Darkness Falls (Jonathan Liebesman, 2003) Fish Tales (Carl Dudley, 1954) The Dolphin: Story of a Dreamer (Eduardo Schuldt, 2009) The Virgin’s Bed (Philippe Garrel, 1969)
Mary Magdalene or is it Mother Mary? (both Zouzou) and Jesus (Pierre Clémenti) are minimalistically depicted after the ’68 French riots, sans script and under the influence of LSD. Reno (John Farrow, 1939) Something Like Happiness (Bohdan Sláma, 2005) + The Russell Girl (Jeff Bleckner, 2008) The Red Turtle (Michael Dudok de Wit, 2016) +
A shipwrecked man, who tries unsuccessfully to escape his tropical island, encounters a red turtle he initially considers his enemy but later finds that it dramatically changes his life. Miranda (Ken Annakin, 1948) The Players Club (Ice Cube, 1998) Mad About Men (Ralph Thomas, 1954) - Illégal (Olivier Masset-Depasse, 2010)
An illegal alien mother (Anne Coesens) tries to protect her teenage son from Belgian officials who arrest her and plan to deport her. Trouble in Store (John Paddy Carstairs, 1953) + Operation: Endgame aka Rogues Gallery (Fouad Mikati, 2010) The Fall Guy (David Barclay, 1955) I Am Not Your Negro (Raoul Peck, 2016) +
An examination of race relations in the U.S. filtered through the eyes and words of late author James Baldwin and focusing on the assassinations of Medger Evers, Malcolm X and Martin Luther King Jr. The Wacky World of Mother Goose (Jules Bass, 1967) The Monster That Challenged the World (Arnold Laven, 1957) Murder Ahoy (George Pollock, 1964) The Deadly Mantis (Nathan Juran, 1957) +
A giant prehistoric praying mantis breaks out of its frozen Arctic prison and goes on a noisy, albeit not particularly maneuverable, rampage.
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It's what you learn after you know it all that counts. - John Wooden My IMDb page
The Giant Claw (Fred F. Sears, 1957) Attila (Dick Lowry, 2001) The Return of Doctor X (Vincent Sherman, 1939) John From (João Nicolau, 2016)
Teenager Julia Palha becomes so obsessed with photographer Filipe Vargas that she loses her grip on reality. Monkey Shines (George A. Romero, 1988) Motives (Craig Ross Jr, 2004) Motives 2 (Aaron Courseault, 2007) The Cabinet of Dr. Caligari (Robert Weine, 1920)
Somnambulist Cesare (Conrad Veidt) tries to strangle a young man’s fiancée (Lil Dagover). First Shot (Armand Mastroianni, 2002) Wolf Totem (Jean-Jacques Annaud, 2015) Hardwired (Ernie Barbarash, 2009) Once Upon a Time There Was a Singing Blackbird (Otar Iosseliani, 1970)
The drummer (Gela Kandelaki) at a Soviet Georgian ballet spends most of his time with his mother and friends and as little as possible at his job. Century of Birthing (Lav Diaz, 2012) North to Alaska (Henry Hathaway, 1960) J.D.’s Revenge (Arthur Marks, 1976) My Little Chickadee (Edward F. Cline, 1940)
Fallen woman Mae West marries con man W.C. Fields for his money (which turns out to be fake) and they end up in trouble in the town of Greasewood. Witnesses (Vinko Bresan, 2005) Empire of the Ants (Bert I. Gordon, 1977) I Think I Love My Wife (Chris Rock, 2007) Golden Antelope (Lev Atamanov, 1955) +
A kind Indian orphan befriends a magical Golden Antelope and they save each other from the greedy rajah who wants all the gold the antelope can make.
