by Sam Juliano
It is hoped and anticipated that everyone enjoyed Valentine’s Day and did something special, big or small for their loved ones. Lucille and I spent Sunday night doing something highly unusual: we went out to see a movie! Ha!
In the mid-west, tireless Marilyn Ferdinand has officially launched one of the most worthy ventures we’ve yet seen in the blogosphere: the long publicized ‘Film Preservation Blogothon’ which started yesterday and will run until February 21st. All sorts of festivities, including a post by Film Noir luminary Eddie Muller are being showcased at Marilyn’s place, (Ferdy-on-Films) and comments, clips, enrichments and donations are most welcome.
The countdowns continued at the homes of Dave Hicks and filmmaker Jeffrey Goodman, where the former is engaged in a remarkably exhaustive consideration of the Top 100 ‘noirs’ of all-time, while the latter (following the former in fact) is covering the best films of every year in cinema since 1926. Both Hicks and Goodman are internet sweethearts, making visits to their abodes even more desirable, aside from their astounding expertise. Of course here at Wonders in the Dark Allan Fish’s ‘almost silents’ poll is reaching the home stretch, where some of the great masterpieces of cinema will be showcased, and the ever-active Dee Dee is working hard to cover the various categories in the Oscar race both here and at her Noirish City blog.
With a marked dearth of movie releases this past week both in the art houses and the multiplexes, I settled for Wolf Man with the family. two documentary features and an independent playing in Manhattan theatres.
October Country *** 1/2 (IFC Film Center) Friday night
Wolfman * (Edgewater multiplex) Saturday afternoon
Barefoot to Timbuktu *** 1/2 (Quad Cinemas) Saturday evening
The Vicious Kind **** (Cinema Village) Sunday night
Jon Lanthier hit it right on when he compared October Country to Jonathan Caoette’s Tarnation, a film that tried to “wring beauty from ugliness.” This new film, set in upstate New York, centers around a lower-class, dysfunctional family and issues of poverty, child abuse, theft and the military are examined within the framework of an economically impoverished family with deep-rooted emotional issues. The film is free-flowing and sometimes narratively incoherent, but there some power in these have-not’s plight.
Wolfman is the kind of horror film that gives the genre a bad name. It’s a tedious watch, fueled by narrative incoherence, cardboard characters, no character development, and a woefully derivative series of gory set pieces that recalls An American Werewolf in London. Just about nothing works in this unmitigated train wreck of a movie that again defines the essence of multiplex trash. Even my horror-loving kids seemed completely indiffernt to it, and Lucille just shook her head.
Barefoot to Timbuktu chronicles the fearless traveils of a Swiss-American “Renaissance Man” named Ernst Aebi, a free-spirit who sets up a small African town at Araoane, which he reaches by traveling several days by barefoot from the larger Timbuktu. Aebi establishes a small hotel and a school, the first ever for th enatives, and actually serves a while as school teacher. When his restless spirit has him leave for NYC, where he earns money by renovating SoHo apartments, his encapment is destroyed by tribal warfare, and years later he returns to those who were indepted to him in a moving coda. There is ‘documentary padding here,’ and not all th einterviews are enlightening, but this obvious ladies’ man has an interesting family, who try and shed some light on the psychology of this oddly inspiring spirit.
A perverse, dark comedy-romance, the Sundance hit The Vicious Kind was a most bizarre Valentine’s evening night out for Lucille and I, but this sharply-scripted yarn about a dysfunctional brood and a young woman caught between two opposite brothers, was rightly advertised as the ‘comedy that Neil LaBute never made.” Great performances in this story about pain and the difficulty in connecting.
Now to the blogosphere and the great work recently appearing:
First up is Marilyn Ferdinand who is the famed proprietor of
Ferdy-on-Films, where she writes film, theatre and music reviews with her colleague, Australian Roderick Heath. Ms. Ferdinad’s most auspicious and admirable venture to date in the ‘Film Preservation Blogothon’:
http://ferdyonfilms.com/
Over at the blogosphere’s altar of Film Noir, the tireless Tony d’Ambra has as of late been examining his favorite cinematic form from various perspectives, including the latest post on Preminger’s
Laura using a painting and revered critical study to shed some light:
http://filmsnoir.net/film_noir/film-noir-and-the-portrait.html
Filmmaker Jeffrey Goodman recently took the plunge, and he’s been faithfully posting annual round-ups of the year’s best films at his place,
The Last Lullaby: http://www.thelastlullaby.com/
It’s ‘Anniversary Time’ at dear friend Kaleem Hasan’s
Satyamshot blog, dedicated to Indian culture and cinema, and manned by the incomparably gifted writer and philosopher. It’s a place for all bloggers, especially those who are Indian. Congrats Kaleem!
http://satyamshot.wordpress.com/2010/02/13/happy-anninversary/
There are a number of movie-related goodies posted at Dorothy Porker and K’s new home,
Film Cheer and there’s much diversity too:
http://filmcheer.com/
Jon Lanthier has an extraordinary review up of the documentary
October Country, and some other fascinating stuff including a headlining television essay up at his
Aspiring Sellout abode:
http://aspiringsellout.com/
Dee Dee, always moving around in so many directions, is also celebrating the blogothon at her “Noirish City” home, and she’s always posting the flattering coverage on the Oscar categories, also displaying at Wonders:
http://noirishcity.blogspot.com/
As always, Michael a.k.a. “Coffee Messiah” offers up a meaningful combination of literary quotes and allsions, montages and poster art to enrich everybody’s lives. And when it comes to coffee, he’s the guy to see!
http://coffeemessiah.blogspot.com/
One of the blogosphere’s respites to the land of nature, solitude and creativity, and of art and photography, a visit to Terrill Welch’s ‘Creativepotagers’ blog instantly transports you to a tranquil island off the coast of Western Canada and an entrance pass to paradise. It’s proof parcel that there are more than movies out there:
http://creativepotager.wordpress.com/
Keep your eyes on
Screen Savour, where its talented proprietor T.S. is soon due to resume his accomplished and popular Buster Keaton series:
http://www.screensavour.net/
So what did you see, hear, read, or experience this past week? How was your Valentine’s Day?
