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Women will be your undoing, Pépé

Lawrence of Arabia
(David Lean 1962)




Second watch and I'm even more impressed than the first time...and the first time blew me away. I'm so impressed that I don't know if I have the words to do this film justice.

When I watched this some years ago I was amazed at the cinematography. I just don't mean the beautiful desert locations I mean the choice of the camera lens which is often wide angle and the choice of the composition and the lighting...it's all sublime.

This time around I realized how powerful the script was. Especially the handling of the story of a man who would be a self proclaimed prophet and lead a people to their destiny. No one could have pulled this off like the odd and interesting Peter O'Toole.

But you know what struck me the most? Was how much Frank Herbert's 1965 novel Dune was inspired by this movie. Just watch David Lynch's 1984 Dune and then watch Lawrence of Arabia to see what I mean. I love the novel Dune and even Lynch's 1984 Dune so while watching Lawrence of Arabia I felt like I was watching a prequel to Dune. I mean that in the most positive way possible.


I am SOOO gonna do this when I watch this!
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I watched Dead Man's Letters (1986) today. Directed by Konstantin Lopushanskiy, this Russian drama focuses on the survivors of a nuclear apocalypse. I liked the look of the film. I found it quite striking and I think it suited the tone and feel of the film. Performances were fine overall. I found the characters to be sufficiently believable. The only issue is that I wasn't overly invested in them and couldn't really connect with the characters or care about them. The idea of the film is an interesting one, but the execution of it only partially worked for me. The story wasn't as compelling or as engaging as it could have been. I found the film a little too slow at times and to me it felt longer than it was. There was some good dialogue in the film though that I appreciated. It was intelligently written and had some thought provoking, haunting moments. People have compared this to Stalker, which I get, but Stalker is a superior, more engaging and overall more effective film than Dead Man's Letters. Although I didn't love this film, I can appreciate things about it and it was an interesting pick for a nomination.



I am SOOO gonna do this when I watch this!
I'd love to hear your thoughts juxtaposing Lawrence of Arabia & Dune. There was some spoken dialogue and camera shots especially of the moon that reminded me of Lynch's Dune, as well as the over all story/narrative.

BTW if anyone needs a Blu-Ray/HD quality video link for Lawrence of Arabia just let me know.





Ida (2013)

A sojourn of exquisite composition expressing all that is left unspoken or acted upon by Anna/Ida (Agata Trzebuchowska) of fanciful still waters and her bitter, taciturn aunt Wanda (Agata Kulesza) with solemn determination to search out the truth of a family tragedy.

I had decided to witness this completely blind, which was THE ideal way for me. I was wrapped up in every continually beautiful and captivatingly arranged shot in the perfect media for this, Black & White.
Such an experience does not always work if no substance equally captures the constructed long takes of every shot. For me, it did. Connecting easily with the characters, the emotions clamped down beneath veneers and the ones that seep out.

I have only just finished this stoic, reflective sojourn of poetic resonance and find words lacking that I wish to quote @Thief's final words of his review:
In the end, we realize that first, the journey never ends. Life continues, despite whatever pit stops we make along the way. And second, that regardless of where the journey leads you to at any point, it is what you make with what you find what counts; even if it's God or your own demons

A Truly Wonderful Nomination, BRAVO, my friend. BRAVO
So glad you liked it. It is truly a wonderful film.
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Women will be your undoing, Pépé
I'd love to hear your thoughts juxtaposing Lawrence of Arabia & Dune. There was some spoken dialogue and camera shots especially of the moon that reminded me of Lynch's Dune, as well as the over all story/narrative.

BTW if anyone needs a Blu-Ray/HD quality video link for Lawrence of Arabia just let me know.
I've watched Lynch's Dune so I'm pretty curious to go into this relatively new experience with that fun bit of nugget.



I rewatched Dog Day Afternoon (1975) on dvd today. (I really should buy the blu ray at some point.) Directed by the late legendary filmmaker, Sidney Lumet, Dog Day Afternoon stars Al Pacino as Sonny, a man who attempts to rob a bank, but finds it is a lot more complicated and challenging than originally thought. The film is based on actual events.

Dog Day Afternoon was nominated for six Academy Awards, including best picture and best director. It's not hard to see why. This is a classic and a terrific film. Al Pacino is fantastic. His performance is believable, complex, and high energy. Pacino delivers a memorable and very effective performance that really works within the world of the film. The rest of the cast are very good too.

The Oscar winning screenplay is really well written. It's smart, sharp, and compelling. The story is told in an engaging and satisfying way. The audience is invested in the story and the characters, while being entertained. Dog Day Afternoon is a progressive film that feels ahead of its time. There are LGBTQ elements and characters that are handled well and are just part of the story.