I rewatched The Fall and I'll address some of the comments and concerns of others, but what I really want to do is discuss specifically some of the mind-blowing visuals in the film and tell you where they occur in the movie so you can check them out if you wish. I've seen the film three times now, and if anything, I think it gets better with added viewings so I wouldn't be afraid of rewatching it, Godoggo. The story always made sense to me but this time I have to admit that it was more touching, never seemed to grow slow and turned into a lovely paean to silent filmmakers and stuntmen, especially a few of the greats who did their own stunts and who we see at the film's glorious finale. It goes without saying that it's also a Valentine to childhood imagination. I didn't realize that The Fall is actually a remake of a Bulgarian film called Yo Ho Ho which has a very similar plot but all I've seen of it is a trailer with no subtitles.
Right from the opening black-and-white credits depicting the aftermath of one of the many Falls in the film, set to Beethoven's 7th Symphony, An Arpeggio, the viewer is grabbed by the uniqueness of this movie. We don't really understand that it's a silent film stunt gone wrong, and we don't know that some of the characters which we see later in the fantasy stories are introduced in this impressionistic opening, but we do know that what we're seeing has been planned out with extreme care and a high level of artistry. Yes, when the stunt man (Lee Pace) tells his story to the girl (Catinca Untaru), he basically provides the plot and some of the faces of the characters, but she visualizes everything herself and adds the identities of others, and you have to remember that she has never seen a movie.
While this adds some possible anachronisms and anomolies, it also adds to the visual imagination apparent on screen at all times but especially during the fantasy stories. Some of the shots and transitions seem to be just too incredible to be reproduced so perfectly, so I will give that credit to director Tarsem and his skilled artists and technicians over and above the darling girl Alexandria (the Great). An early example of this is when one of the Bandit Heroes, Charles Darwin (yes, that guy), is given a beautiful butterfly by the Villain of the piece, Odious. Darwin is aghast to find the winged creature pinned inside a box on a blue-colored field of some material. We see a closeup of the butterfly and the camera circles around it as it turns into Butterfly Reef in the middle of the ocean, the place where the Bandits are exiled by Odious. In fact the pin seems to turn into the five bandits gradually. This scene begins at 22:17 on the DVD. As it continues, we soon learn that Darwin is being aided and actually taught by a monkey who is certainly smarter than him and almost seems to possess psychic powers. So whatever else you think of the flick, I hope you appreciate its humor.
There is a brief image of a grey, cloudy sky which appears at 44:28 on the DVD. All three of us watching the movie took turns telling what images we saw in that sky (consisting of only clouds) and going up to the screen to point them out. We could all see them too, once referenced, and no, we weren't stoned. How intentional those "images" were I don't know, but based on everything else on display in this film, I'd say there was a definite reason that specific two seconds was put on screen. We saw, among other things, a werewolf's head, a lion, a donkey, a horse, the head of a bird (maybe an eagle), and in some form of magic, one particular area in the center seemed to resemble three things basically using up the same space. We decided those three were a horned demon's head, Oogie Boogie from The Nightmare Before Christmas and Aladdin's Lamp! I hope some people will pause that shot and look at it very closely because it's a lot of fun and I'll bet that you may see some things and interpret them differently. Sometimes a full-on shot would morph into a profile or a head would look more like a body, but there is something very hypnotic in that shot and I don't believe it's been doctored at all. Then again, I'm a cloud fetishist and have taken hundreds of pictures of them based on what I see there.
There are many types of repeated visual motifs in the film (some mentioned earlier) but I really see Tarsem seeing faces in buildings and landscapes (and vice versa) a lot. By far the most sophisticated of these shots occurs during the "wedding scene" at 1:12:19. We see the head of the "stony-faced priest" who betrayed the heroes. He's wearing a huge, elegant, raised, off-whitish collar with a lower black garment which appears similar to a priest's collar with a piece extending downward. His short black hair is shaved on top. The shot dissolves into a high desert landscape which has all the same shapes and colors in it. The top of his head turns into a snowcrested mountain in the background, the sides of his fancy collar turn into supporting mountains and shapes in the desert sand, just as his eyes, nose and sadistic smile do. Then the black collar at the bottom becomes a raised tee-shaped sacrificial platform. It's really incredible to see. I had to freeze it and then keep hitting the pause button so I could see how gradually and perfectly the transition was. Tarsem is obviously a visionary artist of the highest magnitude. Actually after the scene became desert and mountains, I was sure that the outlines in the sand resembled a lion's mane. Then a little weird thing came out of the eye and turned into... I'll leave it a secret. But I don't think there's much if any computer doctoring in there at all. It just looked like real photography and an old-school dissolve, but you tell me.
