Screen grab from Steven Spielberg’s 1982 “E.T. The Extra Terrestrial” shown at Film Forum on Sunday as part of four-week Universal 100 Years Festival, running till August 9th.
by Sam Juliano
The comedy countdown will officially commence on Monday, August 6th with an essay on No. 100 by Sydney native and WitD alumni Tony d’Ambra. Voting Tabulator Extraordinaire Angelo A. D’Arminio Jr. forwarded the final results of the Top 100 over the past week, and the listing and numbers were then e mailed to all those who cast ballots or were part of the e mail chain that also included a few who passed on voting but will still write essays. With 100 essays scheduled to be published in reverse order all the way up to the Number 1 selection, the project will run until the third week in December. As stated in previous posts, the countdown will not appear on Saturdays or Sundays. A wide array of writers have volunteered to take the reigns in what will certainly be the most auspicious project ever attempted at the site, and one that will require a herculean effort by all those involved, not to mention a long hold on one’s attention spans through the fall and holiday season. Those penning pieces include the aforementioned d’Ambra, Pat Perry, Judy Geater, Roderick Heath, Marilyn Ferdinand, Ed Howard, Jon Warner, Brandie Ashe, Jamie Uhler, John Greco, Maurizio Roca, Jaimie Grijalba, Dennis Polifroni, Richard ‘R.D.’ Finch, Sachin Gandhi, Allan Fish, Shubhajit Laheri, Bob Clark, Joel Bocko, Dean Treadway, J.D., Jim Clark, David Schleicher, Mark Smith, Pedro Silva and Sam Juliano for a grand total of 26 writers, with most handling multiple assignments. It is understood that some individuals who did cast ballots could not quite commit to writing during this busy summer season, but to all of them I extend my deepest gratitude for all you have done.
In Manhattan the ‘Universal 100th Anniversary Festival’ commenced this past Friday and will run for four weeks, taking in 72 films, with a number of double and even triple features on the schedule. The big rarity is Clarence Brown’s 1925 silent The Goose Woman, scheduled to screen on Tuesday, July 24th with piano accompaniment by Steve Sterner. The line-up includes a few silents, the Universal monsters, Douglas Sirk, Robert Siodmak, Alfred Hitchcock, William Wyler, James Whale, Robert Mulligan, Anthony Mann, Fritz Lang, the Coens, Michael Cimino, Jules Dassin, Spike Lee, Frank Borzage and a wide array of more contemporary studio releases.
Dee Dee’s John Garfield petition is still welcoming signatures. The link can be found under the sidebar under the actor’s photo. To say that our dear friend and colleague has crossed the line of dedication and enthusiasm would be quite the understatement.
Lucille and I (and the kids for the Universals) attended six movies in the theatres over the past week:
The Imposter ** 1/2 (Saturday night) Sunshine Landmark Cinemas
The Wedding March (1928) ***** (Monday) Von Stroheim at Film Forum
E.T. The Extra-Terrestrial ***** (Sunday) Universal at Film Forum
Frankenstein (1931) **** 1/2 (Friday night) Universal at Film Forum
Dracula (1930) **** (Friday night) Universal at Film Forum
Phantom of the Opera (1925) **** 1/2 (Friday night) Universal at Film Forum
Based on a real-life story about the disappearance of a 13 year-old boy in 1994 in Texas, the highly-praised documentary THE IMPOSTER explores a bizarre deception by a professional 23 year-old Frenchman named Frederic Bourdin, who makes claim to be the long-lost son across the pond in Spain. The film is navigated by the employment of archival footage, re-enactments and interviews with family members, and the various perspectives of those questioned. The film becomes redundant and tedious, and is more about the devious star power of the con man than it is about finding out what really happened to the boy. This was of course a consciousness decision by the director, who lets the chips fall. Still, the story is essentially a fascinating one, and it does rivet in part. The digital photography is gimmicky, and eventually wears out it’s welcome.
The exhilarating and emotionally intimate E.T. THE EXTRA TERRESTRIAL remains a prime example of visual poetry and cinematic magic, and by any barometer of measurement it’s one of Spielberg’s finest films, one with universal appeal and humor and one of composer John Williams’ most beautiful scores. The film soars to the heavens, and the old memories come flooding back reminding up why we were so captivated thirty years ago.
The triple horror presentation on Friday night yielded timeless classics that for many have been watched over and over for decades. The camp dialogue in DRACULA, the “It’s Alive” and the drowning scene in FRANKENSTEIN and the color ball sequence in the Chaney PHANTOM are highlights that have become part of the cinematic culture, and having an inter-active audience can’t be matched. The prints for DRACULA and FRANKENSTEIN were particularly gorgeous. Erich Von Stroheim’s THE WEDDING MARCH, seen as part of the retro for the famed director-thespian, views with GREED as his greatest film, and a live piano accompaniment by Steve Sterner greatly enhanced the unforgettable and rare screening.
