by Sam Juliano
All hail Allan Fish! The sometimes onery and cantankerous Wonders in the Dark film genius will no doubt downplay his latest extended venture, but it’s frankly the most extraordinary achievement by a single person in the blogosphere since I’ve been here, and it’s something anyone will be hard pressed to match. Taking the one genre in film that few have comfortable command or even rudimentary exposure to – silent cinema – and penning one hundred masterful reviews and an astonishing follow-up list of 150 nearlies, and then presenting a numerical listing that has not been provided by the best silent film volumes out there, Mr. Fish has proven he belongs on the film shelves of bookstores, an impending possibility I believe may come to well-deserved realization. Providing stellar cast and filmmaker listings, taking into consideration films that never received any kind of DVD distibution (and securing copies and watching these films) Fish has done here what the most celebrated film critics nationwide and abroad have not done, due to some prohibitive restrictions, so to speak. It’s an achievement of unparalleled authority, and I dare say it pretty much gets it all right down the line!
The site will accept individual lists for the next nine days, with the polling ending at 11:00 P.M. on Thursday, April 8th. Those still planning on submitted a ballot under the silent film tab under the site header please do so over the next nine days. Voting Tabulator Extraordinaire Angelo A. D’Arminio Jr. will be tabulting those ballots submitted (I think we have around a dozen to this point–not bad for this most underviewed of all time periods) and the site will then move to the 2000’s poll, which will again will feature a marathon Top 100 from Allan.
Dave Hicks is down to the final 30 in his always-engrossing noir countdown, and the humble proprietor has well-earned all the fantastic comments he’s received from so many under each and every one of his threads. Likewise filmmaker Jeffrey Goodman, another internet sweetheart continues his terrific year–by-year countdown, which to this point has faithfully moved into the late 1970’s.
I went bonkers this week, catching an opera at the Met last Monday night (Verdi’s Atilla) an off-Broadway theatrical work at the St. Ann’s Playhouse in Brooklyn on Saturday night, and seven (7) films in theatres over the weekend, despite some restrictions due to my attendance at a Friday night wake and Saturday morning funeral for the father of one of my best friends, who passed on after a long illness at age 82. My determination to see all these films (Lucille was there for some, the kids for others, and Lucille and Broadway Bob for a few others) is again a showing of OCD, the disease of having to see everything out there on pain of death!
On Monday night, I witnessed a superlative staging of Giuseppi Verdi’s gorgeous Atilla, an opera that would fall methinks, in a grouping after the Big Five: La Traviata, Rigoletto, Il Trovatore, Aida and Otello. I hope to pen a review later this week if time permits, but the presentation of the fabulous score, the conducting and set design were top-rank. This was not one of the operas offered this year on the HD broadcast schedule.
A first trip ever to the landmark St. Ann’s Warehouse, literally right “under” the intimidating Brooklyn Bridge on the Brooklyn side of the river provided a photo shoot session for our erstwhile cameraman Broadway Bob, who shot some photos of the bridge from point blank range as well as others involving Lucille and I. The show, the critically-praised “A Life in Three Acts” stars ‘Bette Bourne’ a drag queen activist in the 1970’s, who uses a slide show to document his upbringing in the U.K. social scene, his own biography, and an often hilarious extended monologue (playing out like a stand up comedy routine) where he is sometimes interuppted by his production colleague Mark ravenhill to pose some lead-ons or pointed questions. Christopher Isherwood’s New York Times review was extremely favorable, but you ahve to see this to really appreciate the unique approach to the material. Again, hopefully, a review will follow.
The seven films I saw this week (all over the weekend) are as follows:
The Irish film, THE ECLIPSE is well acted, and there are some striking screnes and lovely scenery, but it’s a serious misfire, as it doesn’t know what it wants to be, and it has some rhythm or flow. Even the “romance” advertised is only faintly hinted at, as the ghost story segments are completely alien to the story being played out. Some are reading way more into this than what it’s worth.
WAKING SLEEPING BEAUTY, a documentary about Disney’s last rise to the top in the late 80’s and 90’s is only 68 minutes long, hence it couldn’t go as far as it might have, but it’s still a joy for the lovers of this animation, and the creative process is presented in a highly informative an dentertaining fashion. I admire the candid approach too.
Based on Clarles Perrault’s grisly fairy tale, Catherine Breillat’s sensuous BLUEBEARD is at at the same time psychologically insightful and stylistically minimalist, but it’s a morbidly intoxicating fable beautifully lensed and provocatively played out by an excellent cast. Breillat’s cinema leaves always much more than meets the eye, but as was the case with her terrific THE LAST MISTRESS a few years ago, what you see is absolutely ravishing.
DREAM BOY, one of three features in a festival, is an amateurish gay coming-of-age tale with the typical stereotypes and a jarringly unpleasant conclusion. Little chemistry between characters and a pedestrian script mitigating some minor perceptiveness.