Whether you care about these kinds of things or not I'm not sure. You may just want to watch the movie straight through and seek them out after it's over, but I can't help but think that everyone would at least want to check some of these out and draw their own conclusions about how they support and embellish the story because I don't consider them to be just show-offy flourishes.
I could go on here, but it's late and I'll wait for some (hopeful) responses before I get into more specifics about what things may or may not mean, but my bottom line is that I believe it's an excellent story told by someone who was totally devoted to what they were doing. I can see it fitting into the "blockbuster" category because the pure joy of filmmaking, especially of a fantastic nature, is apparent in every shot and scene.
Battle Royale (Kinji Fukasaku, 2000) - + Mr. Deeds Goes to Town (Frank Capra, 1936) - + You Can't Take It With You (Frank Capra, 1938) - + Politiki kouzina A Touch of Spice (Tassos Boulmetis, 2003) -
__________________ "Gentlemen, you can't fight in here. This is the war room."
With a Kodak (Mack Sennett, 1912) The Manicure Lady (Mack Sennett, 1911) A Grocery Clerk’s Romance (Mack Sennett, 1912) Dark Horse (Louise Osmond, 2015) +
At the behest of barmaid Jan Voxes, Cefn Fforest, a small working-class community in Wales, invests in breeding a racehorse who becomes the miraculously-successful Dream Alliance. High School Musical 3: Senior Year (Kenny Ortega, 2008) A Fishy Affair (Mack Sennett, 1913) Hash House Mashers (Mack Sennett, 1912) + The Fighting Kentuckian (George Waggner, 1949) +
Kentucky militiaman John Wayne and his buddy Oliver Hardy get embroiled in romance and land theft in 1819 Alabama Territory. Les hautes solitudes (Philippe Garrel, 1974) Radio Hams (Felix E. Feist, 1939) There's Something About a Soldier (Alfred E. Green, 1943) + 52 Tuesdays (Sophie Hyde, 2014)
Australian teen Tilda Cobham-Hervey undergoes the usual growing pains exasperated by the fact that her mother (Del Herbert-Jane) is transitioning to a man and kicks her out of the house, only spending a partial Tuesday with her each week for a year. The Hunt for Eagle One (Brian Clyde, 2006) The Naughty Twenties (No Director Listed, 1951) + Backstage (Chris Fiore, 2000) What Maisie Knew (Scott McGehee & David Siegel, 2013)
Seven-year-old Maisie (Onata Aprile) undergoes many changes during her parents’ custody battle for her, including having to learn to love her rock singer mother’s boyfriend (Alexander Skarsgård). Blue (Silvio Narizzano, 1968) - Brick Lane (Sarah Gavron, 2007) A Low Down Dirty Shame (Keenen Ivory Wayans, 1994) Dysfunktional Family (George Gallo, 2003) -
Eddie Griffin’s profane stand-up movie is mostly hilarious even if he sometimes comes across as Richard Pryor Lite. 23 Paces to Baker Street (Henry Hathaway, 1956) - Who’s Your Caddy? (Don Michael Paul, 2007) Little Journeys to Great Masters (E.M. Newman, 1931) Honey aka Miele (Valeria Golina, 2013) -
Young Italian woman Jasmine Trinca helps people in pain with assisted suicide, but her world view is challenged by a healthy 70-year-old (Carlo Cecchi) who wants her services because he’s bored with living.
