32nd Hall of Fame [Archive]

rauldc14

09-19-23, 11:00 AM

https://d1yjjnpx0p53s8.cloudfront.net/styles/logo-thumbnail/s3/0013/2451/brand.gif?itok=_xJWKpzy

Reviews

Cricket BALLOT SENT
H-8 (https://www.movieforums.com/community/showthread.php?p=2414005#post2414005)
Blow-Up (https://www.movieforums.com/community/showthread.php?p=2414132#post2414132)
Missing (https://www.movieforums.com/community/showthread.php?p=2414716#post2414716)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2414891#post2414891)
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2415369#post2415369)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2416631#post2416631)
The Banshees of Inisherin (https://www.movieforums.com/community/showthread.php?p=2417030#post2417030)
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2420657#post2420657)
The Little Girl Who Conquered Time (https://www.movieforums.com/community/showthread.php?p=2433595#post2433595)
Departures (https://www.movieforums.com/community/showthread.php?p=2434446#post2434446)

Edarsenal
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2414230#post2414230)
Double Indemnity (https://www.movieforums.com/community/showthread.php?p=2414749#post2414749)
Banshees of Inisherin (https://www.movieforums.com/community/showthread.php?p=2417513#post2417513)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2422599#post2422599)
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2423620#post2423620)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2433187#post2433187)
Departures (https://www.movieforums.com/community/showthread.php?p=2434514#post2434514)
H-8 (https://www.movieforums.com/community/showthread.php?p=2434515#post2434515)

Hey Fredrick BALLOT SENT
H-8 (https://www.movieforums.com/community/showthread.php?p=2414318#post2414318)
Blow-Up (https://www.movieforums.com/community/showthread.php?p=2415088#post2415088)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2417309#post2417309)
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2418971#post2418971)
Missing (https://www.movieforums.com/community/showthread.php?p=2421110#post2421110)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2424181#post2424181)
Departures (https://www.movieforums.com/community/showthread.php?p=2424188#post2424188)
Banshees of Inisherin (https://www.movieforums.com/community/showthread.php?p=2424828#post2424828)
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2427693#post2427693)
The Little Girl Who Conquered Time (https://www.movieforums.com/community/showthread.php?p=2433521#post2433521)

Allaby DROPPED OUT
H-8 (https://www.movieforums.com/community/showthread.php?p=2414453#post2414453)
Blow-Up (https://www.movieforums.com/community/showthread.php?p=2415270#post2415270)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2416242#post2416242)
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2416596#post2416596)

Citizen Rules BALLOT SENT
Blow-Up (https://www.movieforums.com/community/showthread.php?p=2414456#post2414456)
H-8 (https://www.movieforums.com/community/showthread.php?p=2415389#post2415389)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2416740#post2416740)
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2417623#post2417623)
Banshees of Inisherin (https://www.movieforums.com/community/showthread.php?p=2418976#post2418976)
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2419324#post2419324)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2419620#post2419620)
Missing (https://www.movieforums.com/community/showthread.php?p=2419946#post2419946)
Departures (https://www.movieforums.com/community/showthread.php?p=2421639#post2421639)
The Little Girl Who Conquered Time (https://www.movieforums.com/community/showthread.php?p=2422827#post2422827)

John W Constantine BALLOT SENT
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2414950#post2414950)
H-8 (https://www.movieforums.com/community/showthread.php?p=2415015#post2415015)
Departures (https://www.movieforums.com/community/showthread.php?p=2415050#post2415050)
The Little Girl Who Conquered Time (https://www.movieforums.com/community/showthread.php?p=2415159#post2415159)
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2415253#post2415253)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2416450#post2416450)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2416593#post2416593)
Double Indemnity (https://www.movieforums.com/community/showthread.php?p=2416690#post2416690)
Blow-Up (https://www.movieforums.com/community/showthread.php?p=2417712#post2417712)
Banshees of Inisherin (https://www.movieforums.com/community/showthread.php?p=2421225#post2421225)
Missing (https://www.movieforums.com/community/showthread.php?p=2422272#post2422272)

Rauldc14 BALLOT SENT
H-8 (https://www.movieforums.com/community/showthread.php?p=2415386#post2415386)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2416337#post2416337)
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2416711#post2416711)
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2417836#post2417836)
Banshees of Inisherin (https://www.movieforums.com/community/showthread.php?p=2419121#post2419121)
Blowup (https://www.movieforums.com/community/showthread.php?p=2420977#post2420977)
The Little Girl Who Conquered Time (https://www.movieforums.com/community/showthread.php?p=2421197#post2421197)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2421856#post2421856)
Departures (https://www.movieforums.com/community/showthread.php?p=2432220#post2432220)
Missing (https://www.movieforums.com/community/showthread.php?p=2432649#post2432649)

Phoenix BALLOT SENT
H-8 (https://www.movieforums.com/community/showthread.php?p=2415945#post2415945)
Blow-Up (https://www.movieforums.com/community/showthread.php?p=2417581#post2417581)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2418490#post2418490)
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2419779#post2419779)
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2421102#post2421102)
Banshees of Inisherin (https://www.movieforums.com/community/showthread.php?p=2420533#post2420533)
Departures (https://www.movieforums.com/community/showthread.php?p=2421780#post2421780)
Missing (https://www.movieforums.com/community/showthread.php?p=2422888#post2422888)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2423387#post2423387)
The Little Girl Who Conquered Time (https://www.movieforums.com/community/showthread.php?p=2424663#post2424663)

Jiraffe BALLOT SENT
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2416680#post2416680)
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2418937#post2418937)
The Little Girl Who Conquered Time (https://www.movieforums.com/community/showthread.php?p=2419563#post2419563)
Banshees of Inisherin (https://www.movieforums.com/community/showthread.php?p=2423632#post2423632)
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2425862#post2425862)
Blow-Up (https://www.movieforums.com/community/showthread.php?p=2433421#post2433421)
H-8 (https://www.movieforums.com/community/showthread.php?p=2433643#post2433643)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2434360#post2434360)
Departures (https://www.movieforums.com/community/showthread.php?p=2434405#post2434405)
Missing (https://www.movieforums.com/community/showthread.php?p=2434410#post2434410)

Siddon BALLOT SENT
Light in the Piazza (https://www.movieforums.com/community/showthread.php?p=2420783#post2420783)
Picnic at Hanging Rock (https://www.movieforums.com/community/showthread.php?p=2420787#post2420787)
The Name of the Rose (https://www.movieforums.com/community/showthread.php?p=2428613#post2428613)
Departures (https://www.movieforums.com/community/showthread.php?p=2433504#post2433504)
Blow-Up (https://www.movieforums.com/community/showthread.php?p=2434209#post2434209)
Dial M for Murder (https://www.movieforums.com/community/showthread.php?p=2434212#post2434212)
The Little Girl Who Conquered Time (https://www.movieforums.com/community/showthread.php?p=2434357#post2434357)
H-8 (https://www.movieforums.com/community/showthread.php?p=2434486#post2434486)
Missing (https://www.movieforums.com/community/showthread.php?p=2434497#post2434497)

We are now up to 32! Crazy!

We will take any noms under 240 minutes.

I'll post the nominations next Tuesday, September 26. I will then also allowed people to join and extra week with a firm deadline of October 3rd.

Same standard rules apply!

Let's do this!

Nominations

Allaby- Nomination Received
Rauldc14- Nomination Received
Edarsenal- Nomination Received
Phoenix-Nomination Received
Citizen Rules- Nomination Received
Cricket- Nomination Received
John W Constantine- Nomination Received
Jiraffe- Nomination Received
Siddon- Nomination Received
Hey Fredrick- Nomination Received
Beezlebubble- Nomination Received

Double Indemnity ELIMINATED
https://www.telegraph.co.uk/multimedia/archive/03170/Doubleindemnity_3170578b.jpg
1944, Directed by Billy Wilder

Dial M for Murder
https://www.slashfilm.com/img/gallery/filming-dial-m-for-murder-in-3d-was-a-headache-for-alfred-hitchcock/l-intro-1660936312.jpg
1954, Directed by Alfred Hitchcock

H-8
https://www.simbasible.com/wp-content/uploads/2020/11/1-1.png
1958, Directed by Nikola Tanhofer

Light in the Piazza
https://prod-images.tcm.com/v5cache/TCM/Images/Dynamic/i404/lightinthepiazza_sangiovanni_FC_470x264_050720160905.jpg?w=400
1962, Directed by Guy Green

Blow-Up
https://static01.nyt.com/images/2017/07/23/arts/23GUIDE2/23GUIDE2-videoSixteenByNineJumbo1600.jpg
1966, Directed by Michelangelo Antonioni

Picnic at Hanging Rock
https://static.ffx.io/images/$zoom_1%2C$multiply_0.5175%2C$ratio_1.777778%2C$width_1198%2C$x_0%2C$y_0/t_crop_custom/q_86%2Cf_auto/a59634a8ddb849dddaaf531ef7c74c1712abff70
1975, Directed by Peter Weir

Missing
https://www.rollingstone.com/wp-content/uploads/2018/06/rs-180786-159833448.jpg
1982, Directed by Costa-Gavras

The Little Girl Who Conquered Time
https://www.screenslate.com/sites/default/files/images/Featured-161213-TheLittleGirlWho.jpg
1983, Directed by Obayashi

The Name of the Rose
https://www.ru.nl/publish/pages/960332/film_still_1.jpg
1986, Directed by Jean-Jacques Annaud

Departures
https://d17389e216ygm.cloudfront.net/wp-content/uploads/2014/12/Screen-Shot-2014-12-28-at-1.25.44-AM-e1419758872801.png
2008, Directed by Takita

The Banshees of Inisherin OUT
https://cdn.theatlantic.com/thumbor/RaxhqyKydc5ulhZ3dkJnRGheqMI=/0x0:4800x2700/1600x900/media/img/mt/2022/10/001_BANSHEES_hr/original.jpg
2022, Directed by Martin McDonaugh

Citizen Rules

09-19-23, 11:58 AM

Thanks Raul for hosting!

Allaby

09-19-23, 12:24 PM

I’m in! Looking forward to it!

rauldc14

09-19-23, 01:15 PM

2 nominations are in! (Although one is mine but still)

Citizen Rules

09-19-23, 01:30 PM

I'll most likely join, I've been in every main HoF since the 8th. But I'll have wait to see what gets picked. Unlike you guys, I have to watch all the noms with my wife...she use to go in and take care of her grandmother one day a week which is when I would watch noms by myself like The Painted Bird, but the grandmother passed so now I don't have a free day. Though last HoF noms were great!

rauldc14

09-19-23, 09:53 PM

edarsenal
CosmicRunaway

Hope to see you both!

edarsenal

09-20-23, 01:10 AM

Sorry for your wife's loss, CR.

I'm in. I had a couple I was bouncing around with, all of which blind grabs or Must-Sees and headed up going with a long-time favorite.

CosmicRunaway

09-20-23, 10:00 AM

Hopefully I can think of something to nominate. Like I said in the other thread, I haven't really watched any movies lately, and it might take some time to get back into the mindset necessary to write reviews as well, but I would like to try! I always find it easier to think of something for the specialty HoFs, but it seems like it's been pretty quiet here lately, and I doubt anyone's doing anything for spooky season next month.

And yeah, sorry to hear about your wife's grandmother's passing, CR. My nan passed away about a month ago as well, and even though we all knew it was coming (she'd been in and out of the hospital for awhile), it was still sad to lose someone I'd known my entire life. Hope your wife's doing well, and that she likes the films nominated here! <3

Hey Fredrick

09-20-23, 10:08 AM

If it's okay, I'd like to see what's nominated before committing but I am leaning towards joining.

rauldc14

09-20-23, 12:42 PM

I'll throw a few more names out here:
Siddon seanc cricket Thursday Next MovieMeditation

Citizen Rules

09-20-23, 01:01 PM

How about SpelingError Thief Wyldesyde19 PHOENIX74 and @ everyone else who I can't think of right now as I just got up:D

Thief

09-20-23, 01:07 PM

I'm too tied up with a hundred things right now so I don't think I can commit to this, but thanks for reaching out.

rauldc14

09-20-23, 01:50 PM

I'm too tied up with a hundred things right now so I don't think I can commit to this, but thanks for reaching out.

Bummer. I like having you in these.

Thief

09-20-23, 02:02 PM

Bummer. I like having you in these.

Thanks. I like doing it, but right now there are a hundred projects running at work, plus I will probably be moving in the next few months, just to name a few of the variables I'm juggling now. I'll try to make it for the 33rd.

MovieMeditation

09-20-23, 05:26 PM

I'll throw a few more names out here:
Siddon seanc cricket Thursday Next MovieMeditation
Thanks for the thought, raul. :up:

I would love to do one of these again in the near future... unfortunately I got some exams coming and very busy periods right now. But I'm hungry for another HoF for sure. So maybe next time!

cricket

09-20-23, 05:32 PM

Considering

John W Constantine

09-20-23, 06:10 PM

Wanting to

edarsenal

09-20-23, 06:32 PM

Wyldesyde19

09-20-23, 10:31 PM

I might pass on this. I have so many movies on the docket as it is.

My condolences to both CR and CR2.

I’ll let you decide amongst yourselves which is which.

PHOENIX74

09-20-23, 11:07 PM

I'm in - I've had my nom locked and loaded to go for a while.

Citizen Rules

09-21-23, 03:04 AM

What the heck, I'm joining now:D Sending my nom to Raul.

I don't think anyone has seen it. It's easy to watch, fairly short runtime and features what I think is the best performance from an underrated actress in a very moving role.

Siddon

09-21-23, 07:41 AM

Yeah so you are doing this right dab in the middle of Football season and my Halloween challenge, that I'm working on right now...but seeing as you clearly need people I'll do it...but I'm waiting for the reveal.

cricket

09-21-23, 10:57 AM

Sent nom. Picked a movie I randomly found a couple years back that I've never heard mentioned anywhere, not even on the forum. It's widely known as the greatest film from its country.

edarsenal

09-21-23, 12:33 PM

https://gifdb.com/images/high/spongebob-yay-meme-dance-38vs6bxghj2oye69.gif

John W Constantine

09-21-23, 04:04 PM

Nomination sent.

rauldc14

09-23-23, 07:38 PM

Nominations up on Monday!

Citizen Rules

09-23-23, 08:06 PM

Cool! I'm excited to see the noms.

edarsenal

09-24-23, 02:30 AM

SUHWEET!!

CosmicRunaway

09-25-23, 11:10 AM

This past week entirely got away from me, and I didn't even think about any movies, let alone something I could nominate. I'm busy today, and have an extra long shift at work tomorrow, but I'm still hoping to come up with something before it's too late.

If not, maybe I'll just watch the nominations and sort of unofficially follow along. Maybe that'll even help me get back into the HoF grove after barely watching any films over the last few months.

rauldc14

09-25-23, 12:04 PM

Hope to have you. I'm thinking somewhere around 6-7 PM CT for unveil

cricket

09-25-23, 05:46 PM

Bring it on!

edarsenal

09-25-23, 09:55 PM

https://i.pinimg.com/originals/34/03/23/340323b7200c1bfdd11ec903da071672.gif

Been a while, so pretty excited

edarsenal

09-25-23, 10:00 PM

Citizen Rules

09-25-23, 10:24 PM

That reveal was suppose to be today? Or did I just dream that?

John W Constantine

09-25-23, 10:29 PM

I thought it was.

edarsenal

09-25-23, 10:41 PM

could still be.

beelzebubble

09-25-23, 10:57 PM

Raul posted in his first post that the reveals will be tomorrow Tuesday the 26th.

John W Constantine

09-25-23, 11:12 PM

Wow, was really anticipating those reveals today, had my hair done up and everything.

edarsenal

09-25-23, 11:22 PM

Thanks, bee!

No worries, John, it looked good. Have a cig :)
https://i.gifer.com/APEf.gif

Citizen Rules

09-26-23, 02:41 AM

Wow, was really anticipating those reveals today, had my hair done up and everything.Ha, that made me laugh:p

rauldc14

09-26-23, 11:20 AM

Here we go!

rauldc14

09-26-23, 11:42 AM

Double Indemnity
https://www.telegraph.co.uk/multimedia/archive/03170/Doubleindemnity_3170578b.jpg
1944, Directed by Billy Wilder

Dial M for Murder
https://www.slashfilm.com/img/gallery/filming-dial-m-for-murder-in-3d-was-a-headache-for-alfred-hitchcock/l-intro-1660936312.jpg
1954, Directed by Alfred Hitchcock

H-8
https://www.simbasible.com/wp-content/uploads/2020/11/1-1.png
1958, Directed by Nikola Tanhofer

Light in the Piazza
https://prod-images.tcm.com/v5cache/TCM/Images/Dynamic/i404/lightinthepiazza_sangiovanni_FC_470x264_050720160905.jpg?w=400
1962, Directed by Guy Green

Blow-Up
https://static01.nyt.com/images/2017/07/23/arts/23GUIDE2/23GUIDE2-videoSixteenByNineJumbo1600.jpg
1966, Directed by Michelangelo Antonioni

Picnic at Hanging Rock
https://static.ffx.io/images/$zoom_1%2C$multiply_0.5175%2C$ratio_1.777778%2C$width_1198%2C$x_0%2C$y_0/t_crop_custom/q_86%2Cf_auto/a59634a8ddb849dddaaf531ef7c74c1712abff70
1975, Directed by Peter Weir

The Little Girl Who Conquered Time
https://www.screenslate.com/sites/default/files/images/Featured-161213-TheLittleGirlWho.jpg
1983, Directed by Obayashi

The Name of the Rose
https://www.ru.nl/publish/pages/960332/film_still_1.jpg
1986, Directed by Jean-Jacques Annaud

John-Connor

09-26-23, 11:54 AM

Double Indemnity
Is great, 5 surprised it hasn't won a HoF yet.

Dial M for Murder
Another great classic by the master of suspense.

H-8
Looks interesting, I will watch it and drop my opinion here.

Picnic at Hanging Rock
I like/love Peter Weir, so I will watch it eventually

The Name of the Rose
Great film, nice to see it get some attention.

John W Constantine

09-26-23, 11:58 AM

Interesting group, some I need to see and some that definitely need to revisit. Good choices.

Allaby

09-26-23, 12:03 PM

Wow! This is a fantastic group of nominations. I haven’t seen all of them, but the ones I have seen are great. I own at least 4 of them. I declare this will be the greatest hall ever!

Citizen Rules

09-26-23, 12:15 PM

Wow! This is a fantastic group of nominations. I haven’t seen all of them, but the ones I have seen are great. I own at least 4 of them. I declare this will be the greatest hall ever!I declare that you're right! Very excited to start watching...looks like a great grouping of famous films and lesser known gems.

Thief

09-26-23, 12:17 PM

I'm not participating, but I wanted to share my thoughts. I've seen three of these and they're all great.

Double Indemnity is top-tier film noir. Great dialogue and a twisty plot.

Dial M for Murder is a great little thriller. It is my #3 favorite Hitchcock film.

Picnic at Hanging Rock was one I discovered last year and it remains one of the most mesmerizing and haunting films I've seen. I'm really curious to read the thoughts of everybody in here.

cricket

09-26-23, 12:19 PM

Ok who cheated by picking Double Indemnity?

rauldc14

09-26-23, 12:21 PM

We will also still be getting a nomination from Siddon yet I'm presuming.

Citizen Rules

09-26-23, 12:33 PM

I guess we're suppose to keep who nominated the movies secret, which I like:up: So I won't say which is my movie:

Double Indemnity 1944...I love noir and can't wait for Noirvember to start. Barbara Stanwyck is one of my all time favorite actresses. I have everyone of her movies that were available. Fred MacMurray is a favorite actor of mine. When I think of MacMurray I think of him from Double Indemnity and not My Three Sons.

Dial M for Murder 1954...Hitch films are always a great way to spend the evening with. I think I've seen all of his films sans his silents. Ray Milland is another favorite actor of mine and Grace Kelly looks so lovely in this.

H-8 1958...I don't watch a lot of foreign films but one type I do enjoy is Yugoslavian films from the 1950s. A hidden gem.

Light in the Piazza 1962...Yvette Mimieux looks charming in that photo, she of course shined in the sci-fi classic The Time Machine.

Blow-Up 1966, Michelangelo Antonioni...Classic mid 60s British cinema with the award winning Vanessa Redgrave.

Picnic at Hanging Rock 1975...Magical, mystical and thought provoking. What happens is up to you, the viewer.

The Little Girl Who Conquered Time 1983...Heart breaking story set in Japan in the mid 80s. It's about the feeling more than the setting.

The Name of the Rose 1986...What a story, everyone should know about this.

Citizen Rules

09-26-23, 12:35 PM

...Dial M for Murder is a great little thriller. It is my #3 favorite Hitchcock film.
Gotta ask, what are your other two favorite Hitch's?

rauldc14

09-26-23, 12:39 PM

H 8 is a Yugoslavian film

cricket

09-26-23, 12:39 PM

I've seen 9 of these

cricket

09-26-23, 12:40 PM

What the hell am I talking about, I've seen 5 of 8

Citizen Rules

09-26-23, 12:53 PM

I may or may not have went with a blind nom...so I may or may not love or hate my own nom:p You never know.

cricket

09-26-23, 12:57 PM

H-8 is on YouTube, putting it on now

rauldc14

09-26-23, 01:41 PM

Missing
https://www.rollingstone.com/wp-content/uploads/2018/06/rs-180786-159833448.jpg
1982, Directed by Costa-Gavras

There was a nom "Missing". My apologies

John W Constantine

09-26-23, 02:08 PM

Great addition

Thief

09-26-23, 03:59 PM

Gotta ask, what are your other two favorite Hitch's?

Vertigo and Psycho. Predictable choices, but there's a reason for that. That's my Top 3.

Citizen Rules

09-26-23, 04:06 PM

Vertigo and Psycho. Predictable choices, but there's a reason for that. That's my Top 3.Predictable because they're good!

