by Sam Juliano
The thrilling appearance of the lead singer and songwriter of the British band ‘The Housemartins,’ Paul Heaton, in the comment thread under Jamie Uhler’s outstanding consideration of the group, was one of the site’s most honored moments ever. This is the second time Mr. Uhler has attracted the attention of the key artist in one of his feature posts, and he is to be enthusiastically applauded.
Meanwhile, Stephen Russell-Gebbett’s uniquely esoteric and trenchant animation countdown continues, with a wide assortment of sub-genres and forms making for as diverse a treatment as we’ve ever seen in any genre listing. Joel Bocko a.k.a. Movie Man has thankly continued on with his “Sunday afternoon Matinee” series after completing his long-running “Best of the 21st Century” feature. Elsewhere, Andrew Wyatt is presently covering the St. Louis Film Festival, and Adam Zanzie of Icebox Movies is just weeks away from his scheduled Steven Spielberg blogothon, (which he will co-moderate with fellow blogger Ryan Kelly). Jason Marshall has resumed with his annual coverage of cinema, and is well into 1937 at Movies Over Matter. Back at Wonders Jim Clark penned another one of his classically exhaustive essays, examining Federico’s Fellini’s 8 1/2, and Allan continues with his “Fish Obscuro” label, which at present plows onward with some outstanding works in Japanese cinema. Both Bob Clark and Maurizio Roca are waiting in the wings with their planned countdowns in science-fiction and film noir that will come up after Stephen’s animation project is concluded. Volunteers are being sought for planned ventures into the Western, the War Film and music pollings for Best Songs and Best Albums. Yours Truly will be managing the Best Musical Film Polling, while Joel has indicated he may be interested in doing one on the Best Documentary Films.
At the “Thriller A Day” thread Wonders regular, Bobby J. of the U.K. has contributed some of the most superlative comments I’ve ever seen anywhere, though his brilliance and background need to introduction here. He has informed that the same site and esteemed moderators will be doing the same thing with the classic Outer Limits episodes at the beginning of 2011.
In the real world, Thanksgiving is nearly upon us, and stores all over have begun to exhibit Christmas displays. Weather has remained moderate in the northeast, though it’s almost a given the cold stuff is around the corner.
I managed three outings this week: an HD opera simulcast in a local multiplex, a stage work at the Brooklyn Academy of Music (based on a classic of Japanese cinema) and a new movie release:
Unstoppable ** (Friday evening) Edgewater National Amusements
The BAM stage show seen on Saturday night at 7:30 P.M., based on Akira Kurosawa’s Macbeth adapatation, Throne of Blood utilized some exciting set design, including a rectangular strip across the top of the stage which utilized some film elements. The costumes and lightening were striking and a few key scenes were visually arresting. The work was commissioned from the Oregon Shakespeare Festival and was adapted and directed by Ping Chong from the Kurosawa film. The 1957 film is widely-regardd as the best film adapataion of Macbeth, a rather ironic opinion in view of the fact that the film is Japanese. But Kurosawa’s King Lear adaptation, Ran maintains a similar distinction. In any case, Kurosawa did not use a single line from the play, nor did he consult the text during the making of the film. Rather, he chose to distill the play down to its essence, keeping most of the principle characters and plot elements and transposing them through the prism of the Noh theatre, from medieval Scotland to fedal Japan. Noh theatre, like Elizabethan drama, is a poetic theatre form, but its spare eloquence connects with some contemporary sensibilities. In Noh, performers wear caved wooden masks and they play set character types. Their task is not to invent individuals with singular psychologies, as in the tradition of Western realism, but to signify the essence or spirit of a character in a particular circumstance. Movements andgestures are formalized to respresent an action rather than being the action itself. For example, a hand lisfted to the eyes can mean that the character is crying and a fan open in front of the face can signify sleeping. This style of representation is also evident in set and prop pieces, where a twig can represent an entire landscape and a hoop of bamboo can signify an entire ship. Kurosawa successfully translated the Bard’s poetic language to powerful visual images, utilizing the poetic minimalism of Noh to infuse everything- a barren landscape, the sound of crows, and actor’s posture or gesture or the silent passage of time with symbolic sgnificance. The production was delivered in English and was only marred by some indecipherable dialogue and some seriously uncomfortable seats in the main building’s central auditorium.