It's been a while since I posted here, I'll just write a little about movies I watched in the last couple of months that I find particularly interesting so that I can write about them.
The Sound of Music & Mary Poppins (60's) (8,3/10 and 6,5/10)
I never saw those film before, which is surprising. I loved The Sound of Music and found Mary Poppins to be average.
First of all, Julie Andrews is a delight, I didn't know her before those films, she's a fantastic movie star, she capts the attention, is possibly the most joyful person I've ever seen and she absolutely make both films. The reason why I loved The Sound of Music and didn't care for the other one is that #1 the songs are better #2 I found the long part in the middle in Mary Poppins where they mix animation and real life person to be overlong and boring (I can see that in the 60's it was groundbreaking, but I watch a film from my perspective) #3 Both have similar plot, ideas, but I found Mary Poppins to be more of a child movie, or at least The Sound of Music is a child movie that adults can enjoy more I find #4 I didn't really get the supernatural aspect of Mary Poppins, what is she? Why is she doing what she does, etc.?
The Fallen Idol (Carol Reed 1948) (8,5/10)
Carol Reed is 2 for 2 regarding masterpiece for me (the other one being The Third Men). That is the most Hitchcock film I've ever seen that wasn't directed by Hitchcock. I don't have much else to say the movie was tense, beautifully made, the direction served the film perfectly, the acting was great (particularly the child which was very surprising). It's an excellent film, one of the best of it's kind (it's kind being a thriller/suspense movie)
Stray Dog & Drunken Angel (Kurosawa late 40's) (Stray Dog 8,5/10, Drunken Angel 8/10)
Damn is that man fantastic, before I watched these 2 I had seen 14 Kurosawa films and I thought that I pretty much saw all his best, that the other ones were ''low tier'' or something like that. Damn was I wrong, these 2 films are absolutely fantastic. Stray Dog is one of the best film noir I've seen (at least in the top 10) because it has 3 things #1 The classic noir style #2 The top tier acting by Mifune and Shimura #3 Some philosophical themes regarding what ''evil'' is, it explores the reason why the ''criminal'' does what he does. He is not simply a bad person, he is a vulnerable kid (or young adult) that by desperation went on doing the things he did. Drunken Angel still has the Mifune Shimura combination which always work, it's not as good as Stray Dog imo, but I still loved it. The ending really hit me, yet again Mifune in this film is not just a vilain, he's a layered character, a flawed person, but not just this evil mastermind. 2 other great movies by the japanese master.
Portrait of Jennie (William Dieterle 1948) (8,5/10)
This film basically is a surealistic Bunuel style film made by in hollywood in the 1940's (I think). This film really surprised me, the story isn't linear, it's like a poem, a beautiful universe in which you plunge yourself, it's a arthouse film made in Hollywood. Joseph Cotton as always is terrific, the black and white cinematography is mesmerizing and the overall feel of the film is absolutely unique. I really suggest this one, it's a quite obscure film that deserves praise.
Other films I thought were worth mentioning, but I'm to lazy to do so haha.
The Grey Zone (Tim Blake Nelson 2001) (8,3/10) (surprisingly effective holocaust film, emotionally strong, not over the top)
Hacksaw Ridge (Mel Gibson 2016) (8,3/10) (The story was okay, nothing more, nothing less. The war scenes, though, are A.B.S.O.L.U.T.E.L.Y fantastic, Saving Private Ryan good imo.
Dangal (Dinesh Tiwari 2016) (8,5/10) (Great sport movie, one of the best I've ever seen, the wrestling scenes are out of this world)
A Christmas Tale (Arnaud Desplechin 2008) (8,8/10) (One of the best family drama I've seen, the acting is excellent, but it's the writing that is perfect, it reminded me of Bergman's Autumn Sonata in a way)
Imitation of Life (Douglas Sirk 1959) (easy 9/10) (A new favorite, it would deserve a proper review which I might do later)
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I do not speak english perfectly so expect some mistakes here and there in my messages
Last edited by Pussy Galore; 05-18-17 at 01:44 AM.