Hello Sam and thanks again for the mention, and also for the great list of links to check out. I saw ‘Invictus’ with my husband yesterday – he thoroughly enjoyed it but I was less keen. I thought it had its moments but a lot of it seemed to be rather full of Hollywood sports movie cliches, although the long rugby World Cup final section at the end did work well. It wasn’t helped by the fact that the movie was out of focus at the cinema we went to, and also a bloke sitting next to me fell asleep halfway through and started snoring loudly! The screening was completely full, which has also happened with other movies I’ve seen recently, so I have a feeling the cold weather in the UK recently may be giving cinemas a welcome boost over here.
Just to add that I’ve got a new review up now, of another early Wellman film, ‘So Big!’ (1932) starring Barbara Stanwyck – I’m hoping to step up my blogging pace a bit in the next week or two and get some more reviews of Wellman films up before moving on to some other goodies. Thanks again!
Ha Judy! That’s a funny story there about that bloke who started snoring! But that’s a telling sign, and frankly I found INVICTUS as you did–boring, superficial and Eastwood’s worst-directed film in his recent prolific run. There’s little insight into what fueled that central friendship, and Morgan Freeman’s Mandela is more of a symbolic figure. But hey, it has some fans too, and everyone looks at things through their own prism, so I say fair enough.
I will over there with bells on to read your SO BIG (Wellman/Stanwyck) review!!! I’m sure it will be a very fine one!!!
Thanks always for the personal anecdotes!
Sam, I think that you may be looking for something in Invictus that was never going to be there. Mr. Mandela was an elderly head of state. Mr. Pienaar was a high profile sportsman in the prime of his life. The relationship, for me, was one of one man’s aura, determination, and humility having a profoundly motivational effect on the other – a strong and influential leader in his own right. Friendship, to the extent that one did exist, was a lesser issue.
Equally, while you are right in terms of how little insight into the characters was on offer here, I think that the real fixation by the director here with leadership and the relatively two-dimensional characters were simply the props for this exploration.
Perhaps it reflects the state of Ireland at the moment, but I found the subject interesting enough (i.e. not a snooze), even if the overall approach was decidedly simplistic. Equally, I would be curious how well a film where rugby features prominently travels in the US!
As always Sam thanks for the shout-out. I just posted the end of my revisiting 1999 project here: http://kolson-kevinsblog.blogspot.com/2010/02/revisiting-1999-top-ten-films-of-year-1.html#more
I hope you check it out. Thanks again for the mention.
Hey Kevin, thanks as always! I’ll definitely be over to check on your new post on what appears to be Minghella’s THE TALENTED MR. RIPLEY!
Thanks for d’plug, Sam!
The Wolfman came out to similar disparaging reviews here from the more respected newspaper critics. Shall not be in a rush to ever add my two cents as to what to make of it!
A couple of films to see this week before the madness that is the 11-day Dublin International Film Festival begins! Very much looking forward to it this year. Apart from a diverse programme of new films, there are Russian & Korean mini-festivals, some promising new Irish films, and a tribute season to Ireland’s best known film critic who passed away over Christmas. Many possible highlights, but definitely looking forward to Kristin Scott Thomas hopefully being presented at a screening of her new film Partir.
Programme here if interested: http://jdiff.ticketsolve.com/shows.
Possible Freudian slip there! 🙂
Hey Longman!
Actually, our good friend and blogging associate David Schleicher, liked WOLFMAN much more, and he certainly deserves his day in court:
http://davethenovelist.wordpress.com/2010/02/13/a-review-of-the-wolfman/
I just checked out your program there and all I can say is WOW! I hope you will be checking out those Dublin screenings of AJAMI, TERRIBLY HAPPY and BAD LIEUTENANT – all films I liked quite a bit – and then there are a number of excellent retrospectives of Kenneth Anger, VAMPYR, Franju’s EYES WITHOUT A FACE and PANDORA AND THE FLYING DUTCHMAN. And you could certainly do a lot worse than Giuseppe Tornatore’s EVERYBODY’S FINE, which I rather liked and RAVANCHE, LA DANSE and I’VE LOVED YOU SO LONG (you mentioned Kristen-Scott Thomas in this film, I believe?) would be fine options too. But I know you can only do so much, and your tireless coverage of the Dublin theatre scene only leaves you with so much time. But this is a great venue here! I may come across as dumb here, but who is th ecritic who passed on Longman?
Great recap, my good friend!
David’s piece was actually the first that I read on the film! His support came through for it, but I felt from his review that he believed that he was enjoying this film more than most of his readership would! In any event, psychological horror is more of my thing. Gore-bore-snore!
Yes, it is a pretty exciting programme. Actually, my strategy to survive is to clear the week of other commitments and to not attend films like the “Bad Lieutenant” that will definitely get a proper release here later in the year. Equally, better to see a Herzog as an experience in itself and not as part of a hectic week!
“Ravanche” is one of the films that I am looking forward to for sure. It will be on the country’s largest screen, which is always a treat for an art-house fan and therefore used to more modest-sized theatres!
