticipation due to the wait, and the added expectations played against the film in the end since I was ultimately disappointed. It was still a good film, but wasn't one of my favourites that year.

[Thursday Next]

The Shape of Water is a favourite of mine but I slightly wish it hadn't won the Oscar because it sets it up for a backlash and/or the weight of expectation.

[Thursday Next]

The Quiet Man

While watching this I was reminded quite a bit of How Green Was My Valley (for obvious reasons). But although the valleys are greener, I didn't enjoy it as much. The 1950s are not my favourite decade. Two of the things that often crop up in 50s films which annoy me are overwrought 50s film music and overbearing 50s sexism and this film is unfortunately burdened with both of these things throughout.

The whole thing was full of sentimental nostalgia for an idealised Ireland with rolling hills and quaint white cottages. A time when men were men, who dragged their wives around the countryside before going down the pub for a pint. I didn't really buy into the romance or the conflict between the couple. After being so keen to move into his family's cottage, I didn't understand why he was so dismissive of her wanting her family heirlooms. It was more of a comedy than a drama and most of the humour didn't really work for me, although some of the supporting characters like the priests were occasionally amusing.

I watched it on dvd but it seemed poor quality. I'll try not to judge the film because of that, but the terrible painted backgrounds in some scenes were poor either way. And yet sometimes it looked good, with saturated colours. There was one scene in which the two main characters are courting and kiss in the rain that was particularly memorable.

[cricket]

Only seen The Quiet Man once but I liked it enough to put it in my 50's ballot. With it's sexism, it's probably more of a man's movie.:D

[PHOENIX74]

https://i.postimg.cc/VksVfN7n/pepe-le-moko-poster.webp

Pépé le Moko - 1937

Directed by Julien Duvivier

Written by Jacques Constant & Julien Duvivier
Based on a novel by Henri La Barthe

Starring Jean Gabin, Lucas Gridoux, Mireille Balin
Line Noro & Gilbert Gil

This review contains spoilers

Watching early French films, you often see Algiers - it's surrounds and various people - such is the fascination which drew many a French story over to that locale. In Pépé le Moko we drift over towards The Casbah, in which our titular anti-hero resides. This isn't a "day in the life" - it's a story where his love for a woman and yearning to return home to Paris prove too great an influence, and where an unstoppable force meet an immovable object. It's a film that was good enough to have had two remakes trailing in it's wake just over ten years after it's release - but this original had the benefit of having Jean Gabin as it's lead. It proved to be another influence in a trend towards the creation of film noir, and just happens to be a very well made gangster film, pure and simple. There are shades of Casablanca, which was obviously inspired by a lot of what we see in this, and a shift in storytelling where the criminal isn't simply a dupe set up to be taken down, but a complicated character who earns the sympathy of an audience, despite his criminality. It's also a very enjoyable and engrossing movie to watch.

A team of police, both from France and Algiers, are discussing their consistent failure over the preceding two years to arrest Pépé le Moko (Jean Gabin), a man who has been protected by sequestering himself in The Casbah, where a mix of races and cultures live in crowded squalor, and where le Moko's friends and compatriots protect him. Although feeling as if he's the king of the underground there, it also happens to be his de facto prison, and the thief yearns for the familiar streets of Paris. Inspector Slimane (Lucas Gridoux) - both friend and enemy, knows this, so when Pépé falls in love with a beautiful tourist by the name of Gaby Gould (Mireille Balin) he finally has the kind of lure to really set a trap with. In the middle of all of this is le Moko's regular girl, Inès (Line Noro) who is despondent enough at losing him to this breezy French girl that she may be willing to sell him out. If she can't have him, nobody can. If Pépé le Moko can't control these impulses and emotions they may just be his undoing. After all, his beloved friend Pierrot (Gilbert Gil) has already met the same fate because his emotions held sway over logic - allowing him to be betrayed.

The style of this film lends itself to the French Poetic Realism prevalent in the 1930s, and common to director Julien Duvivier's work. This realism didn't extend to shooting on location, but did go so far to create realistic Casbah slums in a studio near Paris, which neatly lend themselves to real Algiers footage, which is used and inter-cut into the film. Of course, Poetic Realism is fairly fatalistic, and there is no fairy-tale kind of beats in any narrative sense in Pépé le Moko - not in a romantic sense, and not in any kind of Robin Hood-like storytelling style. No matter how sympathetic le Moko might seem, he's in this for himself and has the cut-throat sensibilities of a real gangster. Also - just because our anti-hero has hidden himself amongst the poor Algerian rabble that populate The Casbah doesn't mean he (or the film) considers them as equals. Arabs are never really referred to in any sense, and when they appear in a visual sense, Gabin is usually throwing bottles at them or telling them to get out of his way. He considers himself king of a kingdom he wants nothing more to do with, and it's his constant yearning, grief and disappointments that set the tone for the film.

Jean Gabin himself is an irresistible presence in the film, and there's something about him in a visual sense that can give us everything we need to know in a look or gesture. There's his performance, but there's also just who he is and his general aura that's magnificent. You don't really come away from the film having noticed anyone else, because all of your attention is taken up by the French film star. I remember seeing him in Jean Renoir's La Grande Illusion (another example of French Poetic Realism) where he gave another great performance. Line Noro, as le Moko's Algerian girlfriend gets a lot to work with as an actress and really impressed me as well in what is ultimately a very sad role. Actors like Lucas Gridoux and Gilbert Gil have plenty to do, but I wouldn't necessarily recognize them again if I saw them in another French film. Jean Gabin is immediately recognizable, and I feel drawn towards his features. There is one scene though, where a singer and actress called Fréhel listens to a record (purportedly one of her own) as she sadly sings along with it, remembering the Parisian streets with tears in her eyes - it was very affecting. One of her songs would later feature in the film Amélie.

Jules Kruger and Marc Fossard provide cinematography which at times remind me very much of the film noir style that would come into vogue some time later - always there are distinct shadows and dark patches, and often you find characters set against bars, fences and shadowy prisons of darkness. Faces are often obscured - half in shadow. There's a lot of camera movement when our characters are on the move, and every such shot seems perfectly suited to the story, guiding our eyes in a way that those most expert of cinematic storytellers do to tell the story in a visual way. It was cinematography that pleased me in the way it moved, instead of what exactly it showed. The music from Vincent Scotto is what you'd expect from the period - different tones emphasized at different times in a way that thankfully wasn't too overbearing, as I've found some earlier cinematic scores to be. An Algerian influence obviously infused into it at times. Overall, the extensive high-definition digital transfer made from the 35mm restoration makes this a pleasure to watch these days in a visual sense.

So, overall I genuinely enjoy watching Pépé le Moko for it's historical perspective, as well as the satisfaction I get from Gabin's performance and the narrative from Henri La Barthe's French novel. (Also worth mentioning are the sets from Jacques Krauss, which provide a much richer and more realistic setting than you'd find in your average 1930s film.) It has it's share of iconic moments - take the one when Gabin's eyes meet those of Mireille Balin, then shift to her obviously very valuable jewelry, which she then deigns to hide with her hands, after which his eyes meet hers again and seem to suggest he's more interested in her than her wealth, even if he'd sized the moment up out of habit. I also have to mention the tremendously powerful noir ending, with le Moko's final few requests from Slimane, and his tragic final act which Inès witnesses - all taking place as our anti-hero watches the Ville d'Oran slip away from the pier and start out to sea. That ending was absolutely perfect - and perfect endings are so hard to get exactly right.

Some of the casual racism, and the seeming acceptance of domestic violence as part of a natural way of life I could have done without. Fréhel mentions that she thinks she just has the kind of face men like to hit, and that she's tried changing it to lessen the frequency of the blows. Likewise, I found the way le Moko jettisons his girlfriend (with some annoyance) when he meets Gould difficult to swallow. But then again, you could say all of that is setting these men up for their deserved fall. They are crooks and scoundrels after all. Other than that, I'm very glad to have Pépé le Moko under my belt, and to have it sized up to the extent that I can read many of the steps Michael Curtiz makes in Casablanca as from a very familiar dance which has it's origins here - likewise film noir as a whole. It's a damn good movie - and one that keeps growing on me. 1937 was a good year for cinema, it seems, with several stylistically important films being released - ones that would have far reaching influence, and remain exciting to watch ever after. French Poetic Realism has some very agreeable aspects as far as I'm concerned.

4

[cricket]

Pepe Le Moko is a good movie, and I just love to say Pepe Le Moko over and over again.

[SpelingError]

Yeah, it's a pretty good film.

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2F3.bp.blogspot.com%2F_v0fV15P7uQo%2FTA4UyhwECLI%2FAAAAAAAAH1k%2Fp93SMDI2c0w%2Fs1600%2 Fin%2Bcold%2Bcar.jpg&f=1&nofb=1In Cold Blood (1967)

Probably the best made film I've seen so far in this PR. As I was watching it I realized just how near perfect this film is in it's direction, editing, cinematography and of course writing as this is based on the famous novel by Truman Capote. I didn't catch the name of the director during the film's opening credits so I guessed it had to be directed by one of the greats of the 1960s like John Frankenheimer or Robert Wise. After the movie was over I looked it up at IMDB and seen it was directed by Richard Brooks, a name that didn't ring a bell until I looked at his directorial credits...with such classics to his name as: Elmer Gantry, Cat on a Hot Tin Roof, Key Largo and more.

The choice to use black & white film in 1967 might seem like an odd choice but it works as this is set for the most part in 1959. It also work as the b&w makes this feel like history from the past, a cold look at a senseless crime. The film does a great job of making the two murders on the run seem three dimensional. They're just not thugs, they're messed up individuals who we learn of their abusive childhood through well placed flashbacks, police interviews with the fathers and recanting of their childhood memories. Those elements then elevates their story into a realism that's focused more on the individuals involved then on the actual crime they commit.

Acting was superb by the two killers played by Robert Blake and Scott Wilson.

[seanc]

I liked In Cold Blood, but it has pretty much left me of course.

[Citizen Rules]

I liked In Cold Blood, but it has pretty much left me of course.I tend to forget most all movies over time, I might remember that I watched them and who was the star but that's about it. For me, sometimes the 'quiet movies' that don't have a kick in the stomach type scenes or big ending are my most favorites but then again there's not much to remember them by as time goes by. Even in HoFs the first films I see often impress me but months later by the end of the HoF I can't really recall why I thought the film was so amazing.

[seanc]

I tend to forget most all movies over time, I might remember that I watched them and who was the star but that's about it. For me, sometimes the 'quiet movies' that don't have a kick in the stomach type scenes or big ending are my most favorites but then again there's not much to remember them by as time goes by. Even in HoFs the first films I see often impress me but months later by the end of the HoF I can't really recall why I thought the film was so amazing.

I tend to remember character stuff, and more character driven stuff is usually my favorite, not surprisingly. Plot driven movies are gone, too often surprisingly fast.

[cricket]

Robert Blake playing a killer seems like a stretch but it's a good movie

[Miss Vicky]

Robert Blake playing a killer seems like a stretch but it's a good movie

He was tried for murder IRL. He was acquitted but it doesn’t seem a stretch to me.

[Citizen Rules]

Robert Blake playing a killer seems like a stretch but it's a good movieHa, had that in mind during the movie.

[cricket]

He was tried for murder IRL. He was acquitted but it doesn’t seem a stretch to me.

https://s.abcnews.com/images/2020/190107_2020_trailer_robert_blake_hpMain_16x9_992.jpg

[edarsenal]

https://i.postimg.cc/VksVfN7n/pepe-le-moko-poster.webp

Pépé le Moko - 1937

Directed by Julien Duvivier

Written by Jacques Constant & Julien Duvivier
Based on a novel by Henri La Barthe

Starring Jean Gabin, Lucas Gridoux, Mireille Balin
Line Noro & Gilbert Gil

This review contains spoilers

Watching early French films, you often see Algiers - it's surrounds and various people - such is the fascination which drew many a French story over to that locale. In Pépé le Moko we drift over towards The Casbah, in which our titular anti-hero resides. This isn't a "day in the life" - it's a story where his love for a woman and yearning to return home to Paris prove too great an influence, and where an unstoppable force meet an immovable object. It's a film that was good enough to have had two remakes trailing in it's wake just over ten years after it's release - but this original had the benefit of having Jean Gabin as it's lead. It proved to be another influence in a trend towards the creation of film noir, and just happens to be a very well made gangster film, pure and simple. There are shades of Casablanca, which was obviously inspired by a lot of what we see in this, and a shift in storytelling where the criminal isn't simply a dupe set up to be taken down, but a complicated character who earns the sympathy of an audience, despite his criminality. It's also a very enjoyable and engrossing movie to watch.

A team of police, both from France and Algiers, are discussing their consistent failure over the preceding two years to arrest Pépé le Moko (Jean Gabin), a man who has been protected by sequestering himself in The Casbah, where a mix of races and cultures live in crowded squalor, and where le Moko's friends and compatriots protect him. Although feeling as if he's the king of the underground there, it also happens to be his de facto prison, and the thief yearns for the familiar streets of Paris. Inspector Slimane (Lucas Gridoux) - both friend and enemy, knows this, so when Pépé falls in love with a beautiful tourist by the name of Gaby Gould (Mireille Balin) he finally has the kind of lure to really set a trap with. In the middle of all of this is le Moko's regular girl, Inès (Line Noro) who is despondent enough at losing him to this breezy French girl that she may be willing to sell him out. If she can't have him, nobody can. If Pépé le Moko can't control these impulses and emotions they may just be his undoing. After all, his beloved friend Pierrot (Gilbert Gil) has already met the same fate because his emotions held sway over logic - allowing him to be betrayed.

The style of this film lends itself to the French Poetic Realism prevalent in the 1930s, and common to director Julien Duvivier's work. This realism didn't extend to shooting on location, but did go so far to create realistic Casbah slums in a studio near Paris, which neatly lend themselves to real Algiers footage, which is used and inter-cut into the film. Of course, Poetic Realism is fairly fatalistic, and there is no fairy-tale kind of beats in any narrative sense in Pépé le Moko - not in a romantic sense, and not in any kind of Robin Hood-like storytelling style. No matter how sympathetic le Moko might seem, he's in this for himself and has the cut-throat sensibilities of a real gangster. Also - just because our anti-hero has hidden himself amongst the poor Algerian rabble that populate The Casbah doesn't mean he (or the film) considers them as equals. Arabs are never really referred to in any sense, and when they appear in a visual sense, Gabin is usually throwing bottles at them or telling them to get out of his way. He considers himself king of a kingdom he wants nothing more to do with, and it's his constant yearning, grief and disappointments that set the tone for the film.

Jean Gabin himself is an irresistible presence in the film, and there's something about him in a visual sense that can give us everything we need to know in a look or gesture. There's his performance, but there's also just who he is and his general aura that's magnificent. You don't really come away from the film having noticed anyone else, because all of your attention is taken up by the French film star. I remember seeing him in Jean Renoir's La Grande Illusion (another example of French Poetic Realism) where he gave another great performance. Line Noro, as le Moko's Algerian girlfriend gets a lot to work with as an actress and really impressed me as well in what is ultimately a very sad role. Actors like Lucas Gridoux and Gilbert Gil have plenty to do, but I wouldn't necessarily recognize them again if I saw them in another French film. Jean Gabin is immediately recognizable, and I feel drawn towards his features. There is one scene though, where a singer and actress called Fréhel listens to a record (purportedly one of her own) as she sadly sings along with it, remembering the Parisian streets with tears in her eyes - it was very affecting. One of her songs would later feature in the film Amélie.