I tried watching this a couple of years ago when I still had quite a narrow idea of cinema (Bergman, Tarkovsky, Tarr & Angelopoulos are the best evah!!!! American language films? Good for normies!!!!!1111* etc.) and gave up after some 30 (?) minutes. I enjoyed the visuals a bit (thought they're too polished, though), but weren't interested in the Disney-esque story. Now, this is how I remember the film. I might've really liked it had I watched it now**.
* Exaggeration intended.
** I bet I made a mistake here, bloody conditionals
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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
Teknolust (2002) – Tilda Swinton’s clones need a steady intake of spermatozoa tea to stay alive. No man who’s attracted to Tilda Swinton is safe. So, a handful of men are unsafe. This is craptastic. It’s really weird, it has a unique look, I like the score, and the acting & plot can get hilariously bad. One of those ‘what the hell were they thinking’ deals.
The Six Million Dollar Man (1973) – Not terrible, but surprisingly bland and uninteresting for a high-tech action thriller. Love the score though.
It Came from Outer Space (1953) – Entertaining body snatching stuff with a nice desert backdrop and some characteristic commentary of the time.
and this:
The Beast from 20,000 Fathoms (1953) – One of the better b-movies of the time. Fun adventure with a big clay dino smashing a city. Emblematic of classic monster movies.
Earth vs. the Flying Saucers (1956) – Decent plastic-y sci-fi b-movie. Another that sort of encompasses its subgenre. The cheesy paraphernalia is nice; gets a little too hectic in the end though.
The Squall (Alexander Korda, 1929) The Cuckoos (Paul Sloane, 1930) Macho Callahan (Bernard Kowalski, 1970) Gold (Stephen Gaghan, 2016) Matthew McConaughey undergoes a physical transformation as a sleazy career prospector who seeks his dream of discovering gold - this time in the Indonesian jungle. Victoria and Vancouver: Gateways to Canada (Benjamin D. Sharpe, 1936) Poultry-Yard (Lumière Bros., 1896) New York: Broadway at Union Square (Lumière Bros. [Alexandre Promio], 1896) Lumiere's First Picture Shows (Lumière Bros. [No Director Listed], 2013) - A collection of some of Louis and Auguste Lumiere’s earliest films which show many intriguing “firsts” in film history. New York, Brooklyn Bridge (Lumière Bros. [Alexandre Promio], 1896) The Arrival of a Train (Lumière Bros., 1896) Partie de cartes (Lumière Bros. [Leopoldo Fregoli], 1897) + Demolition of a Wall (Lumière Bros., 1896)
Whether or not the reverse cranking halfway through this was originally intended, the film’s themes are profound today. Tables Turned on the Gardener (Lumière Bros., 1895) Childish Quarrel (Lumière Bros., 1896) - Chicago Police Parade (Lumière Bros. [Alexandre Promio], 1897) Dracula Untold (Gary Shore, 2014) Well, what did you expect? It is a CGI-fest about Vlad the Impaler (Luke Evans). Four Faces West (Alfred E. Green, 1948) Colorado Serenade (Robert Emmett Tansey, 1946) Harry Warren: America's Foremost Composer (Ray McCarey, 1933) The Giants (Bouli Landers, 2011) - A friend (Paul Bartel – not the director) and two brothers (Zacharie Chasseriaud & Martin Nissen) spend a coming-of-age summer in the wilds of Belgium, even recalling a twisted modern version of Mark Twain. Night Descends on Treasure Island (James A. FitzPatrick, 1940) The Maiden Heist (Peter Hewitt, 2009) The Phantom from 10,000 Leagues (Dan Milner, 1955) - benefit of a doubt for some location filming Beauty and the Beast (Bill Condon, 2017) Belle (Emma Watson) encounters the cursed Beast (Dan Stevens) in his magical castle. Finishing School (George Nichols Jr. & Wanda Tuchock, 1934) Hollywood Wonderland (Jack Scholl, 1947) The Return of the Whistler (D. Ross Lederman, 1948) Breathing (Karl Markovics, 2011) + Prior to his parole hearing, young Austrian Thomas Schubert goes to work at a Vienna mortuary where he finds a dead woman who could be his mother who gave him away when he was a baby.