I managed to update a good number of links:
Tony d’Ambra has penned an absolutely extraordinary review of “Nobody Lives Forever” starring John Garfield at FilmsNoir.net. The film is due out on Warner Archives on July 19th for a first-ever DVD appearance: http://filmsnoir.net/film_noir/nobody-lives-forever-1946-dark-romance.html
Jon Warner has penned a magnificent review on Wes Anderson’s “Moonrise Kingdom” at Films Worth Watching that raises the bar for essays on this film: http://filmsworthwatching.blogspot.com/2012/07/moonrise-kingdom-2012-directed-by-wes.html
Roderick Heath has penned a spectacular piece on Fritz Lang’s towering “Die Niebelungen” epic at Ferdy-on-Films that is a real gift for cineastes: http://www.ferdyonfilms.com/2012/die-nibelungen-siegfried-kriemhilds-revenge-1924/15114/
Marilyn Ferdinand also at Ferdy-on-Films has written a lovely piece on Frank Borzage’s relatively hidden 1934 gem “No Greater Glory”: http://www.ferdyonfilms.com/2012/no-greater-glory-1934/15231/
Judy Geater’s review on Wuthering Heights for R.D.’s Wyler blogathon is a master class essay: http://movieclassics.wordpress.com/2012/06/27/wuthering-heights-william-wyler-1939/
John Greco has penned a terrific and uncompromising review on De Palma’s “Dressed to Kill” at Twenty Four Frames: http://twentyfourframes.wordpress.com/2012/07/13/dressed-to-kill-1980-brian-depalma/
The ravishing still life oil painting “Always Roses” beautifully adorns the top space at Terrill Welch’s Creativepotager’s blog: http://creativepotager.wordpress.com/2012/07/13/3856/
Samuel Wilson at Mondo 70 has penned a lovely tribute to Oscar-winning actress Celeste Holm, who passed away yesterday at age 95: http://mondo70.blogspot.com/2012/07/celeste-holm-1917-2012.html
Laurie Buchanan’s latest post at Speaking From The Heart is a real discussion starter: “Dawg Daze of Summer”: http://holessence.wordpress.com/2012/07/10/dawg-daze-of-summer/
Shubhajit Laheri has written another splendid capsule at Cinemascope, leading the way with his piece on “The Manchurian Candidate”: http://cliched-monologues.blogspot.com/2012/07/manchurian-candidate-1962.html
Ed Howard has written a terrific piece on Chabrol’s “Inspector Lavardin” at Only the Cinema: http://seul-le-cinema.blogspot.com/2012/07/inspector-lavardin.html
Sachin Gandhi’s ‘Euro 2012′ has wound down, with some noted cinematic vehicles crossing the finish line at Scribbles and Ramblings: http://likhna.blogspot.com/2012/06/euro-2012-final.html
At The Movie Projector the incomparable R.D. Finch, who just completed stewardship of one of the net’s greatest-ever projects on William Wyler, the Maestro has written a stupendous piece on two vital Wyler wartime documentaries: http://themovieprojector.blogspot.com/2012/06/complete-reality-war-documentaries-of.htm
Murderous Ink at Vermilion and One Nights takes a probing look at Hiroshima and the great director Kaneto Shindo, who passed on at age 100 a weeks back: http://vermillionandonenights.blogspot.com/2012/07/sakura-tai-chiru-1988.html
David Schleicher features ‘The Pros and Cons of Abraham Lincoln, Vampire Hunter’ at The Schleicher Spin: http://theschleicherspin.com/2012/06/27/the-pros-and-cons-of-abraham-lincoln-vampire-hunter/
At Patricia’s Wisdom, our very good friend advises to “Do Something for the Fun of It” and showcases a Times Square sidewalk “concert” to composer Phillip Glass: http://patriciaswisdom.com/2012/07/do-something-for-the-fun-of-it/
Joel Bocko’s latest post at The Dancing Image is a fascinating hodgepodge titled “Fragments of Cinephilia”: http://thedancingimage.blogspot.com/2012/06/fragments-of-cinephilia-pt-ii.html
Jaime Grijalba takes a penetrating look at the Chilean film “Efectos Especiales” at Exodus 8:2, which he considers a flat-out masterpiece. Grijalba writes here with much passion: http://exodus8-2.blogspot.com/2012/06/cine-chileno-del-2012-7-efectos.html
Adam Zanzie has crafted a passionate defense of Oliver Stone’s “Savages” at Icebox Movies: http://www.iceboxmovies.blogspot.com/2012/07/oliver-stones-savages-is-powerfully.html
Jason Marshall has written a buffo piece on Claude Rains, his #1 choice for Best Supporting Actor in “Casablanca” at Movies Over Matter: http://moviesovermatter.com/2012/07/12/apparently-youre-the-only-one-in-casablanca-with-less-scruples-than-i-claude-rains-best-supporting-actor-of-1942/
At Scribbles and Ramblings Sachin Gandhi has some great movie match-ups, set in football terms: http://likhna.blogspot.com/2012/06/euro-2012-group-standings-quarter-final.html
Craig Kennedy reviews the new blu-ray/DVD combo pack of the critically-praised but mutilated ”Margaret” at Living in Cinema: http://livingincinema.com/2012/07/10/margaret-directors-cut-lands-on-dvd/
Roderick Heath has posted a terrific new review on “Chronicle” at This Island Rod: http://thisislandrod.blogspot.com/2012/07/chronicle-2012.html
Peter Lenihan has posted an arresting screen cap display of Murnau’s “Phantom” at The Long Voyage Home: http://thelongvoyagehome.blogspot.com/
Richard R.D. Finch has posted a superlative review on Fassbinder’s “Fox and His Friends” at The Movie Projector: http://themovieprojector.blogspot.com/2012/06/fox-and-his-friends-1975.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 leads up with “off the Wall” which brings “Silver Load” and the great John Alton into focus: http://thebluevial.blogspot.com/2012/06/off-wall.html
J.D. has penned a riveting piece on “A Better Tomorrow II” at Radiator Heaven: http://rheaven.blogspot.com/2012/07/better-tomorrow-ii.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
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
Jeopardy Girl talks about social changes of movie watching in her latest posting at The Continuing Saga of Jeopardy Girl: http://jeopardygirl.wordpress.com/2012/07/06/social/
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
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
Sam thank you as always for your shout out! Creative Potager is a hoping place with another show set to go up this coming week. I have been remiss on movie watching though we did see one in the past few days that we both enjoyed….
POINT BLANK (1967) directed by John Boorman – staring Lee Marvin and Angie Dickinson. For an action film it was more entertaining than most. I also had never seen Angie Dickinson in anything when she was young – that was a real treat and we spent a good hour after the film was over just reading about her career. In the film I recognized her voice before I recognized her.
All the best of the week to you Sam and I have let David know you are doing the comedy count down. I think he will be interested in that.
Terrill–
Best of luck with this coming week’s art show! Your latest still life is quite the ravishing canvas! POINT BLANK is definitely one of John Boorman’s best films – I rate it right behind HOPE AND GLORY, DELIVERANCE and EXCALIBUR. I completely agree it’s a very entertaining film, and it’s a treat to see Angie Dickinson! Thanks so much for informing David about the comedy countdown. We’ll all be laughing over here for months to come!
Have a great week my friend!
BREAKING BAD came roaring into its fifth and final season with a bang last night. Covering his tracks and now establishing himself as a force to be reckoned with, the saga of Walter White has lost none of its luster, creativity and, as always, presented itself again with superlative writing, breathtaking plotting and great performances by its bitching ensemble cast. I am honestly drawn to comment that, in five seasons, the show has held its ground and never stepped wrong. I have to agree, totally, with the TV critics that, yesterday morning, proclaimed BREAKING BAD as that very rare, flawless gem.
PS-Sam, so glad to hear your continuous praise for E. T. Like you, the film never fails to touch me with its emotional poetry, visual splendor and childhood truth. A true classic if there ever was one.