Jules Kruger and Marc Fossard provide cinematography which at times remind me very much of the film noir style that would come into vogue some time later - always there are distinct shadows and dark patches, and often you find characters set against bars, fences and shadowy prisons of darkness. Faces are often obscured - half in shadow. There's a lot of camera movement when our characters are on the move, and every such shot seems perfectly suited to the story, guiding our eyes in a way that those most expert of cinematic storytellers do to tell the story in a visual way. It was cinematography that pleased me in the way it moved, instead of what exactly it showed. The music from Vincent Scotto is what you'd expect from the period - different tones emphasized at different times in a way that thankfully wasn't too overbearing, as I've found some earlier cinematic scores to be. An Algerian influence obviously infused into it at times. Overall, the extensive high-definition digital transfer made from the 35mm restoration makes this a pleasure to watch these days in a visual sense.

So, overall I genuinely enjoy watching Pépé le Moko for it's historical perspective, as well as the satisfaction I get from Gabin's performance and the narrative from Henri La Barthe's French novel. (Also worth mentioning are the sets from Jacques Krauss, which provide a much richer and more realistic setting than you'd find in your average 1930s film.) It has it's share of iconic moments - take the one when Gabin's eyes meet those of Mireille Balin, then shift to her obviously very valuable jewelry, which she then deigns to hide with her hands, after which his eyes meet hers again and seem to suggest he's more interested in her than her wealth, even if he'd sized the moment up out of habit. I also have to mention the tremendously powerful noir ending, with le Moko's final few requests from Slimane, and his tragic final act which Inès witnesses - all taking place as our anti-hero watches the Ville d'Oran slip away from the pier and start out to sea. That ending was absolutely perfect - and perfect endings are so hard to get exactly right.

Some of the casual racism, and the seeming acceptance of domestic violence as part of a natural way of life I could have done without. Fréhel mentions that she thinks she just has the kind of face men like to hit, and that she's tried changing it to lessen the frequency of the blows. Likewise, I found the way le Moko jettisons his girlfriend (with some annoyance) when he meets Gould difficult to swallow. But then again, you could say all of that is setting these men up for their deserved fall. They are crooks and scoundrels after all. Other than that, I'm very glad to have Pépé le Moko under my belt, and to have it sized up to the extent that I can read many of the steps Michael Curtiz makes in Casablanca as from a very familiar dance which has it's origins here - likewise film noir as a whole. It's a damn good movie - and one that keeps growing on me. 1937 was a good year for cinema, it seems, with several stylistically important films being released - ones that would have far reaching influence, and remain exciting to watch ever after. French Poetic Realism has some very agreeable aspects as far as I'm concerned.

4

http://www.museobbaa.com/wp-content/uploads/2016/01/pepe-le-moko.jpg

Pépé le Moko and La Grande Illusion was my introduction to both MyMan! Jean Gabin and a stepping stone into not only French Poetic Realism of the Thirties but several Directors of the time, Marcel Carné being at the top of that list of enamored filmmaking, to a variety of French films from the following decades of forties, fifties, and sixties.
I had nominated it in the Thirties HoF after discovering this, at the time, unknown original; when searching for a link for the remake, I had watched it many times due to the utterly intoxicating Hedy Lamar. Now, I do enjoy Charles Boyer, but he never seemed to inspire the alleged fear and respect in me. Then I witnessed Gabin, and that cinched it for me. "THAT is how it's played," I thought and grew hungry for more of this charismatic French actor.
I cannot revisit Algiers and have watched Pépé le Moko several times since. A small part that seals it for me is When Walter Wanger produced Algiers (1938), the American remake, he tried to have all copies of this movie destroyed. Fortunately, he was not able to do so. He secured that the French original was not allowed to be shown in theaters until two years after Algiers' debut. Not to mention snatching up the secondary actors and many of the outdoor shots. He tried to get Gabin to re-do his role in his remake. Gabin didn't want anything to do with it. BRAVO, Gabin, SCREW YOU, Wanger.

Anyway, I've been excited to see your reaction and enjoy your intricate review. So very happy to see you enjoyed it.

[edarsenal]

I'll be back to play catch up with the films posted in the last week.

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fshots.filmschoolrejects.com%2Fwp-content%2Fuploads%2F2015%2F05%2Fgrave-of-the-fireflies-1024x540.jpg&f=1&nofb=1Grave of the Fireflies (1988)


I don't watch much animation but I do appreciate some of it, probably my favorites are from Studio Ghibli with my favorite being Spirited Away.

I though Grave of the Fireflies was well done and I enjoyed the simplicity of the story of the war orphans. I liked the turn of the events as the story progressed and I can see why it's a classic. But I don't know enough about animation to comment on the style and look of the film, but it worked for me.

I do know people talk about how emotionally devastating Grave of the Fireflies is, but I didn't feel any strong emotions, though I do recognize the story was meant to be tragically sad. It's just that I can't really connect on an emotional level to animation as my brain is saying those aren't real people, so no fault of the film it's just that I was never raised on animation so it never resonates with me on an emotional level.

[PHOENIX74]

I saw Grave of the Fireflies for the first time in a cinema a few years ago - a friend took me, and I had no idea of what I was in for. In the end, it turned out to be one of the greatest animated films I've ever seen. It hit all of my emotions pretty hard.

[SpelingError]

I remember thinking it was good, but it didn't hit me as hard as I thought it would. The characters could get annoying with their constant crying and, as a result, it felt overly schmaltzy at times. I did enjoy the animation though and the more devastating scenes in tthe film were pretty memorable.

[CosmicRunaway]

My problem with Grave of the Fireflies is that it starts at the end of the story, so you know exactly what's going to happen. I basically had no emotional investment, so the events of the film, while tragic, didn't really have much of an impact. Had the film not given away the ending, I think it would've been much more powerful.

[PHOENIX74]

https://i.postimg.cc/fTj96zT3/paper-moon.jpg

Paper Moon - 1973

Directed by Peter Bogdanovich

Written by Alvin Sargent
Based on a novel by Joe David Brown

Starring Ryan O'Neal, Tatum O'Neal & Madeline Kahn

No doubt about it - watching Tatum O'Neal's performance in Paper Moon is one of the greatest things about seeing the film. She wasn't necessarily a natural - and she didn't necessarily find it easy, but with a lot of patience from director Peter Bogdanovich, and having the calming reassurance of father Ryan O'Neal as costar she provides us with something you'd never expect from a girl less than 10 years-of-age. At the 1974 Academy Awards she won Best Supporting Actress and made history as the youngest actress (or person) to ever win an Academy Award - which is a record that stands to this day. She does seem to be beyond her years, and some of that even shows in behind-the-scenes footage, but at times multiple takes were needed to get shots that were needed. Many, many takes. Regardless of any of that - she's so much fun in the movie, which is a credit to everyone involved. There are many little touches - a raised eyebrow here, a skip there, which accentuate the little things, and her various facial expressions are very winning. Her Addie Loggins character is nearly a tiny adult, very quick on the uptake, but her angry jealousy and cantankerous nature are very funny. She's also a great foil for her father's character, Moses "Moze" Pray.

Moses meets her for the first time at her mother's funeral. It's Depression-era Kansas, and Addie has a feeling Moses is her father, so as he's heading in the general direction of her Aunt's house in Missouri he's put upon to take her with him. His attempts to shake her loose, after using her to scam $200 from someone tenuously connected with her mother's death, all come to nothing when she demands the money he gained go to her. On the road, Addie learns of the bible scam Moses regularly pulls, and even helps him refine and run it. It seems like a happy partnership, until Trixie Delight (Madeline Kahn) becomes romantically entangled with him. Addie has to use her considerable abilities to outsmart them all and set Trixie up for her eventual fall. Later on down the road the two run into a bootlegger who they successfully play by selling him his own product after swiping it from his hiding place. Unfortunately this bootlegger has a brother who is a police officer, and the pair end up being shaken down for the cash they've made on their trip. Escaping the law will provide them their biggest test, and may not only cost them all of the money they've accrued but also the close camaraderie they've developed on this remarkable road trip.

Paper Moon is one of those films which has been shot in a very interesting way. It's surprising that Bogdanovich wanted so many long takes in the film, considering the difficulty this created around Tatum O'Neal's ability to remember her lines and successfully get through each elongated shot. Some shots, which needed a mile of road and a lot of film, took over a day to get just right. Cinematographer László Kovács, who was familiar with Bogdanovich, used a lot of deep focus and a large depth of field which keeps many important details in the foreground and background in focus. Take the shot at the train station at the beginning, with children playing in the distance seen through a window and the reverse where Addie is sullenly stood on the tracks. In both shots Ryan O'Neal and the actor he's talking to are what we're principally focused on, but those other aspects are also clear to us, despite being in the background. Bogdanovich decided that black and white would suit the depression-era setting, and take us back in time, while Kovács had some advice from Orson Welles as to the kind of filters best to use. Personally, I always enjoy scenes with long takes in them because they feel more natural, and they also happen to be more impressive considering how much more planning and expertise they need to be captured successfully. One shot includes a couple of 360 degree sweeps as two cars change direction mid-car chase, and it looks wonderful.

I was also excited to hear that Verna Fields did the editing on this film - not that I think it makes a great deal of difference here, but because she edited so few films in her career. Fields ended up being the editor on Jaws, and really came to my attention when finding out more about that classic - she ended up winning an Oscar for her work there. With Paper Moon, the editing was basically done "in camera" - which means that the film was shot pretty much in a manner where the ends and beginnings of shots would mostly fit together as they were filmed, which means the editor of this film required less artistry and imagination putting it together - but I can never talk about a film Verna Fields edited without mentioning her, and her kind mentorship to Steven Spielberg. The only technical Oscar Paper Moon would be nominated for was for it's Sound, going to Richard Portman (who once won for The Deer Hunter) and Les Fresholtz (a two-time winner for All the President's Men and 1988 film Bird) - so there were obviously a very talented crew of people who worked on Paper Moon and it shows. The Best Sound Oscar that year ended up going to The Exorcist.

Peter Bogdanovich decided in the end that he didn't want Paper Moon to have a cinematic score to be prompting people's emotive responses to the film, so what mostly takes it's place is the radio both Addie and Moze listen to quite often. We get a great many catchy 1920s and 1930s tunes (of which "It's Only a Paper Moon" is one - the song which gave the director his idea for the film's title) and also the occasional radio shows which were popular back in that day. I prefer a lot of films this way. So many films from previous eras become absolutely overbearing with very insistent, loud, and not very inconspicuous musical cues pounded into the audience. These pieces of music help certain films at certain times, but when there's been an arbitrary decision that a film must have a score it can make flaws appear more obvious or distract from moments that should be played with more subtlety. Everything in Paper Moon comes directly from Ryan O'Neal and Tatum O'Neal - this is very much a film of facial expressions and voice, and it's one that has been expertly directed and provided much magic with our two main performers.

The story central to the film was published in 1971 as "Addie Pray" by Joe David Brown - it was adapted for the screen to Peter Bogdanovich's specifications by Alvin Sargent, but the story morphed and changed even as filming was underway, and there are numerous differences between book and film. Alvin Sargent was also nominated for an Oscar, but lost to William Peter Blatty for The Exorcist (again) - Sargent has won Oscars for 1977 film Julia and Ordinary People. I like Paper Moon more for it's two central performances than it's story, but it holds up really well and perfectly showcases the two O'Neals. It has that familiar kind of depression-era desperation, and the kind of pioneering spirit crime-wise that these kinds of confidence tricksters had. Many of the tricks used I've never seen before, and seem so very well worked out - too intricate to be anything but real tricks that have been used. Bogdanovich mentions The Grapes of Wrath quite a lot when talking about this film, and various moments recall that seminal piece of work and it's cinematic adaptation by John Ford. This film has a much different spirit to it, obviously, and the focus isn't on the depression, but solely on the father/daughter relationship these two people have.

Paper Moon feels like a comedy that isn't conspiring to set up outright "jokes" but rather gets by with amusing moments and a plethora of little touches which charm and win us over. It's the way the actors play the scenes and their lines which provoke laughter and enjoyment. Addie's demeanor throughout the whole film is funny, especially as little adult-like moments start to build up. Addie smokes and swears and seems as expert a confidence trickster as her "father" is - she demands what's hers and isn't easily fooled. In many situations she's a lot smarter than the adults in the film. Best of all is when Addie is angry, and the look we get from Tatum O'Neal is priceless. She really projects herself well, and can of course play off of her father with ease. Madeline Kahn comes in for the film's second act and gives us the exact kind of persona that would tick little Addie off - especially seeing as it comes between her and her newfound benefactor. Moze seems to be mostly attracted by her jiggling features, and the film points this out in a very simple and straightforward manner. Trixie Delight has a young girl, Imogene (P.J. Johnson) work for her, and it's this girl that talks to Addie and fills in most of the gaps.

Just to quickly mention all of the other touches I liked about the film - I got a kick out of seeing Randy Quaid in such an early role (his first ever appearance was in Peter Bogdanovich's The Last Picture Show.) I thought all of the period touches were perfect, and there was a great variety of automobiles used - Addie and Moze go through about 4 cars from beginning to end. Kansas seems to have been a good place to shoot, because of the open spaces and the fact that a lot of town streets have architecture which goes back to this period. Oscar nominee Polly Platt did a great job as production designer for all of the store interiors - and she was also costume designer on this film - so she really outdid herself. I really enjoy hearing old tunes that remind me of watching Dennis Potter teleplays. But of course, in the end it just came back down to Tatum O'Neal and the way she played Addie. Apparently, Ryan O'Neal was pretty upset when Tatum was nominated for an Oscar and he wasn't - and that's not even mentioning what he felt when she won (a little proud I'd hope - but yeah, he's an actor, so insanely jealous as well.) I feel if there was ever a deserved Oscar going to a child actor - I'd want it to go to her. Paper Moon was her movie.

4

[cricket]

Paper Moon always gets picked for someone and it always does well.

I loved Grave if the Fireflies.

[seanc]

I like both Paper Moon and Grave Of The Fireflies but it has been long enough that both would have to be rewatched for me to have any strong opinions on them. I definitely remember not having a very strong emotional reaction to Fireflies, which I think effected my score a bit. It’s very easy to tug on my heart strings, especially with stuff involving children. So something didn’t quite work like it should have.

[Allaby]

I thought Grave of the Fireflies was excellent. I enjoyed Paper Moon.

[Citizen Rules]

Paper Moon was choose for me in an earlier PR and I loved it. Been many to watch more of Peter Bogdanovich's films, especially some of his lesser known films.

[rauldc14]

Grave is great. Paper is good.

