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It's an intense story about two people who are destroying eachother with guilt feelings and jealousy, because they started to hate (and yet still love) eachother after a tragic happening they can't leave behind them.
Funny thing is that I should have connected with the movie because the story is quite real,I've seen such couples and such parties but there are no mind games in them.It's just deep and untold feelings who are poured out when the time is right.
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Yeah,this is pretty much what I understood.But I couldn't stand the way it was showed,the whole "party and drinking" idea.I found this film boring because isn't it quite obvious that they love each other?That this whole hate is not permanent?That in the end they will comfort each other?
Funny thing is that I should have connected with the movie because the story is quite real,I've seen such couples and such parties but there are no mind games in them.It's just deep and untold feelings who are poured out when the time is right.
Funny thing is that I should have connected with the movie because the story is quite real,I've seen such couples and such parties but there are no mind games in them.It's just deep and untold feelings who are poured out when the time is right.
I also don't get how you can say that they will be fine in the end? He was strangling her for Christ sake! She slept with another man! I only see the deep destruction. They can't handle the situation at all, in my opinion and they never really will. The wounds are already too deep and I think the characters get that in a certain way. The trauma of not being able to have a child together, is obviously too serious for them.
I guess you have to be a fan of character driven movies to really get into it. So you can have your own opinion, of course.
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It's not about the drinking and partying.
They go home after a party.It's night - dark time both literally and for their relationship.They start insulting each other.At first it's not that bad,they don't take it very seriously and,at first,when the guests come Martha tries to avoid showing her emotions towards her husband.But as it gets darker outside,the dialogue and the confrontation between Martha and George becomes harsher,too.They don't care anymore about their guests.I think the drinking is an important thing in a film(it wouldn't be shown so often if it wasn't) and it kind of hints that they don't talk to each other liek that way during normal days.Alcohol opens people souls and make them say things which they normally never would.The whole dialogue about non-existent child,George's past and others just make their hate towards each other deeper.But in the end,when it's morning,the darkness ends,they calm down,they don't shout at each other and they don't insult,George even wonders whether his wife is alright.The hatred wave is over.They actually still care for each other.Or maybe they just share too much painful experience to let each other go.I think the guests weren't as important but I noticed how they were influenced,maybe even scared,they also had some minor arguments,too.I think the idea of the film was to show those broken relationships when people hate and love each other at the same time.When they even dare to tell how they hate each other but still stay together.
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The Scarlet Empress -
The Strange Ones -
Samsara -
The Way Things Go -
Smoke -
Buffalo 66 -
To The Wonder -
Jurassic Park 3D -
The Strange Ones -
Samsara -
The Way Things Go -
Smoke -
Buffalo 66 -
To The Wonder -
Jurassic Park 3D -
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The Burning (1981):
8 1/2 (1963):
Nights of Cabiria (1957):
Ponyo (2008):
Evil Dead (2013):
Jaws (1975):
The Bourne Identity (2002):
The Bourne Supremacy (2004):
The Bourne Ultimatum (2007):
The Holy Mountain (1973): ?????
8 1/2 (1963):
Nights of Cabiria (1957):
Ponyo (2008):
Evil Dead (2013):
Jaws (1975):
The Bourne Identity (2002):
The Bourne Supremacy (2004):
The Bourne Ultimatum (2007):
The Holy Mountain (1973): ?????
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well,since every film can be interpreted many ways,I looked at it a bit differently.
They go home after a party.It's night - dark time both literally and for their relationship.They start insulting each other.At first it's not that bad,they don't take it very seriously and,at first,when the guests come Martha tries to avoid showing her emotions towards her husband.But as it gets darker outside,the dialogue and the confrontation between Martha and George becomes harsher,too.They don't care anymore about their guests.I think the drinking is an important thing in a film(it wouldn't be shown so often if it wasn't) and it kind of hints that they don't talk to each other liek that way during normal days.Alcohol opens people souls and make them say things which they normally never would.The whole dialogue about non-existent child,George's past and others just make their hate towards each other deeper.But in the end,when it's morning,the darkness ends,they calm down,they don't shout at each other and they don't insult,George even wonders whether his wife is alright.The hatred wave is over.They actually still care for each other.Or maybe they just share too much painful experience to let each other go.I think the guests weren't as important but I noticed how they were influenced,maybe even scared,they also had some minor arguments,too.I think the idea of the film was to show those broken relationships when people hate and love each other at the same time.When they even dare to tell how they hate each other but still stay together.