Mindhorn (2017) I may need to revisit this as I was zonking out during it. Didn't really do it for me. I kept wishing Coogan played the lead even though Barrat was adequate. Not as funny as it should have been but still better than expected.
Tropic Thunder (2008) Stiller's master stroke of comedy goodness. Rarely falters and when it does it still remains on par with an Anchorman energy.
Beyond the Gates (2017) Too stupid to be good. Too good to be stupid. It missed good/bad status with dopey writing and misfired delivery. Promising ideas better left alone if the script and cast isn't up to the task.
Copenhagen (2014) It was good but not great. Things about it were great but as a whole, it was good. Great casting and locations. Plodding pace and some silly dialog.
Brubaker (1980) Technically a good film but I wasn't really moved that much. Kind of goes through the motions of an an "award winning" story and hits all of the right notes, but feels muted and klunky. Decent enough performances.
Burying the Ex (2014) Tedious and unfunny. Leads have zero chemistry. A surprisingly wooden and soulless performance by Anton. Dante strikes out big but not before "paying homage" once again to less than interesting results. Felt mean and I didn't like it. See "The Hole" instead.
The Interview (1998) Unbearable to sit through. I understand this was a highly acclaimed film. Felt forced and over complicated to me. I was bored and frustrated. I didn't care for anyone in the film so I found being intrigued impossible.
It Follows (2014) Style in spades, some atmosphere and a highly original premise just couldn't make me like this movie as much as I wanted to. It left me feeling hungry like Americanized chinese food. Flashes of inventiveness weighed down by a not quite capable script.
Ghost Team (2016) I just had fun. I loved the location and the sparse moments of borderline scares. Funny moments and an innocent enough time passer. I'd watch it again. Had the "it" factor. Something I can't put my finger on.
Big Eyes (2014) Just not very good. Intriguing story. I just couldn't get into the cast, and the ending seemed corny to me. Like, it was supposed to be something else. Eh.
Snake Eyes (1998) Started off like the best Nic Cage movie you could ever imagine then turned into a routine thriller and we know how those go...
Barton Fink (1991) Brilliant and funny.
Go for Sisters (2013) Another John Sayles under the radar home run. Dry but still engaging and interesting. Great writing, some silly moments, but easily forgivable given the aptitude on display.
Your typical Euro nazisploitation schlock. I expected more from this. First of all, it's quite tedious. Secondly, the ladies could be sexier and orgies even wilder!
Turbo Kid (2015) -
Finally! A western equivalent of J-splatter. Well, kind of. It's less crazy, less gory and more 80's nostalgia-inducing, but just as entertaining! Also, forget Rear Window - this is the best kiss in motion picture history!
The Wizard of Oz (1939) -
Talk about late to the party! A movie that shaped many people's childhood and I've just watched it! Well, it's pretty good. Minus the musical numbers. I'm not a fan of these. Could've been more psychedelic and less fairy tale-ish, but the stories of all these creatures Dorothy meets along her way are quite touching! Also, the scene of Lion jumping out of the window is the funniest moment of 1939.
Monkey Business (1931) -
So bloody hilarious! May not be an all-time favourite, but I felt really good while watching it and laughed a couple of times.
Sullivan's Travels (1941) -
Now this one is a peculiar movie, openly drawing influences from Ernst Lubitsch (phooy!) and casting Joel McCrea as a rich man who wants to know how it is to be poor. Obviously, it's very ironic, given how after one, or two days of tramping, he returns to his villa and how he can't get away from the sensation-hungry journalists, who seem to be interested in his case purely because he is rich. All that being said, the predictable "twist" feels a little bit sententious. So does the lackluster ending, but in hindsight it's quite beautiful, even if too naive.
