Exceptionally talented lead player, Norwegian Anders Danielsen Lie in Joachim Trier’s masterpiece ‘Oslo, August 31st’
by Sam Juliano
Wonders in the Dark reached another plateau this past Saturday when the nearly four year-old blog passed the two million mark in page views. Congratulations are in order to the many writers and loyal friends who have helped boost and sustain this place of ceaseless activities. As I prepare this diary on the evening of a very hot Memorial Day Monday in the New York City area, I join with other WitD staffers in wishing Allan Fish a Happy 39th birthday! As always with a new week we inch closer to some upcoming projects, including Richard (R.D.) Finch’s “William Wyler blogothon” at The Movie Projector and WitD’s own “Comedy Countdown” which will move into high gear on July 1st, the day final ‘Top 50′ ballots are due.
At Manhattan’s Film Forum, an Erich Von Stroheim Festival kicked off on Monday with an evening screening of Greed with piano accompaniment. Upcoming festivals on spaghetti westerns and the 100th Anniversary of Universal at the same theatre are offering some great classics, many double and even triple features for the price of one.
Lucille and I were quiet for much of the week, until the four-day weekend when we saw three films in theatres and a high-profile Harold Pinter stage play at the Brooklyn Academy of Music. Broadway Bob attended the play and one of the three film screenings. By way of sheer quality, this was the strongest week of 2012, with a masterpiece, a near-masterpiece, a film pushing that level, and a memorable night at the theatre.
We watched and experienced:
Harold Pinter’s maddeningly ambiguous and enigmatic The Caretaker is actually unforgettable for those very qualities, much as Samuel Beckett’s Waiting For Godot is for the same reasons. Jonathan Pryce plays Davies, a homeless transient who is invited to live in a rather dilapidated London boardinghouse by Aston (Alan Cox). The action is exclusively staged in a cluttered room that is also visited by Aston’s threatening bother Mick (Alex Hassell). Davies is a contradiction of bravado and and subservience, and seemingly knows the lower level he occupies on the class divide. By degrees he becomes demanding and finally tyrannical after he is offered the position of caretaker. Davies is weak, yet predatory, seemingly a pathological liar and suffering from delusions of grandeur. The exceptional Pryce captures the nuances in this role compellingly, even if at times his Welch accent is difficult to negotiate. A highlight is Ashton’s arresting monologue of his past experiences with electro-shock therapy, used to treat hallucinations. The play is really Ashton’s tragedy, and the most intricate drama involves his plight. Cox is passable, but hardly compelling, and effective enough to convince the audience he was ever a different person. The stage design, while traditional is eye-catching and balanced. The many questions the play leaves you with (i.e. Why does Ashton invite such an unsavory old bum into the house? What is the dual purpose of Ashton trying to befriend and frighten the old bum? Who is the real owner of the house, Ashton or Mick? The answers are given or hinted at by Pinter himself in i9nterviews, but it’s clear enough the brothers wanted a father figure to both take care of an reject. But hovering over this play is the ‘Theatre of the Absurd’ championed by Beckett and Ionesco, and embraced in fair degree by Pinter. But the characters, interactions, and humor in The Caretaker prove searinga nd unforgettable, and despite some diction clarity issues because of accents and staccato delivery in parts, this production was well-staged and resonant, and a triumph of sorts for Christopher Morahan. (**** 1/2)
The three movies:
Elena **** 1/2 (Sunday afternoon) Film Forum
Oslo, August 31st ***** (Sunday afternoon) Film Forum
Moonrise Kingdom **** 1/2 (Saturday evening) Union Square Cinemas
Danish-Norwegian director Joaquim Trier, whose first film REPRISE deservedly won awards and accolades has gone even further with OSLO, AUGUST 31ST, which is the third film in 2012 I have gone the distance with rating-wise. This is the wrenching personal journey of an intelligent and cynical young man who is out of a rehab to reassess his perceptions of whether life is worth living. It’s a lyrical jorney and an introspective one, complete with the director’s affections for Oslo, and with a singular voice and vision, negotiated by a searching camera and the astonishing performance by Anders Danielsen Lie, who also anchored Trier’s earlier film.
Another director who is fondly remembered for an earlier film (in this case The Return in 2004) Russian Andrey Zvyagintsev is back with a Putin era Russian New Wave fatalistic thriller, ELENA, that displays the worst side of human nature in survival mode, while examining the laws of Russian inheritance, and a society with a disturbing dearth of morality. Zvyagintsev does’nt conform to the ‘what goes around comes around’ formula, instead implying the new world order is one that takes no prisoners. In the name of blood relation, there can be no limits. This is a wholly riveting drama, beautifully framed in widescreen and acted by the impressive cast.
Wes Anderson may well have made his finest film yet in a career (for me) that has been as uneven as some of his individual films. But in this story of captivating settings, titled MOONRISE KINGDOM, and an irresistible coming-of-age romance, the director is able to poke fun at institutions and family rigidity by applying his illustrative stylistic bravado and clever humorous set pieces and quirky sensibilities to the fleeting nature of this engaging time period and delightful cast of characters. Anderson is truly in his element here, and his use of the great English classical opera composer Benjamin Britten is sublime and funny.
Jonathan Price and Alex Hassell in Harold Pinter’s THE CARETAKER at Brooklyn Academy of Music’s Harvey Theatre.
