Charles Bronson and Henry Fonda in Sergio Leone masterpiece “Once Upon A Time in the West”
Lee Van Cleef in Sergio Sollima’s ‘The Big Gundown”
by Sam Juliano
The June heat and humidity have descended upon the environs of many northern hemisphere locations, but few are offering protestations, as vacation time fast approaches. Those of us in the teaching profession are putting a lid on the 2011-12 school year and at least some are now gearing up for the six week summer program that concludes on or around August 1st. Baseball fans are enjoying the height of the season, as the All-Star game draws closer.
Richard R.D. Finch’s “William Wyler blogothon” is a scant one-week away, and what with the high levels of enthusiasm and large number of participants, it is gleefully anticipated the project will be a resounding success. The blogothon will be officially launching on Sunday, June 24, and a full itinerary in in place at The Movie Projector. We hope to see many contributing their two cents at the respective homes of those posting reviews. R.D.’s own excitement is palpable, and if anyone out there deserves a big success, it’s this passionate, ever-supportive and talented blogger.
Dee Dee has launched her own worthy project with her friends Lori Moore and Barbara LaMotta, one that is aimed at fostering overdue attention on the iconic actor John Garfield through hoped-for releases of his work on blu-ray. Sidebar links will escort readers to the vital posts and the petition that is presently gaining signatures by the hour.
My own week on the cultural front has been almost exclusively spent in the Film Forum, taking in what has surprisingly turned into quite a marvelous festival. The survey of the most celebrated spaghetti westerns ha showcased some of the most impressive works in the genre, and with directors like Sergio Leone, Sergio Corbucci and Sergio Sollima being featured, it’s been quite the entertaining and artful treat for film fans. I only wish my friend Samuel Wilson could be here with us, as he’s the definitive spaghetti western fan of the group!
With young Sammy in tow for most and Lucille for a few, I saw:
Salo **** (Monday night) IFC Film Center
China 9 Liberty 37 **** (Tuesday night) Spaghettis at Film Forum
The Big Countdown **** 1/2 (Wed. night) Spaghettis at Film Forum
Duck, You Sucka **** (Wed. night) Spaghettis at Film Forum
Sabata *** (Wed. night) Spaghettis at Film Forum
Yankee *** 1/2 (Thursday) Spaghettis at Film Forum
A Bullet For the General **** (Friday) Spaghettis at Film Forum
Companeros **** (Saturday) Spaghettis at Film Forum
Tepepa *** (Saturday) Spaghettis at Film Forum
Once Upon A Time in the West ***** (Sunday) Spaghettis at Film Forum
The Ruthless Hour ** 1/2 (Sunday) Spaghettis at Film Forum
Seeing Pasolini’s SALO at the IFC on Monday night was a painful reminder of how difficult it is to sit through this infamous film, while still acknowledging that the nihilist film is a scathing political indictment, that is often so sickening that you must turn from the screen. Even all of us Criterion DVD owners can’t see the film in the same way that it was viewed at the IFC as part of a sold-out Monday night crowd. I really didn’t feel like eating until half-way through teh next day.
I hope to have some kind of a round-up after the spaghetti westerns festival is over, but for now, suffice to say it has been an utter delight, and nothing I could have expected. ONCE UPON A TIME IN THE WEST is of course a supreme masterpiece, with unforgettable set pieces, performances, and Ennio Morricone’s spectacular score, one of film music’s greatest glories. THE BIG COUNTDOWN, beautifully shot in widescreen must surely be considered one of the best films of the genre, and three others were total bliss: CHINA 9 LIBERTY 37, COMPANEROS and A BULLET FOR THE GENERAl. A few others were decent enough as well. My son Sammy has seen only one less film that I have, and we have six more planned until the festival ends on Thursday.
Check out what Screen Slate has written about the festival:
http://www.screenslate.com/whats-showing-today/friday-june-1
The frantic everyday activity of the festival has made it impossible to update the links, but I promise to update them over the next day during breaks. Please bare with me, as I have visited some of the sites over the past two days:
Judy Geater at Movie Classics has posted a fantastic contribution to the ‘Mary Pickford blogothon’ with a fascinating review of one of the star’s most celebrated films, the 1910 “Daddy Long Legs”: http://movieclassics.wordpress.com/2012/06/01/daddy-long-legs-marshall-neilan-1919/
David Schleicher features his Top 60 comedy list in a buffo presentation at The Schleicher Spin: http://theschleicherspin.com/2012/06/10/the-spins-top-60-comedies-of-all-time/
Samuel Wilson has just posted a buffo essay at Mondo 70 on Ridley Scott’s “Prometheus”: http://mondo70.blogspot.com/2012/06/on-big-screen-prometheus-2012.html
Jon Warner has penned another exceptional essay at Films Worth Watching, on Murnau’s “Faust”: http://filmsworthwatching.blogspot.com/2012/06/faust-1926-directed-by-fw-murnau.html
Terrill Welch presents another magnificent oil painting, “Alone by the Sea” at the Creativepotager’s blog: http://creativepotager.wordpress.com/2012/06/09/alone-by-the-sea-original-oil-painting-by-terrill-welch/
Tony d’Ambra’s new post at FilmsNoir.net takes a marvelous discerning look at Mitchell Leisen’s “No Man of Her Own”: http://filmsnoir.net/film_noir/no-man-of-her-own-1950-sudser-or-noir.html
Roderick Heath has a new extraordinary mega-essay up on Spielberg’s “Raiders of the Lost Ark” at Ferdy-on-Films: http://www.ferdyonfilms.com/2012/raiders-of-the-lost-ark-1981/14698/
John Greco offers up part 2 of his splendid interview with stunt double Martha Crawford Canterini at Twenty Four Frames: http://twentyfourframes.wordpress.com/2012/06/08/interview-with-stunt-double-martha-crawford-canterini-part-two/
Laurie Buchanan has again provided her readers with food for thought with a lovely and thoughtful post “The Art of Sharing” at Speaking From The Heart: http://holessence.wordpress.com/2012/06/05/the-art-of-sharing/
Ed Howard has written another master-class essay at Only The Cinema, this time on Carl Dreyer’s masterwork “Vampyr”: http://seul-le-cinema.blogspot.com/2012/06/vampyr.html
Jason Marshall has posted a stupendous review of Ozu’s “There Was A Father” at Movies Over Matter, where he places the film as one of the five best of 1942: http://moviesovermatter.com/2012/06/02/i-thought-perhaps-wed-live-together-this-year-but-no-there-was-a-father-best-pictures-of-1942-4/
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 Vittorio DeSica’s neo-realist masterpiece “Shoeshine” at The Movie Projector: http://themovieprojector.blogspot.com/2012/05/shoeshine-1946.html
Patricia at Patricia’s Wisdom discusses ‘doing vs. being’ in her most interesting latest post: http://patriciaswisdom.com/2012/06/thinking/