Grand Hotel (1932) -
Freakin' top notch! I absolutely loved the character of The Baron. Despite his profession, he turns out to be pretty romantic as well as good-hearted and ultimately an extremely likeable character. He is my second favourite character in the movie, with only the sick man outmatching him. Sick man's subplot is so sad!
Troll 2 (1990) -
Fun! Apparently this is one of these films that people rate either based on its overall crap quality, or based on the 'best worst movie ever made' philosophy. I'm somewhere inbetween. Some scenes are iconic (no moar popcorn!!!), but it also has some dull parts that could be better (worse?).
Max et les ferrailleurs [Max and the Junkmen] (1971) -
Alluring Romy Schneider seems to be the only warm piece of this otherwise cold Melvillian crime puzzle with Michel Piccoli. It's pretty solid, but Melville does it better. Anyway, Schneider is the redeeming quality.
Animal Crackers (1930) -
Has hilarious moments, but it's my least favourite Marx brothers movie from what I've seen so far! Also, having seen a couple of their films now I'm pretty sure Harpo is a rapist.
Une fée pas comme les autres (1956) -
2deep4me. This has a scene of a living fox washing the head of a living hen! The terrible devil villain turns out to be a monkey and the hero a duck. Lovely! It's quite an eye-candy, too.
誘惑 [Temptation] (1948) -
It took me exactly 3 hours to stop thinking about Schneider and start thinking about Hara again. She looks outstanding in this film. The film itself is a pretty good Japanese melodrama with a few outstanding scenes! I made the GIF above!
Allemagne année 90 neuf zéro [Germany Year 90 Nine Zero] (1991) -
Apparently a sequel to Alphaville. Just your usual incomprehensible Godard jargon. Some scenes were thought-provoking, though!
Imitation of Life (1959) -
For the love of God, I can't understand Sirk's films. Soap operish, bland, heavy-handed, I understand its importance, given it tackles racism, but it's just so obvious! My guess is that America needed a movie like this that would straightforwardly show that *racism is bad* and doing this in a form like this provided a wide (mostly female) audience. But maybe I just don't get it. Why are children so annoying in this?
驟雨 [Sudden Rain] (1956) -
Setsuko Hara is married in this Mikio Naruse film. Kyoko Kagawa is married, too. What a pity! The ending with that beach ball is cathartic!
晩菊 [Late Chrysanthemums] (1954) -
When your beauty withers you have to find other ways of living, but is it possible to get back to the past? It is, but the past is gone and the relicts of the past are irreversibly changed. Nothing is the way you remember it anymore!
Targets (1968) -
Old horror vs. new horror. Men are no longer scared by monsters, but what if men are monsters? Bogdanovich's ace direction made senseless killing incredibly effective! Karloff is a bitch slapping master!
御用金 [Goyokin] (1969) -
Nakadai > Mifune! Great screenplay, sword fights in the snow and rain and super entertaining.
死闘の伝説 [A Legend or Was It?] (1963) -
Japanese rural western melodrama by Keisuke Kinoshita. Heavy and great!
Lisice [Handcuffs] (1970) -
Way more political than it seems.
ＸＸ 美しき獲物 [XX: Beautiful Prey] (1996) -
Kinky BDSM thriller. But not kinky enough!
人斬り [Tenchu!] (1969) -
Not enough Nakadai, but Shintaro "Zatoichi Hanzo the Razor" Katsu is a beast here!
Paper Moon (1973) -
I fell in love with this film. So beautiful! I don't know which Bogdanovich film should I watch now (I don't want to be disappointed).
The Servant (1963) -
Aaah, what a quaint, posh British film. *80 minutes later* Joseph Losey, you contemptible cur! I love you!
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