Here are a number of great links for this week:
Dave Hicks’s enthralling noir countdown moves forward: http://goodfellamovies.blogspot.com/2010/03/28-detour-edgar-g-ulmer-1945.html
Right on cue, Judy at Movie Classics has a report on the ’13th Annual British Silent Film Festival’ up at her place. I wonder if Allan knows of this one?: http://movieclassics.wordpress.com/2010/03/27/the-13th-british-silent-film-festival/
John Greco tackles Hitchcock’s Notorious at “Twenty-Four Frames”: http://twentyfourframes.wordpress.com/2010/03/28/notorious-1946-alfred-hitchcock/
At “Ferdy on Films” Marilyn Ferdinand and Roderick Heath continue to raise the tone, and both Rod’s review of Valerie and Her Week of Wonders ands Marilyn’s equally superlative assessment of Lourdes are headlining: http://www.ferdyonfilms.com/?p=3558
The esteemed Film Dr. has what appears to be a terrific essay up on The Ghost Writer at his place: http://filmdr.blogspot.com/2010/03/layers-of-narrative-and-art-of.html
Troy Olson’s big trip to China is imminent, so he remains on a blogging holding pattern, with his great review of Denis’s 35 Shots of Rum still headling at his place: http://troyolson.blogspot.com/2010/03/2009-35-shots-of-rum.html
Craig Kennedy has a great review up on How to train Your Dragon at his cinematic mecca “Living in Cinema”: http://livingincinema.com/2010/03/28/review-how-to-train-your-dragon-3d-2010-12/
Dee Dee is on holding pattern too at “Darkness Into Light” as she prepares for a fascinating interview with aparticipant on the Metropolis restoration: http://noirishcity.blogspot.com/
Tony d’Ambra continues to do top-flight work at FilmsNoir.net, and his latest review is a comprehensive look at The Face Behind the Mask. He compares and contrasts it succintly with a trend-setting noir: http://filmsnoir.net/film_noir/the-face-behind-the-mask-1941-iconic-proto-noir.html
David Scheicher’s latest asture review at his cultural altar, is one on the recently-released Snakes in a Hot Tub: http://davethenovelist.wordpress.com/2010/03/27/snakes–in–a-hot–tub–on–a-time–machine–plane/
Samuel Wilson’s latest comprehensive essay is on Twilight New Moon at “Mondo 70”: http://mondo70.blogspot.com/2010/03/wendigo-meets-new-moon-2009.html
Filmmaker Jeffrey Goodman is up to 1976 in his wildly popular annual countdown at “The Last Lullaby”: http://cahierspositif.blogspot.com/
Longman Oz has a typically excellent film review up of Between the Canals up at his place: http://noordinaryfool.com/2010/03/29/betweenthecanals/
Jake Cole is a writing machine, and his latest essay up is what appears to be a terrific one on Scorsese’s Gangs of New York. Check it out: http://armchairc.blogspot.com/2010/03/gangs-of-new-york.html
Dan Getahun has heaped some well-deserved praise on both The Prophet and Fish Tank at his enriching abode: http://getafilm.blogspot.com/2010/03/getafilm-gallimaufry-prophet-fish-tank.html
Shubhajit’s newest capsule considers an important work by a renowed Begali filmmaker. It’s here at “Cinemascope”: http://cliched-monologues.blogspot.com/2010/03/sanjhbatir-rupkathara-strokes.html
Dusan Makavejev’s stunning debut, Man is not a Bird, is the subject of Ed Howard’s latest stupendous review at the hallowed halls of “Only the Cinema”: http://seul-le-cinema.blogspot.com/2010/03/man-is-not-bird.html
Jon Lanthier, quiet as of late, but always a masterly read, has a Slant essay up on Samson and Delilah at this place: http://aspiringsellout.com/
At “Radiator Heaven” J. D. has penned an exquisite DVD review on a recent George Clooney film that divided teh scribes: http://rheaven.blogspot.com/2010/03/dvd-of-week-men-who-stare-at-goats.html
Donophon’s latest perceptive essay is on the original The Blob with Steve McQueen at his place: http://thelongvoyagehome.blogspot.com/2010/03/blob.html
Hokahey has a most interesting essay up on The Sand Pebbles at his place, which he mentions is “Part 2.” http://hokahey-littleworlds.blogspot.com/2010/03/sand-pebbles-1966-part-2-river-battle.html
Jumping the gun on the Wonders polling, Kevin Olson has penned a hugely impressive and popular round-up of the decade’s best films at his place: http://kolson-kevinsblog.blogspot.com/2010/03/top-50-films-of-decade-1-10.html
Hsaio Hsien is again under focus by Just Another Film Buff, and it’s another superlative and enriching consideration: http://theseventhart.info/2010/03/27/the-films-of-hou-hsiao-hsien-part-22/
Stephen’s screen gap gallery is receiving well-deserved acclaim and participation by a number of excellent bloggers at his place. it’s well-worth an extended look:: http://checkingonmysausages.blogspot.com/2010/03/gallery-is-open-accepting-submissions.html
Adam Zanzie’s marathon on The Cinncinnati Kid looks like it’s essential reading, and I’ll be over there as soon as I can: http://iceboxmovies.blogspot.com/2010/03/cincinnati-kid-1965.html
Jason Bellamy acknowledges all the writers who made his Steve McQueen blog-a-thon such a resounding success at “The Coller.” Congratulations Jason! http://coolercinema.blogspot.com/2010/03/steve-mcqueen-blog-thon.html
Also contributing to the Steve McQueen blog-a-thon is Tony Dayoub, who has apparently written a terrific revisitation of Le Mans at his place: http://www.cinemaviewfinder.com/2010/03/seventies-cinema-revival-le-mans-1971.html
St. Louis’s finest, Andrew Wyatt has what appears to be a thought-provoking second look at the Coens’s A Serious Man that’s on display at “Gateway”: http://gatewaycinephiles.com/2010/03/25/not-doing-anything-not-doing-anything-further-thoughts-on-the-theology-of-a-serious-man/
Thanks, Sam, for the link and my condolences to your friend.
Looks like you’ve had a very busy week at the movies. So glad to see that you loved VINCERE. I was floored by it too.
I’ve been watching some more Asian films which I hope to write about soon…
Looking forward to Bluebeard…
Cheers!
I’d love to see you review VINCERE, JAFB, as I know it would result in your typical ‘master class’ presentation, though I know a few other blog visitors would perform here too. I had forgotten of your great fondless for this. I am assuming you like Bellocchio and FISTS IN THE POCKET too. I do think BLUEBEARD is your cup of tea too! Thanks as always for the typically quich response at this thread my good friend.
Hi! Sam Juliano, Allan Fish and Wonders in the Dark readers,
First of all, let me send out my heartfelt condolences to you and your best friend’s family on the loss of their love one…and I really hate to change the topic in mid sentence of sending out my condolences, but congratulation to WitD for another interesting and successful countdown.
Sam Juliano, once again you have covered a lot of ground…by checking out seven films:Dream Boy ** Waking Sleeping Beauty **** The Eclipse ** Chloe*** Bluebeard **** 1/2 Vincere **** 1/2 and
How to Train Your Dragon **** 1/2 …It appears as if Dream Boy and Chloe are the “weakest” of the lot.
When it comes to my weekly round-up…nothing to offer this week. Due to health reasons and personal problems.
Sam Juliano, thanks for the mention…as usual.
Take care!
DeeDee 😉
Dee Dee:
I am deeply saddened and concerned at what you say there about some health issues and personal problems. I have had both myself over the past months, and my heart goes out to you. Few people I’ve met are as undeserving as you to attract these issues, and especially for your health I will be thinking of you. I am sure all will be well my friend. Please take it easy, and as always keep in close contact with me if you will.
Yes, it’s true that DREAM BOY and CHLOE are among the weakest as the Irish film THE ECLIPSE, which I may have liked the least of this lot.
Thanks so much for the condolences (this seems to have been a bad stretch for a number of people, a few whom we mutually know and are friends with) and for the kind words for Allan’s staggering achievemnt with the silent poll.
Everything that you just said about Mr. Fish, Sam. I have tried finding some of those titles and let us just say that the search continues. A fantastic achievement.
Was beyond disappointed with The Eclipse. It screened on Irish TV on St Patrick’s Night (I believe that the work was commissioned by the State broadcaster) and we died a death watching it. I could not even drag myself to write about it afterwards! I guess that the disappointment stems from the fact that it comes from Conor McPherson – almost definitely the best young playwright in this country. However, while this may not have been the intention for a moment, the work smacked of some ill-conceived understanding of the sort of “Oirish” film that might play well in the United States. Just awful.