The name of the gentleman in question is Michael Dwyer. He was a pioneering writer in this country about art house and foreign language cinema. Amongst other accomplishments, he began this festival and curated it for many years.
While he was well-known for championing many films that would become recognised as classics, he is equally remembered with fondness for his utter disdain for the cinema of Lars Van Trier! Indeed, his horrified account of watching “Antichrist” this time last year would have done more to whet the appetite of people like me for the film than any high-faluting analysis of it!
The “I’ve Loved You So Long” screening is part of his tribute season. While it was definitely one of my favourite films of 2008, it is actually Ms. Thomas’ new film “Partir” that I am looking forward to.
Thanks Sam for the referral.
I watched only three movies since my last Monday Morning visit:
The Spiral Staircase (1945) – Director Siodmak and DP Musuraca are the real stars. A pulp thriller is transformed into a haunting expressionist milestone.
John Farrow’s Night Has a Thousand Eyes (1948). Edward G Robinson is great as a man trapped by an accursed gift. Redemption is a zero sum game. A moody and unsettling noir based on the Cornell Woolrich novel. A deeply intelligent script showcases the richness to be found in many b-movies.
I Can Get It for You Wholesale (1951) Abraham Polonksy’s last script before the HUAC blacklist destroyed his career. A solid drama about the NY garment business, directed by Michael Gordon and starring Susan Hayward, Dan Dailey, and George Sanders. A soft ending mars an otherwise acid critique of naked ambition and the American dream.
I have been reading a lot, including books on the cinema, film noir, and the novels of Cornell Woolrich and W.R. Burnett.
My next post at FilmsNoir.Net will be a feature highlighting the important part writers can play in film-making, with the focus on how the psychologically complex screenplay for Night Has a Thousand Eyes is superior to Woolrich’s story.
Tony: I can’t tell you just how much I have loved THE SPIRAL STAIRCASE (1945) through my life. I’ve seen it many times, and still believe it to be Siodmak’s masterpiece, though a few others are arguably as good. I loved Ethel Barrymore as that dominating matriarch and the convincing rain storm atmospherics, which mitigated the fact that we all knew the killer from early on. In this last sense it was similar to the Lewton-Tourneur collaboration of THE LEOPARD MAN. That opening scene, in the room above the silent cinemateque, where a murder is committed, and Dorothy McGuire’s escape into the mansion through the rain are moody, and terrifying set pieces.
And Tony, I think you and I have shared mutual admiration for so long for these three names: Musuraca, Webb and D’Agostino, those wizards at RKO who gave this deft psychological thriller its exquisite look and sound. That 2000 remake by the way was absolutely abominable.
I agree with you on Farrow’s film, as does our good friend Dave–
http://goodfellamovies.blogspot.com/2010/01/83-night-has-thousand-eyes-john-farrow.html,
who of course included it on his ongoing noir countdown, but I also saw and appreciated your own Films Noir capsule, although I hadn’t seen the film at that point. I’m sorry to say I have not seen this Polonsky, but of course am a huge fan of FORCE OF EVIL.
I know you’ve been really reading up a storm as of late, and superlative stuff too. You are really probing the underpinnings of your favorite genre, and as a result your command will be masterful.
Thanks Sam………….and funny about your Wolfman review. Seeing the clips on tv, made it look kid of lame.
Finally saw: Princess And The Frog and stayed away, mainly ’cause everything Disney has made in recent years, just doesn’t do it for us. Surprisingly, it appeared and if you didn’t know better, as if it were an older Disney film. We’d see it again sometime for sure.
Searching For Beethoven: Enjoyed the different insights into his life and hearing the music.
Sherlock Holmes: Although not anything like Basil Rathbone, it was a fun ride, although tedious in places and a bit long.
Thanks again! Cheers!
Hey Michael! You really moved forward on some movie watching there! Yes, I agree that PRINCESS is a traditional Disney, and it uses montage most effectively and that jazzy context. This film is better on repeated viewings.
The Betthoven documentary was indeed very fine, though the one this team did on Mozart th eyear prior was generally stronger, as it examined some enriching historical angles more acutely.
Most people who have come over to the site pretty much fall in with the opinion you have on SHERLOCK HOLMES–that it’s not comparable to the Basil Rathbone films, but it’s still some fun. I think Downey was quite good, even if I was less enthralled by the pyrotechnics.
I would say to anyone: see WOLFMAN at your own risk! Ha!
Thanks so much Michael for the great roundup!
Hey Sam,
Viewings for the week…
Ratings (0=worthless, 1=marginal interest, 2=solidly entertaining, 3=excellence, 4=masterpiece).
watched, ‘Seinfeld’ seasons one to three, 18 episodes of sheer joy and one the best US comedy series of the last 6 decades.
Russian Ark (2002)
A film maker follows a 19th century diplomat through a time travelling journey into the past of the State Museum of St. Petersburg, a historical excursion into the soul of Russia.
It’s all shot in one single take, which must have required enormous taxing precision, but in terms of plot or ideas or feeling, or theme – it’s bankrupt pretentious and deadly dull. At least Hitchcock’s ‘Rope’ which was done in ten minutes takes and the changes hidden to make it seem as if done in one take was an interesting and entertaining diversion.
Le Divorce* (2003)
A American woman visiting her pregnant sister in Paris, finds that she’s been deserted by her husband, and finds herself embracing the culture by having an affair with a mature politician.
Mildly enjoyable Merchant/Ivory clash of sexual attitudes in which the tone varies too much and things are too tidily rapped up. The Gallic flavour and performances are it’s chief attractions.