[edarsenal]

I have never heard of Underground. For the life of me, I am SO UNSURE about ever seeing it; I can not type an iota of . . . anyway.
Can WHOLE HEARTEDLY state: PLEASE, EVERYONE! Me no not ever, ever, ever, never wanna see Night and Fog. No. No thank you, no.
Thank you.
Oh, and an American remake that may rival the original, in this case, The Bélier Family, which I did enjoy, I may seriously need to see CODA.

I truly hoped you'd get a kick out of The Servant, cricket and had a good feeling you would, considering the lil rabbit hole spiral from posh to not so much. lol

https://www.closeupfilmcentre.com/download_file/view_inline/5817/
I had wrote:
Cinematically, Director Losey creates a surreal, feverous, almost nightmarish imagery as control is spun around; the sexual, alcohol-dependent depravity/darkness takes the foreground away from the initially depicted normality of proper/accepted behavior.
Much like a classic horror film, the "monster" is never seen and only alluded to. Brilliantly.

Best Years of Our Lives is one I had only seen in the most recent years, and was highly taken by it and impressed by some of its honesty. Great film. Should revisit that one.

LOVED weeping to Make Way For Tomorrow. Well, except during the Bridge game, I got pissed. Getting agitated by a rocking chair? A ROCKING CHAIR?? F@ck you people - that was me yelling at the screen. Then when her husband calls and their seeing the guilt on their faces, I added, "Aww, feel like right d!cks, now, huh? GOOD, f@ckers.
But, oh how I adored that final day together:
The long walks, the ride to the hotel they honeymooned at, and how total strangers all gave them such courtesy without knowing the full details of what that day meant to them.
Also, the little comments and looks they gave each other throughout. You could see a couple who had spent a life together.
Truly wonderful scenes.
LOVED the phone call Bark made telling their kids they wouldn't be back. Put a huge grin on my face.

And, oh my god, the goodbye!!
My heart STILL hurts thinking about it!
Especially the final fade out as Lucy's smile fades and she looks about and behind her.
Beautiful, beautiful film.

And CR, I was dying to find out what ya thought of Army of Shadows. I got to nearly devour Melville's list of films last year beyond Cool 101 Le Samouraï and Le Cercle Rouge. This was a lovely gift in the Foreign Language Personal Rec HoF featuring three beloved actors, Lino Ventura, Simone Signoret, and Paul Meurisse.
This is one of many - in my fanboy rave - brilliant films by Melville. This was my #2 Nomination for you.

Paper Moon is one of the most continuous appearances and one I love to see shared so much. With a Phoenix penned (typed) Saga de Grande expressing the very reasons why. VERY nice!
I watched this in my youth any time it played on Movie Night on TV during the seventies. And yes, absolutely, Phoenix, this IS Tatum O'Neil's film. Excellently so.

And yes, there is NO spoiler to Grave of Fireflies but, OH, how it hits you anyway!

https://images.squarespace-cdn.com/content/v1/57ebc57bd1758ef9c90fd6b3/1523886673175-RN6UHCX4X3KCK3OBVMPX/tumblr_o33zycAkQP1t06ubmo3_500.gif?format=1000w
https://cinemapotatotjy.files.wordpress.com/2017/06/97940-gravefirefly.gif

Setsuko: Why do fireflies die so soon?

I ADORE this film. Took forever to see, and almost impossible to experience again, but I truly do adore it.

[cricket]

I truly hoped you'd get a kick out of The Servant, cricket and had a good feeling you would, considering the lil rabbit hole spiral from posh to not so much. lol

https://www.closeupfilmcentre.com/download_file/view_inline/5817/
I had wrote:
Cinematically, Director Losey creates a surreal, feverous, almost nightmarish imagery as control is spun around; the sexual, alcohol-dependent depravity/darkness takes the foreground away from the initially depicted normality of proper/accepted behavior.
Much like a classic horror film, the "monster" is never seen and only alluded to. Brilliantly.

That was a really nice out of the blue choice for me, and I think it's a movie that would be a good pick for a general HoF.

[Citizen Rules]

https://4.bp.blogspot.com/-doFS8cRf9cQ/Wg_GNssxb0I/AAAAAAAABYA/NpVrbGjYTzAxSHCYqIo6c6wZZ1ovw-hGgCLcBGAs/s1600/T-Men%2B%25281947%2529_5.png
T-Men (Anthony Mann 1947)


If I was a betting man I'd wager that this classic noir directed by one of the great mid-century directors would hit pay dirt. It was a good call to chose this for me. I mean just take a gander at my Top 10 profile and you'll see it's dominated by film noir. Somebody made a wise choice with choosing this...and so I'm sorry to say it didn't work for me. In a nut shell I found the movie dull. There was no character development, no cool noir lingo, no interesting plot twist, zip. I'll give it points for being a very early police procedural noir. Well in this case it's the Treasury Department doing the procedural work. 'Police/detective' procedural noirs were popular in the mid and late 1950s so T-Men is an early example of a noir that follows the procedure of the Treasury men as they go after a counterfeiting ring.

The problem is, besides being dull, is that the film is over bearing in it's narration during the first half of the film. I'm not talking inner monologue narration, I'm talking about some guy explaining everything we're seeing on the screen like we don't understand the basic elements of undercover work.

T-Men just proves what I already thought and that is the BFI doesn't know squat about noir. We so need a real noir list on MoFo.

*Still I'm glad to have watched this as I've wondered about it for years.

[edarsenal]

That was a really nice out of the blue choice for me, and I think it's a movie that would be a good pick for a general HoF.
I have been very tempted a few times to do just that. Funny you mentioned it.

[edarsenal]

https://4.bp.blogspot.com/-doFS8cRf9cQ/Wg_GNssxb0I/AAAAAAAABYA/NpVrbGjYTzAxSHCYqIo6c6wZZ1ovw-hGgCLcBGAs/s1600/T-Men%2B%25281947%2529_5.png
T-Men (Anthony Mann 1947)


If I was a betting man I'd wager that this classic noir directed by one of the great mid-century directors would hit pay dirt. It was a good call to chose this for me. I mean just take a gander at my Top 10 profile and you'll see it's dominated by film noir. Somebody made a wise choice with choosing this...and so I'm sorry to say it didn't work for me. In a nut shell I found the movie dull. There was no character development, no cool noir lingo, no interesting plot twist, zip. I'll give it points for being a very early police procedural noir. Well in this case it's the Treasury Department doing the procedural work. 'Police/detective' procedural noirs were popular in the mid and late 1950s so T-Men is an early example of a noir that follows the procedure of the Treasury men as they go after a counterfeiting ring.

The problem is, besides being dull, is that the film is over bearing in it's narration during the first half of the film. I'm not talking inner monologue narration, I'm talking about some guy explaining everything we're seeing on the screen like we don't understand the basic elements of undercover work.

T-Men just proves what I already thought and that is the BFI doesn't know squat about noir. We so need a real noir list on MoFo.

*Still I'm glad to have watched this as I've wondered about it for years.
I've wondered as well and had a concern it may have been one of those heavy-handed "this is how we do it" overly explained films about how great law enforcement is. And yeah, we SO need a more valid noir list here. lol

[Citizen Rules]

I've wondered as well and had a concern it may have been one of those heavy-handed "this is how we do it" overly explained films about how great law enforcement is. And yeah, we SO need a more valid noir list here. lolUsually those how we do it type noirs are fine, one of my favorites investigative/procedural noirs is The Naked City (1948) (https://www.imdb.com/title/tt0040636/) which isn't even on the BFI Noir list:rolleyes:

[cricket]

When I first saw the title T-Men I thought it was on the westerns list. I know I've seen it but I can't remember it.

[Citizen Rules]

When I first saw the title T-Men I thought it was on the westerns list. I know I've seen it but I can't remember it.You must mean the western The Tall T with Randolph Scott, I think that's who's in it, I just typed that from memory.

[rauldc14]

And I thought T-Men was from comic list

[Citizen Rules]

And I thought T-Men was from comic listNow movies from the comic list would be a tough sell for me. Though there's a few that I've seen and thought well of.

[rauldc14]

Now movies from the comic list would be a tough sell for me. Though there's a few that I've seen and thought well of.

You have some good ones not crossed off on there IMO. Who knows what you'd think.

[rauldc14]

Anyways hopefully I can knock off another one from this Hall on Monday.

[Citizen Rules]

You have some good ones not crossed off on there IMO. Who knows what you'd think.
Yeah I'm no opposed to any of them, bring them on:D Porco Rosso looks kind of fun. I think Ed had that one chose for him, or he chose it for someone else.

[cricket]

Yeah I'm no opposed to any of them, bring them on:D Porco Rosso looks kind of fun. I think Ed had that one chose for him, or he chose it for someone else.

I think Iron Man is a lot of fun

[Citizen Rules]

I think Iron Man is a lot of funHmm,
Robert Downey Jr & Gwyneth Paltrow...hell yeah that could work...I like both actors especially Gwyneth Paltrow🙂

[cricket]

Hmm,
Robert Downey Jr & Gwyneth Paltrow...hell yeah that could work...I like both actors especially Gwyneth Paltrow🙂

I didn't really care for her until Iron Man, she makes an awesome Pepper Potts.

[Citizen Rules]

I didn't really care for her until Iron Man, she makes an awesome Pepper Potts.Gideon doesn't like her either I wonder what it is about her, but I think she's pretty cute and usually good in her roles too. I liked her in Shallow Hal and Sky Captain and the World of Tomorrow. Oh and I see she's in Contagion and someone recommended that to me...so I'll be watching that one real soon.

[edarsenal]

Usually those how we do it type noirs are fine, one of my favorites investigative/procedural noirs is The Naked City (1948) (https://www.imdb.com/title/tt0040636/) which isn't even on the BFI Noir list:rolleyes:
There's a WHOLE LOT not on the BFI List lol
and Naked City is an example of when it truly works and it does.

[edarsenal]

Now movies from the comic list would be a tough sell for me. Though there's a few that I've seen and thought well of.
Really?
Such as? Off the top of your head.

[edarsenal]

Yeah I'm no opposed to any of them, bring them on:D Porco Rosso looks kind of fun. I think Ed had that one chose for him, or he chose it for someone else.
Can't recall. I may of nominated it for someone. I do know I've started it on my own and was unable to finish it for whatever reason and never remedied it.

[Citizen Rules]

Really?
Such as? Off the top of your head.Comic List
Nothing jumps out at me as being horrible, just that it's not my type of movies.

[edarsenal]

Comic List
Nothing jumps out at me as being horrible, just that it's not my type of movies.

That's what I thought, so to hear you enjoy a few, I was curious since they're very much my type of movies.

[Hey Fredrick]

https://4.bp.blogspot.com/-doFS8cRf9cQ/Wg_GNssxb0I/AAAAAAAABYA/NpVrbGjYTzAxSHCYqIo6c6wZZ1ovw-hGgCLcBGAs/s1600/T-Men%2B%25281947%2529_5.png
T-Men (Anthony Mann 1947)


If I was a betting man I'd wager that this classic noir directed by one of the great mid-century directors would hit pay dirt. It was a good call to chose this for me. I mean just take a gander at my Top 10 profile and you'll see it's dominated by film noir. Somebody made a wise choice with choosing this...and so I'm sorry to say it didn't work for me. In a nut shell I found the movie dull. There was no character development, no cool noir lingo, no interesting plot twist, zip. I'll give it points for being a very early police procedural noir. Well in this case it's the Treasury Department doing the procedural work. 'Police/detective' procedural noirs were popular in the mid and late 1950s so T-Men is an early example of a noir that follows the procedure of the Treasury men as they go after a counterfeiting ring.

The problem is, besides being dull, is that the film is over bearing in it's narration during the first half of the film. I'm not talking inner monologue narration, I'm talking about some guy explaining everything we're seeing on the screen like we don't understand the basic elements of undercover work.

T-Men just proves what I already thought and that is the BFI doesn't know squat about noir. We so need a real noir list on MoFo.

*Still I'm glad to have watched this as I've wondered about it for years.


That was from me! I need to quit picking movies that are in other peoples wheelhouses. With the exception of the biggies of the genre I'm not much of a noir fan. I find them kind of dull but T-Men flew by for me. Not saying it's great but it's more entertaining than many of the "greats", in my opinion. I liked the kind of documentary aspect to the beginning of the film and it did a couple things I wasn't expecting. Ya win some, ya lose some.

[Citizen Rules]

That was from me! I need to quit picking movies that are in other peoples wheelhouses. With the exception of the biggies of the genre I'm not much of a noir fan. I find them kind of dull but T-Men flew by for me. Not saying it's great but it's more entertaining than many of the "greats", in my opinion. I liked the kind of documentary aspect to the beginning of the film and it did a couple things I wasn't expecting. Ya win some, ya lose some.I do appreciate anyone who takes the time to join a PR and try to pick something I'd like and I'm glad I watched it as I would've watched it anyway at some point. It was a good guess, just didn't hit pay dirt this time around:D

[edarsenal]

It's SHOWTIME, folks!
https://i0.wp.com/warrenellis.ltd/wp-content/uploads/2020/06/showtime-folks.gif?resize=600%2C324&ssl=1
https://images.squarespace-cdn.com/content/v1/5b18735a3917ee20d18a2117/1571342008722-U87A7QBD0ZD4G6YHC6WU/ezgif.com-gif-maker.gif
https://1.bp.blogspot.com/-23HLwMNBNWk/WtUC29ND-8I/AAAAAAABIZ8/JTiQtKPA3SAijIsG1ZsgWT4gsyPkZvyrACLcBGAs/s400/a3.gif
https://www.filmfreakcentral.net/.a/6a0168ea36d6b2970c01b8d07e11cc970c-600wi

All That Jazz (1979)

In 2001, All That Jazz was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. This is rare for a musical; this honor is usually bestowed to documentaries or straight dramas.

Bob Fosse's Ode to Dying has been on my watchlist for quite some time with a curiosity that began when it first came out. That curiosity grew all that much stronger while watching Fosse/Verdon (2019) short series and Cabaret (1972), so I was pretty enthused when I saw that someone nominated this for me.
Fosse has not only a creative eye, along with his creative muse, ex-wife Verdon, for setting the stage for dancing but a cinematic approach as well. Countless scenes speak volumes with just a shot rather than words or music. And those dance scenes when Fosse lets loose his sexual energy have a life all their own. But then, it IS Fosse fer f@ck sake; how could it be otherwise?
And with Roy Scheider, Fosse finds an ideal counter ego to express and define all that had wished to convey beyond the dance, behind show business, into the more personal, more intimate sides while still retaining The Show for all its glamour, frustration, addiction, and heartbreak.

A truly solid Must See! film that I am delighted to have finally seen.
https://64.media.tumblr.com/f6288e07244db306c96ecba3c730dad0/762a453d838a21c3-20/s540x810/522713cdaeab35b09998b1fa7d198cd181002e68.gifv

[cricket]

I was a little disappointed the one time I watched All That Jazz but I'm definitely a fan of Fosse's style.

[Citizen Rules]

I had mixed feelings about All That Jazz, my review if anyone cares to read it.
https://www.movieforums.com/community/showthread.php?anchor=1&p=1430403#post1430403

[SpelingError]

All That Jazz is a personal favorite of mine.