At Cinemascope the amazingly prolific and resilient Shubhajit Laheri keeps up the pace with a terrific capsule on Bob Rafelson’s “King of Marvin Gardens”: http://cliched-monologues.blogspot.com/2012/06/king-of-marvin-gardens-1972.html
Sachin Gandhi has a spate of posts up at Scribbles and Ramblings on various films, all bracketed within their country designations under the unifying banner ‘Euro 2012.’ Some great stuff here!: http://likhna.blogspot.com/2012/06/euro-2012-german-film-storm.html
Craig Kennedy has penned a terrific essay on “Prometheus” at Living in Cinema: http://livingincinema.com/2012/06/07/prometheus-2012/
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
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 Blue Vial Drew McIntosh has four fabulous capsules leading up, including Henry King’s “The Gunfighter”: http://thebluevial.blogspot.com/
J.D. takes on Sidney Lumet’s 1986 feature “Power” in a captivaing essay at Radiator Heaven: http://rheaven.blogspot.com/2012/06/power.html
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 an extraordinary scholarly piece on gender roles in post-war Japan, making compelling reference to 1949′s “Green Mountains”: http://vermillionandonenights.blogspot.com/2012/05/someone-who-looks-like-gary-cooper.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 on the film “Super 8″:http://checkingonmysausages.blogspot.com/2012/05/unearthing-grief-and-love-in-super-8.html h
Greg Ferrara at Cinema Styles has written a splendid essay on ‘The Ranking of Rock’: http://cinemastyles.blogspot.com/2012/06/insincerity-insecurity-and-self.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
Hokahey has penned a terrific takedown of “Battleship” at Little Worlds: http://hokahey-littleworlds.blogspot.com/2012/05/boom.html
At The Cooler Jason Bellamy and Ed Howard discuss two-time Cannes winner Michael Haneke for the latest phenomenal ‘Conversations’ dialogue: http://coolercinema.blogspot.com/2012/05/conversations-michael-haneke.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 Sam for the mention.
You seem to be back to your indefatigable best, and you really visited/revisited some some stupendous films this past week. Yes, Passolini’s Salo is an excruciating film to sit through – tried it once long back, albeit unsuccessfully. Guess I need to give another attempt at sitting through this alternately celebrated & loathed film. And I can very well appreciate what a spectacle Once Upon A Time in the West would have been on big screen, though I’ve never seen it on one (the biggest screen that I could manage for this was our 30-odd inch tv).
In the meanwhile I watched 4 movies this past week:
- Ridley Scott’s Prometheus (on 3D) – found it reasonably okay with very few flashes of brilliance. I’d have loved it more had Scott chosen to mould it along the lines of Alien, instead of including a whole of philosophising & meta-physics in it.
- Ryszard Bugajski’s harrowing & memorable Polish drama Interrogation.
- Yet another beautiful romantic tragedy by the underrated Italian filmmaker Valerio Zurlini, viz. Girl with A Suitcase (I’d watched his Estate Voilenta the week before).
- Resnais’ avant-garde & celebrated tone poem Hiroshima Mon Amour.
Many thanks for that Shubhajit, though I really did think I’d be taking a rest during this three week festival. When I heard that many were rare, and probably wouldn’t be screened again for a very long time if at all, I was tempted to fully investigate a genre I have mainly ignored through most of life aside from Leone’s No Name Trilogy and ONCE UPON A TIME IN THE WEST. Against all odds, the experience has been breathlessly entertaining and remarkably artful. WEST is indeed made for a big screen, and the restored print was glorious. Yes, SALO is one of the most difficult films to sit through, though yes, I still believe it’s dehuminizing theme hits the mark.
I look forward to your response to PROMETHEUS at CINEMASCOPE. I had mixed feelings myself. I do think the Polish INTERROGATION is a brilliant film, and agree Zurlini is underrated. GIRL WITH A SUITCASE is a must-see, as is of course the celebrated HIROSHIMA MON AMOUR, which you aptly frame there.
Have a great week my friend. Many thanks!
Oh Sam I can’t believe you saw that sick movie again. I still think you should have called the cops when Larry showed Solom to Melanie and Sammy when they were both not even in kindergarten. Do you know Melanie asked me if they really cut the boy’s tongue out when they were making the movie? That’s why you can’t show things like that to children because when they are small they think everything is real and then later on maybe there’s a part of their inside that still has a rememberance to something like that. That’s how people get fetishes. People on under dark like you a lot and I know some of them might have liked that movie too but I think other people might be disappointed that you spent money to see that in the theater and while I don’t wish you harm my friend it serves you write that it took you a long time to eat after that because if you would have told me you rushed over to Cat’s Deli and had a pastrami afterwards I would have said to myself, wow Sammy must have a lot of problems these days. Peace and Blessings.
Oh God, Jack! You have me laughing so hard I have pains in my gut, though I do not recall any people other than myself and Lucille watching such an infamous film in the confines of my home. This is not a movie for children, and even as a left winger, I would never facilitate screening such a film for a minor. So your subsequent advice does hit home. Ha! But this is the first time I saw SALO on the big-screen. Previous viewings were on DVD.
“Under Dark” and “Cat’s Deli.” hahahahahahaha!!!
As I stated to Dennis (below) I saw the film Monday night with Broadway Bob only. Sammy attended a whole lot of the spaghetti westerns though.
Definitely no hot pastrami (not that I ever eat that anyway) for me after watching SALO. Geez not even turkey or soft-serve yogurt. Ha!
Have a great week my friend!
Sam, thanks very much for the mention. I’m looking forward to taking part in R.D. Finch’s Wyler blogathon and have just been watching ‘Wuthering Heights’ from 1939 again, as I need to get my piece written! I know next to nothing about spaghetti Westerns and am impressed by how many you have managed to see during that festival – looking forward to your wrap-up piece.:)
Over the past week I’ve watched three greats from 1943 – ‘The Constant Nymph’, ‘Day of Wrath’ and ‘The Life and Death of Colonel Blimp’ – and a rather disappointing Ginger Rogers comedy from 1939, ‘Fifth Avenue Girl’. My family has also finally finished watching the box set of the first season of ‘Game of Thrones’ – I stayed with it in the end and just looked away during some of the gory bits! – and my son Max is now reading the first book.
Thanks so much Judy! Like you I am more than intrigued and excited over the imminent launching of R.D.’s first-ever blogothon, and also need to get my own post on BEN-HUR in order. WUTHERING HEIGHTS is also one my own personal favorites, and I look forward to your essay!
