by Sam Juliano
The defining event at Wonders in the Dark was initiated this past week when Jamie Uhler offered up graphic models for Allan Fish’s film book. Further additions and enhancements will follow, and a publication date is tentatively planned for some time in 2012. Kudos to Mr. Uhler for his ardent and impassioned work, and for his sustained belief in the exceeding worthiness of the project.
Apart from this proud undertaking, the site has understandably been slow as of late, aside from the Monday Morning Diary, which saw a barrage of activity this past week, mainly as a result of the controversy surrounding A Serbian Film. With the musical poll tentatively scheduled for a late summer launching (WitD’s good friend Pat Perry will formidably involved in the project) the present time is a kind of “between polling” period, and as such the site will be showcasing a diet of Fish Obscuro entries, science-fiction and anime pieces from Bob Clark, Jamie Uhler’s continuation of his landmark ‘Getting Over the Beatles’ series, and an anticipated resumption of Jim Clark’s stellar bi-monthly contributions. In addition “Yours Truly” is planning the next installment in the blogger appreciation series, and some film and theatre reviews on recent releases.
Dee Dee is again negotiating a prize contest on her interview thread that will include questions to be posted there on June 2. Authors Kohl and Beetner have been periodically visiting the thread with comments expressing their appreciation for the interview and the glowing acknowledgement of their new book expressed by several commentators. Again, the intricate and impassioned sidebar work has been Dee Dee’s domain for quite some time now. Many thanks our very dear friend!
For the most part the past week has been a kind of ‘recharge the batteries’ period, a time when one drifts away from the blogosphere to attend to other matters in their lives. Just about all bloggers go through this period of malaise, and it’s often a time of reflection and a re-estimation of priorities. Hence, I’ve been less active at others blogsites as of late, but fully expect to return to the swing of things very soon, especially at the blogsites of those WitD loyalists who spend part of their precious time commenting under our posts. To those stalwarts I thank you a hundred times over.
As expected the Cannes Film Festival’s Palme d’Or prize was won by Terrence Malick’s The Tree of Life.
This week represents one of those rare instances where I didn’t manage any new releases in the theatres, (I was especially disappointed to miss the new Woody Allen film, but this coming week I will rectify this) though my wife and kids saw the latest installment in the Pirates of the Caribbean franchise. Lucille and I saw a local professional company’s staging of Gilbert & Sullivan’s H.M.S. Pinafore on Sunday afternoon by the Ridgewood Gilbert & Sullivan company. This world-known opera company, based locally, has been staging operettas from the beloved duo since 1937, and their PINAFORE is pure musical bliss. Not even a Broadway production can eclipse the work they do, with first-rate singing, staging and costuming. Just to hear and watch the famed number “I Am An Englishman” is enough to give you goose bumps, but I really need to do a full review on this. This was one of the most delightful Sunday afternoons Lucille and I enjoyed in a very long time. I also made three screenings of classic films at the Film Forum and the Jersey City Loews:
The Makioka Sisters **** 1/2 (Monday night) Film Forum
Barry Lyndon ***** (Friday night) Jersey City Loews Landmark
Sunrise ***** (Saturday night) Jersey City Loews Landmark
Kon Ichikawa’s exquisitely beautiful THE MAKIOKA SISTERS represented for the veteran director a triumphant late-career return to the cinema with a film of emotional depth and sensual beauty. The pink cherry blossom montage at the start and glorious use of Handel’s “Ombra Mai Fu” from Xerxes set a mesmerizing and seductive tone for the remainder of this near-masterpiece, a film that will soon be released on a Criterion blu-ray.
After Friday night’s screening of BARRY LYNDON on the gigantic Lowes Jersey City Landmark’s screen, I am now of the opinion that this ravishing opus is Stanley Kubrick’s greatest film. It’s a close call with A CLOCKWORK ORANGE for me, but this visually intoxicating masterpiece is one of the cinema’s most impressively filmed period pieces. John Alcott’s cinematography is a model of its kind. But heck, who do I really have to convince at this site or anywhere else that BARRY LYNDON is a staggering masterpiece? Ha! But I’ll not soon or ever forget Friday night, and (impatiently) await the delivery of my Kubrick blu-ray set that includes the film.
Then again at the Jersey City Loews on Saturday night, a true wonderment was offered up: F.W. Murnau’s 1927 SUNRISE, one of the greatest films in the history of the cinema, and for me one of the two supreme silent works (the other is Dreyer’s THE PASSION OF JOAN OF ARC) and a film of defining emotional resonance. Seeing it with spectacular organ accompaniment that was greeted with frenzied applause at the conclusion, one can only question whether they have truly seen this film as it was meant to be seen. I hope to get to a full report of this unforgettable weekend at the movie palace.
Here are the 37 links I have for this week:
At the blogosphere’s pre-code altar, Movie Classics, Judy Geater has penned a terrific review of William Wellman’s 1937 Nothing Sacred: http://movieclassics.wordpress.com/2011/05/14/nothing-sacred-william-a-wellman-1937/
It’s celebration time at Checking On My Sausages where the ever-resilient Stephen Russell-Gebbett has reached the milestone of 100 posts. He offers up a stellar archive: http://checkingonmysausages.blogspot.com/2011/05/100-posts-full-archive.html
David Schleicher has penned a terrific review of Herzog’s Cave of Forgotten Dreams at The Schleicher Spin: http://theschleicherspin.com/2011/05/19/cave-of-forgotten-dreams/
Former Vietnam veteran John Greco has penned a fantastically insightful piece on Robert Altman’s M.A.S.H. at Twenty-Four Frames: http://twentyfourframes.wordpress.com/2011/05/19/mash-1970-robert-altman/
As part of a 1939 blogothon the resilient R.D. Finch has penned a stupendous essay on the western masterpiece Stagecoach by John Ford at The Movie Projector: http://themovieprojector.blogspot.com/2011/05/cmba-classic-movies-of-1939-blogathon.html
At Speaking From The Heart Laurie Buchanan has a marvelous ‘bucket list’ post leading the way: http://holessence.wordpress.com/2011/05/19/dont-kick-the-bucket-before-you/
Srikanth Scrivason again writes with enormous insight at The Seventh Art with the final part of his essay on Buffalo Bill and the Indians: http://theseventhart.info/2011/05/16/buffalo-bill-and-the-indians-an-analysis-part-55/
Film Doctor has written up a glorious dismissal of the newest Pirates of the Caribbean installment at his place: http://filmdr.blogspot.com/2011/05/once-again-to-brig-pirates-of-caribbean.html
And then Jake Cole, writer extraordinaire, takes on the film at his film altar, Not Just Movies: http://armchairc.blogspot.com/2011/05/pirates-of-caribbean-on-stranger-tides.html
At the magical Creativepotager’s blogsite, artist Terrill Welch has another magnificent oil painting for your perusal: http://creativepotager.wordpress.com/2011/05/19/keeping-watch-original-oil-painting-by-terrill-welch/
Wonders in the Dark readers by now have surely seen and accessed Tony d’Ambra’s collection of poems and prose, Cinematic Poetica, a new volume available at areasonable price, featured on the sidebar. For those who have been ravished by the works as they appeared over the past two years, here’s the chance to own the entire sensory collection in a beautifully ornate booklet: https://www.lulu.com/commerce/index.php?fBuyContent=10534204
At Vermilion and One Nights our Japanese friend Murderous Ink continues his post-war Kurosawa series with a riveting piece on The Quiet Duel: http://vermillionandonenights.blogspot.com/2011/05/postwar-kurosawa-quiet-duel.html
Jaime Grijalba has posted a most intriguing feature at Exodus 8:2 titled “Superb Internet: the Original Trilogy Boxxy”: http://exodus8-2.blogspot.com/2011/05/magnifico-internet-la-trilogia-original.html
Samuel Wilson has authored a superlative review of Jean Luc Godard’s La Chinoise at Mondo 70: http://mondo70.blogspot.com/2011/05/la-chinoise-1967.html
At Cinemascope Shubhajit has penned another wonderful capsule, this time on the Woodman’s Purple Rose of Cairo: http://cliched-monologues.blogspot.com/2011/05/purple-rose-of-cairo-1985.html
At Ferdy-on-Films Roderick Heath has penned a superlative review of Krull: http://www.ferdyonfilms.com/?p=9929
Meanwhile at his solo site, Heath imparts his magical prose to a sprawling essay on Otto Preminger’s final film, The Human Factor (1979): http://thisislandrod.blogspot.com/2011/05/human-factor-1979.html
Filmmaker Jeffrey Goodman mentions “Moon in the Gutter” and “Wonders in the Dark” is his roundup of those promoting The Last Lullaby: http://cahierspositif.blogspot.com/2011/05/great-moon-in-gutter-comes-out-in.html
One of the internet’s best-kept secrets (but hopefully not for too long) is the brilliant “Jean” of Velvety Blackness, who urges readers to offer up some ‘suggestions’ at her lead post: http://velvetyblackness.blogspot.com/2011/05/suggest-and-comment.html
Slant writer extraordinaire John Lanthier likens A Serbian Film to a “transgressive” experience, awarding it 3 out of 4 stars at Aspiring Sellout: http://livingincinema.com/2011/05/14/review-a-serbian-film-2011/
Craig Kennedy conducts a terrific roundtable interview with actress Rachel McAdams at Living in Cinema: http://livingincinema.com/2011/05/20/lic-roundtable-interview-rachel-mcadams-on-midnight-in-paris/
At Scribbles and Ramblings Sachin has written a definitive appraisal of Canadian filmmaker Alan King: http://likhna.blogspot.com/2011/05/actuality-dramas-of-allan-king.html
Jason Marshall’s #5 film of 1940 is the famed classic Austen adaptation Pride and Prejudice: http://moviesovermatter.com/2011/05/20/pride-and-prejudice-best-pictures-of-1940-5/
Pat Perry at Doodad Kind of Town hasn’t updated for a while, but the Chicago native and very good friend, will be playing a vital role in the musical countdown that is tentatively scheduled to commence sometime in mid to late summer if everything falls into place. Here’s Pat’s long-running blogsite: http://doodadkindoftown.blogspot.com/
Drew McIntosh offers up a friendly dare to moviegoers with his lot of challenging screen caps in a plainly titled post “5/11/11″ at The Blue Vial: http://thebluevial.blogspot.com/2011/05/images-51711.html
At Patricia’s Wisdom, readers this week are being treated with an aptly titled post, “Gifts”: http://patriciaswisdom.com/2011/05/gifts/
At Only The Cinema Ed Howard launches his “The Record Club” project: http://seul-le-cinema.blogspot.com/2011/05/record-club-monday-may-23.html
Kevin Olson at Hugo Stiglitz Makes Movies offers up a towering essay on Fellini’s masterpiece, 8 1/2: http://kolson-kevinsblog.blogspot.com/2011/05/8-12.html
Adam Zanzie has posted what appears to be a tremendous review of 1985′s Agnes of God at Icebox Movies: http://iceboxmovies.blogspot.com/2011/05/agnes-of-god-1985.html
Hokahey takes on the new Pirates of the Caribbean sequel at Little Worlds: http://hokahey-littleworlds.blogspot.com/2011/05/pirates-of-caribbean-on-stranger-tides.html
Dave Van Poppel has some great documentary capsules from the Toronto Film Festivals posting at his place: http://visionsofnonfiction.blogspot.com/2011/05/hot-docs-2011-we-were-here.html
Jeopardy Girl asks her readers “What’s Good?” at her place this week in an ever-thoughtful post: http://jeopardygirl.wordpress.com/2011/05/16/whats-good/
Peter Lenihan has some striking screen caps up on “the films of Clair Denis” at The Long Voyage Home: http://thelongvoyagehome.blogspot.com/2011/05/your-worst-enemies-are-hiding-inside.html
Longman Oz is on a brief break at his place, but his very fine piece on Route Irish is still leading the way: http://smiledyawnednodded.com/2011/03/28/routeirish/
Troy Olson has an assortment of posts leading up at his place on live basketball blogging, a new record club and the most recent Bresson reviews: http://troyolson.blogspot.com/
J.D. has quite an exhaustive essay up at Radiator Heaven on Tony Scott’s Domino that is a must-read: http://rheaven.blogspot.com/2011/05/domino.html
Sam,
Sounds like you had some great moments in the theatre over the weekend. I love Sunrise but have not seen Makioka. I will have to check out that one. I’ve only seen Barry Lyndon once, on video mind you, but was sort of underwhelmed by it. I love everything else Kubrick did, so will probably check it out again, as I’ve seen a lot of mentions of it in the blogosphere.