Lumet's direction is excellent here and he really knows how to tell a story and get the most out of his actors. Lumet directed at least a few masterpieces and for most directors Dog Day Afternoon would be their best film. For Lumet, I would actually rank Dog Day Afternoon 4th in his impressive filmography. This was a great nomination and definitely worthy of the Hall of Fame.



Women will be your undoing, Pépé
Helluva great film!
Even though I've seen this enough times and can't say better than my review in the 70s HoF, I STILL intend to sit back and enjoy this since it's been a couple of years. Looking forward to kicking back to this one. "ATTICA! ATTICA!"



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Valley of the Dolls



The girls are good looking, but the story isn't one that really does a whole lot for me. In Citizens short write up, he said it's kind of a bit soap opera-y. I don't even think it's really like that but I do feel it's a bit off from reality yet I don't see the soap opera connection either. I don't know it just feels like something is missing. You wouldn't know without digging into it that this is a John Williams score either and I thought that was some interesting information. I figured with all these pretty girls that the film would hold my attention more but it really wasn't the case and the pacing felt off to me. I wish I was more entertained. There were some good scenes here and there but overall I was left with the feeling of wanting more from the film. I will say that I thought Patty Duke was the best acting piece in the whole film, I think she did a really good job.





An Autumn Afternoon (Ozu 1962)

Ozu might just be my favorite foreign language director. I haven't seen that many of his films but everyone that I've seen has been to my liking. I actually enjoy 'quiet' films where nothing much happens and plot isn't all that important and never were those two film making aspects more clear than in An Autumn Afternoon.

It might seem like Ozu has rehashed his classic Late Spring updating it in color. Indeed both movies have a young adult daughter leaving her widowed father to get married. But look closer and you'll see this is a film about loneliness and aging and yes marriage and how it has affected a group of former students and their former teacher.

For his last film Ozu has taken nearly all contrived drama out and filmed what comes close to reality. Notice how he constantly shoots with a very low camera angle. I think he did that to distance the film from the subjects themselves. It's like we're the proverbial fly on the wall, or on the floor in this case. You can say the film is static and that the camera is usually still, certainly the camera work & the sets & the score & the editing are all minimalist. In a way Ozu reminds me of my favorite current working director Kelly Reichardt.

As this was Ozu's last film and he himself had never been married but lived with his elderly mother (I learned that from Thief's review) the film then takes on an autobiography vibe with the aging Ozu reflecting on life and where it takes one along it's long journey.






Dog Day Afternoon (1975) -


This is my second time watching this film and my opinion of it is about the same as it was last time. I think the film is at its best when it shows the reactions the civilians have to Sonny throughout the day. Those scenes are all great. Unfortunately, the same can't be said for the scenes which occur inside the bank. Sal isn't that memorable as Sonny's accomplice and the other bank workers are pretty bland as well. I do like the rare bit of tension in the bank (mainly in the first act) and how both groups eventually get along with each other, but even those elements grow a bit tiring as the film goes on, especially in the second half. But yeah, whenever Sonny exits the bank, the film gets me on board again. Whether you're referring to how Sonny becomes a celebrity amongst the civilians, the iconic "Attica!" scene, or how the civilians remain supportive of him after they learn he's from the LGBT community (I'm curious how well those scenes were received back in the day), those parts of the film are full of life. So much texture and detail is thrown into that one street, it feels like a vivid portrait of New York in the 70's which you could step into. Though yeah, all things considered, the film is a mixture of great and (somewhat) dull which provides a ceiling to my enjoyment of it.

Next Up: Fat Girl



I rewatched Valley of the Dolls (1967) on Criterion blu ray. I was initially disappointed that there are no actual dolls in the film. Not a Cabbage Patch Doll anywhere. Not even a Barbie. Once I got past my initial disappointment at the lack of Cabbage Patches in the film, I enjoyed it. I thought Mark Robson did a good job directing the film. It's a slick, glossy film with a lot of style. I found it entertaining and engaging and I was interested in the characters and the story. I get what Citizen is saying about the glitzy, soapy elements of the film and I agree that it works pretty well. I liked the performances. The style of acting here is somewhat heightened and a little on the campy side, but in a good way. The screenplay is interesting and clever, with a sharp wit. I loved the look of the film. It really pops. I was happy to rewatch the film. Good nom.



I rewatched Valley of the Dolls (1967) on Criterion blu ray. I was initially disappointed that there are no actual dolls in the film. Not a Cabbage Patch Doll anywhere. Not even a Barbie. Once I got past my initial disappointment at the lack of Cabbage Patches in the film, I enjoyed it. I thought Mark Robson did a good job directing the film. It's a slick, glossy film with a lot of style. I found it entertaining and engaging and I was interested in the characters and the story. I get what Citizen is saying about the glitzy, soapy elements of the film and I agree that it works pretty well. I liked the performances. The style of acting here is somewhat heightened and a little on the campy side, but in a good way. The screenplay is interesting and clever, with a sharp wit. I loved the look of the film. It really pops. I was happy to rewatch the film. Good nom.
Yeah at least one person liked my nom, you might be the only one But I love Valley of the Dolls it's just a lot of fun.



