by Sam Juliano
The collective consciousness these days seems acutely focused on that maddening but joyously frantic annual tradition known as “Christmas,” a time when nerves are frayed, wallets are emptied, and road traffic has achieved that wonderful state of suspended animation known as “gridlock.” Yet aside from these relatively minor concerns, there’s some excitement in the air, some vacation time at hand, and the prevailing opinion that “Yes Virginia, there is a Santa Claus!” When the pressure does get the best of you, just sit back, unwind, and head over to Laurie Buchanan’s Speaking From the Heart, a place that will allow and encourage you to apply some perspective and a calming influence to both cope with and be enriched by life’s experiences, even in the most trying circumstances. As always the holiday season unfailingly inspires cultural awareness, which invariably translates into a busy schedule for indoor venues, especially with plummeting temperatures in the northeast and midwest regions, and for those with the movie bug, it’s a time to engage in that often exasperating yearly venture of putting together the “ten best list.” Yeah, it’s arbitrary and subject to immediate alteration the very next day, but it allows some of us to stand up on our soap box and tell the world why they’re right (or wrong) and to categorize what we reckon were the most special indoor moments of the past ten months.
Speaking of “lists” and “awards” the dazzling performance of David Fincher’s The Social Network is most impressive, and it has rendered the Academy Awards as (once again) a very predictable affair. The NY Films Critics, Los Angeles Film Critics and Boston Society of Film Critics have all checked in, and I urge readers to head over to Craig Kennedy’s Living in Cinema to learn all the specifics. Greats posts, fantastic comment threads!
http://livingincinema.com/2010/12/12/la-film-critics-predictions-2/
The animation countdown has reached the the stretch run, and Brit Stephen Russell-Gebbett has proven why he’s one of the net’s most audacious writers with another run of diverse selections and some magnificent analytical and descriptive qualifications. The top ten will surely inspire many readers to treat themselves to some holiday DVD perks.
Otherwise, the past week at Wonders in the Dark offered up an assortment of posts from the Usual Suspects, which means extraordinary film essys from Jim Clark, Jamie Uhler, Joel Bocko and Bob Clark. Even with the flu bug making a last ditch stand at Allan Fish’s Kendal UK residence, “The Fish Obscuro” series remains one of the blogosphere’s most distinguished continuing accomplishments from the man who has watched more films that anyone on earth, and is filmdom’s most eloquent and prolific contributor. And then there’s indominable Dee Dee, who returned from a brief sojourn to post a hugely popular interview with renowned writer and celebrity Michael B. Druxman, who himself appeared at the site to extend his thank you to all.
The past week was one of the busiest I’ve ever navigated since I co-founded the site, but as always I have mixed feelings about the ultimate value of such maniacal activity. As always, such a burst of theatrical attendance is (in large measure) inspired by a film festival, which in this case in the two week Toru Takemitsu Festival at the Film Forum, that so far has given me opportunity to watch 14 Japanese films, 10 this week, and many supreme masterpieces of the cinema. My intent is to take in 4 or 5 more before the festival ends on Thursday, December 16. In any case, with the Takemitsu retrospective running full tilt, I was only able to squeeze in a rather forgettable off-Broadway play at Theatre 80 on St. Mark’s Place on Monday evening (December 6) and the weeks’ showcase event for my family and I was a Christmas sing-a-long, stage show and giant-screen showing of the 1970 musical Scrooge, a British film starring Albert Finney as Scrooge and Alec Guiness as Marley. As Lucille has found out the hard way, I’ve been singing “Thank You Very Much” all week before and after the well-attended screening of a film that over the years has experienced a well-deserved upsurge in reputation. The kids enjoyed the sing-along (which comprised song lyrics to be projected on an overhead screen) and the wonderful werlitzer organ accompaniment by veteran Wayne Zimmerman, dressed in full Santa garb. Attending the holiday spectacular were cousin Robert McCartney, brother Jeffrey McCartney and friend Bob Leap, and their daughter Emily, Broadway Bob Eagleson and his mom Stephania, and my entire brood of 7. We enjoyed a pre-event dinner at the local Coach House diner/restaurant in Union City.
At the Theatre 80 on St. Mark’s Place, onMonday evening Lucille, Bob and I took in Adam Rapp’s 90 minute stage play Ghosts in the Cotonwoods, the most recent production of the ‘Amoralists’ which was undeniable brutal and eye-opening and some shocking full-frontal nudity, but the story – On the night of a terrible storm, a single mother and her younger son await the arrival of the older son, who has broken out of prison. Two others arrive before him: a stranger with a wounded leg and a girl with a suitcase. Nothing will ever be the same – winds up offering little drama and wears thin well before the bizarre denouement. Shock value has limited staying power, and this work is proof parcel.
Then there is the bevy of Japanese films seen at the Film Forum night after night, day after day, that yielded (as already known) a quintet of five-star masterpieces of the cinema – Pitfall, The Face of Another, Samurai Rebellion, Harikiri, and Ran, while the remaining features were worth seeing even with one rather unsatisfying work by Yanagimachi, and two fair enough films that offered nothing different or special, Ichikawa’s Alone on the Pacific and Shinoda’s Pale Flower. Kobayashi’s Kwaidan falls barely short of masterpiece status at four-and-a-half, while Shinoda’s Silence is a solid often harrowing work at four stars. Although I am still busy piecing together the Ozu wrap-up, I do plan on dealing with this Takemitsu Festival some time afterwards.
Teshigahara’s “The Face of Another” ***** (Tuesday) Takemitsu Festival
Shinoda’s “Chinmoku” -Silence– **** (Tuesday) Takemitsu Festival
Shinoda’s “Pale Flower” *** 1/2 (Wednesday) Takemitsu Festival
Teshigahara’s “Pitfall” ***** (Wednesday) Takemitsu Festival
Yanagimachi’s Himatsuri *** (Thursday) Takemitsu Festival
Ichikawa’s Alone on the Pacific *** 1/2 (Thursday) Takemitsu Festival
Kobayashi’s Kwaidan **** 1/2 (Friday) Takemitsu Festival
Kobayashi’s Samurai Rebellion ***** (Friday) Takemitsu Festival
Kobaysahi’s Harakiri ***** (Saturday afternoon) Takemitsu Festival
Kuosawa’s Ran ***** (Sunday afternoon) Takemitsu Festival
Neame’s Scrooge **** (Saturday night) Jersey City Loews Movie Palace
The blogosphere is one thriving place as the holidays approach:
Crystal Lake, Illinois holistic practioner Laurie Buchanan is a gem of a lady, and Speaking from the Heart is an ever-popular stop for so many wishing to share life’s experiences and to sustain positive world views and mainstain optimum physical and mental health. Her present alphabetical series takes on the components to the goals head-on with a consideration of “T is for Time”: http://holessence.wordpress.com/2010/12/12/t-is-for-time/
John Greco has reviewed two holiday classics (one a venerated standard) at Twenty-Four Frames, with his typical attention to history, production and artistry. No blogger celebrates the holiday season with his kind of gusto on all fronts quite like John: http://twentyfourframes.wordpress.com/2010/12/11/a-miracle-happened-on-34th-street-and-5th-avenue/
And at John’s second site, Watching Shadows on the Wall, he offers up some breathtaking photography from his recent New Mexico trip: http://watchingshadowsonthewall.wordpress.com/2010/12/10/my-photography-more-from-new-mexico/
Tony d’Ambra has FilmsNoir.net is featuring a fascinating post at his popular altar of film noir on “James Gunn’s ‘Deadlier than the Male: Psychology of the Femme-Fatale.” It’s truly an essential post: http://filmsnoir.net/film_noir/deadlier-than-the-male-the-psychology-of-the-femme-fatale.html
Troy Olson has announced the winner of his director’s poll, and it’s none other than French master Robert Bresson, one of the cinema’s supreme artists. Troy has also promised to feature the #2 finisher (Powell and Pressberger) prominently in his review plans, noted at Elusive as Robert Denby: The Life and Times of Troy: http://troyolson.blogspot.com/2010/12/and-winner-is.html
Great things have begun at Hugo Stiglitz Makes Movies where Kevin Olson has officially launched his Ken Russell series with a lengthy and brilliant piece on one of the British helmers’ most adored films, Women in Love. For Russell fans this is cinematic nirvana: http://kolson-kevinsblog.blogspot.com/2010/12/ken-russell-women-in-love.html
Marilyn Ferdinand has penned a highly-original and eye-opening comparison review on Frank Capra’s 1937 Lost Horizon and Casey Affleck’s 2010 I’m Still Here at Ferdy-on-Films: http://www.ferdyonfilms.com/?p=7380
Animation guru Stephen Russell-Gebbett continues to raise the bar no matter what he writes and no matter where it appears. His latest master-class essay on whether or not films need music has inspired a marvelous comment section at Checking on My Sausages: http://checkingonmysausages.blogspot.com/2010/11/do-films-need-music.html
Our beloved Dee Dee is back at Darkness Into Light with a post promoting and celebrating the Film Preservation Fundraiser being coordinated by Marilyn Ferdinand, Greg Ferrara and The Self-Styled Siren. It’s thrilling to have Dee Dee posting there again!: http://noirishcity.blogspot.com/2010/11/for-love-of-film-noir-for-love-of-films.html
For the second time in three weeks, the exceedingly-talented Samuel Wilson has authored a brilliant and comprehensive essay. This time he aims his focus on the misrepresentation, exploitation and historical significance of Roberto Rossellini’s Open City, opening up a new window after reading a celebrated volume by author Tino Balio: http://mondo70.blogspot.com/2010/12/open-city-1945-and-foreign–film.html
Wellman fans rejoice! Judy Geater has returned to her favorite subject, with a deftly written essay on The Robin Hood of El Dorado, a 1936 feature starring Warner Baxter, which has not as of yet received a DVD release. It’s leading the way at Movie Classics: http://movieclassics.wordpress.com/2010/12/05/the-robin-hood-of-el-dorado-1936/
Filmmaker, movie fan and statesman extraordinaire Jeffrey Goodman continues on his mission to examine the films that eluded him while engaging on his great past project of looking at every year in cinema. This week he looks at masterworks from Ozu, De Sica and Ford, among his most recently viewed quartet, providing each (as well as with Hustle & Flow) stellar capsule appraisals at The Last Lullaby: http://cahierspositif.blogspot.com/2010/12/favorite-four-part-seven.html
Jaime Grijalba offers up some stellar insights on two of the cinema’s greatest auteurs, Japanese humanist Yasujiro Ozu and Spanish satirist Luis Bunuel in a most fascinating post at Exodus 8:2: http://exodus8-2.blogspot.com/2010/12/dos-ultimos-suspiros.html
In his superlative essay entitled “Crazy White People” David Schleicher has penned some strong reservations for Claire Denis’ White Material is a no-holds-barred review at The Schleicher Spin: http://theschleicherspin.com/2010/12/10/crazy-white-people/
Coffee Messiah Michael Harford has a most worthy “Mail Art Call” up in leading position at his blogsite, one with a misleading date, which will make sense when you read the feature: http://coffeemessiah.blogspot.com/2010/12/mail-art-call.html
Craig Kennedy’s Watercooler post is an exciting place to be, particularly at this time of year. Head over to Living in Cinema!: http://livingincinema.com/2010/12/12/watercooler-coens-have-grit-wahlbergs-the-fighter-opens-strong/
Terrill Welch and her husband David are on holiday break at the wonderful Creativepotager’s blogsite, and the pictures tell a loving story. The tireless Terrill, busy on every front deserves a respite, if not for anything else than to oversee the sale of here beautiful paintings: http://creativepotager.wordpress.com/2010/12/10/tis-the-season/
Jason Marshall as per the norm has penned a dynamic piece at Movies Over Matter on the Oscar hopeful The King’s Speech, which he admits is “formulaic” but still exceptionally-made: http://moviesovermatter.wordpress.com/2010/12/11/the-kings-speech/
At The Seventh Art JAFB has penned a revealing and fecund capsule on a Mandarin film compromised by government influence. The film is titled Tangshan Dadizhen (2010) (Aftershock): http://theseventhart.info/2010/12/12/ellipsis-23/
At Cinemascope Camile White appears for Shubhajit to discuss the career of Sylvain Chomet and the critically-praised new release, The Illusionist. It’s great stuff: http://cliched-monologues.blogspot.com/2010/12/tragic-brilliance-of-sylvain-chomet.html
In a semi-regular series at Only the Cinema Ed Howard takes a look at the band ‘Rollerball’ with his typical brilliant powers of insight and appreciation, not to mention one of the net’s most respected writing talent: http://seul-le-cinema.blogspot.com/2010/12/thursdays-track-two-by-rollerball.html
Jason Bellamy has penned another of his standard gems with his stellar essay on Olivier Assayas’ 319 minute Carlos at “The Cooler”: http://coolercinema.blogspot.com/2010/12/devil-in-details-carlos.html
Kaleem Hasan offers up an enthralling mix of reviews, trailers and cultural features at his spectacularly-popular blog, Satyamshot: http://satyamshot.wordpress.com/
At Cinema Styles a recent post by Greg Ferrara on the “disaster film” and its sequel has generated quite the discussion, which is typicla for this popular site: http://cinemastyles.blogspot.com/2010/12/it-occurs-to-me.html
The Film Doctor has officially checked in with his “Ten Most Disliked Films of 2010” at his always-fascinating haven for true cineastes: http://filmdr.blogspot.com/2010/12/film-doctors-10-most-disliked-films-of.html
Our Candian friend J.D. at Radiator Heaven is highlighting an impressive essay on 1983’s Untamed Heart: http://rheaven.blogspot.com/2010/12/untamed-heart.html
At The Blue Vial Drew McIntosh has displayed some arresting Hitchcock screen caps in his continuing mission to present cinema by way of images:
http://thebluevial.blogspot.com/2010/12/scenes-from-career-9-alfred-hitchcock.html
Documentary specialist Dan Getahun’s newest “Taking It Home” review is a superb essay on the critically-praised Inside Job at Getafilm: http://getafilm.blogspot.com/2010/12/taking-it-home-inside-job.html
Adam Zanzie has authored a truly brilliant and exhaustive essay on the Coens’ True Grit, that even after many others have seen it may still set the bar. It’s an Icebox Movies exclusive folks!: http://iceboxmovies.blogspot.com/2010/12/will-you-be-offended-by-true-grit.html
Our friend in Tokyo, “Murderous Ink” has penned an utterly brilliant essay on a “Japanese World War II propaganda film” from 1937, The Fighting Soldier, at “Vermillion and One Nights.”: http://vermillionandonenights.blogspot.com/2010/11/exhausted-soldier.html
Anu in involved with a special film project called Metanoia, and he’s asking for some help while providing some links at The Confidential Report: http://theconfidentialreport.wordpress.com/2010/11/29/metanoia-needs-help/
At Doodad Kind of Town, our good friend Pat takes a close look at two films that star ‘Jennifers’ – Lopez and Anniston. It’s a creative piece that examines common ground in both: http://doodadkindoftown.wordpress.com/2010/10/02/whos-your-daddy-a-tale-of-two-jennifers/
R.D. Finch has penned a first-rate review of one of Satyajit Ray’s greatest masterpieces The Music Room at The Movie Projector: http://themovieprojector.blogspot.com/2010/12/music-room-1958.html
Hokahey gathers together excellent reviews on The Tourist, Love and Other Drugs and the new Narnia installment at Little Worlds: http://hokahey-littleworlds.blogspot.com/2010/12/one-out-of-three-love-and-other-drugs.html
Jale Cole at Not Just Movies has penned another top-rank essay (what else is new?) this time focusing on Ricky Gervais’ and Stephen Merchant’s Cemetery Junction: http://armchairc.blogspot.com/2010/12/cemetery-junction.html
At The Continuing Saga of Jeopardy Girl, the fecund Candian has posted a 2005 interview with venerated critic Roger Ebert entitled “Why Film Criticism is Important” recorded a short time before the Pulitzer-Prize winner lost his voice. It’s a marvelous talk: http://jeopardygirl.wordpress.com/2010/12/11/ebert-on-why-film-criticism-is-important/
- Tatsuya Nakadei in Kobayashi’s masterpiece “Harakiri” screened at Takemitsu Festival
Thanks for the plug, Sam. I’m battling a cold now, but I will fight on and produce a piece on THE DEVILS (hopefully) by Wednesday.