Until the spaghetti festival started I must say I knew very little about the genre, but I have been gathering together books, CDs and DVDs on the subject over the past week, as it has really spurred my interest. I do hope I can get a wrap up post in the week or two following the Wyler blogothon. I have six more films to see over the next four days (the festival ends on Thursday)
You did watch three gems there Judy, and as you know the first two were just involved in quite a vote for the best film of 1943, as well they should have. I didn’t see that Ginger Rogers comedy, but I’m sure you have it called correctly. Ah, Max is reading the GoT book now, which is a sure sign of real interest and being impressed. Great you got to see the season to the end. I would imagine the next DVD set is a few months away (Season 2).
Thanks as always my friend. Have a great week!
Sam, thanks so much for the great mention.
I enjoyed hearing about more of the spaghetti westerns. I really look forward to reading your wrap of the fest. It sounds like it’s been a great one.
This week, I took in a few things – CERTIFIED COPY, TINY FURNITURE, and THE MYTH OF THE AMERICAN SLEEPOVER. I really enjoyed seeing them all although I wouldn’t say that any of them will end up as true personal favorites.
Here’s to another awesome week. Thanks so much, Sam, for all that you do!
Jeffrey, this festival has caught me completely by surprise. In fact I told a few people at the Film Forum that I was only planning to see three or four at most, with only the supreme classics planned. I have subsequently and deservedly been chided by the same people after I have proceeded to see a bunch, with a total of 21 of the 26 when it ends on Thursday. This is a genre that well deserves a re-evaluation, and for me it’s a major revelation. I certainly do like CERTIFIED COPY for a number of reasons (the performances are striking for one) but I can well see why this trio did not give cause to bring out the hyperbole. As always I appreciate your tenaqcious friendship, support and exceedingly kind words my friend. Have a great week!
Oh, GOD… You didn’t take Sammy Jr. to see SALO???????
No I did not Dennis. Sammy saw all the week’s spaghetti westerns, but I attended SALO with Broadway Bob only on Monday night.
Ok, here goes…
What was the most anticipated film for me this summer turned out to be one of the most disappointing films I can remember in a long time.
PROMETHEUS
The problems with this film come down to two people: writers Jon Spaithis and Damon Lindelof. Trying desperately to pack in as much as they can in rhetorical theorizing of where our species hails from and if there really is a God, the duo of scribes lose their way at about the first hour mark of the film. Where do we come from? Did someone bring humanity to our planet or did we just spring up from the primordial soup and evolve slowly over the centuries?
Give the writers credit for trying to bring a kind of logic to some of the biggest questions ever asked. However, while they set the pace and the tone of the movie in a big way, they seem to lose hold of a kind of logic that would explain the theorizing and give what is, essentially, a prequel to Scotts enormously successful and creepy ALIEN a nifty wrap up on all the speculations certain plot points of the original begged to ask.
You cannot really fault director Ridley Scott at all on this one. His camera and his sense for a logical presentation of times gone by and yet to be seen are spot on. As a matter of fact, the film is totally in keeping with the types of detailed Sci-Fi he created over two decades ago with films like the original ALIEN and his masterful meditation on mortality BLADE RUNNER. What I like so much about Scotts science-fiction is that he really leaves no stones unturned in presenting a place and time that makes sense. In both the opening of the film (that takes place about 35000 years ago on Earth) and, later, in the bulk of what’s left (that takes place about 70 years from now), we get a totally viable look at the past and the impending future. Things make sense in Scott’s worlds and nothing seen on screen as far as production design, costuming, cinematography and special effects can be questioned for an air of authenticity. The sequence that starts the ball rolling is so arresting in its majesty and simplicity that you are left awestruck. The problem is that what comes after it cannot live up to it in any way shape and form as the screenplay makes such a hash out of the narrative construction that you feel dizzy from the veining into so many different directions.
The performances by the cast in the film are fine, yet they’ll suffer the slings and arrows of critics and fans of this series for not being fleshed out enough. Again, the problem here points to the writers who are more interested in the set up of the story that they lose sight of the fact that the vessels that will carry it are almost invisible. Of the cast, only Noomi Rapice (Lisbeth Salander in the original GIRL WITH THE DRAGON TATTOO), as an evolutionary scientist desperate to prove that we were put on Earth by an otherworldly culture, and Micheal Fassbender, as a human-like robot programmed to follow the mission through at any cost, seem to have anything interesting to do and are the only ones fleshed out to truly resemble characters in this play. Charlize Theron, who plays a cooperate overseer that seems to have diabolical intent over the proceedings, is wasted completely playing a character that really seems to suffer from no rhyme or reason (at least not until the rather surprising reveal at the 1 hr 45 min mark).
Yet I WILL recommend PROMETHEUS for a few reasons. First and foremost is Scott’s attention to detail and, as I said earlier, his almost effortless way of creating a logical world within the confines of the unimaginable. Second would be the films expert use of the 3-D process (and if you’re not seeing this film in the 3-D format then you’re missing out on a lot). Like Cameron did with AVATAR and Scorsese pulled off brilliantly with last years HUGO, Scott is not interested in using the process to hornswaggle jolts from the audience with what he can throw from the screen at them in as much as he’s using the process to bring the audience into the world of the story. The opening sequence finds us on a cliff looking out over a waterfall as an alien spacecraft hovers over it and I was mesmerized by the sense of actually looking upon, or actually being a part of, a great historic moment in the history of our evolution. The texture of the setting and the depth of the cinematography allow us to feel as if we are stepping onto the cliff with the humanoid Prometheus and this sumptuous effect would be lost in traditional 2 dimension. Honestly, this is probably the film that utilizes the 3-D better than any film that has popped up since its recent resurgence and only a visual artist with the skill of Scott (or Scorsese) would know how to take complete artistic advantage of it.
Still, with all the beauty of the visuals, the film falls flat and I kept thinking that this one could have been so much more in the end. Had Scott rewritten the script with better writers I have no doubt that what could have been WOULD have been a truly amazing excursion into a genre that rarely gives us anything amazing anymore.
My Grade (out of 5 stars): **1/2
Dude – you’re right on the money with Prometheus!
Yep, I must say I agree with David, that you are right on the mark, and you’ve written quite a spectacular assessment here! So thrilled that you posted it on the Diary. It all comes down the script indeed, and you’ve made that point quite persuasive. This could stand as a top-drawer review, never mind a comment!
Thanks so much my great friend!