I’m sort of surprised that Tree of Life actually won the Palm D’or, as I had seen it got a mixed reaction from the crowd there. It should be one heck of a ride once I finally get to see it here. I’m looking forward to it like mad.
I did go back and check out Night and the City from Maurizio’s countdown. It’s one helluva film and I can see why he had it on there at number 1.
I hate to be a cynic, but I’m willing to wager a big part of why “Tree of Life” won was because of how Lars von Trier put his foot in his mouth. At the very least, I think it’s something of an open question, whether or not “Melancholia” might’ve proven more substantial competition had it not been for its director’s press-conference performance.
I like a good deal of von Trier’s work, and it’s probably inappropriate to comment on films I obviously haven’t seen, but all the Cannes coverage I’ve read suggests there were many more interesting movies than Melancholia (Once Upon a Time in Anatolia, La Havre, The Artist, We Need to Talk About Kevin, Drive, etc). With that said, the festival’s decision to expel him is really kind of shameful, not to mention embarrassing.
Yeah. Especially because, from the sound of his interview, he was possibly dealing with the kind of shattering family revelations that kinda merit having some kind of a breakdown, especially if you’ve got as infamously fragile a sense of psychological/emotional well being as him, already. You’re raised thinking your parents were Jewish, and then find out they were not, and might’ve been members of the Nazi party themselves? Freaking out is the healthy reaction, if anything, you just don’t wanna do it in public.
Of course, he also might’ve just been egging us on. It’s hard to know with LVT.
Bob yes you might be right. Perhaps Tree of Life was the lesser of two evils for the Jury when compared with von Trier and his baggage he brought along. Some people just don’t know when to be quiet. I can see the position that Cannes was in, and if they didn’t do something like what they did with expelling him, they would have never heard the end of it. Whether he was sane during the whole thing or not, they were forced to play their hand.
Bob: I have serious doubts as to whether Von Trier’s film ever had a chance from the get-go, and it goes beyond the helmer’s lack of personal popularity. Although the Dardennes won twice, the Cannes jury is usually reluctant to give more than one Palme d’Or to a single director.
As a fan of Von Trier, I’ll also say to you that sight unseen I’d wager THE TREE OF LIFE also won over MELANCHOLIA because it’s probably a greater film. We shall see.
Peter:
As far as I’m concerned I’d say the point you make is 100% accurate. I love Von Trier too, but I’d wager a number of films at Cannes eclipsed his newest. Again, speculation, no more. I have my reasons to believe this.
Thanks you Sir!
Sam, it goes without saying that The Tree of Life is the film I look forward to the most–I’m absolutely with you there. But judging by the reviews that have been coming out of Cannes it seems to be an unusually strong year, or at least many of the films that have gotten acclaim seem like my kind of thing. As JAFB put it, it’s gonna be a hectic year.
Aye Peter, I hear ya. I’m chomping at the bit to see a number of these. At least I know we’ll both be seeing Malick’s film this upcoming weekend!
I’m also judging by the decidedly mixed reaction that Malick’s movie got, when it screened. They might’ve booed the Von Trier, but did anybody give the same reaction to “Melancholia” itself?
Bob supposedly only a handful of people actually booed. The screening got an overwhelming positive reception, with a majority of the crowd applauding from what I read. But you do dislike Malick, so it is something to consider. It does seem that The Tree Of Life is getting better marks (and less polarization) than The Thin Red Line or The New World. Looks like the positives seem to largely outweigh the negatives at this point, in terms of critical opinion.
Judging by their past records I would think Melancholia is more likely the better film. The New World, for me, is Malick’s only success (albeit an excellent one).
The trailer for Tree of Life seems a bit empty-pretentious. I hope I’m wrong.
I saw no reason to expel Von Trier. He’s a strange individual, a provocateur and a prankster not unlike Jean-Luc Godard. He’s always joking and playing up to a role he co-created with the media. He didn’t (really) promote Nazism, nor has he committed any crimes. I’m glad Kirsten Dunst wasn’t thrown out with the bathwater and managed to win Best Actress.
Mauriz– I read it was more than just a handful, and really, I’m trying to keep an open mind on this film. I’ve been won over by a director’s work at great length before (“Secret Honor” and “Tanner 88″ helped me get into Altman, for example), and if “Tree of Life” could be the same for Malick, so much the better. But Von Trier is a guy who I already like, so there’s that.
Stephen– funny that Von Trier is expelled for percieved anti-Semitism, whereas there’s long been a question of whether or not Godard harbors that kind of sentiment, for real.
The big difference Bob is that Godard didn’t say such things in a public manner like Von Tier did at the actual event in question. It did seem like he has joking, but like some of his films, it completely fell flat and missed any chance of being funny or relevant.
There does seem to be some inconsistent reporting on how many people actually booed The Tree Of Life. It just seems that the positive reviews are clearly the majority at this point.
Indeed Maurizio, THE TREE OF LIFE has been recipient to overwhelming positive response among the critics. EVERY film always has a few dissenters. I think with Malick’s reputation many believe he will get 100%. LOL!
I totally see why Cannes expelled von Trier and it was their prerogitive, despite the fact that I like his films alot. You can’t have headlines blurting out “I am a Nazi!” and not do something about it. It’s all a big PR move and they had to act quickly. It’s not going to keep me from seeing his films whether he was joking or not. But, I understand the perspective Cannes took.
Jon, I don’t see this argument at all. Nor is it true that the events that happened were merely von Trier shouting “I’m A Nazi”.
Jaime,
I think what I’m meaning to say is that it’s not about what he said or the circumstances, it’s how it’s perceived. I read about it because a headline said “I am a Nazi”. We all know how things get blown out of proportion and this is probably a case, but I don’t blame Cannes for putting their foot down and not letting von Trier steal the headlines and make it appear they are some kind of soundboard for his comments (whether he said them or meant them or what, is nobody’s guess). Can you see this side of the argument?
I can see it, but I don’t see it as valid. Bowing to sensational media, or reactionary people is never a valid response in my opinion.
But, in the end it doesn’t really matter either way. Banning him or not doesn’t do anything but give an extra little aura around the film.
Jamie,
I see where you’re coming from also. These are artists who make a living off of expressing themselves and Cannes makes a living off of showing their expressions. It’s disappointing that it turned into what it did, but this does drum up some big publicity for his film, good or bad. I’m actually looking forward to seeing it.
Thanks for that Jon!
Yep, BARRY LYNDON (as Dennis so passionately poses) is a big screen movie is there ever was one. I always thought this was a great film, but now after this live cinematic epiphany I am thinking it’s Kubrick’s true masterpiece. As others on this thread has subsequently attested to with detailed analysis, it’s a singular achievement, and the period piece par excellence. Seeing it as Murnau’s treasure on back-t5o-back nights at that movie cathedral, well, let’s say I’m “transformed! Ha!
I am in complete agreement with you on NIGHT AND THE CITY too, and roundly applauded Maurizio’s placement of it in the top position. It my favorite noir ever, and one of my favorite films period.
Many thanks my friend!
That’s Jean (male) like Jean-Luc or Jean-Pierre or Jean-Baptiste, not Jean Seberg, but thanks for the mention, as always!
Ha Jean! Sorry about that! Either way, you are brilliant my friend!
I’d like to think my internet androgyny is one of my better traits. I also forgot to mention that I’m insanely jealous that you were able to see Barry Lyndon on the big screen. I haven’t seen it at all – I almost watched it but decided to wait for the inevitable blu ray. It is Kubrick, after all. Oh, and, of course, Sunrise. The big city treats you well. I’ve got some exciting Visconti screenings coming up, though, so things aren’t so bleak on my end, either. The waiting is the hardest part, but distance makes the heart grow fonder, so I’m going to suckle on that idiom until the time comes.