[Wyldesyde19]

I was mixed on All That Jazz as well

[Wyldesyde19]

Marathon Man


This is one of those films where I’m wondering why everything needed to happen to begin with. The kind of movie where one shouldn’t think too much about the plot because the movies unravels slightly.


That’s not to say it’s a bad movie. It’s actually good. It mostly hinges on Olivier and Hoffman’s performances.

We begin with a incident of road rage that is over the top, even for New York. This leads to a crash that takes both mens lives, and from this event one man’s life will be turned upside down.

That Man is Babe, who’s father was a victim of McCarthyism and committed suicide, an act that haunts Babe. His brother, Doc, works for some sort of shadowy organization, but poses as a oil salesman.

The man who dies is the brother of a wanted Nazi war criminal names Szell, played by Olivier, who does work locating other Nazis for Docs organization. His brother had access to diamonds in a safe deposit box that Szell had stolen from Jews in his Nazi camp. For some reason, Szell decides to start killing off couriers or anyone that he considered a threat to these diamonds.

I guess the question is, why would he need to go through such actions that would bring unwanted attention to him? Why not simply gather the diamonds and take off? He has body guards.

Putting it aside, there is some good moments of terror. The torture scene for example. And Olivier delivers such a cold and calculating performance as Szell he deserved that Oscar nomination. His scenes always stand out.

Hoffman is also pretty good in this. But so is Roy Schieder as Doc and William Devane as another agent.

But that’s what you get mostly here. Some stand out performances, a few moments of genuine thrills, but a plot that doesn’t make much sense.

A good film regardless, and one I’ve been meaning to watch for a long time.

[PHOENIX74]

I found All That Jazz and Marathon Man to be very enjoyable films that are up there - not all the way at the top, but right in that upper bracket of the best.

[edarsenal]

Have yet to see Marathon Man

[cricket]

I must've been real young when I first saw Marathon Man because I've been a fan as long as I can remember.

[rauldc14]

Princess Bride

https://www.denofgeek.com/wp-content/uploads/2015/01/the-princess-bride.jpg?fit=1800%2C1013

Here's a nostalgic 80s film that I've held off on my entire life for whatever reason. And it is probably one of the bigger unseen films for me in terms of popularity so it was cool to see it nominated for me. The thing I like most about it is how simple the story is and how smooth the story flows. I don't see anything particularly interesting with any of the performances persay, but it was cool to see some of the people in their roles. Who knew Andre the Giant could act? I also had no idea for whatever reason that Billy Crystal was going to be making an appearance. It's not the funniest movie in the world but I chuckled a few times. The I'm not left handed scene is something I think will really stick out for me. I had no problem with the way the story was told either, I kind of dig the grandfather telling his grandson the story type of deal. Had I seen this prior it could be a Back to the Future type of movie for me that would have nostalgia attached, but since I haven't I'll just say it's a pretty solid and interesting film.

3.5+

[cricket]

I really need to see The Princess Bride again. I didn't like it but I only saw it once back in the 80's.

[Allaby]

I liked Princess Bride, but didn't love it. I want to get the Criterion blu ray though.

[Citizen Rules]

I was luke warm on The Princess Bride, that's all I got:D

[CosmicRunaway]

I spent years avoiding The Princess Bride (mainly due to its title), and didn't believe the many people who told me it was actually good, and that it wasn't at all what I was expecting. It was on the movie network when I was home one Christmas (around my 29th birthday), so I finally decided to give it a shot and absolutely loved it.

I bought the BluRay as soon as I came back in town, and then got to see it in theatres with my room mates during a film festival a month or so later. I now have a deluxe version of the original novel that I'll never read, and a cool looking board game I've never actually played despite it being possible to do so without any other players haha.

[Siddon]

https://artisticmetropol.es/web/wp-content/uploads/ida.jpg

Ida(2013)

Ida tells the story of a young nun in training who finds out that she's actually jewish. She then goes on a road trip with her surviving family member while being confronted by the disillusionment of her life. The film is a period piece shot in black and white.

I have to confess I'm torn the film is a visual feast and it's got a very strong basis for it's story. But man did this feel like I was watching a perfume ad...every scene was just drawn out. I understand that the director loved the way he was photographing the film but this is a 20 minute story padded out to an hour and 22 minutes.

I also had an issue with the characters...I never got a feel for Ida and her personality and her voice. She was like this haunted spectre in the film a ghost of sorts. If you are going to do that than you really need to surround her with memorable characters but Ida doesn't really do that. The film just left me feeling like I watched gorgeous but shallow film. I'm not sure where I'm going to rank this one.

[CosmicRunaway]

Ida was nominated in one of the first HoFs I joined, but I honestly don't remember much about it other than it having a fairly long average shot length.

[Allaby]

I thought Ida was fine, but not great. It's a 7/10 from me.

[rauldc14]

What list is Ida on?

[Citizen Rules]

Ida was nominated in one of the first HoFs I joined, but I honestly don't remember much about it other than it having a fairly long average shot length.I knew I seen Ida before but I didn't remember that it was in an HoF. That must be where I seen it but I'm just too lazy to go look:p I don't remember Ida much but I do remember that I thought it was impressive. If we were doing at top 50 ballot for the countdown it might make my list.

[Citizen Rules]

What list is Ida on?State list. Ida-ho. sorry bad joke:p

[Allaby]

What list is Ida on?

Foreign Language Oscar Winners list.

[cricket]

I liked Ida

[Wyldesyde19]

Ida is pretty great, but Cold War, from the same director, is better.

[PHOENIX74]

I really have a great fondness for Ida as well. Still haven't seen The Princess Bride.

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fs3.amazonaws.com%2Fcriterion-production%2Feditorial_content_posts%2Fhero%2F1356-%2FAGhHNaV6Uw3UvpeEEX1axjmzStHjGe_large.jpg&f=1&nofb=1&ipt=b48303b4b24c92675d4c93c123ce57c556fb66b55169ecbe42925ad51853a736&ipo=imagesRome, Open City
(Roberto Rossellini, 1945)

Damn that was a powerful scene. When the woman went running after the Nazi police truck I wasn't expecting what happened next. Coming out of the cold and being unexpected made the brutality of the Nazi's coldly real. When the main suspect of the Italian resistances is taken to Nazi headquarters in Rome and tortured..the off camera screams made the interrogation more hideously cruel than if we had watched the man being beat on camera. The mind can image more visceral images than the camera can ever capture.

Good choice and good movie.

[cricket]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fs3.amazonaws.com%2Fcriterion-production%2Feditorial_content_posts%2Fhero%2F1356-%2FAGhHNaV6Uw3UvpeEEX1axjmzStHjGe_large.jpg&f=1&nofb=1&ipt=b48303b4b24c92675d4c93c123ce57c556fb66b55169ecbe42925ad51853a736&ipo=imagesRome, Open City
(Roberto Rossellini, 1945)

Damn that was a powerful scene. When the woman went running after the Nazi police truck I wasn't expecting what happened next. Coming out of the cold and being unexpected made the brutality of the Nazi's coldly real. When the main suspect of the Italian resistances is taken to Nazi headquarters in Rome and tortured..the off camera screams made the interrogation more hideously cruel than if we had watched the man being beat on camera. The mind can image more visceral images than the camera can ever capture.

Good choice and good movie.




This is another I watched but feel like I didn't see. Me need to fix that.

[Citizen Rules]

This is another I watched but feel like I didn't see. Me need to fix that.I could agree with that. For the first part of the film I wasn't sure who all the players were, except of course the Nazis were the bad guys. But once I knew who was who, then it worked better for me, still I don't feel I got the full grip of the film.

[SpelingError]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fs3.amazonaws.com%2Fcriterion-production%2Feditorial_content_posts%2Fhero%2F1356-%2FAGhHNaV6Uw3UvpeEEX1axjmzStHjGe_large.jpg&f=1&nofb=1&ipt=b48303b4b24c92675d4c93c123ce57c556fb66b55169ecbe42925ad51853a736&ipo=imagesRome, Open City
(Roberto Rossellini, 1945)

Damn that was a powerful scene. When the woman went running after the Nazi police truck I wasn't expecting what happened next. Coming out of the cold and being unexpected made the brutality of the Nazi's coldly real. When the main suspect of the Italian resistances is taken to Nazi headquarters in Rome and tortured..the off camera screams made the interrogation more hideously cruel than if we had watched the man being beat on camera. The mind can image more visceral images than the camera can ever capture.

Good choice and good movie.




You should check out Paisan and Germany, Year Zero as well, the other two films in the trilogy. They're also very good.

[MovieGal]

You should check out Paisan and Germany, Year Zero as well, the other two films in the trilogy. They're also very good.

Citizen Rules I recommend Germany Year Zero. Great film!!

[PHOENIX74]

https://i.postimg.cc/qMbCWQN8/nash.jpg

Nashville - 1975

Directed by Robert Altman

Written by Joan Tewkesbury

Starring Barbara Baxley, Ned Beatty, Karen Black, Ronee Blakley, Timothy Brown
Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn
Jeff Goldblum, Barbara Harris, David Hayward, Michael Murphy, Allan F. Nicholls, Dave Peel
Cristina Raines, Bert Remsen, Lily Tomlin, Gwen Welles & Keenan Wynn

Something I've become aware of lately is the fact that some films that seem to have been intricately constructed and those full of meaningful interpretative twists and turns are often constructed ad-hoc, which seems to point to the fact that a filmmaker's subconscious can be more powerful than any attempt to consciously create an artwork that means something in a deep sense. When Robert Altman's Nashville came to an end my mind was working overtime, for it's a film that seems to be saying a lot - and one that invites interpretation - so I was surprised to learn that Altman made it without having any of that on his mind. He set 24 characters up (unusual in itself for the sheer size of ensemble) - ones who would travail along this story in Nashville that involved music and politics - and let the actors play their characters freely, with specific events as a guideline. What comes out of it is as if a prism has been held up, and this story has delineated everything you could possibly say about American culture, celebrity, governance, people and history. Because of that, Nashville is considered in many circles as one of the greatest films ever made.

The film starts in a recording session, where country & western singer Haven Hamilton (played by Henry Gibson, who I've enjoyed watching in such films as The 'Burbs as the elder Klopek living next door to a skittish Tom Hanks) is recording a song. Watching on is Opal (played by Charlie Chaplin's daughter, Geraldine Chaplin) - a documentarian from England, Lady Pearl (played by Barbara Baxley) his companion, who has a John and Bobby Kennedy fixation, and his son Bud Hamilton (played by Dave Peel) who is softly spoken and reserved. Through the film we also meet Mr. Green (played by an ageing Keenan Wynn) who is preoccupied by his wife, who is in hospital and dying, his niece Martha (played by Robert Altman regular Shelley Duvall) who has changed her name to 'L.A. Jean', Delbert "Del" Reese (played by Ned Beatty), who is politically connected and has money, his wife Linnea Reese (played by Lily Tomlin) who is a gospel singer and raises two deaf children. Arriving at a Nashville airport is country and western star Barbara Jean (played by Ronee Blakley - most recognizable to me as Mrs. Thompson in A Nightmare on Elm Street) and among those waiting for her is a folk trio, Bill, Mary and Tom (played by Allan F. Nicholls, Cristina Raines and Keith Carradine) plus the man who is to be their driver, Norman (played by David Arkin).

Barbara Jean faints at the airport, and is taken to the same hospital as Mr. Green's wife by her husband and manager, Barnett (played by Allen Garfield) - those who follow along include Pfc. Glenn Kelly (played by Scott Glenn) who is a Vietnam war veteran. Replacing her at the Grand Old Oprey is country and western star, as well as Jean's rival, Connie White (Karen Black). Several characters often make their presence felt along the fringes of the goings on these people drive forward, and they include Sueleen Gay (played by Gwen Welles) - someone who has singing aspirations, but can't sing, Wade Cooley (played by Robert DoQui) - a cook who looks out for Sueleen and tries to protect her from being exploited, Winifred (played by Barbara Harris) a middle-aged woman who also has singing aspirations, despite her ragged appearance, and her husband, Star (played by Bert Remsen) who spends most of the film chasing after her. Not mentioned yet are Tommy Brown (played by Timothy Brown) - a rare African-American country singer, the Tricycle Man (played by Jeff Goldblum) - a magician who never speaks, Kenny Frasier (played by David Hayward) - a loner who carries a violin case around with him, and John Triplette (played by Michael Murphy) - a consultant for the presidential campaign of Hal Phillip Walker (voiced by Thomas Hal Phillips) - it's Walker's presidential campaign that knits the film together, and you often hear parts of his various speeches. Elliott Gould and Julie Christie appear briefly as themselves.

The fact that the film is split fairly evenly between these 24 characters is what makes it so unique, and these characters do things which often overlap with each other. Various recording sessions, concerts, performances and political rallies sees them moving from place to place - having discussions and running into each other. Politics, music and celebrity are the main issues the film revolves around, but it does this in a way that's both complex and captivatingly simple. Barbara Jean battles a nervous breakdown as Opal tries to record interviews and Delbert along with John Triplette organises a rally for Walker. Through all of this we eavesdrop on various conversations and make observations. Keith Carradine's Tom, meanwhile, beds a variety of the female characters while remaining emotionally distant from everyone. Sueleen Gay is roped into appearing at a strip club when all she wants is to do sing, which she can't and as such never will - and all the characters end up congregating together at the political rally where the film's denouement takes place with a very dramatic event which ties everything we've seen together into a meaningful and tragic way. It makes great use of the music, which ranges from great to awful in a very realistic and believable way.

The music was, very surprisingly, composed by the actors themselves, usually the ones who end up singing what they've composed. In this way, Carradine managed to garner an Oscar from the only time he was nominated for one - winning the Academy Award for Best Original Song for "I'm Easy" in 1976. The film did end up getting nominated for Best Picture (the year One Flew Over the Cuckoo's Nest won, competing with Dog Day Afternoon, Jaws (https://www.movieforums.com/community/showthread.php?p=2276888#post2276888) and Barry Lyndon) with both Lily Tomlin and Ronee Blakley both being nominated for Best Supporting Actress. I find most of the performances in the film fairly even, but perhaps Blakley and Tomlin's did nudge ahead of the rest slightly. Dealing with a breakdown, having a loveless affair and looking after special needs kids brought out more emotion and complexity than other actors had to dig up. I enjoyed watching the entire ensemble, especially Keith Carradine and Shelley Duvall after seeing them both as a couple in Altman's Thieves Like Us - making their brief union together in this something of a reunion. The singing from Carradine and Blekley was great, and I enjoyed it very much.