Hey Sam,
Thanks for the mention as always. Busy week of Spaghetti for you! I still like Duck, You Sucker! alot but I know I haven’t seen nearly all of these films you’re mentioning. I can’t quite get my stomach ready for watching Salo. I’m holding off on that one! I myself and putting the final touches on my William Wyler post for Dodsworth for next Sunday. Can’t wait to be part of the fun. Also I’m still finalizing my list and checking it twice for the comedy countdown. I just rewatched Harold and Maude and Boudu Saved From Drowning and Whiskey Galore! and they are in tough competition for some final spots here. I don’t know about you, but I’m having a harder time with the 40-60 range than the 1-20 range. Those last few spots are really tough and you want to include certain things but running out of the spots for sure. Agonizing. I still have a few more Ealing comedies to review and will probably submit around the 28th of June. Nothing like waiting until the end and I want to make sure I give everything as fair a shot as I can. I may very well be your final ballot submitted!!!
So I traveled last week and will travel again this Wed.-Fri. and then again all next week!!! Sheesh.
We had a good father’s day weekend, which involved some time at the beach on Lake Michigan and a family reunion for my Wife’s side so it was fun all around and the girls enjoyed their time playing the water and the sand. Happy belated Father’s Day to you!! Have a great week Sam!!
Jon—
It’s been a hectic week for sure, and despite all the fun, I’ll certainly enjoy the break until the Universal Festival in late July through mid-August, when I will be seeing the old horror stuff, the Sirks and the Siodmaks. Most of the rest I will take a pass on. I do like DUCK YOU SUCKA myself!, and am investigating some other films not shown during the festival proper. So many others are likewise indicating they will delay their first viewing of SALO, and in large measure I can’t say I blame them. I will be over at R.D.’s place to read your DODSWORTH review, and I can’t already feel the enthusiastic vibes! Two of those three films you note coincidentally received votes on a ballot that was distributed today, with one I believe get a #1 placement. I agree that the lower third is more difficult to numerically set. Waiting till the end my friend is actually the smartest tactic, as it allows for full exposure through last week viewings and checking out the submitted lists. But you won’t be the only one going the distance I’m sure. You are quite the traveler, but in a sense that’s great! Great to hear of the holiday bliss with all the girls at Lake Michigan and at the family re-union! Have a terrific upcoming week my friend. Many thanks!
Spaghetti western nirvana! When Sammy grows up he’ll look back fondly to this experience, I’m sure. I’d a given anything to see Once Upon A Time in the West most of all.
How bout those Yankees, winning nine in a row?
Methinks you are right Frank. I don’t think he’s ever attended anything so comprehensively. WEST was cinematic bliss needless to say, but be advised there’s a blu ray out there.
Yep, the Bombers have engineered three consecutive sweeps. Who’s a thunk it?
Thanks as always my friend.
Sam –
If the weather forecast is correct, we’ll reach a muggy 95 degrees in Crystal Lake, Illinois today. That will go a long way toward increasing the pigeon-sized mosquito population.
Based on your depiction of SALO I’m ever-so-grateful that I’ve never seen it, and never will.
The two photos that you used to open this post brought back fun memories of watching westerns with my folks. Growing up we had a teacup poodle (no more than 5 pounds full grown). My mom named him Bronson after the actor — a little tough guy!
Closer to your neck of the woods (New York) was the recent BookExpo America (BEA), an annual publishing event. My literary agent (in Stamford, CT) took my manuscript. Since then she’s received interest from three publishers. Needless to say, I’m tickled pink!
- Laurie
Laurie–
Oh boy, those scorching figures are staying away in these parts for the time being, so I don’t envy the situation by you with the high humidity factored in. And yes, I hear you too on the mutant mosquitoes. It sounds like air conditioning and some quality writing is all lined up. Stay cool.
I wouldn’t wish SALO on you or anyone else, even if my 4 of 5 rating is not really representative of how disconcerting the film is to watch. Pier Paulo Pasolini is a very great Italian director with one masterpiece, and a few near-masterpieces, but this film is nothing like anything he’s done, nor for that matter is it near anything anybody else has done.
Your mom named the poodle Bronson? Love it! Yes, the western scene can get contagious, and even roped in an innocent hombre like myself, but never really indulged in this kind of thing.
You saved the best for last!!! You should indeed be tickled pink, and I am rooting for your manuscript to get purchased!!! I’ve seen your work ethic and commitment (and talent) and I have very good vibes my friend!!!! Please keep us up to date!!
Have a great week!
Sam – Good morning!
Glad to hear that you and Sammy are enjoying the Spaghetti Westerns festival. As for SALO, you are stronger person than I; I can’t bring myself to watch that at all, although I have no doubts it is a film of serious value. Some things are just beyond my ability to stomach.
Expect a short post at my place this week to announce that my blog is on Summer Hiatus. I hadn’t planned it, but the stressful process of moving house is consuming all my spare time. (I have accepted an offer on my current place and am hoping that my offer on another property is accepted today.) With all that going on, there’s just not much time to focus on film writing. Hopefully all will done and over by mid-August.
In the meantime, I stumbled on to a treasure trove of “Free with Subscription” films -both recent and classic – in my OnDemand services, so saw Sturges’ HAIL THE CONQUERING HERO and Woody Allen’s MANHATTAN MURDER MYSTERY over this past weekend. The latter was (until Saturday) the only of Allen’s films I had never managed to see; I found it quite enjoyable, with the chemistry between Diane Keaton and Allen as a long-married couple entirely believable and wonderful to witness.
Marlon and I also saw THE ICEMAN COMETH in its final performance at the Goodman yesterday, with Nathan Lane as Hickey and Brian Dennehy in the role of Larry. I did not much care for Lane’s performance; not that it was bad (Lane is too good to be bad), but I never really believed he was anybody but Nathan Lane, acting up a storm (and yelling through most of Act 4 just to prove the point !). He wasn’t phoning it in, by any means, but there was a detectable weariness or strained effort to his performance, understandable given he was at the very end of an extended run, but it just didn’t work for me. Dennehy was much more impressive. At just under 5 hours, it was a loooooong afternoon at the theater. I don’t mind a long play or a depressing O’Neill offering (LONG DAY”S JOURNEY… is one of my very favorite plays), but ICEMAN just didn’t cut it for me.
Have a great week! Sounds like you will be out of school soon.
Pat—
Sammy and I have indeed been having a great time at the spaghetti western festival, perhaps more so because it was so unexpected. At least one 5 star masterpiece (ONCE UPON A TIME IN THE WEST) and a few other excellent offerings. SALO is a film like Von Trier’s ANTICHRIST that is disturbing the the extreme, but also in the case of Pasolini’s film, stomach-churning. Which of course is the point Pasolini was trying to make in his scathing indictment of fascism. But he takes no prisoners, and offers no ray of hope. It’s really unadulterated nihilism, and it features scenes that are both nauseating and terrifying. Because I have previously seen the film on Criterion DVD versions (it’s actually out on blu-ray now) I felt I could muster up enough courage to see the film on the IFC Film Center, where there was even a speaker to introduce it and moderate a Q & A. I didn’t stay for that though.