Dennis–
As you know I recently acquired the first two seasons of BREAKING BAD on DVD, and will go further if I find it as exhilarating as you do. Similarly I took Maurizio’s advice and picked up both seasons of CARNIVALE (the show ended after those two) and have the complete ROME set on blu-ray. I do have THE WIRE now (first two seasons) and will soon pick up DEADWOOD (I saw Season one years back, but would like to re-visit and go forward). But this will all take time. You certainly are not alone in your high praise for BREAKING BAD, and you really express yourself with passion and excitement that’s infectious. And yes, count me as part of the ‘phone home’ brigade! Ha!
Have a great week my friend!
Hey I do appreciate the sharing of my post about Glass’s birthday performance in TIMES square – it was quite a party and I have listened to it myself a number of times…without the heat ! We have been having extremely unusual thunder storms this weekend.
My partner rode the 204 miles of the Seattle to Portland bicycle ride for his birthday celebration and I did the driving and pick up at the beginning and end. Rather overpowers anything else on a weekend. The fun part of the weekend was with my laptop I was able to fill in the waiting hours by watching the BBC series WISH ME LUCK about the Brits who went to help in WWII the French resistance – many were women. I was riveted to the whole thing and I could shell peas for the freezer at the same time.
I have WE BOUGHT THE ZOO in my mailbox – but am still 12 books for review on the list.
I went to a presentation on The Living Building Challenge, Biomimicry and Biophilia this week also and it excited me towards creating a building as an educational instruction for all and also my reverence for the earth and planetary needs. Heady times, hot ideas in a cool environment!
Patricia—
I’ve listened to your Glass clip twice now, as he’s one of the most addictive of composers! His score for THE HOURS is one that invites repeated returns, but it’s his operas that really achieve greatness. Last year’s Metropolitan Opera staging of SATYAGRAHA was one I’ll never forget. Sorry to hear you’ve had thunderstorms as of late–it’s been real hot here on the East Coast. I will ask Allan if he’s familiar with WISH ME LUCK as it sounds most interesting and inspirational! That was quite a bike ride there–it’s remarkable how you both manage to sustain this kind of physical activity, but of course it’s supremely beneficial. And your prospective plans emanating from the “Living Building Challenge” are fantastic! Hope you move forward on that! Hope you have better weather this week my friend. Many thanks!
Hey Sam. Thanks so much for the headlined link
Apart from Nobody Lives Forever, I re-watched and penned my piece for the Comedy Countdown on Sturges’ The Miracle of Morgan’s Creek, which took the #100 spot. Ironically I had The Lady Eve over this one, but on my re-viewing I am convinced it deserved a higher ranking. Against my better judgment I also watched Hysteria, which is doing the round of art cinemas over here after good press. I was thoroughly disappointed. Let’s just say this take on the invention of the ‘vibrator’ set in Victorian London was rather flaccid.
Totally agree, Hysteria was damp air. Maggie Gyllenhaal and Rupert Everett were good, but the film itself was lifeless.
Tony—
I ordered my copy of NOBODY LIVES FOREVER from Warner Archives today! The comedy countdown will be launching in real style with your exceptional essay on THE MIRACLE OF MORGAN’S CREEK, which did indeed take the final spot, but one that’s well-earned. As you have stated, it makes a strong claim to an even higher placement, but at least Sturges took down five positions in total. THE LADY EVE is another very great comedy. HYSTERIA was mediocre for sure, so I can say I am with you with these disclaimers. Thanks as always my friend, and have a great week!
I am envious Sam. WA doesn’t ship outside the US, so I am stuck with TCM. Geraldine Fitzgerald is simply gorgeous in NLF. On her first date with Garfield they go swimming at the beach. She is so hot in a stunning one-piece with just a hint of decollete and those long-long legs nicely show-cased. Almost as incendiary as Lana Turner in The Postman Always Ring Twice. Garfield certainly had some lovely swimming companions
hahaha Tony! I hear ya, and I’d be hard-pressed to counter those observations! I sent you an e mail about the WA DVD! My older cousin Bobby McCartney (who posts here on the weekly voting thread and sometimes on the Diary) was issuing all kinds of praise for John Garfield in a conversation with me earlier this evening, and while he absolutely loves him in BODY AND SOUL and TOUCH OF EVIL, he seems more animated to talk about his POSTMAN performance today. Garfield lived a sadly-abbreviated life, but yes he wa sblessed with on-screen companions for sure!
Hey Sam, thanks for the shout out. I swung by Barnes & Noble friday night and grabbed a pair of Criterion blus for 50% off and pretty much spent the whole weekend with them – WORLD ON A WIRE and A HOLLIS FRAMPTON ODYSSEY. The former I absolutely loved. I’ve been looking forward to sitting down with it forever and my expectations were pretty high, but I still didn’t anticipate it vaulting right into my top-tier of Fassbinder, which it did.
I’ve only gotten through the early works on the Frampton set, but it’s been exhilarating and it’s already clear this is one of the essential releases of the year. It’s really refreshing to see works as intellectually rigorous as these also retain such a playful spirit and sense of humor; on paper a lot of the films could read as little more than unappealingly dry exercises in formal and narrative theory, but they’re executed with loads of wit and energy and imagination, and I haven’t even gotten to the “major” stuff yet (e.g. ZORNS LEMMA).
I also got to see Lynch’s WILD AT HEART on the big screen recently, which was stunning.
Drew—
It’s been a daily temptation to re-visit B & N, but after three appearances over the past week, I think I must stand pat with the titles I did acquire. I am a big fan of Fassbinder’s WORLD ON A WIRE (I have that same blu-ray) and applaud your purchase and subsequent high praise! I haven’t picked up HOLLIS FRAMPTON, but it’s another that intrigues me. THE GOLD RUSH, THE DAVID LEAN/NOEL COWARD SET, SUMMER WITH MONIKA, SUMMER INTERLUDE and HAROLD AND MAUDE were the ones I pursued the quickest, but there are many ways to go there. I would have to agree with you that WORLD is top-tier Fassbinder, for me up there with BERLIN ALEXANDERPLATZ, 13 MOONS, ALI and MERCHANT. But it has not escaped me as to what you say about FRAMPTON being essential, and I’m excited to hear it’s one of the best releases of the year! I love WOLID AT HEART!!!!
Have a great week my friend, and many thanks!
Sam, it must have been great to see ‘The Wedding March’ on the big screen! Thanks so much for the plug. I’ve just gone back to work after two weeks’ leave – now hope to have a new piece up soon, after going to see the premiere of the BFI’s new restored print of Hitchcock’s silent ‘The Ring’ (1927) at the historic Hackney Empire cinema in London this weekend – the showing was accompanied by Soweto Kinch’s jazz band and was a real occasion. I only managed to watch one movie at home, but it was a great one – ‘Les Enfants du Paradis’ (1945).