The limited link scroll this week includes the following:
Judy Geater at Movie Classics enthusiastically announces two upcoming blogothons: one we are all excited about on William Wyler at The Movie Projector and another on June 1 through 3 on Mary Pickford: http://movieclassics.wordpress.com/2012/05/23/blogathons-coming-up/
Patricia at Patricia’s Wisdom has penned an inspiring review on “The Best Marigold Hotel” and asks for the readers to chime in with their latest movie conquests: http://patriciaswisdom.com/2012/05/the-best-exotic-marigold-hotel-for-the-elderly-and-the-beautiful/
Jon Warner has penned a terrific, perceptive review of William Wyler’s “The Heiress” at Films Worth Watching: http://filmsworthwatching.blogspot.com/2012/05/heiress-1949-directed-by-william-wyler.html
Film preservation is again the worthy theme in Marilyn Ferdinand’s tremendous piece on John Huston’s 1946 documentary “Let There Be Light” at Ferdy-on-Films: http://www.ferdyonfilms.com/?p=14547
Tony d’Ambra’s new post ‘Two Colored Red’ takes a look at the 1947 Edward G. Robinson reputed noir and an engaging 1996 documentary at FilmsNoir.net: http://filmsnoir.net/film_noir/summary-noir-reviews-two-colored-red.html
John Greco offers up a terrific review of Mario Monicelli’s Italian classic “The Organizer” at Twenty Four Frames: http://twentyfourframes.wordpress.com/2012/05/25/the-organizer-1964-mario-monicelli/
Laurie Buchanan’s new post on her ‘favorite writing tool’ again proves why Speaking From The Heart is such a spectacularly popular stop for so many who feel the inspiration on it’s threads: http://holessence.wordpress.com/2012/05/22/squishy-buns-my-favorite-writing-tool/
Joel Bocko has made quite the triumphant return at The Dancing Image with a marvelous piece on Robert Altman’s “The Long Goodbye”: http://thedancingimage.blogspot.com/2012/05/long-goodbye.html
Roderick Heath has posted “an academic piece” on the film “Gallipoli” at This Island Rod, and it truly looks like spectacular stuff: http://thisislandrod.blogspot.com/2012/05/civic-mythology-sequence-from-gallipoli.html
Richard R.D. Finch has posted a definitive piece on Virrorio DeSica’s neo-realist masterpiece “Shoeshine” at The Movie Projector: http://themovieprojector.blogspot.com/2012/05/shoeshine-1946.html
‘Mayne Island May Day Celebrations’ show the Islanders in prime form with festive costumes, a swirl of color and the best weather imaginable. It’s over at the Creativepotager’s blogsite, man by the indomitable Terrell Welch: http://creativepotager.wordpress.com/2012/05/21/mayne-island-may-day-celebrations/
At Cinemascope the amazingly prolific and resilient Shubhajit Laheri keeps up the pace with a fabulous capsule on John Ford’s “The Searchers”: http://cliched-monologues.blogspot.com/2012/05/searchers-1956.html
At Mondo 70 Samuel Wilson talks about Depression era focus in his review on 1932′s “Faithless”: http://mondo70.blogspot.com/2012/05/dvr-diary-faithless-1932.html
Ed Howard has just posted yet another masterful Hitchcock review at Only The Cinema on “Under Capricorn”: http://seul-le-cinema.blogspot.com/2012/05/under-capricorn.html
Jaime Grijalba has come through big-time for the Film preservation blogothon with a terrific essay on “Psycho” at Exodus: 8:2: http://exodus8-2.blogspot.com/2012/05/alfred-hitchcock-presents-psycho-1960.html
At Doodad Kind of Town Pat Perry’s splendid contribution to the For the Love of Film Preservation blogothon is on Hitch’s “Mr. & Mrs. Smith”: http://doodadkindoftown.blogspot.com/2012/05/hitch-does-rom-com-for-love-of-film.html
At Scribbles and Ramblings Sachin Gandhi takes a fascinating look at two high-profile Spanish films at ‘Euro 2012′: http://likhna.blogspot.com/2012/05/spanish-films.html
David Schleicher is proud to announce that ‘Issue Two’ of the Stone Digital Literary Magazoine’ is now available. It’s over at The Schleicher Spin: http://theschleicherspin.com/2012/05/15/issue-two-of-the-stone-digital-literary-magazine-now-available/
Just Another Film Buff has penned a terrific capsule on Satoshi Kon’s 1997 “Perfect Blue” at The Seventh Art: http://theseventhart.info/2012/05/19/ellipsis-61/
At The Last Lullaby, the ever delightful filmmaker Jeffrey Goodman takes a look at part sixteen of his long running quartet series: http://cahierspositif.blogspot.com/2012/04/favorite-four-part-sixteen.html
At Vermillion and One Nights Murderous Ink has written a towering analytical and superbly referenced essay on the appearance of the piano in Japanese cinema: http://vermillionandonenights.blogspot.com/2012/05/88-keys.html
There’s plenty of good stuff up at The Long Voyage Home by way of capsules and screen caps courtesy of Peter Lenihan: http://thelongvoyagehome.blogspot.com/
Stephen Russell-Gebbett at Checking on my Sausages again offers up a thoughtful post, this one titled “The New Cinema of Shattered Minds”: http://checkingonmysausages.blogspot.com/2012/05/new-cinema-of-shattered-minds.html
Greg Ferrara at Cinema Styles has written a splendid essay on Alfred Hitchcock: http://cinemastyles.blogspot.com/2012/05/i-have-nothing-new-to-say-about-alfred.html
A notable artistic collaboration leads the way at Michael Harford’s heartening Coffee Messiah’s blog: http://coffeemessiah.blogspot.com/2012/05/collaborations.html
At The Blue Vial Drew McIntosh asserts “It’s in the Eyes!”: http://thebluevial.blogspot.com/2012/05/its-in-eyes.html
J.D. offers up a fascinating essay on “In Case You Didn’t Feel Like Showing Up” at Radiator Heaven: http://rheaven.blogspot.com/2012/05/in-case-you-didnt-feel-like-showing-up.html
Adam Zanzie has posted a superlative review of Lawrence Kasdan’s “Dreamcatcher” at Icebox Movies: http://www.iceboxmovies.blogspot.com/2012/05/dreamcatcher-2003-lawrence-kasdans.html
Dave Van Poppel has a tremendous batch of short reviews up at Visions of Non Fiction on the Toronto Film Festival: http://visionsofnonfiction.blogspot.com/
Thanks a lot Sam for the mention and the kind words. 3 films and a play is quiet by your standards. I too had a reasonably quiet week. My induction process at the company that I’ve joined shall be concluding today, and hence I’d been taking it a bit light on the movie-watching front.
Apart from The Searchers, I’ve watched the following movies in the last week or two:
- Louis Malle’s wonderful wartime drama, Au Revoir Les Enfants
- Ron Howard’s well-made docu-fiction Apollo 13 (I’d seen this for the first time during my school days)
- Altman’s brilliant deconstruction of Raymond Chandler’s The Long Goodbye
- A highly political Bengali movie called Grihajuddha (The Civil War) by the eminent filmmaker Buddhadeb Dasgupta
- The moody but underrated Swiss drama The Alpine Fire
Shubhajit–
Yes, considering the torrid pace of some past weeks, we did have a rather laid back one. But there was certainly more than enough activity for us. You did pen a terrific review of THE SEARCHERS, and the lot you saw will surely be spurring you on to further great writing. The Malle is a deeply movie film that I cherish, and I am definitely a fan of the slow boiling ALPINE FIRE. APOLLO 13 is solid enough, and while I am not a big fan of THE LONG GOODBYE I know I am in a severe minority. The Bengali film sounds most intriguing.
Best wishes with your new company my friend and many thanks!