Thief

09-26-23, 04:16 PM

Predictable because they're good!

And that's the reason!

cricket

09-26-23, 04:18 PM

H-8

https://andyoucallyourselfascientist.files.wordpress.com/2019/11/he58-bus2b.jpg?w=640

Widely regarded as the greatest film to ever come out of Yugoslavia, it tells the true story of a deadly 1957 crash between a bus and a truck. No spoilers there as these facts are presented up front, and then the rest of the film is done in flashback. H-8 refers to the beginning of the license plate of a mystery car that caused the tragic wreck, gotten by witnesses before it disappeared into the night. I would imagine that some would think it exploitive to make a film so soon after a tragedy, but it was dedicated to the driver of the car, I would imagine to bring attention and to shame.

The narrative style is a little bit different and is probably one of the main reasons for the film's acclaim. We are told in the beginning that passengers who sat in certain seats would not survive, yet we don't find out until the very end which passengers would be in those seats. In the meantime we get to know the passengers, as well as the occupants of the truck. I often found myself forgetting that I was watching what is essentially a disaster film. Everything worked for me, the look, story, dialogue, and characters. I think it's a unique and great film.

4.5

Citizen Rules

09-26-23, 04:32 PM

I'm going to try and up the conversation in this HoF. We haven't really discussed the movies much these days, as we use to back when I first started doing HoFs. So I'm going to try, when possible to watch asap what someone else has watched.

Hopefully I can watch H-8 tonight so I can have something to say about it. The premise as presented by Cricket sounds fascinating. For some odd reason I love films about big trucks or busses, so looking forward to this movie.

Thief

09-26-23, 04:50 PM

For anyone interested, here's my Picnic at Hanging Rock review from last year.

Picnic at Hanging Rock (https://www.movieforums.com/reviews/2333158-picnic_at_hanging_rock.html)

There's a podcast I listened to shortly after watching the film that I thought was brilliant. If I can find the link, I'll share it.

Citizen Rules

09-26-23, 04:56 PM

edarsenal

09-26-23, 05:28 PM

edarsenal

09-26-23, 05:49 PM

Double Indemnity 1944 Seen this a number of times, not including the times in HoFs, and always enjoyed it. The most recent watch had me paying more attention to Edward G. Robinson and the excellent job he did, along with McMurray and Stanwyck.

Dial M for Murder1954 Not sure if I have ever watched this well-known Hitchcock (I don't think I have), so looking forward to it.

H-8 1958 Looking to make this one my first entry. cricket's write-up has me curious.

Light in the Piazza 1962 An intriguing romance film with a very young George Hamilton, should be quite lovely.

Blow-Up 1966 One of those Must-Sees I'm finally going to.

Picnic at Hanging Rock 1975 And like Blow-Up, a need to see and the opportunity to

Missing 1982 and the final of three-in-a-row Must-See

The Little Girl Who Conquered Time 1983 First time hearing of this, and I am intrigued.

The Name of the Rose 1986 HUGE fan of this film. VERY excited for a rewatch.

Quite the great list to start off with (in case others join in before its official start) So very glad I joined back in on these with this one.

Citizen Rules

09-26-23, 06:53 PM

Double Indemnity 1944 Seen this a number of times, not including the times in HoFs, and always enjoyed it. The most recent watch had me paying more attention to Edward G. Robinson and the excellent job he did, along with McMurray and Stanwyck.Dial M for Murder1954 Not sure if I have ever watched this well-known Hitchcock (I don't think I have), so looking forward to it.H-8 1958 Looking to make this one my first entry. @cricket (http://www.movieforums.com/community/member.php?u=68505)'s write-up has me curious.Light in the Piazza 1962 An intriguing romance film with a very young George Hamilton, should be quite lovely.Blow-Up 1966 One of those Must-Sees I'm finally going to.Picnic at Hanging Rock 1975 And like Blow-Up, a need to see and the opportunity toMissing 1982 and the final of three-in-a-row Must-See The Little Girl Who Conquered Time 1983 First time hearing of this, and I am intrigued.The Name of the Rose 1986 HUGE fan of this film. VERY excited for a rewatch. Quite the great list to start off with (in case others join in before its official start) So very glad I joined back in on these with this one. Glad to have you back! And I see JJ and Siddon joined too, cool. Still room for more.

Siddon

09-26-23, 07:48 PM

Double Indemnity 1944 - This will be the third time DI has been nominated finishing 2nd and 3rd in the two previous times...all done by different people. But this is the first time in a proper Hall so it's got different competition.

Dial M for Murder1954 - Hitchcock shot this film with the intention of being in 3-D. Glad they didn't go through with that, this might be my favorite from Hitch.

H-8 1958 = never saw it never heard of it

Light in the Piazza 1962 never saw it never heard of it

Blow-Up 1966 great nom good film to double feature with...

Picnic at Hanging Rock 1975 this one...we've got a bit of a noir theme this year

Missing 1982 - The return of Costas-Garvas lets see how this one does.

The Little Girl Who Conquered Time 1983 - Going with the lesser live action one over the beloved animated one...interesting choice.

The Name of the Rose 1986 - Seen bits and pieces but excited to sit down and watch this one from start to finish

beelzebubble

09-26-23, 07:59 PM

What a great line up!

rauldc14

09-26-23, 08:00 PM

Another nom!

Departures
https://d17389e216ygm.cloudfront.net/wp-content/uploads/2014/12/Screen-Shot-2014-12-28-at-1.25.44-AM-e1419758872801.png
2008, Directed by Takita

John W Constantine

09-26-23, 08:14 PM

That one is available on Tubi right now.

cricket

09-26-23, 08:22 PM

I count 8 members but 19 films

cricket

09-26-23, 08:23 PM

9 members but 10 films wtf

rauldc14

09-26-23, 08:28 PM

I updated the members who are in.

Do we want to keep it a secret for who nominated what or unveil that soon too?

Also, I will be starting with H-8 as well

cricket

09-26-23, 08:31 PM

I updated the members who are in.

Do we want to keep it a secret for who nominated what or unveil that soon too?

Also, I will be starting with H-8 as well

Makes no difference to me

Citizen Rules

09-26-23, 08:33 PM

I updated the members who are in.Do we want to keep it a secret for who nominated what or unveil that soon too?Also, I will be starting with H-8 as wellI like your idea of keeping it secret until the end. But it's up to you, not a big deal either way.

John W Constantine

09-26-23, 10:39 PM

Secret.

Wyldesyde19

09-26-23, 11:02 PM

I’ve seen 6 out of 10. Haven’t seen H-8, Light in the Piazza, Departures, and The Little Girl Who Conquered Time.

I’ve heard of the latter 2, not the former 2. Departures has been on my watch list for a long time.

I’ll skip this since I’ve seen most. And Obayashi being hit or miss with me. H-8 looks intriguing, however.

My money is on Double Indemnity but Blow Up is perhaps the best of the bunch, followed by DI and then Picnic at Hanging Rock.

Wyldesyde19

09-26-23, 11:03 PM

Oh! And Dial M for Murder might just be Hitch’s best film. There, I said it.
That’ll probably come before Picnic actually.

edarsenal

09-26-23, 11:12 PM

secret of course

right?
no? yes? Tell only two people but nobody can...

yeah, secret works for me.

VERY cool to get a rewatch of Departures from a previous HoF. Thanks, John for the tubi tip, much obliged.

PHOENIX74

09-27-23, 12:43 AM

Another great set of nominations - very excited about this Hall of Fame

Double Indemnity - Saw this one once in a Personal Rec Hall of Fame and it blew me away. A great film and much like Sunset Boulevard in the last one, will be a tough Billy Wilder film to beat. It's up against great competition though.

Dial M for Murder - I don't think I've seen this Hitchcock film. A great opportunity to scratch another of his films off my unseen list.

H-8 - Completely unknown for me, but it has great ratings online and the double whammy of a story that's right down my alley.

Light in the Piazza - I thought for a moment that was Alain Delon - but it's George Hamilton. Another unknown for me. Story sounds very interesting - after reading the synopsis I'd want to see this even without it being in this HoF.

Blow-Up - Around 10 times a year I think to myself "I really ought to watch Blow-Up again" - now I will definitely fix that. Seen this a few times, but not in a long while.

Picnic at Hanging Rock - The very definition of haunting - not to mention beautifully filmed with the perfect score which adds to this near flawless Peter Weir film - his greatest.

Missing - I've seen this, and it's very, very good.

The Little Girl Who Conquered Time - Never heard of this, but I love time travel movies.

The Name of the Rose - I don't think I've ever seen this, but I knew about it. Definitely on the "to see" list - they're the best HoF noms.

Departures - I remember this. I may have seen it when it came out. Anyway, the memory has completely left me, so I really need to see it to find out. I've seen it on lists, but not crossed it off - been meaning to see it again and looking forward to it.

I'll try to get to H-8 first to participate in any upcoming discussions.

Citizen Rules

09-27-23, 01:29 PM

...Hopefully I can watch H-8 tonight so I can have something to say about it... I swear every single time I say 'I'm going to watch a movie tonight' on MoFo, something happens to prevent me from watching it! It happens all the time. Last night I went to watch H-8 and had it as a .mp4 file that I downloaded from the YouTube link. Of course when you do that you don't get the 'soft subs'. So I had to go to SubScene and get subtitles. Only they were off by a whooping 27 seconds! So far off that I couldn't figure out who was saying what. So shifting the subs timing was hard to do, but I did it and it matched perfectly....But then after 20 minutes the timing was getting off again and subs were appearing on the screen 15 seconds before anyone spoke. At this point I'm getting very frustrated!But I knew H-8 was on YouTube and I was determined to watch it. So I turn on Roku and go to the YouTube app and use the search function and type in H-8....the movie would not come up! It must be something about YouTube on Roku that stopped me from finding the movie. I'm not giving up! I'm trying again.

cricket

09-27-23, 02:44 PM

Citizen Rules

09-27-23, 02:57 PM

Don't know if this is related but the first YouTube link I used was no good because the subtitles would only show on a small screen. Fortunately it has multiple youtube links.I found H-8 fully restored and looks great on YouTube under this title: H-8... (1958) [REMASTERED] It does have subs but I couldn't find that exact video on Roku/YouTube....

Not giving up though!

cricket

09-27-23, 03:00 PM

Blow-Up

https://www.minimaetmoralia.it/wp/wp-content/uploads/2022/09/blow-up-640x420.jpg

I first watched this around 6 years ago and had mildly positive feelings. Thought even better of it this time around but I doubt I'll ever love it. It feels like a trap, especially the mystery angle, to make the viewer think and discuss. Of course that's not a bad thing, but it's not really what I look for in a film. I like to feel something, anything, and in that regard it leaves me cold. Ambiguity can be frustrating for me, and fortunately there was only about 10 minutes left before I started being bothered. When I say bothered, I mean almost physically. It really started to get on my nerves, and I think the jazz score, which I enjoyed for most of the film, was a main culprit. That's all a me thing because I don't have anything negative to say about it. I enjoyed watching it, kind of like La Dolce Vita, which is more entertaining, but also longer. The main character is interesting. He doesn't seem to have any connections to anyone and we never learn anything about him. Like the mystery, that's something the average movie would probably explore, but this isn't the average movie. He seems to be mean to women but it comes off as kind of tongue in cheek, like they know he's having fun with them. Or maybe he is mean? I don't know. Pretty cool seeing early Yardbirds, but those weren't the lyrics to Train Kept a Rollin'. Nothing is normal in this film. I like it but it remains a mystery to me. By the way, not to be someone who objectifies women (I am), but that first model was hideous.

3.5

cricket

09-27-23, 03:01 PM

I found H-8 fully restored and looks great on YouTube under this title: H-8... (1958) [REMASTERED] It does have subs but I couldn't find that exact video on Roku/YouTube....

Not giving up though!

That's the one I couldn't watch. I was using an iPad and I could only see the subtitles on small screen. I mean I could've watched it but I picked out a different one.

Citizen Rules

09-27-23, 03:12 PM

That's the one I couldn't watch. I was using an iPad and I could only see the subtitles on small screen. I mean I could've watched it but I picked out a different one. That's too bad because the video quality looked 4k. I'm determined to watch that one way or another.

edarsenal

09-27-23, 07:25 PM

I'm going with the same version CR found of H-8 and had the same issue on Roku. On the computer, it's great, and the few moments I saw have got me hooked, and I will see it by the weekend.

For now, an old favorite I watched in its place:

https://i.pinimg.com/originals/3f/c0/3d/3fc03da868578921ba5c1ca19c6f05d8.jpg
https://horrorcultfilms.b-cdn.net/wp-content/uploads/2013/11/name-of-the-rose.jpg
http://thisdistractedglobe.com/wp-content/uploads/2007/08/Name%20of%20the%20Rose%20pic%202.jpg

You see, Adso,
the step between ecstatic vision and sinful frenzy
is all too brief.

Name of the Rose (1986)

A Sherlock Holmes-esque murder mystery set in a monastery during the 14th century, submerged in religious political debate AS WELL AS the threat of the Inquisition. It is filled with exquisite composition and detail, bringing a vivid rendition to the intriguing dialogue, drama, and storytelling.

First off, let's talk about the fantastic ensemble of actors and the sheer depth of their portrayals. Now, in the forefront, a young, naive Christian Slater is Adso, the apprentice to the always extraordinary Sean Connery as the scholarly William von Baskerville. A pair of Franciscan monks initially arrived for a conceptional debate with the Holy Church and the poverty of Christ reflecting the priesthood to discover a growing number of unnatural murders.
(The characters are unique in appearance and persona, wrapped in a dark mixture of the cerebral and visceral aspects of religious theology. I, therefore, MUST add imagery to the following acting highlights beneath.)

The belief that the recent murders is the result of demonic tampering brings the arrival of an Inquisitor, Bernardo Gui (Murray F. Abraham), from William's complex past.
https://www.ru.nl/publish/pages/960332/bernard_gui_movie.jpg

Within a prominent list of scene-stealing performances is one of the most nuanced I have or ever will see by Ron Perlman, along with the leading elder with a vehement hatred of laughter with such colossal presence by Feodor Chaliapin Jr.
https://www.gamereplays.org/community/uploads/post-83648-1318162284.jpghttps://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTZmOoeotef74az-MXr9jjj4FVSGRtk4EEFWoacffOvmurTwrdlyze3jssnRn1i-8NcSfY&usqp=CAU

Next, with such sublime "still waters," is Micheal Lonsdale, the Abbot of the monastery.
https://64.media.tumblr.com/79701c3862f70e7da0a065d0c7d82ce5/tumblr_pgljrvLZVm1wx88o7o10_400.gifv

William Hickey is a former mentor of William whose haunting theatrical performance is a sight to witness.
https://www.aveleyman.com/Gallery/2017/H/7930-13416.jpg

This listing of visual assistance would easily traverse the list of secondary actors, so I will finish with the captivating Valentina Vargas of the peasant girl that captures young Adso's heart. Their silent encounter is one of the most sensually primal and truly sexually intoxicating that I've seen since my first rental of this a few years after its debut and the very numerous times after.
https://1.bp.blogspot.com/-8CvY-h4K74E/X58Dlha9BRI/AAAAAAAAZq4/iv4EYbV_UJMFIZ7M1HmhNXdhGikarz_OwCLcBGAsYHQ/s360/1.gif

Every rewatch of this has been and continues to be an absolutely joyful viewing experience. SOOO delighted to have it here.

Citizen Rules

09-27-23, 07:34 PM

I'm going with the same version CR found of H-8 and had the same issue on Roku...Sorry you had the same Roku problem but it's good to know it wasn't just me. I'm going to keep trying to work that out and if I can find a solution I'll post it.

Hey Fredrick

09-28-23, 09:54 AM

H-8

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse1.mm.bing.net%2Fth%3Fid%3DOIP._ZvKYsjeePxXEhjGlzn6pgHaEb%26pid%3DApi&f=1&ipt=4956ef199ad012f5c586229d0c59f6fcc7407478ae172733eecd08d48a72d087&ipo=images

One of the weird quirks I have is to wonder how small, seemingly insignificant things happen and how they can potentially change entire lives. Like, I'll see an accident on the road and think "Geez, that could have been me if I had run that yellow light." H-8 has that element to it and it's that element which makes it so suspenseful. From the opening of the film we know what's going to happen and when, we just don't know to whom it will happen. Filming it this way really amps up the tension. The bulk of the film is getting to know the occupants of the truck, the passengers on the bus, their problems, seeing how small a world it can be and seeing exactly how they end up where they do. I have to wonder if David Lynch was inspired by a few of the shots in this as a few shots reminded me of Lost Highway. This was very good.

edarsenal

09-28-23, 05:18 PM

Great write-up, Hey Fredrick. From that image above and your curiosity regarding David Lynch and his film Lost Highway, I'm getting more and more excited about seeing H-8 this weekend!

Allaby

09-28-23, 09:51 PM

H-8... (1958) Directed by Nikola Tanhofer, this Yugoslavian drama is based on a true story of a fatal accident involving a bus and a truck. The narrative structure is interesting, as we know from the start of the film there will be an accident, but we don't know which characters will or won't survive. We learn about the characters lives and who they are as the film goes on. I thought the start of the film and the end were both very well done and effective. The film did feel a bit drawn out at times in the middle part though. I thought the performances were pretty good, in that they were believable and felt real. I liked the score and felt it helped add to the drama. The cinematography looked great. I haven't seen any of the director's other films and might not have seen this one, if it had not been nominated. Good nomination! 4

Citizen Rules

09-28-23, 10:00 PM

Still hoping to get to H-8 while it's fresh off the griddle:p Fingers crossed. But for now I did watch another film.

Citizen Rules

09-28-23, 10:20 PM

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse3.mm.bing.net%2Fth%3Fid%3DOIP.8CkoCa1J7c9DFQ_hf3GYSwHaEL%26pid%3DApi&f=1&ipt=1edced585e98910544cc99a9a3fe917658a6fffde3593747b19d3968e56219de&ipo=images
Blow-Up (1966)
Dir. Michelangelo Antonioni

Good choice for an HoF nom. Blow-Up is interesting on many different levels. I'd never seen it before and I haven't read a thing about it but I'd describe it as Italian New Wave, even though it's a British film. It those non-connected events that float free in the movie that reminded me of the new wave film movement that was going on in France and Italy at the time. With it's vibrancy of life it put me in the mindset of a Fellini film.

You know we're all different in what we respond to in a movie. Some of us are looking for stories that pique the imagination, others are looking for films that give off an emotional resonances that can lift them. Some look for amazing cinematography. Me I often look for acting that transcends the ordinary. Now the acting in this film didn't do that for me, but it did offer something else that I look for in films: set decor. The sets were so visually rich that I just wanted to examine them firsthand. Loved the photographer's studio/apartment and the antique shop was stacked with interesting objects. Even the street scenes were worthy of a Jim Jarmush film. And that rock club with the Yardbirds performing with both Jimmy Page and Jeff Beck, how cool was that! Loved how everyone in the audience stood frozen like statues.

New wave ain't my bag but visually the film hit a sweet spot and like I said it was interesting all the way around.

cricket

09-28-23, 10:24 PM

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse3.mm.bing.net%2Fth%3Fid%3DOIP.8CkoCa1J7c9DFQ_hf3GYSwHaEL%26pid%3DApi&f=1&ipt=1edced585e98910544cc99a9a3fe917658a6fffde3593747b19d3968e56219de&ipo=images
Blow-Up (1966)
Dir. Michelangelo Antonioni

Good choice for an HoF nom. Blow-Up is interesting on many different levels. I'd never seen it before and I haven't read a thing about it but I'd describe it as Italian New Wave, even though it's a British film. It those non-connected events that float free in the movie that reminded me of the new wave film movement that was going on in France and Italy at the time. With it's vibrancy of life it put me in the mindset of a Fellini film.

You know we're all different in what we respond to in a movie. Some of us are looking for stories that pique the imagination, others are looking for films that give off an emotional resonances that can lift them esoterically. Some look for amazing cinematography. Me I often look for acting that transcends the ordinary. Now the acting in this film didn't do that for me, but it did offer something else that I look for in films: set decor. The sets were so visually rich that I just wanted to examine them firsthand. Loved the photographer's studio/apartment and the antique shop was stacked with interesting objects. Even the street scenes were worthy of Jim Jarmush film. And that rock club with the Yardbirds performing with both Jimmy Page and Jeff Beck, how cool was that!

New wave ain't my bag but visually the film hit a sweet spot and like I said it was interesting all the way around.

It was a few years since I last watched it and didn't remember it well, so I initially was looking for a copy with subtitles. Even though I already saw it, I thought it was foreign language.

cricket

09-28-23, 10:25 PM

I watched Missing but I have a busy period coming up. I'll get something written up in a day or 2

Citizen Rules

09-28-23, 10:25 PM

It was a few years since I last watched it and didn't remember it well, so I initially was looking for a copy with subtitles. Even though I already saw it, I thought it was foreign language.I always thought it was an Italian film, so yeah I was surprised too when I found it I could understand the language.