While in London over the weekend I also went to a major exhibition about 50 years of James Bond films at the Barbican centre – I’ve never really regarded myself as a Bond fan, but nevertheless realised that I’ve somehow read all the Ian Fleming books and seen all the films, so it was very interesting to see the amazing array of costumes, storyboards, props, etc, etc.
Apart from that, my family went to Alton Towers theme park in Derbyshire for a couple of days, where my son Max in particular had a great time – I got out of most of the rides, carrying bags for the others instead, but did go on some of the less demanding ones! I also finished reading Dreiser’s ‘Sister Carrie’ and loved it – much grimmer than the Wyler/Olivier film, and very different from it, but both book and film are magnificent.
Thanks again, Sam, and wishing a good week to all.
Judy—
It was indeed a special thrill to see THE WEDDING MARCH on th ebig screen, as it’s a rarity in any incarnation. I am in agreement with Allan that this is one of the two supreme Von Stroheim masterpieces with GREED, and the Film Forum came up with a pretty nice print. That was a quite a trip indeed to take in Hitchcock’s THE RING at that historic London theatre with the jazz band to boot! The film is a rarity in any sense, much less this definitive presentation. I trust everyone had a wonderful time. And yes I do agree that your one home viewing was of a masterpiece of the cinema. I’m much like you Judy as far as James Bond goes. I like a few of the earliest ones with Connery, and maybe one or two with Moore, but overall I am not much of a fan. But I am also like you in that I’d greatly appreciate seeing the storyboards, costumes and props! Nice that Max had a great time at the theme park. My own kids never fail to make good when we manage the trips to the parks here in New Jersey. But smart move getting out of the serious rides!! Ha! Those days are over for me. Wow, you finished SISTER CARRIE? Last week you had mentioned you were tackling it. What a full week you had there in every sense, and in every cultural pursuit!
Have a great week my friend.
Love the pic of E.T., doing his best Cousin Itt impression. Or rather an impression of Cousin Itt playing Eliza Dolittle.
LOL!!!!!
Sam,
Feels good to be back posting in the Monday Morning Diary! LOL…I still read them every Monday, now I plan to be back as a regular. My schedule is starting to normalize now, and I have been on a movie watching rampage in the last week or two – and it feels great to be back watching movies at that pace! As for the films you saw this weekend, The Wedding March remains one that I need to see. I bought a copy of it off of eBay recently, but it came without sound, so I am holding off on watching it until I can find a score to go along with it.
As for my recent watches:
- Empire of the Sun (Spielberg): This was a re-watch, obviously, but I think I might have finally been won over to your side on this one, Sam – I now think this might be Spielberg’s best film. It is much darker than most people give it credit for, and has some unbelievably moving sequences. 5/5.
- The American (Corbijn): A gorgeous, melancholy riff on the aging, lonely hitman pulling one last job. Shades of Melville and Antonioni (and to some degree Leone) are obvious, but I think this one stands alone. The slow build makes the culmination of a relationship and the action that much more interesting. A great film, and one I wish I hadn’t shied away from for so long. 5/5.
- Days of Being Wild (Wong Kar-Wai): Looks exquisite, but I can’t say that I ever felt that moved by the story. I seem to have this issue with Wong Kar-Wai, and perhaps that’s on me, but I still can appreciate the visual beauty. 3/5.
- I started a bit of a Hong Kong kick this weekend and had my first experiences with the action films of Johnnie To. I actually enjoyed them quite a bit and ranked all four of the ones below 4/5:
– Election
– Triad Election
– Exiled
A wonderful diary, as usual, Sam. Have a great week!
Dave—
I can’t say how thrilled I am to have you back in these parts, and especially on the MMD, a thread you spent so much time with dating back several years! Of course I understood then as I do now, that you were getting on with law school, and needed to restrict your focus. With that kind of an environment, blogging is really a distraction. Ah, but the glory days at GOOD FELLAS won’t ever be forgotten; it seems like it was just yesterday. But I do well remember you were a fan of lists, and was smiling when I saw your ballot on the yearly voting thread yesterday! In any case, it’s great news that your schedule has normalized, and that you have found some more time to watch stuff and to talk on-line!!! Allan has been hoping for a long time that THE WEDDING MARCH would be presented with Carl Davis’ score, but to this point a legitimate release is yet to materialize. I will say that Steve Sterner did a marvelous job at the Film Forum, heightening the emotions and bringing aural distinction to this cinematic masterwork. I would agree with you that a score is needed to negotiate this.
Ah you have REALLY made my day with that glowing re-assessment of EMPIRE OF THE SUN!!! Yes it is extraordinarily moving, and the use of the Scottish hymn “Suo Gan” really sends chills down your spine. Yes, I am of the opinion that this is Spielberg’s greatest film all all, even with the very highest regard for SCHINDLER’S LIST, E.T. and A.I. The fact that you are also saying it may be tops is making me smile! But yes, great point about it being darker than most people realize. I’m not so familiar with the Johnnie To films, Dave, but appreciate the ratings and assessment. I like DAYS OF BEING WILD a bit more and THE AMERICAN a bit less, but I can well appreciate your praise and disclaimer.
It is really great talking with you again my friend!!! Have a terrific week!
Wish I were in attendance with you guys watching E. T. on Sunday. I took a look at the upcoming schedule at the Film Forum, and found about 8 or so I’d love to see. Stay in the shade!
Frank—
I am aiming for all the Sirks (tomorrow I will the two Stahls that Sirk re-made IMITATION OF LIFE and MAGNIFICENT OBSESSION) the Siodmaks, and that silent rarity THE GOOSE WOMAN, but there are a few more. I do better than staying in the shade, that much I can assure you! Thanks as always my friend!
Sam –
I’ve got my hot buttered popcorn and red licorice ropes ready for the comedy countdown. I’ll be sure to sit in the back of the theater so everyone can benefit from my knee-slapping laughter
Golly Moses, it’s been a month of Sundays since we pulled out E.T. — thanks to this post it’ll be softly knocking in the back of my brain until I open that door (sort of like an upbeat tune you can’t shake).
Thank you for pointing to Speaking from the Heart. Stay cool, we’re expecting 97+ temps today.