I forgot the opening line.


Dog Day Afternoon - 1975

Directed by Sidney Lumet

Written by Frank Pierson
Based on an article called "The Boys in the Bank" by P. F. Kluge & Thomas Moore

Starring Al Pacino, John Cazale, James Broderick, Charles Durning
Chris Sarandon, Lance Henriksen & Judith Malina

When a great actor gets on a roll, getting offered his choice of the best screenplays, getting to work with the best directors going around, and getting to work with filmmakers who have studio money backing them up, they can really string along some truly memorable performances. When the astonishing true story of Dog Day Afternoon came along, Al Pacino thankfully took a golden opportunity to work with Sidney Lumet again - in Lumet's Serpico, he played the real-life titular police officer who fought corruption at great personal risk to himself - under so much pressure his psyche always seemed to verge on collapsing. In fact, by the time Dog Day Afternoon came around Pacino had already been nominated for 3 Oscars despite the fact that his acting career had only taken off three years previously. For playing Sonny in this film, Al Pacino would be nominated for a Best Acting Oscar for the fourth year in a row. Had it not been for One Flew Over the Cuckoo's Nest, this film may very well have swept the Oscars, and Pacino may very well have had an Oscar he truly deserved. It's a remarkable performance in a remarkable film.

On a hot August afternoon in 1972, three completely inexperienced and rather nervous young men walked into a Chase Manhattan bank branch in Brooklyn armed to rob the place. Just as the robbery was commencing one member of the group, 20-year-old Bobby Westenberg (Stevie in the film, played by Gary Springer) fled. This left 27-year-old John Wojtowicz (Sonny in the film, played by Al Pacino) and 18-year-old Sal Naturale (played as a much older man in the film, by John Cazale) to face setbacks (in the film, the bank's daily pickup had departed, leaving the place with just over $1000 to take) and become lost in desperate improvisation. When Sonny burns a register after taking traveler's checks, this attracts outside attention - and soon enough the place is surrounded by the police. What followed was a bizarre, 14-hour hostage drama with Sonny negotiating with flustered Police Detective Sergeant Eugene Moretti (Charles Durning) for a bus to the airport, and a plane. Meanwhile, the general public and members of Sonny's family turned the affair into a circus, with the media joining in, letting an incredulous public in on the fact that Sonny had recently married a man by the name of Ernie Aron (Leon Shermer in the film, played by Chris Sarandon) - in fact, the whole reason for the robbery was to attain money for this man's sex-change operation.

The character of Sonny becomes Pacino's in this - and while the real-life John Wojtowicz seems a mentally off-balance sort of man in real life, Pacino gives his version more endearing traits than John really had. He's a nice guy in the film, and Lumet hit upon giving Sonny a defining characteristic of wanting to please people and wanting to be the man who sorts out problems for people. This certainly dovetails into Sonny's motive for robbing the bank - to help his "wife" Leon get that sex change operation - and it also helps foster a sense of 'Stockholm Syndrome' camaraderie amongst the hostages and hostage-takers here. Pacino turns Sonny into the de-facto hero of the film, and the man we're all taken with - he rails against the corruption and enmity that took the lives of so many innocent people during the Attica prison riots, and in the meantime looks after the bank tellers. I love the part of the film where he talks about "having to keep people happy" - whether it's the police, his family, the hostages or Sal. John Cazale's Sal is a darker character though - a middle-aged man-child with limited understanding about what it going on, and a professed readiness to kill that perturbs Sonny a little. Pacino is on fire though - he roars through this film with energy and charisma and it's his incredible talent that gives Dog Day Afternoon it's edge.

The other performers in the film support the main star very ably, and are an interesting group. A lot of people won't know that the chief F.B.I. man is played by veteran actor James Broderick, Matthew Broderick's father. Lance Henriksen can be seen in one of his earliest roles as the other F.B.I. man. Charles Durning is great as Moretti, and brings his own energy to the movie, but the real standout amongst all the other performers is Chris Sarandon. His scenes were some of the hardest and most emotional. The other great performer is the city of New York itself, which we seem to let soak in during the opening credits - one of my all-time favourite opening-credits montages while Elton John belts out Amoreena, rhythmically grinding away at a piano while the average person on the street sweats through another day. The song is playing on the radio in a car Sonny and his two co-conspirators are sitting in, which is how it's all tied into the film's opening. All staged so perfectly, and although the film has absolutely no score or other musical accompaniment it's been given a great start by what we've seen and heard.