Thanks so much for the mention, Sam. That production of ‘The Caretaker’ sounds very rewarding, and I’m off to see ‘Moonrise Kingdom’ later today – I like Wes Anderson (loved ‘The Darjeeling Limited’ especially) and you have whetted my appetite. Benjamin Britten came from my part of the world and founded the Aldeburgh Festival in my home county, Suffolk, so I’m interested to hear that his music features.
I’ve just seen four older films this week – the oldest being ‘Daddy-Long-Legs’ from 1919 starring Mary Pickford, which I’m reviewing as my contribution to a forthcoming blogathon on Pickford. I didn’t know much of her work before seeing this, but now definitely want to learn more. I’m also interested in seeing more by the director, Marshall Neilan – every film I do manage to see seems to point to so many more!
The others I saw were: Moontide (Archie Mayo, 1942), a rare Hollywood role for Jean Gabin – I enjoyed this waterside noir, and thought Gabin and Lupino were both good in it, but would have to say Thomas Mitchell pretty much steals the show for me in his creepy support role. Interesting to wonder how much of the moody footage was really down to Fritz Lang before he was sacked from the film.
Four Daughters (Michael Curtiz, 1938): I’ve been wanting to see John Garfield’s star-making role for ages and finally got the chance. I had already seen the remake, ‘Young at Heart’, so I knew a lot of the dialogue already, but anyway I love both versions and Garfield is great in this, as Sinatra is in the remake. I might do a posting comparing the two movies.
The Devil to Pay! (George Fitzmaurice, 1930) : A very minor pre-Code comedy but it’s fun to see Ronald Colman playing a debt-ridden charmer, with some sharp one-liners, and there is a lovely scene where he has a long conversation with Asta the dog of Thin Man fame, here called George. Loretta Young and Myrna Loy are also in this but don’t get much scope.
Thanks again, Sam, and hope all at Wonders have a good week.
Judy—
No doubt this production of Pinter’s play would greatly impress you. I have been told by a friend that it did run in London last year with the same cast including Jonathan Pryce. Nice to heart that information about Britten’s past residence near you and his sponsorship of the festival! I am a longtime fan of his operas. But I must say some of his work is so well incorporated into the Anderson’s film. I await your verdict, though I am confident.
Looking forward to your upcoming blogothon review of DADDY LONGLEGS!! I do want to see MOONTIDE and am bolstered by your assessment, and at some point that 1930 minor pre-code comedy. I am a big fan of FOUR DAUGHTERS, and myself consider it superior to the re-make.
Have a great week my friend, I’ll be seeing you at the blogothon! Many thanks as always!
MESSAGE TO ALLAN:
In my quest to obtain and view the very best of television, I have continued my stay of course in finishing up the immediately available American shows that seem so pertinent in his register. Finishing up the amazing DEADWOOD, I then segued into a complete immersion of David Simon’s THE WIRE. While I had seen fleeting episodes as the show was originally being broadcast on HBO (and liking what I saw), I cannot even begin to describe the awe that has fallen over me as I move through the complete first season.
Looking at the the ins and outs of the Baltimore Drug trade and Police attempts to crush a large circle of it, I am overwhelmed by the detail and the harsh realities this show presents so effortlessly as other modern “network” programming can only hint at it. THE WIRE is gritty realism of the highest caliber. That Simon was a former narcotics cop in Baltimore only helps create an authentic vibe and can only have helped make the show one of the must see events in recent American television.
I think, and I agree wholeheartedly with Mr. Fish, that when the smoke clears and the TV series of the past 25 years are assessed, THE WIRE might just be standing tallest.
THE WIRE could be HBO’s masterpiece.
Replace “could be” with “is” and I’ll nod in agreement.
IS….
A while back Salman Rushdie dismissed both “The Wire” and “Game of Thrones” as being nothing more than a cops show and a stupid fairy-tale drama. I respectfully disagree on the latter, but confer more or less on the former. I never saw it as anything other than the same kind of procedural shtick as the basic Dick Wolf or Tom Fontana variety, but with far looser restrictions as befitting a cable production. Yeah, you can curse and kill and fuck all you like on HBO, but that in and of itself dow not turn the program into art. That’s something I’ve been growing frustrated with on “Game of Thrones” even, with all the raunchy, boastful profanity, geyser porn and endless parade of sexpository sequences making the program feel rather immature at times, for all it tries to be the opposite.
“The Wire” suffered from a lot of the same structural problems I’ve had with most HBO programs thanks to their lax approach with serial storytelling with individual installments– they routinely make shows that might be great to watch all at once, but on a weekly basis can be rather thin and unconvincing. They pay too much attention to the broad, overall narrative and not enough to the stand-alone episode. The whole “program as a novel for television” with each hour being less an episode than a chapter can only be taken so far. It depends even more on the characters to deliver a reason to come back week after week, especially when the visuals are as unspectacular as they were on that show, and for me, they were all fairly boring. I’d rather just watch “Homicide” or a documentary on the subject.
I’m currently revisiting The Wire again myself (near the end of season three right now) and I completely disagree with you Bob. Just fess up that you dislike anything that is not sci-fi/anime and not in your narrow of the narrowest niche. Nothing wrong with full disclosure….
If that was true, I wouldn’t watch “Law and Order”, even. “The Wire” is just too slow for my tastes, and David Simon’s maxim of “if it’s based on the real thing, that’s enough” just doesn’t cut it for me (also, he comes off as a world class douche, but that’s neither here nor there). The HBO thing I described affects a lot of their shows, even stuff I tried to get into and succeeded a little more at. “Deadwood” was invigorating for its first season, but come the second year it just felt a little flat to me (even rustic whoring and swearing will only get you so far). “Rome” was superb, but they lost a lot of momentum once Caesar was killed (inevitable, yes, but Cirean Hinds was just too good to be true). I was really hoping “Luck” would be something special with Michael Mann at the helm, but that first hour was a chore to sit through, no matter how astounding it was visually. In terms of sheer dramatic quality, “In Treatment” has probably impressed me the most out of all HBO’s programs, although the Israeli show that it’s based on obviously deserves if not the lion’s share of credit, then some other portion befitting a prime predator.
You watch Law and Order? Case dismissed. Take the prisoner down. Pass the black cap.
Mostly because it’s on in reruns pretty much 24 hours a day somewhere, but yeah. Better that than my wasting any more time trying to figure out what people see in Omar.
I was physically present when Dennis picked up the blu-ray set of THE WIRE. Great to hear the subsequent viewings have been golden!