Laurie—
Great to hear you can getting comfortable for our comedy show! It will be noted for it’s long run well into the year-end holiday season, but it will be versatile within the genre–slapstick, satire, silent clowns, Monty Python and all the comic institutions–Fields, Laurel & Hardy, Marx Brothers, Jacques Tati, Preston Sturges, Will Hay, Our Gang and Three Stooges among others. And some major surprises to boot! We had such a fun time (some inevitable tears too) watching E.T., a timeless classic that seems to get better with age. I like your metaphor too! Ah the heat continues to scorch by you, it’s pretty much the same here my friend. Have a great week inside, and many thanks as always!
Good morning, Sam.
Sounds like a great week of classic film viewing on the big screen with the Juliano clan. E.T., DRACULA and FRANKENSTEIN seem like particularly good choices for family viewing, and I envy you seeing Von Stroheim’s THE WEDDING MARCH.
I’m very excited about the coming Comedy Countdown, and looking forward to doing some writing again. Greatly appreciate the link to my still-dormant blog. It’s all about packing here as I prepare to leave my home of almost 14 years and move to a new place at the end of the month. Still I managed to squeeze in a couple of “On Demand” films this weekend. FRIENDS WITH KIDS was a nicely observed comedy with some particularly good performances from Maya Rudolph and Chris O’Dowd – even if it ultimately fell a little short of expectations. (The finale seemed like a crass and clunkily written rehash of WHEN HARRY MET SALLY’s denouement.)
I was both fascinated and frustrated by Kenneth Lonergan’s MARGARET (the theatrical cut, not the extended version now out on DVD), and am still turning it over and over in head after watching it yesterday afternoon. I found it brilliant for about the first 2/3 of its running time, but got restless around the time of third act, where it really started to try my patience. For me, I thought the all-over-the-place episodic structure ultimately diluted the impact of the film’s central theme, even if the narrative sideroads Lonergan chose to travel were someitmes just as fascinating as they were beside the point. Still, I’m haunted by much of it and awed by Lonnergan’s ambition. Plus it was just so great to see Jeannie Berlin on screen – where the hell has she been??? And Anna Paquin was just about perfect, too.
Well Good morning and Good evening Pat! The three boys had been all geared up to see the horror film trio ever since I brought it to their attention right after the Universal Festival was announced two months ago. With E.T. the entire family attended (along with Broadway Bob and his mom) and when we came home a few of them wanted to watch the DVD!!! Ha! THE WEDDING MARCH was the one essential of the Monday evening Von Stroheim Festival that concludes in two weeks (GREED is too of course, but I just saw that a few months ago at another Film Forum Festival) I am hoping a legitimate DVD of that is forthcoming. I’m very happy to hear what you say there about the comedy countdown and your writing, and it’s an honor to again have you on-board. I’m pretty much with you on FRIENDS WITH KIDS, which I watched just recently on a screener obtained by Broadway Bob. Reasonably enjoyable, but with an ineffective conclusion. I have not yet watched teh director’s cut of MARGARET, but will be doing so soon, as I am hearing about it from a number of people. Your own reaction to the theatrical cut is similar to the take evinced by others. I liked the positive elements so much that I kinda pushed any meaningful issues to the side, and the film nearly landed on my Top 10 list. The episodic structure you talk about (and i agree it is such) can be blame don the dubious cuts made, making some scenes incomplete and adversely affecting the film’s continuity. Pacquin was extraordinary (for me the year’s Best Actress) and completely agree with you on the MIA status of Jeannie Berlin (remember THE HEARTBREAK KID?) I’d also add Allison Janney as another who delivered a memorable performance in the film. Have a great week Pat, and as always many thanks for the terrific wrap! Good luck with the final stages of the move.
Thanks a lot Sam for the kind mention. Great to hear about your packed schedule… you seem to have your plates filled to the brim!!! I’ve been down with eye infection for the last four days. And that, combined with workload at office, has ensure that my film viewing has been suffering a lot lately. So I just managed to watch 3 films, the 1st 2 X-Men films (both were decent, but nothing much more than that) and a film noir called Cry Danger which I liked. Meanwhile I read Nobokov’s Lolita (I know, should have read it long back), and right now I’ve started a book called I Served the King of England by Bohumil Hrabal. I’d watched the movie adaptation by Jiri Menzel a few years back and had really liked it, and hence, after all these years, I’ve decided to read the source novel by the much loved Czech writer. My eye problem is preventing me from staring at the laptop screen for long (having spent the entire day in front of a laptop at office), so I’ll call it a day now.
Shubhajit—
This was indeed another busy weeks at the cinema, and what with the Universal 100th Anniversary Festival running until August 9th, I’ll be making some appearances. But a far deal less than for past festivals, as I have seen most of these, and only want to re-watch the horror films for the kids, the Sirks, the Siodmaks, and one major silent rarity.
I am very sorry to hear about that eye infection! Geez. Yes, that unfortunate affliction and the workload would takes its toll on your film viewing. Managing to finish reading LOLITA is astounding, and I tip my cap to you for that! That’s one I have read myself years back, and it’s quite a literary masterwork. I saw the Menzel film and liked it, and can well understand the allure to tackle the novel. I am trying to remember if I have seen CRY DANGER. It will come to me…… Thanks as always my very good friend! I really hope the eye issue disappears ASAP.
E.T. *****. LOL.
I know, I know Jamie! Ha!
Sam,
Well thanks so much the fine mention and the tremendous support! I am thrilled for the upcoming comedy countdown and can’t wait to join the fray once it commences. I will be waiting awhile for my essays it appears, but that just gives me more time to polish them up. Very exciting endeavor to be part of and hope for it to be a great success.
Well E.T. is great and an all-time family classic. Glad you got to see it on the big screen. Was it the refurbished film that Spielberg edited a few years back? Or the original? I actually prefer the original more “rough” cut to the newer one. The Wedding March is a film I need to see again. It’s actually a bit hard to track down in a decent print…at least as far as my searches have gone. Glad you got to see it again and I envy that.
I am on the road again! Traveled yesterday and will return home on Wednesday…if all goes well. I did bring a TON of films with me. Up this week is:
The Ladykillers
The Westerner
Friendly Persuasion
Elena and Her Men
The Golden Coach
A Canterbury Tale
Summer Interlude
The Scarlett Empress
I actually just watched Summer with Monika the other day with the new Criterion print. I had never seen it before and had looked forward to it for sometime. I must say I think I was expecting maybe a bit more from it. It is really good in stretches. Bergman was in his element when the two lovers are on the island and that’s a glorious stretch of film. I did love the “stare” sequence that Godard was so enraptured with. I did think the film is not quite as emotionally involving as Bergman would become with later films. It’s close but not a masterpiece IMO. I’m excited to watch Summer Interlude again as it’s probably been 10 years. I do recall it being a more emotionally resonant film than Summer with Monika. It did appear that Monika is probably more notable as a transitional film where Bergman started incorporating themes he would immerse himself with later.