The screenplay earned Frank Pierson an Academy Award - sadly, it ended up being Dog Day Afternoon's sole win at the 1976 Oscars, despite 5 other nominations. Lumet was beaten by Milos Forman in the Best Director category. Jaws and Verna Fields took Best Editing from Dog Day and Dede Allen. Pacino lost to Jack Nicholson as far as Best Actor went. Best Supporting Actor went to George Burns for his part in The Sunshine Boys, meaning that Chris Sarandon sadly missed out on a deserved Oscar win. One Flew Over the Cuckoo's Nest took Best Picture of course. Frank Pierson got his Oscar win on his third attempt, previously being nominated for 1965 film Cat Ballou and 1967 film Cool Hand Luke - a great pair of films. As far as the screenplay itself is concerned, it was changed a little when the film was committed to celluloid, with actors being encouraged to deliver lines in ways they'd naturally word them instead of following each line in an exact fashion. It helped to give exchanges a more naturalistic flow - and naturalism was the exact thing that Lumet was looking for here.

Director of Photography Victor J. Kemper's work translates well to indoor and outdoor work - this probably being one of his most challenging jobs. He's getting natural light to work for him in the frequent outdoor scenes, tying it all into the frequent changes from inside to outside with Sonny leaping from hostages to police negotiations and crowds - meanwhile helicopters fly overhead, and everything needs to be captured, almost documentary-style and very naturalistically. Assistant director Burtt Harris always gets a mention from Lumet due to the general chaos and demands of the situations - and especially for going up in those helicopters and braving the heights that Lumet couldn't face. Visually, you get something of a 'news footage', documentary feel about the way everything is shot, and when you see snaps of the real life drama, you can tell that everything was being presented to us in very much that fashion. It was shot on a real street location, but the real bank wasn't used, instead being constructed as a set in a warehouse-like building. Filming on the streets was a great idea - there's no substitute for reality, and it shows. There are similarities to The Hospital, directed by Arthur Hiller, which Victor J. Kemper worked on.

I first watched Dog Day Afternoon in my very early 20s, and at that time I was kind of falling in love with the New Hollywood wave of filmmaking and films, most of which I'd been just too young to have caught as they were happening. This film seemed to be one of the best examples of the success of that era, being unconventional in taking the point of view of not only a villain, but breaking the taboo of having a big-name actor play an openly homosexual character who we're meant to be sympathetic for. It must have seemed progressive for it's day, and it was something I wasn't expecting from a mid-70s film. It was particularly enjoyable coming into it without knowing much of what happens, because each new revelation comes as a great surprise and adds to the excitement and head-shaking unbelievability of the crazy situation. It's such an energetic film, and it keeps a lightning-fast pace - a lively, vigorous narrative that glows with vitality and desperation. It showcased what was at the time a new situation for a new era in inner-city living - where unexpected violence is often mixed with surreal and ridiculous situations.

So, Dog Day Afternoon goes down as one of my favourite films, and a film I still love just as much today as I did when I first watched it, for when I watched it yet again recently it still held me captive, much as Sonny does his hostages. A huge part of why it does that is the scintillating performance from Al Pacino, and the able support he gets from the likes of Chris Sarandon, John Cazale and Charles Durning, gathered in such a strange circumstance and surrounded by crowds of people baying for blood much as they did in the Colosseum in Rome. I also really enjoy Lumet's 12 Angry Men, Fail Safe, Serpico and of course Before the Devil Knows You're Dead - I really should get into more of his filmography, as he's a director I've not seen enough of considering the body of his work. Pacino bounding along the city streets shouting "Attica! Attica!" has become one of the enduring moments in 20th Century film, and for that we have Lumet to thank, for he knew just when to let his actors off the leash and when to reign them in. He did the right thing here, letting Pacino loose on that Dog Day Afternoon.

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I rewatched Candyman (1992) on blu ray. Directed by Bernard Rose, this horror film stars Tony Todd as the mythical killer known as Candyman who has a hook for a hand and appears if anyone says his name five times. Virginia Madsen plays the skeptical grad student who inadvertently summons him while researching the story of the Candyman. This is a terrific film, thrilling, smart, and entertaining. Tony Todd gives a fantastic, iconic performance as Candyman. His voice, demeanour, and everything about him is flawless. Madsen is great here too and I was really engaged by her character's journey. The screenplay is a cut above most horror films. The score is hauntingly beautiful and enhances the film in a really effective way. Candyman really hooks the audience and delivers a treat for horror fans. I've seen three of Bernard Rose's films and this is the best of them. There are three sequels to Candyman. I own all of them on blu ray. Just for fun, here is my ranking and rating of all four Candyman movies:

Candyman (2021)

Candyman (1992)

Candyman: Farewell to the Flesh (1995)

Candyman: Day of the Dead (1999)