The story was pretty much mapped out by Joan Tewkesbury (who also had a hand in writing the screenplay for Thieves Like Us) after Altman sent her to Nashville to come up with ideas - many events, for example the accident on the freeway, actually happened to her while she was there. The dialogue itself was left up the the actors. You can hear Tewkesbury's voice when Tom talks to his lover on the phone, and again when Kenny Frasier talks to his mother on the phone. This method, and the way Robert Altman directed the film, was on a level of sublime filmmaking - and I would have liked to have seen him win the Oscar for Best Director he was nominated for, but this was the year of Milos Forman and One Flew Over the Cuckoo's Nest. Robert Altman is one of my friend's number one favourite filmmakers, and I've seen many films of his that I rate very highly - one of the films of his I like the most, Brewster McCloud, has a very similar feel to Nashville in style, and another, McCabe & Mrs. Miller is without peer. He had a truly great decade in the 1970s, and came back into the mainstream in the 1990s with The Player (https://www.movieforums.com/community/showthread.php?anchor=1&p=2294107#post2294107). Those films of his I haven't seen, I look forward to seeing very much. Altman has said that Nashville was the first film of his in which he had 100% creative control.

Director of Photography Paul Lohmann handled the cinematography, but this film has the feel of one that isn't composed of many carefully mapped out shots - it has more of a documentary feel, with the camera capturing the most important of what is sometimes several events happening at the same time. There are sometimes interesting things going on in the background of shots, and a lot to take in through the film's packed 160 minute running time. It's said that the initial cut of the film ran much longer, and initially consideration was given to releasing Nashville as two or three films - but Altman has at times contradicted this. I can imagine that there was a lot of footage shot, but that there's a lot of overlap, with various characters performing the same events in different ways. Lohmann was cinematographer on Altman film California Split, but he wasn't a regular who teamed with the filmmaker - he also ended up as DOP on a couple of 1970s Mel Brooks films. Musically, Richard Baskin ended up supervising what the various actors didn't compose - he can be seen at the start of the film as piano player "Frog", who Haven Hamilton dismisses. Musically, Nashville is a very enjoyable film.

So, overall the impression I get is a film that was heavily influenced by the spate of assassinations blighting the American political scene at the time, the war in Vietnam, the political convulsions which Richard Nixon was sending through the entire country all mixed up into a music scene which had at it's time a few epicenters - Nashville being one. The scene in Nashville would have had patriotic overtones, as we see in the film's first scene, but also will have commented on and influenced American culture as a whole. Focusing on a presidential campaign in Nashville combined everything, and the unpredictable results of letting the actors guide themselves produced off-the-cuff lines that are revealing and interesting. Fed into that is the obviously scripted words of candidate Hal Phillip Walker - a populist telling the average American what he or she wants to hear. There are no overt comments overall, with the person who watches it left to put all of the pieces together as they listen to Barbara Harris sing Caradine's "It Don't Worry Me" - but there's a feeling of unease - and a feeling that nobody really controls or guides this cultural synergy - with music, advertising and our fellow man both influencing or inhibiting the direction the nation as a whole takes - but where one person alone can never make a difference, unless it's the assassin.

I had many different ideas about what Nashville was about, and as a whole it's a very stimulating film, along with being enjoyable to watch and listen to. The counterculture revolution of the 1960s had subsided, and what seems most noticeable about this mid-70s period, apart from it's cynicism, is the feeling that chaos is all that really rules, and it's given free reign in a cinematic kind of sense here. When characters in the film are superficial, it stands out from our point of view because we can see what's happening from every vantage point - and it's often one person's vanity that blinds them to what's really going on in a larger context. It's an amazing film because it's more visible with this kind of filmmaking, and anything more structured doesn't resemble how the world really works. For me, it's also very interesting to watch Kenny Frasier make his way through the film with his violin case - he's one person who's not at ease, but at the same time exhibiting no external sense of conflict. He's not influencing anyone, and not being influenced. He's not a part of this large co-functioning community at all - but simply the mystery at the heart of this American heartland.

On the film's surface however, it's not so heavy or intricate, but a lot of fun, and a very funny film with something amusing happening all the time. No character (except Tom perhaps) is above being shown up as a boob or the butt of some joke which takes away his or her dignity, because that's also what life is about, especially in a Robert Altman film. It thrills us with the unexpected, such as when Winifred reveals at the end just how well she can sing and how adept she ends up being in pacifying the crowd with her song. It's a little unnerving, how quickly everything reverts back to normality, but that's humanity as a whole - as resilient as we are - in spite of our lesser virtues. I don't know if Altman planned on capturing as much of us, and of American culture, as he did, but obviously this film has a lot to say - even though much of what the director had to say he ended up capturing subconsciously, guided by the chaotic events that occurred as his screenwriter travelled through Nashville to try and take the city on and get a feel for it. "The damndest thing you ever saw." That's the best the publicity people could get to a functioning tagline - and it is like that. Another unique film from the 1970s that was of it's time and place and of it's artist - the incomparable Robert Altman.

4.5

[cricket]

I haven't seen Nashville since the 70's countdown but I thought it was great. Big fan of Altman, there's a couple more of his movies I still want to see (hint hint).

[Citizen Rules]

You should check out Paisan and Germany, Year Zero as well, the other two films in the trilogy. They're also very good.Paisan sounds like I might like that.

@Citizen Rules (http://www.movieforums.com/community/member.php?u=84637) I recommend Germany Year Zero. Great film!!I've seen Germany Year Zero in an HoF, but I couldn't find English subs so just watched it in German. Did I mention I don't speak a lick of German.

[MovieGal]

Paisan sounds like I might like that.

I've seen Germany Year Zero in an HoF, but I couldn't find English subs so just watched it in German. Did I mention I don't speak a lick of German.

The thing about Germany Year Zero, even if you don't understand the language, you still understand the story. It's a tragic one.

[Citizen Rules]

The thing about Germany Year Zero, even if you don't understand the language, you still understand the story. It's a tragic one.Yeah that's very true. I was surprised by watching the actor's faces how much emotion I could get out of it, when I didn't know what they were saying. That's one film I'd really be interested in seeing again just because the subject matter is pretty unique. I don't know of any other films about Germany during the occupation.

[Thursday Next]

Nights of Cabiria

I think the main reason I hadn't watched this before was that I had vaguely confused it with La Strada, which I have seen. Another reason might be that I never liked La Dolce Vita and have always been slightly wary about Fellini as a result. One thing that surprised me about this was that it had quite a few similarities to La Dolce Vita, but manages to address a lot of the issues I had with it - where La Dolce Vita is told from the viewpoint of a wealthy, cynical womanising man, here we have a naive prostitute with a genuine yearning for love and a better life and it allows for much more truth and warmth even when some of the situations presented are similar.

I wasn't sure I would like this at the start, I thought I would find the main character annoying, she just kept shouting at everyone, but she became deeply sympathetic and the film emotional and compelling. I wasn't initially convinced by Giulietta Masina's central performance - it's a little exaggerated and clown-like and at first seemed at odds with the realism - but that soon became a strength, clearly a deliberate choice. She's not quite real, she's almost an innocent abroad and we see the reality and oftentimes cruelty of the world as it happens around and to her. I liked that there are some scenarios that deliberately echo and mirror each other. I think if I watched it again I would find even more.

Even though I could sense things weren't going to end well for Cabiria (I think I have seen that the final scene of her walking amongst the parade with a tear rolling down her cheek before), the climactic scene on the cliff was still sad and shocking.

It looks great, of course, particularly the scenes set at night.

Glad this was nominated for me, I think it was a good film.

[MovieGal]

Yeah that's very true. I was surprised by watching the actor's faces how much emotion I could get out of it, when I didn't know what they were saying. That's one film I'd really be interested in seeing again just because the subject matter is pretty unique. I don't know of any other films about Germany during the occupation.

I believe the film was shot right after the end of WW2.

Also, not sure if you knew this, the director, Roberto Rossellini,, is father to actress Isabella Rossellini.

I have the Criterion copy of the film.

[Citizen Rules]

I believe the film was shot right after the end of WW2.
I have the Criterion copy of the film.


Also, not sure if you knew this, the director, Roberto Rossellini,, is father to actress Isabella Rossellini.
I didn't know that, but my wife told me during the movie.

[cricket]

I liked Nights of Cabiria but also found the lead character a little off. Another is like to see again.

[Citizen Rules]

Nights of Cabiria is probably one of my more 'must see films', that I haven't seen...yet!

Nashville I was mid range with the movie. I'd watch it again if it was ever in an HoF...Well that goes without saying:D but I wouldn't mind a rewatch.

[cricket]

The Ballad of Narayama (1983)

https://i0.wp.com/filmotomy.com/wp-content/uploads/2020/05/The-Ballad-of-Narayama-2.jpg?resize=675%2C360&ssl=1

This is a Cannes winner, and a remake of a 1958 film which is on the Ebert list. I did not like the other version, and it's Kabuki style had a lot to do with it. This was done with a much different style, and my biggest hope came with being a fan of the director, Shohei Imamura.

I'm not sure what time period it is, but it's set at like this middle of nowhere village where people just live to survive and many are just looked at as another mouth to feed. The basic story I find to be a little morbid. Once people turn 70, they are brought up into the mountains by a family member and just left to die. Although to them it is spiritual, it seems that it's the result of them now being considered useless. Depending on the family, the feelings of the family members could be different. A son may not want to bring his mother who wants to go, or a son might bring his father who begs not to go, so there is an emotional side. While not violent, there's some sick stuff in this film including infanticide, beastiality, the general cruelty of nature, and a scene in which an entire family is ripped from there home and buried alive for the stealing of food. These are things that alone would make the movie memorable, but of course it's also really well done. Not the most enjoyable film but certainly a good one.

4+

[cricket]

I am the 4th to finish so congratulations to me!

[rauldc14]

I'll probably be last this time but going to try for another today or tomorrow

[Citizen Rules]

I got one more and a lot of time to finish...but probably I'll wrap this up sooner than later.

[rauldc14]

Source Code

https://www.film-rezensionen.de/wp-content/uploads/2020/04/Source-Code-Szene-8-scaled.jpg

Whoever nominated this film definitely knows my film tastes pretty well. This is the type of format and story I usually always go for. I love the going back for 8 minute scenes and seeing more and more get unveiled in regards to Gyllenhaals character figuring the puzzle out. The cast is great for me, even if the acting is just ok it's a lot of likeable characters. In a way this reminds me of the format of Deja Vu. I didn't learn it by watching Moon but Duncan Jones is David Bowies son. Quite a connection there. He's 2 for 2 with me on his film. This was enjoyable.

4

[SpelingError]

Source Code is really good. Not sure how to feel about the ending, but I like the rest of the film quite a bit.

[cricket]

Source Code is popular but for me it was extremely average.

[Citizen Rules]

I thought Source Code was the sci fi flick with Johnny Depp, but I guess not. So I haven't seen it.

[PHOENIX74]

I really like Source Code - Duncan Jones did so well with Moon and I had my fingers crossed he wouldn't be one of those filmmakers who crashed after an initial success. He couldn't have picked a better subject for a film that I'd enjoy - the whole time travelling angle had complexity that made the whole story a lot of fun and very exciting. Hunted that one down on DVD as soon as I could.

Nights of Cabiria I saw not long after it appeared on the Top 100 Foreign Language Films Countdown, and I really loved it. I'm going to have to hunt down the Criterion edition of that and add it to my collection. I think Fellini ended up marrying Giulietta Masina. I don't blame him.

I finally got around to Rome, Open City not too long ago, and along with that I watched Roberto Rossellini's Paisan and Germany, Year Zero - both films I recommend, especially the latter. I feel like I need to see Rome, Open City again to really appreciate it - with some films it takes some familiarity with them to be able to sit back and really appraise them properly.

[CosmicRunaway]

I thought Source Code was the sci fi flick with Johnny Depp, but I guess not. So I haven't seen it.
Are you thinking of Transcendence?

[Citizen Rules]

Are you thinking of Transcendence?Ah yup, that's what it was called, thanks...I'm so bad with movie titles. I just now looked it up and I even wrote a little review: Transcendence (https://www.movieforums.com/community/showthread.php?anchor=1&p=1257651#post1257651) Did you see it and if so what did you think of it?

[CosmicRunaway]

Did you see it and if so what did you think of it?
I did see it awhile after it came out. Had heard negative things about it when it was in theatres, but I was in the mood for something sci-fi and wanted to check it out for myself. I only really remember the ending though, and that I didn't particularly like the film overall. I think I even turned it off halfway through but went back to it later because I had nothing else to watch haha.

[PHOENIX74]

https://i.postimg.cc/qM4mx7vm/strange-days.jpg

Strange Days - 1995

Directed by Kathryn Bigelow

Written by James Cameron & Jay Cocks

Starring Ralph Fiennes, Angela Bassett, Juliette Lewis, Tom Sizemore
Michael Wincott, William Fichtner & Richard Edson

Don't get me wrong, I like Strange Days, but I have to wonder sometimes why some science fiction films invent a new and wonderful piece of technology and then date their films a mere few years into the future - where there simply isn't enough time for that technology to have been developed. I'd have set this in the year 2050 or something - because four or five years aren't enough for noticeable change to have occured. I can never really get onboard with mind-reading technology either, where a device can actually record a person's thoughts, and show in a visual sense what they see - although the latter could conceivably be possible if an optic cable was inserted into a person's eye. Fortunately though, Strange Days doesn't completely depend on you believing in it's technology to enjoy it - even though that technology is a central part of it's plot. It's so well structured, performed and written that it makes for an exciting neo-noir cyberpunk action/thriller that roars along, forcefully propelling us through a future landscape blighted with violence and danger. Director Kathryn Bigelow is helped enormously by having weighty leads in Ralph Fiennes and Angela Bassett - two left field performers when you consider how much of an action film this is.

Lenny Nero (Ralph Fiennes) was once a cop, but now finds himself off the force, selling a new kind of virtual reality mind-sharing experience which now exists, where experiences are recorded on SQUID devices, able to be played back to experience what another person sees and feels when recording. He pines after his former love, Faith (Juliette Lewis) who has taken off with a new boyfriend, Philo Gant (Michael Wincott) - a music producer with wealth and power. One of Faith's friends, Iris (Brigitte Bako) - after being chased by a couple of cops (played by Vincent D'Onofrio and William Fichtner) urgently tries to impart some knowledge to Lenny, leaving a SQUID recording in his car. Lenny spends much of the film with two of his friends, Max Peltier (Tom Sizemore) - a private investigator, and Lornette 'Mace' Mason (Angela Bassett) - a limo driver and bodyguard who has feelings for Lenny. When Lenny comes into possession of a SQUID recording which shows Iris being murdered, Lenny and Mace track down the SQUID recording she'd left him, which exposes something that will have awesome political and societal ramifications if brought out into the open. As time ticks down to the New Year, he finds that Faith is in danger and any number of people want him dead and the SQUID recording kept secret.

Constructing complicated and long POV shots was the massive challenge behind the making of this film, and while it may not be obvious to the casual observer, those shots weren't your average every-day kind of filmmaking. These shots were needed to give those watching the film a sense of what experiencing these SQUID experiences was like - as if you were living them yourself. A new camera had to be designed - lightweight, and small enough to fit into a person's hand and be worn on a helmet. The film's opening features one long POV-shot scene which involves a robbery gone wrong, which starts in a car, enters a restaurant and then quickly takes us up flights of stairs to the building's roof - where one robber jumps to the next rooftop, and our POV person attempts a jump, only to fall to his death. This took two years to plan, from camera, stunt men, use of a steadycam up the stairs and hidden cuts - with every moment painstakingly choreographed. Even aside from these shots, cinematographer Matthew F. Leonetti, who has been behind the lens of great films, and some fascinating to me (Poltergeist, Raise the Titanic, Ruby and Oswald, The Ice Pirates, Commando a few Star Trek films and others more famous and notable*) was kept incredibly busy, with shots from all angles and a lot of movement. This is a very active and exciting film - and although I haven't ever really been aware of it, I think I'm a huge Matthew F. Leonetti fan.