They go home after a party.It's night - dark time both literally and for their relationship.They start insulting each other.At first it's not that bad,they don't take it very seriously and,at first,when the guests come Martha tries to avoid showing her emotions towards her husband.But as it gets darker outside,the dialogue and the confrontation between Martha and George becomes harsher,too.They don't care anymore about their guests.I think the drinking is an important thing in a film(it wouldn't be shown so often if it wasn't) and it kind of hints that they don't talk to each other liek that way during normal days.Alcohol opens people souls and make them say things which they normally never would.The whole dialogue about non-existent child,George's past and others just make their hate towards each other deeper.But in the end,when it's morning,the darkness ends,they calm down,they don't shout at each other and they don't insult,George even wonders whether his wife is alright.The hatred wave is over.They actually still care for each other.Or maybe they just share too much painful experience to let each other go.I think the guests weren't as important but I noticed how they were influenced,maybe even scared,they also had some minor arguments,too.I think the idea of the film was to show those broken relationships when people hate and love each other at the same time.When they even dare to tell how they hate each other but still stay together.
I just think you're minimizing the events in the movie. How can you say that the other couple got minor arguments and wasn't important? The guy slept with Taylor's character right in front of the other two! It was pure darkness. I couldn't believe my eyes. The night and the arguments were nothing less than astonishing for me.
Well, if you really didn't like the movie, than I'm not going to argue anymore, of course. It has to be your cup of tea, I guess, but the fact that you're discussing the themes with me, shows for me that you're not indifferent to the film.
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well,since every film can be interpreted many ways,I looked at it a bit differently.
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"Don't be so gloomy. After all it's not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock."
"Don't be so gloomy. After all it's not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock."
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there is also such a thing as interpreting a film the wrong way.
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The Face of Another (Hiroshi Teshigahara. 1966) -
Melvin and Howard (Jonathan Demme, 1980)
The Corn is Green (Irving Rapper, 1945)
Nowhere to Go (Seth Holt, 1958)
Dark Horse (Todd Solondz, 2011)
Ill Take Romance (Edward H. Griffith, 1937)
JCVD (Mabrouk El Mechri, 2008)
How to Lose Friends & Alienate People (Robert B. Weide, 2008) -
Bachelor Mother (Garson Kanin, 1939)
Making It (John Erman, 1971)
The Barbarian and the Geisha (John Huston, 1958)
Satan Never Sleeps (Leo McCarey, 1962)
Picasso and Braque Go to the Movies (Arne Glimcher, 2008)
Saint John of Las Vegas (Hue Rhodes, 2009) +
XXY (Luisa Puenzo, 2007)
The Pick-up Artist (Steffen Weinert, 2006) +
High Noon (Fred Zinnemann. 1952) +
The King of Kong: A Fistful of Quarters (Seth Gordon, 2007)
Macabre (William Castle. 1958)
The Bachelor Party (Delbert Mann, 1957)
The Bedroom Window (Curtis Hanson, 1987)
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page
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OK, I know that, on the whole, I don't care for Hollywood comedies. However, that seems to be an awfully generous rating for How to Lose Friends & Alienate People, mark. I just about managed to sit through that and there wasn't a laugh to be had.
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5-time MoFo Award winner.
5-time MoFo Award winner.
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Film ----------------------------------- rating ---------- comments
Woman in the Dunes-Hiroshi Teshigahara Not as good as I hoped but still excellent.
The Host-Joon-ho Bong Not remotely the 377th greatest movie of all time as voted by the last Sign and Sound poll of film critics.
L'Argent-Robert Bresson Subpar Bresson, still excellent.
Samurai X: Trust and Betrayal-Kazuhiro Furuhashi High expectation which were fully met.
Kumo to Tulip-Kenzo Masaoka Low expectations and low return.
Contempt-Jean Luc Godard Way better than Breathless.
Umberto D-Vittorio De Sica Italian neorealism for the win.
Wolf Children-Mamoru Hosoda Excellent, best animated feature of 2012, indeed, my favorite movie of 2012 for now.
Nausicaa of the Valley of the Wind-Hayao Miyazaki +++ This was the 8th or 9th time that I watched it, it was also the best: I managed to cry an incredible 10 times watching this cartoon (yes I counted). Not sure if it is my 2nd favorite movie or my 1st.
Woman in the Dunes-Hiroshi Teshigahara Not as good as I hoped but still excellent.
The Host-Joon-ho Bong Not remotely the 377th greatest movie of all time as voted by the last Sign and Sound poll of film critics.