Journey into Fear***
During the 2nd World War, an engineer is pursued by Nazi agents and finds himself trapped on a voyage with his tormentors.
Full of vivid and unusual camera angles that suggest this was a Welles’ film done under cover and with a good smattering of atmosphere.
Hey Bobby!!! Always great to have your insightful takes on your prolific movie watching! I haven’t watched enough of SEINFELD to venture a valid judgement, but it is one of the greatest television shows of recent years–an instant classic.
Ha, a Merchant/Ivory film I’ve never seen. Ah well, I appreciate this synopsis/assessment, and will remember that the acting and atmosphere are its chief attributes. But A ROOM WITH A VIEW, THE REMAINS OF THE DAY, MAURICE, and HOWARDS END it is obviously not!
Tony d’Ambra wrote one of his best reviews ever on JOURNEY at FilmsNor.net, which is definitely worth investigating:
http://filmsnoir.net/film_noir/journey-into-fear-1943-oriental-intrigue.html
I like that “undercover” suggestion! But yes, this deserves at least three stars in your system.
It appears that you and I Bobby are the only people who dislike RUSSIAN ARK, and my reasons are exactly like yours–pretentious, deadeningly dull. You nailed it!!! But otherwise I do like this director as I’ve stated at this site.
Thanks again for the terrific writing and round-up!
Sam, thanks for the link. I will also commend Marilyn on this great project that she has begun and I will be following things as they progress. I watched a number of films this week, with the first one in this list being an absolute treat:
– FIVE GRAVES TO CAIRO (Wilder) – Anything that Billy Wilder has a hand in writing is going to be entertaining and this one does not disappoint. I’ve always looked at Wilder as being a director on the same level as Ernst Lubitsch in terms of the wit and charm created in all of their scripts (along with Sturges for that matter). This is a wonderful comedy-thriller and despite the time when it was made, it avoids overly embarrassing flag-waving moments. It is certainly a propaganda film, but it’s so damn fun that you don’t even care! I’d rate it 9/10.
– A SERIOUS MAN (Coen) – I’m giving it a 7/10 now, which is a generic way of saying that I enjoyed it but I’m still not completely sure what to make of it. I’ll nee to re-watch soon.
– THEY WERE EXPENDABLE (Ford) – Another very good propaganda film, this one from the master Ford. I give it somewhere between a 7 and 8… enjoyable if not quite great. In terms of flag-waving war films like this, I would still give an edge to Howard Hawks’ AIR FORCE, but that is one that I think is really underrated.
I also continued the De Palma watching, with CASUALTIES OF WAR being the best from him that I watched this week. It’s not as good as the top-flight Vietnam films (Apocalypse Now, Platoon) but I actually enjoy it more than something like The Deer Hunter.
Indeed Dave, what you say about Marilyn’s blogothon, which has rightly been the toast of the film blogosphere this week!
You’ve managed once again an impresive total of films. I can understand why this highly unconventional Coens film wouldn’t grab you immediately, but I think repeat viewing may warm you up to it. I’m thinking now it’s their best film, though LEBOWSKI, FARGO and NO COUNTRY fans may have my head. I agree that FIVE GRAVES is a lot of fun, though oddly I have never been a big fan of THEY WERE EXPENDABLE, which was rather conventional. But of course I revere John Ford, and consider a large number of his films masterful. I’ll have to look at that again at some point.
That said, yes the Hawks is a better film, and De Palma’s CASUALTIES OF WAR is a major contemporary war films.
Superb round-up, Dave!
Thanks so much. Sam, once again for the heads up on the new films and the plug.
Summer’s here, coinciding with the Valentine’s day and there has been a drastic change in my mood. I guess I may be cutting down on movies for some time. Last week was good at the movies and I caught up with a bunch of them including your no.1 – Bright Star.
I really liked it, although I believe I would have loved it even more had I been acquainted with Keats’ poetry. I’m guessing that Bright Star is a film that’s not just based on Keats’ life and work but also inspired by it. Yet to read your review. Looking forward to it.
Thanks for the kind words JAFB and I’ll admit I’m thrilled to hear of your positive reaction to BRIGHT STAR. And as far as taking abreak from movie-watching, that’s understandable. Overdosing on anything does leave a bad taste, and moderation is the way to go. I should practice what I preach! Ha! But what you say about Keat’s poetry is true, and I went into this film with a strong affection to begin with comparable to a fervant Mozart fan’s first viewing of AMADEUS. I’ll definitely be checking out your Marker piece. Thanks as always.
Sam, thanks so much for the incredibly kind words.
This week, most of my movie-watching was dedicated to filling in some gaps I had already made mention of during my countdown. I made short notes (in red) retroactively on some of these posts. Most of them this week were in my 1926 post, as I watched FAUST, MOTHER, THE LODGER, BATTLING BUTLER, and SEVENTH HEAVEN. I enjoyed seeing them all, but I was particularly moved by and impressed with FAUST. I thought it was heavy-duty and full of many wonderfully conceived pieces.
I have THE VICIOUS KIND on my Netflix saved queue and am looking forward to it. Thanks again, Sam, for all that you do!
Thanks very much Jeffrey, and it’s a given that at this point you’ll be looking at a number of films that are either being considered for your countdown or are re-viewings aimed at proper mention or placement. I am not all all surprised at your particular love for FAUST, which, as broached a few weeks ago at Wonders, is one of Murnau’s masterpieces along with SUNRISE, THE LAST LAUGH and NOSFERATU.
Oh, I just KNOW you will appreciate THE VICIOUS KIND quite a bit!!!