Adding to the bright neon and frenzied pace and movement is the music of Strange Days and it's score. New Zealand composer Graeme Revell adds an international kind of flavour to his music (something from everywhere), and goes for a kind of wonderment and awe instrumental feel - religious thunder kind of stuff. I enjoyed a lot of the song choices on the soundtrack, and many numbers end up being performed live - Juliette Lewis even gets to let loose with a couple of P.J. Harvey numbers. "Rid of Me" and "Hardly Wait" are given a punk-like screaming intensity which seems to come from the depths of where the character is at this stage of her life, and predicament in the story. Skunk Anansie appears, to perform live in the film at a New Years event. British trip hop artist Tricky and Belgian electronic group Lords of Acid are featured, and Heavy Metal group Prong perform the song that inspired the film's title - "Strange Days". We get a mish-mash of electronic, heavy metal, punk and rock, with a heavy slant towards the heavier kind of stuff produced by all the varied artists represented in the film. It's a component of the film that has been well thought-out and geared towards the whole cyberpunk theme and dark storyline. I think it all works particularly well.

James Cameron's presence can still be felt, and he's directly credited as far as the film's screenplay goes - the general concept was his original idea, and he'd keep on coming back to the project, for instance smoothing out a lot of the dialogue in a screenplay co-written with Jay Cocks - someone who's been nominated for 2 Oscars (the screenplays for The Age of Innocence and Gangs of New York.) I prefer the story, and the way it's been filmed and put together, much more than the actual dialogue our characters use for the most part. It feels rewarding to finally know where Fatboy Slim's "Right here! Right now!" comes from (lines delivered by Angela Bassett) - and I guess it's kind of fitting that a big beat electronic acid house trip hop tune would sample this futuristic thriller. I'm sure quite a few classic noir lines end up being revived just because so many of the situations Lenny finds himself in are so familiar to us, but the story as a whole - with the whole concept of being able to share experiences, is interesting and a nice combination. Cameron was very much at his creative peak when he thought up the story, and director Kathryn Bigelow ended up creating something worth remembering from a short and sweet marriage that wasn't. Cameron was also in the editing booth with Howard E. Smith (who he'd done The Abyss (https://www.movieforums.com/community/showthread.php?p=2245345&highlight=abyss#post2245345) with) putting the film together, so it might be more of a James Cameron film than many people realise.

Production design means something on a film set in the future (even if by only a couple of years) and Lilly Kilvert (Oscar nominations for The Last Samurai and Legends of the Fall) provides us with a neon-lit and chaotic vision of a society which has disintegrated just a little bit more. I never really look at cyberpunk as a really realistic vision futuristically, and think that a balance is always going to be struck because a good portion of us will always consider what's beautiful - and cyberpunk never is. Still, Strange Days always looks particularly good, with Fiennes, Bassett and Lewis helping by being three great-looking leads, and having even more talent than they have looks. As I've already mentioned, I really like the fact that we have someone a little more delicate and "pretty" in the middle of this violent hurricane of action. I love the fact that Bassett is far more dangerous and able than he is, despite the fact he was once a cop. Sizemore always fits in well if he's playing a character a little unbalanced, and we can never be quite sure about him. The film had a great time at the Saturn Awards (I should really pay more attention to those) with Bigelow taking out Best Director and Bassett winning the Best Actress category. 12 Monkeys ended up beating Strange Days for Best Science Fiction Film.

So, all in, even though the film is two and a half hours long it manages to sustain it's frenetic pace and keep us interested all the way through. It's a film that tanked at the box office when it really shouldn't have, and it appears that part of this was related to it having a female director. I say that because I've seen so many films made by women which have been buried or not enthusiastically marketed - with this film belonging in the latter category. With such a big budget I would have thought there would have been a marketing blitz. I just don't think a lot of the suits at studios and distributors are fully on board, while occasional ones are outright hostile. The same thing seems to have happened with her 2017 film Detroit, which I thought was really good. Kathryn Bigelow's output overall seems to have been so good that it simply can't be ignored, but not for lack of trying. The way filmmakers like Elaine May and Kathryn Bigelow have been treated over the years is a shame, because it really inhibits around half the population when it comes to filmmaking - who would want to continually battle against the people who are supposed to be working with you? To be fair, I should also say that when this film was released it did meet with mixed reviews - but half of the critics were giving it high praise.

Strange Days doesn't shy away from the darkest aspects of the genre it occupies, and rape as a form of torture and assertion of power is not only depicted, but in a very strange way. When using the SQUID devices, those watching can also feel what the rapist is feeling - and sometimes the person committing the rape puts a headset on the person being raped, forcing them to feel the same thing. There's a sense that when people witness rape, we can't divorce ourselves completely from what we're seeing. Using those devices just brings that all the way, and makes us all complicit. Another interesting aspect is one that really predicted the future especially well - with a black music star being pulled over by cops for no reason, and meeting with violence. Capturing this violence on film furthers the rage and demands for change, and people living in the 21st Century have become more familiar with this - something inspired at the time by the Rodney King case. I kept on thinking about Floyd George while watching that aspect of the film. When you look at the bigger picture, there's a sense of the voyeuristic becoming more part of our lives in the direction we were heading in, and that's certainly another aspect of the future that has been well predicted. The themes this film touches on are ones that have been well chosen, making Bigelow's film even more topical and relevant now than it was when released. Perhaps this is why the critical appreciation of it has risen and picked up over the years, and why it's living on and being discovered by more people.

Aside from looking at Strange Days in a serious analytical way, it's a fun action film with great music and some great set pieces. I don't know how many times poor Lenny gets beaten up, but it's quite a few - something quite common in noir and neo-noir. The villains are the ones we see in the news every day. The violent, crooked cops and the wealthy and powerful. With it's cyberpunk leanings the whole world looks like it's coming apart, which enhances the danger and excitement inherent in the action and violence - but this is all very thoughtfully written and I never had a sense of the film just being violent for it's own sake. Instead if fuels our hunger for justice, and our need to see justice done. I have to admit to being excited, so when it finished I thought the film had done quite well by me. As said at the start, the future technology had me rolling my eyes a little though, especially considering this technology had developed by the time 1999 had rolled around. I was almost surprised I didn't see flying cars, considering I was seeing that. Adding insult to injury was the fact that Sony MiniDiscs were what this technology was recording on - a recording format that never really took off, and one which in no way could possibly handle the amount of information to record what the SQUID do.

When I mentioned Strange Days to a friend he told me that he'd seen that when it came out, and that he'd been a big fan, but that if he were to see it today he'd probably feel differently about it. I'd disagree with that. I don't think Strange Days depends on any era, and that it exists as a story independent of time and technology. It's a little too action-heavy to take really seriously as an artistic statement, but musically and visually it's a fine piece of work and I really like it. I like it's cast (except for Sizemore - who I have to admit I don't really like at all) and I like it's style. It was gripping enough to really have me in the palm of it's hand come the climax, and this climax takes much more than 2 hours to reach - so for a film to do that it has to work especially well. I respect the fact that Bigelow worked really hard to bring us the POV-shot first person vantage point during the sections that involve the SQUID technology, and also the digital effects that make it seem more realistic. No half-measures were taken. This doesn't seem like such an old film - so much so it's hard to believe it came out in 1995, and it's future has receded further and further into our past - but no matter, for it still looks like the future to me in the present. Right here. Right now.

3.5

Red Heat, Action Jackson, Weird Science and many others, if I was watching it in the 80s (bad or good - always enjoyable) chances are Matthew F. Leonetti was Director of Photography on it - I've committed his name to memory.

[cricket]

Strange Days is a pretty significant favorite of mine, but there's no doubt it should have been set much further in the future.

[edarsenal]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fs3.amazonaws.com%2Fcriterion-production%2Feditorial_content_posts%2Fhero%2F1356-%2FAGhHNaV6Uw3UvpeEEX1axjmzStHjGe_large.jpg&f=1&nofb=1&ipt=b48303b4b24c92675d4c93c123ce57c556fb66b55169ecbe42925ad51853a736&ipo=imagesRome, Open City
(Roberto Rossellini, 1945)

Damn that was a powerful scene. When the woman went running after the Nazi police truck I wasn't expecting what happened next. Coming out of the cold and being unexpected made the brutality of the Nazi's coldly real. When the main suspect of the Italian resistances is taken to Nazi headquarters in Rome and tortured..the off camera screams made the interrogation more hideously cruel than if we had watched the man being beat on camera. The mind can image more visceral images than the camera can ever capture.

Good choice and good movie.



This was my first of the three that I nominated for you and I scored this as -- well, this:
5:yup::yup:

https://media0.giphy.com/media/tODygE8KCqBzy/giphy.gif

My introduction to Rossellini, this is a film that I would be entertaining good friends at home and say, "Hey, you guys wanna watch a really, really good film?" as I hit Play.

I adored, rooted for, and was captivated by the Locals. The Chase's suspense and the amusing/clever attempts to distract the Germans kept me grinning continuously. Counterbalanced sublimely by the villainous machinations of the Germans, The ending was superb. All of this wrapped up in a very intelligently written story and dialogue befitting a cast of warm, determined folks against a ruthless predator.
LOVED IT
JUUUUUST LOVED IT

You should check out Paisan and Germany, Year Zero as well, the other two films in the trilogy. They're also very good.
I wanted to check them out after seeing Rome, Open City but as of yet, have not. But sincerely wish to.

[edarsenal]

Nights of Cabiria

I think the main reason I hadn't watched this before was that I had vaguely confused it with La Strada, which I have seen. Another reason might be that I never liked La Dolce Vita and have always been slightly wary about Fellini as a result. One thing that surprised me about this was that it had quite a few similarities to La Dolce Vita, but manages to address a lot of the issues I had with it - where La Dolce Vita is told from the viewpoint of a wealthy, cynical womanising man, here we have a naive prostitute with a genuine yearning for love and a better life and it allows for much more truth and warmth even when some of the situations presented are similar.

I wasn't sure I would like this at the start, I thought I would find the main character annoying, she just kept shouting at everyone, but she became deeply sympathetic and the film emotional and compelling. I wasn't initially convinced by Giulietta Masina's central performance - it's a little exaggerated and clown-like and at first seemed at odds with the realism - but that soon became a strength, clearly a deliberate choice. She's not quite real, she's almost an innocent abroad and we see the reality and oftentimes cruelty of the world as it happens around and to her. I liked that there are some scenarios that deliberately echo and mirror each other. I think if I watched it again I would find even more.

Even though I could sense things weren't going to end well for Cabiria (I think I have seen that the final scene of her walking amongst the parade with a tear rolling down her cheek before), the climactic scene on the cliff was still sad and shocking.

It looks great, of course, particularly the scenes set at night.

Glad this was nominated for me, I think it was a good film.
I started this film a while back and got a severe kick out of the first 15 minutes of it, and need to go back and watch this. It looks like a great film, and I attempted to see it shortly after seeing La Vita Dolce.

[edarsenal]

Princess Bride, I cannot count the times I've seen this truly delightful and enjoyable film that, while it does not take itself seriously, it does a very respectful tip of the hat to fantasy/ swashbuckling adventures throughout.
I loved the "out of the box" situation of a grandfather (Peter Falk) reading the story to his sick grandson, (Fred Savage) who would rather be playing his video game instead.
And like Savage's character, it's very easy to get drawn into and be caught up in this little fairy tale. Delivering the goods that the grandfather promises when his grandson asks if there are any sports in it.

Every single person in this seems tailor-made to the character they play. Elwes brings an Errol Flynn flair and style to his lead character, and Robin Wright truly is a Princess Bride. With Mandy Patinkin stealing scene after scene as a Spaniard intent on revenge against the six-fingered man and even Andre The Giant's lovable character, Fezzik is a fun watch.
And the list continues on and on through the entire cast.

I was excited to see a Phoenix epic write-up for Strange Days. Saw this at the movies when it came out and numerous times since. A great cast doing some excellent work on a social sci-fi action/neo-noir flick.

I've only seen Source Code once and enjoyed it, but for whatever odd reason didn't love it. Very well-done sci-fi action, though.

Have not seen/heard of Ida or Ballad of Narayama, and after delving more into Altman, Nashville is one of his I need to see.

I'm going to try to knock out one more from my list this weekend.

[Frightened Inmate No. 2]

aliens
https://filmfreedonia.files.wordpress.com/2021/10/aliens30.jpg?w=1272
despite not really being a fan of alien, i was always interested in seeing this one because i knew it was a bit of a departure from the first one and had seen a couple scenes on tv as a kid. i'm sure i would enjoy alien more on rewatch, but i remember it as a cold genre exercise that just didn't really do much for me. james cameron, however, can also be a rather cold filmmaker and, despite admiring the precision and craft of the filmmaking throughout, for the first two-thirds of this one i was having a similar problem as i did with the original. i actually rewatched the terminator last week, which is similarly cold but in that instance it's actually quite fitting as the movie takes on the same unfeeling precision as the terminator himself. i actually really appreciated the newt character as the much-needed emotional center of the film and a new way for cameron to exercise his recurring motherhood fetish. to be clear, there's plenty of cool stuff going on and i was still enjoying it enough but i was still slightly disappointed.

fortunately the last third absolutely rules and all my reservations about this thing kinda went up in smoke as all the clinical groundwork-laying becomes retroactively justified by how smoothly cameron is able to pull off this maximalist spectacle. extremely entertaining stuff that clearly helped shape the template to which action movies adhere to this day, while also being meaner and more violent than most dare to be. plus sigourney weaver is just such a movie star. everyone else in the main crew is a lot of fun too, and paul reiser gives one of the best evil capitalist performances of all time. love lance henriksen too. i know it isn't supposed to be very good, but i may check out alien 3 soon.

4

[seanc]

I was really disappointed in Aliens, but that pretty well sums up 80’s action flicks for me.

[StuSmallz]

Hmm; Aliens is a great movie (as you can see here: https://letterboxd.com/stusmallz/film/aliens/ ), but it definitely isn't as great as the original... it just isn't, you know?

[PHOENIX74]

https://i.postimg.cc/Z5hR37M0/videodrome.jpg

Videodrome - 1983

Directed by David Cronenberg

Written by David Cronenberg

Starring James Woods, Debbie Harry, Sonja Smits & Peter Dvorsky

The human race appears to be going through something unprecedented - something that has never happened in all of Earth's history - a rapid evolutionary change of our own making. Videodrome seems to be saying something about this, and feels like a prophecy come true in some ways - a vision of us physically and mentally entwined and combined with our audio-visual technology. In it's day, that mostly meant television, but it adopts a lot of it's philosophy from University of Toronto's famed Marshall McLuhan, who ended up predicting the Internet and World Wide Web long before it became reality. In his "The Medium Is the Massage" (yes, he meant massage) he postulated that all of this technology is merely an extension of our human senses. Little wonder then that Cronenberg has his main character undergo such physical mutations and changes, even if they're hallucinated. In this film technology comes to life, and the barriers between what is real and what is broadcast become transparent - it becomes impossible to separate what is real from what belongs in this virtual world.