Have a great week Sam!!!
Jon—
I know your 4 or 5 essays do appear in the higher placements, which in one way is impressive, but in another has you waiting. But this will be quite a venture and you’ll want to gear up. I see you are away again, but hopefully to a cooler place? Ha! Everyone has been roasting the last several weeks.
I completely agree with you on SUMMER WITH MONIKA, which although great does miss masterpiece status. It is not as emotionally involving as SUMMER INTERLUDE (a position I know Allan will not agree with but fair enough) though Gunner Fischer’s cinematography is ravishing as always. I have both blu rays, though I haven’t opened the packaging just yet.
The E.T. I saw was the original. A rougher print, but full of memories and just as emotionally resonant as ever. THE WEDDING MARCH is rarely screened, and piano accompaniment rarer still. That was my sole appearance at the Von Stroheim Festival, as I’m seen the others in the past even on the big screen, GREED recently in another festival.
You have quite a lineup there! The Golden Coach, The Ladykillers, Canterbury Tale, The Scarlet Express and the aforementioned Monika all great stuff! Enjoy and have a great weekend my friend!
Sam, I can remember thirty years ago and not being captivated by E.T. But I was the kind of kid who went to dollar shows of Conan the Barbarian, Carpenter’s The Thing, etc. every week so an affinity with Spielberg’s vision was unlikely and I’m still inclined to resist it today. I concede that that’s my problem more than Spielberg’s, but there’s something to be said for films that don’t provoke such resistance, whatever the reasons for it. I’d like to think that the Universal horror classics are on that level, but i suppose there are people, or were eighty years ago, who would have resisted those movies for being too gruesome, too unreal, etc. A case in point comes up this weekend as some people anticipate the new Christopher Nolan film like it was Gone With the Wind and others no doubt sneer at another big-budget comic-book movie. Spectator resistance is the ultimate, possibly intractable obstacle to objective standards of film quality, and I suppose we’ll see examples of it in the responses to the comedy countdown — for which the e-mail results intended for me must have gotten lost somewhere, alas.
Anyway, I remain busy watching movies. The latest review up is for a rather racist Pre-Code picture, W.S. Van Dyke’s Never the Twain Shall Meet, a Leslie Howard vehicle that comes across as the antithesis of Van Dyke’s White Shadows in the South Seas in its demonization of South Sea island types. Another Pre-Code was Nick Grinde’s This Modern Age, in which Joan Crawford and her long-lost mom become BFFs in Paris until Joan learns that Mom is a kept woman and that fact complicates her courtship of Neil Hamilton. Joan’s judgmental attitude seems atypical of the era but there wouldn’t be a plot without it. Yet another Pre-Code, if only chronologically, was John G. Adolfi’s Voltaire, my first viewing of a George Arliss movie. He was one of the unlikeliest early-talkie stars, and I suspect that his expressive face as much as any quality of voice was the key, compared to the bland enunciation of younger, prettier stars. The film does the historical Voltaire no favors, but now that I think of it it does have contemporary relevance in its warning to power that social injustice could have revolutionary consequences — apparently a subtext of the upcoming Nolan picture as well. From other eras I sampled Rosselini’s Germany Year Zero for the sake of this week’s poll and found it lacking the power of his Italian-set war pictures, though the ruined German locations are probably still the envy of any post-apocalyptic filmmaker. Also saw Martin Ritt’s The Sound and the Fury, a fractional literary adaptation that misses the Faulkner novel’s point by ignoring its radical subjectivty and leaves us with the camp collision of a hirsute Yul Brynner and Joanne Woodward in all-out white-trash mode; William Lustig’s Vigilante, a minimally plotted parable of powerlessness and overcompensating revenge; Dennis Sanders’s War Hunt, introducing Robert Redford, Tom Skeritt and Sydney Pollack but starring John Saxon as a psycho, implicitly pedophiliac army scout during the last days of the Korean War — creepy stuff but too distanced from Saxon’s madness to have the full desired effect; and Robert Wise’s Two Flags West, a 1950 Western about paroled Confederates fighting Indians and Joseph Cotten’s war of wills with Jeff Chandler’s paranoid invalid officer that can’t help paling in comparison, despite pretentious cinematography, with the landmark westerns of that year. I may have more to say about some of these on my blog but I’ll be moving into anticipatory mode later in the week and will more likely write accordingly. Enjoy your week!
Samuel–
At least you are being honest! E.T. is certainly NOT to everyone’s taste, as I discovered (though I really knew) on an e mail thread attended by WitD alumni. I do have a taste of for this sort of thing myself, and I consider the film one of Spielberg’s three greatest films. Agreed what you say though on the Universal horrors on top-tier level. Engaging discussion of individual perceptions. And yes, you hit the nail on the head with Nolan’s new release, which as predicted has many quaking in their boots, with others throwing darts. The kids are very excited, so I’ll be there sometime over the weekend. The film has set off controversy at RT, where the site did something to prevent comments under the reviews of the critics who trashed it, after irate fanboys went on the attack. Like my site colleagues Jamie, Allan and Maurizio I am appalled at this decision.
I know you have reviews some other Van Dyke’s and will take a look at your latest piece! Haven’t seen that Robert Wise western, would love to see the Crawford pre-coder, That Arliss I haven’t seen though I have seen two others by him; I complete agree on GERMANY YEAR ZERO, which is lesser than the other Rossellinis, though still reasonably significant. I rather like the Ritt film, and have read the Faulkner novel, though it has issues as well, I remember VIGILANTE, which is middling, but haven’t seen WAR HUNT. I’ll keep an eye on MONDO 70 for some elaboration.
Thanks as always my very good friend, and have a great week!
It seems like an awful understatement now to say that, for all that I still want to see it, The Dark Knight Rises has driven some people beyond mad. If the latest reports are right that the Aurora CO gunman identified himself to police as “The Joker,” …The mind reels.
Indeed Samuel. The tragedy is on everyone’s mind, and I am sickened by it. I did see the film this evening with the family, and though of Aurora a number of times before, during and after.
Sam,
Thanks again for the shout out. Spent a hot and muggy weekend doing a fund raising bake and craft sale, along with a car wash put on by some wonderful high school kids, all to help the cat rescue group my wife and I volunteer for. Looking forward to the comedy countdown. The moving watching was a bit on the light side this week. Here are the four I caught, all for the first time.