Jean, to be honest you had me fooled, but not in a bad way at all. I agree the internet androgony is a cool thing, and I love the design at your site. I just need to put my two cents in more often, and indeed will today at your lead piece.
But seeing BARRY LLYNDON for the first time on blu-ray is comparable to seeing it in a theatre, and I look forward to your response. I have my set on order, but it appears they are sticking to the May 31st release date, though Allan already has his set in the UK. Yes, I am located in a very culturally strategic spot in northern New Jersey minutes from the bridge and tunnel crossings into Manhattan, and close to some of the most desired New Jersey hot spots like the aforementioned Loew’s. But I’ve lived here my entire life (in my home town no less) and have tried to take advantage of the offerings to be thankful for.
The Visconti films are definitely cause for celebration on your end and worth waiting for with continuing bliss. I hope they will include a late-career work L’INNOCENTE, a ravishing period piece that would be perfect for big-screen investigation.
Sam, thanks so much for the wonderful mention!
I am so envious to read of your BARRY LYNDON and SUNRISE experiences from this past week. I’ve never had the opportunity to see the Kubrick film on the big screen, and have only seen the Murnau once in a theater setting.
This week, I was able take in a good amount of viewings. I saw: INSIDE JOB, THE SARAGOSSA MANUSCRIPT, TENDER MERCIES, NOBODY KNOWS, Wyler’s THE COLLECTOR, THE PAWNBROKER, SHADOWS OF FORGOTTEN ANCESTORS, and Bergman’s THE SILENCE. I definitely was happy to see them all, but probably the Ferguson doc was the one that affected me the most. I just thought he did a really wonderful job of making the nation’s most recent economic crisis something that even the most lay citizen could understand. An endlessly compelling portrait that left such distaste and bitterness for all involved.
Here’s to another awesome week, Sam. Thanks so much for all that you do, bringing cinephiles together and spreading the spirit in such a wonderful, communal way.
Jeffrey: If ever the big screen was vital in the movie-viewing experience, well then BARRY LYNDON has to be a definitive example. Mind you, Kubrick’s 2001 is another that makes the movie theatre a magical place, but this ravishing period piece is visually mesmerizing, and even with slightly dulled reds (on the uniforms) this was an experience like none other. It was nice too that a very finer introduction was offered up by the theatre’s regular commentator. The organist for SUNRISE drew ecstatic applause after the screening, as his inter-active contribution really enhanced the experience. (as if this masterpiece needed any! Ha!)
I see you employed the “stacked deck” again this past week! I can’t blame you for going with that award-winning documentary, as it’s truly one of the best of it’s kind. I see three bonafide masterworks among your short-list (SHADOW OF FORGOTTEN ANCESTORS, THE SILENCE and THE PAWNBROKER) but I adore the Kore-eda and SARAGOSSA MANUSCRIPT, while I can watch TENDER MERCIES or THE COLLECTOR any day.
Geez. Talk about an unforgettable week! Wow! And all this while making further preparations with your DVD release (of THE LAST LULLABY) and continued movement on PERIL? I say WOW to that!
Thanks as always for the incomparably kind words my friend!
Sam, Barry Lyndon on a big screen is definitely an enviable experience. For me it’s between this, Strangelove and 2001 as Kubrick’s best, and when I first saw Lyndon I felt that the duel between Barry and Lord Bullingdon — perfectly scored, by the way — was one of the most suspenseful scenes ever shot. Incredible stuff. A library screen is the biggest I’ve ever seen Sunrise on but that was still bigger than a TV and bigger will always be better for the Murnau. Also incredible stuff.
For my part, beside the Godard I was all over the place generically. I just finished watching Kinji Fukasaku’s New Battles Without Honor or Humanity, a follow-up to his five-part yakuza epic with Bunta Sugawara in a new role and a cast full of Toei stalwarts in fine form — more on this later in the week. Also took in Ted Tetzlaff’s The Young Land, featuring one of the worst actors ever, Patrick Wayne, but also an intense young Dennis Hopper as the villain in some sharp coutroom confrontations with Dan O’Herlihy’s judge. On Netflix I streamed Robert Young’s late Hammer eccentricity Vampire Circus. And from the esteemed Albany Public Library came the 1993 Cynthia Rothrock vehicle Undefeatable, directed by the infamous Godfrey Ho and reputed to be one of the most hilariously bad martial arts films ever made. After watching it I can’t argue with that call.
Looking forward to Tree of Life but with reservations. It looks like a test of whether you can disagree with a filmmaker’s philosophy but still admire his craftsmanship. It seems like the critics at Cannes don’t like Malick’s worldview, and I know it hurt Thin Red Line for me, but I’m used to other critics disparaging Kubrick and others for their worldviews rather than their craft so I think Malick is owed a more objective appraisal. And won’t it be utterly weird if after all this time he manages to get the other thing done and gets two features into theaters in a single year? THEN the world would probably end after all.
Samuel, as I mentioned to Laurie, the Lord Bullington duel sequence is one of the cinema’s all-time glories–a meticulously orchestrated segment that uses space and silence to perfection, but I’ll add like everyone else does that John Alcott’s lighting and ravishing color cinematography stand alone in the anals of cinema, and Kubrick’s use of classical music – especially Handel’s “Sarabande” for the main theme music gives the film a resonant aural underpinning. Of course Bach, Vivaldi and Schubert (as Dennis mentions) are prominently utilized. Kubrick stalwarts Patrick Magee and Phillip Stone are superb, and Ryan O’Neal gives the performance of his life. I’ve seen the film several times before, but never until Friday have been so decisively affected. It’s not only Kubrick’s supreme masterpiece, but it’s one of the greatest films of all-time.
I didn’t see Cannes having a major issue with Malick’s world view insomuch as in the end they awarded THE TREE OF LIFE the top prize, nor did I have any issue with it in THE THIN RED LINE, but I am listening to what you say here. In response to a few of the anti-Malick block at WitD, I say again he’s a supreme master, and not a singl one of his films rates under the masterpiece bracket. Any talk that the film received “mixed” reviews can be readily dispelled by the compilation sites here, where it’s sitting at about 90%, but with Malick even one voice of disention is always noted. And yeah, imagine two Malick films hitting the theatre in one year? Now that would be something!
I know that Fukusaka, and I have watched VAMPIRE CIRCUS more than once. The latter is a rather interesting abstract take on the genre, with creative use of color. It’s even available now on blu-ray, which would certainly enhance it immeasurably. Patrick Wayne, eh? Ha! I remember him in his bit role in SHE WORE A YELLOW RIBBON. He’s laughable for sure. UNDEFEATABLE isn’t really my kind of thing, but it may be worthwhile for the laughs you anticipate.
Thanks as always my friend for the typically spectacular wrap!
Regarding Tree of Life’s reception so far, I wonder how the percentages break down among American critics, since Malick will probably take the most fire from his own lines starting this weekend. In that respect, I have a feeling that the Golden Palm won’t help him if it’s seen as a badge of pretentiousness. I still haven’t returned to Thin Red Line since my first dismayed viewing of it back in ’98, but my guarded appreciation for New World argues for another look.
Good point Samuel. The Golden Palme that Von Trier won for DANCER IN THE DARK didn’t convince all the critics as you know, and awards won by David Lynch for WILD AT HEART and the Coens for BARTON FINK didn’t resonate with many. Heck even UNCLE BOONME has yielded some late-to-the-party naysayers. Right now on the generally reliable Metacritic Malick’s film is sitting pretty with an astounding 90% (a rare composite for that site) but only 7 crtics to this point have weighed in, with Anthony Lane and Andrew O’Hair the best of that lot. We must wait for Friday for the big numbers.
Thanks for the plug, Sam. Those are great movies you’ve seen this week.
Now that Cannes is over, I can get back to watching films. Cannes has been exciting and this year is going to be rather hectic in terms of watching.
Brace yourselves!
Thanks Srikanth!
Yes, even without a new release I considered this past week one of the most memorable for the reasons I stated above.
I applaud you for your diligent observance of Cannes, and know you’ll be blessing the blogosphere for the advance word on a number of the entries! This looks like the best years for movies in quite a while. Even without the Cannes films in the mix, it’s been on fire to this point.
I’m a huge Kubrick fan, but I have never loved Barry Lyndon Sam. I’ll take at least seven other works in the Stanley filmography overall.
It’s cool to hear that The Tree Of Life won Cannes this year. To be honest, I couldn’t tell you one past winner as I have never really paid attention to film festival awards before. Still I hope the praise and distinction is a good omen for the future of Malick’s latest picture. What I watched this week…
The Salton Sea **
Blood Simple ****
The Big Easy *
A Serbian Film * (I didn’t detect any high concept message. Graphic imagery that actually grew totally absurd as the time passed. I found it to be cartoonish and actually laughable in its over the top depravity. Irreversible was much more subversive and disturbing overall. Watching the whole movie made me realize I have the stomach to get through such a feature, but not the heart or desire to waste time on a meaningless hollow exercise. The acting was substandard and the porn director’s monologues badly written. I wasn’t so much offended image wise as appalled by the amateur level of filmmaking throughout. It sits only slightly above one of those idiotic late night Showtime soft porns in competent execution).
Hey Maurizio I was meaning to tell you that I went back and watched Night and the City, The Killers, and In a Lonely Place. I can see why you had Night and the City #1. It’s nightmarish, filled with great characters and memorable set-pieces. I like The Killers and In a Lonely Place, but still don’t love them. Sometimes it feels like the scope of those two films falls kind of short and feels small to me. As opposed to Out of the Past, Touch of Evil, Sunset Blvd…these feel “Big” to me. I don’t know that’s kind of my take.
Good to hear you watched them Jon. I think every film you mention is a 5 star classic. The rankings were rather arbitrary when dealing with those 6. I personally find all of them to be “big”, but understand you may have a different opinion. I’m happy you enjoyed Night And The City so much. A couple of weeks later, and I still regard it as the best possible choice for the top spot. It has every element that makes for a great Maurizio noir.