Max Renn (James Woods) presides over a UHF television station which brings to it's viewers content they wouldn't be able to get anywhere else, whether it be kinky, violent or unusual. He's invited to speak on a panel for a TV show, and also speaking are Dr. Brian O'Blivion (Jack Creley) via television itself and Nicki Brand (Deborah Harry) - a sadomasochistic radio host. Max has just started to tune into and pirate a strange broadcast - Videodrome - which features people being tortured in an orange torture chamber, and when Nicki comes to stay the night they both watch it - Nicki taking much pleasure from being hurt, but Max a little less sure about his sadist role. When Max tries to dig up just what this show is, a friend, Masha (Lynne Gorman) alerts him to the fact the show is real. From this point forward, Max starts to have strange hallucinations - his television becomes a living being, and he finds an opening in his abdomen - stashing a gun in it. From O'Blivion he learns that Videodrome has something to do with mind control and that it's given him a brain tumor. When he meets the mysterious Barry Convex (Leslie Carlson) it seems he's stepped over a precipice. What is reality anymore? O'Blivion's daughter, Bianca (Sonja Smits) and Convex start urging him to take that final step, and kill.

I remember the scene back in '83, when this film came out. There had been a revolution in special effects and special make-up effects, which precipitated the creation of a new Oscar category for this new skill - and Rick Baker, who was in charge of these effects on Videodrome became the first recipient of this Oscar. I remember Rick Baker being interviewed on television, and this kind of fame for a technician is very rare - but for him was probably deserved. Baker has now won 7 Oscars during his career, from 12 nominations. He's won for An American Werewolf in London, Harry and the Hendersons, Ed Wood, The Nutty Professor, Men in Black, How the Grinch Stole Christmas and The Wolfman. He's been nominated for Greystoke, Coming to America, Mighty Joe Young, Life and Norbit. His work on Videodrome is extraordinary, but for whatever reason he was not nominated for his work here. Through the film a gun mutates and becomes part of Max's hand, he gains a slit in his abdomen, tumors burst out of Barry Convex, a character's hand is replaced with a grenade, Max physically enters his television set, videos pulsate as if alive and televisions turn into breathing, living beings.

So, this is certainly a very freaky film. I love all of the effects and cinematographer Mark Irwin moves in step with the crazy stuff we see. He's filming a very urban landscape, with the film being shot in Toronto and so everything is tightly focused and pays heed to what we're exactly meant to be looking at. Irwin had been with Cronenberg since Fast Company in '79 and been director of photography on The Brood and Scanners. He'd go on with Cronenberg to film Dead Ringers and The Fly. There were unique difficulties he faced, for example the number of scenes which included the capturing of video being played - because of different frame-rates they usually don't show up well on film. He recorded all of the video segments as well, on a Hitachi SK-91, which he was particularly uncomfortable with - he was much more used to the more regular type of filming. It all shows up fine, and has a look that never makes us question what we're seeing - there is no flickering of television screens, and the effects come off pretty well for a film put together in the days before CGI made everything so much easier. Everything comes off like a visual kind of storm of hallucination that includes pixelated elements and wonderful practical effects. One of Videodrome's trailers was put together with images made on a Commodore 64 - highlighting the digital and futuristic mindstorm it is.

Videodrome's score has been composed by Howard Shore - winner of 3 Oscars in the time since, for the score of The Lord of the Rings: The Fellowship of the Ring, The Lord of the Rings: The Return of the King and an original song from that same film. He's also been nominated for scoring Hugo. His music in this is wonderfully freaky, with all kinds of dissonant sounds adding to the complex electronic arrangements - some of which would feel at home in any 80s sci-fi and/or horror film. The music is very purposely arranged so that at the start of the film it's mostly orchestral, but as the movie goes on more and more electronic music is added to mirror Max's descent into video hallucinations. It's the kind of music that makes me feel like I'm back in the 80s, watching horror on my VCR, and having a great time. Shore had also been with Cronenberg through the same era Mark Irwin was, scoring The Brood and Scanners - going on to be a big name in the industry and composing the music for too many huge films to even begin mentioning. I love the kind of music I hear with Videodrome, because this kind of stuff I only ever hear when watching movies - and only movies from this particular era. Usually electronic music moves bullet train-fast, but in the early 80s you'd hear it from time to time really dragged out and freaky.

Cronenberg's crew on Videodrome would be like a family and be with him to the present era. Editor Ronald Sanders and Art Director Carol Spier have been on for the long haul. Both Sanders and Spier winning Director's Guild Awards for the likes of Eastern Promises and A History of Violence - but only getting nominations for a Genie Award for Videodrome, which looks seriously overlooked on the Awards scene. It didn't do too well at the box office either, but instead it has picked up more and more as it's become more and more obvious how prophetic it has been, and how much what it has seemed to have said been proved very true. I can't help but think it deserves Award recognition in retrospect (there ought to be some kind of retrospective Award that's given out - so some films get that recognition they missed.) Contributing to the look of the film, and how well it pieces together it's disparate hallucinations and imaginative settings (not to mention the erotic videos) makes for an intriguing and finely crafted science fiction and horror film - with a message that seems to lift it onto a higher plane than most other such films of it's era.

I'm fairly sure that I tried to watch Videodrome when I was a kid, and because it's so cerebral, and doesn't follow any kind of predictable and understandable narrative path, I kind of rejected it as too weird. I see it very differently today, and I understand that it's one of those films that can never be fully understood - for one person's interpretation of it can be very different from another's, while both being perfectly valid. Also, having a different perspective today helps to understand this film a lot - when Dr. Brian O'Blivion talks about us all having a certain moniker for our video incarnation, I just take it naturally as the usernames we have today on the net. Back then it would have sounded incomprehensibly weird, but today it sounds perfectly natural. I remember trying other Cronenberg films out as well - the equally strange Shivers and the classic horror film Scanners. I was attracted to their weirdness, but at the same time that very strange quality they had was a barrier that wouldn't let me understand them, and therefore appreciate them more. I can understand that for some people this would never be their cup of tea.

I think James Woods was a good casting choice for Max Renn, and likewise Debbie Harry for her character. I don't know if this is so much an actor's movie as it is director's and writer's - though the performance from Woods is fine. It was really written on the fly by Cronenberg (no pun intended, since this is that director) and that's something I never feel really comfortable with - although it helps to mine the director's subconscious more directly - not having time to overthink everything. I'd never be able to write well under pressure, and due to a certain peculiarity in how Canadian films are funded, everything had to be finished in a set amount of time. Even the end, by the time the crew were getting close to wrapping things up, hadn't been finalized. This is just another example of how much you can read into films that have been constructed in such an ad-hoc, on the fly, almost subconscious manner. Like a splashed ink-blot, these films hold up a mirror and what we have inside of us already comes out as an interpretation. As a guide we have the theories of Marshall McLuhan, and his thoughts about modern media.

If you haven't seen Videodrome for a long time, it's worth another examination when you consider how much the world has changed over the last few decades. Everything has shifted, and it's all because of the screens we're fixated on. So many types of screens, and I spend most of my day, nearly every single day looking at them and interacting with them in some way. They certainly have become part of me, and I'm sure McLuhan would argue that they are a part of me in every sense. I interact with the world via these screens. I see, and I am seen. I shop by using them. I listen to them, and talk into them. Perhaps in the future people will physically become one with the screens that seem to be becoming a large component of what we are. Videodrome is the film that really examines this important question, and it's something central to who we are - so much so it's strange that we don't debate it, or try to regulate it like we do other parts of life. We treat it as if it's natural, and a natural kind of progression for our species. "The television screen is the retina of the mind's eye" - I think you should take "television" out of that quote. It's something that would have sounded strange when this film was released, but less strange today. These screens really have become the retinas of our mind's eye - and whatever strange things Max sees or does in Videodrome could make perfect sense if translated into cyberspace. Welcome to the new flesh.

4

[Allaby]

Hmm; Aliens is a great movie (as you can see here: https://letterboxd.com/stusmallz/film/aliens/ ), but it definitely isn't as great as the original... it just isn't, you know?

I agree.

[Allaby]

Videodrome is fantastic. I think it is Cronenberg's best film.

[CosmicRunaway]

Great write-up on Videodrome. :up:

[cricket]

Huge fan of Aliens, and I consider it only behind Die Hard as an action film great.

I like Videodrome, but I think it's because of my long time crush for Blondie and the fact that James Woods is one of the coolest actors in history.

[rauldc14]

Diner

https://4.bp.blogspot.com/-_UcNtzTJ7TQ/XETUZjDLhvI/AAAAAAAAaRg/BANqf7V4znset_pNhGrvinmoqhLSgZoowCLcBGAs/s1600/Diner%2B1.jpg

One of those cool hang out films that just works for whatever reason. Really enjoyed the clan of friends and the bonds that they shared. I thought the acting was pretty good and the characters were entertaining to me. I think Levinson did a good job, it wasn't the most effective story to work with but like it said it was pretty chill and laid back. Not like the film did anything extraordinary but it seemed to keep my interest for the whole runtime, much like something like American Graffiti did. I think the humor in it was pretty decent too. Glad to have seen it.

4-

[cricket]

And excellent idea with the popcorn^^^

[seanc]

I feel like the minus is totally personal. ;)

Glad you enjoyed it. I think I totally agree actually. It’s just I have been watching it for 25 years or better. I’m sure nostalgia plays a role in my love.

[Citizen Rules]

Still need to see Diner. I caught the first few minuets of it once when I was visiting someone and they wanted to turn the channel...Instead ended up watching something really stupid.

[seanc]

Still need to see Diner. I caught the first few minuets of it once when I was visiting someone and they wanted to turn the channel...Instead ended up watching something really stupid.

Mouth breathers! Am I right? :)

[Citizen Rules]

Mouth breathers! Am I right? :)Wow, just the other day I was remembering that you had once mentioned 'mouth breathes'. It's such a weird word, I don't think I've ever heard that from anyone else before. I think you said it meant old people? Well anyway, that was when the wife and I were visiting her mom in Arizona. Now my wife's mom has a nice large TV, loves old movies and has TCM:up: I've never had access to TCM so it was a real treat to kick back and watch some old classic movies, but still she didn't want to watch Diner. I think we watched part of Jurassic Park III or was it IV. So that's my story:D

[seanc]

Wow, just the other day I was remembering that you had once mentioned 'mouth breathes'. It's such a weird word, I don't think I've ever heard that from anyone else before. I think you said it meant old people? Well anyway, that was when the wife and I were visiting her mom in Arizona. Now my wife's mom has a nice large TV, loves old movies and has TCM:up: I've never had access to TCM so it was a real treat to kick back and watch some old classic movies, but still she didn't want to watch Diner. I think we watched part of Jurassic Park III or was it IV. So that's my story:D

I stole that term from a podcast. It refers to someone who watches a lower class of cinema. It’s always used tongue in cheek.

The Citizen I think I know from Mofo would live on TCM. It’s great programming and they rotate very regular. Treat yourself.

[Citizen Rules]

I stole that term from a podcast. It refers to someone who watches a lower class of cinema. It’s always used tongue in cheek.I learn something new everyday if I could only remember it all. It's such an usual phrase that it did stick in my head.

The Citizen I think I know from Mofo would live on TCM. It’s great programming and they rotate very regular. Treat yourself.
Believe it or not I did recently buy a Roku device and paid for a Paramount subscription just so I could watch, get ready for this....The Love Boat:p

[seanc]

I
Believe it or not I did recently buy a Roku device and paid for a Paramount subscription just so I could watch, get ready for this....The Love Boat:p

Is the new one a drama? I saw a couple ads and it looked like a reality show that was just cribbing the name.

[cricket]

I believe the new Love Boat is on CBS

[seanc]

I believe the new Love Boat is on CBS

Looks like it was s a reality show. I probably wasn’t interested either way, but definitely not if it’s a reality show.

[Citizen Rules]

Is the new one a drama? I saw a couple ads and it looked like a reality show that was just cribbing the name.Not the new Love Boat, yuk. The original:
https://www.imdb.com/title/tt0075529/

[seanc]

Not the new Love Boat, yuk. The original:
https://www.imdb.com/title/tt0075529/

That definitely makes more sense for you. I remember seeing it quite a bit as a kid. That and Fantasy Island. I don’t really have a soft spot for the old dramas though. Even stuff my friends were really into like Magnum and Knight Rider. I was more into sitcoms. Cheers, Family Ties, Cosby. Stuff like that.

[cricket]

Well my wife is interested in the new Love Boat, which automatically means I'm interested in it:p

[Hey Fredrick]

Wow, just the other day I was remembering that you had once mentioned 'mouth breathes'. It's such a weird word, I don't think I've ever heard that from anyone else before. I think you said it meant old people?


A friend of mine uses it all the time as a way to say someone is a meathead or an idiot. Think of Mongo from Blazing Saddles. First time I heard him use it he was referring to a softball team we played against and said they were nothing but a bunch of ******* mouth breathers.

[seanc]

Well my wife is interested in the new Love Boat, which automatically means I'm interested in it:p

I could have used that advice like twelve years ago. You’re a little late. :)

[Citizen Rules]

89384
A Separation (2011)

I saved one of the best for last...Actually, I didn't think I'd like this as I haven't really loved any Iranian films in the past. But I was impressed with this one. What impressed me most was just how believable the film was. I was so engrossed in it that I wasn't even aware I was reading subtitles. It felt real, like I was looking through a window into someone's life as it unraveled.

A Separation is a character driven movie where the written dialog flows naturally and is endemic to the various personalities of the characters. The characters actions match the actors demeanor and disposition. This movie is so well cast that I'd believed these are real people in a real situation.

The cinematography is grounded, always effective without trying to be fancy or self aware. Same for the editing, straight forward and well balanced. This is a near perfect movie. I was engaged and rooted for the father. His daughter brought to the life the pain that the events had caused. I thought his wife was a selfish bitch, expertly acted and written. The zonkers religious lady and her pain in the ass loser husband also were perfectly written characters as they got me really involved in the story and they never became caricatures but remained real.

rating_4_5

[rauldc14]

I should definitely see this again. I've really liked pretty much everything from Farhadi. About Elly remains the favorite though

[Allaby]

I thought A Separation was good, but not great. I've seen three films directed by Asghar Farhadi and I rated all three an 8/10. About Elly would be my favourite of his that I have seen, followed by The Salesman and then A Separation.

[Citizen Rules]

I should definitely see this again. I've really liked pretty much everything from Farhadi. About Elly remains the favorite thoughIt's alot like About Elly in story structure, but I think we get closer to the souls of these people in A Separation. I know I felt very strongly about the characters and that doesn't happen to me often.

[Citizen Rules]

A Separation was the winner of the 5th HoF, nominated by Sane. I just now read what he said about his own nomination. I have to say it mirrors what I just wrote.