Now that school is out, I can catch up on a TON of 2010 movies. Here’s what I watched this weekend:
Easy A (B+) – a really nice performance from Emma Stone in a film that sees high school students as something more than just ditzy, vacuous, sex-crazed morons. Reminded me of ORANGE COUNTY that way.
Machete (B+) – Better than THE EXPENDABLES in terms on nostalgia driven action pictures. I still can’t stand CGI blood. Always good to see Seagal and Jeff Fahey in movies…now if only someone can make a movie with all of those C-grade action stars like Jeff Speakmen…
Splice (B) – A really good, creepy sci-fi flick. Good performances, too.
Inception (B) – Still have major problems with Nolan, but he makes perfectly capable summer action films; this one is no different, but there wasn’t a Heath Ledger performance to make it seem better than it really was.
Best Worst Movie (C+) – Interesting if you’re a fan of bad movies, but this expose on the cult following of TROLL 2 is only half-good. Disappointing since this seemed right up my alley.
Lots of good movies to watch this next week including Russell’s 80’s output. Whew. Busy week.
Oh, and Go Ducks! Hehe.
Geez, you too Kevin with a cold to battle though? It’s been a dire season for this malady. I hope you are feeling a bit better now.
Yes, this is the time to play catch up, and to size up the year’s finest movies, either in theatres or at home. I am with you on that rating for EASY A, though I’ll admit I’ve pretty much forgotten it by now. Emma Stone’s performance was indeed the most memorable component.
I still haven’t seen MACHETE, though your appraisal is in line with what I’ve read on it. I did like SPLICE, and found it quite moving, but at the time I made reference to it on a previous diary after it’s theatricla release it seemed a number of bloggers had some issues with the screenplay. But yeah, creepy and atmospheric!
I’ve always had problems with Nolan too, and was in the minority with MEMENTO and THE PRESTIGE. I’m also in the B range with INCEPTION, and found it simultaneously brilliant and frustrating. I know some think it’s a masterpiece though.
I am not sure if I read a review of BEST WORST MOVIE at your place or Troy’s, but the essay was most impressive. I haven’t seen the film yet.
I admire you for your deep love for the Ducks, and as a result I am rooting for them. Yankee fans in these parts, by the way, are in mouring today after the unexpected loss of Cliff Lee, who signed on -unexpectedly- with the Phillies. There’s one instance where a great deal of money was ignored.
Before this day is over, I’ll be over to carefully examine what appears to be a towering review of Russell’s WOMEN IN LOVE. Like others, I am salivating for your treatment of the director’s greatest film, THE DEVILS.
As always thanks so much my very good friend!
Wow Sam, just reading about your cultural activities exhausts me. How you do it and still find time to work, write, and comment on numerous blogs eludes me, but I think we’re all better off to have you active in the blogosphere.
While much of the country has been struggling with inhumanly cold temperatures, we here in Los Angeles are enjoying temperatures in the low 80s — not to rub it in or anything. I’m still recovering from the Las Vegas marathon so I haven’t been able to take advantage of the warm weather to run, so I’ve been going to the movies. I saw:
WHITE MATERIAL: This one’s tough. Sam, I know you were a big fan of this one, but I don’t share your enthusiasm. There was a lot of great stuff in it, but I’m not sure what I was supposed to take away from it. I wish it had focused more on Huppert’s stark performance.
BLACK SWAN: I’ve already written the review so you will know what I think in a couple of days.
RARE EXPORTS: A Christmas horror/thriller that isn’t mean spirited, as they often are (SILENT NIGHT, DEADLY NIGHT and CHRISTMAS EVIL come to mind). As I’ve said on other people’s sites, I was grinning through the whole movie at its silliness. It’s great fun and a real surprise.
I know it has taken me forever to get through 1937 (I still have the acting to do), but I decided not to rush it. I already regret rushing through some of the earlier years. I’m enjoying the process so why not keep it going? Besides why waste people’s time with hastily written, poorly executed essays? So this may take years to finish but who cares? I’m not going anywhere.
As always Jason, a stellar, fascinating weekly roundup!
Yes, my obsession is inexplicable, and as always requires self-sacrifice to the point to insanity. The reason why I don’t write as many reviews anymore has all to do with having a full-time job, seeing so many movies, plays and operas, and spending many hours with the preparation of the diary (especially the links) and the follow-up responses on Monday and Tuesday at the very least. At this site, with Allan, Joel, Jamie, Bob, Jim, Maurizio and others (not to mention Dee Dee and Stepehn with his incredible animation countdown) going full throttle, I don’t really push on the writing front unless I am seriously motivated. With round ups on Ozu and Takemitsu and the year-end ten best post -and beyond that the musical polling that I will chair- I’d say I still have a lot to negotiate. And the blogger appreciation series will resume as well next Monday is plans go as scheduled.
Your own activity is amazing as you’ve illustrated here with the film going, physical activity and traveling!
I nearly saw RARE EXPORTS this past week, but was too occupied with Takemitsu. Your own reaction here has bolstered my resolve though. I know WHITE MATERIAL was not everyone’s favorite Denis, but I found it’s social context fascinating and some of the imagery arresting. I can’t wait to read your review on BLACK SWAN, and I am speculating you will issue a strongly favorable essay. I’ve stated my issues here, but I know many have been ravished.
Great that someone is having very good weather. It will drop below 20 tonight from what the forecast portends, and I’ll be braving it all to attend a 9:40 P.M. screening of Oshima’s EMPIRE OF PASSION, with site reader and commentator Jason Giampietro.
Seeing movies is an excellent way to unwind and recover from the marathon!
I’ll be checking out your summary posts on the performances of 1937! It’s been a great ride there my friend!
Wow, Sam, what a busy week you’ve had again! Many thanks for the plug, though I can’t imagine how you found time to post all these links on top of everything else. I’m getting into Christmas frenzy mode now so haven’t had time to watch much this week – just two old movies.
The first was ‘Lone Star’ (1952), a Western directed by Vincent Sherman, which I found a bit of a disappointment, despite starring Clark Gable and Ava Gardner, as it is very slow and gets bogged down in endless long political discussions.
The second was yet another not-on-DVD Wellman, the romantic comedy ‘Small Town Girl’ (1936), starring Janet Gaynor, Robert Taylor and a very young James Stewart in a supporting role – I really enjoyed this one and think it is fascinating to see how it shows the way forward to Wild Bill’s two great films of 1937, ‘A Star Is Born’ and ‘Nothing Sacred’. Hastening to add that it is nowhere near as good as either of them, but does have things in common with both – anyway I will hope to write something about all three of these romantic Wellman movies before too long, Christmas permitting!
Aye, Judy, I really have to juggle things to fit everything in, and now with the holidays upon us it will be doubly, even triply difficult. The weather in these parts has at least kept many indoors to watch stuff and perhaps to write. Lucille, Bob and I braved the frostbite last night to attend “An Evening with Leslie Caron” at the Film Forum, where teh famed 79 year-old actress engaged in an interview in front of a sold-out throng, and many priceless clips from her films were shown on the big-screen. Caron (she insists the name should be pronounced “Karen”) related some fascinating anecdotes and signed copies of her new book “Thank Heaven” in the lobby afterwards.
When you mentioned LONE STAR here I was thinking of the John Sayles film (ha!) but I am sorry to say I haven’t yet watched the 1952 film you astutely describe. Seems like I’m not missing much. But I will gleefully look ahead to your review of yet another Wellman, especially with your compasrisons to those two classics! Yeah, Christmas makes things hectic, but you’ve performed magnificently with this series right along!
Thanks so much for the terrific wrap my great friend!
As always, thanks for the mention, Sam. My True Grit piece isn’t an official review of the Coens’ remake–it’s mostly a collection of thoughts and reservations I have over the Charles Portis novel and the original Henry Hathaway film–but having just seen the new film (at an advance screening) after making the post, I do plan an official review of the Coens’ remake. I might write it early and then wait ’till the official opening day to post it along with all the other critics reviews of the film that will undoubtedly go into circulation on that day.
Aye Adam, I did see that, but I was under the impression you were going to use this still-fascinating piece as an example of a different approach. No matter how you judge it, the feature is extraordinary. The fact that you are planning a follow-up is fantastic! I will be watching! And the Spielberg blogothon is almost upon us! Very exciting! Thanks as always for stopping in my friend!
Sam – you’ve more energy than I can muster in a week for all those events you continue to attend.
and Thanks for the mention.
Heigh Ho – Cheers!
Yes Michael, it’s energy, but in wats it’s still foolhardy as some others I greatly respect have opined. In any case this particular festival is winding down, with this coming Thursday as the last day.
Thanks as always Michael, for the comment here and for what the mailman brought to me today! Ha! You are quite a guy!
Sam,
Thanks again for the double plug! You have been going full tilt on attendance with the Toru Takemitsu Festival. I salute you on perseverance alone. I am only familiar with Kurosawa’s RAN but it looks like quite a list of works. “Scrooge” is one of my favorite versions of the Dicken’s classic and Finney makes a great Ebenezer.
Down South here, as we have an arriving cold front that is currently blowing its way in (I hear the hawk howling as I sit here typing). I spent the two day weekend (with the assistance of my wife) photographing pets with Santa (at Petsmart) raising funds for the cat shelter we volunteer for. This is the fourth year we did it and it’s always a lot of fun. We even had a family of five come in with no pet to get a family photo. We did get to a movie on Friday seeing THE TOURIST (**1/2), skim milk Hitchcock with 21st Century star power and beautiful European locations. Light piece of fluff, entertaining and easily forgettable as you walk out the doors. Jolie would have made a nice Hitchcock heroine. Depp adds another offbeat character to his catalog, as the befuddled American tourist of the title.
Miracle on 34th Street (George Seaton) ****1/2 – Classic holiday fare. One of those films that I try to watch every year at this time. Natalie Wood was an adorable child. Edmund Gwenn is the perfect Santa and why not…isn’t he the real Kris Kringle?
Imagine: John Lennon (Andrew Solt) **** the first time I saw this film was at the Sutton Theater on 57th Street back in ’88. So much of Lennon’s life was recorded either professional or personally, director Solt was able to recreate a full biographical look at his short life. Plenty of interesting behind the scene footage, one of my favorites is of John doing a vicious bluesy version of “How Do You Sleep?” with George Harrison playing slide guitar.