Pat it is most understandable that you need to focus on the move at present. It was remarkable as it is that you put together a wonderful comedy list. The blogging should return only when your clear on that front. I am figuring you will probably re-locate to a region close to where you have been. Interesting you saw that Allen with his new film almost ready to open after screenings at the LA Film Festival. (TO ROME WITH LOVE seems to be getting some poor advance reviews, but we’ll see) MANHATTAN MURDER MYSTERY is indeed enjoyable, methinks, and that Sturges in at least a minor classic to comedy fans. I like it well enough. God, THE ICEMAN COMETH checke din a five hours? Wow. I knew it was long, but the one staging I saw of it was abridged. i hear ya on Lane, and would definitely think Dennehy would be more impressive with this. Lane, similarly was good, but somewhat miscast in Beckett’s WAITING FOR GODOT, which I saw in NY two years back.
Tomorrow (Tuesday) is the last day of school (we all get out at 11:00 A.M., which will conveniently allow me to make good on the afternoon spaghetti western already figured in), but as I am teaching the six week summer school program for the 19th year consecutively, I will be back in on Thursday, the day that program begins. But it’s only 8:15 to 12:15 Monday through Friday until August 1st.
Have a great week my friend, and hope the sale is imminent.
I managed to see one new release this week – France’s The Intouchables. I went in expecting a crowd pleaser, which is what I got, but not in the way I anticipated. Although the first sequence contained some zingers that made me wonder what the hell I was in for, an undercurrent of intelligence and mastery of the art form held my interest. The film is intelligently done. Although co-star Omar Cy won the Caesar (beating Jean Dujardin), the performance I was most impressed with was that of the tetraplegic character, played with humor and great dignity by Francois Cluzet. Altogether an enjoyable time.
Pierre—
I have wanted to see this film (Broadway Bob has really been pushing for it) but I have been tied up with the spaghetti western festival (which ends Thursday). I didn’t know that Cy won the Caesar over Dejardins, especially since THE ARTIST dominated those awards. Great to hear its intelligently written, and that Cluzet turns in a marvelous performance. I’m figuring to see this over the coming weekend, and will keep your enthusiasm in mind my friend. Thanks as always, and have a very good week!
Thanks for the mention Sam! I caught a couple of screenings here in Toronto that were part of the Luminato Arts Festival this weekend. A screening of Cocteau’s La Belle et la Bete – my first time seeing this spectacular-looking film, and The Cabinet of Dr. Caligari with a live piano accompaniment. Hope all is well!!
Those are two stupendous events there Dave! The piano accompaniment for CALIGARI of course is something for any serious film fan to salivate over, and BEAUTY is pure visual poetry. Quite the great double there! All is well my friend, thanks again, and have a terrific week!
Sam, one of these days I’ll have to screw up the courage to see Salo. It probably tells you something about me that I can sit through Cannibal Holocaust without flinching yet tremble before the Pasolini. We can normalize or genre-ify certain violations of the body or person, but others aren’t so easy. Gore satisfies a peculiar craving or imaginative impulse in some people, but who could want to see some of the stuff in Salo? I suppose someone can only want to see Pasolini show it, trusting in his genius, but seeing it for its own sake?… I dunno.
Anyway, a nice crop of spaghetti you saw there. Duck You Sucker is easily the least Leone and Morricone’s score is one of his worst (“Juan Juan Juan?” “Sean Sean Sean?” Really?) but there’s still a lot worth seeing in it. Reading your coverage has me wanting to dig into my inventory again. But instead, this weekend I took a crack at Raul Ruiz’s Mysteries of Lisbon and found it an often compelling immersion into the 19th century imagination. The relative anonymity to me of the actors probably made it more convincing. More recent in spirit were Brian Desmond-Hurst’s Simba, a now politically incorrect film in light of revelations of Britain’s Kenya policy but on its own terms a struggle with conflicting perceptions of blacks; Edmond O’Brien’s Shield For Murder a black hole of noir with the actor directing himself (with help from Howard W. Koch) in a definitive genre performance as a corrupt cop; Richard Thorpe’s Black Hand, which drops Gene Kelly in <Godfather Part II flashback territory battling extortionists and is better as a thriller than its reputation for miscasting suggests; William Wellman’s So Big, which seems to be missing big portions of the typical sprawling Edna Ferber saga yet is very good in its first half setting up Stanwyck as a fish-out-of-water among miserable immigrant farmers, inspiring Wellman to try a similar trick with Stanwyck in The Purchase Price; and Jacques Deray’s fact-based police procedural Flic Story, on which you’ve already commented generously at my place.
Meanwhile, here’s my preview of a coming attraction. A few weeks ago I bought a new edition paperback of George V. Higgins’s 1974 novel Cogan’s Trade, without knowing then that the book forms the basis of the new team-up of Brad Pitt and Assassination of Jesse James director Andrew Dominik, Killing Them Softly, which premiered this spring at Cannes. Having read the novel, a masterpiece in the author’s inimitable style, and despite some reservations about the film’s reported politicizing, updating and implanting of the story to 2008 New Orleans, I’ve moved Killing Them Softy right behind Django Unchained — and hasn’t the Film Forum whetted your appetite for that? — on the fall must-see list. And since the Dominik is scheduled for September it’s actually not behind Django at all.
Samuel—
You are one of many at this thread alone in fact that has not yet seen SALO to this point, though by the sound of what you imply, you will eventually take the plunge. All I can say here is that ‘you have been warned’ but knowing your appreciation of politics and Italian cinema, there is certainly the shocking connection imaginable. CANNIBAL HOLOCAUST is horrifying too, but there is human depravity, sadism, and human debasement in SALO that has no equal. But Deodato’s film certainly disburbed me for a while after i first saw it. A number of the most respected critics consider it a masterpiece, and while I can never issue that kind of hyperbole, I do think it is a significant achievement if you can take it.
I did indeed like DUCK YOU SUCKA, but I guess I also liked Morricone’s score, though not as much as some others here (he scored a large percentage of the festival offerings) but nothing to touch WEST, one of the truly great film scores of all-time. But I really loved his scores for THE BIG GUNDOWN, COMPANEROS and THE MERCENERY, and have moved to acquire the CDs. It’s amazing how many major filmmakers and critics have greeted this festival with such enthusiasm:
“All formidable films. Visually extremely striking, aurally distinctive, wonderfully acted, violent, mystifying, perversely inspirational.”
– Alex Cox, The New York Times
“THE GREATEST GENRE EVER!”
– J. Hoberman, Film Comment
“THE ULTIMATE GIFT TO FILM LOVERS!”
– Joshua Rothkopf, Time Out New York
“Those who only know Sergio Leone’s defining contributions to the genre may have a life-changing experience at this 26-film series.”