My comments: I'm not sure there has ever been a better written movie than this wonderful drama by Farhadi. It isn't filled with quotable lines but from start to finish it builds a range of characters with real depth and motivations. At various stages of the film I was unsure of who was in the right and it builds such great engagement with the characters that I would have tears in my eyes due to the level of understanding of a character's situation ... when five minutes earlier I thought they were in the wrong...Sane The only difference is I never wavered or changed my mind about who I thought was right and who I thought was in the wrong.

[seanc]

Loved A Separation. Pretty sure I saw it for that Hall. I really need to rewatch before making my 2010’s list.

Interesting you say you hadn’t previously loved any Iranian films, but did this one. The dialogue you mention seems to owe so much to Kiarastomi and Panahi. That always something bubbling beneath the surface feeling. The way it pulls you along. Beautiful

[cricket]

If I remember correctly, a lot of us didn't know anything about A Separation when it was nominated in that HoF, but everyone loved it and it won easily. I liked About Elly and The Salesman, but I view A Separation as far superior to both.

[cricket]

Congratulations Citizen Rules, you are the 5th member to finish!

[Citizen Rules]

Sent my ballot in and just wanted to say thanks to everyone who joined and had the arduous task of selecting movies for me! I do appreciate it🙂

[edarsenal]

http://24.media.tumblr.com/49057c96e3d0a08f53d68dd9d18c2452/tumblr_mw0cwf2rrb1rt3w9xo1_r1_500.gif
https://rhiwritesfilm.files.wordpress.com/2017/08/catherine-deneuve-belle-de-jour-beige-dress.jpg?w=640
https://thumbs.gfycat.com/WellwornHealthyAfricanporcupine-size_restricted.gif

Belle de Jour (1967)


This is my first foray into Director Luis Buñuel, who is considered "The father of cinematic Surrealism." While I've been a bit wary due to the alleged more shocking aspect of his films, this was, quite honestly, an ideal premiere into this genius' cinematic achievements. And yes, the fact that Catherine Deneuve is the pivotal "frigid" housewife who becomes a prostitute in the afternoons does play into it. And like the few others of her film, she truly brings a multitude of layers to her character that raises it far above what could easily be cliche into a more sublime shift of emotions and dark fantasies.

From my exceedingly minuscule research of Buñuel, I wondered, in the tier of the intensity of scenarios played out in his films, where this resided. The interwoven sexual fantasies of Deneuve's Séverine danced around a kind of Marquis de Sade theme without delving into any sex act. A well played as and far more tantalizing construct as reality and dreams interchange so deeply there is no departure from one to the other. The greater impressive maneuver is the seamless flow of it all I was more enraptured by the characters and where the final/vague conclusions lay than whether what occurred was real or a fantasy of Séverine.

Along with many of the actors in this film, the most violent of Séverine's clientele is the most striking for me, a leather coat-wearing cane using Pierre Clémenti. A dangerous thug with an aristocratic air that became the ideal outlet for Séverine's darker fantasies.

BRAVO

[cricket]

I liked Belle de Jour but it's another I think I could get much more out of.

[SuperMetro]

Belle de Jour was one of my "overrated" movies for me. Good movie but I never understood what was so grand about it though. Kind of like salad for me as you can taste it, but can not find the beauty of it. Learn more in the "Movies You Are Disapponted With" thread.

[PHOENIX74]

https://i.postimg.cc/m23TcPvP/Laura-1944-film-poster.jpg

Laura - 1944

Directed by Otto Preminger

Written by Jay Dratler, Samuel Hoffenstein & Elizabeth Reinhardt

Starring Gene Tierney, Dana Andrews, Clifton Webb
Vincent Price & Judith Anderson

This reviews contains some spoilers

Laura invests a lot in it's characters, of which there are 5 major players. Five involved in a murder that becomes the central mystery of this film - a film which verges on noir but seems to lean more towards murder/mystery, suspense and drama. These characters are fully fleshed out, and have a significant amount of depth added to them - you will probably start to care about what happens to them the deeper into the film you get, in a positive and negative sense. The steady hand of Otto Preminger was necessary to pull this off - Lord knows Darryl F. Zanuck didn't want it to be that way, but found that time and again he had to return all of the decisions behind the film to Preminger's judgement, which was a wise decision to make. If he'd stuck with his original director - Rouben Mamoulian - less people would talk about Laura today.

This central, titular figure is figured to be the identity of a corpse that has been shot in the face with a shotgun - Laura, a young woman who worked as an advertising executive. Investigating is detective Mark McPherson (Dana Andrews), writing about the murder is Waldo Lydecker (Clifton Webb) - a close friend, and engaged to marry her is hard-up socialite Shelby Carpenter (Vincent Price). Laura's aunt, who happens to be someone very much romantically keen on Shelby, is Ann Treadwell (Judith Anderson) - she's also a suspect. Playing Laura in flashbacks is Gene Tierney - a presence felt from early in the film due to her large portrait hung above her apartment's mantlepiece. The film spends a lot of time in her apartment and those of the suspects, with McPherson devouring all the information he can. When he starts to get an impression of her from her diary and letters, he begins to fall in love with the alluring ghost. The film looks closely at those involved :

Waldo Lydecker is relatively effeminate - and not the only character in this film that happens to be so. I've read a lot about what people think about this theme of the film - it's set up so that Lydecker seems to be in love with Laura, but his bathtub meeting with McPherson which opens the movie and mannerisms do seem to suggest Lydecker is at least a little fruity and possibly making a pass at the detective, who he describes as "muscular and handsome" with a "lean, strong body". When he's not being like that, he's being arrogant and narcissistic - praising himself and his prose, and passing judgement on most of the people he knows. Lydecker grows so fond of Laura after meeting her that he starts compiling 'dirt files' on the people she meets and befriends. A charismatic newspaper columnist, Lydecker's obvious motive would be jealousy. He's played in very regal style by Clifton Webb, and well enough that the actor disappears and only the character shows up. He was nominated for an Oscar for this performance.

Shelby Carpenter is even more effeminate and prancing than Lydecker, which seems to suggest that some point is being made in regards to Laura's unsuitable suitors. Although he acts as the very model of the high society socialite, Carpenter is often broke and being supported by a variety of concerned ladies. If he's out of Laura's sight, it often means he's attached to some other lady in a lecherous fashion and is very plainly untrustworthy. None of his alibis really add up, and there are plenty of suspicious circumstances surrounding him on the night of Laura's murder. Vincent Price puts in an especially enjoyable performance here, softly spoken and it's very easy to fall under his spell because he's so polite, loving and loveable. You'd swear that this baby-faced, weak-voiced little doddle couldn't possibly kill a girl with a shotgun, but this guy will do things you don't expect the moment your back is turned.

Ann Treadwell is the snooty, upper-class snob you'd hate to have anything to do with. She also happens to be head over heels in love with Shelby, which gives her a pretty compelling motive to get Laura out of the way - considering she's to marry the man. She's hopeless at hiding this fact, and although she dotes on Carpenter she's kind of a hard edged, sharp-featured hawk of a lady who seems more masculine in her ways than the two preening main suspects. She's got snooty down-pat. Judith Anderson, who plays her, was nominated for an Oscar for her role in Rebecca, which came out only 4 years previous to this. She's given the least to do, but what she does do makes her part of this very small ensemble of performers. She has just the right features and temperament for a role like this.

Mark McPherson is your typical hard-edged, relentless and troubled detective who becomes more and more haunted by Laura as the case drags on. He's swift with the questions, and he's straight up - just the facts and what's needed, no need for small talk. I'd say it's unusual for a detective to fall in love with a murder victim, but there you are. Laura is just that kind of person. Dana Andrews is an interesting actor - one of those whose career drifted over into b-films as the decades went by, eventually landing a role in Zero Hour - interesting to us Airplane! fans. He's about as far from effeminate as you can get, and our arbiter of justice and what's right. In the end he's the symbol of masculinity and goodness that Laura would end up with, typical with what a film from 1944 would be promoting. Personally I can never quite understand why people who have just met walk off into the sunset for a "happily ever after" - but this is movie-land. But Laura's dead - so how could that even happen? (*whew* saved the day with that.)

Laura Hunt just seemed like a nice lady - a little trusting, but determined to make a good career for herself. Independent, good natured and honest. Really didn't deserve to be shot in the head with a shotgun. If the murder victim happened to be someone else though, Laura herself would be one of the prime suspects. If she caught Shelby - her fiancé - carousing with some other girl in her apartment (going so far as to wear one of her dresses) then she'd definitely have a motive. But that's just speculation. As a matter of coincidence, I'd just watched Gene Tierney costar with Clifton Webb in The Razor's Edge only days before watching Laura. She could play either the innocent or the guilty - the good or bad, angel or devil - with much conviction. What was going on with Laura? What happened here? It's a decent mystery.

So with great actors giving some of their best performances, all of the other stars aligned for Laura to become one of the best-made films of the 1940s. It's sole Oscar win came by way of it's black-and-white cinematography. Joseph LaShelle was pretty new at being Director of Photography, having served a long apprenticeship under others with that role - Laura being only his fifth film in charge. He'd go on to film Marty and The Apartment amongst many other timeless classics. In this film, I noticed that there were many tracking shots, which would invariably show us examples of decorative opulence on some sets, or through entire apartments. Movement seemed to be the key, and when they weren't tracking they were panning around and zooming. It almost seemed like we were pacing like a detective, eyeing up everything and looking for clues. Also used, in an unusual sense, are "whip-pans", which rapidly pan from one actor to the other when questions are being shot out - our eyes on the move, and not sure what to hone in on as a possible source of truth or guilt. The feel is distant, unemotional, non-judgmental and mysterious. The camera doesn't want to give the game away. Shadows and darkness encroach with the mood of the film.

The score went on to become very famous - so I'd term that a success as well, although I always seem to prefer modern day scores to those of this era. "Laura" wouldn't just go on to become a recognizable tune, but would be recorded with lyrics by the likes of Frank Sinatra and others over the years. It was composed by David Raksin, who would go on to receive Oscar nominations for the scores of 1947 film Forever Amber and 1958 film Separate Tables. It was a huge snub for him not to be nominated for an Oscar for this - his score would become immensely popular when the film was released, and sheet music of it sold in massive quantities. When songwriter Johnny Mercer wrote the lyrics the song also became a hit. It's destined to play on a loop in your mind if you listen to it too often, a haunting kind of melody that mixes romantic feelings with a wistful kind of dream-like flow. There's a meeting of excellence visually, sound-wise and performance-wise here that makes Laura a film that stands out as better than most others of it's day.

All of this works in unison - I couldn't comment too much on aspects such as "Interior Black-and-White Art Direction" which was a category it was nominated Oscar-wise for - although I did notice the many knick-knacks and doo-dads added for scenes when the camera tracks along at Waldo's apartment. It's just a finely made film that doles out reveals every so often - there are a few surprises wrung from Vera Caspary's novel and the screenplay was also Oscar nominated, along with Preminger himself for directing. I found myself most enthusiastic about the performances and the characters - this film being an excellent study of the various nefarious characters recognizable from such fiction. Preminger always reckoned on the fact that this is why he was most suitable to direct the film - his knowledge and proximity to poisonous and unlikeable personality types. Laura just happened to hang out with and be related to some of the most odious people you can imagine - so much so that they'd all be immediately suspected of murdering her. It didn't particularly matter to me how the mystery resolved itself - I was into watching these actors bring us these despicable personalities.

Laura became a much recognized classic - a romance, suspense, mystery and noir all wrapped up in a finely crafted and well directed product. It's an interesting treatise on masculinity, and even snobbery - seeming to set in it's sights all of the character deficiencies people can have. It's a movie I'm glad to have under my belt - sure to be referenced and alluded to, and just plain fun to watch. Vincent Price thought it one of the best he appeared in. One with a central image of a siren-lake lady who seems to attract every character to her in the end, and the circumstances become fatal because of that. Once you meet her, Laura seems perfectly ordinary, but the picture of her on her mantlepiece seems to haunt the entire film, and even though Laura doesn't have wealth or connections, she attracts the rich and poor, the well-connected and the working man. She seems like a fantasy - and this poor girl is the receptacle of all the projections her suitors see. Whomever let fly with that shotgun, was the most ill of them - making a good case for staying grounded, even while in the throes of love. Laura had the bad luck to befriend a gallery of dramatic posers, and hopeless dreamers. The movie makes us feel glad to be humble, and realistic.

4

[seanc]

Laura is pretty great. I have seen it twice now. Still trying to figure out why I love Noir so much when plot leaves my pea brain almost immediately after watching. I sure do love a lot of them in the moment though, and Laura is one that I do.

[rauldc14]

Oh yeah, Laura is one of the greatest Noirs I've seen.

[Thursday Next]

Laura is pretty great. Great write-up too, Phoenix :up:

[Thursday Next]

Nightmare Alley

I saw the Guillermo del Toro version of this when it came out last year, and thought it was pretty good (with a couple of reservations about pace and characterisation).

This version is better.

It hooked me in right from the start, with Tyrone Power's smart and ambitious carnival man honing his craft - a mixture of codes, cheats and cold-readings - getting more and more convinced by his own powers until he bites off a little more than he can chew. At first it's a little ambiguous but it slowly becomes clear he will step on anyone in his desire to get ahead and discard those who are no longer useful to him. And yet he's also sympathetic, in an anti-hero sort of a way. You almost don't know whether to root for him or to root for him to get his comeuppance.

It's a really good performance from Power, he changes dramatically throughout the course of the film. The supporting cast are good too, especially Helen Walker as Lilith Ritter. It also has a noir-ish quality that the remake, with its polished, colourful period piece aesthetic doesn't pull off quite so well.

The only slight edge the more recent version has is that it is able to go to some slightly darker places more overtly - for example in the characterisation and backstory of Ezra Grindle - and it also ended in the right place, this one has a tacked on possibility of redemption that it really doesn't need.

I'd recommend this to most people; a fine film. I can tell I'm going to have trouble separating a couple of the films when it comes to ranking them!

[Thursday Next]

Does anyone know if apple tv is the only place you can watch CODA? I can't seem to find it to rent anywhere, streaming or dvd, and I don't have any apple devices.

[Allaby]

Does anyone know if apple tv is the only place you can watch CODA? I can't seem to find it to rent anywhere, streaming or dvd, and I don't have any apple devices.

It's exclusive to apple tv+, but you don't need an Apple device to sign up for a free trial. You should be able to do it through the apple tv+ website on any browser or multiple types of smart devices. Here's the website:

https://tv.apple.com/

[cricket]

I like Laura, but it is a fake HoF winner. No I won't let it go:p

I liked Nightmare Alley more. Forgot about the remake, just added to my watchlist:)

[rauldc14]

I like Laura, but it is a fake HoF winner. No I won't let it go:p

I liked Nightmare Alley more. Forgot about the remake, just added to my watchlist:)

I vaguely remember it being a fake winner, what is the background on that again? You can pm me or leave it here

[cricket]

I vaguely remember it being a fake winner, what is the background on that again? You can pm me or leave it here

She never watched all the noms. Claimed to but it was not believable and she never even stated her opinion about several of them.