L'Argent-Robert Bresson Subpar Bresson, still excellent.
Samurai X: Trust and Betrayal-Kazuhiro Furuhashi High expectation which were fully met.
Kumo to Tulip-Kenzo Masaoka Low expectations and low return.
Contempt-Jean Luc Godard Way better than Breathless.
Umberto D-Vittorio De Sica Italian neorealism for the win.
Wolf Children-Mamoru Hosoda Excellent, best animated feature of 2012, indeed, my favorite movie of 2012 for now.
Nausicaa of the Valley of the Wind-Hayao Miyazaki +++ This was the 8th or 9th time that I watched it, it was also the best: I managed to cry an incredible 10 times watching this cartoon (yes I counted). Not sure if it is my 2nd favorite movie or my 1st.
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Django Unchained (Tarantino, 2012)
Another over-the-top, wild romp from Tarantino. I can watch Chris Waltz all day long, really.
Dredd (Travis, 2012)
Yes! This movie rocked. Gritty, trashy, violent...JUST what Judge Dredd should be. A couple of CRAZY scenes in this film that had my GF and I cheering out loud. I had a ton of fun watching this one!
Another over-the-top, wild romp from Tarantino. I can watch Chris Waltz all day long, really.
Dredd (Travis, 2012)
Yes! This movie rocked. Gritty, trashy, violent...JUST what Judge Dredd should be. A couple of CRAZY scenes in this film that had my GF and I cheering out loud. I had a ton of fun watching this one!
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It takes considerable knowledge just to realize the extent of your own ignorance. ― Thomas Sowell
Last edited by Sedai; 04-08-13 at 03:40 PM.
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OK, I know that, on the whole, I don't care for Hollywood comedies. However, that seems to be an awfully generous rating for How to Lose Friends & Alienate People, mark. I just about managed to sit through that and there wasn't a laugh to be had.
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True Romance
This is one of those movies that inexplicably sits on my shelf for years between viewings. In that time I always seem to forget just how good it really is. The cast is stellar. Gary Oldman, as is his way, disappears into the role of Drexl the pimp and is both funny and intimidating. Christian Slater is fantastic in his role as kung fu movie loving, Elvis obsessed, comic book store geek turned gun blazing outlaw "Clarence." But, to me, the best performance here is Patricia Arquette as "Alabama," a woman who on the outside seems to be that sort of stereotypical ditzy blonde but who in reality is intelligent, resourceful and brave. Dennis Hopper and Christopher Walken are excellent in their small roles and the confrontation between the two of them is one of the best scenes in the movie. And, of course, Brad Pitt is hilarious as stoner Floyd.
Recently I've read criticism from other MoFos that claim that this isn't a real Tarantino movie. I beg to differ. While Tarantino did not direct the film, he wrote the screenplay and his stamp is all over it - from the eccentric characters, to the extreme level of violence and creative ways killing people, even to the cast members - Samuel L. Jackson (blink and you'll miss him), Christopher Walken and Brad Pitt all later appeared in QT directed movies.
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True Romance
This is one of those movies that inexplicably sits on my shelf for years between viewings. In that time I always seem to forget just how good it really is. The cast is stellar. Gary Oldman, as is his way, disappears into the role of Drexl the pimp and is both funny and intimidating. Christian Slater is fantastic in his role as kung fu movie loving, Elvis obsessed, comic book store geek turned gun blazing outlaw "Clarence." But, to me, the best performance here is Patricia Arquette as "Alabama," a woman who on the outside seems to be that sort of stereotypical ditzy blonde but who in reality is intelligent, resourceful and brave. Dennis Hopper and Christopher Walken are excellent in their small roles and the confrontation between the two of them is one of the best scenes in the movie. And, of course, Brad Pitt is hilarious as stoner Floyd.
Recently I've read criticism from other MoFos that claim that this isn't a real Tarantino movie. I beg to differ. While Tarantino did not direct the film, he wrote the screenplay and his stamp is all over it - from the eccentric characters, to the extreme level of violence and creative ways killing people, even to the cast members - Samuel L. Jackson (blink and you'll miss him), Christopher Walken and Brad Pitt all later appeared in QT directed movies.
