The Personal Recommendation Hall of Fame II
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Just dropping by to let you guys know I will be finishing this next week. Paper Moon and The Wind That Shakes the Barley.
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they shoot horses, don't they?
had always wanted to see this one but never really knew what to expect because the title didn't seem to tell you anything about what the movie was about. i tried to figure out what it could refer to–possibly a squad of people who go around shooting horses–but the reality of the line in the film is so much more beautiful and heartbreaking than i ever imagined and creates one of the most perfectly fitting endings i've ever seen.
just rock-solid filmmaking in every respect. the premise, despite being based on a book, is perfect for the cinema, as it involves near-constant movement or awareness of a lack of movement. pollack clearly knows what he's doing, constantly finding dynamic ways to shoot what is basically one location. literally every single frame is filled with desperation, whether it's the poor struggling dancers or the guys running the show or even the crowd, who are clearly desperate for entertainment no matter how perverse. the scenes where the contestants have to race is maybe one of the most powerful visual metaphors on the dehumanizing nature of capitalism that i've ever seen. the film is just absolutely ruthless in the way it shows how capitalism will either drive you insane or kill you. everything is exploitation, everything is a struggle simply to live. the only way to avoid it is to simply refuse to play the game anymore and go out on your own terms. it lays it on a little thick with the "don't forget, it's the 30s!" stuff, but it's at least deployed to powerful thematic ends with the constant specter of hollywood in the background representing the fantastical american dream practically sneering at those pathetic enough to believe in it. there's probably a version of this movie where i care more about the characters and it becomes a masterpiece, but as it is there's still plenty of pathos and every performance is extremely solid, especially fonda, buttons, and gig young as the seedy showman. great movie.
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had always wanted to see this one but never really knew what to expect because the title didn't seem to tell you anything about what the movie was about. i tried to figure out what it could refer to–possibly a squad of people who go around shooting horses–but the reality of the line in the film is so much more beautiful and heartbreaking than i ever imagined and creates one of the most perfectly fitting endings i've ever seen.
just rock-solid filmmaking in every respect. the premise, despite being based on a book, is perfect for the cinema, as it involves near-constant movement or awareness of a lack of movement. pollack clearly knows what he's doing, constantly finding dynamic ways to shoot what is basically one location. literally every single frame is filled with desperation, whether it's the poor struggling dancers or the guys running the show or even the crowd, who are clearly desperate for entertainment no matter how perverse. the scenes where the contestants have to race is maybe one of the most powerful visual metaphors on the dehumanizing nature of capitalism that i've ever seen. the film is just absolutely ruthless in the way it shows how capitalism will either drive you insane or kill you. everything is exploitation, everything is a struggle simply to live. the only way to avoid it is to simply refuse to play the game anymore and go out on your own terms. it lays it on a little thick with the "don't forget, it's the 30s!" stuff, but it's at least deployed to powerful thematic ends with the constant specter of hollywood in the background representing the fantastical american dream practically sneering at those pathetic enough to believe in it. there's probably a version of this movie where i care more about the characters and it becomes a masterpiece, but as it is there's still plenty of pathos and every performance is extremely solid, especially fonda, buttons, and gig young as the seedy showman. great movie.
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Most Biblical movies were long If I Recall.
seen A Clockwork Orange. In all honesty, the movie was weird and silly
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Planning on watching my final movie (Underground) on March 5th.
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Had trouble finding a good copy but discovered it was on MUBI. Started a free trial but having connection issues. Will get to it in the next couple of days.
Whats going on with the next foreign hall of fame?
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Whats going on with the next foreign hall of fame?
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I'll start the preliminary thread for the countdown once the ballot submission tool is up and running - yoda is running tests on it at the moment. The deadline will most likely be three months after that.
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Underground (1995)
I thought this was going to be a wild movie by a quick glance of it's IMDb page and it certainly was. I've seen it described as war, comedy, drama, and fantasy. I'd say it's most prominent genre is comedy. It's more outrageous than my normal taste, but it's so full of life that I couldn't help but enjoy every second. It could take forever to describe the story, so I'll just say some of the components are a love triangle, Nazis, black market arms dealing, a movie within a movie, wild animals, and a lot of music and alcohol. The cast is magnificent and they look like they had loads of fun. I was not familiar with the director by name, but upon further review he also directed another Cannes winner plus Time of the Gypsies which I also loved. Definitely a master of his craft. This was yet another brilliant choice for me and one that'll have me hearing trumpets in my sleep.