Maurizio, I know you are not a big LYNDON fan. But that’s fine–different strokes for different folks. But you’ve established yourself as a huge fan of his work on these pages time and time again. I’ll try and offer up a top-ten Kubrick list now in order of preference, but again with this guy, it’s all relative to his general excellence:
1. Barry Lyndon
2. A Clockwork Orange
3. Dr. Strangelove
4. 2001
5. Paths of Glory
6. The Shining
7. The Killing
8. Spartacus
9. Lolita
10. Full Metal Jacket
I like EYES WIDE SHUT, but not nearly on the level as many fellow bloggers do.
Yeah, I don’t care much for THE BIG EASY either, and you’re dead on with the others. Nice to hear that superlative dissection of A SERBIAN FILM, and as always for your much appreciated and superlative wrap my friend!
Mine would be something like this…
1. 2001: A Space Odyssey *****
2. A Clockwork Orange *****
3. The Shining *****
4. The Killing *****
5. Full Metal Jacket *****
6. Paths Of Glory ****1/2
7. Dr Strangelove ****1/2
8. Barry Lyndon ****
9. Lolita ****
10. Eyes Wide Shut ****
I realized that I watched Full Metal Jacket, Paths Of Glory and Dr Strangelove within the last month or two, but did not give them ratings or mentions on last week’s Diary. As my above list shows, the three swapped places on my rankings (which are always in flux anyway).
Can’t argue with that list, Maurizio. Not one bit. And with Kubrick as you note, it’s always in flux! Heck, just this weekend I have crowned a new “champ” based on an unforgettable big-screen viewing.
I would have my list like this at this time:
1. 2001
2. Dr. Strangelove
3. A Clockwork Orange
4. Paths of Glory
5. The Killing
6. Eyes Wide Shut
7. The Shining
The following 3 I’m not sold on yet and think they have major flaws (I will revisit Barry Lyndon):
8. Spartacus
9. Barry Lyndon
10. Full Metal Jacket
Thats a great list too Jon, and thanks for contributing it! I wonder how you’ll stand after those future revisions.
My list:
1. The Shining
2. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
3. Eyes Wide Shut
4. A Clockwork Orange
5. 2001: A Space Odyssey
6. Spartacus
7. The Killing
8. Lolita
I’ll submit my Kubrick list:
1 Barry Lyndon
2 The Shining
3. A Clockwork Orange
4 Dr. Strangelove
5 2001
6 The Killing
7 Paths of Glory
8 Eyes Wide Shut
9 Lolita
10 Spartacus
Jaime, that’s a great list there as well, but you certainly know that already. I can’t wait for you to see BARRY LYNDON.
Frederick: Nice work, though anticipated. Many thanks!
And, now, the ultimate Kubrick scholars list….
Ahem…
1. BARRY LYNDON
2. 2001: A SPACE ODYSSEY
3. PATHS OF GLORY
4. THE SHINING
5. A CLOCKWORK ORANGE
6. DR STRANGELOVE
7. THE KILLING
8. EYES WIDE SHUT
9. SPARTACUS
10. FULL METAL JACKET
11. LOLITA
12. KILLER’S KISS
Yes I’m glad you pointed me in the direction of Night and the City. I liked Richard Widmark in that one better than just about anything else he was ever in. He’s quite snake-like to begin with and this film played up that whole angle that he has.
Sorry meant to reply to Maurizio separately from this thread.
Glad you enjoyed ‘Pinafore’ on stage and those three classic films, Sam – having just recently watched ‘Sunrise’ on DVD, I would love to see it on the big screen!
I saw Kelly Reichert’s Western, ‘Meek’s Cutoff’, at the cinema this week – you wrote about this one briefly a few weeks back, Sam, and, after looking back to that post, I would agree with your comments, that I like the naturalism, but so little happens that it is hard to warm to the film as much as I’d have liked to, though that is part of the point. I thought it was visually striking, though, with some of the most gorgeous lighting and colour photography I’ve seen, and it does have a haunting quality to it. It has definitely left me wanting to know more about the Oregon trail. It must have been interesting for you hearing the Q&A with Reichert.
I also saw a couple of Westerns at home. The first was a less well-known John Wayne film, ‘Angel and the Badman’ (1947), a sort of romantic anti-Western about a wounded gunman who falls for a Quaker girl (Gail Russell) – I loved this and, while looking for reviews of it, it was a bonus to find on Youtube that Johnny Cash had written a great song recounting the story of the film.
The second was Ford’s ‘Rio Grande’, again with Wayne – must admit I find all the singing and the sentimental bits with Victor McLaglen in this one hard to take, but a great film all the same.
Thanks for the kind plug, as ever, and looking forward to the musical countdown.
Judy, it’s always a real delight to see a Gilbert & Sullivan operetta from this formidable company, and PINAFORE was first-rate. I’m sure you are more than a bit familiar with this iconic duo! Ha!
I do remember you mentioning that you had recently seen SUNRISE. It’s a film that rewards repeat viewing with new insights and old ravishments! Even the two kids that attended (Sammy and Danny) loved it much to my delighted surprise. But the live organ was quite an embellishment.
As far as MEEK’S CUTOFF, there is at least one colleague here (Peter Lenihan) who is willing to go to the mat for it, but I never saw much beyond the admittedly arresting style. But that’s always been the case with Reichart as far as I’m concerned. All style and little substance. One is welcome to read into it what they may, but I personally am unable to negotiate much myself. What you say seems dead-on.
I’m definitely a fan of both ANGEL AND THE BADMAN and RIO GRANDE and much appreciate your engaging discussion on both. True what you say though about the overly-sentimental bits on the latter with McLaglen, but that’s all part of Ford’s modus operandi I know.
Thanks my wonderful friend for the terrific wrap!
MAYBE ONE OF THESE DAYS YOU’LL START LISTENING TO ME…
As a champion of BARRY LYNDON from the very beginning it is satisfying to finally hear you utter those words of praise above.
The meticulous nature of the director lends perfectly to the spot on recreation of the period and the dramatic nuances are rendered even more emotional sound by putting the audience into the film. We all know the tricks that Stanley employed to bring 2 dimensional 18th century painting to life (rear-projection cameras fused with Zeiss lenses from NASA), but damn, if it doesn’t blow you away every single time you see it. As far as period drama go, this is most definately the finest of the genre. The costuming (most of it actual antiques), set and production design, use of classical music (Shubert’s trio for violin, bass and piano is the stand-out as lonely and abused Lady Lyndon’s theme), and performances all rate and recieve a perfect score card from me. The film is almost like taking a time machine trip back several centuries.
Discussing Kubrick with Allan the other day I pressed him to confess that Kubrick was the greatest American director of all time after I had noticed that Stanley placed a position more times than any other American director in the top 200 of his 3000 film count. Hesitant to claim anyone as the best he went on to say (and I am paraphrasing here) that while he didn’t think Stanley was the best of ALL TIME he was definately in there with the big guys Welles, Hawkes and Ford and the easily the best post 1960 American director of them all. Considering that BARRY LYNDON ranked the highest on his list of all of Kubrick’s movies, I’d say that alot of his personal assessment of Kubrick (as well as my own) are based heavily on the merits of this one film in particular.
Now, I won’t say that I think BARRY LYNDON is as influential and mind-blowing a film as 2001: A SPACE ODYSSEY or as indulgently creative as A CLOCKWORK ORANGE and DR. STRANGELOVE… However, where BARRY scores points with me to become his BEST film of all has alot to do, I think, in the ideas that the film is Stanley’s most EMOTIONAL movie. The polite cruelties and the repressed passions and desires are conveyed brillinatly with every sweep a camera makes and in the pitch perfect performances. Allan has said in the past that he thought Micheal York and Julie Christie would have been better cast as Barry and Lady Lyndon, but I think that kind of BIG casting would have detracted from the authenticity of the film and would have rendered it more of a movie spectacle rather than the transport to another time and place with tremendous intimacy it really is…
I understand, from what I have read on the subject of this direct and film that Stanley was deepply disappointed that BARRY LYNDON didn’t do well with audiences. While I can understand the response of audiences that have a hard time sitting still for three minutes much less three hours, I really think it was more about Stanley thinking that he put his heart and soul and everything he had into a movie to give his audiences something unlike they had ever seen, something special. It’s this thinking, and through my obsessive study of the director that has me concluding that what his dear widow, Christianne, said was true in interviews. Stanley was concerned with his audiences, was looking to make films that his audiences like, admired and were entertained by and were full of REAL emotion…
BARRY LYNDON is one of those movies that goes from being just a pretty costume drama to one of the most effecting and haunting film experiences in all of cinema history. Frankly, I don’t think there is a month that goes by where an image or a passage from this film doesn’t slide across the inner eye of my mind.
The slow walk onto the terrace as Barry kisses Lady Lyndon for the first time.
The moment in the casino as the winning card slides out of the Chevalier’s sleeve.
Barry’s breakdown into tears when Captain Grogan dies in his arms.
The weepy rendition of Barry’s bedtime story to Brian after the horse accident.
The sunlight piercing the windows of the barn as Bullingdon stands his ground and silently insists to proceed with the pistol match.
The birthday montage (one of the most sumptuously beautiful montages in all of film), for Brian as his friends cheer and his parents proudly host…
I’m so glad, dear SCHMULEE, that you finally got around seeing it this way…
Oh, and I pretty much called the TREE OF LIFE on my post from a few weeks back…
Dennis you have convinced me to see it again. I am thus putting it on my queue!
Oh, absolutely Jon!!!!
I am reeling over the big Blu-Ray news Allan brought to me the other day…
Seems Warners and Universal and Columbia are joining forces and releasing the DELUXE Stanley Kubrick box.
Included in the set is the much maligned (print wise) BARRY LYNDON. I cannot think of a film screaming for a Blu-Ray treatment more (except, maybe, for Welle’s MAGNIFICENT AMBERSONS) than this seminal Kubrick classic…
Matter of fact, here’s the link to the Amazon page that is advertising the set…
http://www.amazon.com/Stanley-Kubrick-Limited-Collection-Blu-ray/dp/B004O724NG/ref=sr_1_1?s=dvd&ie=UTF8&qid=1306152618&sr=1-1
BARRY LYNDON is the Kubrick film I go back to most of all. Something just draws you in for more and I find I see something new in it every time I see it again. I remember reading that Scorsese felt the same way and thinks BARRY LYNDON his best film of all too…
Lemme know what you think about it with another viewing!!!