Sam, thanks for the mention! Sorry to hear that THE WOLFMAN was a bust. I’ve read all about its troubled production history so it’s no surprise that the film isn’t that good. I think I’ll wait ’til video for that one.
Thanks J.D.! Yeah, I found it that way, but even if your a bit intrigued, don’t hesitate to check it out, even though you may opt to wait for the DVD. As I stated elsewhere on this thread, our friend David Schleicher saw a lot of good there, so again it’s taste and perception.
I watched Rossellini’s Rome Open City for the first time this weekend and was entirely blown away by it. I had not expected it to be so terribly powerful, but I was wowed. Absolutely brilliant.
Also, I caught Almodóvar’s Broken Embraces which was visually stunning with the plenty of meaning infused in seemingly simple images, but I couldn’t get over how terribly melodramatic the narrative was. Though it’s quite Hitchcockian and has more than a few nods to Douglas Sirk as well, I felt as if I was watching a Telemundo soap for much of the film.
Been listening to Abel Korzeniowski’s score for A Single Man, which should win the Academy Award hands down. It is real performance music. Quite beautiful.
Phillip, OPEN CITY is one of the greatest of Italian films, and obviously a seminal work in the neo-realist movement. Most think of it (and De Sica’s BICYCLE THIEVES) as the key films, and one would be hard pressed to disagree. But I can well imagine what a tremendous experience that first viewing was!
And we are also in complete agreement with BROKEN EMBRACES, which I also found somewhat less effective as a whole than some of Almodovar’s past works. It’s still a thought-provoking film, but I found some it tedious too, and largely for the reasons you provided.
Korzeniowski’s score is also my own favorite of the year–we do think alike in a number of ways Phillip–by it appears that Michael Giacchino’s score for Pixar’s UP will prevail at the Oscars.
Thanks for stopping by my very good friend!
Tireless Marilyn Ferdinand indeed! I fell asleep last night in the middle of The Sin of Harold Diddlebock. I was busy with the blogathon (cohosted by The Self-Styled Siren, by the way), so hubby Shane tucked into the wonderful cache of DVDs you sent. He loved The Road and turned off The House of the Devil. We had a nice lasagne dinner at Leona’s to celebrate V-Day, which was the highlight of the weekend for me – a break from the duties of blogging with my best guy.
Aye Marilyn on that co-sponsorship! I like HAROLD DIDDLEBOCK, but it’s admittedly dated. I am not surprised Shane was turned off by HOUSE, as it evolves into a gorefest, but what I liked about it was its deliberate essay of 80’s horror. But again, this is not everybody’s cup of tea, admittedly. THE ROAD has impressed most, and I’ve been taken over the coals a few times on my dissenting position. That lasagne dinner must have been to die for!!! You’re talking my language there now!! You and Shane deserved that and more though for all the wonderful work you’ve done for such a noble cause this week!
Kudos to you lady!
Thanks Sam for the good words.
I watched 2 movies over the weekend – Michael Haneke’s The White Ribbon & the German film Downfall made by Oliver Herschbeigel (who made the largely ignored film though a truly terrifying experience – Das Experiment). Loved the latest from Haneke, and reasonably like Downfall.
By the way, Sam & Allen, I know you mentioned in a post earlier, but could you mention the tentative start & end dates for the Best of the 2000’s countdown that’ll take place after the Silent Film countdown. Asking cos I’ll target the completion of my self-imposed Best of the Decade project accordingly. Though I still have a number of good movies to cover, but somewhere one has to draw the line and say, “That’s that” 🙂
Allan, my apologies for misspelling your name 😉
Don’t be silly, Shubhajit, I’ve had my name spelt wrong all my life. Some of my closest friends still drop an L and call me Alan. Then I tie them to a scourging post, thrash the living daylights out of them, and everything’s forgiven.
Oh, and re your request, Shubhajit, the silents poll has a month and a half to go, which means the 2000s poll will begin at the beginning of April, or thereabouts, probably just after Easter (Easter Sunday 3rd April). It will finish mid July. Don’t worry, though, I am still doing tonnes of re-viewings of films from 2000-2009 (I still have another 50-75 to go, but have got through about that already) and won’t formulate a final 1-100 till just before it begins. That’s why my visits here for the last few weeks have been very limited – the silents poll gives me the opportunity as many of the films on it people are unaware of and thus discussions are few – but that was the idea, to point people in the direction of long neglected classics.
Let’s just try to have both done for around Bastille Day. Vive la Revolution!
And thank you Shubajit. I see Allan responded to your question, but I definitely will be looking to read what you pen on DOWNFALL and THE WHITE RIBBON. The latter has been a huge hit with the bloggers!
Thanks much, Sam – indeed I did spend a good part of the weekend watching the Olympics, and I’m really excited for the Men’s Downhill Skiing tonight.
Moviewise I only saw Rashomon on its beautifully restored 35mm print. Fits nicely with Marilyn’s film preservation blogathon!
I’d love to watch some of that downhill skiing myself Dan, but I’m not sure how things will go here tonight.
RASHOMON of course fits perfectly with the blogothon, and I’m sute that 35mm restored print is to die for!!!
Nice. Thanks as always Dan!
Thanks Sam for your kind words – however, movies even make the paradise of Mayne Island more enchanting. And it is to your site I come to find our next viewing treasure.
While I’m here – do you have a review of Le bonheur (1965) by Agnes Varda? I looked at your poll results for the 1960’s and it didn’t make the cut. We just watched the criterion collection release and all the supplementary material. As a feminist, I was fascinated by this movie because of its beauty and its challenging approach to an affair. I would be interested in reading more discussion about the film – which (for me anyway) has a timeless quality.