23 Paces to Baker Street (Henry Hathaway)*** Decent enough but on the whole an average suspense movie that required more of a Hitchcock touch than studio director Hathaway could provide. I wonder if playwright Frederick Knott who wrote WAIT UNTIL DARK saw this film. If he did, the influence is evident in the film’s ending.
Dial M For Murder (Alfred Hitchcock)**** Hitchcock refused to “open up” this one set play when he brought it to the screen yet still managed to make this film visually a stunning work. Excellent performance from Ray Milland as the suave but determined husband set out to revenge his wife’s cheating. I have to admit I keep envisioning Cary Grant in the role. The story is a well constructed, talky game of cat and mouse between Milland and police inspector John Williams. Always thought this film was a bit underrated in the Hitchcock hierarchy.
Nightfall (Jacques Tourneur) ***1/2 A menacing stylist dark low budget thriller beautifully shot by cinematographer Burnett Guffey and director Jacques Tourneur. Certainly not in the class of Tourneur’s masterpiece OUT OF THE PAST but well worth seeking out.
Yep John, the Takemitsu Festival has really taken a big chunk of my time, and what with Lucille not especially interested (as she might be with the 22 film Fritz Lang in Hollywood Festival in late January) I have mostly been on my own, save for Danny coming with me to see SAMURAI REBELLION and Andrei Scala to watch RAN on Sunday afternoon). But it’s been fantastic, and there are two very rare gems from Hani (never released on DVD) that are in line for the fest’s final day on Thursday.
I am not surprised at you and your wife’s feline kindness. You guys are superstars, and as a cat lover myself, I can really appreciate this moving gesture. I’ve avoided THE TOURIST (or simply have not had any time for it) but your reaction is just what I expected.
Aye John, Gwenn is the REAL thing! I’ve never had any doubt. And not a year passes without a showing of that DVD (in the past as you know it was always television viewings) and I see you have highlighted it-and another holiday film- at TWENTY FOUR FRAMES! The courtroom scene is one of teh cinema’s most venerated moments! And the humor with the “psychiatrist” is magnificent.
You saw the Lennon film at the Sutton, originally? Wow! I do remember that East Side theatre from my childhood, and remember seeing YOUNG WINSTON and a number of early Woody Allens there. But John, you are the ultimate Lennon fan, and I salute you for holding the torch on a regular basis at WATCHING SHADOWS ON THE WALL. Yes, it’s quite a memorable film.
I am actually in agreement with you on the Hathaway, Touneur (definitely not top-rank for him, but still impressive) and Hichcock, the latter of which I just saw two months ago at the Film Forum as part of their 3D Festival. Yes, it has always been sadly underrated, and never fails to grip. I loved, loved, loved Williams’s performance!
Stay warm John! You have the geographical advantage there to beat back the rare cold spell. Ha!
And thanks for always brightening this place up with your enthusiastic, superlative wrap of your own version of frantic sctivity on many fronts, my excellent friend!
THAT’S AMAZING!!!!!
Talk about coincidence…
TCM showed SCROOGE on FRIDAY night as part of a “comparison” line up (meaning YOU decide which version is better). The Reginald Owen starring version of the famed Dicken’s novel started the ball rolling (a good interpretaion), and was quickly followed by the 1972 musical that you mentioned above starring Albert Finney.
In all seriousness, I like all three major interpretations (lets not forget the Alister Simm version), but there is no denying that for my effections, the Finney musical wins hands down and in a landslide.
The music is wonderful (with Sam rightfully pointing out “Thank You, Very Much” as the show stopper and the heartbreaking “Beautiful Christmas Morning” tearing up the audience whenever they see Tiny Tim in the film plead for one more Christmas), the direction and choreography are tight, the production design is the closest to faithfully recreating London of the Dickensian era, and the entire cast is inspired.
However, the central performance by Albert Finney as Ebenezer Scrooge is colossal. He captures a slimy nastiness and all encompassing paranoia that the others that have ever played the part sorely lack. Scrooge, described by the author, is a man who not only hates humanity for the heartbreaks he brought onto himself due to his hysterical greed, but himself for allowing his personal misfortunes to get the best of him. As played by Finney, the actor captures every nuance and greasy filthy physical attribute of the character and makes you forget the actor playing the part in lieu of a character brought magically to life. It’s a skillful performance that sees Finney go from cantankerous old miser to young man and back in the flash of a frame swipe.
Also of mention, the final “chapter” of the film, where Scrooge confronts the last spectre is, easily, the scariest interpretaion of this ghost story. Because the director and screenwriter aren’t afraid to go all the way over to the dark side, the story’s moral arc finally finds its most prolonged impact and sees its gradual twist into smiling redemption take fullest flight. It’s a breathtakingly faithful adaptation of the novel that never skimps on the details of the original source manuscript and makes no apologies for its longer than usual running time to tell the story the right way.
Watching this film again the other night reminded me, truly reminded me, what the real meaning of Christmas is all about and, ultimately, makes me acknowledge the power of Dicken’s classic even more.
For those that have never seen SCROOGE, I suggest they look for a repeat showing of it on TCM (they presented the film in full blown 5.1 digital stereo sound and in a “letterboxed” widescreen transfer that recreates the original theatrical experience). The film is also available for rental and purchace on DVD from 20th Century Fox Home Video.
I heartily agree with Sam that this is one of the great Christmas films and, in my opinion, the finest Dicken’s adaptation after David Lean’s immortal telling of OLIVER TWIST.
MERRY CHRISTMAS!!!!!!!!
ALSO:
TCM showed ANNIE HALL last night as part of thier primetime line up and the film, although seen dozens of times by me, still has the goods to make me fall down with hysterical laughter. Watching Allen in his prime, with all guns ablazing as he delivers his one liners and sarcastic zingers with the speed of rapid machine gun fire, reminded me that there may never have been a stand-up comic make the transition to the screen as well as he did.
Scene after gloriously inventive scene is a mini-masterpiece of comic construction and timing…
The moment Annie and Alvie have their first real “intellectual” conversdation on a Manhattan rooftop, with subtitles representing what they are really thinking is one of the great sight gags in modern comedy history.
My favorite moments include:
Annie inviting Alvie over to her parents home for Easter Sunday dinner and being served Ham (complete with Allen dressed as a Hassidic Rabbi).
The animated versions of Alvie and Annie that illustrates Alvies persistance for choosing all the wrong women in his quest for love (“I’m a cartoon character for Christ sake, I can’t get my period”).
A flashback to 1940’s Brooklyn where Alvie of today wanders where his old classmates eventually wound up in life (“I used to be a heroin addict. Now I’m a methadone addict.”).
Alvie and his first wife arguing about the phonies at a cocktail party:
Janet: “That’s Herschel Kominski, he has a chair at Princeton. Oh, there’s Andrew Wyath, he holds a chair at Harvard”
Alvie: “Yeah? Really? Two more chairs and they have a dining room set.”
And my favorite gag of all in the film…
Alvie and Annie try a trial seperation and Alvie winds up in bed with a young reporter fromn Rolling stone magazine (Played by Shelly Duvall):
(April is sitting up in the bed smoking as Alvie puts on his glasses and rubs his face)
APRIL: “Sorry I took so long to finish…”
ALVIE: “That’s ok, I think Im starting to feel some life coming back to my jaw…”
That joke almost made me spit my cigarette across the room!!!!!!
There’s only one highlight to the mediocre musical version, the song “I Hate People”, which is pretty much my anthem. I remember David Thomson summed it up perfectly by saying that Finney was more misanthropic as the young Scrooge than the old.
The Alastair Sim version spits, vomits and every other bodily excretion on every other version known to man. I always dreamed of a version with Steptoe and Son’s Wilfrid Brambell and Harry H.Corbett as Scrooge and Cratchit. Pity.
versions of Dickens star ratings…
Scrooge 1935 (Hicks) ***
A Christmas Carol 1938 (Owen) **
Scrooge 1951 (Sim) ****½
Scrooge 1970 (Finney) **
A Christmas Carol 1977 TV (Hordern) **½
Mickey’s Christmas Carol 1983 ***½
A Christmas Carol 1984 TV (Scott) **½
The Muppet Christmas Carol 1992 ***
A Christmas Carol 2000 TV (Patrick Stewart) **
I won’t even mention the 2006 and 2009 monstrosities.
As for myself, the flu has taken a last stand of Alamo proportions and has decided, in full Alan Rickman sheriff mode, to “call off Christmas!”
You are too hard on the Finney Scrooge, and whether or not you’ll admit it “Thank You Very Much” is an irresistible Leslie Bricusse song that is both spirited and infectious.
Yes I do agree that no film based on A CHRISTMAS CAROL bests the 1951 Alistair Sim film, which is probably (with IT’S A WONDERFUL LIFE) the greatest holiday film.
LOL on what you say about the Alamo stand! I suspect things are getting much better for you now.
This was my take on the film Allan. Thanks for making me feel like my opinion means nothing.
Forgot you were the be all and end all on everything…
I think Allan has it right on with his ratings here. The funny thing is I only ever rewatch the “kids” versions of these stories (Mickey and the Muppets) anymore.
Wonder what Allan thinks about SCROOGED or other similar knockoffs of the Dickens’ story.
“However, the central performance by Albert Finney as Ebenezer Scrooge is colossal. He captures a slimy nastiness and all encompassing paranoia that the others that have ever played the part sorely lack.”
I am with you on this Dennis. Finney is terrific as Scrooge capturing the essence of Dicken’s character. The film is just a lot of fun. One of my favorite versions along with the 1951 Alistair Sim and the George C Scott versions.
I’d also add the animated Richard Williams ‘A Christmas Carol’ with Sim’s voice over. The Scott version and Sim ones are hard to beat. I know that Scott was in awe of Sim’s performance.
Dennis, few at this site can ever match your frenzied enthuasiam, and loquacious presentation, and I am thrilled you love the Finney version as much as you’ve admitted here. Yes, I did hear about the TCM screening, which many have availed themselves of (even those who may own the DVD) I have always liked the film, and have resisted the notion that it’s any kind of “guilty pleasure.” Rather, it’s a film that weaves it’s own kind of magic, and time has vindicated aging British composer Leslie Bricusse (who with Anthony Newley) wrote a timeless score for WILLY WONKA AND THE CHOCOLATE FACTORY. Yeah, it’s true that the score he wrote alone for the 1969 GOODBYE MR. CHIPS is lame even for those who embrace leniency, but the score for SCROOGE is fully infectious, with the centerpiece “Thank You Very Much” imposible to resist, even though it may go on and on. The Tiny Tim ballas you mention is lovely, and as our occasional “misanthrope in residence” Allan Fish notes, “I Hate People” is a hoot. “I Like Life” too is a memorable little ditty. For those who look for originality, one need not go beyond the ‘descent into Hell” sequence, which stands alone among adapatiojs of Dickens’ beloved novella.
But, Dennis, and I’ve mentioned this to you before, the 1951 A CHRISTMAS CAROL is far and away the greatest adaptation of the book, and perhaps the greatest holiday film of all-time, with one of the cinema’s greatest all-time performances at the center.
I often repeat the precious one-liners to friends. Sims delivers them like no other, and the film’s craftsmanship is utterly magnificent.
Second best would be the Owen from 1938, and third is the lovely musical version we are talking about here.
Again, you have made the “comment” an art-form of its own my very good friend!
I’m going to be the cheese that stands alone here, and state that I actually like almost all of the score for GOODBYE MR. CHIPS. In fact, I think that film is generally underrated. It’s overdue for a DVD release.
Pat: I have no problem with that at all, as I have always been a fan of Bricusse, and feel in general his music has been underappreciated. You know what? I must see that film again.
Pat–
Here we go:
All right! I know what I’m getting myself for Christmas!
I appreciate the kind words and flattery, often I just think of myself as this crazy obsessive/compulsive that cannot let a comment go without a long laboriously written retaliation.
As for which is best, well thats really up to the individual. I’ve said time and again that my top 10 favorite films are very different from the critical mass on what the ten best films of all time are. As for this debate on which adaptation of the Dicken’s classic is best, again I sday personal opinion. For me, I just feel that Finney embodies every detail (in both verbal delivery and physical presence) that Dickens wrote of in his original story. As for the film itself, I found the mix of joyous music and drama a perfect concoction and I’m no big fan of Leslie Bricusse but I find his music here, as well as his screenplay, altogether wonderful (i do adore his songs for WONKA immensely, although I prefer Tim Burtons actual film as a more faithful adaptation of Dahls book and Depp catches WONKA far more faithfully than Gene Wilder, although I do love Wilders turn).
SCROOGE just works for ME and I’ve loved this film ever since I saw it many many years back. Where I will say it trumps all of the other in the interpretaion is in the final moments involving the last spectre. No other version, in my mind is as frightening and as creepy as SCROOGE. The moment Scrooge speaks to the silent specter in the bed chamber is a moment that just dribbles fright down my spine and I always thought it was because Finney purveys a sense of knowledge as to what’s coming. He knows that THIS spectre will show him the things to come and he knows all too well where he CAN and MAY take him. It’s a wonderful moment of sacrificial release in Finney’s fine tuned performance and the aura that is created by Neame as the bells chime when the Ghost appears, hidden in the shadows of the darkened bed chamber, as he makes his first step towards the frightened miser is one of terror that is reminiscent of the old Hammer horror films of the ’50’s and ’60’s.