I thought this was going to be a wild movie by a quick glance of it's IMDb page and it certainly was. I've seen it described as war, comedy, drama, and fantasy. I'd say it's most prominent genre is comedy. It's more outrageous than my normal taste, but it's so full of life that I couldn't help but enjoy every second. It could take forever to describe the story, so I'll just say some of the components are a love triangle, Nazis, black market arms dealing, a movie within a movie, wild animals, and a lot of music and alcohol. The cast is magnificent and they look like they had loads of fun. I was not familiar with the director by name, but upon further review he also directed another Cannes winner plus Time of the Gypsies which I also loved. Definitely a master of his craft. This was yet another brilliant choice for me and one that'll have me hearing trumpets in my sleep.
Last edited by cricket; 03-07-21 at 05:51 PM.
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I'm so glad you enjoyed Underground. It's a riot of a movie. Now everyone else should watch it before the foreign language countdown deadline 
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I'm hoping the 3rd PR starts real soon, hint-hint Cricket
I'm going to be relying on you guys to choose for me some awesome foreign language films that have a good chance of ending up on my ballot for the countdown
I'm going to be relying on you guys to choose for me some awesome foreign language films that have a good chance of ending up on my ballot for the countdown
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Would be nice, just for kicks, if IMDb kept track of when you added a movie to your watchlist because Underground has been on my radar for well over a decade but still haven't gotten around to watching it.
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I’ll have reviews up for my final two this weekend. Internet has been dropping out the last two days (they’re working on it) so I hope they have it up and ready tonight so I Can finish this out.
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Ok. Tonight I’ll watch Paper Moon and tomorrow I’ll watch The Wind that Shakes the Barley. I’ll write up reviews sometime Sunday, and send in my list shortly afterwards.
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Paper Moon
It’s hard to remember now, but Ryan O’Neal was at one time considered among the top actors. Particularly during the 1970’s. He had many hits including Love Story, What’s up, Doc?, and Barry Lyndon, among others. Though he was limited in range, he was still decent when he needed to be. Such as playing Moze in Paper Moon.
Here he isn’t asked to do much. He plays a grifter suddenly stuck with a young girl who may or not be his daughter. He seems to think he is much smarter then he really is. He seems to move from town to town to take advantage of recent widows with bible scams. He’s funny, nails the part as required, and doesn’t try to do too much. It works.
The girl, Addie, played by his real life daughter Tatum O’Neal, is the real star here. Here we have a precocious little girl, suddenly orphaned, but wise beyond her years. She has Moze pegged easily. She’s easily the best part of the film. What follows is an unlikely partnership.
Watching Tatum, it’s a shame to think about how her life turned out afterwards. Addie has an uncanny ability to read a situation and scheme and manipulate the situation to her advantage. There is a scene where she accurately discerns a potential marks wealth merely by observation. And later on, she schemes to remove a woman who seems to be distracting Moze from his grifting. It is a brilliant scene to watch.
The films flows effortlessly, no doubt aided by the fact they were actually father and daughter, and in part due to a good script. That relationship only helps the film. The banter flows just as easily. It avoids being sentimental, and doesn’t cheapen the effect with any emotional baggage. There is no actual deep conversation regarding their actual relationship.
Good pick here whoever picked it. Really enjoyed this!
It’s hard to remember now, but Ryan O’Neal was at one time considered among the top actors. Particularly during the 1970’s. He had many hits including Love Story, What’s up, Doc?, and Barry Lyndon, among others. Though he was limited in range, he was still decent when he needed to be. Such as playing Moze in Paper Moon.
Here he isn’t asked to do much. He plays a grifter suddenly stuck with a young girl who may or not be his daughter. He seems to think he is much smarter then he really is. He seems to move from town to town to take advantage of recent widows with bible scams. He’s funny, nails the part as required, and doesn’t try to do too much. It works.
The girl, Addie, played by his real life daughter Tatum O’Neal, is the real star here. Here we have a precocious little girl, suddenly orphaned, but wise beyond her years. She has Moze pegged easily. She’s easily the best part of the film. What follows is an unlikely partnership.
Watching Tatum, it’s a shame to think about how her life turned out afterwards. Addie has an uncanny ability to read a situation and scheme and manipulate the situation to her advantage. There is a scene where she accurately discerns a potential marks wealth merely by observation. And later on, she schemes to remove a woman who seems to be distracting Moze from his grifting. It is a brilliant scene to watch.
The films flows effortlessly, no doubt aided by the fact they were actually father and daughter, and in part due to a good script. That relationship only helps the film. The banter flows just as easily. It avoids being sentimental, and doesn’t cheapen the effect with any emotional baggage. There is no actual deep conversation regarding their actual relationship.
Good pick here whoever picked it. Really enjoyed this!
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