Citizen Rules

09-28-23, 10:54 PM

Blow-Up https://www.minimaetmoralia.it/wp/wp-content/uploads/2022/09/blow-up-640x420.jpgBy the way, not to be someone who objectifies women (I am), but that first model was hideous.
rating_3_5

Yeah I thought so too and so did my wife. It was the model's forehead, very oddly shaped. During the movie I told my wife that model needs hair bangs. https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fdigilander.libero.it%2Fguido_1953%2Fpics%2Fx-blow-up%2Fblow-up-08.jpg&f=1&nofb=1&ipt=002555501d077484aeaeb76a6304f93ddf0c25e1a804b2fd97db5f499d341a2c&ipo=images

On the flip side I never new Vanessa Redgrave was so attractive when she was young. Don't think I've ever seen her as young as that.

cricket

09-30-23, 11:12 AM

Missing

https://see-aych.com/wp-content/uploads/2017/01/missing-1982.jpg

First time seeing this. I remember when it came out and all of the acclaim, I was 11. I've been interested in seeing it since then but it just never happened. The funny thing is that I thought it was about a missing child, and that Jack Lemmon and Sissy Spacek were the parents. The age difference never occurred to me, probably since I was so young when I first got this idea, and I still thought it was about a missing child. In fact, a few minutes in I stopped it because I thought I was watching the wrong movie. Oh so it's a guy not a child, and Spacek is the GF, and it's a political film by the guy who made Z. Ok this was not at all what I thought it was, I thought. If I knew it were a political film, I would never had wanted to see it all those years. That has changed over the last 5 years or so as I've seen a lot of good political films, Z among them. Also never knew it was a true story, which I tend to like. Anyway, this was a terrific film that kept me glued throughout. The only scene that I wasn't that fond of was the stadium scene. The political leanings make it still relevant today. I liked how Lemmon learned things about his son that surprised him. Him and Spacek are total pros, hard to go wrong with them. Glad I was finally able to cross this off the list.

4+

rauldc14

09-30-23, 12:05 PM

I will catch up on tagging reviews tomorrow night guys! Been a bit of a hectic week!

edarsenal

09-30-23, 03:03 PM

edarsenal

09-30-23, 03:17 PM

https://www.jasoncollin.org/wp-content/uploads/2011/09-SEPT/double-indemnity-1944-movie-screenshot-495px.jpg
https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Double-Indemnity-LIFE-1944-2.jpg/300px-Double-Indemnity-LIFE-1944-2.jpg
https://media.tenor.com/5cNMEa63knoAAAAC/double-indemnity-arjan1982.gif

Double Indemnity (1944)

Walter Neff: How could I have known that murder could sometimes smell like honeysuckle?

Considered a MUST SEE for anyone who enjoys noir films, this was co-written by a detective-story great and creator of Philip Marlowe; Raymond Chandler, and his style of colorful penmanship is all over this film.
The other writer? None other than Billy Wilder.

This film has all the usual pieces to a clever scam going to hell. With a femme fatale; Barbara Stanwyck, whom I really love when she plays it tough. When she plays the nervous/scared damsel, it doesn't seem real. Or perhaps that's the point since it's all a charade anyway. One you can see in multiple scenes when she watches Murray's character walk away; and if you know what you're looking for, you do see behind the mask. However, she does hide it VERY well. She truly shined in the final confrontation. Sitting coldly on the sofa as things fell apart between her and Murray, the tension was very well done.

As for Murray, he played the sucker perfectly. Making the plays and orchestrating the plans without the slightest clue, he was the one being used. Though I must say, I never had any sympathy for him, while I did enjoy him trying to play it cool. But I really think that has to do with the bias of being so used to him playing Walt Disney films when I was a kid; like Flubber and The Shaggy D.A. Never mind the sitcom My Three Sons. So, any time I ever watched this, those characters always stuck in my head. Though, happily, it was far less on this most recent rewatch. YAY

The final character, Murray's boss, played with his usual excellence is my man Edward G Robinson. I think some of my favorite scenes included Murray and Robinson; especially the closing scene of this movie. Robinson, along with his iconic gangster roles, does exceptionally well when playing a character with investigative skills.

I'm VERY happy to revisit this classic noir, and thanks to whoever nominated it!

cricket

10-01-23, 08:20 AM

Dial M for Murder

https://thehitchcockreport.files.wordpress.com/2010/11/0087.jpg

Seen this a few times, the last time being in prep for the 50's countdown, and it ranked high on my ballot. I have considered it to be my 2nd favorite Hitchcock film, and that opinion still stands. I didn't realize until I started watching but it was as if I had never seen it. I remembered almost nothing. Kind of cool but wtf at the same time. I think it's partly due to it being a film I enjoy rather that one which affects me. Sucks me in right from the start and that lasts until the final second. I think usually in a film like this, the character's plan would go smoothly until the very end when it falls apart. In this film, his plan falls apart over and over again just for him to recover. The actors overact, but the film calls for it and it works. It's a "one smoke break film", and that means it's great.

4.5

John W Constantine

10-01-23, 04:01 PM

Light in the Piazza

Starting off with this one as it was the title I was least familiar with. It feels kind of like a story for it's particular time. Everyone has their own sort of motivations that conflict with those of the other characters. There's plenty of scenery to chew as we progress through the story as it unfolds. Certain characters show up later on to add a bit more complications to the dreams of the others but one could say it gets resolved. A good start to break the ice on this HoF.

John W Constantine

10-01-23, 09:06 PM

H-8...

This is supposedly (maybe) based on a real life incident. The lives of numerous people are affected by the head on crash of a passenger bus and and a heavy size truck carrying a father and son. We are given a number of details in the beginning explaining the fate of all those involved including a mystery driver who's involvement is of great impact. Throughout the proceedings we are introduced to passengers from both the bus and truck but are left to question the identity of others involved. I found a few of the players interesting but some not at all and that ending I believe will get some of your head wheels spinning.

John W Constantine

10-02-23, 01:32 AM

Departures

Daigo plays cello in an orchestra in Tokyo, well he did until his group is disbanded. He decides with his Mrs. to move back home to his mothers house to live a more cost efficient living. He assumes to hit the jackpot when he answers an ad for what he believes is a position in flight services. Little does he realize at first is that he has applied and been hired to prepare corpses for their final departure. His financial issues are quickly resolved but there seems to be a cultural stigma to the type of business Daigo has gotten into. Despite pressure from those close to him to leave his new calling he finds he may have found his life's purpose and a link to something more. These types of films are what I really enjoy from Asian filmmakers. It doesn't rush the story but doesn't get too methodical in it's storytelling. Tender and surprisingly funny in spots. Good nomination from whoever.

Hey Fredrick

10-02-23, 10:24 AM

Blow-Up

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Well, this was something. This is going to be a tough one to summarize after a single watch. It'd be like looking at Picasso's Guernica for two seconds and thinking you have it all figured out. There's definitely something beneath the surface of this film about a photographer who thinks he captures a murder while out in a park filming two people who appear to be having a good time with each other. The photographer is not a particularly likeable fellow. He's a bit of a self centered creep but not to the point that you actively root against him. My guess is he's probably a pretty good representation of fashion photographers of the time and he does a good job with the role. If they remade this in the late 80's James Spader would be a nice choice to play the photographer. That's pretty much all there is to say about the characters. Other characters float in and out but this a film based around an individual.

Blow-Up is the kind of film that I'm sure film schools love to watch and analyze, analyze and when they're done, analyze a little bit more. And why not? There's plenty to talk about, it's sticking with me and I'm positive I didn't get it all. There are times in the film where the photographer is blowing up his pictures until all you see is a a bunch of black blobs - like a Rorschach test. He sees something and sometimes I see what he see's and sometimes I don't. That's what I think of this film. Sometimes I see where it's going and sometimes I don't (****ing Mimes!). Can't say I liked it but I didn't dislike it either and, to be fair, it would need another watch from me to have a solid opinion.

And yes, that forehead on the model was - WHOA! hubuhhh.

Citizen Rules

10-02-23, 11:41 AM

Blow-Up

...The photographer is not a particularly likeable fellow. He's a bit of a self centered creep but not to the point that you actively root against him. My guess is he's probably a pretty good representation of fashion photographers of the time and he does a good job with the role. If they remade this in the late 80's James Spader would be a nice choice to play the photographer.... Good call, I felt the same way about the photographer. At times he seemed to be the determined artist type who's really focused on his art at exclusion of everything else. Other times he seemed like a real lout. But I never hated him or really rooted for him either and I think that's a strength that the film does well. It's like we just observe his world without being told by the film to decide one way or another. Same with the murder, is it in his overly artistic mind or did it really happened...Yeah James Spader in an 80s remake, absolutely.

Citizen Rules

10-02-23, 11:52 AM

I swear every single time I say 'I'm going to watch a movie tonight' on MoFo, something happens to prevent me from watching it! It happens all the time. Last night I went to watch H-8 and had it as a .mp4 file that I downloaded from the YouTube link. Of course when you do that you don't get the 'soft subs'. So I had to go to SubScene and get subtitles. Only they were off by a whooping 27 seconds! So far off that I couldn't figure out who was saying what. So shifting the subs timing was hard to do, but I did it and it matched perfectly....But then after 20 minutes the timing was getting off again and subs were appearing on the screen 15 seconds before anyone spoke. At this point I'm getting very frustrated!But I knew H-8 was on YouTube and I was determined to watch it. So I turn on Roku and go to the YouTube app and use the search function and type in H-8....the movie would not come up! It must be something about YouTube on Roku that stopped me from finding the movie. I'm not giving up! I'm trying again.So the dilemma of finding and watching H-8 continued...I looked again for more subtitle files but couldn't find any on the web. So I decided to download the other H-8 on YouTube that had really crappy video but was 4 minutes shorter...I figured the subs that I had would fit the shorter movie, wrong! After messing around with that copy I went and looked for a third time on the internet for a site that had the subtitle .srt file. I didn't find one.

BUT the day was saved when I found a site that if you coped the YouTube url to it's search function it would grab the subtitle file and you could save it as a .srt. The site is DownSub (https://downsub.com/) and it is not an illegal pirate site, it's a legit .com site, you can not get movies, only the subtitle files. So to end my long dilemma I watched the remastered version of H-8 with perfectly synced subs. Yahoo!

John W Constantine

10-02-23, 04:32 PM

The Little Girl Who Conquered Time

Yoshiyama Kazuko is a third-year junior high school student. One day while cleaning the lab with fellow students Goro and Fukamachi, she smells lavender and faints. Following these events, Yoshiyama begins to notice strange little instances during her travels around town. One day on their travels home, Yoshiyama notices the same smell of lavender in the garden house located at Fukamachi's grandparents. We are given backstory to Yoshiyama and Fukamachi's childhood in memory. After a huge natural disaster that takes place in the night, Yoshiyama awakens the next day to experience the previous nights events haven't yet taken place and she is reliving the previous day. Made by the same filmmaker responsible for the classic Hausu, i wasn't surprised as this film has an almost dreamlike quality to it. There is definitely mysterious things happening but it's a little difficult to place a finger on it. I enjoy a good mystery and this one kept my attention until the end supported also by a nice score in the background. Based on a graphic novel series released in the 60's, I might have to check that one out.

rauldc14

10-02-23, 04:44 PM

I'm all caught up with reviews. 14 already. You guys are animals!

rauldc14

10-02-23, 06:17 PM

We have another nomination!

The Banshees of Inisherin
https://cdn.theatlantic.com/thumbor/RaxhqyKydc5ulhZ3dkJnRGheqMI=/0x0:4800x2700/1600x900/media/img/mt/2022/10/001_BANSHEES_hr/original.jpg
2022, Directed by Martin McDonaugh

rauldc14

10-02-23, 07:29 PM

Courtesy of Beelzebubble joining!

cricket

10-02-23, 08:17 PM

Cool that's already on my watchlist

John W Constantine

10-02-23, 08:51 PM

The Name of the Rose

In 1327 (I believe...), a Franciscan monk and his novice arrive at an abbey in Northern Italy. Apparently one of the members of the residents has been found dead, an apparent suicide, and William of Baskersville has come to inquire about the situation. Using his well of knowledge and intelligence, monk William begins an investigation as to the death of the recently deceased monk and some artifacts (books) that reside in the walls of the abbey. If only the monk residents weren't attempting to keep William from gathering certain information that could solve the mysterious death of the mentioned monk. I couldn't help but get serious Sherlock Holmes vibes from this. Connery, even as a monk, is his normal suave self with the help of a young Christian Slater as his novice. Lots of welcomed faces from known actors, and some ugly ones also. I wouldn't say any of the proceedings come off as humorous but it never goes full on too serious even with the story it's trying to tell. The set pieces were somehow great to see and somehow reserved for the setting. Maybe a tad bit much to revisit this one often but would definitely watch again somewhere down the road.

Allaby

10-02-23, 10:05 PM

I rewatched Blow-Up (1966) on Criterion blu ray directed by Michelangelo Antonioni. For me, this is Antonioni's best film out of what I have seen. The performances are effective, although not exceptional. I liked the look and feel of the film. It is a stylish film with substance and intelligence. It's a fairly interesting story too. I'm glad to have revisted Blow-Up. Good nomination. 4

Citizen Rules

10-02-23, 10:59 PM

I'm all caught up with reviews. 14 already. You guys are animals!John W. is he's flying through the movies. I did watch another last night.

John W Constantine

10-03-23, 12:10 AM

John W. is he's flying through the movies. I did watch another last night.
Days off, was trying to watch those I hadn't seen before and do the revisits afterwards. Back to work tomorrow so I probably won't get to any until the weekend. Give y'all time to catch up 😀

CosmicRunaway

10-03-23, 11:26 AM

So I wasn't able to put much thought into a potential nomination because I was in a lot of pain all weekend, and actually had to make an emergency trip to the hospital overnight. I'm fine now though (for the most part lol) so no need to worry!

While I do now have the rest of the week off work, and the general anaesthesia wore off early this morning, I'm not really feeling up to the task of rushing to think of a film to submit at the very last minute. So I'll be sitting this one out, though there are a few nominations that I might watch anyway.

I'd like to rewatch Dial M for Murder since I don't really remember anything about it, and I've been meaning to watch Picnic at Hanging Rock for some time now.

I'm familiar with the animated adaption of The Girl Who Leapt Through Time, but wasn't even aware there was a live action one that came before it. I might check that out as well.

Departures sounded interesting, but the tone of the trailer I just watched kind of seems... all over the place? I might give it a go anyway though, we'll see.

Out of the rest, I've only seen The Banshees of Inisherin and Double Indemnity. They're both very solid films, and I'll definitely be watching the results to see how they do here.

cricket

10-03-23, 12:10 PM

Light in the Piazza

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Completely blind watch as I put it on without reading a thing. I was expecting a foreign film, and then as it started I thought it was going to be a romantic comedy. I think if I put it on at any point in the film I would have suspected comedy, but it is a drama about a serious subject that affects some families. Despite the serious subject matter, I feel like it's one of those films that's better if you just turn off your brain and enjoy it. The daughter has the permanent mentality of a 10yo, but aside from a few quirks she mostly behaves like a normal and vivacious young woman. George Hamilton plays the love interest and he plays a guy who is close to her level. I think that's the only way the movie works. If he were a mature young man, you'd have to wonder if he were some type of predator. The result is that the film rarely seems as serious as its story. What really makes the film is Olivia de Havilland as the mother. She's fantastic, and her awakening and love for her daughter is beautiful to watch. Great Italian settings, it's a good nomination.

3.5

rauldc14

10-03-23, 01:00 PM

For those following the "watch pattern" after H-8 are we going Blow-Up?

rauldc14

10-03-23, 01:20 PM

H-8

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This movie follows in the footsteps of a film that shows us how chance plays a role in life. And I really enjoy films that have this what if angle. Like has been said by many previous reviews we know what has happened but we don't know who it has happened to, and that's what makes me feel like this film triggered a lot of attention. I did have problems here and there with the pacing but that could be me having a shorter leash sometimes watching films. The characters were interesting to follow and the story although simple was still an easy one to match to. Cool to see films like this nominated here.

3.5

Citizen Rules

10-03-23, 01:46 PM

95415
H-8 (1958)
I enjoyed this. It reminded me of Stagecoach and The High and The Mighty in that the movie is a microcosm of society in general, with various personalty types all crammed into a doomed bus. I liked the actors who played these people, good casting choices. I found each of them fascinating and their personal stories intriguing. Their roles were well written and I was engaged from the start. I was less interested in the true story aspects of the film, well except for the end when you find out who died. But even if this had been a fictional story with no bus crash I would've still enjoyed it as much.

rauldc14

10-04-23, 08:36 PM

I should have my Picnic at Hanging Rock rewatch done at work tonight. If it all works out, I'll post a review in the morning.

Citizen Rules

10-04-23, 10:33 PM

I should have my Picnic at Hanging Rock rewatch done at work tonight. If it all works out, I'll post a review in the morning.Have you seen that before?

cricket

10-05-23, 03:30 PM

I should have my Picnic at Hanging Rock rewatch done at work tonight. If it all works out, I'll post a review in the morning.

Have you seen that before?

https://media.tenor.com/sKqPk8JV4OUAAAAC/drinking-pouring.gif

Citizen Rules

10-05-23, 05:01 PM

https://media.tenor.com/sKqPk8JV4OUAAAAC/drinking-pouring.gif
Ha! :D

rauldc14

10-05-23, 05:03 PM

Yeah yeah I didn't finish but I will :)

I've seen it once before

Citizen Rules

10-05-23, 05:08 PM

Yeah yeah I didn't finish but I will :)

I've seen it once before
I seen it once before too and thought it was beautifully filmed and an interesting premise. But I wasn't onboard with what the film was trying to do and not do...This time around it should do well with me. I hope.

PHOENIX74

10-06-23, 05:22 AM

https://i.postimg.cc/tRBc4r7H/H8.jpg

H-8... - 1958

Directed by Nikola Tanhofer

Written by Zvonimir Berković & Tomislav Butorac

Starring Đurđa Ivezić, Boris Buzančić, Antun Vrdoljak, Vanja Drach & Marijan Lovrić

The long distance bus ride creates a small tight-knit community for a brief moment - us people, in either a friendly or antagonistic way, tend to get to know people nearby. As a kid, traveling around Australia, they were the greatest adventure imaginable and form some of my most fond memories. In H-8 the bus we're riding on is heading for disaster - based on a true story, it involves the head-on collision between a bus and truck which was caused by an unknown motorist who sped away from the scene of the crash. Only two numbers of his license plate were visible to onlookers - "H-8..." The film takes on a familiar form as we watch - that of the star-laden disaster movie, which was yet to take form in 1958 - this film's day. Each character is in the midst of their own dramatic storyline, and as we watch we're continually kept on edge as to who will end up seated nearer the front of the bus - the zone where all of the fatalities occurred. In the truck involved in the collision, we get to know a man just released from prison, his son, glad to be reunited with his father, and a hoodlum trying his best to lure the man back into a life of crime.

The movie itself isn't concerned at all with death and destruction, or the drama related to the saving of lives, hospitalization and the aftermath. Here we watch the build-up, knowing each step of the way where we're at, for in the film's first few minutes we're given a thorough forensic rundown of the key events which occurred during the trip. It's a smart way to go about this - the documentary style it uses is more common today on television from shows that range from Seconds from Disaster to Air Crash Investigation, where we learn the basics and then close in for a more minute examination with the framework already sorted out in our mind. We know the truck driver will at one point eject his passenger, but then relent and let him back in. We know a bus passenger will be left behind after a rest stop. We know the two bus drivers will swap roles, and that this is unusual. The film doesn't have to pause and lose precious momentum to make anything clear.

The passengers on the bus are an unlikely combination of drama and newsworthy happenstance. There's the paediatrician suspected of negligence in a case where children died, traveling with his son. There's the talented performer who has just broken up with her teacher - a teacher who is old enough to be her father. There's the theater performer who has lost his voice - something that's driven him to the verge of a mental breakdown. There's the unsatisfied lady taking a trip with her Swiss man - a man who doesn't speak the language and is thus at a disadvantage. There's an older couple, and a young new mother. There are a couple of bachelors, and a high strung couple taking care of a wayward daughter. There's the conscript, and the wise guy. At various times these people will move about and switch seats depending on circumstance and blind chance. It might depend on a person wanting to try and chat someone up, or an offer for a smoother ride up the front. As the time at which the collision occurs gets nearer, these moments become more critical.

Nikola Tanhofer, the film's director, started out his career as a noted and innovative cinematographer before graduating to helming features. H-8 was the second of eight he'd end up making - most of them probably well worth checking out. The technical experimentation he'd been employing from behind the camera since 1949 gave him an intrinsic knowledge of what would be possible for him as far as what he wanted visually. Writing the excellent screenplay were journalist Tomislav Butorac, and future star Croatian filmmaker Zvonimir Berković - making this a convergence of talent within this region at this time. Handling the cinematography for the usual cinematographer in a very able and interesting manner was Slavko Zalar while the director's future wife, Radojka Ivančević, did the editing - turning this into a finished product that would later be voted as the second best (in 1999) Croatian film ever made and at a later date it took the number one spot, being voted the best Croatian film of all time in 2020. Over time it's probably something that will continue to be discovered by film-lovers.

I enjoyed the way everyone involved in making this, from editor Ivančević to Dragutin Savin's music to cinematographer and narrator quicken the tempo to a climactic frenzy when the critical event is about to take place, both in the film's prologue and at the film's sad conclusion. I thought the score was otherwise workmanlike and most of the time faded into an enjoyable ambient, atmospheric, easy and smooth glide. The performances all-round were all very good by an ensemble which really shared the load around equally - including the child actors. I liked the rhythmic bounce we always got during scenes aboard the moving vehicles - it wasn't overdone. I also thought the various moral questions constantly sprouting throughout made this a really interesting watch. From thieves to reformed criminals, parents and their concerns, lovers and the lonely, journalists and their ethics, bus drivers and their need to stay sober no matter what - it blends in nicely for this narrative to meet up with the blind chance that disaster so cruelly delivers. Accidents like this kill the innocent with the guilty.

I'm always happy when given the chance and impetus to check out a good film from an era and geographical location I'd rarely find myself in film-watching-wise. H-8 has recently been digitally restored, so it's looking it's best for those who seek out the more handsome and cleaned up version. Oh - and one of my favourite aspects to the whole film is the way the narrator kind of spits out acidic, sarcastic tributes to the driver of the car that caused the disaster and then sped off. I'm sure every driver out there who's license plate started with 'H8' were made uncomfortable, despite their innocence. Anyway, I appreciate the way this anger and frustration is given full voice at the beginning and end of this film - and I'll always wonder if the driver knew about this film, or even saw it. In the meantime, the bus continues to be that melting pot of humanity where people are forced into close proximity with each other only to depart, never to see each other again. It's a rich mine of conflict and agreement - and sometimes even love. Though torn apart in the end, this mixture in H-8 is enough to travel along with and become involved with emotionally before the sudden and irreparable collision of a more mechanical, physical nature.