I love all the versions of the story (Simms is a favorite as is Mr. Magoo’s animated version) but, FOR ME, the Neame musical with Finney is MY FAVORITE…
Sam, thanks so much for the wonderful mention, and your incredibly kind words.
Your week ranks among the most impressive since I began visiting wondersinthedark. Your dedication and energy are tremendous and serve as real inspirations for all of us. The SCROOGE event and the Takemitsu festival both sound tremendous, and are exciting, even as sideline participants.
This week I switched gears and decided to take in some more recent work that I had missed. I saw: THE GHOST WRITER, SHUTTER ISLAND, BRIGHT STAR, PARANORMAL ACTIVITY, HUSTLE & FLOW, GHOST WORLD, and SEX AND LUCIA. I was glad to catch up with them all. To my surprise, I probably enjoyed the Craig Brewer film the most. If nothing else, it was nice to see an American independent film that had such vitality, and at the same time was earnest (rather than ironic), and boasted a strong directorial presence and performances.
Here’s to another awesome week. Thanks, Sam, for all that you do.
Yes Jeffrey, if I didn’t have just about the most wonderful spouse any man in the world could hope to have, I’d say it would be ample grounds for divorce (I am thinking of intonation here of Ethan Edwards! Ha) and then there is the matter of 22 Lang in Hollywood films for two weeks in late January. That will take perhaps even more determination, but at least my family will be part of the equation for some of those! Ha!
As always your words are inspirational in their own right, and I thank you for always making me feel great when reading them. I bet if you lived in NYC or the environs, you’d be in attendance for many yourself.
Yet again, you have watched a lot of diverse offerings, and talk about PROLIFIC–you have coined the term as of late, even with production work looming! Interesting that you favor the Brewer, though I can’t argue it at all. BRIGHT STAR was my favorite film of its year, and I do love SHUTTER ISLAND and have reasonably high regard for GHOST WORLD and GHOST WRITER.
I know you are very busy yourself, my very good friend, and i am always moved by your loyalty to this site, and deeply honored, I must say!
Happy Holidays to you and yours, Jeffrey!
Like you Sam, I found Black Swan an unmitigated disaster. Seems like a number of people have gone at great lengths to find things that aren’t there even by a stretch. Portman is good, but she’s fighting a losing battle.
Powell and Pressberger are turning in thir graves.
I don’t think the connection with THE RED SHOES is all that convincing Frederick, but I can certainly see why many would at least broach it. But yes, it shouldn’t be mentioned next to that classic.
Thanks as always my friend!
Sam – Where in the world did you get the energy for this past week’s whirlwind of activity? I’m exhausted just reading about it!
The Christmas sing-a-long with your entire troop — and then some — sounds like it was a blast (and continues to be so as you echo “Thank You Very Much”)…
You saw 10 Japanese films this week alone? Hula Burgers! How in the world do you keep everything straight?
Thank you so much for pointing to Speaking from the Heart. We’re coming down the home stretch of the Alphabetically Speaking series – only six more letters to go.
Laurie:
I am fueled ultimately by singular focus, which I guess has it’s good and bad aspects. When I “start” something I am restless until completion. Also, it’s rare to have some of these films offered on the big screen, so I try and put things aside to make room.
The SCROOGE event was indeed one to remember, and the most gratifying aspect is that the family had a blast, engaging in the sing-a-long and enjoying the amateur stage show that featured some fine solos, and choral work. As I mentioned to Judy (above) seeing Leslie Caron last night was another event that will be enconsed in our collective memories. I bet you’re a big fan of her too.
Your lettered series at SPEAKING FROM THE HEART is another for the record books, and it didn’t take me long to be immerses in its brilliant insights, and underlining worth. It’s truly one of your greatets accomplishments at a site where you raise the bar everytime you post!
Thanks as always my excellent friend!
You had an incredible week that’s for sure and tonight you have that Leslie Caron event, no? This kind of dedication is possible by more than just energy, and I think it may have something to do with wanting to complete what you started. re: film festivals.
I guess you can say I liked “Black Swan” a bit more than you and Fred did, but it doesn’t deserve the award mentions. I like it less than any Aronofsky I’ve seen, and it’s easy enough to see the game the director is playing here. Too bad it’s mostly surface holiday glitter. I don’t buy into the comparisons with “The Red Shoes”.
I guess the football fans in New England were dancing last night. The Jets are pathetic, and Sanchez even worse than that.
Yes Frank, I am thinking the Jets may not even make the playoffs. Meanwhile, the Giants have been coming on strong, and that Minny win was most impressive! Sanchez did indeed have one of his worst games ever.
Lucille, Broadway Bob and I did take in the Leslie Caron interview last night, and Professor Foster Hirsch (a former teacher of Maurizio’s at Brooklyn College) did a great job moderating, which the Film Forum’s projector’s offered up some marvelous clips from a number of the famed performer’s films.
I don’t really buy into THE RED SHOES comparisons either, but it seems fans are using it as a selling point.
Ans yes, its the “completism” thing that gets me every time! Ha!
Thanks as always my very good friend!
The Jets’ dismal performances the last two weeks is making their earlier close wins look more like luck.
Let’s not even talk about the Jets Joe. Please.
It’s very painful Joe, how they are falling apart, though I know New Englanders (are you there Joel?) are loving it!
Sam –
I just had to pop over and say “Thank You Very Much!” for the continuing links to my long-dormant site. Not sure what’s up today, but I received a record number of pingbacks from your site already this morning. As I am ruminating over an upcoming re-launch of the site – with a new and narrower focus – I’m especially happy to see some traffic there. Thank again!
Ah “Scrooge” – “Thank You Very Much” was a popular part of my high school choir’s annual holiday concerts – and now, it is stuck in my head!
Speaking of choir, it’s been all choir and no movies around here lately.
Last weekend was concert weekend for the community choir in which I sing; our program included John Rutter’s “Magnificat” and a selection of traditional carols. This past weekend was the boyfriend’s semi-pro choir, the Chicago Master Singers – beautiful carols sung in the splendor of the Divine Word Chapel. I did manage to watch the Judy Garaland version of “A Star is Born” again yesterday, not the the most uplifiting of holiday entertainments, but Garland was magnificent.
Pat–
You are a true sport, and what a terrific lead in!!! Thank You Very much indeed–right back at ya!
I see you are a fan of Bricusse’s score for GOODBYE MR. CHIPS as well, and I intend to show that one some renewed focus over the holidays. I met Lucille while mutually staging athird-grade play of WILLY WONKA AND THE CHOCOLATE FACTORY in 1991, and I won’t for the rest of my life forget the use of the composer’s songs in the play’s key sequences. We even kept a video recording of this treasured collaboration! Ha!
Well, I see you have your own high school memories of the SCROOGE score, and I can’t agree with you more that what drives this song is its infectiousness, a fact that Allan even acknowledges when he laments to me by e mail: “If I hear ‘Thank You Very Much’ again–I’ll scream!” That’s precisely the point. Once it’s in your head, you never can rid yourself of it, not that you want to, mind you!
Rutter’s “Magnificat” and the Chicago Master Singers? Well, that is the kind of holiday musical fabric we can appreciate above everything else, and you must have had the best time there! Your boyfriend has exquisite taste (and talent too, I’m sure!) and at least this is a change of pace from the usual Handel’s “Messiah” for this time of the year. I would have loved seeing that myself! And the Divine Word Chapel must be a beautiful seeting for this to play out! Magnifique!
I showed my daughter Melanie the closing scene of the original A STAR IS BORN with Janet Gaynor a few weeks ago, but on the power of Grland’s performance alone, the musical re-make is essential, even if it’s not “uplifting holiday entertainment” as you rightly assert.
Thanks for your presence here and for your always-enrapturing contribution, chronicling your special concerts and activities my great friend!
Sam, if I lived down where you do with all the temptations I would probably write nothing. Given the lineup for that Takemitsu festival my viewpoint would be “music, schmusic, show me the movies!” He’s a great film composer, but seeing stuff like Harikiri or Ran on a big screen would outweigh whatever I heard. As it is, between writing the Open City thing and Christmas shopping and browsing at football the only film I had time to watch this weekend was King Hu’s Legend of the Mountain, but if you’re going to watch only one film on a weekend, that’s a good one to choose, instantly one of my favorite fantasy films and a ravishing combo of natural and supernatural. The nearest thing to that on a visual level this weekend was seeing the Patriots destroy the Bears at snowy Soldier Field. Thanks for the good words as always.
Samuel, this is truly one of the greatest comments you’ve entered at this site, and that is saying something.
You see, you have fingered the precise dilemma that I face as a blogger and movie goer. I would love to write so much more, especially reviews of the newer films I see in theatres every week, but what with the high maintenance of the Diary, and the time-consuming nature of the Manhattan events, I am really left with little time to do much more than the weekly round-up apart from the instances where I recall the festivals in lengthy summation. Yes, living here is way too tempting, and if you decide to engage on this front, you must concede on the other, at least in good part. I am happy to point to the stellar work of others, while at least chronicling my experiences. As a man of 56 too, I am less motivated by possible career aspirations then a younger blogger would understandably be motivated by. But like the weather, this position fluctuates with spurts of special interest, and I’ll do what I can when the opportunities arise.
And yes, again you hit it on the nose when you braoch the matter of the Takemitsus. The films themselves- these great masterpieces – don’t at all need minimalist scores to promote them; this as you know is a device to bring together a lot of film masterpieces, without settling for the director’s umbrella (which is the normal heading). I am also well-aware of your special grasp of Japanese cinema, which has been much in evident at your site, and in all your terrific writing.
I was thinking you are a Sabre fan, but yeah the Pats are there too, and I love that simile with LEGEND!!!
Enjoy the holiday season my excellent friend, and congrats again on a fantastic treatment of POEN CITY inspire in part but that surely fascinating volume you’ve read!
I think Mr. Fish is a little too rough on the Finney Scrooge, though Dennis goes in the opposite direction giving it way too much praise. It’s good, but nowhere in the same sphere as the Alistair Sim version, nor the Reginald Owen for that matter.
Sam, it appears that there are a number of people who aren’t subscribing to the charms of Black Swan. At least at this site anyway. Checking other sites, it’s always the readers standing by the writers of the reviews. Or is it that most people are afraid to rock the boat?
I trust you will able to PROOVE that you attended all those Takemitsus, now?
Peter:
I just checked, and have every single stub except for the one for KWAIDAN, which I (apparently) ditched, keeping a second stub of SAMURAI REBELLION – as my son Danny came with me for that one. I was supposed to do away with one of those two instead! Ah well. I think I can be trusted that far! Ha!
Yes, as I just got done telling Jamie, There have been some less-than-enthused BS reactions to go with the positive ones.
Yep, Dennis goes too far with the Finney SCROOGE–it’s very nice and we had a great time, but it’s nowhere even close to the Alistair Sim masterpiece.
Allan is particularly tough on musical films.
Thanks as always my very good friend!
Saw BLACK SWAN on saturday, thought it OK for 2 reels, then the third was pretty absurd. Had it been a realistic body horror film/psychological thriller I think it could have been quite gripping. Image if David Cronenberg made it after watching the French thriller IN MY SKIN countless times… that’s the film it should have been. Portman is great, probably along with CLOSER the best work of her career.
Well, Jamie, you are not the first one I’ve read who has taken serious issue with the last reel of BLACK SWAN, and you won’t be the last I reckon. With your general approval of this kind of film, I’d say your lukewarm reaction here is more than telling. There does seem to a sizable contingent of non-fans here. Most interesting with that Cronenberg proposal, and yes I agree that Portman’s performance rose above this clunky material.
Thanks as always, needless to say my friend!
Make sure you remind me when the Fritz Lang Festival is starting up. I want to see–
The Return of Frank James
Western Union
Rancho Notorious
Louis: Great that you stopped in!
Oh, you can be sure I’ll remind you when they screen. I beliece all three are being offered the first week of February:
http://www.filmforum.org/films/lang.html
What’s your secret, Sam? B-12 shots?
Snowed in again for the second weekend in a row, so I’ve yet to see “Black Swan” or “The King’s Speech.” Arghhh. What about “Burlesque”? he asks only half jokingly. From what I’ve seen of the previews it looks like Fosse fossilized and Cher is beginning to resemble a periwigged mummy (that’s mean, but if you’re going to emote, your face can’t be paralyzed by botox).
So it’s TCM to the rescue with “The Bishop’s Wife,” a warm bit of Christmas piety with angels, miracles, cathedrals and a divinity named Gladys Cooper — the great Gladys Cooper who, in high hauteur, can declaim the Queen’s English like murderous music ( as in “Now, Voyager,” where she’s Bette Davis’s domineering mom).
She’s mellower here, but her beauty, her talent, her intelligence, her aristocratic mien — well, I try never to miss a movie with Miss Cooper in it.
And did I spot a young Zero Mostel in one of those silly “Mr. Belvedere” movies of the early 50’s? The one and only Zero, the greatest Tevye of them all according to theater lore? I thought he’d been blacklisted. Can anyone recommend a biography of this fine actor?
Christmas in the Big Apple. Sam, my friend, I envy you and all your fellow New Yorkers this time of the year.
PS. Maybe “Nashville” is a hillbilly masterpiece and that’s why people sniff at it these days. I feel a great sadness at the film’s loss of critical stature today.
Later
Mark–
Do you have a blogsite? I can’t seem to link onto anything using your blogger name. Let me know please.