They were DVD’s Sam. Unfortunately, THE WIRE, like most of THE SOPRANOS, SIX FEET UNDER and CURB YOUR ENTHUSIASM are not available in the Blu Ray format. Actually, with CURB and THE WIRE, the visual presentation doesn’t really demand the upgrade as these shows were purposely filmed in a gritty style that is enhanced without the razor sharp resolution that Blu Ray brings. Unfortunately though, a show as cinematic as SIX FEET would really benefit from the upgrade…
Maybe some day…
I never cared much for “Six Feet Under” (always kinda hated how it stole Peter Krause from “Sports Night”– then again it’s Sorkin’s own damn fault that show folded), but I always thought it had a great look to it. It would definitely benefit from a Blu Ray edition. “The Wire”– I frankly don’t even know if it was shot in a format where the resolution would even be higher. So there’s no point, other than to make the DVD sets as cheap as possible.
Sam, I’m relieved you didn’t report back here with any “findings” on the new ‘Men in Black’ movie that is dominating the box office. I dread what the ramifications of this mean, but at least I can say I won’t be waiting on any lines. That production of ‘The Caretaker’ has me intrigued. I do know ‘The Homecoming’ well. And I have every intention of seeing ‘Moonrise Kingdom’ with Sue.
I loved your CD review, and placed a comment.
Bite your tongue Peter. No MIB boosters here!
Sorry, but I liked MIB3 just for what is was – a silly, fun popcorn movie with some good laughs. So there!
Pat–
You are not alone, despite the sentiments here of my two unimpressed colleagues. The reviews were solidly favorable, and my wife Lucille and all the kids saw it Saturday afternoon during a time I couldn’t manage to join them, and they all came back smiling. They are fans of the entire franchise in fact.
Thanks again Peter. My family was quite taken with MIB, so I’ll wait till I see it with my own eyes before making a judgement. Saw your CD review comment, thanks as always. I really think you and Sue will love MONNRISE KINGDOM!
Thanks for the mention again Sam! I really would like to check out Trier’s films as I’ve read great things. Last week I caught up on Game of Thrones which is having a great season so far. I am excited to see the various films that played at Cannes, especially Michael Haneke’s ‘Amour’ after its big win. I’m a big big fan of his work. Hope all is well. The heat is pretty sweltering already in Toronto this Tuesday morning!
Dave–
Many thanks! Yes, GAME OF THRONES is one I can stand with you on lock, stock and barrel. There is no film I want to see more at this point than AMOUR, and I think it’s amazing that Hanecke has come home with the top prize for the second time in four years:
http://www.nydailynews.com/entertainment/movies/cannes-film-festival-2012-michael-haneke-amour-wins-top-prize-article-1.1085562
I am also a fan of his work. It’s real hot here too Dave, though we have thunderstorms heading in any minute. Thanks as always my friend!
Thrilling news about Oslo, August 31st. I found a fascinating interview with the young actor Lie and director Trier on you tube. If it plays in Montclair, I’m there.
I see the Yankees had won five straight until last night’s loss on the west coast.
Frank—
I must see that you tube myself! I’m certain the film will land in Montclair in the upcoming weeks! Heck I may see it a second time.
Well, our beloved bombers wound up with a loss last night on a walk-off homer in California in the 9th inning to break that streak. But we’ll see….
Thanks as always my friend!
Good morning Sam-
Thanks for continuing to link to my woefully dormant blog! I am working feverishly to get my home on the market by this weekend (So much to do!!!), so that I can return my spare-time focus to writing about movies.
I would love to have see THE CARETAKER, sounds like an exceptional evening at the theater. Just to see Jonathan Pryce on stage would be wonderful enough for me.
As to the films, I’m intigured by MOONRISE KINGDON. Alhtough I often find Anderson’s films a bit too precious for my tastes, I have to admit he puts together some great casts.
This week, I saw BERNIE and MEN IN BLACK 3, both very enjoyable. I thought Richard Linklater struck a particularly nice tone in the former film – funny, but not snarky – and Jack Black captured the title character beautifully. MIB3 was just fun, a perfect holiday weekend popcorn movie, and Josh Brolin’s take on younger Tommy Lee Jones was pitch perfect.
Have a good week. And a very happy 39th brithday to Allan!
Well Pat, I will come back at ya with a “Good Evening” now, but as always it’s always a great joy to have you stop in. You don’t have to apologize for the slow-down at DOODAD KIND OF TOWN, it’s most understandable at this hectic time with the matter of the impending home sale. I am speculating that you will still be residing in that general vicinity, no? I can imagine all the work you have ahead. THE CARETAKER (and Pinter in general) is right up your alley, as is Jonathan Pryce, a fact you acknowledge yourself. This play ran in London last year, so I’m assuming it’s making it’s rounds, so the Windy City may be next. Like you I’ve had issues with prior Anderson films, but I did like two well enough, and now think MOONRISE KINGDOM is the best one of all. As you may have remembered I loved BERNIE, and agree with you on the success of the tone conveyed. Black gave his best performance, no doubt. I haven’t seen MEN IN BLACK yet, but Lucille and the kids loved it, and I always have the highest regard for your taste and opinion. You have a great week too, and I’m sure Allan will chime in when the celebration ceases. Ha! Thanks as always my friend.
As I relayed to you weeks ago, to say I was a tad bit jealous (“J-E-A-L-O-U-S” as ol’ Joan would say in A Woman’s Face) when I learned that a few select cities other than my own Chicago was getting a Pryce led Caretaker is an understatement. In my email notification of this Pinter staging, I said something like “Pinter is everything to me”, and I wasn’t being hyperbolic. He’s my favorite writer of the form by leaps; so wonderfully articulate of the linguistic battles that are fought when people are exchanging seemingly innocent small talk or silence and seek complete and utter dominance. It’s the desire of complete desecration to those around you at every turn and with every syllable. Something everyone does, but not many realize (so therefor don’t admit or can’t). The Caretaker therefore, in Pinter’s catalog, is his first major step forward (though its presence—or emergence— and content then cast a light on all the great ones that preceded it to clarify and propel them when previously they probably did more befuddling or generated contempt), probably his first major work with a very clear social conscious (his mixing of the real social concern or struggle with the absurd is his greatest strength and innovation). But again its appearance shines new light on the content of all that preceded it. Suddenly all the food requests in The Dumb Waiter are humorously more and more bourgeoisie (coming from heaven no less!), the racial tension and ambiguity of sight and violence of The Room are class driven, The Birthday Party becomes a resolution of a complete loss of identity when affluence is attained, and A Slight Ache becomes a treatise on the mysterious events (did they happen or not, is that character real or imagined?) of being sentimentally nostalgic on love/youth. These are just a handful of his pre-Caretaker works but a similar reading could be had of all after one considers the mocking sincerity and (meta) ‘violence to end all violence’ that concludes the seminal/wonderful Caretaker. It’s also probably the first time Pinter turns his back on all his influences (or rather grows up from his influences into his own) and exhibits a singularly unique voice. He’s no longer a writer in the vein of Beckett or Ionesco or Kafka, now he has his own English eccentricities and patter, from here on out to see or read or hear a Pinter is to see or read or hear nothing but Harold Pinter’s acerbic pen.