Thank you so much for the kind words Teryll, and I know that movies are a prime sourse of entertainment and artistic enrichment at your paradise home.
Ed Howard, one of our blogging friends and assocaites (and in fact one of the best writers out there) reviewed LE BONHEUR at his ONLY THE CINEMA blog, and you’ll notice he loves Ms. Varda and has several other reviews by her. I have always have difficulty myself, warming to her work, but the problem is definitely with me. I have some of her films on Criterion DVD and need to conduct some reviewings. Allan has reviewed a few Varda films, but not LE BONHEUR. But I’m sure you’ll love Ed’s review-it’s masterful:
http://seul-le-cinema.blogspot.com/2009/05/le-bonheur.html
Thanks Sam for taking the time to answer my question… I will slip over to Ed’s review. Much appreciated. Terrill
Listened to the Met live simulcast on WQXR yesterday. It was Donizetti’s marvelous DAUGHTER OF THE REGIMENT. The production was inspired and the music joyous. The cameo by Kiri TeKanawa was a highlight and the crowd errupted into frenetic applause the moment she finished her aria. The ovation went on for damn near 5 full minutes. Read the interview with Omar Bin Laden in ROLLING STONE and all I can say is, if he’s telling the truth, then our implosion into recession and political strife has more than lived up to his father’s destructive predictions. Glad to see the early reviews of SHUTTER ISLAND so positive. Seems Leonardo DeCaprio can add this film to his list of memorable performances as those who’ve seen the film are raving its his best yet. Again, Scorsese is being hailed as THE great American master working. Should be interesting as he’s never done a horror film before.
I love that Donizetti opera too, though somewhat less than LUCIA DI LAMARMOOR, ANNA BOLENA, DON PASQUALE and L’ELISIR D’AMOUR among th ecatalogue of this distinguished bel canto composer. But it’s great you listened to this Dennis! Scorsese is ONE of the best American filmmakers out there, though I’d stop short of saying THE best. Still I’m happy to hear that the reviews are positive!!!!
Sam, thanks again for the mention. I have managed to see quite a few films this past week, some of which will be written about .
In the theater we saw “An Education”, excellent performances by Milligan and Sarsggaard
Le Jour Se Leve**** and the U.S. remake The Long Night*** made a nice double feature. Both are good but the original French version is the darker and more interesting. The false happy” ending in the American version dilutes all that came before.
Lady in a Cage *** – Part of the “Whatever Happen to Baby Jane” cycle of films tormenting actresses of an earlier era into terror. In this one it’s Olivia De Havilland stuck in a home elevator while a young James Caan and others terrorize her.
Kazan: A Director’s Journey*** – Decent documentary on the legendary director.
The More the Merrier**** A wonderful George Stevens film with the great Jean Arthur facing love and a housing shortage in war time Washington D.C.
Ball of Fire**** Barbara Stanwyck, Gary Cooper, Billy Wilder and Howard Hawks in the classic screwball.
I also read Woody Allen’s play, “The Floating Light Bulb” and am continuing to read two other books, Lawrence Block’s “The Burglar in the Library” and “Seriously Funny” The Story of the Smothers Brother Comedy Hour.
Like Dennis I am excited to see some early good reviews for “Shutter Island.” A Scorsese release is always an event.
Hey John, you really had quite a week there of movie watching!!
I agree that the French LE JOUR SE LEVE is far more interesting than that American re-make, which you like a bit more than I do. But LE HOUR is a bonafide masterwork. I remember seeing LADY IN A CAGE as a kid in a now-razed former movie house, and at that time the tension and fear was more than what it seems on repeated viewing, where some black humor infiltrates the proceedings. But it’s an addictive watch, and I do agree with the rating. A young James Cann was memorable too. The Kazan is indeed an interesting documentary, but those two you rate highly, THE MORE THE MERRIER (so what if these Stevens is a bit dated) and BALL OF FIRE are genuine American classics. Chales Coburn was wonderful in the former, while Barbara Stanwyck was dazzling in the latter, delivering one of her greatest performances.
The fact that you are reading that lot of books, including the Woodman play while writing reviews and seeing films, including AN EDUCATION in the theatre this week, is all just mind-boggling. Yes, it appears we may have something to look forward to with Scorsese’s film, John. Thanks for the spectacular wrap!
I also thought that I would come back and drop a line about the exceptional film that I watched for the first time today and that I’m sure many others here have already seen – Vincent Minnelli’s SOME CAME RUNNING. I’ve never been a huge Minnelli fan (not really been a fan of musicals in general), but this one was a revelation. I _loved_ it and am still reeling from it. I can’t believe I’ve had it sitting here next to the DVD player for months and just now watched it. A 10/10 for me
Dave, one of my favorite films, and a film that should have probably been my top pick for 1958. By the time I get there, I will probably have to make that change. So glad you finally saw this. It’s a real keeper, I agree.
Dave: This is a very fine Minnelli film, though I’ll admit I’ve never myself had it at the highest level. It’s typically melodramatic, and that phantasmogoric carnival scene is brilliant, as is the use of cinemascope. My favorite Minnelli musical is MEET ME IN ST. LOUIS, and favorite Minnelli drama, TEA AND SYMPATHY, based on Robert Anderson’s play, but I’ll admit SOME CAME RUNNING deserves a position on the runners-up list for its year, which I did not for some reason note at your place Dave, during your own countdown. But cinematically this is a striking film, and I remember that great final scene too.
Aye Joel, and your post there on DANSE MACABRE is spectacular. I hope many get over there for it.