I do wish my friend that it was as simple as some vitamins. But I’m afraid it’s much more complicated, and not in a very good way. I have a condition knows as OCD, (my colleague Allan has it too to a different degree) and an obsession for completion. It is still irking me to no end that I missed Kobayashi’s tough-to-find “Hymn to a Hired Man” which was shown near the beginning of this festival. But by missing one, I won’t feel bad when I won’t be seeing that rare Kurosawa I don’t care for, “Dodes ka Den” on Tuesday. Beginning late in February I will again be challenged to see the 22 films being offered up in the “Fritz Lang in Hollywood” Festival at the same place. Ha!
LOL on what you say there about BURLESQUE, Cher and Bob Fosse!!!! Even with my usual acceptance of many musicals, I found this one highly derivative and musically lame. God, you are getting quite a bit of snow where you are, and it’s still relatively early in the month. Sorry it’s prevented you from seeing THE KING’S SPEECH and BLACK SWAN though. I really would like to know what you think of these two!
Hey, THE BISHOP’S WIFE is a great one to indulge in, particularly at this time of the year! You certainly can’t go wrong.
Just watched THE PRODUCERS again at home last week, and marvel in Mostel’s work there. The Tevye in the film version of FIDDLER is arguable as great as Mostel, as in place of the theatre actor’s humor and charisma, the Israeli actor was a dynamo of warmth and humanity. Seems like many are split as to choosing one over the other, but sad to say when I saw it in the 60’s as a very young child I wound up with the understudy for Mostel the afternoon I went on a school trip. I will investigate a good biography on him Marc.
Yes, we tend to take the Big Apple holiday season for granted, and have even gotten delinquent going to Rockefeller Center to see the giant tree in recent years. But certainly, the theatre, opera and film scene is best at this time of the year. I am leaving the house with Lucille and a friend in about an hour to see Leslie Caron at the Film Forum as the centerpiece of a special event, so tonight should be a lot of fun.
Yeah, good point about NASVILLE, though on balance I’d say most respected critics still consider it a masterpiece!
Thanks so much for this wonderful comment my very good friend!
I certainly don’t turn my nose up at NASHVILLE. It’s one of the few movies I have watched dozens of times and each time I see it I appreciate it more. I loved getting it on DVD and being able to watch it with captions, which cleared up some fuzzy spots, especially with the overlapping dialogue. It is probably one of my all-time top ten favorites. But I wonder if you might be right: the people and music aren’t the types preferred by cinephiles.
Sam, even though Creative Potager is on vacation, I couldn’t help dropping in to Wonders in the Dark to see what you had been seeing. I too would like to give Laurie at Speaking from the Heart a high five for her excellent Alphabet series. One amazing writer, healer and woman of many other talents. Feel very blessed to have had her as part of my online community for a number of years.
My top watch of the week which to the amazement of some, and possibly yourself included, I watched twice was RUSSIAN ARK (202). I was extremely impressed by this movie not just for its technological qualities of a “film in one breath.” but for thesis of this film directed by Alexander Sokurov. I will say no more here as I will be doing a longer post in the new year on this artistic masterpiece over at Creative Potager.
Thank you kindly Sam for you mention of Creative Potager and link love. Terrill:)
Well, I thank you for the visit Terrill, made even more special knowing that you are enjoying your well-earned sabatical! Remember that I would have never known Laurie without our mutual involvement at your precious blogsite, and it was at Creativepotager that I saw her great and prolific contributions. She is eternally helpful, and her world-view has been more than comforting, in fact an inspiration.
Just about everyone I know loves RUSSIAN ARK, including my colleague Allan Fish, and I am thinking my view that it’s didactic is way too dismissive. I love Sokurov’s other work, recently issuing high praise for ALEXANDRE and THE SUN, and previously reveling in the brilliance of FATHER AND SON and MOTHER AND SON. The overwhelming majority of people think RUSSIAN ARK is his masterpiece, and I do need to give this one another go before firming up any opinion.
That said, I know there is so much in there for you to cherish, and rightly so!
Have a wonderful holiday my excellent friend; you, david and the family at that island paradise! And I expect the sales to bring some great news in as well!
Sam I adored “Mother and Son.” Another of Sokurov’s films I watched twice. We just had a 4 hour power outage that has left us feeling slightly smug with our new butane cooking element and butane heater purchased for such events performing with excellent results in this test run. We are happy campers, particularly me – as I am the one who knows how to operate the wood cook stove that is in the outdoor courtyard. It is much nicer to just turn the butane cooking element to “on” and get the water boiling for coffee.
Speaking of sales, Creative Potager has interrupted its holiday schedule to post about the inclusion of my oil painting “Rising” in an online international show and sale. There are some great pieces for sale in this show. If you get the chance, I invite you to drop on over to Creative Potager and follow the link.
My daughter finishes her last day of report writing in her private school today so I am guessing you must now be off on vacation too. The most merry of holidays to you and your family Sam.
Sorry about that power outage Terrill, and thanks for returning here. Cooking on the wood stove sounds like an intoxicating alternative, and might even be preferable in some instances, power outage or not! My official vacation doesn’t begin until Thursday, December 23, when we have a half-day. It continues until January 3rd, when we return to school. I am thrilled to hear you love MOTHER AND SON, and I can see you like the expressionistic strokes that Sukorov paints in his films. Visually he is an arresting artist, and as I say I must at least give RUSSIAN ARK another go.
That’s great news about “Rising” and I will surely be over to Creative Potager to follow that link!!! I can imagine what other beautiful work will be available there, and I urge any readers still in the dark to head over for some spectacular artistry!
Sam, interesting to hear about your enjoyment of the 1970 version of Scrooge, with Albert Finney. Like Allen I love the Alastair Sim version, but unlike Allen I haven’t seen the musical. I must remedy that!
I think Sim’s performance suggests the part requires someone able to convey demonic energies amenable to rich refinement. This week I saw Finney in Big Fish and he did impress one as being close kin to a big old catfish. Valerie and I saw a theatre in the round version of A Christmas Carol this week. It was fun, a nice production; but the protagonist needed to be more of a menace.
“I think Sim’s performance suggests the part requires someone able to convey demonic energies amenable to rich refinement…”
Typically Jim, you offer up a fantastic delineation of Sim’s management of one of English literature’s most celebrated roles. I also saw Sim’s crusty (sarcastic) cynicism as integral to this most gleefully callous of interpretations, and his natural charisma and commanding delivery as a perfect wedding in actor’s heaven.
That’s sound like a great time there with Valerie, even with the vital reservation. There is an unbeatable intimacy with theatre-in-the-round stagings.
Finney is a talented guy, and I’d like to believe that both he and Guiness deleivered the goods in the musical version.
Thanks very much my very good friend (s)!
Geez, what a bummer!
WordPress just ate my long response to Kevin Olson, and it was not copied. Ugh. Well, I will put it together again tonight when I return home from the special Leslie Caron event I am attending tonight (at the Film Forum) with Lucille and Broadway Bob.
I have many fantastic comments to address here, including ones by Kevin, John, Laurie, Samuel, Terrill, Jim, Pat, Jeffrey, Judy, Jason and Dennis.
I will do as many as I can later tonight, and will get to the others tomorrow. Thanks so much for your patience.
Thanks for the mention, Sam! Teshigahara’s cinema is one of the best discoveries I’ve made in the past year, I’m sure it was incredible catching those masterpieces on the big screen.
Thank you Drew! And yes, seeing WOMAN IN THE DUNES, PITFALL and THE FACE OF ANOTHER in this fashion was a major pleasure of this festival. I regard all three of these films as masterworks, and I dare say the experimental PITFALL left the strongest impression on me ever, far more than it did even after watching the DVD and reading our friend Ed Howard’s extraordinary review of it in his estimable ‘Films I Love” series.
Have the best holiday season ever my friend!
Sam, once again you are giving enough to give a shout-out to my blog, and I really really appreciate it. Now if you look at my blog (first page) you’ll see that the only commentaries come from you, so I really have a personal debt and attachment to you. Thanks for this last months.
I’m on vacations, as you may know, summer and sun here. I’m bored. Yeah, I’m not the real party-going guy I make myself look like (ha!) and I haven’t worked in my entire life. If I wanna have fun, I need money, so I applied for a job at my local cinema (hoyts) and I haven’t got an answer as of now.
My week was mehh… with my family we arranged our christmas tree and looks pretty good (plastic and all). I had my second date and that’s what really turned this week into a pile of crap. I don’t want you to think I wanna divulge my life, but have to say I’m a jerk that does stupid stuff… or in this case, that doesn’t do anything, no difference between first and second, not one inch of forward motion. I suck at this, I wish I could just don’t do this.
But you Sam had a magnificent week, amirite? Loads and loads of fun and many people to have it with. So, about what you saw:
– Kwaidan **** for me, it’s a really good movie (I’m still not sure about which version I saw), and I can see it again.
– Samurai Rebellion ****1/2 for me, it’s extremely good. This one I saw on a Criterion DVD with my brother, and he liked it but said it was ‘slow’. I kinda understood.
And I wanna see those Teshihagaras, “Harakiri”, “Ran” and “Scrooge” with extreme anxiety.
My week, movie wise:
– All Good Things (2010, Andrew Jarecki) ***1/2 Extremely well acted by Winslet and Gosling, not so interesting plot. Anticlimax would be the word I’d use.
– Due Date (2010, Todd Phillips) ***1/2 Had many funny moments and I just wanna leave it at that, maybe if I see it again I’ll hate it.
– Evil Dead II (1987, Sam Raimi) ***** Was the wait worth it? You bet! Evil Dead is one of my favorite films PERIOD, and this sequel is on its own level, but this time with some humour put in. Sooo good, I can’t wait to see this again.
– Inspirace (1949, Karel Zemao) ***1/2 Good animation style, overall worth watching.
– Never Let Me Go (2010, Mark Romanek) ***** Saw this with my mom. Amazingly acted, extremely interesting cinematography, gripping story, so much like the novel I almost cried.
– The Nose (1963, Alexander Alexeieff, Claire Parker) **** So confusing and good, the animation was splendid as well.
– Plan 9 From Outer Space (1958, Edward D. Wood Jr.) ** Finally saw this and it’s not the worst movie ever made, it’s easily one of the most entertaining films just because of how self ridicully aware it turned out to me.
– Post Mortem (2010, Pablo Larraín) ***1/2 One of the most liked (fiction) chilean movies of this year. It’s interesting and good, the last scene is actually heart-breaking. Just some silly dialogues put this down.
– Rabbit Hole (2010, John Cameron Mitchell) **** I’m throwing myself to the pit right here. If you think I’m doing something wrong… just… don’t say a thing. This movie carries the best performances of the year, easily.
– Feelings of Mountains and Waters (1988, Wei Te) ***1/2 Visually compelling, storywise lacking.
– Tales of Terror (1962, Roger Corman) **** While the initial piece was dissapointing, this one really gets better with its later installments. The middle one exquisitely combines two well known Poe stories to an splendid acting demonstration by Lorre and Price.
– The Trip (2010, Michael Winterbottom) ***** More on this… soon.
Phew! It sure shows I have some free time!
Bye everyone!
Jaime:
It’s only a matter of time before traffic at EXODUS 8:2 will surge, especially when you consider some of the great work you’ve done there! WitD readers were treated this week to that fantastic review of THE TRIP, that must surely stand as one of your best pieces. And the crossover language thing too is utterly amazing my friend! Everyone at the site here is deeply impressed with your work, and when your yound age is figured in it’s truly miraculous. I salute you!
It must be really something to spend Christmas in the summer heat. I can’t even imagine it, but I’m sure you can’t ever think of Christmas in a snowy freeze. One day my friend you will travel, and I’d love to be your host if you make it here to the ABig Apple area! And geez, I wouldn’t fret over the pieces falling into place; you have your whole life ahead of you. The prospective job at the cinema is a terrific idea, though I suppose it will be will a commercial chain. Still, it’s an opportunity, and I agree you would want to gain some work experience!
You have as voracious an appetite for films (weekly) as anyone else at this site or elsewhere, and your reports here are certainly on a level with the esteemed John Greco and Bobby J.
Great to hear what you say there about the two Kobayashi’s, and SAMURAI REBELLION surprised me with its philosophical underpinning and it’s scope of themes HARAKIRI is really amust: it’s one of the greatest of all Japanese films.
NEVER LET ME GO blew you away that much, eh? Emotionally devastating? Well, in large measure I’m with you, and it’s a strong contender for my competitive ten-best list! And you are not alone with Raimi’s EVIL DEAD 2, which I agree is that rare sequel that delivers in a big way. I’d certainly go with **** 1/2 anyway. Great to see teh weekly reports on Stephen’s animation countdown which has really opened up a new avenue for many people. That man has proven without any doubt that he both a fantastic writer, and a true creative talent. What a lifetime’s reference! It belongs in a published book.
I’m rather surprised you didn’t see RAN yet, but I am 100% certain you will blown away. Nt sure about SCROOGE, as I don’t know if your taste crosses over to that, but it has gotten better over the years with many.
Oh I completely agree with you that PLAN 9 is a total hoot as is GLEN OR GLENDA and BRIDE OF THE MONSTER. It’s absolutely hysterical.
I like TALES OF TERROR less than you, but heck no problem, as the Cormans are essential in the horror pantheon!
I haven’t yet seen DUE DATE or POST MORTEM, but your views here are duly noted. The Jarecki didn’t thrill me as much, but I have read many notices in accord with your judgement.