In short The Caretaker was the final step in Pinter training the critics to his ear, his voice. Finally they liked him, because it was the crest that the previous several had been working towards. Finally people could speak and understand Pinter-esque. As such, he should have the last word on The Caretaker: “We are only concerned with what is happening then, in this particular moment of these people’s lives. There is no reason to suppose that at one time or another they did not listen at political meetings… or that they haven’t ever had girl friends.”
Great quick synopsis of the play, and so jealous (and thankful) you were able to catch it. Wait, have I already said that?
There is absolutely nothing I can say here Jamie to top or even come within hailing distance of what you have conveyed about Pinter and THE CARETAKER. Not that I would even want to. I know full well he is your ace playwright, and you’ve immersed yourself in his work and scholarship for years. In fact as you will re-call you had urged me to see this several months ago and in effect got me going to pursue tickets. I am certain you would not be disappointed with this particular production, which plays and safe and stresses what matters the most -the performances. As I stated in my summation, this is a very difficult play, much as Beckett is difficult, and Pinter himself never made the interpretation all that clear. It slowly envelops you and like you say above in framing Pinter: “we are only concerned what is happening then in this particular moment of these people’s lives. Still, there is a character metamorphosis, and that in itself is fascinating. I’ve given this play some profound thoughts now since Friday night when I saw it, and that’s always a telling sign.
Your grasp of this great artist and his work is extraordinary.
many thanks for the whole shebang my friend!
Glad to see some good advance word on Moonrise Kingdom, which i expect to see when it gets upstate. For now it’s me and my DVR, which mostly means me and TCM. They had a bunch of gangster biopics last Thursday night that I haven’t had a chance to comment on yet. Of what I’ve seen so far, Boetticher’s Rise and Fall of Legs Diamond (1960) was a disappointment for his follow-up to the Randolph Scott films; not bad but not really conducive — how could a biopic be? — to his gifts as a director of chamber action films. Max Nosseck’s Dillinger (1945) is the closest biopic to the criminal’s time and probably the least accurate account of his life, likely more influenced to the era’s “Crime Does Not Pay” comic books than by past crime films or the noir cinema to come. Burt Balaban’s Mad Dog Coll (1961) is unapologetically anachronistic with its rock-n-roll theme song and hairstyles inappropriate for hoodlums circa 1931, and the film feels like a wild graft of the era’s gangster-nostalgia cycle and contemporary juvenile-delinquent films, with an extra “sick” emphasis on Coll’s supposed neuroses as a mama’s boy turned vicious. It has a jazzy energy and a fascinating introductory performance in the title role by John Davis Chandler that makes it the best of these films so far — but I have more to see, and a pile of Pre-Code Stanwycks recording today. When does it end???
Samuel–
I’m sure MOONRISE KINGDOM will be with you within a week or two at most. In any case, it is doubtful that anyone on thes epages or at any blog can match your at-home pace over the past months, well over a year in fact, with your DVR and TCM as potent ammunition. I have lost count of the number of rarities you have seen and reviewed, and my failure to leave more comments at MONDO 70 is more a failure on my part to have seen some of the films covered, but as always went you commit to one direction, you can’t do the others. I agree with what you say here about DILLINGER, but I haven’t seen those other two, including that intriguing Boetticher, even with some disappointment. You have some great stuff though, coming up with those pre-code Stanwycks!!! Enjoy!
Thanks as always my very good friend!!
Sam,
Thanks for the shout out. Hope all is well with everyone. I started off the week with a couple of Our Gang comedies, two of their best, TEACHER’S PET (****1/2) and SCHOOL’S OUT (****) both featuring every male baby boomers favorite teacher, Miss Crabtree. Below is the rest…
Bernie (****)Wonderful bleak black comedy about love, greed, family feuds, and murder…all the good things in life that make it worth living. Nice performance from Jack Black!
Manhattan (*****) – Woody Allen’s love letter to New York City and the city never looked so good thanks to the superb eye of cinematographer Gordon Willis who makes each shot as masterful as if Ansel Adams himself came east and photographed New York himself. Nice performances from Diane Keaton and a young Meryl Streep as Woody’s caustic ex-wife. Finally, there is George Gershwin’s music filling the screen with his sophisticated melodies that blend into Woody’s romantic vision so well.
Taxi (***1/2) Independent cab driver (James Cagney) battles a taxi syndicate headed up by a thuggish blowhard who stops at nothing, including murder, to keeps the streets clear of competition. Cagney is out for revenge after his kid brother is knifed to death by the big thug. Director Roy Del Ruth did his best work during the pre-code years where this film fits right in
Monty Python and the Holy Grail (*****) Hysterical reinterpretation of King Arthur, Sir Lancelot and all by Britain’s zaniest satirical pack of wacko’s. Brilliant from beginning to end.
The Threat (***1/2) Gangster escapes from Folsom prison and seek revenge on those responsible for putting him behind bars. Nothing new here but the film keeps moving along at a nice pace and there is an outstanding performance from Charles McGraw that steals the show. A short review will be up later today at 24frames.
Dillinger (***1/2) Low budget programmer from Monogram with Lawrence Tierney as the notorious bank robber. The film strays a lot from the facts but this a tightly told, fast paced, stick to the highpoints told film that’s never dull. Tierney is steely eyed and cold blooded as Dillinger.
The Law and Jake Wade (***1/2) Money owed becomes dangerous for a former outlaw turned sheriff when his former partner comes looking for cash from a long ago bank job. Decent enough western with a show stealing performance from Richard Widmark.
John—
You had a great start to your week with those two OUR GANG classics, which indeed would have to rate among their finest. Yes, quite agree Ms. Crabtree was the dream of all us boomers! As I stated to Samuel above I wasn’t the biggest fan of DILLINGER (which both of you coincidentally saw this week) but I can go along with some of your positive points. I couldn’t agree with you more on the ***** masterpiece ratings for both MANHATTAN and MONTY PYTHON AND THE HOLY GRAIL. These are timeless treasures, and prime candidates for the comedy countdown, which I see you are going into here with zeal! Bravo for that too! Agreed on the pre-code Cagney TAXI, which I would give *** to; and haven’t seen THE THREAT nor THE LAW AND JACK WADE, though appreciate the excellent capsules, and will certainly check out the upcoming review at TWENTY FOUR FRAMES.