4

PHOENIX74

10-06-23, 05:37 AM

I enjoyed this. It reminded me of Stagecoach and The High and The Mighty in that the movie is a microcosm of society in general, with various personalty types all crammed into a doomed bus. I liked the actors who played these people, good casting choices. I found each of them fascinating and their personal stories intriguing. Their roles were well written and I was engaged from the start. I was less interested in the true story aspects of the film, well except for the end when you find out who died. But even if this had been a fictional story with no bus crash I would've still enjoyed it as much.

Succinct and really good review, and yeah that "microcosm of society" factor was one of the most enjoyable elements of H-8.

Widely regarded as the greatest film to ever come out of Yugoslavia, it tells the true story of a deadly 1957 crash between a bus and a truck. No spoilers there as these facts are presented up front, and then the rest of the film is done in flashback. H-8 refers to the beginning of the license plate of a mystery car that caused the tragic wreck, gotten by witnesses before it disappeared into the night. I would imagine that some would think it exploitive to make a film so soon after a tragedy, but it was dedicated to the driver of the car, I would imagine to bring attention and to shame.

The narrative style is a little bit different and is probably one of the main reasons for the film's acclaim. We are told in the beginning that passengers who sat in certain seats would not survive, yet we don't find out until the very end which passengers would be in those seats. In the meantime we get to know the passengers, as well as the occupants of the truck. I often found myself forgetting that I was watching what is essentially a disaster film. Everything worked for me, the look, story, dialogue, and characters. I think it's a unique and great film.

Yeah - I also liked how it didn't feel too exploitative. It just focused on people rather than the carnage. There was a television film made about the Challenger disaster shortly after it occurred, and as a kid I was really disappointed the narrative stopped short of the launch and destruction - I really bought exploitation back then as an immature lad.

Okay, I'm following that up with Blow Up because that seems to be the general non-compulsory consensus.

Allaby

10-07-23, 05:57 PM

I rewatched Picnic at Hanging Rock (1975) on Criterion blu ray. Directed by Peter Weir, this Australian mystery/drama is about a group of schoolgirls and teachers on a picnic when three schoolgirls and a teacher disappear . The film is very well directed on every level and this is my favourite Peter Weir film out of the ones I have seen. The performances of the girls are quite captivating and worked with the story and tone of the film. Picnic at Hanging Rock has a dreamlike, haunting feel to it. The cinematography is lush and beautiful and the score is atmospheric and helps enhance the film. I liked the costumes as well. I felt it worked really well that the central mystery remains unresolved. If the film provided clear answers and wrapped everything up, it might end up being unsatisfactory and take away from the power of the film. I think the ambiguity of the film speaks to the mysteries of life and nature in a poetic and compelling way. There is a lot of substance underneath the surface of Picnic at Hanging Rock and it is a rewarding experience, regardless of what you take away from it. Great nomination. 4.5

rauldc14

10-08-23, 11:42 AM

Picnic at Hanging Rock

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS7gc9yw3tR5Bbek6FopAEnuFFzLxyKdVbXKg&usqp=CAU

This was my second watch although I didn't necessarily remember all too much of this. The highlight of the film is it's look, quite vibrant colors, cool costume design and nifty cinematography and camera work. The sound of the film was good too. The characters were interesting yet there wasn't an acting performance that really stuck out to me either. On the surface the story was interesting but it seemed to be directed rather shallowly to me. I would have liked more suspense or more action. I get that's not what the films target was but for me it just needed more meat to the story in the minute details of it all. Good, but not great for me.

3+

cricket

10-08-23, 05:31 PM

Had a busy week, hope to watch one tomorrow. That's why I started fast:)

Allaby

10-08-23, 05:59 PM

Had a busy week, hope to watch one tomorrow. That's why I started fast:)

I'll likely watch another one tomorrow too. Do you know which film you are going to watch?

rauldc14

10-08-23, 06:02 PM

Light at the Piazza for me tomorrow.

Allaby

10-08-23, 06:05 PM

Light at the Piazza for me tomorrow.

Maybe I will watch that one tomorrow. I haven't seen it and it looks interesting.

cricket

10-08-23, 08:29 PM

I'll likely watch another one tomorrow too. Do you know which film you are going to watch?

No clue, I just pick by random

John W Constantine

10-08-23, 09:09 PM

I'll have a few more reviews tonight and tomorrow.

Citizen Rules

10-08-23, 09:50 PM

I'll be getting to a nom sooner than later. I'll just go with what most people are watching.

John W Constantine

10-08-23, 11:33 PM

Dial M for Murder

Tony Wendice is an ex-tennis pro who now has apparently found a new life pursuit. He has decided to study another human being. He has his reasons which happen to be in the pursuit of using his study subject to murder his wife (who has been involved in an extramarital affair) to collect on her wealthy insurance. Having apparently thought out the perfect murder with his study subject, Tony comes to realize there is a slight difference in planning the perfect thing and how perfect things actually play out in reality. This hit the spot, Hitch reached a point where he could make these kinds of films in his sleep. Ray Milland is fantastic as the main character always trying to twist the narrative to his favor. It's a classic who dunnit where we already know who is who but the fun is in the excitement of watching it all play out. The last few minutes get a little over meticulous but it's fun all the way to the end credit.

rauldc14

10-09-23, 03:07 PM

23 of the expected 121 reviews are in! Good start.

8 out of the 11 people have participated so far. Three still seeking their first reviews.

John W Constantine

10-09-23, 04:35 PM

Picnic at Hanging Rock

In the year of our lord, 1900, it is Valentine's Day at the girls school in Victoria, Australia. The normally strict headmistress Mrs. Appleyard has granted many of the students a gift, a day to visit and explore the beautiful area of Hanging Rock. All seems serene and wonderful during the girls visit to the secluded landscape. Four of the girls precede to wander off to explore some more uninhibited (maybe...) parts of the rock. During the day as they all tire and seemingly nap, Edith awakens to see three of the others: Marion, Irma, and the (insert mystical term here) Miranda drifting away between a crevice seemingly to vanish without a trace. The town organizes a search party but the trio of school girls remain unfound.

I enjoyed the atmosphere, music, and scenery of this one. The focal point being the missing girls and the action of local townspeople trying to find them. I sense there is more to the character of Sara than is let on but I guess we are meant to wonder. Or maybe not. I dunno. A pretty good selection for this group.

rauldc14

10-09-23, 04:44 PM

Constantine killing it here! Great job man!

Allaby

10-09-23, 05:11 PM

I watched Light in the Piazza (1962) today. Directed by Guy Green, the film stars Olivia de Havilland, Yvette Mimieux, and George Hamilton. The film is about a woman in her twenties who, due to a childhood accident, has the mental capacity equivalent to a child. While on vacation in Italy with her mother, the young woman falls for an Italian man. Light in the Piazza is a beautiful looking film. I really liked the cinematography and the lovely scenery. The costumes are great too. Olivia de Havilland does a good job as the concerned mother trying to determine what's best for her daughter. Yvette Mimieux is charming and effective as the childlike young woman. Some of the story elements don't completely work though. It seems to be stretching credibility that Fabrizio and his family would not notice that there is something unusual about Clara's behaviour. Also, it seems odd that Fabrios' father would not know his son's age and would not ask about the age of the woman that his son intends to marry. His reaction when he mistakenly believes that there is a six year age difference between the two seems over the top and wasn't believable. I had mixed feelings about the ending. It seems like a happy ending that the two are in love and get married, but how long until Fabrizio figures out his new wife has the mindset of a child? How will Clara handle sex, pregnancy, children, etc with her condition? It raises a lot of problematic questions. Overall though, the film is enjoyable, in spite of some questionable elements of the plot. 3.5

cricket

10-09-23, 07:25 PM

Picnic at Hanging Rock

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This was my 2nd watch. Like many other acclaimed films that I didn't care for the first time, I wanted to give it another shot. I'm a huge horror fan, but yet I'm not a fan of supernatural horror. I compare this film to supernatural horror. Mystery is great, but what I believe is always based on logic rather than mysterious happenings. The ambiguity is fine, but the lack of plausible explanation does not work for me. It makes it a tough film to get through. I have praise for the same aspects that others have; the look, costumes, score, things of that nature, but the narrative leaves me unsatisfied.

3

jiraffejustin

10-10-23, 12:54 AM

Picnic at Hanging Rock

Some spoilers ahead but for an event that is spoiled in every description of the film.

I am always happy to see a horror film (or horror adjacent film) nominated in one of these. Like cricket, this is my second time watching this, but I like it a lot more this time than the first time I saw it. The first time around I felt pretty similar to the way cricket described his feelings this time around, I appreciated the visuals but was left feeling like there was still some meat on the bone. Perhaps already having seen the film allowed me to view it not as a mystery or a puzzle needing to be put together, but as some sort of sweaty fever nightmare. It could be that one of my fears is to be in my head, but have no control of my body, but the events of this film freak me out. Being compelled to advance into my own demise without the ability to resist is a nightmare I have had more than a few times. The main characters in this film seem to be suffering that same thing, all of them on a rail that leads to their undoing but unable to get off it. Sara mentioning that Miranda knew she wasn't coming back and that she knew things that other people didn't stood out to me. Great film. Doesn't stand a chance of winning, but I'd be happy with it as a winner.

John W Constantine

10-10-23, 02:24 AM

Double Indemnity

My original review got lost somehow so... Round 2.

Our reliable narrator is one Walter Neff who just happens to be in the insurance business. He doesn't make a big living as he mentions to one of our main characters, just a living. During one of his trips out one day to re establish a claim for a long time customer he instead has the chance to meet the owner's significant other. During their discussions a curious 'what if' gets brought up about the possibility of a person having a policy that they wouldn't be aware that they had. Even more interesting in the fact such a policy could supply a large sum of money for an accidental death of the person involved. Billy Wilder was someone I had the chance to experience when I first started getting into film. I'm shocked that it has taken me this long to really revisit any of his catalogue after such a long time. The first half of this up until the plan is hatched felt a little too meticulous but once the back half is set in motion it doesn't let up all the way to the end. I love MacMurray and EG Robinsons back and forth banter weather it be the pre incident normal conversation and the post incident banter putting the pieces together. Barbara is her usual sultry self and her performance here is a reason why she is one of my favorites from this time period. Classic noir is a favorite of mine and MacMurray really drives this thing through til the end.

rauldc14

10-10-23, 09:19 AM

Light in the Piazza

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When I saw this was nominated I knew literally nothing about it but I feel like I formed an opinion of what it could be like and I was quite anticipating watching it. After all was said and done it didn't necessarily end up meeting what I thought it could have been. I think I would have preferred the story converted to sort of a musical romance type of movie, it would have perhaps worked better that way for me. I wasn't quite enthralled with how the story played out as it felt like rather dated dull storytelling. The film looked good and I don't really have any arguments with the performances. One cultural thing I thought I'd hit on was the fact of them talking about religion and her accepting what they were going to get married as. I hate how Judgy the world has become. But yeah I know that has little or nothing to do with the movie so I will just leave it alone. It's an ok movie but it could have been told in a grander way.

3-

Citizen Rules

10-10-23, 12:36 PM

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Dial M for Murder
(Hitchcock 1954)

I watched this seven years ago and reviewed it. I see of the five MoFo reviews my rating_3 is the lowest. I'm not surprised as I often have very different reactions to movies than most. I do like Hitch and have seen most if not all of films, sans the silent ones...though I wouldn't call him a favorite director. After a second watch of Dial M for Murder I'd place it in the lower tier of his film. To me this is a rather lifeless movie for Hitch, that generated little emotions for me. It's long in the tooth with huge blocks of exposition which I felt was written rather dryly. The characters themselves are two dimensional and lacked any resonances as a result I didn't really care what happened to Margo (Grace Kelly) as I didn't buy the world that Hitch had created. It's like the film's sole reason for being is the 'key trick', which I guess was clever but I wanted a more personal involvement with the story and characters at hand.

I just read my old review (https://www.movieforums.com/community/showthread.php?anchor=1&p=1572251#post1572251) and I still agree with it.

rauldc14

10-11-23, 09:22 AM

Citizen Rules

10-11-23, 12:27 PM

I actually feel a lot of times Hitchcock characters aren't as important as his story. I'm not sure these things always work for me either, but I just am engrossed how Hitchcock weaves his stories so well that you can look past a lot of the enrichment of the charactersYeah, sometimes characters aren't as important as the story. What are you favorite Hitch films?

Mine are these, not in order:
The Birds
Psycho
Rear Window
The Trouble With Harry (my wife also really likes this film, I think MarkF did too)

I think The Man Who Knew Too Much is one of his best crafted films with top notch performances and is extremely suspenseful and believable. I don't list it as a favorite as it's almost too intense for me with a little kid being kidnapped as his mother suffers so it's not a 'fun watch' for me, but I do highly rate it.

rauldc14

10-11-23, 01:45 PM

Yeah, sometimes characters aren't as important as the story. What are you favorite Hitch films?

Mine are these, not in order:
The Birds
Psycho
Rear Window
The Trouble With Harry (my wife also really likes this film, I think MarkF did too)

I think The Man Who Knew Too Much is one of his best crafted films with top notch performances and is extremely suspenseful and believable. I don't list it as a favorite as it's almost too intense for me with a little kid being kidnapped as his mother suffers so it's not a 'fun watch' for me, but I do highly rate it.

My top 5 is as follows:

1. Rear Window
2. Psycho
3. North by Northwest
4. Dial M for Murder
5. Shadow of a Doubt

rauldc14

10-11-23, 01:49 PM

I still have yet to see The Trouble With Harry by the way. Hopefully soon.

cricket

10-11-23, 05:20 PM

1. Rebecca
2. Dial M for Murder
3. Psycho
4. Marnie
5. Rear Window

Citizen Rules

10-11-23, 06:11 PM

I still have yet to see The Trouble With Harry by the way. Hopefully soon.I need to see North by Northwest again. I liked it when I seen it and was impressed with Eva Marie Saint, Grant too of course.

Citizen Rules

10-11-23, 06:16 PM

1. Rebecca
2. Dial M for Murder
3. Psycho
4. Marnie
5. Rear WindowI forgot about Rebecca I'd count that as a favorite. I remember being impressed with Marnie but I need to see that again sometime.

cricket

10-11-23, 07:44 PM

The Banshees of Inisherin

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I was glad this was nominated because it was already on my watchlist. I very much like the two leads, and I like In Bruges and Three Billboards from the director. I did not like Seven Psychopaths.

A good flick but a bit of a mixed bag for me. This is not a criticism, just what honestly popped into my head a couple of times-why should I care? I have no clue why that thought crossed my mind, but it did. As much as I like the two leads, I think they've been better. They were fine, but they were outshined by the supporting cast. The scenery is beautiful! I kept hoping the movie would go in an unexpected direction. For some maybe, and it did get a little darker, but I felt like I was reading it all along. I thought the plot point revolving around "chopping" was silly. Still, I enjoyed it a good amount. I just don't think it's all it was cracked up to be.

3.5

Hey Fredrick

10-13-23, 09:10 AM

Picnic at Hanging Rock

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I had started watching this one a few times in the past but never made it more than a few minutes in. I need to be in a mood to watch certain movies and previously, after watching a few minutes of Picnic at Hanging Rock, I'd be like "eh, not in the mood" and off it'd go. I was in the mood for this type of film the other night and, surprisingly, kind of enjoyed it. So the story goes a group of schoolgirls head up to hanging rock for a picnic. Four of the girls go off on their own to explore the rocks and this was my favorite part of the film. Except for the screechy girl. Nothing really exciting happens but the music and the cinematography really create a sense of impending doom. At times it reminded me of Heavenly Creatures or The Virgin Suicides. I was surprised at how well it creeped me out. Eventually three of the girls disappear, without a trace and soon after the headmistress disappears while looking for the girls. An investigation takes place and they come up with *SPOILERS* nothing.

The fact that nothing gets resolved didn't bother me, it was obviously an alien abduction, but the one girl (you know the one) should have had something to say about what happened and I get why the other girls turn on her. Guess the MiB got to her first. I don't know if this will ever be a favorite but it was good and seeing as how it's considered one of, if not the best, Australian film it's something I'm glad to have finally watched.

edarsenal

10-14-23, 01:25 PM

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The Banshees of Inisherin (2022)

I saw this last week, and it still resonates within me, adding to the engagement and enjoyment as well as the "ride" that the fulfillment of the "ultimatum" created in my viewing. I am a huge, huge fan of In Bruges, and seeing this reunion in something with measures of dark wit and emotional depth and such beautiful landscapes was quite... well, to repeat myself, a very fulfilling film experience.
Within the list of great performers, I would like to express my enjoyment of the nuances by Barry Keoghan.
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Regarding his own additional side story, along with the others who bear witness to two old friends with whom one has lost complete desire to spend time with the other. The storyline had, for me, this intriguing sense of a tall tale told in a tavern that Writer/Director Martin McDonagh has an innate ability to bring to full life with sublime subtlety so that the more intense moments ignite like lightning that catch you by surprise with all the beauty and majesty of it.

As my first "unseen" film in this Hall of Fame, it is an amazing precursor for the others to follow.

edarsenal

10-14-23, 01:35 PM

PHOENIX74

10-15-23, 03:55 AM

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Blow-Up - 1966

Directed by Michelangelo Antonioni

Written by Michelangelo Antonioni & Tonino Guerra
Based on a short story by Julio Cortázar

Starring David Hemmings, Vanessa Redgrave & Sarah Miles

I have a pet theory about auteur films that have great interpretive scope. I believe a filmmaker and screenwriter can make one without knowing which interpretation they're aiming for - and further, that the less the person making the film knows what it's about, the better the film. It takes a person's subconscious to weave a good dream-rug made from metaphor, overtone, parable and connotation. We've all seen the opposite - clunky, awkward movies that are heavy-handed and leave little room for analysis. Films full of dead-certain giveaways. Blow-Up, Michelangelo Antonioni's surprisingly popular first English language film, has been debated and commented upon ever since it was released, over 50 years ago. There's no definitive word on what it's about - exactly. It speaks to us in the same way dreams speak to us, and as such it's an enjoyable sport to interpret and analyse. Most of what I have to say about the film is my own personal take-away from it, and is not meant as a definite and definitive guide, obviously.

In Blow-Up we have central character Thomas, a high-end, high-priced photographer that works taking pictures that appear everywhere in the cultural epoch of 1960s London. He drives a Rolls Royce, and lives a life of debauched freedom - taking photographs that speak about a reality that he sees, and tries to experience. One day, he takes pictures of a young woman and older man frolicking in the park - and the woman proceeds to beg him to either destroy the negative or hand it over to her. Thomas, piqued by the possible value his pictures have, and the power they give him over the woman in question, keeps them. When he develops the photos, he notices a shape in the bushes off to the right, and as he blows it up larger, and larger, he can see the shape of a man who appears to be holding a gun. Later, one of the last photographs he had taken is also enlarged - and shows the man in the park collapsed onto the ground. He goes to the park to investigate, and finds the dead body, but before he can formulate any kind of action his pictures, negatives and the body slip through his fingers. With no evidence - how can Thomas ever prove it really happened?

Everything that happens, and every line of dialogue, is very suggestive in Blow-Up - not a moment is wasted not conveying some kind of important meaning and as such you're never left to just tread water. When I watch it I'm constantly thinking, "...and what did that mean?" When the film makes a point of going on a detour, you know it isn't just wasting our time. Most interesting to me is when, early in the film, Thomas talks to a painter who, in explaining his work, says “They don't mean anything when I do them. Afterwards, I find something to hang onto. Like that leg,” and he points to a leg that can only just be made out in a very surreal image. This seems to not only be a statement about the film and reality, but also directly illuminates what Thomas is doing when he's blowing up his photographs. Hell, it's how I interpret the movie as well - finding something to hang onto so I can start formulating some kind of larger purpose. That's what I'll do here, I'll take the obvious instances of explicit meaning and see if I can tie it all together. Aside from the more outwardly real aspects, such as how much Thomas enjoys the power he has over people looking for fame, fortune or the need to hide what he captures with his camera - a device that never lies - or does it?

First up, I'll take what comes last in the film. There's a significant and lengthy scene to finish it off which features Thomas watching a group of mimes playing a kind of "mime tennis", pretending there's a ball. At one stage the mimes pretend the ball has gone over the fenced enclosure, and ask Thomas to continue the performance by running after the invisible ball, and "returning" it - which he does, now fully invested in the performance himself. All of this is obviously alluding to the nature of shared reality, and also the sharing of a reality that's not objectively real. Now, we go back to the beginning of the film - Thomas was dressed up in dirty bum-clothes, pretending to be a penniless wino living in a doss house. Why? So he could mingle and take naturalistic photographs of what goes on in there. We have that duality of realities there as well. While Thomas is in there, in dirty clothes, he's indistinguishable from any other person in there. You could well say he's one of them at that moment - but objectively he's not. He's a rich photographer. So, those things must be important to the film. Shared reality, objective reality and the interesting question posed - does a shared belief constitute some kind of reality, even if it's not objectively real?

The models Thomas takes photographs of are also a good illustration of that fine line. They don't own the expensive clothes they're wearing, and their expressions do not convey what they're thinking. When you look at them in magazines, they look real - but very little of what you're seeing is. In fact, only the physical image. So, an interpretation of a photograph cannot be considered objective reality without some kind of confirmation. What about art? What's real there? What constitutes reality? Reality is what the artist friend of Thomas begins with - "That's a leg." It's what you recognize. A gun. A leg. A person. A tree. Now, look at what happens to Thomas and his park photographs. The first thing we all recognize is a man and a woman. Lovers. Play. Sex. An affair perhaps? They're alone. But when Thomas looks closer it all breaks down. He finds something else to "hang onto" - a man with a gun. It changes the reality completely. Like Thomas in the doss house, this was just dressed up - a pretend fling for the woman. The reality is now a conspiracy. For Thomas, reality has changed - he looked closer.