Oh, absolutely Jon!!!!
I am reeling over the big Blu-Ray news Allan brought to me the other day…
Seems Warners and Universal and Columbia are joining forces and releasing the DELUXE Stanley Kubrick box.
Included in the set is the much maligned (print wise) BARRY LYNDON. I cannot think of a film screaming for a Blu-Ray treatment more (except, maybe, for Welle’s MAGNIFICENT AMBERSONS) than this seminal Kubrick classic…
BARRY LYNDON is the Kubrick film I go back to most of all. Something just draws you in for more and I find I see something new in it every time I see it again. I remember reading that Scorsese felt the same way and thinks BARRY LYNDON his best film of all too…
Lemme know what you think about it with another viewing
Yep Dennis, Scorsese also sees BARRY LYNDON as Kubrick’s greatest work. Again I can’t commend you enough for your brilliant insights, which stand tallest today at the site! Your e mail address isn’t “kubrickkrazy” for nothing!
Dennis you have me awestruck here, so much so in fact that will chime in before I usually do. I am leaving for school now after all.
Perhaps the most brilliant comment you’ve ever entered at the site, to use your standard of hyperbole.
Yes, BARRY LYNDON is Kubrick’s greatest masterpiece. I’ll have more to say later today.
I’m just glad you loved the film Sammy. It now validates all the swooning I have done in front of you over this film since I have known you at the very least…
Now that you mention that genious-sounding box set I definitely am looking forward to seeing Kubrick in Blu-Ray. Considering I’ve only seen Barry Lyndon on an old VHS copy, probably 10 years ago (story of my life), I’m expecting quite an upgrade once I see it on DVD or Blu-Ray. Considering how Kubrick can be so visual, it seems like seeing it in a poor copy can be distracting and I think that’s where I erred wrong the first time.
No question Jon…
These Blu-Rays should do the trick, particularly if you have a largre screen in the house… Kubrick is one of a handful of directors whose work is really suited ONLY for a theatre screen. The bigger, the better!!!!
I have always considered Paths Of Glory to be Kubrick’s most emotional film. Barry Lyndon is an interesting choice for such a designation. I have seen Lyndon three or four times and must admit that I find 2001, A Clockwork Orange, The Shining, and The Killing to be significantly superior overall Dennis. I will give it another go soon, but after all these years of Kubrick admiration, I doubt my opinion will change much.
Yankees beat Mets!!!
YEAH!!!!!!!!!!!!!!!!!!
Joe, thanks for the reminder! You know I’m with ya buddy!
Sam, as I recall, I believe you had mentioned you attended one of the Ridgewood company’s prior productions. Maybe, well before the beginning of this blogsite. I have no trouble believing that this ensemble can easily match any Broadway company and-or production, based on so many years of specialization. I would have loved to have been there and at that Jersey City movie palace. What an amazing weekend! But with you it’s deju vu!
Thanks correct Frank. You have a great memory. I did see “The Pirates of Penzance” eight years ago, well before the advent of WitD in 2008. That production was also first-rate, and the prime reason why I was eager to see their “Pinafore.” They are now conducting auditions for their planned staging of “Iolanthe” in the fall.
And yes, I’d take another weekend like this past one anytime! Ha!
Tonight, I will be attending the opening night of the Buster Keaton Festival at the Film Forum with Lucille, Sammy and Danny.
http://www.filmforum.org/films/keatonmondays.html#cameraman
With “The Cameraman” and “The Playhouse” on tap, it should be a terrific time. The Keaton Festival will run every Monday until mid-August, with one great feature and one great short for every week. Next week it’s the masterwork “The General.”
Many thanks my very good friend!
You didn’t see any new releases in the theater? Ok, WHERE’S Sam and WHAT have you done with him?!
The fact of the matter is I’m delighted that you’re gifting yourself with a little time to recharge your personal battery. Good for you.
What did Lucille and the troops think of the latest Pirates of the Caribbean? I read that there’s no believable spark between Johnny Depp and Penelope Cruz — no chemistry.
Like a magnet, I’m drawn in by your words, “…I am now of the opinion that this ravishing opus [Barry Lyndon] is Stanley Kubrick’s greatest film.” That’s a GINORMOUS statement and has me chomping at the bit!
THANK YOU for pointing to Speaking from the Heart.
Ha Laurie!!! Well, I almost made a screening of Woody Allen’s new film last night, but circumstances wouldn’t have it fit in. Still, with that Gilbert & Sullivan chestnut, and the three great classic films in those amazing places, I can’t complain. It was a memorable week. I will be watching Terrence Malick’s “The Tree of Life” this coming weekend, and Woody Allen’s film during the week, and then of course as I just noted to Frank, it’s Buster Keaton this evening. And the British classic “Went the Day Well?” is also at the Film Forum now, and it’s a must:
http://www.filmforum.org/films/wentthedaywell.html
As far as BARRY LYNDON, I can’t get Friday night’s screening out of my mind. The dual Barry has late in the film with Lord Bullingdon (as Samuel Wilson astutely mentions above in his stupendous comment) is one of the most brilliantly orchestrated sequences in the cinema, but aside from that my pal Dennis Polifroni is dead on when he says confidently “it’s Kubrick’s most emotional film.” How true that is!
Thanks as always my great friend for the great submission and the “I like” notation!
And Laurie, my wife says the kids thought the lastest installment of PIRATES was better than the last for what that’s worth. Overall they seemed to give it a “B.” I’m not especially focused on seeing it, but if it fits in I’ll take the plunge! Ha!
Thanks as always Sam for the mention and the compliments. I’m leaning over the side with a long pole because I believe you’ve gone overboard.
This week I saw
BLACK SWAN (re-watch) ****
and nothing else filmic.
Ha Stephen! Ever the modest chap!
I am wondering if that reviewing of BLACK SWAN raised your opinion, or pulled it down?
Thanks as always my friend!
It maintained its position Sam (apart from, of course, losing its surprise/freshness).
Thanks for the mention Sam. Regarding The Tree of Life, this may be one of those rare times when a Palme d’Or winning film will be opening in theaters (multiplexes perhaps?) within a few weeks of its Cannes competition slot. I am glad that it is opening in the summer season as opposed to fall because summer can use some non sequel films. On the other hand, I am not sure how long the wait will be to some of the other films such as Drive (Nicholas Winding Refn), Chatrak (Vimukthi Jayasundra), Once Upon a Time in Anatolia (Nuri Bilge Ceylan), The Day He Arrives (Hong Sang-soo) among many other enticing titles.
Thats an excellent point there Sachin! I really don’t recall another situation to parallel it. Winning the Palme d’Or and opening on USA/Canadian screens within a week. Amazing. Yes, with Pitt and Penn in the cast a multiplex opening is imminent this weekend. I can’t say I know too much about those other intiguing films you mention (by some great directors) but I would think big-city openings are likely. I agree too that having a non-sequel film of this art-house caliber in May is a real blessing!
Thanks as always my very good friend!
I’ll chime in with my own support of BARRY LYNDON here. It’s one of those films that grows on you more and more each time you watch it. I absolutely love the duel scene near the end of the film — just fantastic pacing that draws out every last bit of tension it can while also keeping in line with the film’s darkly humorous mood.
I wish I had more to contribute lately, but life has simply been too busy. I still have my next Bresson piece in the pipeline (somehow have to turn it from bullet points to an actual post), along with one or two other posts I’ve had rattling around in there, so hopefully things lighten up once I finish my springtime house projects
The worst thing is, my movie viewing has gone to nil, even as there is plenty I want to take the time to watch. Again, hopefully this all changes soon. Still love hanging around these parts and reading everything that’s written here (some amazing stuff the past few weeks).
Thanks so much Troy. It’s always a special treat to have you here, though to be honest your plate is full, and you have far more important matters at home. The fact that you even comment as much as you do is a testament to your filmic tenacity. But I do periodically check at ELUSIVE AS ROBERT DENBY for updates, and I know you will resume the Bresson series. I know you regularly investigate the goings-on in this place too!
Well, you delineate BARRY LYNDON perfectly, and as I’ve stated above the duel sequence is unforgettable (as you say–loaded with tension) and the film is finally coming to be seen for what it is, Kubrick’s piece de resistence, after at least a decade of underestimation.
As always my great friend I appreciate your loyalty all along.
Sam -
Best Musicals series, here I come! Looking forward to getitng back into the blogging habit again, and the chance to write about the great musical films is just the incentive I need. Let me know when you’re ready to go and what you need…
I am beyond jealous that you saw “Sunrise” on the big screen and I’m hoping I’ll have the same opportunity in the Chicago area. It’s one of those great movies that makes you remember why you love movies. And I think the second act (the day that the couple spends in the city) should be required viewing for anyone who makes romantic comedies – this is how it’s done! “Barry Lyndon” would also be a treat on the big screen. I have to admit, I’ve found it a bit dreary and dull (and have hated Ryan O’Neal’s performance) when I ‘ve seen it on home video. In fact, I’ve never made it through the whole film. But so many people I respect have sung its praises, and I think I really need to give it another chance.
Pat– I will be e mailing you this week with a proposal that I think you will like quite a bit. When the time comes, I’ll reveal our tabulation process on the site. I know this has long been your area of expertise, and I’m extremely excited to have you on board!
I know BARRY LYNDON is not everyone’s cup of tea. Lucille fell asleep after 15 minutes and didn’t awaken until I rustled her at the end. Mind you, I can’t conceive of such a reaction (and I needled her on the way home) but she claims it’s one of the most boring movies she’s ever attempted to watch. I will say that back in 1975 when I first saw the film (on a big screen of course) I didn’t appreciate it as much as I do now. As soon as the blu-ray set comes through this door I will watch it yet again! Ha!