Great to hear you liked BERNIE so much too! It seems just about everybody I’ve spoken to or have read reactions from has really dug this one, and no wonder.
Have a great week my friend! Many thanks as always!
Sam,
Once again you have added to my list of movies to see and request – Thank you. I called right away to put Oslo,August 31 on our new film society list, we have a new owner/ director of the film society and I think I will join now and help to keep them in operation. (Lots of drug folks started the society – they have moved on)
Thank you too for the shout out – I loved Marigold HOTEL and it was a great movie for me to see right at this point in my life.
I think my blog is failing…I have dropped from 450 readers to about 100 in the last month and with the Google changes I am not being picked up by any SEO engines now – getting just a few comments and I am down to only 2 subscribers. I have 2 more books to review, then a big hole because I am not making the publishers enough money.
I will figure something out, I am resilient it is just making me tired.
FYI – I just finished another 6 weeks of Dr. Furhman’s EAT TO LIVE eating program and brought both blood pressure, and blood sugar levels to absolute normal and I have lots more energy…It is an extremely easy program to follow and what amazing results every 6 weeks – I guess men do even better on it…and I cheated on the weekends this round and ate my favorite Italian fare – just gently during the 6 weeks.
Patricia—
I am thrilled to hear you have added OSLO AUGUST 31ST to that film society list! For a number of reasons I do believe this affecting and beautifully filmed work will resonate with many! Yes, the drug theme will hit home with some too, obviously, but the film is done with restraint and taste, and psychological insight. I know you loved MARIGOLD, and I see several others including Terrill (below) and Laurie are big fans too. There is much in the film to like and admire, even with some narrative inconsistencies. I would not jump the gun and think the blog is failing, as I find that numbers almost always fluctuate and have much more to do with the varrying degrees of blogger activity than in any change in preferences. The readers too will drift and come back, and so many never even register as such. I always check out your blog for instance, but am not even sure that I signed up as a reader. I’ll have to check that out. But honestly, I wouldn’t be bothered much, as you’ve done a terrific job at covering so many topics that have obviously resonated with a number of people. The books you review alone have been wonderful, and I am thrilled at the inclusion of film reviews. Great accomplishment getting those sugar levels down to normal. I am a borderline diabetic and I see to go back and forth, though I do eat large amounts of blueberries and broccoli, which will help any diet,
Have a great week my friend! Many thanks as always!
Sam congratulations on Wonders in the Dark’s over two million views. Whaaa-hooo! That is amazing
Thank you for pointing the way to the Mayne island May Day celebrations over at Creative Potager as well. And I have two movies to report viewing. They are
THE BEST EXOTIC MARIGOLD HOTEL (2011) directed by John Madden. Starring Judi Dench, Bill Nighy, Maggie Smith. This movie came to my attention because of you Sam and I may have passed it up except for your considered review. David and I actually watched in a full theatre during our latest visit to Victoria. We both loved it and so did our fellow watchers. What I think is less obvious about this film is its exploration of the “isms” such as racism, sexism, classism, hetrosexism and ageism with a kind of loving humour for our internalized human shortcomings when it comes to getting beyond our ethnocentric views while do this messy thing called living.
ALBERT NOBBS (2011) though directed Rodrigo García this is really the film of the star Glenn Close who struggled for more than 10 years to see her vision through to completion. Of the two films, this is my favourite and I think will be recognized as an important film about gender and class more in years to come. The lives of women living as men to survive, to love and to thrive is one worth pondering when we want to understand inequities and their impacts.
Both of these tragic comedies give us access to tough issues through humour and seep through our emotional and intellectual protective walls with compassionate understanding.
Terrill—-
Thanks so very much for those great words! The May celebrations on Mayne Island were really something to behold, as the spirit there was truly in overdrive! I did have some relatively minor issues with MARIGOLD HOTEL that lessened the star rating, but I won’t deny it has much to recommend it, and that cast is always to die for. I have found that so many have connected with it (you, Laurie and Patricia for starters) and you provide a the precise qualification that makes it’s appeal so universal. You also do a great job here conveying the artistic and sociological value and significance of ALBERT NOBBS, a film that I know has divided the critics. But I have always had the utmost respect for Glenn Close, and know she persisted here over many years. That final sentence there is terrific, and pretty much offers a compelling comparison that illuminates the positive response. Beautiful and perceptive writing here my friend! Many thanks and have a great week at your island paradise!
Hi Sam! Thanks for the fine mention! I’m looking forward to both the Wyler blogothon (I’m contributing) and your comedy countdown eagerly. I’m brushing up on some comedies and will be visiting and revisiting numerous selections over the next month or 2 in preparation for the list. Exciting! So I’m very pleased that you liked Moonrise Kingdom. I’m a big fan of Wes Anderson and consider Rushmore to be his best film, and it and The Royal Tenenbaums are masterpieces in my opinion. The Life Aquatic is also another personal favorite but not quite as good as the other two. The last few films have missed for me. I’m really hoping that Moonrise Kingdom comes to our area, but it may take another month or so. It looks like a return to form as far as what I’ve seen and read. I’m surprised you haven’t liked his films as much in the past. I love the deadpan, melancholic comedy and the Tati-like attention to detail, along with the self-referential in-jokes, a la The French New Wave. All of this is more than the sum of the parts though IMO. Looks like Elena and and Oslo, August 31 are also tremendous. We might seen some of these on your year-end list perhaps. My film of the week was re-watching Floating Weeds. It’s one of my favorite Ozu films. What struck me this time was just how the conflicts are more externalized….via the face slapping and the wrist grabbing etc. Ozu’s conflicts tend to be more reserved and internally focused, rather than the overt/external confrontations. Beautiful film. I love that rain sequence in the middle. Simply beautiful stuff.
This week I’m watching Way Down East, The Thin Man, The Producers, Monty Python and the Holy Grail. All re-watches for me. Have a great week Sam!
Oh we also watched Bernie in the theatre. I liked it and I liked Jack Black. Solid film. Nothing earth shattering, but was a fascinating little film.