If reality itself can change for Thomas when he looks closer, what does that say for all of us? Just look at Sir Isaac Newton, who had seemingly unlocked the secret of gravity. From that moment on, the reality for everyone science-minded had been defined. Then Albert Einstein looked closer, much like Thomas does. Then reality - for everyone - changed. If that can happen, how can we ever think of reality as anything other than something impermanent? Elusive? We hunger for something eternal - something that's some kind of bedrock. Turns out reality - whatever it is for us - is a shifting phenomenon. We can reach out and grasp onto things - "That's a leg" and "That's a dog," but when we cast our eyes around, constantly and insistently defining our reality, our mind often tricks us into the comfort of thinking that we're on top of it. Look at what the girl says in that famous quote towards the end. "I am in Paris" - it perfectly illustrates all of this. Her reality is different - like in 1984, where O'Brien says "The Law of Gravity is nonsense. No such law exists. If I think I float, and you think I float, then it happens." Does objective reality even exist, if it's not being percieved? Is there such a thing?

So, there's one important part of Blow-Up that I've been trying to add to this meaning. Throughout the film, there are constant instances of distraction. Distraction is a huge part of the puzzle. When the mysterious woman is with Thomas, he's distracted by the arrival of the propeller he bought. When he's figuring out his blown-up photograph, the two girls arrive and distract him from examining them further, and acting on the information. When he sees the mysterious woman again, he chases her through London, and then becomes distracted by The Yardbirds performance, and the piece of guitar that suddenly becomes meaningless when he leaves the nightclub. It seems that Thomas is a person of little consistency - he'll love you for a few hours, but then he'll be off elsewhere. He'll buy your artwork, and then forget about it. He'll photograph the poor, and then he's done with them. Was this Antonioni's statement about swinging London? That it was all fads, and moments, and that there was little depth and consistent follow-through on the philosophical trends of the day? It doesn't connect neatly with the whole "reality" picture, but it was there so often I kept on being reminded about the presence of "distraction".

I wanted this to be brief, I have far too much to say about this film - the cinematography by Carlo Di Palma (great use of colour, which Antonioni seems to have grasped as soon as he started making colour films - this was his second) almost seems beside the point. It's not though - there are several instances when we're explicitly told that we're not seeing this from any other perspective aside from the director. Thomas looks - and we ourselves look, but we're not Thomas. Interestingly, Di Palma was often used by Woody Allen later in his career. The music of Herbie Hancock has such a gentle touch in most places you won't even realise it's making light melodic differences when it's playing. When Thomas drives in London, going by so many colourful buildings - were they painted on the insistence of an eccentric filmmaker? Perhaps. It's a vibrant, very alive movie - and oh so colourful - wonderfully colourful. The sound is crisp and clear, and nothing ever seems like it has a heavy touch.

Quickly, I wanted to mention what the film itself mentions about purpose and art. There's at one stage an explicit mention of the fact that if an object no longer has a purpose, then it's art - I really loved that little nod. Thomas buys a propeller, admittedly beautiful, and without it's original purpose it will adorn his studio as a work of art. I think it works the other way as well. Once Thomas discovers a murder in his photographs, they no longer exist as the art they were meant to be. They're evidence, and they're clues - they suddenly define a different version of reality. They have a purpose. But when the artist in this instance, Thomas, tried to communicate and act, he stumbled and was distracted and failed to share this reality with anyone. They disappeared. The body disappeared. In the end, even Thomas himself disappears. He never existed. The murder never happened. I think Antonioni was thinking a lot about the process he goes through in making a film, and more specifically, a film as a work of art. What it means to him, to us, and what part of the whole process is "real" in an objective way, then subjective way for all of us. In doing that, he really created an eternal masterpiece that will never disappear.

5

PHOENIX74

10-15-23, 04:17 AM

Blow-Up (1966)
Dir. Michelangelo Antonioni

And that rock club with the Yardbirds performing with both Jimmy Page and Jeff Beck, how cool was that! Loved how everyone in the audience stood frozen like statues.

Ahh yeah - I forgot to mention that, but it really gave that scene something, all the audience not moving a muscle, like the dead or something.

I rewatched Blow-Up (1966) on Criterion blu ray directed by Michelangelo Antonioni. For me, this is Antonioni's best film out of what I have seen. The performances are effective, although not exceptional. I liked the look and feel of the film. It is a stylish film with substance and intelligence. It's a fairly interesting story too. I'm glad to have revisted Blow-Up. Good nomination. 4

The only Antonioni film I've seen aside from this is Red Desert. I'm looking forward to seeing more - and watching Red Desert again. Seems an Antonioni film is especially hard to grasp the first time around.

Blow-Up

Pretty cool seeing early Yardbirds, but those weren't the lyrics to Train Kept a Rollin'. Nothing is normal in this film. I like it but it remains a mystery to me. By the way, not to be someone who objectifies women (I am), but that first model was hideous.

3.5

Quite a few of the models seemed a little off. I don't know if such emaciation was common back then, but I read somewhere that they were purposely chosen for their off-putting characteristics.

Looks like Picnic at Hanging Rock or Banshees next for me, going by the general direction this barnstorming Hall of Fame is going in - but invariably I'll be too late! :eek:

Citizen Rules

10-15-23, 01:09 PM

95657

Light in the Piazza (1962)

That's not a screenshot from the movie, it's a cast publicity photo. It's interesting that when I look at it I see an adult woman on the right side of the screen. There Yvette Mimieux looks like the adult woman she was. But in the movie, though she looks physically the same and wears the same style clothing, she's a different person. A person who as a small child was kicked in the head by her pony and suffered a mental disability with the mind of a 10 year old. But maybe the people who think 'Clara' is disabled can't see the real her. Her father (Barry Sullivan) want's to institutionalize her in some upscale facility so he can save his marriage. Her mother (Olivia de Havilland) wants to marry her off, but is it also to save her marriage? Or to save her daughter from a life of confinement in a care facility?...Or maybe her mother's only concern is for Clara's one chance at happiness as a married woman living in Italy? I like that the film's script seems to suggest more complexity than the 'feeling' of the film would suggest. I appreciated the way the serious subject matter wasn't put on a platter and shoved right under our noses. There's enough 'other stuff' going on in the film to make Clara's story part of the larger story of the ebbs and tides of life.

John W Constantine

10-15-23, 11:39 PM

Blow-Up

Our main character of study seems to be the photographer, Thomas, but the film almost makes it seem his name is irrelevant. He seems to be approaching burnout from all the things the swinging London seems to be offering at the moment. We learn later on that he seems to be putting the finishing touches on a book of his work and he believes he has captured a perfect ending while taking a quiet walk through the park with his camera. It seems though that one of his subjects of interest may have a little more going on than his eye can originally see.

File this under a film I watched years ago and was fascinated but I didn't feel like I fully grasped its themes. It felt more like a ride that I was comfortable with just letting things play out instead of trying to solve a puzzle. The film still retains some of that mystery and how can It not with all the things going on. I wonder if anyone noticed how some of the shots our main character was traveling through almost felt like a maze as is he were confined to a small setting in a town. The photographer is more interesting than I remember the first time. Definitely a movie to think about after its over.

rauldc14

10-16-23, 04:13 PM

The Name of the Rose

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I don't have a whole lot to say about this unfortunately. I liked the films sets and I'm always a pretty big Connery guy especially considering he is my favorite Bond. I've always thought he brings a lot of depth to his characters. He's really good here too. The scenes with him and Slater bantering back and forth are definitely the best scenes that the film has to offer. I don't think there's a whole lot of story here that I really enjoyed fully though. It seems to just drag although I also wonder if part of that is just due to the fact I've been in a movie funk. Maybe it would seem to be a more fun movie to watch down the road, but it wasnt a huge hit for me on this go around.

2.5

Allaby

10-19-23, 02:10 AM

rauldc14,sorry to say I have to drop out of the hall. I'm dealing with a personal crisis and I won't have time to participate.

Citizen Rules

10-19-23, 02:33 AM

@rauldc14 (http://www.movieforums.com/community/member.php?u=60169),sorry to say I have to drop out of the hall. I'm dealing with a personal crisis and I won't have time to participate.Oh gosh Allaby I'm so sorry to hear you're going through something right now. I think we'll would totally understand you dropping out and wish you all the best. Take care friend.

PHOENIX74

10-19-23, 04:19 AM

rauldc14,sorry to say I have to drop out of the hall. I'm dealing with a personal crisis and I won't have time to participate.

Take care man - I hope all turns out well. You know, they say things are never as good as they seem or as bad as they seem at the time - so hopefully what they say it true.

cricket

10-19-23, 07:07 AM

rauldc14,sorry to say I have to drop out of the hall. I'm dealing with a personal crisis and I won't have time to participate.

Hope everything works out

rauldc14

10-19-23, 10:48 AM

rauldc14,sorry to say I have to drop out of the hall. I'm dealing with a personal crisis and I won't have time to participate.

So sorry about that Allaby hope everything works out.

Double Indemnity is no longer a required Hall of Fame watch.

edarsenal

10-19-23, 10:56 AM

rauldc14,sorry to say I have to drop out of the hall. I'm dealing with a personal crisis and I won't have time to participate.
Take care Allaby and I hope everything works out for you. Good luck.

Allaby

10-19-23, 02:18 PM

Thanks everyone.

John W Constantine

10-19-23, 03:15 PM

So sorry about that Allaby hope everything works out.

Double Indemnity is no longer a required Hall of Fame watch.
Can we still leave it on our final ballot?

Citizen Rules

10-19-23, 06:19 PM

Maybe if rauldc14 and Allaby agree, we could place Double Indemnity on hold..not required to watch but not DQed either. This HoF will probably go on for another 3 months and by that time I hope things are going good for Allaby and he could rejoin. I did the hold idea once for someone in a past HoF.

rauldc14

10-19-23, 06:19 PM

Can we still leave it on our final ballot?

Ya it's fine I'll work around it. I still plan on rewatching myself

rauldc14

10-19-23, 06:19 PM

cricket

10-19-23, 06:22 PM

Yea hopefully everything works out and he's back in time. It doesn't take him long to watch.

edarsenal

10-19-23, 11:17 PM

I would be cool with that. Absolutely.

Also, I watched Dial M for Murder tonight on Tubi. I should have a review up this weekend.

PHOENIX74

10-20-23, 01:28 AM

https://i.postimg.cc/qqbpjT61/picnic-at-hanging-rock.jpg

Picnic at Hanging Rock - 1975

Directed by Peter Weir

Written by Cliff Green
Based on a novel by Joan Lindsay

Starring Rachel Roberts, Dominic Guard, Helen Morse, Margaret Nelson
Anne-Louise Lambert, Vivean Gray & Jacki Weaver

This review contains spoilers

I have to admit that even after all these years, I'm still as mesmerized as I ever was when watching Picnic at Hanging Rock. I mean, after all, the film itself has to be more than just it's central mystery. To fascinate us, it needs to get us into the right mood, and to be worth remembering it has to be more than just a riddle without a solution - for the casual viewer though, Picnic's more serene contemplations are somewhat drowned out (at times) by it's more haunting qualities. Nature, time, the connection we have to our environment, and the odd contrast that British culture had (and still has) when viewed against the backdrop of such a harsh, unrelenting, alien landscape are explored. All of these themes are woven tightly together in both Joan Lindsey's novel, and the Peter Weir film. Looming above it all is the vanishing - three students and one teacher from Mrs. Appleyard's College for Young Ladies, of whom only one would ever be found. The events surrounding this all heighten the ethereal qualities of this occurrence.

The year is 1900, it's Saint Valentine's Day, and an annual picnic at Hanging Rock for some of the student's at Mrs. Appleyard's College is in the offing. Sara (Margaret Nelson), perpetually bullied by Mrs. Appleyard herself (Rachel Roberts) and in love with fellow student Miranda (Anne-Louise Lambert) is not allowed to go. Shepherding the young girls are Miss Greta McCraw (Vivean Gray) and Mlle. de Poitiers (Helen Morse). The hot sunny day lulls everyone into a dreamy state, and four girls decide to climb to the top of Hanging Rock - Miranda, Marion (Jane Vallis), Irma (Karen Robson) and Edith (Christine Schuler). Two nearby young men, Michael Fitzhubert (Dominic Guard) and Albert Crundall (John Jarratt) watch them as they go. All girls except Edith fall into a kind of trance, and as they slowly walk out of view, Edith screams and runs to the group picnicking below. When the whole group returns to the college, well after the 8pm deadline, Mrs. Appleyard demands to know why - and as it happens, the three students along with Mrs. McCraw have disappeared, without a trace.

Yes, there's a Mary Celeste vibe to most of the proceedings in Picnic at Hanging Rock - the easiest solution would be to say that perhaps those missing have fallen into an unseen cavity in the rock formations - there are many in the area - but there's still too much that doesn't make sense. Why did Edith return screaming, and why does she remember nearly nothing of what happened? Why did Mrs. McCraw leave the main group, unseen, and where did she go? What further mystifies everyone is the fact that a desperate Michael searches for the girls, and finds one of them - Irma, who can remember nothing of her ordeal, and can't explain how she survived as long as she did exposed to the elements, with no water at hand. In the end the flow-on effects of the bizarre mystery spread to Mrs. Appleyard's College. Parents decide not to renew enrollment, and Mrs. Appleyard, now drinking heavily, sees her finances spiral into the dust. Then there's poor Sara - who apparently commits suicide by jumping off the roof of the mansion, or else, as hinted at in the film and book, perhaps she's murdered by Appleyard, whose mental health is deteriorating.

There are solutions out there - Joan Lindsay's publisher revealed that when the author submitted the work, there was an 18th and final chapter which described what happened - but she was persuaded that the book was much better without it. After Lindsay died, this final chapter was finally published amongst a collection of essays as "The Secret of Hanging Rock" - it describes a veritable acid trip, with space, time and form all in flux, but I don't consider it a definitive ending to the story. That chapter was excised, and as such the story is as it is. You can't just add a chapter 20 years later - or at least you can, but it can't turn back time and become an everlasting part of what was. The movie, as well (in a very fitting way) has a conclusion which was left out in almost identical circumstances. This was an adaptation of part of the book - in the movie's excised last scene, when Mrs. Appleyard has reached her nadir, she travels to Hanging Rock herself, and kind of goes through what the girls did, or at least tries to. While there, she looks through the rock and sees Sara - and then we find out through narration that Appleyard's body was found at Hanging Rock, and it was presumed she fell. As it is right now, the film ends with Appleyard staring ahead - broken, and without hope of rescue.

So, we have the creepy vibe - but what is it about the film that makes it endure? I always think about those bright white dresses the girls are wearing, and the way they contrast with the natural surrounds of Hanging Rock. All white suggests some kind of virginal imagery - and the fact that this happens on Saint Valentine's Day furthers the whole aspect of "awakening love". For Australians though, it's also a very weird sight. Valentine's Day means February the 14th - and that means an Australian summer. You do not want to be wearing corsets, long dresses, stockings, undergarments belts etc. when you go exploring rocky outcrops during an Australian summer. It doesn't look like the girls belong there, at all. It's an extreme contrast - but as the three who disappear explore onwards they discard shoes and stockings so they can make direct contact with the rock itself. Instead of pretending to be in Victorian England, the girls are communing with nature for the first time - and the Australian outback is a haunting and ancient place. They don't belong - and before long, they cease to exist.

The cinematography was handled by an Australian great - Oscar winner (for Master and Commander: The Far Side of the World) Russell Boyd. Boyd had talent, and it shows throughout Picnic at Hanging Rock - the way he makes the rock itself loom over all who go near it, and the mysterious quality he lends the place through his use of natural lighting (especially during the picnic itself, which was filmed day after day at exactly the right time) and movement. Adding to the potent mixture of nature and perception is the editing - credited to lesser light Max Lemon. There are so many great fading dissolves and transitions which include flocks of birds, the rock, and the angelic faces of the girls. What would it be without the panpipe pieces by the Romanian folk musician Gheorghe Zamfir though? The film's musical accompaniment is part of Australian film folklore - and as a whole, the score is one of the greatest in film history. It's varied, and when we're not hearing the music that plays while the girls ascend (composed by Bruce Smeaton), or the panpipes, you're probably hearing Beethoven, Bach or Mozart. Everything fits every moment - creepy or luscious, to a degree of absolute perfection.

I can't fully put my feelings for Picnic at Hanging Rock into words - as I grew up, it got under my skin, and stayed there. In Australia, you'll read the novel at some stage in high school, and that's where I read the 18th chapter as well, which had just been published the same year we read it in class. As a little kid, it sounds and looks boring - all period dress, and pertaining to be about a picnic? I actually thought, as a little one, that this was a film about a pleasurable picnic - I've known the truth for a much longer time, though I never knew the film had an extended ending which was cut from it - I only saw that for the first time recently, and as good as the ending is, the part that was cut isn't bad. I agree with the decisions made though - the ending this film has is just right. As I try to explain, all I say sounds fragmentary - and maybe that's because I'm trying to convey many things at once - a sense of awe connected to a mystery, and a sense of recognition when it comes to the clash of British dress, architecture and custom that still sticks out like a sore thumb side-by-side with a country that's rough and harsh. The manicured lawns, peacocks and fancy furniture - just yards away from brown dead grass, lizards and dry dust. Picnic at Hanging Rock is also about our relationship with nature - and specifically an alien one to white people.

I'd really like to go one day - they say Hanging Rock really does have a haunting feeling about it. I've felt that feeling before. A brooding, mysterious whisper of the unknown. Miranda opens Picnic at Hanging Rock with "What we see and what we seem are but a dream, a dream within a dream" - paraphrased from an Edgar Allan Poe poem. It speaks to central mysteries about existence, thought, and our connection to our environment. If you're of European descent, then you're reminded every day that you weren't born for what Australia has in store for you - but just as with the girls in this film, it hypnotises you, and draws you in. Trust me - enough people have disappeared because of that allure. I can't then, end this without at least mentioning Aboriginal spiritual beliefs and their concept of "The Dreamtime" and Dreaming - which they've had as part of their culture for up to 65,000 years. Weir would directly tackle that with his next film, the equally haunting classic The Last Wave. It's all a part of what makes A Picnic at Hanging Rock enduringly special for Australians, and an equally beloved film for many overseas.

5

PHOENIX74

10-20-23, 01:55 AM

The fact that nothing gets resolved didn't bother me, it was obviously an alien abduction, but the one girl (you know the one) should have had something to say about what happened and I get why the other girls turn on her. Guess the MiB got to her first. I don't know if this will ever be a favorite but it was good and seeing as how it's considered one of, if not the best, Australian film it's something I'm glad to have finally watched.

That's an interesting theory. In my mind, the girls have walked into some kind of rift in time - I think that because of all the mentions "time" itself gets before the occurrence of them disappearing. They ponder the age of the rock (a million years or so), and as the girls leave all the watches stop on 12 O'clock. Then finally, Miranda (I think) says "We won't be long at all" (or something - I'm paraphrasing.) I'd say, because of the rules of dramatic irony, that nearly guarantees that the three girls that never return travel through time, and will end up walking back down and looking for their friends in about a million years.

I enjoyed the atmosphere, music, and scenery of this one. The focal point being the missing girls and the action of local townspeople trying to find them. I sense there is more to the character of Sara than is let on but I guess we are meant to wonder. Or maybe not. I dunno. A pretty good selection for this group.

In an alternate ending to the film, Mrs. Appleyard climbs the rock herself, and ends up seeing Sara (who had just died) up there - perhaps you're right. In the novel she sees Sara, but her face is decomposing. I'm also fascinated by the way the film and novel end with a kind of 'in the air' question about the possibility that Mrs. Appleyard murdered Sara. A lot of strange things going on in this story.

Being compelled to advance into my own demise without the ability to resist is a nightmare I have had more than a few times. The main characters in this film seem to be suffering that same thing, all of them on a rail that leads to their undoing but unable to get off it. Sara mentioning that Miranda knew she wasn't coming back and that she knew things that other people didn't stood out to me.

One of the things I love about the film is that eeriness which permeates every scene - the more times you see it, the more things you start to notice - like that conversation between Sara and Miranda.

rauldc14

10-20-23, 08:44 PM

Hopefully I can get to another on Monday

jiraffejustin

10-22-23, 10:53 PM

The Name of the Rose

A solid, decent film. At two hours and ten minutes, it is a little long for my current attention span. It's also not quite the type of film that really grips me at this point, but I also wouldn't say that any of its negative qualities outweigh its competencies. I think Sherlock works better in London, but the concept from this film (and novel) is novel. Comparing this film to the average film, it does well. Comparing this film to the heavyweights that are looking to etch their names in the digital stones in the halls of MoFo glory, I think it comes up a little short. There was just nothing in this film that stood out as being special to me. Overall, a perfectly fine way to spend a throwaway evening. If I was rating it, I'd probably go somewhere in the 6.5/10 range. The moon-faced guy was pretty creepy.

Hey Fredrick

10-23-23, 08:51 AM

The Name of the Rose

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This is fine

There is a lot to like about The Name of the Rose - the setting, the performances (for the most part), unfortunately the story was probably the weakest part for me. I never got terribly invested in any of it. Sean Connery is a friar who, along with his sidekick Christian Slater, goes to an abbey to solve a murder. While there, more murders occur and the length of his investigation begins to make the Church uneasy. So uneasy, in fact, that the Church eventually sends an inquisitor (F. Murray Abraham) to get to the bottom of everything and we all know the conclusion a middle ages inquisitor usually come to. It's more about brow beating a confession out of the alleged heretics and having a bonfire than finding out what really happened. There's more to it than but in a nutshell.