I know you revere SUNRISE, and I have my fingers crosssed that it will be screened in Chicago over the coming months. It was offered up here as part of a ‘visual’ weekend, where all three films were visual treats (SUNRISE, BARRY LYNDON, DAYS OF HEAVEN) But the whole experience with the organ made for a that rare experience that will always be talked about. As I say I hope you get the same.
We’ll talk soon my friend! Many thanks as always!
If Allan believes ‘Barry Lyndon’ is somewhat miscast then I agree completely. Wasn’t the Irish-American O’Neal a big star back in 1975 after ‘Love Story,’ ‘What’s Up, Doc?’ and ‘Paper Moon’? And Berenson was an international cover model and starlet, with ‘Cabaret’ and ‘The Garden of the Finzi-Continis’ on her resume, so commercial considerations were at least a part of the reason Kubrick cast these two actors. He must have known a three-hour pastoral based on Thackeray was a tough sell. Still, in spite of the dubious casting, “Barry Lyndon’ is my favorite post-’Strangelove’ Kubrick film and it grows more hypnotic (or narcoleptic?) with every viewing.
Didn’t Malick win the Director’s prize at Cannes back in 1979 for ‘Days of Heaven’ but not the Palme d’Or? I suppose I could google it. Festival prizes are always a little suspect, but Cannes has a pretty good track record — ‘The Leopard,’ ‘Blow-Up,’ etc.
And if ‘Tree of Life’ was booed, Malick is in very august company. ‘L-Avventura’ almost caused a riot of adversity back in 1960!
CLOTHES HORSES ~ AND MILENA CANONERO
OCEAN’S TWELVE – An all-star cluster fuck barely worth a mention if it weren’t for the clothes designed by the celebrated Milena Canonero. They are stunning.
Canonero has famously worked for Kubrick creating the costume designs for ‘A Clockwork Orange’ and the sublime antiquities of ‘Barry Lyndon,’ and here she invents the look of a future-present-past, combining neo-Edwardian finery with 70′s grunge and all updated to the ne plus ultra of sleekness. Brad Pitt’s trench coats look like they’re made of Lurex or some kind of malleable metal. And Andy Garcia’s ruffles and double-breasted plumage are a neat comment on the ego and vanity of the new emperors of crime. ‘Ocean’s Twelve’ features more male peacocks – in cobalts and purples and monochromatic blacks and creams — than a GQ fashion spread. All courtesy of Canonero’s magic.
Let’s keep our fingers crossed that Cronenberg taps her to do the clothes for his upcoming adaptation of ‘Cosmopolis.’ One can only imagine the sartorial splendor of DeLillo’s hero or the funeral procession of rapper Brutha Fez as envisioned by Canonero.
BUBBLE ~ Jealousy, lies and murder among the working poor in West Virginia. Soderbergh made this film after ‘Ocean’s Twelve’ and the contrast shows his astonishing range as he goes from the glitz of a jet-set crime caper to a drama of naturalistic grit set in Appalachia. From Ian Fleming type hijinks to Zola. Semi-improvisatory with a cast of non-actors and deeply disturbing. To think that ‘Ocean’s Twelve’ and ‘Bubble’ were directed back-to-back by the same man boggles the mind.
LOST IN TRANSLATION ~ It’s ‘Petulia’ set in Tokyo, but softer and more languid than Lester’s gem, and it suffers in comparison. The lovely Scarlett Johansson is saner and less snarky than Julie Christie, but the outline of the story is very similar — married man undergoing mid-life crisis meets sexy, young babe and is restored to life, before the two part forever. And Tokyo’s urban landscape and nightlife becomes a character in the film just like San Francisco did in ‘Petulia.’ Bill Murray, unexpectedly moving, plays the likable sell-out actor who travels to Japan and gets $2 million to do a whiskey commercial. Not bad, but for me a letdown after ‘The Virgin Suicides.’ Closes with the Jesus and Mary Chain’s haunting ‘Just Like Honey.’
Like everyone else here I’ll be draggin’ my raggedy ass out to see ‘The Tree of Life’ this weekend. We shall see what we shall see.
Mark: I greatly respect your sentiments as far as the casting of BARRY LYNDON goes, and I know there are more than a few who concur with you. However I have a different take. While acknowledging that Kubrick may indeed have been partially taken by the matinee-idol status of his leads (especially O’Neal) I do believe his seemingly shaky decision struck artistic pay dirt. As it is, O’Neal’s playboy, roguish behavior in real life was a perfect fit for the title character, and O’Neal’s flippant demeanor translated to a full realization of the literary character. Kubrick could not have gotten a better fit, but one must wonder whether this cinematic genius knew this all along. O’Neal’s good looks (yes he was a fan favorite in LOVE STORY especially at that time, and even seduced voters for an unlikely Best Actor nomination in a year when George C. Scott ruled the roost) were a perfect match too for a visualization of Thakeray’s character. The result with Berenson was not quite as decisive, but still, I saw here in appearance and performance as good as any other he could have cast. In any casre I know you did not come to bury Caesar but to praise him. Your subsequent (effusive) praise of the film is music to my ears, especially in the week where I heard this full symphony is all its rapturous glory. I’ll go with the hypnotic assertion since I feel I’ve been hynotized since Friday night.
You are absolutely correct–Malick did win the Best Director prize at Cannes in 1979, while Francis Ford Coppola took the Palme d’Or for APOCALYPSE NOW. As far as the booing, I guess that’s all relative since at the end of the day A TREE OF LIFE walked home with the top prize, is receiving stellar reviews stateside, and is certain to attract some serious Oscar love. Again, for whatever that’s worth of course. Like you I can’t wait for the weekend. It looks like we will be at Manhattan’s Landmark Cinemas on Houston Street for a primetime Saturday night screening, the way it looks. I wish you luck with your own plans and can’t wait to see if your feelings for the director will warm up.
Didn’t Canonero win an Oscar for CHARIOTS OF FIRE? I’ll have to look that up for confirmation. Good too that you talk about Canonero to get your mind off the forgettable OCEAN’S TWELVE! Ha! I love your creative slant there.
Great assessment of the very memorable BUBBLE, and yes one must ask themselves how it’s possible that the same man directed these two.
As far as Ms. Coppola’s venerated film, I’ll only say Mark, that have long attacked this film, and rank it as teh most overarrated film I saw in the 2000′s. To say it is pretentious will ruffle the sensibilities of some, so I’ll just say it’s a stifling, static and lugubrious film that isn’t saved by it’s metaphorical underpinnings. It’s pure toture, and I saw it FOUR times in the theatre due to a combination of insecurity and masochism, and my opinion didn’t change one iota. But your scholarly take is always appreciated.
Again what a tremendous contribution here! Always cherished my friend!
Correction: Marisa Berenson was in ‘Death of the Finzi-Continis in Venice.’ No, not really. She was in ‘Death in Venice’ not ‘Finzi-Continis,’ two films released in 1971, both visually sumptuous, both by top-tier Italian directors. I need to stop relying on memory and start sniffing glue.
I figured Kubrick hired O’Neal for his hot-headed off-screen Irish roguery as well as his star status. I agree with you. It’s the best performance of his I’ve seen, though I think Kubrick began losing interest in his actors starting with ’2001′.
Dullea and Lockwood might as well have been automatons (maybe that’s the point, but it makes for some tedious viewing), though Kubrick did strike gold with MacDowell in ‘A Clockwork Orange’ (and the great Adrienne Corri as the cat lady, too). Then he let Nicholson mug his way through ‘The Shining,’ one of the hammiest performances ever, though Duvall strikes a few good chords.
Anyway, ‘Barry Lyndon’ will always have those exquisite living tableaux of 18th century paintings and Canonero’s designs. It’s a film that for me has gotten better with time and I’d rank it right behind ‘Dr. Strangelove’ in Kubrick’s canon.
Wow. I thought I was the only one in the civilized world who didn’t care for ‘Lost in Translation.’ It’s not terrible, just derivative as hell, borrowing a lot from the much superior ‘Petulia’ and even a little bit of ‘Blow-Up’ (Johansson’s photographer husband). By the way have you gotten around to seeing ‘Petulia’ again, Sam? A rare treat for the senses with Scott, Knight, Richard Chamberlain (yes, Richard Chamberlain) in top form. And Joseph Cotten makes a late-career appearance, too. And Christie, though a little vacuous, is every inch the mod beauty. Some great snotty, sarcastic dialogue and Nic Roeg’s camerawork. Criminally neglected by many today.
I’ll e-mail you later about some things.
Later, my great, good friend.
Fascinating, engaging response Mark!
Well, I can’t argue with anything you say here, and in a sense it’s true that acting seemed to mean less to Kubrick at least from an interactive viewpoint in the later films. But yeah, McDowell was electrifying, and a profound exception. You have reminded me here about PETULIA. I must get hold of a copy ASAP. Got your e mail and responded. Will speak soon my friend!
Another eventful week for you Sam. Sounds like a great time. “Sunrise” is a great movie and well worth seeing in a theater. I’ve never been a huge Kubrick admirer, but it has been years since I saw “Barry Lyndon” and, as I remember, there were some stunning visuals in it that would be even more impressive on the big screen.
As for me, I made it out to three new releases: “Bridesmaids” is a solid 4-star comedy, though comparisons to “The Hangover” are plain weird. This is a better movie and, aside from the fact that they are both about wedding parties, they have nothing in common. I also saw “Everything Must Go” which was a disappointment. Will Ferrell is stale and unimpressive as is the movie’s direction. And finally I saw the new Pirates movie. It isn’t as bad as the last one (which was terrible), but it’s still bad. I will have more on these later in the week on my own site.
I’m not at all surprised about EVERYONE MUST GO Jason, and likewise the mixed reaction on the new PIRATES is nothing I didn’t expect. As I say, I had a chance to see it, but it really would have cramped my weekend even more. The reports from others in this house is that BRIDESMAIDS is a winner, so what with your commendation and the generally very good reviews, I’ll have to put some time aside for it.
I never realized Kubrick didn’t float your boat all that much, (David Thomson is on your side there) but I’d be curious in knowing what you felt was his strongest work. BARRY LYNDON is definitely a film to see again, at least at some point. I know you are (rightfully) a very big fan of SUNRISE.