– Steve Dollar, The Wall Street Journal
“May be the most important series that redoubtable, unpredictable New York institution has ever shown.”
– Armond White, CityArts
And a new release on Luis Bakalov’s buffo score to THE PRICE OF POWER has just been announced:
http://www.hillsidecd.co.uk/contents/en-uk/p1705_PRICE_OF_POWER,_THE.html
I didn’t know Desmond-Hurst directed such a film. Nice round-up off your typically impressive number of viewings; I know SHIELD FOR MURDER and THE PURCHASE PRICE, but haven’t seen that Wellman, even after the extensive festival.
That’s truly fantastic news about that imminent Dominick-Pitt collaboration of the Cannes titles, and the film of that novel you read! And yes, my appetite for the upcoming DJANGO UNCHAINED has indeed been whet by the festival!! I look forward to both!!!
Thanks so much and have a great week my friend!
Samuel, I just now listened to the 2 CD set of Morricone’s score to DUCK YOU SUCKER, which arrived in the mail today. I think it’s one of his most hauntingly beautiful and flowing scores, so on this count I can’t agree with you at all. I’d rate it near the top of his prolific catalogue. Absolutely magnificent, with that three-note choral the ravishing anchor.
Writhing over the Comedy Countdown, I only managed one new film:
THE MAN FOM LONDON — Glacially slow, poorly dubbed (in Hungarian, French and English) non-masterpiece by Bela Tarr, pre-eminent among world directors (the credits list Agnes Hranitzky as co-director, but this film has Tarr’s long-take lassitude all over it). Based on a detective novel “L’Homme de Londres” by Belgian writer Georges Simenon. Tilda Swinton is one of the inmates in this excruciating 132-minute noir, and you may also recognize little Estike (Erika Bok), the abused girl from ‘Satantango’. She’s all grown up now, and is blessed with killer bone structure. In fact, one of the best things about ‘The Man From London’ is that Bok looks like she could actually be Tilda Swinton’s daughter. Being merely mortal and not a god, Tarr can’t always turn out masterworks, can he? (and I’m still looking forward to ‘The Turin Horse’).
Sam, does the unintentionally funny qualify for the comedy rundown? I was thinking of something like, say, the thumb-sucking, dirty mattress dramaturgy of Kazan’s ‘Baby Doll’ or the roiled loins of Natalie Wood in another Kazan hothouse bloom, ‘Splendor in the Grass’. Many viewers take films like these seriously, and I don’t want to offend anyone, especially the late Hitchcockians (“Look at the pretty lovebirds, Mitch”).
Mark–
I can well understand you aiming your focus on the comedies as the ballot deadline is 10 days away, but I am sorry to say that THE MAN FROM LONDON is the one Tarr I have not yet watched, though I hope to soon. Your take is a bit different than our friend Ed Howard’s who gave this film a stupendous assessment back on Match 21st at ONLY THE CINEMA:
http://seul-le-cinema.blogspot.com/2012/03/man-from-london.html
…but as I say this film is not generally regarded as highly as the great masterpieces, including THE TURIN HORSE, which is still holding up as my favorite film of 2012. I do by the way remember Erika Bok from SATANTANGO.
The “unintentionally funny” does indeed quality for the comedy countdown, as do both specific examples you pose here. Heck, the voters are alll beating to their own drum anyway, and it all depends on how one takes different films. For example, I would pose that Spike Lee’s DO THE RIGHT THING qualifies as a comedy and an often hysterical one, but I know some would find that to be in poor taste. To each his own I say, but I see exactly ehere you are coming from here.
Have a great week my friend! I truly can’t wait to see YOUR ballot!!!
Wow, I am still not a spaghetti western genre fan but I did like Exceptionally Loud and Incredibly Close this weekends watch. We had to keep rushing out between rain showers to work on the yard…as family is going backpacking this week at Mt Rainer and we will be too far behind. I am staying home per my usual these days…I love the camping part, but the foot is still to inflamed to venture that far from my heating pad and ice source !
We are having sunshine today and our roses popped forth, huge and fragrant but not as amazing as Laurie’s mosquite population. Exciting news about her book!
Terrill’s work is marvelous…and I have gone to read lots of your connections and commentor’s works while sitting with leg propped up .
Thank you for the shout out. The house I wrote about on today’s post sold 4 hours after the sign when up – a young couple with a toddler from NY….Now I have Maine, NY and Georgia in my realm…maybe that means I am going to take a trip in the Eastern direction? Interesting to think about while not watching spaghetti westerns ;D
Patricia–
The news about Laurie’s book is indeed cause for celebration, and I am sure there will be a happy ending to this adventure! EXTREMELY LOUD AND INCREDIBLY CLOSE has divided audiences, but I do think there are aspects to the film that are worthy of praise, especially Von Syndow and young Thomas Horn, who plays the boy, with more than a fair degree of tenacity and some precociousness. I know the spaghetti western scene is an acquired taste, providing of course it is even accessible. The Film Forum Festival is a major rarity and quite a boon to genre fans. Great to hear about the nice weather and the blooming. Over here it is scorching hot and excessively humid. Maine, Georgia and NY are great sights to ponder. If it’s the latter you know Lucille and I will welcome you with a nice restaurant dinner! Have a great week my friend, and thank you!
Hello Sam and everyone!
Well, this is it, the moment has come and I must say that I’m nervous, this weekend is the shooting of the short film and I’ve been preparing for the past weeks and I’m just going to be doing that for this week and Friday is the crucial day in which all begins.
Well, you sure had a week for the westerns, a genre I’m not specialized in (thanks to lazyness more than to disinterest) but I know I’ve seen “Once upon a Time in the West” that I rate ****1/2 myself. I still haven’t seen Salo, and I’m kinda looking forward to that day, specially due to its infamous scenes and plot.
Working on the short is the only thing I do, but sometimes I find some time to watch a film, these are the ones I saw:
- Crazy Dinner Party (2012, Jing Shang) *** Chinese comedy that drains from many sources as an ensemble piece to deliver some laughs in an annoying style that feels way over the top, I’ll have more to say about this later.
- Indie Game: The Movie (2012, Lissane Pajot, James Swirky) ***** A beautiful and emotional documentary that stands tall among documentaries of its class as it treats its subject matter with respect and at the same time with a clinical and informative way. It has rich and enduring characters that you root for every moment you see them there. Every other problem, tribulation and victory, you are with them always and that is quite the wonder in a documentary that is so specific in its subject. As the best movie of the year so far I can’t recommend it enough to every each of you that reads this, it is not a documentary for gamers, it’s one for dreamers and those who love sacrifice and art. This goes beyond talking heads, it touches you.