“Vincere” sounds interesting and I think that I will only catch “Chloe” some time on DVD. However, you had a hell of weekend – too much to respond to in one short comment.
Highlight of the week for me was “Lourdes” – we loved it. Not sure yet how I am going to tackle it after just one watch, as it is such a well-crafted work.
Thanks for the link. Perhaps a slightly indulgent review (as I come from that part of the city), but understanding the effort here makes me really appreciative of the scale of the achievement.
My condolences to your friend and you. Always such a sad occasion.
Thanks, Longman.
I will soon be checking out that link to your review Longman, later today in fact when I get through this thread, where there seems to be a preponderance this week of absolutely fantastic comments by so many. I am practically speechless. Thanks so much for the much valued and peerless insights into the Irish film THE ECLIPSE, which you would of course have the inside track to. I love that “we died a death watching it!” Haha! Truthfully, Longman, I felt the same way, as the intentions of going off in different directions left this film with any cogency. It was frankly a joke, which from my recent experience is rare from films coming out of the Emerald Isle. I even though I was watching THE SIXTH SENSE at times. Yeah, but I hear what you are saying there about Conor McPherson. Shame.
LOURDES is one of my favorite films of this year! Hence, I am thrilled to hear your own reaction, and look forward to the way you will tackle it.
As I stated to others, the hectic week is really beyond the tinsel, a behavioral aberration. I can’t really defend it, but thanks for your kudos.
I am absolutely certain you will respond most favorably to Bellocchio’s VINCERE, though it’s a bit trickier with CHLOE.
Thanks as always for the extensive, enlightening wrap my friend.
7 films! I thought I was watching a lot this weekend with 2.
Aside from being stunned by The Ghost Writer, I also saw Hot Tub Time Machine which I had mixed feelings about. I wonder how much producers of that film rushed it into theaters to capitalize on its resemblance to The Hangover.
Thanks, as always, to your generous comments and the link.
Thanks so much Film Dr for the kind words for my disease. Ha! I am hardly surprised at your reaction to HOT TUB, which I didn’t yet get around to, but I suspect that’s where it will fall with me to. Your GHOST WRITER list is a must on my upcoming reading list.
Wowee, you sure do get around there and taking pictures under a bridge is an interesting experience. In the past, have done so on a sailboat and on foot under the golden gate.
The silent film reading experience has been interesting, and a grand learning experience and Thank ya’ll for doing it. Never knowing what to look for, is there one particular book to read on the subject also, that you can recommend?
Also need to seek out some time for some of the other film links you include. Sadly, have not done so yet, except for one.
Cheers!
Michael, I will be sure to get those pictures out to you! Thanks for the kind words. Yes I do often “get around” but it’s always raises questions about my sanity, especially that I make these public announcements. But you among the few fully understand the lure of certain passions. My favorite book on silent cinema is THE SILENT CLOWNS by Walter Kerr, which examines Chaplin, Keaton and Lloyd. It’s one of the truly great film volumes in any genre (as Joel Bocko and T.S. at Screen Savour will attest to) and once you start reading it you will be immediately hooked. But I’ll try and compile some others, Michael, that I fondly remember.
“A sailboat under the Golden Gate.”
Now that’s something to die for!
Will speak soon, my friend.
Sam, thank you so much for your extremely kind words! You’ve been such a vital part of my countdown, and I truly appreciate it.
It was a slow week for me in terms of film-watching (things have picked up with PERIL). But BLUEBEARD sounds like something I definitely need to see, and I look forward to catching up on some older films, too.
My deepest condolences on your loss.
Jeffrey: With PERIL on the horizon, it’s frankly amazing you can afford any time for blogging, even as I know how much you love it. And you are a natural for it too, with that dynamic personality of yours, which rates a thousand times more than colorless academics. (which of course we don’t have very many of here now!) Oh boy, BLUEBEARD is right up your alley if I have you figured right. I’ll have to broach this with you again in the near future.
Thanks as always for the greatly valued comments here!
First congratulations to Mr. Fish for his fantastic silent countdown. My lack of comments was only due to my lack viewing of many of the works in the countdown and it is boring to repeat, “Well, here is another to add to my list” almost every day. Allan, a fantastic accomplishment!
Sam, you had an amazing week, obviously except for the sad death of your friend’s father, and I look forward to seeing some of those films. “Dragon” and “Chloe” both opened up here but my wife and I opted for “Greenberg” which we both enjoyed, especially the performances by Stiller and Greta Gerwig. Overall, I would give it ***1/2 out of five. On the home front, we caught up with “Up” (****1/2) on Saturday night. I also watched, Ford’s “Stagecoach” (*****), “Bowery Bombshell (**), “Night and the City” (*****) which I have not seen in years and “Kitten with a Whip” (**). The two stars on “Kitten” is a bit deceiving. As a straight film it terrible but on another level (Cult? Bad Movies We Love) the film is vastly entertaining. Bad dialogue, over aged actors along with Ann-Margret’s fiery bulging eyes and sexy demeanor are worth a lot more than two stars.
Sam thanks again for the shout out!
Ah John, that ***** rating for Dassin’s NIGHT AND THE CITY really warms my heart, but ditto for STAGECOACH of course. inever saw BOWERY BOMBSHELL, but that ** assessment makes it a moot point! Ha! I also confess that I haven’t seen KITTEN ON A WHIP, but fully understand the cult status, and what you are saying there about the rating. I adore UP of course, so I also applaud the high regard that you and your wife have for it. You did like GREENBERG more than I did, but I know the film generally received very fine reviews, and I can’t argue with you estimation of the leads. This was definitely the best I’ve ever seen Stiller, but Gerwig was definitely the star.
Thanks so much for the deserved praise for Allan. His head has expanded so severely that he he presntly indisposed to respond. Ha!
Thanks as always John!
Sorry to hear of the latest passing Sam. My condolences to your friend.
Looks like you went temprarily insane there, but I marvel at your resilience. At least you bring in Lucille and the rest of your family for many of these cinematic journies. I really want to see “Dragon” and “Vincere” of the bunch you saw, and if “Bluebeard” makes it’s rounds in these parts, I’ll definitely check it out. Sue is very interested in it, as like you she loved “The Last Mistress.”
Congratulations to Mr. Fish for his amazing accomplishment.
Thanks Peter, for both the compliments for Allan, and the acknowledgement of Mr. Aveta’s passing.
Yes, the “insanity” angle is the right one, believe me. I’ll definitely keep you abreast on the imminent arrival of BLUEBERAD in Monclair. VINCERE is there right now–that’s where I saw it. Of course DRAGON is playing in all the multiplexes, as I’m sure you are well-aware.