The Metropolitan Opera simulcast of Donizetti’s Don Pasquale was seen at the Secaucus multiplex on Saturday afternoon at 1:00 P.M. The three-hour and fifteen minute running time included one long intermision. A full review appears above the Diary.
Denzel Washington’s newest actioner, UNSTOPPABLE, is a rather conventional and tedious affair patterned after a number of far better films of this kind, and the generally favorable notices seems more of a comment of teh dearth of worthwhile new releases out there in the multiplexes, rather than any succinct comment on quality. This one seems to emply every trick in the book, and not in a very good way.
Anyway, the blogosphere continues to thrive as this very vital juncture in the year, a time when all the good stuff is suppose to materialize.
Andrew Wyatt has begun his coverage of the St. Louis Film Festival, and will be reporting back to his Gateway Cinephiles home: http://gatewaycinephiles.com/category/stliff-2010/
John Greco continues his stellar work at Twenty Four Frames with his review Hangover Square by John Brahm, following up on his review of the same director’s The Lodger earlier in the week: http://twentyfourframes.wordpress.com/2010/11/13/hangover-square-1945-john-brahm/
Troy Olson, fresh off his extraordinary performance during the recently-completed horror countdown at Wonders, has re-ignited the activity at Elusive as Robert Denby: The Life and Times of Troy, by posting a feature titled “Best Worst Movie” as well as offering up a sidebar of directorial choices for his next project (to be voted on by readers): http://troyolson.blogspot.com/2010/11/best-worst-movie.html
Meanwhile, over at Hugo Stiglitz Makes Movies, Kevin Olson has penned a fantastic review of David Fincher’s The Social Network, in advance of his upcoming series on director Ken Russell: http://kolson-kevinsblog.blogspot.com/2010/11/social-network.html
In his latest post at FilmsNoir.net, “New York City Noir: The Concrete Jungle” Tony d’Ambra considers Anthony Mann’s notable (if underrated) feature, Side Street starring Farley Granger and Cathy O’Donnell. A great display of screen caps are offered, as well as a few defining passages: http://filmsnoir.net/film_noir/new-york-city-noir-the-concrete-jungle.html
In her most recent alphabetical entry dealing with the letter “F” Laurie Buchanan at Speaking From the Heart offers up “Feathers” and asserts: “Metaphorically speaking, a feather is synonymous with the soul. Sacred since the beginning of time, feathers have symbolically represented spiritual evolution, truth, speed, lightness, ascension, and flight—freedom of the human spirit.” Another extraordinary post in this great series: http://holessence.wordpress.com/2010/11/14/f-is-for-feathers/
Over at Movie Classics Judy Geater offers up a fabulous review of a hard-to-find film, George Cukor’s pre-code A Bill of Divorcement, starring John Barrymore and Katherine Hepburn in memorable portrayals. http://movieclassics.wordpress.com/2010/11/07/a-bill-of-divorcement-1932/
In her latest post “Home Becomes Gallery” Terrill Welch invites everyone to drop in to her rustic abode, where some great works of art are there for your approval. It’s a place for true immersion: http://creativepotager.wordpress.com/2010/11/12/home-becomes-gallery/
Stephen Russell-Gebbett has again upped the ante for creative posts with his latest at Checking on my Sausages on “Body Parts Point of View”: http://checkingonmysausages.blogspot.com/2010/11/body-parts-points-of-view.html
Jaime Grijalba has posted a wonderful screen cap to classic line display from Todd Browing’s classic Dracula (1931) at Exodus 8:2 that fully deserves a look: http://exodus8-2.blogspot.com/2010/11/dracula-1931.html
At Marilyn Ferdinand’s Ferdy on Films, Roderick Heath is headlining with a superlative essay on Samuel Fuller’s Verboten!: http://www.ferdyonfilms.com/?p=7081
At the Coffee Messiah’s brewery Michael Harford reminds his readers that drinking coffee remains an intoxicating experience: http://coffeemessiah.blogspot.com/2010/11/coffee.html