I really liked Connery's performance and that was easily the best part of the film. The movie starts off well enough then hits a bit of a lull, then picks up again with the arrival of Abraham even if his appearance is obviously an "Ooh, look, here comes the bad guy" moment. Ultimately, the reasons for the murders didn't sit well with me. It seemed like a lot of work for something that could have been solved rather easily. It's a fine movie but not a great one.

Citizen Rules

10-23-23, 09:33 AM

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw780%2FfrLvNMm25SlmvEZM8hlhYKBkGoS.jpg&f=1&nofb=1&ipt=163a0bf501b5f73e53dec100ade0d350341e636159eb2e6266d2f45d690c9821&ipo=images
The Banshees of Inisherin (2022)

I flat out loved the first third of this film. At the start the film felt like a subtle yet deep exploration of the effects of human isolation. Just the mere act of one man refusing to talk to his life long friend was crippling to the poor ignored soul. More so because the reason for the shunning wasn't anger but because the one man was considered dull and wasted the time that an older man felt was so precious. Those are deep themes and if the film had stayed with that I think this might have been a Cannes film winner. But when the old witch lady and finger chopping showed up, the film became more common place and lost what it had. Still I enjoyed the breathtaking scenery of Aran and Achill islands in Ireland.

rauldc14

10-23-23, 06:38 PM

Banshees of Inisherin

https://easyreadernews.com/wp-content/uploads/2022/10/Banshees.Colin_-1200x800.jpg

I assumed that I would love the movie the second time around and that's exactly what happened. First off, the scenery and cinematography is the best of this decade for me. Makes me want to jump in a plane right to the island. And yet, when we are focused in on the characters here it's like they almost dont know just how awesome of a place it is they are living. The big 4 performances are all stellar, like I said the first go around Farrell was my favorite and I think it would continue to be that way but I really saw an uptick in my interest for the other 3 too. Particularly thought Keogan killed it in his small role and of course Condor was splendid too. Usually we see a film with a romantic breakup and not a friend "breakup" but I think that this is very quite relevant as we seem to slip and slide amongst most others in our lives. The part that got me was when Gleason talked about aimless chatting and Farrell called it good normal chatting. Good normal chatting is pretty important in life I'd say and it's sad that not everyone can know how to strike up conversations these days. It's nice to be nice sometimes.

The film itself doesn't have the happiest of endings, but I'll be damned if there wasn't a lot of hidden laughs along the way either. This is up there on my favorites for this decade. Now if I could just figure out the whole reasoning beyond the finger stuff ...

4.5

Citizen Rules

10-24-23, 09:44 PM

https://2.bp.blogspot.com/-rqhmK1caOA4/V5XexsLGVRI/AAAAAAAAWXY/V6ik2ZZoRr0LGwHmSyA9GAszs6dZ6PHngCLcB/s1600/Name%2Bof%2Bthe%2BRose.jpg
The Name of the Rose (1986)

Liked it. At first I was hoping for a serious drama about a 14th century monastery with a dark mystery that occurred with in it's walls...That would've been my type of film. But as soon as the monks were introduced their makeup and facial appliances were so heavy and unnatural looking that I was in the mind set of The Princess Bride.

But once I settled into the idea that this was a mid 1980s film and so had that feel and look to it, I then liked it much better. I don't think Sean Connery was a great actor despite the fact he was the best Bond hands down. But his light style worked well with this light type mystery. Yes It's like Sherlock Homes in Monk-land and the film even pays tribute to that sleuth when Connery tells a very young Christian Slater that it's 'elementary'. So yeah that vibe then worked for me.

I LOVED the library and all those stairs which reminded me of the stairs in the Harry Potter films at Hogwarts. Slater worked well maybe because he was so young he seemed like an eager beaver...and that young lass he hooked up. As Ed said that was a very sensual love/sex scene. I say love because he did love her and that's what was sad as I was thinking as a monk he's never going to get laid again. Who in the hell would want that lifestyle? Then again if it's between being a pious monk or a starving peasant eating rotten vegetables...Well, I would just sail away across the ocean and live in Tahiti like Gauguin.

cricket

10-24-23, 09:45 PM

I'll probably watch that^^next

jiraffejustin

10-26-23, 02:20 AM

The Little Girl Who Conquered Time

Shamefully, I've only seen two other Obayashi films. That said, I am comfortable calling him one of my favorites. I just need to get my hands on his other films. He makes films that are easy for me to watch when I do get my hands on them. He doesn't seem to be bothered by conventions, which I really appreciate because of how rarely I watch films anymore, I don't really want to see anything that's run of the mill, so it either needs to be of rare quality or rare technique. Thankfully Obayashi gives both. There is almost always something visually interesting onscreen, so while there is a story about time travel or something, it's not really the thing that drives my enjoyment. Instead I enjoy the Wizard of Oz inspired shifts of color, the insane time travel montage effects, the slow motion dramatics, and the playful camera movements. It's a great film, but it's actually my least favorite of the three of I've seen. But even if this ends up being my third favorite Obayashi (I'm willing to bet it won't be), it would be a top three to be proud of. I forgot to mention the other two: Hausu and Hanagatami, both 5

Citizen Rules

10-26-23, 01:06 PM

https://www.movieforums.com/community/attachment.php?attachmentid=48380&stc=1&d=1537988871Picnic at Hanging Rock (1975)

After eight years I rewatched Picnic at Hanging Rock. Something happened that has only happened for me a couple of times before...I flipped my original opinion of the movie. What I previously disliked about the film (it's vague nature) I now loved. I appreciated the subtleness of the story telling. I appreciate that it wasn't traditional story telling per say but an evocation of feelings. Once I decided to enjoy the feeling of the film and forgot about figuring out the mystery and my enjoyment level rose.

Some have found horror like elements in Picnic at Hanging Rock....My take was that it was a spiritual thing that liberated the girls from their confined Victorian life where they're controlled and hemmed into tight corsets and gloves. As the girls approach the mysterious hanging rock, which they've been forbidden to explore, they begin to remove their trappings of confinement. First their gloves come off after they leave the civilization of the town. On the rock the girls remove their shoes and stockings and go barefoot as they explore their new freedoms. All that is found of them is a corset, their last vestigial of Victorian confinement.

In my mind, this story written by Joan Lindsay, a woman who was born in 1896 and would've as a school girl lived through the strict Victorian era...is exploring an early form of feminism and commenting on the stifling conventions of her day that kept women on a pedestal and apart from the natural world. What I see when the three girls go missing is a serenity and a state of grace about them. Where they went doesn't matter, they're where they need to be.

rating_4_5

PHOENIX74

10-27-23, 12:54 AM

Citizen Rules

10-27-23, 03:18 AM

I love this interpretation.Thanks, I thought when I was writing that review, that you might like that interpretation. I found the film very serene and I'm glad I got a second chance to see that again. My wife liked the movie too.

PHOENIX74

10-27-23, 04:14 AM

https://i.postimg.cc/Gt4hmWZc/name-of-the-rose.jpg

The Name of the Rose - 1986

Directed by Jean-Jacques Annaud

Written by Andrew Birkin, Gérard Brach, Howard Franklin & Alain Godard
Based on a novel by Umberto Eco

Starring Sean Connery, F. Murray Abraham, Feodor Chaliapin Jr., William Hickey
Michael Lonsdale, Ron Perlman, Christian Slater & Valentina Vargas

I must confess to having never read Umberto Eco's The Name of the Rose, but I'd imagine it sneaks in a little more theology than this adaptation does - take away this movie's fascinating setting (a 14th century Benedictine abbey in Northern Italy) and it would conform to any number of mystery films or police procedural dramas made during the 1980s. Still, it does posit something interesting by it's close, by having many of it's wise characters claim that William of Baskerville (Sean Connery) has strayed from the path of eternal truth by relying soley on facts and reality. Furthermore, it charges that his love of what's real, and proving what is no doubt factual, only serves to inflame his vanity. That, I find interesting. What would it benefit mankind if we could travel back in time and record the life of Jesus Christ on video camera? We'd be closer to finding out every fact, but I suspect the wisdom which has been left through what is probably mythical is more important to mankind's spiritual wellbeing. Our search for a definition of what's real only serves to make humanity more vainglorious, and perhaps we've strayed too far from the path of natural beauty, and our capacity for wisdom, poetry and most of all love. Still - there are some suspicious deaths here that need solving, regardless.

William and his young novice, Adso of Melk (Christian Slater) have arrived at the aforementioned abbey to partake in a theological conference, but William's Sherlock Holmes-like powers of deduction immediately give rise to concerns about a recent death. The Abbot (Michael Lonsdale) confirms that a young illustrator, Adelmo of Otranto (Lars Bodin-Jorgensen) has fallen to his death in a mysterious manner. While the mystery is seemingly solved by William in short order, more deaths follow - in much more mysterious fashion, but with the recurring feature of the victims having blackened tongues and fingers. On their way is the much feared (and less fact-oriented) Inquisition and Inquisitor Bernard Gui (F. Murray Abraham). To make sense of it all, and save past heretics Salvator (Ron Perlman), Remigio de Varagine (Helmut Qualtinger) along with a filthy (in more ways than one) peasant girl (Valentina Vargas), William and his 'Watson' must gain entrance to a secret hidden within the Abbey's ancient library. All of this is told to us via an old narrator - an aged Adso (Dwight Weist) pondering this notable happening, and getting nostalgic about the filthy peasant girl - whom he'll never forget, despite never even knowing her name.

Yes - that was an erotic interlude. Christian Slater was only 16-years-old when playing this early breakthrough role - so he's nowhere near 'sex object' territory, but Valentina Vargas, in her early 20s, really takes charge of the moment and retains the focus throughout. Jean-Jacques Annaud decided to let the actress improvise the entire scene, giving it a spontenaity which definitely feels real, and Slater knew nothing of how it would play out. It's a rare moment in the film where our focus isn't completley on the mysterious deaths and William's search for the truth - and it's one of the film's most memorable scenes. Ironically, it was Sean Connery who was often touted the be the sexiest man going around during the 1980s - not even baldness and hints of a violent mysogynistic personality could slow do anything to dampen that label. He aquits himself marvellously in The Name of the Rose, and I have to grant that it's one of his most pleasing performances. (Go back and look at 1973 Sidney Lumet-directed film The Offence for a really amazing Sean Connery performance that has been forgotten over the years.) Michael Lonsdale, William Hickey, F. Murray Abraham and Ron Perlman also give this film great service - the material seems to bring out the best in most of the actors in it.

Fulls marks go to how the film looks, with it's imposing exteriors constructed on a hilltop outside Rome (the largest constructed since those of Cleopatra in the early 60s) and interiors in Eberbach Abbey, Germany. Tonino Delli Colli, in between Felini films, mutes everything light-wise, and the film is dominated by earthy tones which reflect this dark period of the late middle ages. Filth permeates absolutely everything, and most characters are deformed and misshapen in some way. Ron Perlman's make-up effects give him a severe appearence (make-up artist Hasso von Hugo won a BAFTA for his troubles), and Feodor Chaliapin Jr. (as the ancient Jorge de Burgos) stares right through us - his cataracts giving him a ghostly visage. Inside the Abbey's library, the production and set designers have created a vision of antiquity which would make anyone interested in history want to reach out and touch already ancient manuscripts. Gabriella Pescucci's costume design rises to the occasion. Everything I'd want to get out of The Name of the Rose visually is most adequately and pleasingly presented throughout the entire film.

Although the film is clear about which person is a villain, and which is essentially good, it's not always crystal clear as to what has set the events we're seeing in motion. The first death in the abbey and the subsequent deaths don't have a clearly recognizable series of actions and reactions once we find out what has happened, and I fear most people would probably walk away from this not being completely sure they've completely understood it. It's a little convoluted is what I'm saying, and I think perhaps a little clarity has been lost when condensing the novel into 130-minutes. The meaning though, is essentially clear, and relates to the importance of knowledge and how it can be difficult to reconcile knowledge with someone's specific worldview. Overall, the film takes place amongst several orders of monks that have come to discuss their worldview in a place with a hidden, ancient library - storing generations worth of knowledge and wisdom. William prizes this, above his very sense of humanity and charity as far as Adso is concerned. Adso would choose to save a person if it meant losing an ancient text - but for William, the value of those two can't be easily compared.

The Name of the Rose is surely a film that would benefit from multiple viewings, and a little more theosophical musing over mystery solving. Nontheless, I can't deny that it's a very well made film, with a cast of venerated actors from Europe and the U.S. who mostly give performances that elevate it. It's enjoyable to watch, because it has that aura of authenticity about it when it comes to 14th Century monkhood - many customs are played out within it that are interesting, and special attention has been paid to every aspect of long-lost modes of living. It weighs up the worth of what's true, especially relevent in the awful presence of the Inquisition, which somehow overlooked the fact that people will confess to completely fabricated sins under torture. I've never understood how that couldn't be self-evident to even the simplest of people. I'd say it's probably lost a little from being a "palimpsest" of Umberto Eco's novel (I'd say you're being a little pretentious throwing words like that around in your opening credits.) Christian Slater's performance isn't that strong, but when weighed up side by side, this film's good points outweigh it's bad by a fair margin. I can easily see it as something I'd rate more highly with more viewings under my belt.

3.5

Citizen Rules

10-27-23, 11:05 PM

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fa.ltrbxd.com%2Fresized%2Fsm%2Fupload%2Fru%2Fz6%2Fid%2F42%2Fmissing-1200-1200-675-675-crop-000000.jpg%3Fv%3D4ca32185fe&f=1&nofb=1&ipt=db43e921298dcf236bb72bd924a02ce25ff7e0e4d20a47269b01096769eeb6a2&ipo=imagesMissing (Costa-Gravas 1982)

Holy crap...what a story. It numbs the mind to think this actually happened. I knew nothing about this movie and was riveted to the screen. I don't need to say anything other than the docu-drama style worked perfect as did the two lead actors. Movies like this is why I keep joining HoFs. This will rank high on my ballot.

rauldc14

10-31-23, 05:35 PM

I could use links for Missing, Departures, and The Little Girl Who Conquered Time

John W Constantine

10-31-23, 07:05 PM

Departures is on Tubi.

TLGWCT I found random on Internet Archive I believe.

PHOENIX74

11-01-23, 03:50 AM

https://i.postimg.cc/gc7BLNXN/banshees.jpg

The Banshees of Inisherin - 2022

Directed by Martin McDonagh

Written by Martin McDonagh

Starring Colin Farrell, Brendan Gleeson, Kerry Condon & Barry Keoghan

Some films can be about nothing but sadness, and can contain everything about sadness, anger and hate - but when we watch them we feel gloriously uplifted. Why is that? Perhaps, when we see something that obviously understands sadness and anger so very well, we know for sure that there's an escape through self-knowledge, wisdom, experience - and metaphor. I say that because The Banshees of Inisherin uplifts me, no matter how much I empathise with it's two sad, warring parties Pádraic Súilleabháin (Colin Farrell) and Colm Doherty (Brendan Gleeson). Two isolated Irish islanders enacting their own small civil war as the real, explosive one between the Irish Provisional Government and IRA rages on the mainland. A happy place suddenly turning overnight into a cold and desolate landscape where witches roam the moors, and the sound of distant explosions far away speak of worse trouble elsewhere. It doesn't sound beautiful and wonderful, but Banshees somehow is.

Pádraic is a nice kind of fellow who is suddenly rejected by old friend Colm overnight, simply because Colm has decided Pádraic is too dull to waste time with - he wants to compose music, and leave something tangible behind instead of wasting the rest of his life with idle chit-chat. It's at once both understandable and outrageous, and I find myself swinging between those two very different reactions to his attitude. Pádraic sister, Siobhán (Kerry Condon), whom he lives with, takes issue with Colm - but she also seems to have been coming to terms with how awful most of the islanders are, and has already initiated her plan of escape from the desolate and unfriendly Inisherin. Dominic Kearney (Barry Keoghan), a simple, troubled boy, becomes Pádraic's default new friend. Dominic is beaten, and apparently sexually abused, by his father, Garda Peadar Kearney (Gary Lydon). As Pádraic's pleas and efforts to restart the friendship meet with a more and more stern reaction, Colm threatens to cut off his own fingers in a shocking escalation to the trouble between them, and the consequences of this cause their own hurt and tragedy.

Honestly, on paper it sounds terrible (if interesting), but the stunning work by all filmmakers on the truly eye-wateringly green and verdantly beautiful Inishmore turn it into a sight to behold, and a very poetic and winsome work of fiction and cinema. The Ben David cinematography makes the absolute most of Inishmore's jagged and cold terrain and old buildings, making for a very nice departure from Marvel action blockbusters. Carter Burwell's Oscar-nominated score wins me over by not going for Irish pastiche, instead opting for a more tuneful, light and melodic accompaniment to the troubles that accompany our wanderings in Inisherin. It eases the burden of the pain these characters carry around. Sight and sound combined bring a certain peace that helps ground the rumblings of discontent. How can a place that looks so cool, peaceful and idyllic give birth to so much discontent, bitter resentment, violence, abuse and petty grievance? There's so much space for everyone.

Colin Farrell was my personal choice on Oscar night - his was the performance of the year. He conveys sadness like no other actor I know, and his hurt shoots from the screen right into my mind. So good at doing that - I've seen him do it plenty of times, but in The Banshees of Inisherin he perfects it in the form of Pádraic. I was also very keen on Barry Keoghan, who had combined so well with Farrell before in Yorgos Lanthimos film The Killing of a Sacred Deer - Keoghan imbues his Dominic with a comic sensibility which makes all of the ugliness so very much easier to accept and process. The two have an easy chemistry, as does Farrell with Gleeson in a more edgy, spark-infused way. Their double-act was unmissable in another film by Martin McDonagh, In Bruges, and it's just as good here. Of course, Kerry Condon forms an integral part of the picture here - and is our own common-sense character in the film. Her expressions are what ours would be if we lived amongst this madness. All four were nominated for Oscars - but it just wasn't this film's year Oscar-wise.

So, to Martin McDonagh - thank you. Banshees wrestles with In Bruges as to which movie is my favourite of yours. I don't know how, but you make sadness, regret, depression and angst really fun and exciting to watch, especially when you add mental illness, stupidity and anger. Like I say, when you give us a broader view than your characters have, we can see the whole equation, where in a fundamental sense it proves to be more of a sense of how we can behave to be happy. When watching Banshees, I keep thinking, "Why don't these guys just set aside 15 minutes a day for idle banter, and compromise?" But when you're inside of that emotional kind of situation, the bigger picture remains clouded by intense feelings, and intrusive thoughts. Just like war, which could easily be solved by some fundamentally sensible compromise between nations, it's a matter of perspective. These characters are trapped by their very own lack of momentum, and end up losing that which they held dear. When concocted in such a fabulous film, which is such a pleasure to watch, I don't mind it at all - that's why fiction is so powerful. McDonagh has matured into a kind of master (he looks like Sting, doesn't he?) and this, another fine work of art on a canvas darkened by clouds, war, regret, sadness and loss.

4.5

cricket

11-01-23, 05:32 PM

The Name of the Rose

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I remember when this came out; I was 15 and working at Video Hot Spot in East Boston. It was pretty popular but I never wanted to see it because it just didn't look like my type of movie. There are exceptions but anything set in olden times makes me skeptical. Unfortunately I was right. I love Sean Connery but I never felt like he was right for the part. I like Christian Slater when he plays a wacky character. I didn't like him at all here, and the two of them together prevented me from taking the film seriously. At least I came to the conclusion that I was supposed to take it seriously. Like CR said, some of these characters seemed like something out of The Princess Bride. I didn't care for the story either. On the bright side I thought the sets and settings looked great, very authentic. Sorry to whoever nominated it.

2.5

rauldc14

11-01-23, 05:35 PM

48 reviews down excellent job everyone!

Citizen Rules

11-01-23, 05:44 PM

48 reviews down excellent job everyone!I thought I'd be done by the end of October but ended up cramming some more war films in. I have two more to go and will get to them sooner than later.

John W Constantine

11-01-23, 06:24 PM

I have one more left to watch and another to review. Is there a deadline to when this finishes up?

rauldc14

11-01-23, 07:17 PM

I have one more left to watch and another to review. Is there a deadline to when this finishes up?

I was thinking early January.

Siddon

11-02-23, 11:46 AM

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Light in the Piazza (1962)

This film is a bit of a curiosity, I went into it blind not knowing the director majority of the stars or plot. And it's an odd film, sort of a mismass of Douglas Sirk's mellodramas and a travel picture. It tells the story of a woman in Europe with her grown daughter who thanks to a horse accident has the mind of a child and the body of a very sexy woman. In Italy she is wooed and pursued by a young Italian Roman Catholic "boy".

The film tells the story from the perspective of the mother played by Olivia De Havlland. If this really was just a vacation film for the crew and the end result is a fine little film. Credit really should go to the director because the film is gorgeous.

Ofcourse the central idea for the film is messed up...the daughter has no ability to give consent so the idea of her marrying someone is ridiculous. You can also tell this was adapted from a novel as the chapter are very obvious and repetitive. Yet still I wasn't offended or bothered by it, it just reminded me of better works from this era.

C+/B-

Siddon

11-02-23, 12:18 PM

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Picnic at Hanging Rock (1975)

Australia was a country that was late to the new wave party. Japan, Sweden, France, and Italy all had major movements in the 60's...it wasn't until the 70's that Australia came out with a series of signature prestige films. And I think we got lucky with a film like this.

The film tells the story of a group of girls who vanished on a field trip at the turn of the century. It's adapted from a novel (which does a better job translated than the previous film), This film has a number of things going for it that make it unique. It's got the look of a high end costume drama but the tone of a somber 40's gothic tale. A number of scenes and characters we get just glimpses of and are led to infer things about the characters. However the film never really tells us anything...this is a movie about the unknown and yet it contrasted with these vivid images and shots.