The silent countdown was a big success. For those who didn’t see many of the choices, at least this is an invaluable reference tool. The reviews can be read after the films are seen.
I see How to Train Your Dragon was easily the week’s big moneymaker. I think we have an artistic and commercial blockbuster on the order of Pixar’s Up. That’s a mighty prospect.
Frank: I think you nailed it there with DRAGON, which will no doubt be a huge success across-the-board. ihope this doesn’t mean we have to look forward to that infernal blogger backlash that seems to inform all assessments of commercially-released animated films. Geez, square can be beautiful too.
Aye, on Allan’s countdown as a “reference tool.”
Thanks as always my very loyal friend.
“Geez, square can be beautiful too.”
This made me grin. I’ll try to re-use it somewhere, along with Tony’s brilliant “hysterical Chinese whispers in a teacup” putdown.
The premiere of ATILLA raises some eyerows. The first time this opera has been offered with new modern sets and, of course, it marks the conducting debut of Carlo Muti. Muti has been a powerhouse in LaScala and othe giant venues abroad. According to Midge Woolesy on WQXR, who was there for last weeks premiere, Mr. Muti is a new jewel to add to a crown of illustrious conductors to grace the podium of the MET. I really hope you follow through with an essay on this performance, Dear Schmulee. Muti’s debut has been much anticipated within the opera-going community. I heard excepts from the premiere two nights ago on the radio and Muti’s reading was tight, inspired and loaded with fire.
Indeed Dennis! ATILLA is one Verdi work that shouldn’t be underestimated. There are some soaring moments, and beautiful arias, and it rarely sags. It may one day be regarded as well as the obvious masterworks. Nice listening there!
Thanks as always for the insights expressed here!
Now that you gave it a more than positive review, I look forward to HOW TO TRAIN YOUR DRAGON. Dreamworks has been trailing behind PIXAR for many years and there out-put in animation usually just misses the bulls-eye. Nice to here they’re finally gaining some momentum; their SHREK films, while funny, were poorly animated and lacked the magical detail that makes PIXAR stand out. I’ll have to give DRAGON a shot. WAKING SLEEPING BEAUTY is something I WANT to see desperately as I’ve been fascinated in the creation of Disney animaqtion since I was a kid copying, in pencil, the characters off of cereal boxes!
Dennis, you will go BONKERS for both these films, and I dare say that I’ll agree to see DRAGON again with you this week, as first off I only saw it in 2D, but beyond that I loved it so much that a second viewing would be an utter delights. A few of the brood may tag along as well.
And yes, the Disney documentary will reallyhave you smiling.
I’m kind of wishing I saw Dragon this weekend. I came thisclose to going, but at the matinee I was attending, they charged an exorbitent $5 extra for 3-D, so I went to Greenberg instead (review up at Lost in the Movies). I’m pretty sure I can get cheaper tickets when I’m visiting the folks this coming weekend for Easter; still it would have been nice to get a review up its opening weekend. Especially since I found myself intrigued before I heard all the critical acclaim foisted upon it – now I’ll just feel like I’m jumping on the bandwagon!
Joel: In fear of being presumptuous, I do believe I’ll venture a speculative view here that you will LOVE this new Dreamworks animated film, exceedingly. Why do I say this? Well, you are a longtime advocate of animated cinema of quality, and you tend to be a bit less critical of this form, even while not being bashful in expressing the minor issues that may well be part of the mix. Your passion for WALL-E is well known in these parts. I am thrilled at this Dreamworks comeback, and be rest assured that anything that YOU write will never be old hat, as your unique, brilliantly expressed insights always take the discussion to the next level. I would love to read a Joel Bocko review pronto on HOW TO TRAIN YOUR DRAGON!
Thank you Sir.
Hi Sam. Thanks again for the acknowledgment and for commenting on our reviews.
Again, a bit light on movies this week, except for Lourdes. I started watching Letter From an Unknown Woman, but got distracted by the neverending update of my blog links. I reviewed Margaret Sulavan’s 1933 film Only Yesterday a long time ago, which closely parallels Letter. I must admit that Letter seems the better crafted of the two films. I will finish it soon. I also caught up with Pretty in Pink, which I had never seen but which Rod reviewed a short while back. Fun stuff.
Tonight is a vocal concert of Monteverdi’s Vespers on the 400th anniversary of its premiere.
My condolences to your friend.
Marilyn, it’s been a pleasure reading the great stuff you and Rod have been serving up on a day to day basis. And luckily for me I’ve seen the ones you’ve showcased, which isn’t always the case. That LOURDES review is a real gem.
LETTER FROM AN UNKNOWN WOMAN?
God, that’s one of my favorite films of all-time (I know Jeffrey Goodman feels that way too) and I gush when describing it, in much the same way I do when thinking of BRIEF ENCOUNTER (another film that got the royal treatment at Ferdy-on-Films quite recently) so I’d love to hear what you say or write when you complete it. I like ONLY YESTERDAY, and see the parallels, but the Ophuls film is really a masterpiece. But Margaret Sullavan is an eternal joy. I’m always amazed when i read about how much she hated acting, and how she eventually fell from circulation, and basically wanted to forget her film affiliations.
I completely agree with your estimation there of PRETTY IN PINK, but what really has me excited is that Monteverdi concerts you are planning to hear! Now that’s heavenly stuff, and I know you will be ravished with it! I must make further inquiry to you as to your final reaction.
Thanks so much for the condolences on the passing of a delightful Italian man who brightened so many of our lives.
I am a big Margaret Sullavan fan, and thought Only Yesterday was a remarkable debut performance by her.
I know one of the bass singers in Bella Voce, the group that is doing the Monteverdi. I’ve heard them before, and they are really wonderful. I’ll let you know how it goes.
And (perhaps I’ll finally get a response), again, another big time CONGRATULATIONS to Mr. ALLAN FISH for pulling off a first within the blogosphere! This INCREDIBLE look into the era prior to 1929 is a task I can’t think anyone has EVER under-taken. This count will be remembered, and hopefully discussed by others outside WITD, for years to come. My only perplexed question out of all this is (here’s the business man coming out of me); how the fuck do we grab sponsers and advertisers to back us here so we can make some MULLAH for doing something we love? I gotta think there’s a way to attract sponsership as we have something here nobody else has! Any suggestions guys?
Dennis: I wouldn’t bet on a response from Allan, as he is too choked up, and is probably engaged in flattery management right now! Ha!
As far as the sponsorship, I wouldn’t attach too much hope on that front, and that’s an understatement!
