Personal Recommendation Hall of Fame VI

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I know I saw Moonlight when it was nominated for the Oscars, but I remember almost nothing about it, so I guess it didn't really leave much of an impression. Other films that were its competition for Best Picture haven't shared the same fate, as I still clearly remember Arrival, Hacksaw Ridge, Hell or High Water, and Manchester by the Sea. The others I never saw to the begin with.

I haven't seen Ragoon or The Iron Giant, but I've been interested in the latter for a while now.
I had The Iron Giant on my list of possibilities for you, but obviously it wasn't either of the two I sent to cricket.

I've been looking for this elusive Pirated F#ckin E-crypted Limited Director's Cut from Taiwan.


It may not be so daunting anymore.
Definitely give it a go! Like Phoenix said, it's not at all pretentious, or at least I didn't think so.



I forgot the opening line.


The Wicker Man - 1973

Directed by Robin Hardy

Written by Anthony Shaffer

Starring Edward Woodward, Christopher Lee, Lindsay Kemp
Britt Ekland & Diane Cilento

This review contains spoilers

It's completely enthralling. Mysterious, unusual, and unlike any other film of it's time, The Wicker Man has held the fascination of many down through the decades - a kind of horror film that shocks in it's final act, but gives a sense of unease leading up to it. It gives us a glimpse into a world many people lived in centuries past with Paganism, Druidism and the worship of the old Gods before Christianity and Islam cut swaths through people's spiritual lives in the Western world and beyond. A Wicker Man was once used to burn criminals to death inside of it's structure on anointed days, and was noted by Julius Caesar and relayed through the centuries from his personal observation. Some of my favourite recent films, from Kill List to Midsommar, draw their inspiration directly from The Wicker Man, and the film's ultimate survival and restoration depended on it's inspired value as an extremely literate and quality work of cinematic art. It's principally known for it's finale, which is both frightening, and a surprise for those who come to the story without knowing what's coming.

Sgt. Neil Howie (Edward Woodward) is a devout Christian and police officer who has received a strange letter relating the suspicious disappearance of a young girl on Summerisle. The island is known locally for it's fruit harvests, and as a strange place where the people there follow a kind of Celtic Paganism, and as soon as Howie lands he's introduced to various oddities - not the least of which are the bawdy, but seemingly ritualistic songs and music everyone partakes in. The daughter of innkeeper/landlord Alder MacGregor (Lindsay Kemp) is the beautiful Willow MacGregor (Britt Ekland) and is worshipped as if Aphrodite, introducing all the young men to love. When Howie meets up with the powerful leader of the island, Lord Summerisle (Christopher Lee) he learns of it's history, renunciation of Christianity, and attitudes towards the Christian God - at odds with Howie's personal beliefs. He begins to suspect that the missing girl is tied up with a planned sacrifice due to failing crops on the island, and sets out to surreptitiously join their May Day parade to rescue her from an awful fate.

It's a straightforward story, and much of the film deals with the conflict Howie finds himself embroiled in every time he crosses paths with a strange custom that he finds offensive. Men and women copulate freely in fields, and people in the island's tavern sing lude songs about Willow in front of her father and herself - who both enjoy them. He overhears children being taught that the Maypole the boys are dancing around specifically represents a penis, and notices that churches and graveyards have been deconsecrated and abandoned. Young women dance naked around fires while chanting fertility rites, and one young girl must hold a frog in her mouth to aide in her recovery from a sore throat. This is all deeply distressing to him, and his firm believe that only Jesus Christ can be the saviour of mankind. Most of all he harbors a deeply held suspicion that Rowan Morrison has been murdered, but later comes to the conclusion she's about to be sacrificed. All of this is represented in fascinating ways, and this is specifically aided by the fact that the film is presented very much as a musical - the songs all neatly fitting the narrative. At times spooky, at others either lurid or forthright, it eventually presents a compelling case for Paganism as a religion that is closer to nature than other more modern ones.

The film started life as an idea that crystallized through discussions around a number of figures eventually involved with it's production, including Christopher Lee, who wanted to get away from his more regular Hammer Horror roles, screenwriter Anthony Shaffer, who had read an interesting novel involving the concept of Paganism in David Pinner's Ritual and prospective film director Robin Hardy, looking for a first project. Hardy was in contact with British Lion head, and film producer, Peter Snell, who was also interested in the idea. Pinner's Ritual, as a whole, seemed unsuitable for being translated film-wise as it was and adapted, but the idea of a devout Christian policeman investigating the work of Pagans and a missing girl was what brought Shaffer's story about. It was a project that Lee, Shaffer, Hardy and Snell worked closely on together and all felt passionate about, especially after Shaffer delivered a screenplay that was obviously an exceptional piece of work - something to truly be excited about. Unfortunately, the conception was to lead to an especially painful birth - as is the movie business.