- The Tenant (1976, Roman Polanski) ****1/2 In preparation for the short I only ended up seeing this film that was mostly recommended by friends and others, and it was a hoot, a psychological examination of the mind of every one of us, how would we react if we get nudged into a certain direction, that is quite clear in the intention of the director/actor Roman Polanski. It’s masterfully shot and acted, as well as written in an impressive and building-up-to-it way, that even if we can predict for a few moments, it still feels haunting and hard to watch.
- The Mad Magician (1954, John Brahm) **** A fun little horror picture that tries to use the 3D effect in a gimmicky way, but it’s memorable for having Vincent Price in an stupendous role and with quite an acting range here. Also having some impressive makeup work, the film feels well constructed and overall well-performed, but the image of a young-er Price playing the hero-villain is just great for this film to be so forgotten nowadays.
- Pinochet (2012, Ignacio Zegers) * A documentary. Or at least that’s what they say about this lie-infested piece of craporama, which I reviewed at my blog and I still can’t take the taste out of my mouth.
- Vincent (1982, Tim Burton) **** The well-loved animation short narrated by Vincent Price is quite the visual feast in terms of the animation itself and how it plays with the shadows, the image of Price and the overall sense of a depressed childhood that feels similar to the one described by Burton himself. I liked it quite a bit, but I can’t see the masterpiece every one else is talking about.
- Platform (2000, Jia Zhangke) **** An ensemble historic drama about the decade of opening to the western world that China had in the 70′s/80′s, seen by a troupe of travelling amateur artists. The movie travels with them and it’s contemplative and amazing in the way that it shows the characters and their sorroundings, as well as being quite telling in its script about the political and social sorroundings of the chinese people and youth in those years. Yet, I feel it’s a bit too disjointed in some parts, and while some shine, others not so much.
That’s all, have a good week Sam!
Jaimie—
We are all pulling for you, and I look forward to a full report as to how everything turned out. You’ve certainly put in an amazing amount of passion, work and effort, and I get the feeling the end will justify the means! I wouldn’t be so nervous, just approached everything with confidence!
Yes, the spaghetti western festival has been quite the surprise, and I still have five more to go (two later tonight, and three tomorrow) to enable me to make claim to seeing 21 of 26. Of the five I did not see, two of course are film I have seen multiple times, FOR A FEW DOLLARS MORE and A FISTFUL OF DOLLARS. In any case, the entire venture has yielded entertainment to a high level, and cinematic artistry.
Of the films you have seen, I have a fondness for Burton’s VINCENT short with Vincent Price, and I’d also give it ****. I’d also go with the same rating on PLATFORM, which isn’t quite as excellent as STILL LIFE, but still essential. I completely concur on Roman Polanski’s THE TENANT, which is an eerie and perverse film that could be categorized as horror, and the Brahms film is unique. Of the others, which you’ve splendidly assessed and written, I am most intrigued by that five-star documentary INDE GAME!!
Again best of luck to you my friend! I’m sure you will be smiling come Monday! Many thanks as always!
Sam,
Thanks again for the shout out. Happy Father’s Day! You had a hell of week with the Italian westerns, truly amazing. Down here in Fla. just trying to remain cool as the heat builds in with just about every day in the low 90′s and the humidity not far behind which is probably where it will be until late October, ugh! Like Judy, I am working on my contribution to the Wyler marathon (The Best Years of Our Lives) and looking forward to it. Anyway, below is what I watched this past week.
Rock of Ages (***) Derivative, a bit overlong at times, the two young leads Julianne Hough and Diego Boneta are white bread bland and overall the film has the look of a bad Broadway musical. Still, I found the film entertaining highlighted by some nice performances by Cruise, Baldwin, Giamatti and Russell Brand. Good to see Catherine Zeta-Jones back in a musical though she is under used and Mary J. Blige was a nice surprise.
Kind Lady(**1/2) – This is the 1935 version notable for a rare lead performance by the wonderful Aline MacMahon, along with Basil Rathbone. Unfortunately, time has not been kind to this musty little stage bound thriller. Maybe in the hands of a young Alfred Hitchcock it would have sparkled, however Hitch was nowhere in sight, but illogical characters and storyline are in plain view. The film is certainly worth watching for the two leads but they are fighting an uphill battle.
Nights of Cabiria (*****) Exquisite performance by Giulietta Masina in such a beautiful film. One of the greatest most striking and unique endings in all of cinema. Fellini took what could have been a cliché ending and turned it into a remarkable original touching moment; the silence, the one streak of mascara, her smile, all just perfect.
Broken Arrow (****) – While this is a breakthrough film in its treatment of the Native American Indian, it’s also kind of a sad look at human nature because both lead characters realize how delicate the peace process can be. Jeff Chandler as Cochise states at point, “To talk of peace is not hard; to live it is very hard.” We see that today all over the world. Hugo Friedhofer’s score and Ernest Palmer’s gorgeous saturated colors of the Arizona landscape add to the ambiance.
Shield for Murder (***1/2) Bad cop Edmund O’Brien commits murder, steals $25,000 and spends the rest o the movie trying to cover up, only to find himself running out of time and control. Little known noir co-directed by O’Brien and Howard Koch based on a book by William McGivern who also wrote “The Big Heat,” “Odds Against Tomorrow” and “Rouge Cop.”
Thanks so much for the Father’s Day greeting John! Hope you and Dorothy had a wonderful day! The heat has also set in up here with 95 the high for today, and perhaps even more of a scorcher for tomorrow. The humidity is the killer for sure, I know. R.D.’s adventure had many excited and like you I am readying my own contribution to Monday posting. Lucille and Broadway Bob actually saw ROCK OF AGES on Saturday night, while young Sammy and I went down to the Film Forum for the spaghetti westerns. We all of course came in together and dined afterwards. Both disliked ROCK OF AGES, though Lucille at least had some nice things to say about the music. I think you probably called it just right there. I haven’t seen KIND LADY. As to NIGHTS OF CABIRIA it is of course a supreme masterpiece and well deserving of the five stars you issued to it. Masina is magnificent, and this is one of the greatest works of world cinema. And there’s Morricone there too!
I have seen SHIELD FOR MURDER and would basically agree it’s reasonably impressive, hence your rating is just about right.
Completely agree too on Friedhofer’s lovely score to BROKEN ARROW and the lovely color cinematography by Ernest Palmer.
Thanks as always John, for the great wrap, and stay cool my friend!
Hey Sam. I see your resolution to slow down has come to nought…
I saw Once Upon a Time in The West in the cinema when it was released as a teenager and was blown away. Though I do recall that perhaps it was too long – too long between glimpses of Claudia Cardinale decollete
As for Salo. I have never been and won’t ever be tempted. I have the greatest respect for Pasolini as a film-maker – The Gospel According to Saint Mathew is his masterpiece – but I can’t accept the reported excesses as necessary instruments of exposition or that they are needed at all to critique Fascism in Italy. Sorry, but I don’t buy the view that certain repulsive films are ‘essential’ because they have a ‘message’ or have some weirdly defined ‘aesthetic’. If you want to change the world, by all means make movies, but don’t expect a revolution if your films are gross and repel decent people. My sermon for today.