Many thanks as always Jason. I’ll be eager to know how your 40′s list finishes up.
I’ve never connected to Kubrick. Visually he did some stunning things, but his narratives are so god awful boring. It’s been quite a while since I’ve seen any of his movies by “A Clockwork Orange” and “Paths of Glory” are probably the only ones I have any affection for, though they both have major flaws. I will revisit all of them at some point as I move forward with my countdowns, so my opinions may change, but I really don’t think they will change all that much.
Thank you kindly for the nice shout out…I feel humbled! I just keep adding to my list of DVDs to order up and now I have a huge list of blogs to visit and garner more and more good words about films.
Do you eat on the weekends when you see so many plays and films? or does your family just live on movie popcorn and nachos? See I worry about these little aspects of life.
Our little town boasts a most wonderful children’s theater group called Kids at Play with their musical singing group Kids In Koncert My children were able to participate. Last summer they did 6 Gilbert and Sullivan works for their season and it was just toe tapping inspiring.
Now a woman musician has come to town and started the PEACE CHOIR…9 concerts the first year and this last one was free and fabulous. Culture is coming…and good music.
Thanks so much for that Pat! That’s agood question aqbout the eating since this family are food addicts. Tonight for example when we attend the opening night of the Keaton Festival, we will first pay a visit to a fantastic food chain (West Side Market) where all kinds of freshly made foods (chicken chili, salmon, chicken caccitore, chicken and broccoli, chicken parmigiana, beef goulash, fettucini alfredo, chicken with asparagus, 10 different soups–all heart and delicious–my favorite is the lentil) and ailes and ailes of nuts, salads, paninis, wraps, cheeses, it’s heaven for food lovers. Anyway we buy what we want, take it the theatre, and eat before the movie right in the Film Forum, a theatre where food is allowed! Heck it sure beats popcorn and candy!
Pat, the ‘Childrens at Play’ doing Gilbert & Sullivan sounds fantastic, and I bet each of the productions are accomplished and worth recommending! I recently saw teenagers do LITTLE SHOP OF HORRORS in Manhattan, and one can really feel the passion. Likewise, the Peace Choir 9 is another venture that begs for exposure. I’d appreciate hearing how that turns out. Thanks again my very good friend!
Mark and Jaime:
I have not forsaken you. I am leaving the house now for the Keaton festival, and will return later tonight. Your longer responses always (rightfully) need a bit more time, but as always I’m delighted.
Hello Sam and everyone! Thanks for the mention Sam, as always, for such an strange entry on my blog, of which I’m not entirely sure if it delivers anything at all, but you tell me Sam, I’m a terrible judge of everything I do (sometimes I think it’s genius, other that everything is just awful).
You had an impressive week of old movies playing on your city, I wish I could see more 35mm prints around here of old films, and that really is a find when it happens (most of the time I’m not even sure if it’s 35mm or not, because they never say). I have seen none of those you mention, and I’d love to see Sunrise and Barry Lyndon, those are movies I look forward to see in the future.
I had a week full of wonders. Lamentably, due to that, I only managed to see 4 things in the week, so it makes it the slowest I’ve had in a while. Tuesday I had the chance to spend some time with my girlfriend, and wednesday I was cameraman in a live TV exercise which went spectacular due to the quality of the musicians on set and the camera movements we all made. Friday was the first day of the Comic Con Chile, and I went there and spent the whole day among costumes, comics, fans and many awesome stuff to see, as I was appointed by an online newspaper to go and take pictures. It was awesome, and I spent there friday, saturday and sunday (with my girlfriend that last day) I managed to earn a t-shirt, I bought a chilean comic called “Zombies in the Government House”, see 8 exclusive minutes of “Green Lantern” (which looks awesomely well done) as well as avant premiere tickets for it. They were three crazy days and the article about it will be up sometime this day. I had a hell of a time.
This week, movie wise:
- Godzilla vs. the Sea Monster (1966, Jun Fukuda) *** This is getting silly. Godzilla almost doesn’t appear, so does Mothra, and Ebira is just an excuse for a lame monster. Still, the human drama is compelling and interesting enough to see it once.
- Opening Night (1977, John Cassavetes) ***** Amazing film about the life of the theater, and an acting class from the lady Rowlands. It’s amazing how this builds up to a laugh riot in the last minutes of the film, I had never laughed so hard at the improvisation of these two actors on stage.
- Peach-O-Reno (1931, William A. Seiter) **** Good laughs. My review as a Sam Flick Pick on my blog.
- Sounds from a Town I Love (2001, Woody Allen) **** Short film featuring a large number of actors, showcased at an event for 9/11 victims. While not essentialy genius, it has quite a bit of irony in it, even at the expenses of the events that had happened recently. Anthrax, Al Quaeda, Bin Laden, it was funny to see that now.
Bye Sam, take care!
Yes it was definitely different for you Jaime, but I always admire your audacious approach to blogging, which you’ve graced us with here at WitD on a number of occasions.
Yes, 35 mm prints are always the best way to watch a film, whenever possible. In these parts at some cherished institutions they’ve stayed the course for many years in offering the films that way, but there is a chink in the armour, as a few smaller theatres are going now with blu-ray. But just a few. I saw an Irish film weeks back in such a small theatre in Brooklyn. I never realized that you didn’t see BARRY LYNDON! (nor SUNRISE for that matter!) Well Sir, a small packet will be coming your way later this week! Thse are two of the most essential films by any barometer of measurement, but I know I’m not saying anything revelatory here! The “Comic Con Chile” sounds fantastic, and great that you secured a tee-shirt and comic and spent some more time with your girl. The way you describe it reminds me of “conventions” that often crop up around here, like various Star Trek and science fiction conventions where stars often appear and all kinds of show memorabilia is sold. Now that’s weekend you won’t forget. I do hope you decide to write afeature of the experience if you have time.
I know that Cassevettes film has many fans as impressed as you are with it, and can’t argue the grade, even if I am somewhat lower. I respect the director, but for some reason was never convinced he was a first-rate cinematic genius. That Godzilla rating is just about right, and Peach-O-Reno is dead-on. You wrote an excellent re-cap last week at EXODUS 8:2 I know. I also agree with your estimation of that 2001 Woody Allen short, which was certainly ironic.
Once again a great show my friend! Many thanks!
Glad to see everyone survived the Rapture this weekend.
I saw CAVE OF FORGOTTEN DREAMS – **** (Thanks for the link to my review, Sam!)
On Netflix I continued my Jules Dassin marathon and capped it off with RIFIFI (****1/2), which in many ways I found to be his most entertaining film (and, man, that silent heist job…what tension!) though the ending was goofy with all the shots of that brat in the car. Though it ended “properly” given Dassin’s track record and the film’s themes, there was something off about the presentation (Momma shoulda grabbed that suitcase of cash!)
I also finally got around to BLUE VALENTINE (***1/2), which I found immensely interesting and intense…and Michelle Williams was fantastic (man, I seriously am in love with her after SHUTTER ISLAND and this…who knew she would grow to become one of the best actresses of her generation?) – but I found the controversial sex scenes added very little and were gratuitous. We already knew how emotionally crippled and damaged these people were. We didn’t need drawn-out awkwardness in the shower and on the floor and in the bed, too. We get it, already. One painfully awkward scene more tastefully shot would’ve accomplished the same character development.
Too bad it looks like TREE OF LIFE won’t be coming to Philly until June 10th! I’m sure by then everyone in the blogosphere will have talked the thing to death. I’m going to be really out of the loop on this one for a few weeks. It will be hard not to read all the reactions.
I can’t wait for MELANCHOLIA to come out in the fall…and Kirsten Dunst’s win solidifies my long held theory that she is a vastly underrated and a potentially great actress (maybe this is the role that will catapult her to that status). She’s always been one of my faves, and she’s a Jersey gal, what can I say?
True David. But will be survive October 22? Apparently that’s the next date we have to fear according to that maniac. But I’m sure when the sun appears at dawn on the 23rd, we’ll hear of a further doomsday prediction. Ha!
I saw your splendid review at THE SCHLEICHER SPIN of Herzog’s fascinating documentary and further appreciated your star ratings for the director’s catalogue. Nice.
My favorite Dassin is NIGHT AND THE CITY, but certainly RIFIFI is a masterwork, and one of the two or three most honored “heist” pictures. It well deserves at least the rating you give it here. That’s an interesting analysis you pen there of BLUE VALENTINE. I’ll have to ponder that. But for me the film (#2 on my year end list) holds up in the mind quite persuasively, and like you I was very fond of Williams (and Gosling) in the leads.
I’m sorry to hear there will be a delay with the Malick appearing in the City of Brotherly Love, but you now have the option to take one of your days trips to Manhattan. If negotiable, you do have a compelling reason. Ditto on Dunst and Von Trier! And the Jersey Girl status too! Ha!
Thanks as always my very good friend!
Sam I did not know you were such a fan of Blue Valentine. I just saw this last week and thought it was brilliant stuff. Actually I was expecting it to be a bit more graphic than it was and was actually surprised by not how graphic it was, but how gripping. I thought nearly everything was done right in that film from the cinematic touches to the acting. Michelle Williams is one of the best actresses, if not THE best actress working today.
Jon, as I just stated at your site, I did indeed love the film and reviewed it here at Wonders in the Dark back on December 30th.
But I offer up here for readers Jon’s excellent review at FILMS WORTH WATCHING:
http://filmsworthwatching.blogspot.com/2011/05/blue-valentine-2010-directed-by-derek.html
Trying to rate Kubrick’s films is like comparing apples and oranges. Each grabs me in a different way — but I have to admit Barry Lyndon has the impact of breadth, exquisite detail and cinematic style.
I think the reason Sam didn’t see any new releases — and listed only 37 links this week — is because he was in jail or something.
Pierre: I completely concur with you on both points, though I am an incurable list maker (like a few others in these parts! Ha!) and embark on these games with relish, even with a fair degree of uncertainty. You have framed the general appeal of BARRY LYNDON, qualities that were even more apparent on the big screen.