British Lion as a financial entity was going through convulsions, and they needed The Wicker Man immediately - with a minimum of funds, and to be shot on location in Scotland in October instead of the Spring it's set in. Freezing temperatures and cloudy weather had to be translated into fine weather, no matter the hardship on the actors and the production as a whole, which needed to transport in fake trees in blossom. The difficult, rushed and uncomfortable shoot was bad enough, but insult was added to injury once EMI had bought British Lion and a manager by the name of Michael Deeley found himself in charge. During the editing process Deeley was dismissive towards Christopher Lee, whom he found contemptable, and let it be known to him that he thought The Wicker Man amongst the ten worst films he'd seen in his life. The studio found itself unable, and almost unwilling to sell it to one of Britain's two premier distributing chains. The initial cut of the film was shortened so it could be sold as a "second feature" on double bills - with the only version the filmmakers were content with finding itself with Roger Corman in the U.S. - who was happy to help distribute it there.

The Wicker Man is so good that it would survive all of these machinations, and even in shortened form, it's interesting and compelling enough to have made a name for itself. In the years since it's been somewhat cobbled back together into what it should have been - but regardless of that, film aficionados have loved it down through the years. I've been aware of it for a long, long time, and my practice of seeing movies as they eventually come my way delayed my first viewing until now. Unfortunately, I'd already seen the remake - and I understand even more clearly why it was so derided - having abandoned most of the interesting facets of the original film. I was pleased to discover that knowing the ending doesn't detract at all from the enjoyment I found in the film. It's far more than it's ending, which holds onto it's power. I was very surprised by the music of The Wicker Man, composed by Paul Giovanni, as it becomes a central focus of the film. It's interwoven, not only into the reality of the film but also as part of the narrative. I really loved it, especially Willow's song, 'How Do'.

Cinematographer Harry Waxman had been working on films since the early 1930s, but his experience, while always something to be thankful for on a film shoot, also developed into an animosity for his first-time director in Robin Hardy. This, on top of everything else, created an element of disharmony and ill-feeling during the shoot. Waxman didn't like the screenplay, didn't think Hardy knew how to make films, and was generally in ill-humour - although that final shot that he captures, of the Wicker Man's head slowly collapsing to reveal the setting sun behind it is considered to be one of the greatest shots in cinema by some involved with the film. Visually, I found The Wicker Man to be very enjoyable and astute - without any problems. Perhaps I was wrapped up in the story to an extent where clever shots didn't matter, or else the expertise of Waxman in getting what was needed gave the film what as needed to support some great performances and a superb script from Shaffer.

The original negatives to The Wicker Man have been lost - although there is some hope that one day they will be found. Christopher Lee always maintained that they couldn't have been accidentally misplaced. I've rarely come across so much animosity, ill-feeling, arguing and disunity among filmmakers when it comes to such a classic film, but this indeed seems to be the case with The Wicker Man. Lee initially saw a cut which had left a great part of some really well-shot and important scenes on the cutting room floor, and there are several versions which have superseded the theatrical cut, most of which run some 10 minutes longer, and includes material which enhances the narrative. Through all of this though, the quality of the film just shines through, and it seems to me that the film is literate enough to survive as it does today. I thoroughly enjoy watching it - the strange, mysterious and mystifying rites and traditions interest me. I'm carried away by the sense of ghostly conspiracy on Summerisle. I think the narrative, and passion from certain members of the cast and crew shine through.

To the end, Christopher Lee believed it was his greatest film, and Edward Woodward was similarly passionate about it. I'm not sure if the issue of whether Britt Ekland's voice (with Scottish accent) was dubbed or not has been solved, but regardless, she's as alluring as she needs to be for the film. It's unfortunate if she felt uncomfortable about her nude scenes, but for once I really feel that those scenes were critical for the film, and the scene where she's alluring the virginal Howie in a test of wills works perfectly. I very much enjoy watching the usually silent Lindsey Kemp play such an interesting role in a film. Human sacrifice is of course chilling, and the Wicker Man itself has a kind of spell it casts when you know it's significance. I actually like the connection these people have to nature, and Christopher Lee's quotation of Walt Whitman poetry when alluding to it is beautiful. So much so, that it's nearly easy to forget the violent superstition at the heart of what this film is about. Another interesting fact is that Howie's final words in the film come directly to us as a quote from Sir Walter Raleigh just before his execution.

Horror is often hard to classify - The Wicker Man contains little violence, and nothing horribly gory and gruesome happens - except for the "hand of glory", which happens to be one poor woman's severed hand turned into a creepy spell-ridden candle for Howie. Many people miss the fact that this woman is first seen in the library with him, then in a casket with her hand missing, and finally, the hand turns up. There are many small details that you can easily miss in the film, and it surprises me how well the production design has been managed considering how rushed the film's production was. I love small details that take time to pick up on. But in a larger aspect, The Wicker Man is a haunting film full of the kind of atmosphere I love in my films. That atmosphere pervades everything, and comes partly from a great screenplay, partly from the performances, and mostly from what has been brought to bear from those rituals of old. Behind the ideas this film brings forward is a real history many of our ancestors took part in. I very much agree with those who bestow the greatest praise on it, from Eli Roth to Ben Wheatley and Ari Aster, who have used it's inspiration to create the horror that has continued to enliven my cinematic pursuits.