Subplots become major plots while the story goes in strange tangents and normally I would hate that but because the film is short and so gorgeous I didn't mind and actually enjoyed it. I rarity for me and my taste for film. Casting was a little hit and miss but as they were all unknowns I think it gives the film a different texture of sorts. You aren't distracted by a big star and headliner, it feels like a true ensemble piece.

A-

rauldc14

11-02-23, 08:32 PM

Over halfway through Blowup. Then I'm hoping to get to Double Indemnity again soon even if it's out.

Hey Fredrick

11-03-23, 10:46 AM

Anybody have a link for Light in the Piazza? I can't find it anywhere.

Citizen Rules

11-03-23, 12:34 PM

Anybody have a link for Light in the Piazza? I can't find it anywhere.I do, I'll send it to you.

rauldc14

11-03-23, 02:24 PM

Blowup

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This is a film that has a lot of layers to it and even seeing it for a second time I feel like there's a lot I missed. I was caught up a lot in the look of the film, Antonioni has that show rather than tell trait at times and although it doesn't work for everybody it seems to be effective here. The main character was played quite well and I like how even after watching the film he seems quite mysterious. We don't actually learn a lot about him or know a lot of him to really make an informed decision on how to feel about him and that's ok to me. I guess I'm not a big fan of how the film ends but that's more of a minor setback and a feeling of just wanting to see more. Overall it's quite a thought provoking film. It's not on L'Avventura level for me but it's still a good one.

4-

PHOENIX74

11-04-23, 05:37 AM

https://i.postimg.cc/Rh9NdY1h/light-piazza.jpg

Light in the Piazza - 1962

Directed by Guy Green

Written by Julius J. Epstein
Based on a novel by Elizabeth Spencer

Starring Olivia de Havilland, Rossano Brazzi, Yvette Mimieux, George Hamilton & Barry Sullivan

There are spoilers in this review

A summer in Florence is a fine time and place to fall in love, and nothing much should ever stand in the way of true love - or at least, that's a fine sentiment if you overlook the myriad complexities and thousand instances of "unless" you might care to mention for various reasons. In Light in the Piazza, the circumstances are curious - to say the least. Meg Johnson (Olivia de Havilland) has a 26-year-old daughter, Clara (Yvette Mimieux), who has the mental age of a 10-year-old due to a kick in the head a Shetland pony once gave her, leaving a lasting physical scar and a permanent disability. Fabrizio Naccarelli (George Hamilton) becomes enamoured with her - to the point of checking with hotel staff to find out where the Johnson's are going each day. The longer this goes on, the more uncomfortable Meg becomes with a flowering courtship she should nip in the bud - but doesn't. When she sees the way the two act together, and meets Fabrizio's father Signor Naccarelli (Rossano Brazzi) she finds it hard to tell him the truth about Clara, and the longer she waits, the deeper into the situation they all become.

I particularly enjoyed the moral questions that were posed in Light in the Piazza, and the way Meg seems willing to cross a kind of Rubicon of 'going against accepted morals' by not behaving the way she strictly should, all for the good of Clara - we hope. The movie had me fooled many times, and I can't tell you the number of instances when I was screaming at this character to tell either the younger or elder Naccarelli (or anyone in the Naccarelli family) the plain facts about her daughter. Then again, at the very start of the film I thought Fabrizio was up to no good, and looking for something cheap - simply because of his dishonesty and the way he stalked these two tourists. Am I that bad at affirming the motivations of a character in a movie? Maybe. Or maybe when I learned about Clara's condition, I immediately felt protective of her and how the men in Florence would view her - a 26-year-old hottie with a vibrant attitude and trusting manner. As Meg tried to discourage Fabrizio, I thought she wasn't going far enough. I'm sure that in some countries at the time, she might have been within her rights to shoot him. (I'm kidding of course.)

Once I realised what was really going on in these character's minds, I did a complete 180 degree turn, and was demanding that Fabrizio be allowed to marry Clara. By then we'd met Clara's father, Noel (Barry Sullivan) - a stern, no-nonsense man without a romantic bone in his body. He's set to send Clara into an institution once the two get back to the States, just to get her the hell out of the nest. Obviously I reacted to this in the exact way the movie wanted me to, and I stared daggers every time Sullivan was onscreen. But at the same time - was any of this right? Isn't not telling the Naccarelli's about Clara's condition a kind of massive no-no? I mean, I get the fairy-tale - but that question both ate me up and delighted me in this movie - and good on the movie for doing that to me. Movies are great for posing moral questions that have both positive and negative outcomes. It was posing a huge one, and while it rested on Meg Johnson's shoulders it was up to Olivia de Havilland to bear the brunt of it - which she did magnificently. A combination of terror and delight lights up her face every time she's staring into that abyss.

In the meantime, the Johnsons do go to Rome for a week or so on a sojourn - allowing Czech cinematographer Otto Heller (who had worked on Peeping Tom, The Ladykillers and Alfie in England) to use more fabulously fabled locations as backdrops for this drama. The score from Mario Nascimbene, busy at the time, has an Italian flavour to it, and is always cheerfully light and breezy. The handsome George Hamilton was nominated for a BAFTA - but the film remains curiously underseen - it wasn't a box office success, but it's good enough to have at least deserved a moderate amount of fortune. Our time spent in the Piazza della Signoria is really fantastic, and adds a touch of going on a tour in Florence - to which is added the Uffizi Gallery, and once we get to Rome the Via Veneto and Roma Ostiense railway station. Hell, while in the Piazza, Olivia de Havilland, in character, throws out a fact or two as a kind of audience guide. All very romantic and continental - and nice added touches to the movie.

So, overall a really energizing, kind of morally ambiguous tale of whether a mother informs or withholds information from the family of the guy courting her mentally disabled daughter. Did she do the right thing or the wrong thing in the end? I guess that depends on perspective, but only to a degree. It's a nice change of pace though, to see a movie where a character takes that particularly enigmatic route. Other than that it's also a strange romance, scenic tour, and a movie which questions just how we should treat people with this type of mental affliction. I mean, should people with the mental age of 10 be treated as children, or should they be treated as adults when they grow up? This seems to have been an ongoing question amongst the Johnsons, and by the sounds of it one they haven't sorted out yet. Olivia de Havilland really infused her character with the yearning that her daughter be happy, and she knew that being in an institution would have curbed most hopes for a really great future, and sunny outlook. To do this for her daughter, she was willing to go against the grain and really surprise everyone - me included. Light in the Piazza had me very unsure at first, and completely befuddled by Meg - it's only later where it becomes clear. It was something a little different, and a little daring, and interesting. Against the grain.

3.5

Hey Fredrick

11-04-23, 09:26 AM

Missing

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Much like Cricket, when this was released I thought it was a missing child movie which is why I never had any interest in it. Well, now I know it's a political thriller about a man who goes missing during the Chilean coup of '73. Sissy Spacek is the missing man's wife and she gets Jack Lemmon, the missing man's father, to come down to Chile to help search for him. It's an oil and water mix at first with Lemmon believing you just follow the proper channels -Trust us, we're the good guys - and they'll get to the bottom of it while Spacek, being a bit more in tune with what's going on in Chile, not too subtly lets him know that he doesn't know jack squat about who and what he's dealing with.

Spacek, as usual, was great. She's the rock in the film. Lemmon was good but I have to admit to liking his comedic performances a little better. His character certainly has the more dramatic change. The deeper into it they dive the more he finds out about who his son really was and who the good guys really are. I thought some of the supporting cast was a bit stiff in the acting department but some really shined. This is a very good film with an ending that leaves you thinking "Boy, that's a shocker!"

rauldc14

11-04-23, 10:24 AM

If we exclude Allaby, we are at 47/100 reviews in! Great job everyone!

I should have a review for The Little Girl Who Conquered Time by tomorrow as well!

rauldc14

11-04-23, 09:35 PM

The Little Girl Who Conquered Time

I was kind of astonished to find out this was from the same director that directed Hausu, which is one of my favorites actually. This one starts off slow but in the end it's a fairly enjoyable story with good performances. The visuals are quite frustrating in this one. I could look past it with Hausu because I found a lot of those scenes comical but with this movie it seemed to kind of put an overall damper to how I feel about it. Not a deal breaker but still. The film seemed to waver back and forth between me not caring at all and then me being glued to what is happening so there is that. I hated the special effects showing the time travel. I get it's from the 80s but it just looked stupid. In the end, a nice story is what saves the day and the fact that it just feels like an anime movie is a bonus to me.

3+

John W Constantine

11-05-23, 01:00 AM

The Banshees of Inisherin (2022 Martin McDonagh)

At the tail end of the Irish Civil War in the spring of 1923, on the Irish isle of Inisherin. Fiddler Colm Doherty abruptly begins ignoring his lifelong best friend and drinking buddy Pádraic Súilleabháin. Colm has decided that Pádraic, a man respected by the islanders, is too dull for him, and he would rather spend the remainder of his life composing music and doing things for which he will be remembered. Pádraic is devastated and refuses to accept the rejection, while Colm only becomes more resistant to his old friend's attempts to make amends. Colm eventually gives Pádraic an ultimatum: every time Pádraic comes to talk with him, Colm will cut off one of his own fingers...

Reuniting the duo from McDonagh's In Bruges, I found this to be a welcome back for two characters with great chemistry even though they play slightly different versions of themselves. Plenty of scenery to chew on and dialogue to digest, McDonagh creates an atmosphere in his films that are easy for me to jive with, this one is no different.

Citizen Rules

11-07-23, 02:41 PM

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Departures (2008)

I liked this way better than I imaged I would. I really liked Ryôko Hirosue she had a cute personality and brought life to every scene she was in. I thought the subject matter was handled in a very respectable and even beautiful way. My only complaint is that the film ran out of steam in the last 1/3rd and after seeing so many departure rituals I got kinda bored with those. The last part of the movie seemed a little preachy or too much on the nose, like it was aiming to win awards with those 'oscar moments'. But the majority of the film was engaging and I liked the storyline. Thanks to whoever nominated this as otherwise I'd never would've seen it.

PHOENIX74

11-08-23, 05:35 AM

https://i.postimg.cc/0jRkF1Xg/departures.jpg

Departures (Okuribito) - 2008

Directed by Yōjirō Takita

Written by Kundō Koyama

Starring Masahiro Motoki, Ryōko Hirosue, Tsutomu Yamazaki

It helps a little to know about a specific Japanese trait when considering 2008 film Departures - to the Japanese, death and dead bodies are a taboo, and as such the nōkanshi (traditional Japanese ritual mortician) are particularly unpopular. Sadly, working as one could almost be considered shameful - but this film shows the work in a new light, making it very dignified, reverent and even beautiful. Daigo Kobayashi (Masahiro Motoki) stumbled into the job by answering a newspaper advertisement about work regarding "departures" (the ad was meant to reference "the departed"), and old hand Ikuei Sasaki (Tsutomu Yamazaki) regards the somewhat taciturn Daigo, upon first sight, as well equipped for the job. His wife, Mika (Ryôko Hirosue), at first doesn't know about this new career path - and her husband is too afraid to just come out and tell her. When she does find out, and demands that he quit, Daigo has come to find great satisfaction and spiritual peace working in this way - so much so that her threats to leave him may not be enough. But what if she were pregnant? Will Sasaki keep his young protégé?

We see a lot of the almost meditative process of "encoffining" in this movie - it's not one to just skip over the procedure to focus on the melodrama, and I like that aspect of Departures. Once you've seen the whole film, it feels like we know most of what the ceremony entails. It's not just ritualistic - but a mix of practical mortician work and spiritual ceremony. The dead bodies are young, good looking people most of the time - tragic in real life, but obviously much easier for us to not be too disturbed watching the movie. It wouldn't put us in the right mood at all for what Yōjirō Takita is trying to do here. There's a lot of humour added also - such as the video-taping of the instructional training episode, where Daigo appears quite embarrassed in what looks like a diaper, so he can play a corpse. A moment where comedy and more exposure to the process blend and kill two birds with one stone. It's all something both uniquely Japanese in some aspects and universal in others. Families during the process are of course emotional, but often get a lot out of this last shared ceremony before saying goodbye for good.

Something which added a great deal to these beautiful moments in the film was the score from Joe Hisaishi, which very much emphasised the sound of the cello in the music. When the film starts, Daigo has been trying all his life to become an accomplished player - and the result of all of his efforts over the years has been a place in a second-rate orchestra which disbands due to a lack of an audience willing to come and listen to them. This cello music seems to represent the character and his harmony with the world, and it's like he's found something more in tune with himself in becoming a nōkanshi. We hear the cello music in a much more melodic way as the film progresses, and during one fantastical sequence which features great cinematography from Takeshi Hamada, we see him outside playing the instrument during a glorious day, with a great mountain vista in the background as the camera swirls about him. Editor Akimasa Kawashima includes many fading dissolves so the playing seems to represent time passing, and the harmony Daigo now has with his work and life in general. It's probably Departures' greatest crowning moment.

Masahiro Motoki plays shy and reserved really well - and I especially enjoyed watching his struggle to come to terms with encoffining. His first job happens to be a corpse left rotting for weeks before it was discovered - and his battle to keep his wits added a little comedic touch to a bad situation. The final scene involving Daigo's father was off the charts - I was tearing up. Ryōko Hirosue was sweet and maddening as Daigo's wife Mika - who really can't be blamed for her entire culture's inability to come to terms with the aftermath of death. I loved Tsutomu Yamazaki as the aging mortician - encouraging his young student with a great deal of patience and understanding. Both actors brought a great deal of dignity to each ceremony that they had to perform before the cameras - there must have been a lot of setting up for moments we'd see very briefly in the film. I also enjoyed the performance of Kimiko Yo as the NK Agent secretary for the pair - part of a tight-knit family, helping deal with the problems the two encoffiners might be having to deal with.

The film spends a good deal of time exploring the relationships we have with family and friends, even when they're distant and estranged. In the film Daigo goes to a public bath he hasn't been to for many years, and reaquaints himself with Tsuyako Yamashita (Kazuko Yoshiyuki) and a former classmate (played by Tetta Sugimoto) who becomes another person who demands he quit, all the while refusing to contemplate the father who left him and his mother for another woman (with anything other than barely suppressed rage.) Death will play an important part with how these feelings and relationships evolve over time, and how it often forces a person to acknowledge a painful past. The great thing about Departures is that it shows us how Daigo finds and nurtures a job that seems to be his calling, while the film as a whole manages to demystify the nōkanshi and show how dignified and important their work is. It shows the world how loving, spiritual and artistic the whole process happens to be, and shows this previously despised class of professionals in a new and worthy light.

So yeah - Departures has something of everything. Enjoyable comedy and a sense of melodrama that can really melt the heart in the film's closing stages - and I must emphasise that I didn't find it too soppy or melodramatic in it's closing scene. It was vital. It has as it's core narrative the story of someone taking on an unlikely profession which he seems doomed to fail at. His wife and friends demand he quit, and the man himself is nearly throwing up at the thought of what he must confront, and do. It's box office success in Japan - when financing was so difficult to find due to the lack of appeal there'd be in this kind of film - is a real feelgood story. It was assumed people would stay away - but the quality of the film itself opened everyone up and the country as a whole shared the experience of visiting a topic that would be regularly ignored and hushed up up until that point. Loved that music - it still plays in my ears - and it was filmed with great restraint when needed, and liberation when called for. It won Japan it's first Best Foreign Feature Oscar, and proved the many doubters wrong.

My favourite quote was about the salmon. Seeing them swim upstream and then float back down, lifelessly, he says "It's kind of sad... to climb only to die. Why work so hard if you're going to die." He's given an answer from someone who sees it differently : "I'm sure they want to go back... to their birthplace." The cycle of life complete - we all return. It's the most natural aspect of life, and shouldn't be feared, avoided, or railed against. Instead, it should be dignified, respected and an occasion for a family to bond and heal together.

4

rauldc14

11-08-23, 08:38 AM

Double Indemnity is officially out so this does not have to be watched.

rauldc14

11-08-23, 01:47 PM

rauldc14

11-08-23, 01:53 PM

Dial M for Murder

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At the beginning of the film I admit that I thought I might be downgrading the film because the banter between Wendice and Swann seemed to be a bit monotonous and unbelievable. Him convincing Swann to do this was just all to impractical. But once we get to that scene where he tries to strangle Grace Kellys character then the first really turns it up a notch. The film relies on heavy dialogue and that is at its best when my favorite character the investigator played by John Williams shows up. Obviously Midland is great and Grace is beautiful but there is a heightened elevation to the film with the scenes that Williams is in. It's quite fun to see Milland on a path where he is doomed, then finds a way out of it and then falls to his conclusion just when he thinks he's on the safe side. It's a great screenplay for me and one of the Hitchcock films I'll always come back to.

4.5

Citizen Rules

11-08-23, 02:04 PM

John is the first one to finish all the noms! Congrats!Bloody hell, I thought I would be first:D Congrats JW

John W Constantine

11-08-23, 02:06 PM

John is the first one to finish all the noms! Congrats!

I still have Missing left to watch and complete, I'll probably finish it tomorrow.

Citizen Rules

11-08-23, 03:20 PM

I still have Missing left to watch and complete, I'll probably finish it tomorrow.There's still hope I'll be first to finish!:D;)

rauldc14

11-08-23, 03:37 PM

I still have Missing left to watch and complete, I'll probably finish it tomorrow.

How the hell did I miss this? Lol

John W Constantine

11-11-23, 01:27 AM

Missing (1982 Costa-Gavras)

Ed Horman is an American businessman who travels to Chile to search for his son. Charlie Horman, the son, a soul that seems to take joy in...I dunno I'm rambling here, hard to put this one into words. Long story short, the father comes to another country to find his son that has disappeared in a militarized state. Ed, with the company of his son's wife Beth, search for clues to what happened to Charlie, but are caught in a seemingly never ending circle of lies and misdirection.

I dunno if I would still call this one pristine, if you wanted to tell about it's faults I would humbly listen to your reasons. This is just something that clicks with me for this movie. The characters including the two leads (Lemon + Spacek) and the other leads (Shea + Mayron) seem to be such tender players in such a seething unstable atmosphere. It's filled with questions and situations that for me aren't that simple to digest and places the characters in such. A nicely understated score adds a nice seasoning to go with the unsettling sounds of the chaos going on throughout. Glad to have revisited this one again.

rauldc14

11-11-23, 05:50 AM

John is indeed first to finish and I've also retrieved his ballot!

Citizen Rules

11-11-23, 02:02 PM

I'm going to be second, by golly!

edarsenal

11-13-23, 12:42 PM

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Dial M for Murder (1954)

The execution of the "perfect murder" and the inevitable failure is a staple of Hitchcock and a premise he not only has down to an exact science but one he could easily do in his sleep. For this one, Hitchcock used his tried and true science, cutting off all the fat and trimming it down to the very bare essentials of the process and the inescapable fallibilities of circumstance that undo all that was done.
Along the lines of that exact science, as well as his preferences, we have the blonde character (Grace Kelly) as the would-be victim. While an adultress, she is neither callous nor cruel to her husband and still very much loves him and is unable to stop loving another man (Robert Cummings). For his calm, cool, and collected husband attempting the perfect crime, like the other prime choices of actors, is Ray Milland. And finally, as the Chief Inspector, a genuinely British representation of policework is John Williams.

A very tightly bound, precisely executed thriller lathered with British aplomb. It's no easy thing to find yourself rooting for everyone in a film such as this. You're either firmly on one side or another, the victim, the villain, the police, somebody somewhere. But there was no specific individual I wanted to dislike or to root for fully. I did try and was quite ready to go with the cheated husband and hope the best for him, but for all sordid premise, I could not, by the end, find a reason to dislike any character, which I found both mildly agitating and quite a breath of fresh air. It added an extra layer of enjoyment to the experience, and I do imagine it is that added layer that will endear this film to me.

Citizen Rules

11-14-23, 07:43 PM

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The Little Girl Who Conquered Time (1983)

I liked this...and I didn't. I liked the bulk of the film when it was focused on the daily life of the school girl. She was a good actress and the coming of age part where she's realizing she's always loved her childhood friend was nicely done and that's where the story should've staid. But then the time travel aspect lost it for me.

I know whoever nominated this probably loves this film but sorry to say the time travel effects took me right out of the story...It looked like something done on a 1970s Saturday morning kids live action show. It kind of reminded me of Far Out Space Nuts, a show I didn't watch much of. But even if the special effects had been better, just the idea of the time travel guy who's implanted happy memories in the school girl's head was the most cooked idea I've heard of for a movie. It's too bad the director could've taken the lead from fellow director Ozu with less is more. Remove all the time travel stuff and I would've really liked this.

PHOENIX74

11-15-23, 08:20 AM

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Missing - 1982

Directed by Costa-Gavras

Written by Costa-Gavras & Donald E. Stewart
Based on the book "The Execution of Charles Horman: An American Sacrifice" by Thomas Hauser

Starring Jack Lemmon, Sissy Spacek, Melanie Mayron, John Shea & Tina Romero

You have to hand it to Greek filmmaker Costa-Gavras, and the Academy of Motion Picture Arts and Sciences for in the end giving him exactly what he was due. He won a Best Writing (Screenplay Based on Material from Another Medium) Oscar for Missing, and the screenplay was the crucial aspect to telling the various stories that needed telling here. First that of journalist and documentary filmmaker Charles Horman (John Shea), who was murdered. Secondly that of Ed Horman (father of Charles, played by Jack Lemmon) and Joyce Horman (Beth in the film, and the wife of Charles, played by Sissy Spacek). Lastly, that of the Chilean people, who were thrust into years of military dictatorship - helped by the movers and shakers inside the United States, and a political stance which dominated the Cold War. Telling all of those stories in the same film, and making it not only coherent, but easy to watch and compelling, was an extremely tough undertaking. In the end it's expertly paced, makes great use of it's shooting location in Mexico, and features two knockout performances from it's main two stars - Spacek and Lemmon.