The Gangster (***1/2) Unconventional gangster flick with Barry Sullivan as a hardened, self made, top dog gangster who becomes obsessed with a beautiful dame and suddenly finds himself being squeezed out of his territory by another outfit. Each of his weaknesses are slowly exposed and just like in a Greek tragedy his downfall is inevitable.
The Racket (****) Nicely paced 1928 silent version directed by Lewis Milestone. Silent stars Thomas Meighan and Louis Wolheim in the roles later played by the two Roberts, Mitchum and Ryan. There is also fine performance by Marie Provost who died tragically and way too young.
Nora Prentiss (***1/2) – Straight lace married man’s life goes spiraling out of control after he becomes infatuated with a nightclub singer. The ppor guys life can be seen as a warning against the perils of infidelity. Nice performance by Ann Sheridan.
What The Matter With Helen? (***) Late entry in the Baby Jane, Sweet Charlotte gothic teaming of female Hollywood legends. I actually enjoyed this film despite its flaws. Certainly, a change of pace for Debbie Reynolds, and anytime one can get to watch Shelley Winters chew the scenery is worth the price of admission.
Have you seen Shelley as ‘Mommy’ pitted against Tamara Dobson in “Cleopatra Jones”? It is beyond disbelief.
Mark,
I have not seem CLEOPATRA JONES but have seeen Shelley as the machine gun tottling, cigar smoking Ma Barker in Corman’s BLOODY MAMA.
John–
I salute you for the latest display of animal care on the part of you and Dorothy! As you know I am also a big cat lover, and two of our four were on Death Row just days away from being put down, so it warms my heart to see this kind of compassion. But you have gone above and beyond.
Of the four films you have seen here I have only seen two. WHAT’S THE MATTER WITH HELEN would rank at just about where you have it, but I would agree too that’s it’s campy fan! Shelley Winters is indeed a professional scene stealer par excellence. I though THE GANGSTER was decent enough as a genre piece, but it’s focus is more on mood than on story as I recall. I remember Akin Tamaroff was in it too.
I really need to see THE RACKET!!! Nice capsule there John! But all are excellent!
Have a great week my friend! Many thanks as always!
Love the movie poster for “The Wedding March” – it’s gorgeous!
Thanks my friend! I found it on-line by surveying ‘images’ after googling The Wedding march.
Which version of E.T. is Universal showcasing for their 100th Anniversary? Hopefully not the 2002 version. I’d totally go see the movie on a big screen in an insant (I never have before), but man, I’m just not feeling those walkie-talkies.
Adam, this was the original version. I know many would have preferred to see the 2002 as well, but the older print is the one they came up with. Having seen it way back when it was released in 1982 I was able to make the connections, and the mental picture brought back fond memories. Thanks very much my friend!
Hello Sam and everyone!!!!!
Well, I passed! The short film was a success and the showing was filled with emotion. Right now I’m on a brief vacation before starting my second semester and I’m already pumper for expectation. Sam and the Gang: if you want to see the short, give me some time to make something up so you can see it as best as possible, thanks, you are on the credits!!!!
Good lord, a Universal festival, that makes my mouth water, I’d love to see all those classics on the big screen on good 35mm prints, it would be heaven for me, specially those horror films, my favorites. Obviously, I’ve seen most of the film you saw, like E.T., which I rate **** , Frankenstein that is one of my favorites rating at ***** , Dracula that I just love to rewatch every now and then at ****1/2 and The Phantom of the Opera that I grant a **** rating. I’d love to see The Wedding March.
My week movie wise:
- Below (2002, David Twohy) *** Some kind of period WW2 submarine thriller horror movie that isn’t quite sure what it really is. It follows some kind of fascination and fear for haunted ships and battleships, submarines or whatever. This one fails mostly because the visual style is lazy, and even if it has some interesting tracking and continuous action, but when the horror starts to happen, it still feels like a war thriller, but with all the elements taken out. The performances are good, but the plot meanders and falls for the cliche for the most part. Ghosts aren’t scary.
- Company Man (2000, Peter Askin, Douglas McGrath9 *** A really hilarious comedy in its first minutes, in how it develops its principal character, but once he moves to Cuba and Fidel Castro starts appearing, the film looses all interest to me due to the inhabilty of it to be true at all, and even if a film doesn’t achieve truth, it would be funny to think that much of this could’ve actually happened and you just root for history to maintain its course. This one features a performance by Woody Allen, goofy but fun.
- Fortune Cookie (1991, Darren Aronofsky) ***1/2 One of the first short films by one of the best modern american directors. This one is a student effort, based on a novel, and quite well performed in some spots, and with some kind of narrative that actually closes on itself. Quite good, but it’s a student effort, of course.
- Frankenstein (1931, James Whale) ***** Yes, we watched the same film this week, so that’s nice. i rewatched this film right after I passed the short film, and i saw this with my mother, as i did with Dracula earlier, and we had a good time. This is one of the best horror films for me, creepy and filled with great performances and a plot that maintains it tight and scary at all times. Karloff is the greatest on screen monster ever, and I love the cinematography and the sets.
- Frankenweenie (1984, Tim Burton) **** Actually looking forward to the new Burton animation this October, it looks stylish and old school in the monstery kinda way, so i watched this short film of his for the first time. I quite like the atmosphere of it, and while there are some elements like the acting that are cringe-worthy sometimes, the story is charming and it manages many many things with its bittersweet storyline and ending.
- Himizu (2011, Sion Sono) **** I’ve been looking forward to this film after so many good reviews and I must say that it’s quite good at many spots, but it also tries way too hard to be encollapsing as Love Exposure was and it fails because it’s just a 2 hour film that feels like a 3 and a half hour film, while Love Exposure was a 4 and a half hour film that felt like hour and a half film. It has many great performances, from many actors of earlier Sono films, and while it sometimes feel like a “best of Sono” reel, it still has quite a decent amount of heartwrenching films. The first hour is the weakest.
- In Search of the Trojan War (1985, Bill Lyons) ****1/2 I finished this miniseries about a day after Fish had posted his review of it, and I loved it in the most archeological and historian way possible. I posted a comment on how much I liked it right under it.
- indie Game: The Movie (2012, Lissane Pajot, James Swirky) ***** The best movie of 2012 is highly rewatchable as well! Even if you know how things evolved and turned out for the indie developers, you still marvel at the visual style and the quotes you get from them. An inspiring work that only wants to get you to do more and more and more!