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Remember - everything has an ending except hope, and sausages - they have two.
We miss you Takoma

Latest Review : Le Circle Rouge (1970)



I knew when I read that first sentence that you didn't like the movie.

It's hard to like a movie if you already love something very similar, I know it is for me. Usually the first version I see and like will always be my favorite. But Fail Safe wasn't my choice, luckily

I thought it was a good movie and would recommend it especially to somebody who didn't like Strangelove.

The Iron Giant is one of my favorite animated movies. So much so that I even recommended it in one of these HoF's.

The Seventh Seal I watched when I was just starting to explore movies that weren't made before 1973. I was still having a rough time dealing with the "oldies" so it's one I've always been meaning to check out again. Probably shouldn't have started out with one quite so heavy. I'm sure I smoked some dope and sat there glassy eyed waiting for the Bill and Ted scene to show up.

The Wicker Man is a blast. This was one, much like The Lair of the White Worm, that I didn't have high hopes for, thought it would be too cheesy but really got into it. Has one of the best looking casts ever.



A bunch of movies I've only seen once except for Fail Safe, which I've seen a few times. As usual when it gets mentioned, I'd also recommend the live made for TV remake.

The Iron Giant and Rango both made my animation ballot, with Rango being very high.

I very much enjoyed Moonlight, The Seventh Seal, and The Wicker Man. I could use another viewing with all of them because I think my opinion would go even higher, especially with The Wicker Man.



I’m glad you enjoyed Wicker Man Phoenix. I actually only thought it was pretty good, very good aesthetically. I’m always hesitant to rec movies I’m not crazy about but I had a strong feeling when I saw you didn’t have it checked off.
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Forbidden Games:

How come the deeper I get into HOFs, I keep feeling like I have less and less to say? Anyway, this is the second movie from my group I had never even heard of, and I still have one more of those left to go.

I really love the set-up here. I think it’s a very interesting idea, and one that seems completely plausible in these absolutely war torn countries. It’s heart breaking just watching this young girl want nothing more than her puppy and losing everything in the world in a heartbeat.

What surprised me about Forbidden Games is that it moves the war element to the back of its mind and becomes a, often times silly, domestic drama. I don’t mean silly as a negative either. It’s very playful at times and the conflict between the neighbors is just 100% benign when you consider what is going on in the country.

Despite liking that different approach to a war film, this one never envelopes me entirely. I do think it’s good and watchable, but nothing really elevates it beyond that for me. Good ending too incidentally. I like ambiguous endings.



I saw Forbidden Games when it was nominated in the 13th HoF, and I didn't have much to say about it at the time either. One line of my review sticks out because of how far off base I was:

I think the only part of this film I'm really going to remember is the abrupt ending.
I literally have no idea how the film ended. I recognize the image you posted, and I have some vague memories of a bridge, and maybe a dog as well. That's about it.



2022 Mofo Fantasy Football Champ
The Wrestler



Mickey Rourke's performance here could go down as one of the most memorable of all time. He completely transformed into his character on screen. At times it almost felt documentary-ish as strange as that sounds but he really killed it. I get that the guy had a background as a wrestler at one point but he really put his heart and soul into this.

Im in awe that I connected so well with an Aronofsky movie, but he did everything right here. The direction was fantastic, the shots and the cinematography were super on point and the story was super fascinating to me. Although it was a simple tale of a wrestler on his last leg, both in life and career, it felt like it was so genuine and authentic.

Marissa Tomei and Evan Rachel Wood I also thought killed it in their roles too. Their chemistry in scenes with Rourke just made the situations feel so damn realistic. Quite an emotion roller coaster with the film too. When Rourke finally gets his daughter to believe that he can change, it is so disappointing to see him screw up again, even though the situation itself even felt like it was a bit out of his control. Luckily, when he messes up with Tomeis character, we see in the end that she forgives him by going to that match.

I think the biggest thing to see here is that there is a purpose and a chance for everybody in this world. It's just what you make of it that determines how everything will play out for you. Been awhile since I've felt so strong about a film.




2022 Mofo Fantasy Football Champ
People have been telling me to watch The Wrestler for awhile. It'll probably take it getting nominated in a HoF for me to actually bother though haha.
I don't know if it's your type of film, but definitely struck a chord with me.



People have been telling me to watch The Wrestler for awhile. It'll probably take it getting nominated in a HoF for me to actually bother though haha.
I watched it once years ago after reading so many great things about it. I couldn't connect on any level and was bored to tears - which can be said for my experience with every Aronofsky movie I've seen.



People have been telling me to watch The Wrestler for awhile. It'll probably take it getting nominated in a HoF for me to actually bother though haha.
Not that you wouldn't like it, but it wouldn't have ever occurred to me to choose it for you.



2022 Mofo Fantasy Football Champ
I watched it once years ago after reading so many great things about it. I couldn't connect on any level and was bored to tears - which can be said for my experience with every Aronofsky movie I've seen.
Maybe you'll like the new one with Brendan Fraser