I will be seeing RABBIT HOLE this coming Saturday evening with Lucille and our friend Broadway Bob at the Landmark Cinemas here in Manhattan, so we’ll definitely compare notes my friend! I’ve read all about Ms. Kidman’s performance as you note here.
My own favorites female performances this year so far would be:
Ms. Mezzogiorno (Vincere)
Ms. Swinton (I Am Love)
Ms. Huppert (White Material)
Ms. Bening (The Kids are All Right)
This was a spectacular comment, and my deepest apologies for getting to it late. I won’t be attending any serious festivals until february with the Fritz Lang, so I’ll have about two months to chill (in a relative sense of course! Ha) Thanks a million my very good friend!
Thanks as always, Sam. Sounds like some great viewing for you this week…
Yes, Joel, as I mentioned to Samuel, the marathon viewing schedule is great, but it leaves little time to write about the experiences, aside for the summation on the diary.
Thanks as always my excellent friend!
Woah! A new banner – looks great…
Yes indeed, Joel. I e mailed Allan two days ago, and advised him that after 18 months with the Rivette head of Lubchansky’s exquisite cinematography in DUELLE it was time for a change. Allan chose the holiday SCROOGE (Alistair Sim) which was nigh high perfect!
Sorry to rain on your parade Sam, but I think it was a mistake to change the banner:
1. The established image was part of the WitD ‘brand’, it was sharp & focused, gave instant recognition to the site, and the night scene was thematically consonant with the ‘dark’ in WitD.
2. The new image is terrible. There is no focal point and it is confusing – you have to scrutinise it closely to try and make sense of it (and even then it has me bamboozled) – it has no impact and a poor recognition factor.
My 2 cents.
Well, I did tell the guys I wanted to make a proper designed ‘banner’ for WitD, and I am still planning on it, I’m at a dearth for ideas/typefaces. One will be completed.
As we are on the topic, and offering critiques, Tony I preferred your old one myself. This new one looks like a default style one downloads and just plugs images into. Now personal style is gone in place of generic serifed faces of all the same visual weight. Tonally it’s all in the same range as well. If that’s what you think is a ‘magazine-style’ you certainly aren’t reading interesting visual publications.
thankfully the content is still the same.
Tony:
There is no doubt that your second point is dead-on; the new banner is hardly what I expected when I posed to Allan that SCROOGE should be the choice. It is absolutely unfocused and nearly impossible to identify. I was thinking in the line of a giant facial shot of Alistair Sim. While in the interest of the Xmas spirit I said it was ‘perfect’ here I’ll admit that was empty bluster on my part. Am I one who ever abuses hyperbole, Tony?? Ha!
As to your first point, I had figured 18 months was a long enough time to stick with the same image, but you are right that it has (in view of its longevity) become part of the fabric of the place, as you say, and as you really said what I wanted to hear subconsciously, I am now asking if either you or Jamie can restore the old image ASAP. If not I will ask Allan to do so tomorrow.
The issues you bring here are admittedly tough to counter, and I must raise the surrender flag here.
Jamie:
I think as you do, that Tony is right on this. The old banner is really something that so many have come to identify the site with.
I want it back, and admit I erred in judgement.
Oh I think the new image here is fine Sam. My critique was for Tony’s site.
To say the image above ‘has no focal point’, is just wrong. Granted we all look at art differently, but the pillars of composition I was taught as a youngster aren’t subjective. Tone, Hierarchy, rhythm, thick vs. thin, texture, etc. are all present there and they are ordering one spot in the image as the focal point. It’s quite obvious. Because the image is multi-layered and complex doesn’t mean it lacks a visual focal point.
Well, that is a good point too Jamie, but I’ll confess that I am a huge adherent of the old image, and I caved in to internal insecurities, which I think were unfounded. The old image has won us recognition, and it’s true that it’s thematic relevant. Until we can truthfully come up with something that has that advantage, I am thinking we should stick with the old one. But let’s see if that is a concensus opinion. I must say that Allan was at first resistent to changing it, and I expect him to say to me now: “See, I told you so!”
I don’t think any of the images have won you squat Sam, it’s the content that has. And on those grounds you are concise, educated, and rock solid.
Leave the ‘branding’ BS to the ad execs. that’s all hogwash here… you/we aren’t selling running shoes.
No comment on this particular disagreement but as far as the banner goes, I’ll confess I like it (apparently I’m the only one, as even Allan isn’t thrilled with it!). I don’t know anything about marketing, but I think it makes nice use of the horizontal format and is visually striking (at least on my computer – maybe it’s too dark on others? I can see the distinctions within the image quite clearly). But I’ll confess it might just be the novelty that makes it refreshing. Take the 2 cents for what their worth.
That said, I do have two opinions I’d be willing to stick more closely by – 1) that it would be nice to see the name ON the banner rather than over it (I know a lot of people do it this way, but to me it makes the banner and/or name seem a bit redundant). 2) that I do think it’s a good idea to change the banner from time to time, the same image gets old hat and I think even in the pro advertising world it’s considered advisable to change the look of the brand once in a while (that said, maybe it’s a good idea to stick with a TYPE of image, i.e. different versions of the moon, but still a moon?). Blogs usually change their banners a lot, which I like, but maybe Tony’s right about sticking with a theme. Dunno.
As I said, I don’t have much marketing/ad experience, and some of my taste here is probably eccentric, so take it for what it’s worth – just thought I’d offer a contrary!
I changed my theme to make the text more readable. By ‘magazine’ I mean a front page that lists recent posts and features the latest post rather than the just a list of posts. Also, there is a new menubar at the top which makes site navigation easier. In web design, minimalist gray is the current trend. Overall, the focus is on content.
I know what I am doing. The site ranks in the top 100,000 sites globally on Alexa for audience reach, and ranks #5 on Google for “film noir”. My posts are immediately indexed by Google and usually rank on page 1 of a search for the keywords of the title – see the result for my latest post http://www.google.com/search?aq=f&sourceid=chrome&ie=UTF-8&q=tension+1950 which returns my post as #4 after Wikipedia, TCM, and a 4yo old post by NoiroftheWeek.
My business site ranks #1 in Google for my chosen keywords.
As for cutting-edge magazine styling, this is what FilmsNoir.Net looks like on the hottest new iPad app Flipbook:
Oh I know all this Tony. This is one of your fortes for sure. I will confess that I made this decision on a personal spur-of-the-moment whim, and Allan was at first very hestitant to do it. I desire a thematically-consistent look, and although Jamie may well come up with something arresting, until that time I am voting for a restoration of the old image, which has been exceedingly popular.
Oh, I saw an entry page, that makes quite a stylistic leap from the main page.
this main page, is yes, attractive. Sterile for my visual taste, but it appears that you are (incredibly) impressed with google ranks so it’s worthwhile for that goal.
Oh I was in the right place, this is an iPad version of the site.
“As for cutting-edge magazine styling, this is what FilmsNoir.Net looks like on the hottest new iPad app Flipbook:”
Don’t confuse style or aesthetics with how it looks on the newest tech toys ol’ boy. Because it’s on a new tech gadget doesn’t ultimately qualify it for ‘cutting edge’ design, rather it’s ‘a design’ on a ‘cutting edge’ piece of technology. Clearer?
and, not to flog a dead horse… your continued reply of ‘google stats’ when the topic is aesthetics reminds me of Bill O’Reilly Fox-esque dialogue. Whenever he (or they at Fox) are reminded how inaccurate or bias their reporting is they always respond with how they are tops in ratings (like their is some real correlation between journalistic quality with successful ratings). Here, when discussing visual topics you’ve cited google rankings like there is some tangible correlation. There isn’t.
If we are going to just cite things about ourselves on visuals, can I say “I’ve rebuilt an engine on a vintage MGB-GT” so now I can speak on design. It’s about as relevant as google stats.
You know sweet fa about web marketing, and as for aesthetics, your personal animosity so contaminates your commentary that it is next to worthless. Indeed, the more shit you hit me with the more clicks I get. So take a laxative.
Nothing I say here is personally attacking you Tony, chill. ‘web marketing’ is =/= ‘design’. (and again, that point I make, which is valid AND correct is skirted)
Now, if you honestly want to discuss it, then we can. We’d get into niche design/art where visual clues act as coded messages to sub-groups visually. Certain imagery and type treatments mean various things, BUT you are merely arguing (basically) that the most generic is the most unoffensive so it’s therefor the best branded for consistency sake. (which is completely OPPOSITE from the esoteric, wonderful nature of your content and desire to seek out hidden Noir gems)
A washed out gray composition on black bold Times new Roman doesn’t ‘speak’ about Noir.
(I hope you don’t see this as an attack on you, I’m making legit points, and I do know something about marketing… print and web. I work for a Advertising firm that creates things you’ve probably seen in the last 6 months. But hey, it helps your argument to say I’m attacking you with an attack on me, right?)
In your opinion. Jerk!
and, don’t break your arm patting yourself on the back for all the web-hits you get. Hopefully you can take ’em with you in the afterlife since they’re so valuable.
I was defending myself against a little sycophant, who rather than argue his position proceeds to belittle me.
Here tony (and anyone else interested)
Here David Carson argues my position, quite well I think. Marketing is a visual representation of product (not end results, in this case ‘hits’). Here he’s combating the generic quality of helvetica. Does Times New Roman and fields of gray signify Noir? Nope, you’ve reached hits because you use the right code words that google picks up on, those can be tricked and manipulated. Authentic, good design cannot.
Don’t continue to argue shit, you may actually begin understand my little anecdote on the heckler.
Huh?
If I pay a toll will the troll go back under the bridge?
Hey Sam . Merci pour le plug.
I myself have nearly kicked the habit 🙂 watching only one movie this week – Tension (1950) – a neat little noir with AudreyTotter as a cheap blonde – the devil in no disguise. There is a simply brilliant scene that portrays a reversal of sex roles so potent it has to rank as one of the best expositions in noir of the femme-noir as ball-breaker. Check it out on my new magazine-style front page: http://filmsnoir.net.
Tony: That’s not a habit I would want you to give up! Ha! Even in the area of film noir, there are amazingly some unchartered territory for you to explore. (ha! not all that much but some) As far as TENSION, I’ll admit I haven’t seen it, nor do I even know anything about it…….so………FilmsNoir.net here I come!
Thanks as always for the much-valued comment here my excellent friends, and as always for the sage advice!
Allo! Allo! Sam Juliano, Allan Fish, Tony, and WitD readers…
Sam Juliano, nice introduction…if I was an English teacher I would write that on your paper…
Sam Juliano said,” Takemitsu Festival at the Film Forum, that so far has given me opportunity to watch 14 Japanese films, 10 this week, and many supreme masterpieces of the cinema. My intent is to take in 4 or 5 more before the festival ends…”
…Sam Juliano, I can see which films were the strongest this week in your weekly round-up…
Sam Juliano said,”I was only able to squeeze in a rather forgettable off-Broadway play at Theatre 80 on St. Mark’s Place on Monday evening…”
“At the Theatre 80 on St. Mark’s Place, on Monday evening Lucille, Bob and I took in Adam Rapp’s 90 minute stage play Ghosts in the Cotonwoods, the most recent production of the ‘Amoralists’ which was undeniable brutal and eye-opening…”
…and that this off-Broadway play was the weakest in the link.
Sam Juliano said, “The weeks’ showcase event for my family and I was a Christmas sing-a-long, stage show and giant-screen showing of the 1970 musical Scrooge, a British film starring Albert Finney as Scrooge and Alec Guiness as Marley.
…As Lucille has found out the hard way, I’ve been singing “Thank You Very Much” all week before and after the well-attended screening of a film that over the years has experienced a well-deserved upsurge in reputation. “
Ha! Ha!… my laughter is in the most light-hearted in nature…not laughing at you, but with you…
Sam Juliano, your wife, Lucille, your children, cousin Robert McCartney, brother Jeffrey McCartney and friend Bob Leap, and their daughter Emily, Broadway Bob Eagleson and his mom Stephania… Seemed to have had a much enjoyable experience listening to and singing along with the sounds of Christmas…
…Thanks, for the mention and letting me use your blog site as a platform, but most importantly, Thanks, for sharing your week-in-review once again with your readers.
@Tony
Tony said,”Check it out on my new magazine-style front page…”
Tony, your upgraded website is very… uber cool! Thank-you, for sharing!
Cont…
Dee Dee:
I am now at an internet cafe awaiting the final double feature of the Takemitsu Festival around the corner. To have made you, Jaime and Murderous Ink wait for my response at this thread for several days is unforgivable I know, but this is one week that I’ve taken on too much. I just walked around the block several times to get my daily exercise, and I figured I would spend some time on the PC for about one hour addressing the comments here by you and others.
Yes, the Christmas show at the Jersey City Loews was well worth bringing the family, relatives and friends to. Seeing the musical again on that giant screen brought back some memories, and renewed the enchantment. The stage show and the sing-a-long added to the fun. As to the Takemitsus, yes this was a paramount investment of time, but it has allowed for that rarest of opportunities. I do hope I’ll have time to do a full round-up.
As always, you have brightened the cinematic landscape with yet another post (on the film noir DVDs that has raised many worthwhile ideas and gleeful anticipation. Remember that the blog is and has always been yours as well as the entire team here, and it is Wonders in the Dark that has benefitted from your tireless work. Your endless promotion of the Film preservation Fundraiser at Marilyn’s place is beyond praise too!