You have exposed me as well. I did some time when a local moralist group in my home town found out I attended a showing last week of A SERBIAN FILM!
Thanks as always my very good friend. And congrats too that your former governor, the honorable Tim Pawlenty is running for President. I suppose I should be thrilled about this development, no? Ha!
Ha! Tim Pawlenty is “pawlenty of trouble” in my book — even the former Republican governor is speaking out against Pawlenty’s presidential aspirations!
hahahahaha Pierre!!
He’s PAWlenty of trouble in my book too!!! I expect the liberal tradition in Minny to deny him even a majority of the voters in his home state if he should even get that far.
If he runs, we can also say Minnesota has a PAWcity of talent available.
Sam, I am very happy to hear of this remarkable re-assessment of Stanley Kubrick’s ‘Barry Lyndon.’ I understand you liked it a lot beforre you went to Jersey City, but now you are calling it the director’s best film. This is a position I’ve maintained for a long time.
In 1975 Kubrick was at the peak of his powers and was utilyzing all the tools of his craft to exquisite effect. The film immerses the viewer in the period and into the lives of the characters much like a great novel. Barry Lyndon is of a handful of films that not only nourishes the viewer but is supremely entertaining. The style and pace of the film are reflective of the style and art of the period. Violence and lust boiling beneath a manicured facade of dress and manner. Those who call the film ice cold (wasn’t Pauline Kael a detractor?) are missing the point. And the pace is attuned to Kubrick’s deliberate style to achieve the maximum emotional impact. Too bad to read on this thread that there are a few that claim to be big Kubrick fans, yet find this film distinctly underwhelming. For subtlety and beauty it has no peers.
I hope you decide to write a full review Sam. I know you can top the charts with it.
I expected this glowing comment from you Frederick. It’s certainly one of your best in every sense. Yes, I do recall Pauline Kael as a detractor, but it seems at that time she was adverse to films with stately underpinnings. I bet if she were alive she’d reassess favorably. Just a hunch. Anyway, what can I say? Marvelous analysis here.
That’s definitely an idea as far as writing a full piece.
Many thanks my very good friend!
Great to see all this love for Barry Lyndon.
And so much amazing dissection for my old nemesis Dennis. I have to hand it to you Den, you’ve outdone yourself. Maybe you can say more after you watch the new blu-ray. I’ve already followed Sam’s lead and ordered it. And I thought O’Neal was perfectly cast.
Peter: I’m sure Dennis will be most appreciative for your glowing acknowledgement of his discussion. When it comes to Kubrick, he’s really in his element, and performs in maximum overdrive.
I agree with what you say there about O’Neal, and have recently come to see BARRY LYNDON as the director’s piece de resistence.
Many thanks for stopping in my friend. I know you’ve been very busy.
Sam, thanks a lot for the mention and the kind words. And my apologies for joining in so late – had been kept a bit occupied. I’ll also have to keep my reply shorter than usual.
But yes, I won’t leave before letting you know that this is gonna be the last week of my summer internship (at Renault-Nissan, which I’d told you earlier). It was interesting to come back to “working life” after spending 1 year in an academic institution. Well, it is going to be short lived as of now, as I’ll have to go back to college to finish my 2nd (and final) year of studies, before I come back to work for good.
Also, I finished reading John Le Carre’s incredible The Spy Who Came in from the Cold a few days back, and have now started with another hugely acclaimed book – Robert Stone’s Dog Soldiers. Must say, till what I’ve read so far, I’m loving the book.
Shubhajit: It is never too late to join this thread, and besides you came in pretty fast anyway! Thanks as always for the kind words. I must say that the past year has really flown by–it almost seems like yesterday that you started your studies, and now you assert you are readying for your new work position. Incredible. It’s also amazing that you have kept CINEMASCOPE going with a steady stream of new material, much of it ranking among your best work. I guess this shows your unquenchable love for the cinema and for blogging with your colleagues. Of course from a selfish point of view I was hoping precisely that you would continue, but it looks like you are a master juggler!
I’ve heard about DOG SOLDIERS and can certainly vouch for SPY, which I did read!!! Fantastic book, fantastic film!
Many thanks as always my very good friend!
Sam, thank you for the mention.
It seems you had a good time during last week, indulging yourself with Kubrick, Makioka Sisters, and Murnau. Ah, what a treat. Speaking of Kubrick, over at “Shorpy”, they posted this photo by young Kubrick, who was trying to break into the world of photojournalism at the time.
http://www.shorpy.com/node/10456
Sad news here in Japan is passing away of another great actor, Yuroyuki Nagato. He was best remembered as leading men in many Japanese cinema of 60′s, “Akitsu Onsen”, “The Insect Woman” and “Pigs and Battleships” and many Yakuza films of the era. I love his work in “Pigs and Battleships”.
Thanks,
MI
Hello my friend, and thanks for stopping in as always with your always-worthwhile contributions. That was a young Kubrick indeed! I was just looking at some you tubes of him yesterday here with a friend, as it’s typical when I rediscover something I then commence with extensive research. But yeah, he was really a spring chicken in that SHORPY photo!
I do indeed know Nagato’s work, and agree he was excellent in PIGS AND BATTLESHIPS and THE INSECT WOMAN for Imamura. Seems like you’ve lost some icons of Japanese cinema in the past several years including Takamine, Ichikawa, Imamura, and at a very young age, Kon. Very Sad.
I am assuming that the situation by you is stablelizing dramatically at this point, and that you have been at least able to return to your normal routine. I haven’t brought it up to you the past two weeks, as I want to believe that everything is on the upswing.
Thanks as always for the great submission my very good friend!
Thanks, Sam, for your kind comment. Yes, everything is coming back to normal, almost. As you may know from various sources, the nuclear power plant accident and its aftermath is no better, if not worse. Three reactors were turned out to be melted down, long time ago, now they say. There are so much political tug of war going on, and media is ecstatic making news out of it. In that sense as well, everything is coming back to normal.
I am reading biography of Setsuko Hara, which is real revelation to me. There are many stories I didn’t know. For example, I didn’t know she visited Hollywood on promotion of her film before the war. She met Sternberg and Dietrich, had lunch with them. She later commented Dietrich was a very friendly, open, vibrant person. But this was right after Sternberg was kicked out of Paramount, so it made strong impression on her that even such a great artist can be sacked in Hollywood. Some director asked her to stay and promised her a stardom in three years, but she turned it down politely. Very wise. I might write about other stories someday.
MI
Been skimming through Joe Orton’s diaries aka ‘Diary of a Somebody’, which I read back in the 80s after ‘Prick Up Your Ears’ was released. My God. LMOA. So much wit, hilarity and iconoclasm. Apparently Orton had a whack at another bloke right after his mother’s funeral, all the sex described in hilarious, explicit detail. With mum just fresh in the grave! And famously a dwarf once gave Orton a blow job in a public lavatory in Brighton. To think audiences considered Orton’s plays fantasies, yet for bizarrerie one can’t top (that must be some kind of bad pun) reality!
Did you know that Orton was to meet with Richard Lester about a film project starring the Beatles on the day he was murdered, even though Lester had earlier rejected the idea of directing Orton’s script of ‘Up Against It’ and so had Karel Reisz (‘too mad” said Reisz, who was probably just being loyal to his friend Pinter)?
Also that Lester approached Orton to do a script treatment for ‘The Three Musketeers’ with Brigitte Bardot as Lady De Winter? The story’s been done to death and so has Bardot, Orton cracked, turning down the offer.
Of course, Lester eventually directed ‘The Three Musketeers’ without Orton and without Bardot and without the cinematic brio he was once celebrated for.
But if you like theatrical anecdotes chock full of famous names and razor wit, these diaries are a must read. I’ve never seen an Orton stage production, just the lousy film versions of ‘Entertaining Mr. Sloane’ and ‘Loot,’ both with a heavy emphasis on sex and a shaky regard for farce (though Beryl Reid’s a howl in ‘Sloane’).
I’d forgotten that Orton is ranked right up there with Pinter as two of the greatest English playwrights of the second half of the twentieth century.
Beautifully compiled by John Lahr with extensive and fascinating footnotes. Read it and weep (with laughter).
Another effing correction: Miriam Karlin was the Cat Lady in ‘A Clockwork Orange’ not Adrienne Corri — Orton describes one of Corri’s cocktail parties in the Diary!! And Michael Bates (Kubrick’s prison guard) played Truscott in the original West End production of ‘Loot.” A small world after all.
I’ve scheduled my CAT scan for tomorrow.
Mark: I have always been a big fan of PRICK UP YOUR EARS, though that gruesome conclusion always disturbed me deeply, at least as much as the suffocating killing in 10 RILLINGTON PLACE, the cyanide capsule poisonings of Joseph Goebbels’ kids in DOWNFALL and even the labotomy of Randall in ONE FLEW OVER THE CUCKOO’S NEST. I can’t explain it. It has something to do with warming up emotionally to characters (intimately) and them to have them tragically removed. Yeah, I know there are hundreds of similar example, thousands in fact, but the word ‘disturbing’ is applicable to a much smaller lot. Geez, I didn’t know that dwarf serviced him! But I can imagine some of the goings-on in those candid chronicles of his life. I envy you for reading Orton, I think my desire to do so was adversely affected by his brutal bludgeoning. I should have just read his past work to dim the depression of his demise on film (replicating his real life) In any case Mark, the film is still one of Frears’s best, and that’s saying something in view of the generally excellent inde films he’s made in his prolific career. Oldman and Molina were electrifying and I remember Vanessa was as good as ever.
I never though to rank Orton with Pinter as the two greatest English playrights, but heck that’s quite right. Absolutely. And thanks for that fascinating information about the planned meeting with Lester (again, how tragic it never happened) and the subsequent plan to collaborate on THE THREE MUSKETEERS. This is all fascinating stuff, and I do need to read it.
Ironically enough, the Manhattan play I saw earlier this evening (Tennesse Williams’ ONE ARM) was precisely something Orton would have wrote in terms of content and theme. Interesting that you brought this up tonight! Ha!
Thanks again Mark!! We’ll talk tomorrow I’m sure.