Jon, would you believe I am leaving my house right this very minute with Sammy to see ALL QUIET ON THE WESTERN FRONT at the Film Forum? It’s true, but I will return to your great comment late tonight when I return. I greatly applaud your diligence with the upcoming comedy countdown, and your glowing appraisal of the masterful FLOATING WEEDS. Heck I’ll sat on briefly here to also say that I am certain you will love MOONRISE KINGDOM as well. Most Anderson fans do love RUSHMORE and ROYAL TENNENBAUMS and some have a high regard for LIFE AQUATIC, so I am not at all surprised at what you say. Like you I do feel the last few have missed. The deadpan melancholic comedy was certainly in active mode in this new film and the French New Wavish self-reflection jokes. Well said there! I am figured OSLO is a shoe-in for year-end list as it has top rating. ELENA is a strong possibility as well I would have to think. The rain in FLOATING WEEDS is indeed lovely, as is the ravishing color.
THE PRODUCERS eh? One of my favorite comedies of all-time. And as I said to John Greco above, MONTY PYTHON is surely a masterpiece.
Thanks so much Jon for your super-enthusiastic, spirited response here which is always a joy to read! Have a great week!
Sam, your past week is a perfect example of quality over quantity. The play sounds incredible as do the films which I hope to catch in the next month or so. I had liked REPRISE a few years back and had been waiting to see OSLO but your high rating makes me want to see it soon.
Thanks for the mention and have a nice week ahead.
Thanks so much Sachin for that! Yes, it is indeed a case of quality over quantity, as I had what was clearly the strongest week artistically than any other in 2012. I was actually loathe to give several high ratings, as I figured I’m be chided for going soft. But that’s the way it is sometimes, the riches are all bunched together. I now have three ***** movies for this year: The Turin Horse, War Witch and Oslo August 31st. I also loved REPRISE, but do believe this second film has trumped it. Have a great week my friend!
I will be taking my oldest son Sammy, who just this past week turned 15, to see ALL QUIET ON THE WESTERN FRONT at teh Film Forum tonight at 9:30 P.M. I can’t count the times I’ve seen it.
Holy Mackerel! Two M-I-L-L-I-O-N page views. CONGRATULATIONS for that beyond stellar achievement! My eyebrows are still stuck up in my hairline!
“By way of sheer quality…” I’d go for quality over quantity any day of the week — and it sure sounds like you did.
You’ve piqued my curiosity for THE CARETAKER with your compelling statement, “…but it’s clear enough the brothers wanted a father figure to both take care of an reject.”
Another lure, “…the wrenching personal journey of an intelligent and cynical young man who is out of a rehab to reassess his perceptions of whether life is worth living” has the tear-jerker part of me wanting to see OSLO, AUGUST 31ST.
And then hook, line, and sinker with “…an irresistible coming-of-age romance, the director is able to poke fun at institutions and family rigidity…” has me wondering “When can I go see MOONRISE KINGDOM?
Thank you, Sam, for pointing to Speaking from the Heart.
hahahaha Laurie! Love it! Thanks so much for the glowing compliment! Thanks for that strem-of-consciousness response, taking in some of the points made in the Diary proper! And yes, I do have a strong feeling you will love MOONRISE KINGDOM, and would speculate it should be near you soon. Yes, it was a banner week for Lucille and I and I was most impressed with the stage production of Pinter’s THE CARETAKER. Lastly, there is no question that you will be deeply-moved by the lyricla and intelligent OSLO, AUGUST 31ST, one of the year’s greatest films. Thanks so much my friend, have a great week!
Hello Sam and everyone!!
Well, I’ve been busy with a bunch of things, pre-producing and doing all the things that are related to the making of my short film, I’ve been writing and investigating and the whole stuff. So that’s why I haven’t answered until now. But still, I’m doing it now! Thanks for featuring my blog at the blogroll!
You had quite an interesting week and I’m sure you’re gearing for the summer festivals and sure you’ll go all the way as you always do and you are always expected, but that’s the best thing about it! Go crazy, but always on economy! I’ve seen Elena, but I’m less enthusiastic about it, but I still think it’s a well performed and shot film, I rate it **** myself. I wanna see Moonrise Kingdom for myself and you’ll hear my opinion.
My week film wise:
- Ordos 100 (2012, Ai Weiwei) ***1/2 Another documentary from the chinese activist Ai Weiwei, this time about the project of architecture that tried to put people from all over the world to work on different projects in a desserted part of China. I’ll have more to say about this one later.
- Cry Me a River (2008, Zhang Ke Jia) **** A chinese short film from one of the most famous recent directors. Romantic and extremely well shot, with a stunning cinematography, but not as a satisfying story. Still it’s quite touching in its story and regarding the actual situation of middle class in China with its modern economy.
- Katsudô shashin (1907) ***1/2 A four second clip, the first animation from Japan. Enough said.
- Let There Be Light (1946, John Huston) **** A non-conventional WW2 documentary about the mentally ill soldiers after the war. Maybe not as shocking and raw as other documentaries on the results of war and the overall state of mind of people in special houses, the film wins a lot thanks to many inventive documentary techniques quite early in the history of cinema. i was aware of this one due to its recent restoration, and I was glad I saw it.
- Men in Black III (2012, Barry Sonnenfeld) ***1/2 This was the result of a reflection I had. I noticed that with my parents and brother we had gone out to see the first and the second films of this comedy/scif-fi series at the theaters, and while I agree with the rest of the universe that the second film was pure garbage, I must say the first one is quite ok, and this one is ok as well, since it maintains it story tied to a single event as opposed to go over the board with the effects. And Josh Brolin gives a great performance imitating Tommy Lee Jones.
- Perfect Two (2012, Yen-ping Chu) **1/2 A family comedy tearjerker drama from Taiwan that doesn’t deliver anything particulary good except from a certain amount of good acting from the main characters, but annoying situations and annoying acting from the child protagonist. I’ll have more to say about this, sadly.
- Still Life (2006, Zhang Ke Jia) ****1/2 As you can see I’ve been watching some sixth generation chinese films because I’m doing a presentation on these films compared to those of the fifth, and I must say that this one impressed me because of the social context in which it resides, and because at the same time it’s so well shot in a way that reminds you of Antonioni. Great scenes, acting, set pieces, and even some hits of weirdness all over it. Quite amazing discovery here.
- Shaun of the Dead (2004, Edgar Wright) ***** I won the DVD of this movie about a month ago and I finally had the chance to visit this amazing film one more time with my girlfriend. I was glad that she somewhat enjoyed it because of the zombie element. The film it’s amazing for the way it portays it characters in a memorable way that you care for all of them and you want them to survive. Of course, this is in my list that should be emailed to you this thursday.
- Spaced (1999/2001, Edgar Wright) ****1/2 Thanks to the new British TV countdown I’m visiting some of the series that Allan Fish is featuring, and I had the time and the energy to watch this amazingly funny comedic series in this week and was smashed by it because of all the elements that he mentioned and because it directly speaks to a culture that I was a part on as I was a kid during the 90′s. I specially liked the first season and the later second season the best, being my favorite episode “Art”.