Many thanks my wonderful friend!
Cont…
Sam Juliano, Miss (Leslie) Caron did you say…I will be sitting on the edge of my seat in anticipation for your report about one of my favorite actresses…
This is what I took time out to do this week…I assisted my parents by trimming their Christmas tree…I watched a couple of films that you send to me such as: The Body-guard, The Spiritualist…again, The Great Flamarion, The Second Woman, (purchased) and Inception. (On cable)
(I plan to watch a couple of Ozu for the first-time and Chaney’s films for the first-time too!…Even though I must admit that I’am not familiar with the former filmmaker yet, with yet being the operative word.)
The Unpublished Story…A war film that could have easily morphed into a World War II propaganda film, but instead, it’s a film that focus on the blitzing of England by the Germans and how the Brits’ survived the blitzing.
Two additional films will be added to my queue…Terror House (1942) and They Met in the Dark(1943) both films features actor James Mason and Joyce Howard.
(Unfortunately, I’am not familiar with Miss Howard, work on film. 🙄 )
Books on my shelf…author Lee Horsley’s The Noir Thriller and David Thomson’s The Moment Of Hitchcock:How Alfred Hitchcock Taught America To Love Murder. I find both book very interesting with the former being very complex and the latter being very informative and analytical too.
Once again, Sam Juliano,
Thank-you as…usual!
DeeDee 😉 🙂
Dee Dee:
The ‘Evening with Leslie Caron’ was unforgettable. They showed some vital clips from her most beloved films, and the musical icon partook in a fascinating stage interview administered by none other than Professor Foster Hirsch of Brooklyn College, wwho was well-prapared to pose all the right questions. Caron, hersel was thrilled that many artists and executives (including the people who pushed to have her participate in a television drama three years ago that won her an Emmy) Film Forum head honcho Bruce Goldstein was there to moderate, and the event was a sell-out to the very last seat. Lucille, Broadway Bob and I managed to get seats in the 8th or 9th row, so we had an excellent vantage point.
Yes, I do hope you’ll get to Ozu and am happy that you got to The Great Flamarrion (a film I now have thanks to YOU!) as well as The Bodyguard and that repeat viewing of the impressive The Spiritualist (yet another that I received from you!)
Superlative description there of The Unpublished Story, a film i have not yet seen, but will do so in nthe near future.
And needless to say your book lineup there is very impressive!!
Sounds like you are as active as any other single blogger my friend!
Thanks as always, Sam. Good to know that opu’ve been having a Japanese feast! I’ve been away fromb lgos and blogging (except for these sporadic capsules) for a while. Even watching films. Will take some time before I get back and participate in the discussions at WitD. Like in the olden days. Ha!. Cheers!
You deserve a break my good friend, though I suspect the year-end lists may rejuvenate you. Yet you need no motivation to do what you do best: to introduce to many of us unheralded international masters! I await your next brilliant piece, and thanks so much as always!
Sam, I’d also be interested in finding out about that Leslie Caron event you and Lucille ateended last night. Did they show any of her films during the interview with her? What a cold night!
As I mentioned above Maria, it was a nice event, and the clips were well chosen. Unfortunately, we went armed with hardcovers of her new book (bought on amazon) and they would only allow signings of the paperbacks bought at the Film Forum that night for $20. Rather unfair, I must say as many others found out to their chagrin.
Thanks for stopping in my good friend!
Still not much movie watching going on here, though I’m gearing up for the Bresson and P&P retrospectives. I’ve lined up copies of everything for both, save a few that are rather elusive, and am quite excited to get moving on that.
I’m also trying to watch as many 2010 films as possible in the next several weeks, but am finding there aren’t that many I’m really dying to see. I finally finished CARLOS, which was great, and will be seeing INCEPTION and TOY STORY 3 in the next week and intend on getting to the theater to watch TRUE GRIT on its release, and may make the time for BLACK SWAN as well.
Sam and others — can you give me 5 or so “must see” films from the year…
Troy:
Here are my Top Films of the Year in a ten-best list yet to be finalized. Of course I still need to see the yet-unreleased TRUE GRIT (Coens) and the Mike Leigh film.
1. Lourdes (France)
2. The King’s Speech (UK)
3. Carlos (France)
4. Toy Story 3 (USA)
5. Un Prophete (France)
6. Jean-Michel Basquiat: The Radiant Child (USA)
7. White Material (France)
8. Winter’s Bone (USA)
9. Mademoiselle Chambon (France)
And then to fill the last one (or two spots, as I always have a No. 10 tie to cheat!) are these contenders:
Samson and Delilah (Australia)
The Kids are All Right (USA)
Shutter Island (USA)
My Dog Tulip (UK)
How to Train Your Dragon (USA)
Joan Rivers (USA)
The Tillman Story (USA)
Fish Tank (UK)
I Am Love (Italy)
Vincere (Italy)
This is all subject to change with re-estimations over the final weeks, but these are the main contenders. I am even thinking the Australian film should be easily in the Top 10, so there is always uncertainty.
My Dog Tulip
How to Train Your Dragon
“Sam, Un Prophet is a 2009 film”
-something Allan will say. lol
Can’t wait to see MY DOG TULIP, which comes to Chicago in January.
I haven’t thought more then two seconds about my top 10 this year, but my top 5 would have WILD GRASS and ENTER THE VOID most definitely, and since hell has yet to freeze over I wouldn’t include Toy Story 3.
Lourdes, Un Prophete, White Material and Mademoiselle Chambon wouldn’t make my Top 10 of this year, even if I see them.
Why? They’re 2009 releases, and I don’t really care if they’re just recently released or not being able to see due to their festival runs, my list will be a pure 2010 effort.
I don’t wanna be nailed as a year nazi, but since I live in Chile I just don’t care about the release date here or in the US, I just go by what IMDb tells me, and he tells me those 4 movies are from 2009.
I mean, this year in Chile we had a premiere theatrically of a film available since 2003 in DVD, we’ve had some direct to DVD releases playing in our cinemas!
That’s my attitude, sorry, but you can always have an ‘everchanging’ top 10 list when you catch up with later 2010 releases (thing that I do).
Jaime (and Jamie):
Confusing eh, only one letter difference in those names!
I have been down this road before with Allan, and I have maintained consistency for a number of years. I go by one rule and one rule only when I comprise my ten-best list. I am not saying it’s right, or even generally acceptable, but it’s the rule used by USA critics and it makes things easy to neggotiate.
The year is determined by the date it opened in USA movie theatres.
UN PROPHETE opened in February of 2010 in NYC, so it’s a 2010 film for me. Virtually all USA critics think of it the same way.
WHITE MATERIAL, LOURDES, MADEMOISELLE CHAMBON and others opened here in 2010.
Do I include festival openings in this equation?
No, I don’t. Hence, the superb DOG POUND (which I saw at Tribeca can’t be included, the same way that UNCLE BOONME -scheduled to open in March of 2011- cannot either)
I am looking for a system to follow year in and year out and this one give me consistency.
Oh Sam I was being snarky. I actually agree with you, AND I agree with Allan (damn, what a fence sitter). For the topic you are dealing with here, your ‘Ten Best’ films you saw in the theater you can only really pick when films came to your area (because the very nature of top ten year end lists are more individualistic). Now in ten years time (or whenever) after the dust has settled, and you’re making a list of the greatest films of 2010 that’s when the official imdb date(s) come into play, and I’m in agreement with Allan.
Either way it’s not really an issue I’ll lose any sleep over… the fact that you like and are highlighting WHITE MATERIAL (whenever it came out) is.
Aye Jamie, all you say here is something I can completely agree on.
I am including “Nostalgia de la Luz” of Patricio Guzmán on my top 10, but I only saw it in a festival (FIDOCS).
I know there are certain rules, but if I followed them, it wouldn’t work for me, that’s what I’m saying.
I also noticed that we have an invasion: Jamie, Jim, James and Jaime.
Those names hold genius!
“I also noticed that we have an invasion: Jamie, Jim, James and Jaime.
Those names hold genius!”
I think you are on to something Jaime!!!! Ha!
I still must respond to Jaime and to Dee Dee (two posts from her in fact)
Yet I am leaving the house in freezing 25 degree weather (or about that anyway) with Jason Giampietro to catch a 9:40 P.M. screening of Oshima’s EMPIRE OF THE PASSION at the Film Forum, as part of the Takemitsu Festival that ultimately ends Thursay night. (then no festivals until that Fritz Lang retrospective near the end of January).
I have failed to complete my task, and I stand before you Dee Dee and Jaime to accept whatever punishment you deem to render against me.
Be rest assured that I will be back to respond, hopefully later tonight, or tomorrow morning at the latest.
And I still haven’t responded to Kevin Olson’s WOMEN IN LOVE mega-review, even though I quite like the film, and strongly endorced his Russell decision.
Geez.
Sam,
Thanks again for the link, even though my updates have been delayed. (And you will know why in a few days…)
Your energy and concentration just amaze me. 10 Japanese cinema in one week itself is quite a task, but you are still fully enjoying the festive air of the season (with Albert Finney!). I don’t know when was the last time I saw SCROOGE, but it sure gives you the nice feeling about the Christmas. Takemitsu festival sounds very trying. Most of the films are the ones that demand your attention quite thoroughly, and I think I would have been exhausted and knocked out if I were you.
I just saw “THE MAGICIAN (1926)” and “STRIKE (1925)” double feature in Silent Film Festival in Shibuya, Tokyo. Rex Ingram is one of my favorite directors, and this is the first time I saw this particular film, luckily. His composition, lighting, deep-focus, and artwork are all there. Dark framing in the foreground, sculpturesque lighting, moving background are his trademarks, and they were beautifully done here. I know it is not a masterpiece or anything, but I just love to look at his art.
This theater, Cinemavera, is going to open “Mizoguchi Weeks” starting next week. And some early Mizoguchis are on schedule. “Taki no shiraito”, one of the earliest surviving Mizoguchis (silent), Gubijinso, and Aionkyo will be screened! Of course, the later masterpieces are on the schedule, too. (I hope this whet your appetite…)
Happy Holidays!
MI
My apologies for the delay Murderous Ink, but yesterday was a trying time at the site, and I was pre-occupied with some very lamentable business. Your contributions are valued for their artistry, diplomacy and cultural perspective. I have now seen your new post and will soon be adding my two cents, and know now what you were alluding to there.
You make an irrefutable point about the mental demand of those Takemitsus, especially the Teshigaharas. The Kobayashis are intricate too, but more overtly entertaining. Discovering SAMURAI REBELLION for the first time was one of the festival’s special joys, though big-screen ahowings of the Teshigaharas, HARIKIRI, RAN and one very hard-to-find Hani (BAD BOYS, introduced by Japan Society of Boston Director Peter Grillo, who knew Takemitsu personally) were major highlights. Shinoda didn’t impress me as much, though I did like THE SILENCE moderately. It’s funny, but Grillo, who adores Takemitsu as an artist, told the audience that in Takemitsu’s films, you never notice any music. Ha! That’s the subtlety of his work, though there were times he did leave the box like with Ichikawa’s ALONE ACROSS THE PACIFIC, where his turn was definitely Hollywood a la Dimiti Tiomkin. And RAN’s score of course is astonishingly beautiful. I loved the solo motif too in BAD BOYS, which the composer were reputedly proud of. And yes, SCROOGE offered the right kind of respite from all that heavy-duty film watching. It’s a better musical than was thought back in 1970.
Those early Mizoguchis would indeed ‘whet my appetite” and in a very big way. I have always regarded SANSHO, UGETSU and STORY OF THE LATE CHRYSANTHEMUMS among the greatest of films, and have done serious exploration of his other works over the past few years. (as has Allan of course) That’s sounds like a terrific venue and I’d love to hear all about it!
Thanks as always my excellent friend!
That an evocative reading there of Ingram’s artistry, and though I haven’t seen STRIKE yet, I know from THE MAGICIAN how everything you describe falls into place.
Sam Juliano said, “I still must respond to Jaime and to Dee Dee (two posts from her in fact)…”
Sam Juliano,
Please don’t worry about responding to my post…
….By the way, check-out your schedule: Family, friends, family responsibilities, work, theater and festival(s) going, and etc, etc, etc…By the way, tell your friend, Louis Aveta, that I plan to keep the Lang festival updated…In order for him not to miss the films that he want to watch…as I’am quite sure that you, will too!
DeeDee 😉 🙂
Once again, your patience, humility and good nature has enhanced the blogging experience. You always bring a big smile to my face when I read your submissions. i am diminished and undeserving.
Well, Sam, I imagine the storm that crippled the Twin Cities over the weekend has made its way out to you by now, hopefully not throwing too many of your moviegoing plans off.
I expect you’ll catch up to Inside Job before (I predict) its Oscar nomination, and I do think you’ll find it much more illuminating than the other films that have come before it.
I did get to a theater last week to see Black Swan, which I guess didn’t really impress me as much as I expected. I was reminded throughout of other movies, notably (my generation, I know) Fight Club. Visually, sure, it was a thrill, but it never really achieved the narrative depth that I was hoping for, or maybe I had come to expect from the early buzz.
Daniel:
We never got that storm, thank God, but we are mired in a deep freeze nonetheless, as tonight’s temperatures will dip into the low 20’s.
Yes, before Christmas I will defintely get to that essential INSIDE JOB, and as always appreciate your particular insight into the documentary form. I’ve heard nothing but praise from all quarters.