- No Time (1994, Darren Aronofsky) *** A series of skits played by the same troupe of four actors. It’s more like a pilot for a series that never went forward, and thank god for that, the comedy is never really good, and the performances are just not great. There is one or two sketches that are a salving grace, but it’s good to say that at least Darren really went for other direction later.
- Pi (1998, Darren Aronofsky) ***** What a great visual treat of a film! Darren Aronofsky may not have been great from the start (his short films that I capsule-reviewed here) but he sure is amazing when he takes the feature-lenght turn. He just blows away any expectation you may have regarding the film, is just an audiovisual piece of the highest level, the music is perfect, the performances are top notch and the plot is confusing, but at the same time, appealing, it is one of the great pictures of the mind, and i love it now. It was my first time watching it.
- Pussycat, Pussycat, I Love You (1970, Rod Amateau) *1/2 A sort of sequel to the Allen penned comedy “What’s New Pussycat”, this one features similar characters to that movie, but features no connection whatsoever to the other plot, other than the music, i guess. But this truly must be one of the most uncoherent pieces of trash ever concieved by the human mind. There’s not even one thing that couldn’t be done 1000 times better by anyone with a brain, so I must blame the producers and the hack director they hired to try to make a sequel to a fine comedy and just attempt to make trash.
Thanks Sam and have a good week!
Congratulations Jaimie!!!!!!!!!!!!!!
I had a good vibe for you all week, and I fully expected this triumphant announcement! Now it’s time to take a break, and give yourself some room. Be rest assured that I would like to see the film as soon as you can technically sort it all out. And some others here would be intrigued as well. I know you are appreciative of the Universal horrors, and that triple feature was quite the time! We have some others lined up for the coming weeks including The Black Cat, The Mummy, The Wolf Man, Creature from the Black Lagoon, Abbot and Costello Meets Frankenstein, The Man Who Laughs, The Bride of Frankenstein and Son of Dracula. One day I do hope The Wedding March will get a DVD release, long overdue. That is quite a remarkable line-up of films viewed my friend! Well, I won’t comment on all of them, but I will say I have seen that Frankenweenie trailer numerous times over the past weeks in theatres. The masterpiece rating for Frankenstein is certainly fair enough (it’s an iconic classic) and I can can accept the top rating for PI too, though I would go less myself. But I do have Aronofsky’s THE FOUNTAIN at five stars. Looks like you really examined much of the directors canon this week.
Anyway thanks so very much for this fantastic, spectacular submission and congrats again on the big success in your life!!!
Take a rest. You’ve earned it!
Hey, Sam
This past week I’ve done my movie watching via TCM, one nonentity, one cult favorite and one Essential.
‘Soldier in the Rain’ (1963) — Middling comedy-drama almost — almost — worth seeing just to hear Jackie Gleason, examining his girth in a full-length mirror, deliver the line, “Let me tell you something, my friend. Being a fat narcissist isn’t easy”. With Steve McQueen, and a deliriously lewd Tuesday Weld giving a low IQ performance as an overripe teenage slattern.
‘The Naked Kiss’ (1964) — ‘Ripped From the Headlines’ tabloid cinema from cultist Sam Fuller. ‘Kiss’ features prostitution, child molestation and murder, with star Constance Towers moving from hooking straight to a career in physical therapy for children. You figure it out. And if you can take this perfervid melodrama seriously then you’re a better cinephile than I am. The guiltiest of guilty pleasures.
‘Alice Adams’ (1935) — Katharine Hepburn is the most heartbreaking wallflower in the history of movies here, and some of the scenes of family squabbling are extraordinarily intense. Unfortunately, Hollywood’s dream merchants decided to tack on an unrealistic happy ending, and I could have done without Hattie McDaniel’s turn as a comic black maid.
Oh, I also saw ‘The Broken Tower’, James Franco’s murky, experimental, Master’s thesis film about “difficult” poet Hart Crane and his life in disarray. The movie gets all hotted-up over Crane’s homosexuality, and all I learned about Crane is that the poet was a bottom (and Franco gives some authentic-looking fellatio in the front seat of a car). Only for the most fervent Francophiles.
Mark–
I like Fuller’s THE NAKED KISS more than you do (a gorgeous Criterion blu-ray was released months back) but would agree with you that in the end it’s a guilty pleasure and a raunchy one at that! I would give the edge to Fuller’s SHOCK CORRIDOR among his notorious B pictures. I completely agree with you on ALICE ADAMS with that unfortunate happy ending and McDaniel’s stereotype role, though Hepburn typically is utterly magnificent. You have me most interested in SOLDIER, as I have a lifelong crush on The Great One (you are a big Honeymooners fan, right Mark?) even with the disclaimer. I like Hart Crane’s poetry, and am fascinated by what you relate here about THE BROKEN TOWER, but I’ll see it only when a chance avails itself.
Thanks as always for the ever- insightful submission my friend!
Gleason isn’t called The Great One for nothing. Have you ever seen Preminger’s ‘Skidoo’, Sam? It’s one Gleason film I’ve never gotten around to viewing (Sarris and Rosenbaum are fans).
Oh god, who’s that between Drew Barrymore and Henry Thomas — Milton Berle as a child??
hahahahaha Mark!!!! Good one!
Thanks for the mention Sam and all your kind comments on the various Euro posts. I missed seeing about the universal 100 spotlight at the forum. This continues the incredible parade of titles at film forum this year. Plenty of chances to revisit classics or for new cinephiles to catch them for the first time. And I assume all (or most?) of the films are presented in 35 mm, a format that is becoming harder to come across in most North American cities. So a rare experience to see some of these films.
Sachin, the prints for this festival are indeed 35 mm, and a good number of them are exceptional. Yes, all things considered it’s rare to have such prints available, but the Film Forum specializes in such presentations. I am planning to see the nine Siodmaks, the four Sirks, the Universal horrors (requested by the kids) and a silent rarity by Clarence Brown called THE GOOSE WOMAN. Thanks as always my friend for your exceedingly kind words!
Sam, thanks so much for the great mention.
I’m excited as the comedy countdown unspools. I’ll be looking forward to each and every entry.
Your comments this week made me realize that I still need to track THE WEDDING MARCH down. I will do something about that very soon.
This week, I was finally able to take in a few things. I saw PARK ROW, PLAY DIRTY, AMERICA, AMERICA, IMAGINE: JOHN LENNON, and STYLE WARS. I was really happy to see them all, but I was particularly impressed by the Fuller and the graffiti doc. Both will soon be headlining my next favorite (four) series.
Here’s to another awesome week, Sam. Thanks again for bringing us all together!