- Suspiria (1977, Dario Argento) ***** What a visual and horrific masterpiece. I rewatched it on a hunch and I was totally mesmerized by the beauty and the horror that was displayed on the screen at every minute that went through. I still can’t shook off some of the images that were on the screen and it has influenced in some way and plot points of the short film I’m going to film soon, and I’m not really sure if that’s a good or a bad thing.
- Tairiki Tarô no mucha shugyô (1928) ***1/2 Another early japanese animation, this time about a samurai and his friend bear fighting some demons in a walkway. Quite funny.
- A Therapy (2012, Roman Polanski) ***1/2 A short film funded by Prada and shown on Cannes and online. A little skit, a comedy, but with the participation of many significant figures, including Ben Kingsley. Quite interesting and a good three minutes.
Have a good week Sam!
Jaime—
This is unquestionably one of your most spectacular submissions on this weekly thread in the long time that you have reported here after week. I always savor it in amazement and get to it last more out of glowing respect than out of aversion. Your weekly movie diet is second to none, and it’s always preceded by an engaging personal lead-in. I can’t thank you enough for your ceaseless energy, your friendship and your loyalty, and you are one of my favorite on-line persons. Thrilled too that you are now in a regular writing at WitD, and while the Asian films you have been reviewing haven’t been seen by all that many, you have imparted passion and expertise, and will no doubt move forward to the next sphere of interest when you have done what you want with it. Terrific news about your short film, and hope the final cut will be posted here at WitD! Again, quite a list of films seen! I hadn’t realized you had seen ELENA, but your estimation is fair enough. Terrifc that you saw LET THEIR BE LIGHT and have such a strong report. I like SHAUN less, but I know many agree with you. Agreed that SUSPIRIA is a horror masterpiece, and also love STILL LIFE! You came in with arespectable assessment too of MEN IN BLACK, which I haven’t seen yet. I’d like t seehat short Polanski and a few of the others. I’m sure you’ll love MOONRISE KINGDOM, and wish you were with Lucille, Broadway Bob and myself tonight for a stage play in Manhattan titled “NIGHT OF THE LIVING DEAD: THE MUSICAL.”
I kid you not!
Have a great weekend my friend, and don’t overwork yourself!
“The Caretaker’ played in Columbus last month, but I couldn’t attend, so I’ll just have to content myself with Donner’s film version — not hard to do because the film is excellent and excellently acted by Shaw, Bates and Pleasence.
Was wondering what you think of Ophuls’ highly rated ‘Madame de’. I watched it the other night and thought it fell short of tragedy because it’s only the story of a pathological liar who lies stupidly. Mind you, this is a first impression after a long time away from the film, but I vastly prefer ‘Lola Montes’ to ‘The Earrings of Madame de’. Am I wrong or too literal?
Have a great week, Sam!
Mark–
I haven’t seen the Donner version, but like Jamie I have placed an order for the BFI Region 2 DVD of it, a a result of being so impresed with this BAM production. I have indded heard the same by others about the trio of buffo performances, and am excited to see it. Well, some would say you are being too literal, but I can respect that kind of a reaction to MADAME DE, which I will admit is a film I regrd as a supreme masterpiece of the cinema. I also love LOLA MONTES and a third Ophuls LETTER FROM AN UNKNOWN WOMAN, and it’s tough to say with certainty that one rates above teh other two. I also love LA RONDE from his catalogue. No doubt that MADAME DE could be seen as contive and obviously over-mannered, but then that’s really the point, but te jorney is visually and thematically sublime reaching the highest level of cinematic artistry. But again, I can understand it not having the same effect with you. Thanks again my friend. Have a great weekend!
Oh, yes. Ophuls’ famous waltzing camera is a marvel, but I wonder if the film is “superficially superficial” or just plain superficial. Seems a re-watch is in order for me. Just saw Lena Dunham’s ‘Tiny Furniture’ (2010) last night and loved it. Have you seen it, Sam? Highly accomplished work from a very young director. Hey all you polecats, “Alice Doesn’t Live Here Anymore’ is on TCM tomorrow night at 8 and I for one will be watching, if only to listen to Tommy listening to Mott’s “All the Way from Memphis” and to watch a young psycho named Harvey Keitel charm, seduce, then scare the hell out of Alice Hyatt.
“…..but I wonder if the film is “superficially superficial” or just plain superficial….”
Mark, I would certainly hope and believe the former! Ha! I’d give it another shot! Would you believe I have not yet seen TINY FURNITURE, but know well it was the recipient of solid reviews, and is a Criterion blu-ray release. I will catch up with it for certain. And ALICE is always great on re-visit!
Sam, thank you for the mention.
Another new post is up now;
http://vermillionandonenights.blogspot.com/2012/05/someone-who-looks-like-gary-cooper.html
As you already know, Kaneto Shindo passed away a few days ago. He was 100 years old, probably one of the last person to live through the golden age of Japanese cinema. He did make substantial contribution to assemble oral and written history of Japanese cinema. And of course, he is one of the most influential writers and directors from the last half century.
I had been going through his filmography and had picked up several for viewing. Now, I would add some more titles, I think.
MI
Thanks for the heads up M.I., I’ll certainly be reading that new post in short order! It does look like great stuff! Yes, Cooper’s physical presence is clear enough! I have indeed heard of Shindo’s passing. He reached a ripe old age, and was the final one of the golden age greats, I quite agree. My two Shindo favorites are ONIBABA and THE NAKED ISLAND, but I also am a big fan of KURONEKO. I was not aware he was such a major literary figure, but his sensibilities certainly suggest he’s a supreme intellectual in Japanese and world circles. I am certainly motivated now to look beyond the generally accepted major works. I hope you have a future post up at VERMILLION. Thanks as always my very good friend!
Sam, thanks so much for the great mention. I apologize for joining late here. I’ve been in and out of town this week.
I loved reading about the PInter as well as the new releases you took in. It sounds like an unusually rewarding week.
It’s been quiet on the film front this week for me, but I expect to take in a number of things in the next couple of weeks and look forward to reporting back.
Thanks so much, Sam, for all that you do. Here’s to another awesome week!
Thanks so much Jeffrey for again gracing this weekly thread with your regular presence! In terms of quality this past week was indeed one of exceeding quality. And while Lucille and I saw some of the best new openings in a number of weeks, this presence week has been spent seeing some classics on the big screen. I could imagine you are very busy these days, and always look forward to hear about what you’ve watched, which is on balance quite regularly. Thanks again as always my friend, and enjoy what’s left of the weekend!