Yep, it is precisely that narrative depth you speak of that didn’t allow me to appreciate BLACK SWAN, but heck I’ll try again very soon. As I’m sure you know, Ed Howard and Jason bellamy have posted a conversion for the ages on it, and they have managed again to make the person reading it seem utterly clueless. But as long as one can pontioficate with their own kind of erudition and insight, there is always validity is taste and summary judgement. We’ll see….
Thanks a ton as always for your deeply valued submission here my very good friend!
Thanks for pointing me to the latest Conversations piece between Ed and Jason. I didn’t read it in its entirety, but picked up enough to understand what all the fuss was about. I did take a new consideration about the validity of the ending as well, so that’s something.
I am also with Daniel as to Black Swan. It had it’s moments, but generally it left me cold. People seem to reading so much into it, but I’m inclined to think it’s much ado about nothing.
I wish I could make some of those Takemitsus. Too cold!
David: I plan to see BLACK SWAN a second time as a result of the brilliant persuasiveness of Ed Howard and Jason Bellamy’s incomparable analytical examination of the film at this month’s “The Conversation” installment. Most of the time, a second viewing doesn’t cause drastic alteration, but who knows? I remember revising my opinion of “My Blueberry Nights” a few years ago, and in fact wound up having it in my year-end Top Ten.
But yes, I failed to see the greatness on that initial viewing!
Thanks as always my very good colleague and friend!
ATTENTION!!!!!!!!
For those that may not have seen the film and were wondering what all the hub-bub above was all all about, I found a YOUTUBE version of Ronald Neame’s SCROOGE available for viewing. This is the classic 1970 musical version of Dickens A CHRISTMAS CAROL that SAM, myself and ALLAN were debating? Is it JUNK or is it a delightful foray into the genre of impeccable British musical cinema????
YOU (or YOUTUBE-LOL!!!!) BE THE JUDGE!!!!!!!
SCROOGE (part 2):
SCROOGE (part 3):
SCROOGE (part 3):
SCROOGE (part 5):
SCROOGE (part 6):
SCROOGE (part 7):
SCROOGE (part 8):
SCROOGE (part 9):
SCROOGE (part 10):
SCROOGE (part 11):
Dennis you are too much! This is unbelievable and the ultimate testament to the film. It’s out on DVD, but I suspect most don’t own it. This is indeed a celebration of this wildly popular adaptation of A CHRISTMAS CAROL!
You have outdone yourself again my excellent friend!
howdy Sam, 10 Japanese films in one week! Assuming they are 2 hours each, that’s 20 hours. Amazing.
Well, my friend – I’ve been laid low by snow and a severe energy slump.
I did watch….
‘The Caesars’*** (1968) A major Granada TV production, 1 episode per day. It’s a marvellous work of 6 separate episodes covering the Roman emperors with Roland Carver as Augustus, Freddie Jones as Claudius, Andre Morrell as Tiberius and Ralph Bates as Caligula. At times I wished it was in colour and then the darkly textured black and white Video Tape magic took over. At times it’s faces can’t be made out or are in deep shadow. Just as this was finishing, a new radio adaption of the Robert Grave’s ‘I, Claudius’ (the third) has started on BBC Radio 3’s ‘The Classic Serial’ strand. With Jacobi now playing Augustus.
This is the BBC (1959)*** – A documentary of the era which shows 24 hours in the life of the broadcasting monolith. In many ways, in it’s impressionistic way – it echoes and updates the early ’30s GPO film which took a similar route. Famous faces from Auntie Beeb’s journalism (Charles Wheeler, ‘Panorama’, ect), drama (Rudolph Cartier directing), radio (the script editors discussing story ideas for the 50 years+ running radio soap ‘The Archers’) and boffins at work making the technology work and pushing the envelope. A fascinating historical document but also, there are moments of charged and charming excitement, as the last minutes break into gleaming, resplendent, eye-popping colour, a good 8 or 9 years before programmes were made in it.
It’s here to view: http://www.youtube.com/watch?v=NH8FhsLPHyo
Also, watched and created an episode guide of the first 12 or so ‘Thriller’. I actually enjoyed an episode called ‘The Fatal Impulse’ – which was so bad that it played amusingly enjoyable akin to ‘The Naked Gun’ films. A guilty pleasure.
Also, inspired by that and in tandem, I’ve watched the first 45 episodes of ‘Alfred Hitchcock Presents’…wow. Haven’t ever watched it in chronological order. The stand–outs classics are: ‘Breakdown’, ‘The Case of Mr Pelham’ (both Hitch directed episodes), ‘Our Cook’s a Treasure’, ‘Shopping for Death’, ‘The Baby-Sitter’ (directed by Robert Stevens with the middle one scripted by Ray Bradbury). There are one or two others that may belong in that rank and I’ll be watching the whole lot again within the next week. I meant to watch only one or two, but it’s compulsively good. I reckon that at this rate, the show will exceed, in number of classics, the equally brilliant ‘The Twilight Zone’ by the time I get into the 4th season. Hitch’s intros are a hoot.
Also watched ‘Touched by Fire’, a segment of ‘The Ray Bradbury Theatre’ which is based upon the same story that he adapted in ‘Shopping for Death’. It’s an amazingly inferior version lacking the sharpness in every arena of the Stevens’ version and the grubbiness of the colour stock, which looks so poor in comparison with the charismatic BW of Hitch’s show (lensed by John L. Russell).
Also watched the ‘Horror in the Heights’ and ‘The Ripper’ episodes of Kolchak. The latter impressed me years ago and has Phil Silvers, but was a lesser effort now. Whilst ‘The Ripper’** episode is probably the best thing I’ve seen of this show, certainly better than the drab first TV Movie. In fact, it’s everything the disappointing ‘Thriller’ segment, ‘Yours Truly, Jack The Ripper’ isn’t: larger than life and with several bravura sequences and frissions.
Watched two episodes of ‘The Virginian’ for Herrmann’s scores. Not bad, but I think he must have been in the dumps, they lack the fire of his other output.
Also, have started to read some short stories by Cornell Woolrich, probably because of the ‘Thriller’ segment ‘Late Date’. He has an incredible resume. There were 44 adaptions before ‘Thriller’. An extraordinary amount. He seems to embody noir more than most of the other writers and his plotting and some of the details of the story, my first, that I just read (‘Speak to me of Death’ – about a hapless millionaire businessman who state starts to go downhill when he is given his death date by a fortune-teller’s, his demise being in the jaws of a lion – it was later expanded in a novel and filmed as ‘The Night Has a Thousand Eyes’) has strong pulpish elements (cop gets heiress that he’s trying to protect, a blackmailer makes an unlikely second appearance, ect, ect.). But he has such a hard-boiled verve and muscular prose style that he gets away with it. I’m used to reading stories that were published in the pulps or digests but didn’t tailor themselves to the story elements of the era (Sheckley, Heinlein, Asimov, Dick, Sturgeon, ect). Very interesting, I wonder what our noir experts, Tony and DeeDee, think of this highly interesting writer?
I also wrote, in a fit of peevishness, a lengthy and savage repost to a dim article and follow-up comments about Dwight Eisenhower at the ‘Saturday Evening Post’, under my non-de-plume for political articles, RobertAnderson….I didn’t think they’d post it!!! It sooooo goes against the grain of worship that they were doing.
http://www.saturdayeveningpost.com/2010/10/16/archives/retrospective/why-we-still-like-ike.html
Bobby J:
Thanks as ever for this spectacular response on this thread. The thread is never really complete without you checking in. I will save this fantastic submission for tomorrow, as I am in NYC now at an internet cafe, and will be seeing two films tonight (two rare gems by Hani that are not on DVD and are to be presented by the Japan Society’s Peter Grillo) Even Allan has seen neither. (Bad Boys and He and She)
I did figure you were under the weather -as so many other have been- and am happy to hear you are now on the re-bound.
I will speak to you tomorrow my frined! Thanks ever so much!
Yep, Bobby, most of them were in the two hour range, and as Murderous Ink reminded me, these lot were especially demanding. And very cold temperatures to boot! I have heard from Allan about all the snow over by you, and can imagine the inconviniences from experiences here.
Well, I know THE CAESARS well, and one had a bit of a phone debate with Allan, who considers this as even better than I CLAUDIUS. While I don’t go that far, like you I found the performances first-rate and that always-riveting story perfectly executed. I have the Region 2 DVD.
Thanks very much for providing the link to THIS IS THE BBC., a show I haven’t seen, but I am enriched by with your asture commentary here.
Bobby, I watched “The Fatal Impuse” for the first time during the blogothon, and I must say I liked it, and was gripped by the suspense created by the winding clock. It may be cliched, but the whole thing worked, and I can see precisely where you are coming from with that comparison. I believe that Warren thinks it’s one of the two best of the mystery episodes and I can see why.
I’m afraid to say that I don’t at all rank ALFRED HITCHCOCK PRESENTS with THE TWILIGHT ZONE by quite some distance, but that’s just me. You did admittedly see a great lot there, especially the two Hitch-directed episodes and “The Babysitter.” The intros are great, and the show is still one of my favorites, but for me it falls behind “The Twilight Zone,” “Thriller,” and “Outer Limits” as some of the episodes fall flat. But that said, I again call on Universal to release Seasons 5, 6 and 7, and THE ALFRED HITCHCOCK HOUR. You and I are serious fans of the period of teevision of course, and the days are counting for that Outer Limits blogothon and your sure-to-be-extraordinary contributions.
Here are the 10 Greatest episodes of Outer Limits:
Demon with a Glass Hand
The Bellero Shield
Architects of Fear
The Sixth Fingers
The Man Who Was Never Born
Corpus Earthling
The Forms of Things Unknown
A Feasilibility Study
Nightmare
The Invisibles
O.B.I.T. and THE HUMAN FACTOR among others are also very good.
(Above list is not in order)
I liked “Yours Truly Jack the Ripper” more than you, but I’ll admit it’s somewhat of an acquired taste, and it doesn’t rank with the likes of those Kolchak episodes. I’d still listen to those Herrmann scores in “The Virginian”, but I hear ya. It’s not with his best work by quite some distance.
44 adaptation of that Woolrich before the Thriller? Unbelievable. Of course, as I’ve mentioned I adore the author’s BLACK ALIBI, upon which Lewton’s “The Leopard Man” was based. But you are a machine with all this reading to complement the watching. Incredible. Woolrich has won high marks from both of our noir affiliates by the way, numerous times!
You were published in the SEP??????????? O.M.G. You are the best!!!!!!!
I will be over there PRONTO, and thanks a million my tireless and brilliant friend!!!!!!!!!
The Esienhower piece by you by way of your pen name is brilliant Bobby, though my left of left friend Andrei Scala, who is sitting with me feels you are a little too harsh on Ike..(“After all, he did warn the American people about “the Military-Indistrial complex” in his farewell address to the nation, which was a very courageous thing to do at the time. He could have just said ‘bye folks.’)
Ike’s worst gaffe for me was clearing the path for that monster, Dick Nixon, who was bonded even more by the marriage of Nixon’s son to Eisenhower’s daughter. Ike really didn’t like Nixon, so in a sense he “suffered” him.
Sam, I understand the falling flat aspect of your criticism of some segments of ‘Alfred Hitchcock Presents’ – but as it was a trailblazer for filmed anthology TV and still adhering to the regime of producing 39 x 25min episodes per season (Zone did 36 in it’s 1st season and 26/28 in it’s 2nd) it was dealing in another world. Then I think of a new season of half hours consists of 22 x 22minutes episodes now days, it’s a different ball game. Then again, as much as I love ‘zone’, it was so closely tied to Serling, that when he was burnt out and writing rubbish that should have been rejected in the 4th and 5th seasons (even some of his 3rd season shows were outright clunkers, mixed in with classics), that show also suffered. I would venture to guess that because Hitch favoured adaptions of admired short stories, there will be hardly any decline by season 7, whereas an insecure Serling felt he had to write everything
More adaption by him would have made the ‘zone’ an even greater achievement (after all ‘To Serve Man’ and ‘It’s a Good Life’ – two of the best from season 3 were based upon highly regarded published shorts).
Anyway Sam, with Ike, I hold no illusions. FDR and Truman (very over-rated and white-washed, despite a brilliant Pultizer-prize winning biography) both made huge errors, too. I think all the comments have validity, including yours about Dick Nixon, but the assassination of leaders of progressive movements in other countries that left them with death squads, torture chambers and eventually as utterly corrupt basket cases was, for me, his greatest sin. It would eventually lead (and this was the fault of both Ike and Truman) to the CIA (with the assistance of a power-hungry LBJ) into killing their own commander-in-chief because he refused to go into Vietnam. That’s another 60,000 US deaths and over a million (or did Martin Sheen mention 3 million in ‘Vietnam Holocaust’) Vietnamese.
Thanks a lot as always Sam for the mention. You seem to have had a busy week. Well same here, cos I was having my exams which have thankfully got over. So my apologies for joining in the conversation so late. Will be going home to Calcutta tomorrow, and planning to have an absolutely relaxing 3 weeks’ vacation. I guess I need it after the ultra-hectic last few months 🙂
Thanks Shubhaijit! You are urged to relax and charge those batteries, naturally and to do things that you wouldn’t normally do the rest of the time. If movies are part of the prospects so be it. You might catch some of the late 2010 releases if that’s possible. Enjoy the break my very good friend!