Thanks for the plug Sam and its great to hear that Vicious Kind is worth watching (I plan on seeing it this month and hopefully posting a review). Allan’s countdown is getting closer and closer, though my personal favorite, Un Chien Andalou, has already shown up. I have finished Strange Days from Kathryn Bigelow and James Cameron and, since both will be competing for the best director academy award this month, I’ll post my review by Thursday. Also I did get around to finishing Avatar, so my Oscar rant should be up next week. Thanks again Sam and hope to see your Oscar poll continue.
And thank you Anu, for paying your regular visit! I’ll be checking up at your place (and I hope others will as well) to check out whatever Oscar coverage or features you have lined up. That’s an amusing post you have planned there with STRANGE DAYS, what with the exes in competition! It does appear that several bloggers have UN CHIEN ANDALOU among their best silents, and it’s no wonder.
The next category in the Oscar poll should be posted over teh next few days. Thanks again our very good friend!
Oh and yes, THE VICIOUS KIND was rather a surprising ‘off the beacon track’ kind of film, but as you always appreciate foreign and indes, I do think you will react favorably.
I also caught up to, finally, Jane Campions ravishing BRIGHT STAR. What can I say? That the mid-section of this film is about as emotionally and visually romantic as any film on the subject of budding love would be an understatement. The central performance of Miss Commish is an Oscar blunder of the most embarassing kind. Along with Cary Mulligen (AN EDUCATION), Miss Commish delivered the finest performance of the year. Its an intense delving into the fragile heart of a soul so touched by the despair and brilliance of another soul. I watched this film with sam’s oldest, Melanie, and the two of us were floored by the film. As always, Campion proves one of the best directors of set period productions and her work here is FLAWLESS. Could be a greater film than her own THE PIANO. This film moved me.
Indeed Dennis. There were actually two other actresses this year, who rightfully should have received nominations, if there was any justice: Yolande Moreau (for “Seraphine”) and Catalina Saavedra (for “The Maid.”)
DAVE, SAM, JEFFREY…. Vincente Minelli… I’ve often found most of his work uneven. Almost as if he cannot balance the joyous with the dramatic unless they are each given their own film. COURTSHIP OF EDDIES FATHER is a perfect example. It has all the trappings of a big budgeted Hollywood comedy, but faulters the moment the dramatic issue begin to surface. However, I do have a few favorites. I can’t go with Sam on MEET ME IN ST. LOUIS though. For me, I find the film a stagey bore. Almost as if Minelli himself is standing in front of the audience with a bull horn, yelling; BIG MUSIC NUMBER STARTING!!!! On the other hand, AN AMERICAN IN PARIS is a wonderful showcase for Gene Kelly and George Gershwin. Its beautifully done. I agree with Sam on TEA AND SYMPATHY, although LUST FOR LIFE is damn close. And don’t forget Vincente’s comedies, for which FATHER OF THE BRIDE still works and proves Spencer Tracy could handle laughs with the best of them….
Well, I cannot at all agree with your assessment of MEET ME IN ST. LOUIS, but fair enough.
SAM-I don’t think its a matter of AGREE or DISAGREE. Its just a matter of personal taste. In many ways I understand the love many many viewers (yourself included) have for MEET ME IN ST. LOUIS. Its grand costuming, cinematography, choreography and score are all elements that need to be praised, and I DO praise them. I just never really cottened to the film. With musicals on film I was always one who settled comfortably next to the slicker and hotter timing of SINGING IN THE RAIN, AN AMERICAN IN PARIS, ON THE TOWN and WEST SIDE STORY. The only time I ever really “fell” for the more traditional style of Hollywood musical was in Disney’s offering of BEAUTY AND THE BEAST, which I have felt refers back to the style of ST. LOUIS, SEVEN BRIDES FOR SEVEN BROTHERS, THE MUSIC MAN and BRIGADOON. THE WIZARD OF OZ is the biggest oddity of em all though. It seems to be the stepping stone that says farewell to the old style while simultaneously introducing the new slick style. I don’t know, that’s just my thinking.
SAM-I am slightly premature in naming all the best performances of this year. I rarely get the time to sit with as many films as I would like. I’m often working. But, of what I have seen and kept up with I can firmly say this: BRIGHT STAR is so obviously brilliant it doesn’t take a genius, or a day-after-day film-goer to realize the Academy has flubbed the ball. Abby Commish gave a sensational performance that is, in my opinion, head and shoulders better rhan any of the five actresses nominated. Jane Campions direction was also misplaced (I don’t think the Academy likes quiet films) and BRIGHT STAR should have usurped the likes of THE BLIND SIDE, UP IN THE AIR and DISTRICT 9 for a BEST PICTURE slot. Its this simple. Not enough voters saw this great picture to commit it to bigger categories. That is a sin. Period.
And, Sam, who was it that wrote the score for BRIGHT STAR?!?! The midsection montage of the film was so lyrically beautiful it makes you remember the first time you feel love in you life. Campion set random images of her main chgaracter in different phases of bliss and all the while this beautiful, minimalist score is punctuating the images, heightening them really, that I just wanted to keep replaying this sequence again and again. There was a very satifactory feeling of rest to the whole moment that I think was perfectly accentuated by the music. WHO IS THIS COMPOSER????????? I’ve never heard of this guy before. Has he done anything else of note????
His name is Mark Bradshaw Dennis, and believe it or not this is his first score of any distinction.
10. AN EDUCATION 9. FANTASTIC MR. FOX 8. CRAZY HEART 7. THE MESSENGER 6. PARANORMAL ACTIVITY 5. DISTRICT 9 4. THE LOVELY BONES 3. AVATAR 2. THE HURT LOCKER 1. BRIGHT STAR…. If you put an automatic, cocked, to my head and asked me to name my ten best for 2009, my list would be just that.