Thanks for the mention, Sam. I’m thrilled to see you liked How to Train Your Dragon, as I’ve been itching to see it (even without the great reviews it’s getting, it has Craig Ferguson, who’s been hilariously plugging it shamelessly for like a month now on his brilliant late-night show).
As for Chloe, I’m no longer as excited for it as I was, but how is Seyfried? I’ve found her fascinating for some time now (ever since I saw her as the murdered friend in Veronica Mars) and I’ve been waiting for her to nab a part that really does her justice. It’s high time, considering how many films she’s buoyed so far.
Aye Jake, methinks Ferguson is quite right there, and I’m confident your high expectations won’t be dashed with this exceeding delight, a film that for me is as formidable as Pixar’s UP. It really does hit the mark across-the-board, but we’ll see what you think.
To answer your query, Jake, Seyfried is quite excellent, I must admit! She has a bright future ahead it does appear after this , (but I agree on what you say there about VERONICA MARS) and she registered some subtle shadings here to register a real sense of menace. It was one of the film’s strongest attributes, though I also admired the work (again) of Julianne Moore. But the screenplay is the real culprit here, as you can well surmise.
I will definitely get over to your place later, as among other promising posts I noticed you review my favorite Rivette, the masterpiece CELINE ET JULIE VON EN BATEAU.
Thanks as always for the excellent submission here.
Good grief, Sam – “bonkers” is right! Thanks always for your “service” to all of us in filtering through so many films before they get to us.
I’m really quite shocked at the response to How to Train Your Dragon. I haven’t seen it but now feel almost required to based on its raves. Of course, if possible I will see it in 2D (3D has to yet to “work” for me, including Avatar) and will probably miss out again on the depth everyone always describes. I always just end up distracted trying to keep different parts of the frame in focus. I don’t get a headache or get nauseas, just exhausted from trying to keep the images in perspective. Somehow my brain just doesn’t blend the fields of depth like everyone else. Meanwhile I completely miss out on the storyline. I greatly preferred Avatar in 2D (I still found it absolutely stunning), so if 2D is an option for Dragon I’ll take it. That is, if I can get to it at all. Two months now to my wedding and pretty much every free moment is spent planning or deciding this thing or that. My moviegoing has plummeted at the worst possible time with our two week, 150+ film international film festival starting in April. Ah well, if I miss this year at the movies I”ll hopefully have many more in the future to look forward to.
Dan: I actually saw DRAGON in 2 D, as I mentioned above, and I loved it nonetheless, even without that critically-praised technical embellishment that eleuded me on that viewing. You may also be well-advised to watch it in 2 D, as I know the gimick is really not integral in the most important ways. I completely agree with you on AVATAR, as my first (and best) viewing was also in 2 D, so your insightful delineation there is most appreciated!
And biggest news of all:
I never knew you were two months away from tying the knot!?!
Awesome, fantastic news Dan! I wish you and your wife to be the best, and will look forward to your full report!
Thanks very much – it’s an exciting and somewhat stressful time, to be sure, but we’re looking forward to it.
And glad to hear Dragon is just as awe-inspiring in 2D. I don’t think it’s worth the trouble or the extra money for me to try for it in 3D.
Sam, I’m glad to see a thumbs-up for Vincere, since that’s a film I hope to see come upstate soon. I still prefer to see things on a big screen than on demand, where it’s available now. After Good Morning, Night and (to a lesser extent) The Wedding Director I’m willing to give Bellocchio a shot whenever he has a new film.
Besides writing reviews, I found time this weekend to resume Bad Girls of Film Noir Vol. 2 with Hugo Haas’s One Girl’s Confession (1953). It’s another near-noir undermined by a manipulative screenplay that requires the heroine to be extraordinarily stupid, but it’s also quite entertaining and I’ll have more to say about it elsewhere. More immediately I’ll be writing up an extraordinary Japanese gangster film– Akihisa Okamoto’s Yokohama Underworld:Machine Gun Dragon (1978). What that title doesn’t tell you is that the film, starring the great Bunta Sugawara, is a modernized, bloodstained Japanese remake of WHITE HEAT. Nuff Said.
Samuel, how about FISTS IN THE POCKET? Didn’t you also like that one? in any case, your particular command of Italian cinema has been noticed at your blogsite, where you have penned some tremendous reviews. I agree with what you say about the preference for the big screen, and I am absolutely certain that you will be praising VINCERE, and afterwards writing a great review on. I do think this is Bellocchio’s greatest film ever though, and his use of expressionistic touches was most impressive.
I am VERY intrigued about that Japanese WHITE HEAT remake of sorts, and I’ll definitely be checking up at MONDO 70. I need to get to BAD GIRLS OF FILM NOIR, which was graciously sent here by the wonderful Dee Dee.
Thanks for the typically great submission here Samuel.
I’m obliged to confess that the two films I mentioned are all I’ve seen from Bellocchio, but I mean to make up for that omission in due time. I think he has a piece of LOVE AND ANGER, which I own but haven’t watched yet, but I look forward to FISTS and all the rest as well.
Hi Sam, I’m near NYC right now and will be going to try to get over to the IFC Center this week to check out Bluebeard and hopefully Pierrot le fou too, which I’ve never seen on the big screen. I’m glad you liked the Breillat so much, I really look forward to it and was infatuated with The Last Mistress (Boarding Gate too, the French really know how to use Argento). A slow week for me, hope to start getting more posts in generally, and also am thinking about doing a Jean-Pierre Melville series on my blog in a couple weeks, I’ve been really obsessed lately.
A couple weeks ago you recommended a book to me; Murray’s Nine American Film Critics. I just finished it had very mixed feelings about it. Certainly informative, but the author’s hyper-academic approach hurt more than it helped, especially in his section on Kael. He came across kind of like an old lady wagging her finger at the kids on the lawn, and he seemed to completely misunderstand what Kael was trying to do. He kept poking holes in the philosophical assumptions Kael made when writing her reviews, completely misunderstanding that any non-systematic approach to criticism is going to be rife with contradictions. But that’s the point; Kael illustrated how, as human beings, a systematic approach misrepresented our experience of film, and ignored the general messiness of the act.
Doniphon,
I came across that book years ago in a used bookstore and had a similar reaction. I’d love to own it, but don’t really share the author’s perspective. Your defense of Kael is among the more cogent I’ve heard.
Donophon:
If I may presume to ask (and of course you don’t have to answer) when you say you are “near NYC right now, do you mean that you reside here now, or are you in the midst of a trip here? When are you planning to see the Godard film? My e mail address is: TheFountain26@aol.com. I love that film exceedingly, but I never saw it on the big screen as I have with other Godard, so I’d love to go there myself.