Missing patiently gives us a lot of time to begin with letting us get to know Charlie and his friends, such as real-life murdered journalist Frank Teruggi (Joe Regalbuto). We see the coup taking place around these people who seem a little nervous, but still confident that their status as Americans makes them immune to civil strife in the South American nation. Once Charles disappears, we really end up feeling his absence after getting to know him - and then the film moves on to it's main narrative - that of Ed and Beth's search for answers as to what has become of him. This is where another really enjoyable parallel narrative takes shape - the gradual change that Ed undergoes the longer he spends time with the American diplomats, and the longer he witnesses directly what's going on in Chile. He starts with complete faith and trust in what the Americans are telling him, and with what they're doing - reserving his suspicion for the "kooky", and what he thinks is a conspiratorial-minded, Beth. As time goes on however he begins to realise that those calling the shots don't have his best interests at heart. He sees that what is going on is rotten.

Yes - Sissy Spacek and Jack Lemmon are great in this film, and have to map out a slowly evolving relationship where they go from in-laws just putting up with each other to where they gradually become friends. Rome wasn't built in a day - and neither is Ed's view of Beth a rapidly developing phenomenon. He's apt to mutter infuriating asides that make Beth seem angelic in that she doesn't immediately slap him or kick him in the groin. He's old fashioned, conservative, and thinks Charlie and Beth were crazy moving to Chile - he has no concept of people "growing" or discovering themselves. He only knows that you get a job, you get married, you have kids and eventually you retire - and die. He immediately makes assumptions about Beth that paints her as a bit of a nut, and what he doesn't know is that in this situation he's the naïve one. When the diplomats keep asking Beth for a list of names (obviously an "enemies" list to be traded to Pinochet) he innocently thinks it's to help find Charles. It's the core of the story, and the arc these real-life characters are on.

In the meantime, in praise of cinematographer Ricardo Aronovich (who sometimes, but rarely participated with English-speaking films) - that shot of the hotel balcony with the helicopter flying over is beautiful - I mean it, what a shot. It flows from the back balcony to the road out front with jeeps and tanks on it - all in an unbroken shot. In fact, there are a number of great shots in this - many of them laying out to us the military coup in action. We have many a walk down a street, and many of these "coup is happening" shots with multiple groups of extras in action are one-take deals - my brain explodes trying to understand why he wasn't also nominated for an Oscar. I loved those dolly deals at fast pace down a street packed with action. How about the upwards pan with the bodies laid out on a glass ceiling at the morgue? Wonderful. What about the shot with the white horse galloping down the street? Unforgettable. I don't know. Maybe he needed to be part of a union to be nominated. I really loved the camera work in this film - marvelous for it's day.

The score from Greek electronic music composer Vangelis is also worth mentioning - it has some dramatic flow to it. A real emotional component - it's surprisingly driven by softer melodies, for a film that's set during a bloody and horrifying civil conflict. Vangelis had just had his triumph via composing the score for Chariots of Fire - one of those musical efforts in films which ends up indelibly imprinted on our minds. (He won an Oscar for that work.) Vangelis seemed to find it easy to reach out and capture whatever was needed in the audience's mind, and Costa-Gavras must have asked him to remember the links between the people rather than the general situation. The love between Charlie and his friends and family - not to mention the new bonds that are made during the sad, fruitless searching that takes part in this movie. There's a delicateness to most of it, though obviously tension and heaviness mark this film's most evil aspects. Harder tones that march to a strict rhythmic beat.

So - this is a hard film to briefly sum up. Politically, it was an absolute bomb that exposed America's involvement in bringing a nasty dictator to power. I'm not a big fan of the way the map of the World was treated during the Cold War - with the United States so determined to not see any small nations flip over to communism that they'd interfere, even if it were against the interests of those nations' populations. But, it's also a movie about two people - a father and a daughter in-law facing sad circumstances with diminishing hope, anger, confusion and eventually resignation - at least growing closer to each other despite the lack of success their search for Charlie had. It succeeds story-wise, performance-wise, in it's cinematography, score and location work - making Mexico a substitute for Chile. One of the films of 1982. I've seen it numerous times and it's grown on me over the years - I see what all the fuss was about. Lemmon and Spacek are marvelous, and their partnership is a heartwarming one - two greats at their peak. Of course, the real story is sad. So sad. But if there's one thing Joyce and Ed can take from what happened it's this - what happened to their son led to the book being written and this film, which led to people in America knowing and had a big impact. It was not for nothing - that's for sure.

4

Citizen Rules

11-17-23, 02:50 PM

I finished the HoF a couple of days ago:) I just wanted to say that every film was a good choice! There are two films that I'm rooting for to win and a third that I wouldn't mind winning either...My nom isn't any of those.

Thief

11-17-23, 03:00 PM

PHOENIX74

11-17-23, 10:10 PM

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Dial M For Murder - 1954

Directed by Alfred Hitchcock

Written by Frederick Knott, and based on his play

Starring Ray Milland, Grace Kelly, Robert Cummings, John Williams & Anthony Dawson

Ahh, the musician who has to record one more album because of a contract, does so with little application, but still makes a chart-topping toe-tapping pleaser. The sportsman playing a dead-rubber before the finals, who only half applies himself but still romps home for a win. The director, Alfred Hitchcock, who still has one film to make for Warner Bros and phones it in - still coming up with a time-honored classic that stands up to this day. You have to credit Frederick Knott and his mega-hit play though - with it's tantalizing tale of the "perfect murder". But a perfect murder only remains perfect when everything goes to plan. When an unexpected complication arises, it takes a cool head and a person with their wits about them to stay one step ahead of the law. This is the kind of story situated right up old Hitch's alley, and it's unusual in that it seems to have it's climax in the middle as opposed to it's end - not that we're any less attentive throughout.

The story involves Margot Mary Wendice (Grace Kelly) and mystery writer Mark Halliday (Robert Cummings) in the midst of having an affair, and in the midst of being blackmailed by someone whom they don't know the identity of (over a letter between them that had been stolen.) Margot's husband Tony (Ray Milland) and his old university buddy Charles Swann (Anthony Dawson) feature in a more nefarious way, and as such Chief Inspector Hubbard (John Williams) is on hand to unravel the case, if he can. Both Dawson and Williams had a good grasp of the material because they were both performing the roles they'd had on Broadway. The movie was filmed in 3-D, but the process was so cumbersome by this stage that people started demanding normality and staying away in droves - thereby signaling the death knell of a 3-D fad. Feels pretty familiar that, having experienced a few of those during my time going to movies. Anyway - the hand you see outreached in the film's poster was it's biggest 3-D moment. (The movie actually had a Dial M For Murder 3D renaissance in the 1980s that went more successfully.)

Largely dialogue driven, this is a film full of exposition and yet miraculously exciting and mesmerizing all the same. It features a 22-minute scene with only Ray Milland and Anthony Dawson which is largely expository in nature, and yet Hitchcock manages to keep us on edge throughout by continually changing shooting angles, directing character movement and having a slow reveal as to exactly how diabolical the two characters they play are. Of course, the one scene Grace Kelly and Dawson have together is tremendously exciting, and very weirdly most of what's happening in the movie is being seen from the side of the antagonists - I wonder whose side most audience members are on as crucial moments come into play? Kelly and Dawson's deadly tangle is our huge murder moment and it's gloriously fraught and stressful. It's a typically Hitchcock moment, and it's those moments that make you wonder why the rest of the film industry was stuck with boring Joes unable to get us so far on the edge of our seats we're falling off them.

There's one great moment in the film that I want to highlight, as it goes a long way to explaining why the whole thing works so well. In it, Tony is suddenly thrust into a dilemma where he has to improvise - have answers to two desperately important questions that could spell his doom. He has to invent a reason as to why he was calling his wife, and he also has to explain why he was calling her, and not his boss as he told everyone he was doing. Just as I sometimes hold my breath when characters are underwater, to test my limits, I was also trying to think fast for Tony - and I had nothing! You think he's in trouble, but then all of the sudden, he comes up with a perfect answer. He comes out with a double whammy - one answer that solves both questions in a neat and tidy way, and I'm jolted by just how clever this slippery soul is, even when pushed for improvisatory time. Yes! Yes - sometimes a dialogue-driven movie works just fine when it's well written and co-exists with the visual acuity of a master filmmaker.

So, very simply this film works in both a wordy way with it's load of exposition, and as a visually inventive thriller even when it's stuck in a room with two characters for over 20-minutes. In fact, most of the film takes place in that one location. We're never stuck with reverse shots - but zip around from many different angles, often having characters framed by objects in the foreground. Terse and tense, it's a test of nerves and quick-thinking mastery of police procedure and dastardly murder. It's brilliant in it's simplicity. Who will be caught? Who will be killed? To pull off a perfect crime, you have to be alert to every tiny detail - and I think that's the grandest trick the movie pulls off. It has us so dialed in to those details that our heart races with the characters as details are missed, picked up, saves are made, mistakes make or break and the mind of everyone works at a thought per millisecond to keep ahead. That's excitement, and why over a hundred minutes of what's mostly dialogue keeps us sweating and nervous. To Hitchcock, that's a breeze. Something to reel off while thinking of much bigger projects. To us it's just awesomeness all the same.

4

edarsenal

11-19-23, 02:04 PM

A relaxing pause between pulling out Christmas decorations and writing up reviews, coffee at the ready, I read PHOENIX74. Yay.
I just LOVE this opening line: Ahh, the musician who has to record one more album because of a contract, does so with little application, but still makes a chart-topping toe-tapping pleaser.. Seriously thinking of making that one a signature. Would you mind if I did? lol
I did not know the two lead men were from the theatrical presentation. It definitely explains the smoothness of their portrayals. Very comfortable in their characters' skins. Very nice.

edarsenal

11-19-23, 03:26 PM

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Light in the Piazza (1962)

I am thoroughly and wonderfully surprised at just how much I enjoyed this film. More so, as I think back on it. I definitely hope to rewatch this light-hearted, warm & fluffy story of a loving mother who truly IS a loving mother, Meg Johnson (Olivia de Havilland), and her daughter, a child within a woman in her mid-twenties, Clara (Yvette Mimieux.) Her wish to skip and play worries both parents and distances each of them more. But, here, in Venice, her innocence, her purity of heart, is like a blessing and beloved. First, by young Fabrizio Naccarelli (George Hamilton) and then his father, Signor Naccarelli (Rossano Brazzi), followed by the family. What could have been a tense, conflicted story delving into mental illness is something delightful and life-affirming. I am oh, so happy to feel such pleasure in such films so well into my years. Cynicism is a phase that we all go through from, basically, our twenties into around our fifties. Or, if we’re lucky, we get it out of our systems or just done with impressing the cool kids by our early mid-forties. Then we take earnest delight in, along with everything else, such films as this. Yayyyy

Any hoots, my initial interest in this was seeing, for the first time, a young George Hamilton being such a fan of his parodies, Zorro, the Gay Blade, and Love at First Bite, along with Olivia de Havilland, who I’ve typically seen in the more tragic, hard-edged roles. Giving a flawless gravitas to her worries. But here, I get the pleasure to encounter that craftsmanship extended to the flip side of warmth and genuine love for the happiness of her daughter and the acceptance of the love of Fabrizio, who, wide-eyed with joy, plays and laughs with her.
My final delight was the amusing lechery of the Italian men in this film. From Signor Naccarelli admiring and appreciating Meg Johnson’s behind as he follows her from within a car to his other son’s pleasurable dilemma of being unable to decide whom he would wish to make love to first, mother, Meg, or his soon-to-be sister-in-law, Clara, and the sincere laughter and cheer it is met with by everyone present.

So, to whoever nominated this, a giddy BRAVO and two joyous YAY!!!’s

rauldc14

11-19-23, 03:34 PM

59/100 reviews are in!

jiraffejustin

11-19-23, 04:42 PM

Banshees of Inisherin

SPOILER ALERT

Scratches an itch for something a little offbeat, but doesn't go entirely surreal. Obviously very well acted with good chemistry. I wonder if I knew more about Irish folklore if I'd be able to pick up on more things throughout the film. The film does use a cheat code for generating sadness out of the audience with the donkey, but at least the donkey dies in a way that you can pin back on Padraic. Barry Keoghan was great as usual, the weird little f*ck. Kerry Condon was a delight, I love that accent on a woman. It's one of the reasons I am so charmed by Aisling Bea. I think I will need to watch it again to get a clearer picture of how much I actually like the film. It's good lucking, funny, sad, well acted, well-directed, has heart, so it has enough of the pieces to be great. I was delighted by the story the first time around, so some of those earlier elements need to be further explored to see where I place it among the likes of In Bruges.

edarsenal

11-19-23, 04:53 PM

Banshees of Inisherin

SPOILER ALERT

Scratches an itch for something a little offbeat, but doesn't go entirely surreal. Obviously very well acted with good chemistry. I wonder if I knew more about Irish folklore if I'd be able to pick up on more things throughout the film. The film does use a cheat code for generating sadness out of the audience with the donkey, but at least the donkey dies in a way that you can pin back on Padraic. Barry Keoghan was great as usual, the weird little f*ck.Kerry Condon was a delight, I love that accent on a woman. It's one of the reasons I am so charmed by Aisling Bea. I think I will need to watch it again to get a clearer picture of how much I actually like the film. It's good lucking, funny, sad, well acted, well-directed, has heart, so it has enough of the pieces to be great. I was delighted by the story the first time around, so some of those earlier elements need to be further explored to see where I place it among the likes of In Bruges.

I so, oh so heartily agree.

PHOENIX74

11-19-23, 10:47 PM

I just LOVE this opening line: Ahh, the musician who has to record one more album because of a contract, does so with little application, but still makes a chart-topping toe-tapping pleaser.. Seriously thinking of making that one a signature. Would you mind if I did? lol

Not at all. Anything I write here is free for anyone's usage if it strikes their fancy.

Hey Fredrick

11-22-23, 10:32 AM

Dial M for Murder

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This is my second go with Dial M and I have to say I liked it a little more this time. I was in the mood to slow down a bit after a crazy couple of weeks and this movie certainly helped with that. What I really enjoyed was that this adaption feels like a play (duh!). It's success is largely due to the performances of all the actors and the plot. Hitchcock is like a successful coach with loads of talent. All he has to do is not screw around or get cute and he'll have a winner on his hands. It's all tight. What he does add from behind the camera is usually so subtle it's barley noticeable. Little camera movements to direct your attention to....THIS. Now...THAT. Little touches like that is where Hitchcock is in a league by himself. I don't think this is a very suspenseful film and that's probably what leads to my main gripe.

Never for a second did I think that Grace Kelly would be convicted, much less set for execution, for what happened. I guess that's supposed to put a little urgency on the police to figure out what really happened but it never hit me as terribly urgent. I never thought she was in any real trouble. Very, very minor gripe.

I haven't seen many Hitchcock films but this this is top half of the ones I've seen. I never planned on watching this for a second time but having seen it for a second time I can now see myself watching it for a third time.

Hey Fredrick

11-22-23, 11:16 AM

Departures

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Daigo is a cellist who's who loses his job when the orchestra he's in is disbanded. He applies to a job thinking it has something to do with travel and while it might, it's certainly not the type of travel he's thinking of. He becomes an apprentice for a Master of Ceremonies, so to speak. Preparing corpses for the afterlife. It's a very elaborate presentation but not necessarily the most respected line of work.

I guess at it's core this is about a guy trying to find peace in his life and finding it in the most unexpected of places.

I found all of the characters and their relationships to Daigo very interesting and entertaining. Even the minor characters have a good backstory. I really enjoyed the secretary/assistant, Daigo's wife and the MC, his mentor, who drops little pearls of wisdom in a dry, matter of fact manner all throughout the film. He fills a void that Daigo has lived with for quite some time. Some of the acting seems a little over the top at times but I think that's just acting in Japan and I kind of like it. During some of the more comedic parts of the film this acting style really adds to the humor.

The scenes of the ceremonies didn't feel like too much to me. Every scene seemed to show a different aspect of the ceremony and while the scenes take some time it's often broken up with the deceased families reactions which range from sad, to funny to angry.

Maybe I'm a sentimental schmuck but this movie really hit a lot of high notes for me. Even the ending worked for me even if it was a little too perfect. So yeah, I liked this. I caught this on youtube which had shorter breaks than tubi but they are placed in bad spots. Just an fyi

Hey Fredrick

11-22-23, 11:18 AM

I also watched The Girl Who Conquered Time about two weeks ago but am having a hard time trying to come up with something. May have to watch it again as it's starting to fade but it probably wouldn't be a bad idea to give it another run anyway.

And I'm still having a hard time finding A Light in the Piazza. For whatever reason the links I have didn't work but I'll keep trying them.

PHOENIX74

11-25-23, 03:46 AM

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The Little Girl Who Conquered Time - 1983

Directed by Nobuhiko Obayashi

Written by Wataru Kenmotsu
Based on the novel "The Girl Who Leapt Through Time" by Yasutaka Tsutsui

Starring Tomoyo Harada, Ryōichi Takayanagi, Toshinori Omi
Yukari Tsuda & Ittoku Kishibe

I've often daydreamed about being able to time travel. I'm such a nostalgic person - I usually go to sleep each night recounting this or that period in my life. I'd love to see old places, friends and relatives again. Being able to time travel a day or two at will would be the cherry on the cake - I'd use that to go back and ace exams, impress girls, learn instruments, play sport and generally enjoy the hell out of having foreknowledge. Said the wrong thing to my girlfriend? Go back and fix it. Been walking around for 10 minutes with toilet paper stuck to my shoe? Time travel will take care of that. Movies like The Little Girl Who Conquered Time interest me, because they take that fleeting, ethereal fantasy and play it out like it could really happen. I didn't quite get what I was hoping for though - this movie has such a light and delicate touch that it kind of feels like the time travel component was incidental. It's a very slow-moving, contemplative movie - and I'm never quite enjoying it while I'm watching it. It didn't quite mesh with my personal tastes.

Otherwise known as The Girl Who Leapt Through Time, this 1983 Japanese science fiction movie features Tomoyo Harada as Kazuko Yoshiyama. Yoshiyama is stargazing on a class excursion one night with friend Goro Horikawa (Toshinori Omi) when they both literally bump into Kazuo Fukamachi (Ryōichi Takayanagi). The trio form a close bond, but it's not long before Yoshiyama is having fainting spells, and at times feels like time is stuttering out of synch. To try and work out what's happening to her, she gets closer to plant-loving Fukamachi - someone who seems to have answers as to what's happening to her. When she starts waking up and reliving the same day over and over again, Yoshiyama feels her entire world coming apart at the seams - having foreknowledge turns out to be a benefit here and there, but why is this happening to her? And why is Fukamachi so obsessed with flowers and skipping days off school to go collect specimens? The answers will lead to a heartbreaking revelation for her.

This movie has some really nice features. Take for example the dimly lit cinematography in the science lab where Yoshiyama faints - it's very unique and it's own thing. As is also the frequent transitions from black and white to colour, which often intermingle whereupon there will be both at the same time. I often think of the contrast in terms of dead and alive, stagnant or creative - but I found the reasoning harder to pinpoint in this. Perhaps it was the presence of love's flame being lit, hope, joy or all of the above. Cinematographer Yoshitaka Sakamoto also worked on Nobuhiko Ôbayashi's insane (and very enjoyable) film Hausu. The score by Masataka Matsutôya was also exceedingly pleasant, and for me one of the most enjoyable facets to the movie. I had another couple of listens to his song, "Toki o kakeru shôjo" after watching the movie - and apparently it was very popular in Japan at the time, with many different versions being released. It's very cute and original having Yoshiyama sing the song to us during the closing credits while life goes on as normal in the background.

Features are features though - getting into the movie itself was much harder for me. It's a film with a protagonist walking around in a daze much of the time, and I never relaxed into it's ultra-slow incremental tempo. With some slow movies what I get in each moment is enough by itself, but with The Little Girl Who Conquered Time I was a little bit restless, and not totally in love with any of the characters or mood. Every now and then there's a little flourish with editing and visual effects which suit the manner of a filmmaker who would make a film like Hausu, but for the most part Yoshiyama is sleepily plodding through scenes lost in deep contemplative thought. Brief schisms in the universe don't do all that much to trigger any reasonably interesting development in the plot - and I'm left thinking that this is a movie where it's absolutely essential to love the mood of quiet Japanese neighborhoods, glasshouses, and classrooms. This has more to do with coming to terms with the challenges of approaching adulthood and falling in love than time travel itself. The quiet moments spent with someone you're developing feelings for.

As with time travel, I also think a lot about those quiet moments - and I can't help thinking that I was on the wrong track with this movie. It's a time travel movie with an extraordinarily different approach - and instead of gaining by flitting through the ether and teleporting here and there we lose, because love is very much of the here and now. The time we can trace directly. I think it was a nice touch having the little kissing statues in Yoshiyama's room - something directly related to childhood. This is a kind of coming of age movie about an awakening and a cleft between things we hold dear from the past, and the completely new yearnings and desires that seem to have sprung up from nowhere - always beckoning for us to let go of the past and move forward. To follow sudden and irrepressible urges. It doesn't feel all that different to Yoshiyama's anxiety-inducing zipping around in time. One day in class she's totally unprepared, and the next she's a completely different person - overprepared.

In the meantime, I appreciate a movie that pays tribute to memory, for as I said - I'm a hopelessly nostalgic person. While I didn't enjoy the movie as much as I thought I might, it feels good to at least be on the same page as to it's overall themes and contemplations. Time, is a strange and puzzling thing to think about - but that's why I love thinking about it. It's probably just as well I can't time travel - it looks stressful, and at times desperately sad. Best to take things one day at a time, and not do anything to disrupt one's precious memories of days gone by.

3