I re-watched three screwball comedies this week in anticipation of the Comedy Countdown: My Man Godfrey, Palm Beach Story, and Sullivan’s Travels. My take generally on screwball comedies is the subject of my latest post at fimsnoir.net, which is centered on my YouTube upload of a very obscure Depression-era newsreel about life in a hobo village in NY. MGFis the best of the three as comedy – Lombard as the dizzy socialite is a delight. The Sturges’ films are over-rated. PBS is the weakest with a very thin plot and weak dialog. ST is witty, has fine slapstick, and Veronica Lake is gorgeous, but it is deep down shallow and condescending to the dispossessed. The best scene belongs to the actor playing the black reverend who opens his congregation to the chain gang for a movie night. That man takes Sturges’ dialog and gives it a veracity and true humility that by contrast highlights the shallowness of the rest of the movie.
A bientot.
Tony–
You know my shtick well enough, though I honestly thought this particular festival would have me on the sidelines. But I guess it was time late in life for me to finally find the one genre that has eluded me for decades (with a few exceptions of course, but all expected) and one that has obviously delighted audiences, critics and filmmakers. The irony is that I was initially going to boycott most of the films in a festival of such extreme rarity. I think the turning point for me was when Tony Mussante spoke before THE MERCENERY, but everything snow-balled from there.
I completely understand your position on SALO, which is a film that has repulsed and angered many. It’s not a film I have an ounce of warmth for in any sense, and even though Pasolini was uncompromising and sometimes brilliant, the price to be paid was a showcase of depravity. I will never go to the mat for this film, though I will say I understand it, but simultaneously condemn the path Pasolini felt he had to take. And I do absolutely agree with you that THE GOSPEL ACCORDING TO ST. MATTHEW is his greatest film and his masterpiece. I also like his CANTERBURY TALES, and a few of his earlier films.
Ah yes, Claudia Cardinale. A reel looker that’s for sure. I’d wager if you saw WEST again today on a big screen you would have just as strong a reaction.
As far as MY MAN GODFREY, which you faithfully watched with attention for the comedy countdown, I am definitely a fan of love Lombard and Powell’s work in it. You are not the only person to find Sturges overrated, but for the most part I’ve been there, particularly for SULLIVAN’S TRAVELS. I will definitely agree with you on the matter of the dispossessed as it is something I noticed when I first saw the film years ago, but I put it aside because of the artistry that manifests itself in the brilliant script. But I fully understand why you and others would not be as forgiving. Lake was gorgeous indeed. PAL BEACH STORY is just about the weakest Sturges film, on this point I would agree.
Have a great week my friend! Thanks so much as always for the fabulous submission.
Good luck with the summer school program Sam. I just signed Dee Dee’s John Garfield petition. A most worthy cause!
Just finished the first summer session Fred! Had 32 kids sign up, but as per normal custom this number whittles down.
It was during a PC break during this program in the very classroom that I am still running the program in the Lincoln School annex that I first made the acquaintence of Allan Fish back in early 2005.
Dee Dee’s petition is one of the worthiest of all causes, you can be sure of that. Have a great summer my friend!
Love Once Upon a Time in the West! And would love to see it on a big screen. Lucky you.
I don’t get all this squeemishness over Salo. Mr. Wilson says it best above when he talks about all the violence we watch in movies with no problem but flinch at something like Salo. Personally, I found the movie pretty hilarious. Of course I also read 120 Days of Sodom and laughed a lot. Am I sick? I don’t know. I guess I take it more as a satire. And in the scatological scenes I just chanted over and over, “It’s only chocolate mousse, it’s only chocolate mousse!”
I haven’t done a thing in the cinema lately. I spent the past several days stuffing myself in Las Vegas. Most people go to drink, gamble, and party. I go for only one thing: food! OK, I gambled a little too, but since I won at the Blackjack table the last time I was there, I lost this time. That seems to be the rule for me.
I’m going to try and make it out to the movies this week because I want to start reviewing current releases again!
Jason–
Great to hear you are a big fan of ONCE UPON A TIME IN THE WEST, hough admittedly this is a film that has enthralled so many. The gorgeous print I saw was worthy of the big screen treatment. But nearly all the prints in this festival have boasted remarkable nearly pristine prints.
Precisely right there on SALO, though of course everyone is entitled to come away from it with disgust (as many have) Like you I also see it as a satire, and I also laughed a number of times -as did the IFC audience- the older fellow with the twisted smile was a hoot, even if his focus was truly depraved. You are smart to enjoy the food most of all at Vegas, believe me I would do much the same! I’ve never been there myself. As soon as you win something I would agree it’s time to turn in the chips! I learned this the hard way through my life at Atantic City and even at my honeymoon casino in Aruba back in 95.
Hope you get to the cinemas this week Jason, and look forward to your reactions. Looks likeWoody Allen’s new film is doing poorly with the critics. Many thanks as always!
Hi! Sam Juliano, Allan, WitD writers and readers…
Great introduction…
I see only the film “The Ruthless Hour “received ** 1/2… What very eclectic films that you, Mrs. Lucille Juliano, Broadway Bob, and your children [?}] I’m not sure how many Of your children were in attendance] watched in the theatre last week.
Tks, for sharing and all Of the links and most importantly, thanks, for the show Of support… too!
Cont:
Thanks so much Dee Dee. My son Sammy has actually seen all but one of the spaghetti westerns, though I went only with Broadway Bob to see SALO, a film that should never be watched by children, even with the most liberal outlook of all. Lucille saw about have of the westerns over the past week, and this afternoon (Thursday) we embark on the gloriou finale–three films in succession:
The Good the Bad and the Ugly
Death Rides the Horse
Django
You deserve all the credit in the world for what you are doing to advance teh John Garfield petition. Have a great week and thanks as always my friend!
Now, I have posted the Wyler final poll question(s) and I have linked back to my Ning if fans Of Wyler want to watch his 1939 film “Wuthering Heights” in its’ entirety. [Minus the memorabilia...]
Because I had to post the film in 10 parts and I didn’t want to distract from the film by adding memorabilia…However, I did add memorabilia when I posted: “Funny Girl,” “Roman Holiday,” and “The Heiress.”
Thank-you,
Thanks so much for adding this Dee Dee! WUTHERING HEIGHTS is my own personal Wyler for the earliest period, but there are a few others that deserve to be spoken of in the highest esteem.