Anyway, I have always promoted Prof. Murray’s book, but I can’t say you are wrong there at all. It is an academic treatise, and it doesn’t succeed in gaging the popular reactions, which in Kael’s case goes beyond the dogmatic thrust. Murray makes some excellent points, but he’s way too dismissive of Kael and some others. I think I might overrate the book a bit, because I am thrilled that he considers 95 year-old Stanley Kauffmann -who astonishly still writes for THE NEW REPUBLIC as on balance our finest critic. Kauffmann has always been my man. In any case, what you say there (“assumptions Kael made when writing her reviews, completely misunderstanding that any non-systematic approach to criticism is going to be rife with contradictions. But that’s the point; Kael illustrated how, as human beings, a systematic approach misrepresented our experience of film, and ignored the general messiness of the act.”) is irrefutable, and kudos to you for your expression of it.
That would be fantastic if you opt to go with a Melville series. Like so many others in our inner circle, I consider him top-rank and endlessly fascinating for discussion. And I am thrilled to hear you love the ravishing Ms. Argento, and THE LAST MISTRESS, which placed #3 on 2008 ten-best list.
Joel’s position on the Murray volume is equally understood and applauded.
Thanks Movieman and Sam. Sam, I don’t live in New York, I’m visiting my family for a couple days in lieu of Easter, and will probably be going to see those movies with my father. Thanks for the offer all the same though, and I’m definitely going to do the Melville series. I just need to pick up Un flic, which I really should own anyway.
Donophon, I fully understand. I’d love to hear about your experience there and of the films you do manage at some point in the future. As I stated, I’m fairly confident of the prospects of a favorable reaction!
Good day Sam. I can assure you Atom Egoyan is never dismissed in our household… he is a bit of a local hero out here as he was raised in Victoria B.C. Canada (a stones throw from Mayne Island and the city we moved from to here) … “Atom Egoyan Speaks out Against the BC Arts Cuts” http://stopbcartscuts.wordpress.com/2009/11/26/atom-egoyan-speaks-out-against-the-bc-arts-cuts Thanks your thoughts on CHLOE Sam… adding it to our list.
Terrell:
Thanks so much for that link announcing Mr. Egoyan’s laudatory opposition to art cuts, which of course I fully and fervantly support. I do revere him as a filmmaker myself, and fully understand the reverence he would have out by you where his exceptional talent is matched by his status as a local son. In my view, his THE SWEET HEREAFTER is one of the greatest films of the 1990’s (in my own top five for that period in fact) and for me the second greatest Canadian film ever, behind Claude Jutra’s MON ONCLE ANTOINE and ahead of Denis Arcand’s JESUS OF MONTREAL. But all his work is essential stuff. Even with its flaws, CHLOE is well-worth seeing, and it’s a riveting watch.
Thanks as always for the insightful submission on this thread!
I remember Tony had an interesting take on the phenemon of arts-funding. Though a unapologetic leftie and (I think) a socialist, he was uncomfortable with the idea of taxing the public to fund something they aren’t necessarily interested in – looking at how public money is channeled into often elite and avant-garde artistic enterprises. Now, I don’t generally share his populism but I do find this point of view compelling, and its a principle I humor myself sometimes. I tend to think public monies should be spent only on necessities (and btw, I think health insurance is one of those necessities) and am ambivalent about “forced patronization” in this sense – particularly when what’s being patronized does not necessarily find its way back to the public, or if it does is not something they would have voluntarily supported. Which says nothing about the quality of the work itself, just the ethics of public funding for the arts. Then again, particularly in nations who have a cultural heritage to preserve, there may be a case to be made here – my position applies more to the U.S. (where a – our historical identity is largely self-consciously invented and in perpetual development and b – it’s hardly threatened, as we’re the ones exporting) and less to institutions (like, say, a museum) than to particular projects. And I have not looked onto the subject extensively. I’ll be interested to read Egoyan’s perspective on the matter. P.S. where is Tony anyway?
Here’s Mr. d’Ambra’s thoughts on the matter, which obviously stuck with me (I found it compelling because it states the case against arts-funding from a left-wing stance more than a right-wing one):
“Film-making is a business, so yes it is about money, always has been, and not only in Hollywood. What is wrong with Hollywood is the cult of celebrity and the obscene earnings of a few. Accomplished directors work within the system and deliver product that is not only popular but great.
The funding model in Europe and to an extent in Asia, is based on public subsidy, ie. the ordinary mugs who pay taxes. You get a lot of art-house but few mainstream movies. I call this regressive taxation, where the masses subsidise the obsessions of a cineaste elite.
Guess which model I prefer?”
That was a great thread, by the way, though scrolling down I can see I just wouldn’t shut up! (Some things never change…)
Hmmm… I have to admit that I found Tony’s argument a bit spurious when I saw you re-post it earlier.
Having chuckled a little at the clever rhetoric of the “great & popular Hollywood films” argument, I then had a quick peek at some 2009 OECD states for what they call EU-19 (basically the EU-15 plus four of the largest of the recent economies to join).
As a % of total government spend (not the full list):
Social Welfare….. 37.7%
Health….. 14.1%
Education….. 11.6%
Defence…… 3.0%
Recreation, Culture & Religion….. 2.5%
In other words, one euro in forty gets spent on EVERYTHING to do with sport, other leisure pursuits, the arts, etc. Just think of all the sub-sectors in there and then have a rough guess what tiny percentage of that gets spent on so-called elitist cinema! Its negligible in the overall scheme of things.
Moreover, many of these films are equally funded privately through tax break schemes – especially in Germany, Italy, and France. You will see references to such funds on the opening / closing credits.
Moreover, you need to consider things like multiplier effects, i.e. film-making creates jobs, which then sees people with pay cheques go out and spend, which is good for someone else’s business, which…
There are other arguments too, but I do not wish to overstay my welcome by arguing politics and economics with a third party on Sam’s cinema blog! 🙂
I think it’s more an issue of principle than anything else, as arts funding is indeed a pittance when it comes to the tax burden. But all taxation is coercion to a certain extent and I feel it should generally only be used in necessary cases. Also, I’m skittish about the idea that government “legitimizes” something by its support, and would rather see society develop in bottom-up fashion rather than top-down. Actually, I feel the same about marriage – there’d be no issue about gay/straight marriage if the government only recognized “civil unions” (which need not even be romantic) and left the loaded term “marriage” and all it signifies to private institutions and individuals. But that will never happen.
I’m rambling today. Just trying to delay writing my 21st century piece for tomorrow – on Tropical Malady, a film which intrigued but also perplexed me. And I can’t re-watch it (or the bizarre second half anyway) as when I burned the disc onto my computer, the widescreen picture became distorted to fit a fullscreen aspect ratio – go figure. So I’ll have to sort it out in my own head I suppose. Ah well.