Excellent list Dennis!!!!
WHOOPS!!!!!! BIG MISTAKE!!!!! I FORGOT SOMETHING!!!!! Move everything from number four down a slot and wedge Pixar’s UP into the number 4 position. How I forgot this film is totally embarrassing. One of the supreme films of the year in my thinking…..
Yes, that one is definitely essential.
Thanks as always for the site plug, Sam.
In what is becoming an all too common event in my life, I tried to watch Jia Zhangke’s 24 CITY twice this week and fell asleep both times, making it increasingly difficult to critique the film! I will attempt to watch again today and see if things go better.
Over the 3-day weekend, my wife and I watched all 22 episodes of the first season of FRIDAY NIGHT LIGHTS. Peter Berg and Jason Katims have created a perfect blend of sports show and drama. They have taken many of the standard TV storylines and actually breathed some life into them with outstanding dialogue, unique camera work, and some of the best acting found on network TV over the last few years. Standout performances by Kyle Chandler and Connie Britton, especially, as Coach Eric Taylor and his wife, Tami, and Zach Gilford as the viewer’s surrogate, Matt Saracen. I’ll have a full write-up on the first season by the end of tomorrow.
Well Troy, as always thanks for the much-appreciated submission on this thread. I know there are instances where certain films – as I related on your blog – require numerous ‘start ups.’ It’s just one of those things, connected to energy, timing and the right trigger. I am most impressed with what you say about that television series! It’s great that you and Trisha are on the same page too!
Speaking of Monday Morning Diary…Better late than…never!
I say…
…Hi! Sam Juliano, Allan, and WitD readers,
Hmm…What an interesting round up of films to end your week, but I must admit that I really hate to read the negative feed back about the film the Wolfman. Because the trailer for the film looked sooo… promising.
October Country, Barefoot to Timbuktu and The Vicious Kind…seems like the films to seek out to watch.
Sam Juliano, I was so happy to participate in the For the Love of Film blogathon (Which is still ongoing…all this week…) this week, but most importantly, to assist two new acquaintances out… Marilyn from over there at Ferdy on Film and Greg Ferrara, from over there at Cinemastyle and acquaintance The Self-Styled Siren from her self-titled blog.
I also want to take out time from focusing on self and wish Troy and his lovely wife Tricia and their…beautiful little daughter Madelyn, whom celebrate her Happy “First” Birthday. When readers, get time check out Troy’s blog Olson Family Matters it’s a journal and a journey.
Thanks, for Sharing!
First of all, Sam Juliano, thanks for the mention…as usual, but most importantly, I truly appreciate your’s and Alan’s (Oops! Allan, ugh! I’am going to be flogged!) sense of humour (your sarcastic witty “quip”…) and Allan’s tongue firmly planted in his cheeks brand of humour…lol !!!!
Once again I didn’t watch any films, but I did purchased two books
Film Noir, Femmes Fatales and Crime Movie Vintage Posters From Day One. Book 1: Hollywood Studios Posters of the Silver Screen, Classic Period and The Gangsters Days. (Volume 1)
by Maximillien De Lafayette and Melinda Pomerol and Film Noir,
Femmes Fatales and Crime Movie Vintage Posters From Day One. Book 2: Hollywood Studios Posters of the Silver Screen, Classic Period and The Gangsters Days. (Volume 2)
by Maximillien De Lafayette and Melinda Pomerleau.
(I’am not sure when Volume 3 and Volume 4 will be released but I will be keeping my “ear to the ground” once they are released and I completed a series of drawing of the human hand(s.)
Films That I purchased or Plan to Purchase later Today:
Deported,
Slattery Hurricane,
Inside Job,
The Third Voice,
The Gangster, and
Redlight
Alfred Hitchcock’s Waltzes From Vienna…and in my shopping cart waiting… Mystery, Suspense, Film Noir and Detective Movies on DVD: A Guide to the Best in Cinema Thrills by John Howard Reid and Hardboiled Hollywood: The True Crime Stories that Inspired the Great Noir Films by~ Max Décharné (Author)
both are in the cart…
By the way, great graphics by Tony and Allan…as usual.
Arts…No comment…
Theatre, No comment…
Music…No Comment Food … Hmmm…a very light touch…as usual.
Sports… No Comment,…but of course!…too many men (and women) are reading this…I think!
Politics…No Comment
Sam Juliano, I guess that about wrap up my week in review for this week.
Take care!
DeeDee 😉
Thank YOU, DeeDee for the generous compliment to my family and my blog. I appreciate the kind words immensely. Needless to say, our daughter did get spoiled quite well last night, but she deserves it.
Yet another wonderful and effervescent addition to this beloved thread, and you have an incomparable track record, Dee Dee. Yes, I quite agree with you on the worthiness of the blogothon, and both Marilyn Ferdinand and Greg Ferrara are very good people! I should have known that this project would attract you and your singular crusade of promotion.
Yes, that is Troy and Trisha very special joy and the rightful center of their lives right now, another matter that is always important to you, my very dear friend.
Yes, I’m saddened to relate the news about WOLFMAN, but I’m just one voice. David Schleicher liked it way more, and defened it quite well at his place. As far as those others, yes I thought them reasonably solid, but last night’s film, LOURDES about a handicapped woman who visits the celebrated Catholic holy place. I am working on a review now, though Jon Lanthier’s SLANT piece can’t be touched, not that I’d even try to.
As always your activities on the book acquisition and DVD buying front are remarkable.
Haha, you’re much too kind, Sam. I await your “Lourdes” review with growing impatience!