26th Hall of Fame

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It’s A Classic Rope-A-Dope
Ok, it might be a bit too new for that rn but one day I think it may. I wouldn't for a second argue Chitylova was ever trying to make a prestige film but Daisies still has classic status. Same with It's a Mad, Mad, Mad, Mad World or Jaws or El Topo or whatever else. Classic is not a stylistic choice.
I think it is in the way you used it but that really misses the point anyway.

I think everyone brings their own sensibilities to movies, and everything they engage with for that matter. So, to my mind, giving classics the benefit of the doubt isn’t inherently different than giving cult movies the benefit of the doubt.

What made me engage you n your post is the fact that if I had to pick one person in this hall that I thought was engaging in the movies in a preconceived superiority. It would be you.
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Ueno (or anyone who wants to reply)

All I know is: in past HoFs I've nominated older 1930s-1950s movies that might be considered 'classics' and they don't do all that well. I really don't think they got a bump in the voting ballots because of their classic status.

Most people are more familiar with the style of acting & film making from the last several decades so recent bias plays a part too...but I think all of us vote fairly and for the films we like the best, or we think are more deserving.



I forgot the opening line.
I'm curious about Themroc now. I might regret that, considering most opinions on this thread - but I'll probably seek it out and watch it.
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Ueno (or anyone who wants to reply)

All I know is: in past HoFs I've nominated older 1930s-1950s movies that might be considered 'classics' and they don't do all that well. I really don't think they got a bump in the voting ballots because of their classic status.

Most people are more familiar with the style of acting & film making from the last several decades so recent bias plays a part too...but I think all of us vote fairly and for the films we like the best, or we think are more deserving.
Am happy to hear this



I think everyone brings their own sensibilities to movies, and everything they engage with for that matter. So, to my mind, giving classics the benefit of the doubt isn’t inherently different than giving cult movies the benefit of the doubt.
Not particularly keen on people giving cult movies the benefit of the doubt either tbh.Like, I dig The Room as much as the next gal but it ain't a 10 lmao (I think I gave it a 7).

What made me engage you n your post is the fact that if I had to pick one person in this hall that I thought was engaging in the movies in a preconceived superiority. It would be you.
Oh I'm no Mr. Minio. I'm fully aware a lot of films I like are no more than cinematic key jangling but that's just my honest taste lol. Obviously everyone has their biases but I always rate things based on good ol' gut feeling.



The trick is not minding
Internet is giving me a lot of problems today. Can’t stream anything, atm. Going to watch Wizard of Oz today, and then get to the mini series.



Last Year at Marienbad(1961) and The Celebration(1998)

Interesting to watch two films, thirty years apart that are roughly about the same thing (a party) and take very different approaches to the story.

In the Celebration the film is about a father and a son, the son accuses the father of raping him as a child and driving his sister to suicide. In Last Year at Marienbad it's the story of a man who believes his lover has returned to him.

Marienbad has a dreamlike quality to it, every shot is expertly framed. You can interpret the film as a dream or walking through a museum and noting the art. The estate is decadent, the people feel barely human you can't really get a grasp of the personality of anyone...they are cyphers.

In the Celebration you know everyone, and you see the ugliness of everyone. People just walk around and tell you what you need to know about them. Mental health issues, insecurities racial hangups all just on display. You are specifically told what to feel about everyone. The roles of the characters are regimented everything that happens in the story you know exactly what is going on.

Ironically enough Vinterberg shoots the film with a handycam and still tries to make all of these fancy shots. It fails horribly, Dogme95 films believe in the idea that Hollywood and over production is bad...yet the film has a huge cast, takes place in a giant, and you can't make out a damn thing half the time your watching it.

Resnais from the French New Wave took an opposite approach where he doesn't explain a damn thing to you. But every shot is just mesmerizing he's giving a mood and touching on your emotions. While with Celebration it's sex, violence, drama...things happen that don't really happen in the real world but because it's shot like a home movie we the audience are I suppose just supposed to forgive it.

I liked Festen the first time I saw it...I was a teenager at the time and the gossip, sex, and violence was awesome. But now when I revisit it a shadow is cast on the film. This movement had ideals and yet knowing what the director became it's sadder to me. Vinterberg ended up making really good looking movies after this...films that would be dull, he moved on and grew up...so I think in a lot of ways this film is just a reminder of an artists early flawed works.

Resnais on the other hand I look back at this and feel like I watched a masterpiece, I had an emotional connection to the work as opposed to the analytical one from Festen.







It doesn't! Not anywhere! It looks like the made-for-TV film that it is. Everything just looks so drab. It looks like it was shot on a potato, especially in low light situations which is a lot of the film. Pretty much all the design elements are crap.

A kind of fun idea, middle-of-the-road script, horrendous acting but the thing that really elevates it is the aesthetic. It has the feel of one of those 90s skate tapes at points with the equipment its shot on and I am so here for that. Uhh, yeah just that and some really creative shots and angles. Everything else is whatever but I got what I needed out of just the camerawork and the camera itself. Dug it.


I hate to call someone out but did you watch my nomination or just the trailer? Festen wasn't even in focus and yet And There Was None which has very good production values was shot on a potato?



The trick is not minding
So much for that. Internet isn’t working great still, and I can’t get an answer from our provider. Although it could be weather related idk. It is pretty windy out there. My wifi keeps dropping out, and I can’t stream anything on Tubi, Hulu or Prime (tested them earlier). Hoping it clears up by tomorrow.

Was hoping to hit the first episode on ATtWN, maybe even the second before switching to Wizard of Oz, but it keeps stopping so Oz it is. (I own the dvd, so no problems there)



I hate to call someone out but did you watch my nomination or just the trailer? Festen wasn't even in focus and yet And There Was None which has very good production values was shot on a potato?
oh so it was just the shots in the trailer that were shot on a potato? my bad.