Joel: Tony is fine, but he told me he was ‘taking a break’ for awhile.
Wow, you have TROPICAL MALADY scheduled for tomorrow????? I am really excited now!!!!!!!!!!!!
Longman, thanks for the magisterial comments here, and never feel you are highjacking anything. This is NOT only a film blog at all. Music, theatre, opera, literature, politics, food, philosophy, sports are all fair game here, and Joel is not third party, but is part of the WitD staff, even while he maintains some of his own blogs.
Sam, God do I sympathize with Tony in that regard. I just responded to your e-mail and mentioned that I’m toying with the idea of my own sabbatical after I review How to Train a Dragon next week. I’d still post a few 21st century reviews through April (including L’Enfant, which Troy mentions below; it’s next in line) but otherwise I’d refrain from posting. Of course, this would still be for blogging purposes, primarily: it would give me a chance to FINALLY tackle the projects I’ve been anticipating for months, in some cases, over a year – without the distraction of the day-to-day blogging I would be able to finally face them head-on.
It kind of kills me to do this, because I’ve just established Lost in the Movies and there are a number of upcoming DVDs/theatrical releases I would like to review. But better to take time off in April/May than June/July, when the movie season heats up – besides, I can’t keep delaying.
Tonight I tried to manufacture an absurd viewing/writing schedule by which I reviewed all of April and May’s films in the next few weeks, thus leaving myself with material for a couple months while clearing time to work on other stuff. But it just wouldn’t work – by the time I was done “getting ahead of myself” there’d barely be enough time to get rolling on the bigger stuff before it was time to do the daily grind again.
God, we bloggers sure do know how to make work for ourselves, don’t we? 😉
Joel: Believe me I can fully understand what you are saying here, as I can sympathize with Tony’s need to take a break. Otherwise neither of you would really want to continue under the demands of this racket. Tony is continuing to post at FilmsNoir.net, but he’s laying low on the comment front here and everywhere else, which again is not only understandable but advisable if one is to maintain their sanity.
I understand your need for a sabatical, and I am completely in agreement with your plans to scale back at WitD to a 21st Century post every other week. We are grateful to have them at all, and while of course I love the weekly gig, every other week is also fine by me. Yeah, I also lament the need to cut down at LOST IT AT THE MOVIES, which just launched a short while ago, but if the break is what is needed to recharge the batteries and deal with the projects at hand, this is what must be done. I agree with your projected time frame anticipation, as yes, June and July are the months things start to heat up, literally and figuratively.
Keep in mind Joel though, that Allan’s final BIG project will be his Top 100 of the 2000’s, which again he has all written up and ready to begin on April 8th. That will run till mid July. After that, Bob Clark has volunteered to chair a massive science-fiction polling, knowing full well the work that will entail, but again it will be a polling of all the readers as to the greatest sci-fi films ever made. We need to discuss the parameters of this of course.
In any case, you must do what is necessary to stay aflost Joel, and your game plan seems sound.
Music, theatre, opera, literature, politics, food, philosophy, sports are all fair game here, and Joel is not third party, but is part of the WitD staff, even while he maintains some of his own blogs.
My bad!
Okay, then! Basically, I think that all money is bad for artistic expression, but that private money is vastly worse than that from the public purse. It is a change of dynamic. Success ceases to be measured in artistic terms and becomes about return on investment and other such metrics. Equally, it corrupts. If you can earn millions from a picture, the temptation is to pursue those millions rather than to make great art. Hence, we get copious product placements, characters that can be turned into toys, commercial partners, music album tie-ins, etc. Its revolting (and that comes from someone with a great deal of affection for James Bond!)! 😉
There’s more, but I will pause again here!
Also just wanted to say that my three tips for blogging endurance are (1) to always write less than you feel that you are capable of, (2) if a subject is not interesting for you any more, drop it without remorse, and (3) try to keep a buffer of posts in the kitty so that you are not trying to write with a view to publishing immediately afterwards. I have looked to follow these tips for quite a few months now and I feel that it has worked well for me!
Longman,
Fair points – though when I’m thinking of private money, I’m thinking more of nonprofits, individual investors, etc. That’s not quite the framework now but I think it could be as the costs of making a film go down and the market opens up somewhat with the internet. The industrial framework can be hell, for sure, though obviously a lot of great films have squeezed through the cracks too.
As for posting, I always want a buffer but I can never get very far ahead of myself. That’s one reason that for a year and a half I’ve been talking about doing a “great films” series but never had the time to get started (another reason is that it takes so long to re-watch films in preparation for that). Another series, on Wind in the Willows, has been on my mind for over a year and I’ve gotten no further than re-reading the book, twice! Hopefully this sabbatical gives me the breathing room I need to tackle these goals finally.
Sam,
I responded to your comment on my disappearing pictures saying that it seemed fine on my end and then I discovered a problem with one or two other posts.
It doesn’t seem permanent in that if you refresh the page they come back but it is odd and I will look into it some more.
Thanks.
Thanks for the response Stephen. Now on a different school computer in another building (where I am now) I can see the caps. Bizarre. Maybe it was that other PC that was causing the problems.
Wow Sam, you sure had a jam-packed weekend. Seven movies and then some opera… that’s some achievement by any given standard!!! And here mortals like me are struggling to make ends meet by watching a few movies here & there 🙂
And my heartiest congrats to Allan. As you rightly pointed out, his silent film countdown would rank among the annals of such towering cinephiliac achievements as, well, his other countdowns for WitD. The only competition for him really is his own self, he’s that far ahead of the pack!!! And he must be a very happy man because English test player Paul Colingwood has learnt to hit a few sixes as he showed in today’s IPL match 😉
Anyway, here’s what I saw last weekend:
1) Atonement – a dizzying achievement from technical standpoint. The acting however didn’t impress me much.
2) Climates – another laudable, deliberately paced movie from Turkish auteur Ceylan whose Uzak I loved.
3) Hirer Angti (The Diamond Ring) – the brilliant debut feature by one of my favourite filmmakers, Rituparno Ghosh. In fact at least a couple of his movie would rank very high among my favourite movies of 2000’s, and hence would request Allan to explore before finalising his final list for the upcoming countdown.
Shubhajit:
While I sometimes have weekends like this, to be honest I’d rather not most of the time, as it’s foolishness incarnate, and serves little purpose than to publicly “brag” on this blog. Most people are no doubt laughing at the “old fool” or are saying rightfully: “Get a life Sir.” It’s really an uncontrollable management of a severe case of OCD. Allan knows this well.
I love ATONEMENT exceedingly, and had it as my #1 film of 2008, if you can believe that. I though Vanessa Redgrave’s master-class of acting near the end was matched by the two leads. So we are apart here, which is rare, but understandable, as I know others I greatly respect who feel the same way.