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Did a little Lynch marathon:
Dune (1984):
Lost Highway (1997): +
Blue Velvet (1986):
Wild at Heart (1990): +
The Grandmother (1970): +
The Elephant Man (1980):
Inland Empire (2006):
Eraserhead (1977):
Mulholland Drive (2001): +
The Straight Story (1999): +
When I started watching all these films, I thought to myself 'what's the real David Lynch?' After watching all of the abovementioned film in one week, I like to think of the man as an artist in the surreal in first place and a director in second place. When Lynch sheds the constraints of producing TV series (Twin Peaks, Mulholland Dr.) or conventional movies (Elephant Man, Straight Story, Dune), you have Lost Highway, Wild at Heart and Eraserhead. His last film, Inland Empire, is almost completely inaccesible, unless you 100 % adore his full-on surrealist style. Myself, I struggled to finish it, and that doesn't happen to me often.
Now, what do I think is the best Lynch? It's when he fuses his surrealist impulses with conventional filmmaking. Then you have the framework of the conventional film with this surrealist undercurrent. Mulholland Drive is when he pulled this off to near perfection. That film grows on me every time I watch it, and it's not in the realm of the impossible that it'll one day be in my top 15 or 20 of all time. It's a shame the TV series didn't get greenlit.
When he wants to make a conventional film, he does so with beautiful artistry, great character development and deliberate pacing. The Straight Story and Elephant Man are both very, very good films. Blue Velvet is kind of in the category of Mulholland Drive, but it was also more of an homage to Hitchcock, with that uncanny look at suburban America.
Other stuff I watched:
Role Models (2008, Wain): + (rewatch)
Scream 4 (2011 Craven): +
Klopka (2007, Golubovic):
Dead Man (1995): +
Wait Until Dark (1967, Young): +
Dune (1984):
Lost Highway (1997): +
Blue Velvet (1986):
Wild at Heart (1990): +
The Grandmother (1970): +
The Elephant Man (1980):
Inland Empire (2006):
Eraserhead (1977):
Mulholland Drive (2001): +
The Straight Story (1999): +
When I started watching all these films, I thought to myself 'what's the real David Lynch?' After watching all of the abovementioned film in one week, I like to think of the man as an artist in the surreal in first place and a director in second place. When Lynch sheds the constraints of producing TV series (Twin Peaks, Mulholland Dr.) or conventional movies (Elephant Man, Straight Story, Dune), you have Lost Highway, Wild at Heart and Eraserhead. His last film, Inland Empire, is almost completely inaccesible, unless you 100 % adore his full-on surrealist style. Myself, I struggled to finish it, and that doesn't happen to me often.
Now, what do I think is the best Lynch? It's when he fuses his surrealist impulses with conventional filmmaking. Then you have the framework of the conventional film with this surrealist undercurrent. Mulholland Drive is when he pulled this off to near perfection. That film grows on me every time I watch it, and it's not in the realm of the impossible that it'll one day be in my top 15 or 20 of all time. It's a shame the TV series didn't get greenlit.
When he wants to make a conventional film, he does so with beautiful artistry, great character development and deliberate pacing. The Straight Story and Elephant Man are both very, very good films. Blue Velvet is kind of in the category of Mulholland Drive, but it was also more of an homage to Hitchcock, with that uncanny look at suburban America.
Other stuff I watched:
Role Models (2008, Wain): + (rewatch)
Scream 4 (2011 Craven): +
Klopka (2007, Golubovic):
Dead Man (1995): +
Wait Until Dark (1967, Young): +
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Did a little Lynch marathon:
Dune (1984):
Lost Highway (1997): +
Blue Velvet (1986):
Wild at Heart (1990): +
The Grandmother (1970): +
The Elephant Man (1980):
Inland Empire (2006):
Eraserhead (1977):
Mulholland Drive (2001): +
The Straight Story (1999): +
Dune (1984):
Lost Highway (1997): +
Blue Velvet (1986):
Wild at Heart (1990): +
The Grandmother (1970): +
The Elephant Man (1980):
Inland Empire (2006):
Eraserhead (1977):
Mulholland Drive (2001): +
The Straight Story (1999): +
Already seen Mulholland Drive and Blue Velvet, my two favourites and will post up my thoughts on Eraserhead and Wild at Heart soonish, watching Twin Peaks has been the most fun though, fantastic TV series and something I'd highly recommend.
Next I'm gonna try and re watch The Elephant Man (I saw it ages ago and can hardly remember anything) and then watch The Straight Story, seemingly his two most straightforward/conventional films before finishing of his dream style ones.
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His best film, IMO, is definitely Mulholland Drive. Of course, that is my number 2 film of all time, so I guess that makes sense... 
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Hug me!
Rome, Open City
Bicycle Thieves
Wings of Desire
The Grand Silence
Exiled
White Bim Black Ear
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