I completely agree with what you say there on CLIMATES, and also hold the director in high esteem, but I haven’t seen THEDIAMOND RING, sad to say.
Finally, what you say there about Allan being in competition “with himself” is quite true. When one comes to a blog (any blog) with the ammunition he has in every single facet film going and reporting–with that incomparable focus day in and day out–well, the results are obvious. Thanks for the exceeding kind words for him. I hope he responds to you on Paul Colingwood, especially since he is a big sports fan too.
Thanks as always for the splendid wrap!
I would also like to join the chorus here in commending Mr. Allan Fish for his remarkable silent movie countdown. I understand he wrote these reviews beforehand, but that’s no less startling. I would venture to say that what he did here is comparable to teaching a film course on the silents online. And it’s free!
Sam, what you did over the weekend is beyond words. Some of our teaching colleagues can’t understand how this possible with five kids, but you go the extra yard by having them as part of your plans. If you still have the energy I say go for it. I am really excited to see the animated film above all the others. Sounds like Atilla was another great operatic staging at the Met.
Typically superb response Frederick, and in behalf of Allan (who is often bashful) I thank you for your compliments. Allan’s achievement can never be overestimated, and if many join in, it’s really well-deserved. Knowing him quite well on a personal level, through many phone conversations and his two visits over the last three years to the Juliano household, I watched him churn out full reviews within forty minutes, never uses any reference at all, relying on information stored at the top of his head. Few can manage this feat, here or anywhere else. To have this kind of a portfolio, at this level of quality is simply remarkable as many here have attested to.
Yes, the moviegoing has been unbelievable this week, but next week I’ll take a break! Ha!
My movie watching has still been limited to noir-related things, as time has been tight and I’ve had my usual March Madness related marathons that will come to a close next weekend. Also, I have been going back through the HBO ROME series after acquiring the box set of the second season. I am rewatching the first season before I finally get around the watching the second. I’m sure that it’s history is dubious at best, but it’s damn entertaining stuff!
And thanks to Sam, I’m also getting ready to watch a film that he piqued my interest on recently – Dieterle’s THE LAST FLIGHT. I’m really looking forward to it!
Dave, I can’t wait to hear what you say on THE LAST FLIGHT, though I think I do know the answer. It’s really the type of film you almost always praise, but we’ll see. I also think the history is dubious in the ROME series, but it is indeed exceedingly entertaining, a fact Allan and I have discussed on the phone.
The noir countdown is proceeding ahead with focus, great taste and authority. I can well understand the dominance with noir related stuff! I can well imagine or think anyway of how it may go! it’s exciting.
Hey Sam. I spent this week (as I have the last few) trying to complete 8 months worth of house projects, with some pretty decent success. So that’s worth something. I hope to get a post up here and there before I leave.
Tricia and I finally decided to sit down and watch a movie to relax, and we went with THE INFORMANT, which we found funny and entertaining, with Matt Damon carrying the film and a quirky, hilarious soundtrack from Marvin Hamlisch. ***1/2.
I am trying to get a jump on the 2000’s by watching a few films I’ve had sitting in the queue. This week I saw THIS IS ENGLAND and L’ENFANT. Both films were great, with Meadow’s film providing a low-key Scorsese vibe and the Dardenne Brothers providing their typical neorealist transcendence. **** for both films.
Troy: Best of luck for continued success with the house projects! As I’ve stated, I know how important your trip to China is. It will always be regarded as one of the greatest moments of your lives, and I would really love to see the pictures and read the diaries if you do go in that direction, as I’m rather sure you will.
God, I never cared all that much for THE INFORMANT, as I’ve stated on these threads, but I’ve lived to regret it, as a number of bloggers I greatly respect (yourself included) have been fairly impressed. But it’s good that Tricia and yourself agreed.
I loved the Dardennes film and THIS IS ENGLAND, and your short summary is quite pefect if I may say so!
Please keep me abreast on things Troy.
Sam – I love your description of my latest post and your (perhaps intentional) muddling of the film’s name…Snakes in a Hot Tub indeed!
Over the weekend, I saw, of course HOT TUB TIME MACHINE — **1/2 (funny if that’s exactly what you want)
On DVD I saw:
BARCELONA– *** Doesn’t qiute match METROPOLITAN, but still great dialogue and scenery from Stilman
THE LODGER — **** Loved it! I don’t know why I avoided this Hitchcock silent film for so long.
Flame & Citron — ***1/2 — I liked how they combined the gangster and war film genres, but though well made, this wasn’t as entertaining as Verhoeven’s BLACK BOOK.
Paranormal Activity — * –Pointless, un-scary, borderline laughable gimmick flick. At least Blair Witch had some fun creating its own mythology.
Yes David, I’ll admit I was being mischievious there! But your mock title was too hard to resist! Sounds like we have another 2012 on our hands here, in the sense that it’s another relatively mediocre to bad movie that has a good laugh quotient. I’ll definitely be taking a look at your review.
I liked PARANORMAL ACTIVITY more than you, but to be honest I’ve really forgotten about it, so that should say something. I’ll admit it was a long, long buildup, which many foundly deathly dull.
I completely agree with your strong opinion of FLAME AND CITRON, which did indeed blend those two genres you mention. The performances were quite good too. Dave Hicks loves this one quite a bit too, as does Troy I believe. As far as BARCELONA and THE LODGER, I am tooth and nail with you down the line on what you say here for each.
As always, a superb and much appreciated wrap David!
I have plans to see How To Train Your Dragon tomorrow night. I’ve heard great things everywhere.
David: I wound up seeing it myself a second time last night with Dennis and four of the kids, this time in 3D. While I appreciated the technical enhancement, like my experience with AVATAR, I was just as impressed with the 2D, which never drew attention to anything but the story and the basic animation. The 3D is not inferior, but it’s really no major improvement. I’d love to hear what you think.
Yet again I’m one of the last to post on this thread, but nonetheless am very grateful to Sam for the mention and the links to follow up. I’d like to join the congratulations to Allan for the superb “almost silent” countdown – I’ve only commented on a few because I’ve tended to restrict myself to talking about those I’ve seen, but I’ve enjoyed following the reviews right through and will be using them as a guide to silent films to watch in the future. The film which absolutely blew me away this week was Vidor’s ‘The Crowd’ – one I will definitely return to.
Hey Judy! There’s no deadline here (LOL) so no problem. I’m frankly surprised that the action is mostly concentrated on the first day of this thread. Yes, Allan’s countdown deserves all the praise it’s been winning, and I also find this list as an invaluable resarch tool. As far as the masterpiece there by King Vidor, well I will with you lock, stock and barrel. Thanks as always Judy for your much valued support and insights.