Filmmaker Jeffrey Goodman’s “several moments” in film and music (at The Last Lullaby) post does bring to the table some of the most special movements and/or periods in the form: http://cahierspositif.blogspot.com/2010/10/some-artists-id-love-to-document-or-see.html
David Schleicher at “The Schleicher Spin” has penned an ultra-enthusiastic assessment of Fair Game with Naomi Watts that’s a must read for contemporary movie fans: http://theschleicherspin.com/2010/11/08/weapons-of-mass-distraction/
At The Blue Vial Drew McIntosh has announced the launching of a new blog, “Planely Possible” that will consider classic television. It’s really an exciting venture!: http://thebluevial.blogspot.com/2010/11/five-from-favorite-planely-possible.html
At “Vermilion and One Nights’ our friend in Tokyo, “Murderous Ink” states under his newest post: “Here is another Masahiro Makino film clip. The clip is the last climax of CHIKEMURI TAKADANOBABA (1937). This was one of the two blockbusters of 1937 New Year Season, and amazingly, both of them were directed by Makino.” http://vermillionandonenights.blogspot.com/2010/11/run-yasubei-run.html
Dan Getahun has posted his latest in his excellent ‘300 Words’ series, on the documentary Waste Land at Getafilm: http://getafilm.blogspot.com/2010/11/300-words-about-waste-land.html
Shubhajit Leheri, the master of the capsule review has again penned a dead-on assessment of the Bogart classic The Roaring Twenties at “Cinemascope”: http://cliched-monologues.blogspot.com/2010/11/roaring-twenties-1939.html
Our Canadian friend Jeopardy Girl gets a painful lesson in “buying” as conveyed in “That’s What Happens” at her candidly engaging “The Continuing Adventures of Jeopardy Girl” blogsite: http://jeopardygirl.wordpress.com/2010/10/18/thats-what-happens/
At Doodad Kind of Town, our good friend Pat takes a close look at two films that star ‘Jennifers’ – Lopez and Anniston. It’s a creative piece that examines common ground in both: http://doodadkindoftown.wordpress.com/2010/10/02/whos-your-daddy-a-tale-of-two-jennifers/
Ryan Kelly waxes lyrical about the just-completed World Series won by the San Francisco Giants at Medfly Quarantine: http://medflyquarantine.blogspot.com/2010/11/106.html
Dave Van Poppel considers Kelly Reichart’s Meek’s Cutoff as his latest stellar review of ‘realist cinema’ at Visions of Non-Fiction: http://visionsofnonfiction.blogspot.com/2010/09/meeks-cutoff.html
Our friend Anu is still highlighting a very fine review of Dennis Hopper’s The Last Movie at The Confidential Report: http://theconfidentialreport.wordpress.com/2010/08/12/dennis-hoppers-the-last-movie/
Both Dee Dee and Longman Oz, two of our very favorite people remain in our hearts.
I had an absolutely insane movie-watching weekend with Lars Von Trier’s Antichrist on DVD Friday night (which I can’t even rate as it was so torturous…yet so…ART!!!!!) and then I caught Danny Boyle’s latest ADD-adventure, 127 Hours, in Manhattan on Sunday afternoon, which I just finished penning a review of.
Needless to say, after those two films, I am spent.
Splitter! Part-timer! 🙂
David: I do remember your split decision on ANTICHRIST, and it seems you are maintaining that position. I see it as a work of art too, but it’s exceedingly disturbing and for me a reminder of some of the most depressing times of my life. Still, it’s opening is beautiful, and there are some stunning compositions throughout. I have my fingers crossed on your review of 127 HOURS, which I’ll be checking out soon.
Thanks as always my very good friend!
Thanks for the kind mention as always Sam. I think Tony Scott has done some fantastic work in the past, but I’ve heard some weird things about this newest one, and I’m entirely undecided as to whether I’ll be catching it on the big or not.
Over the weekend I watched Feuillade’s Tragic Error for I think the tenth time or something (hence my latest little post), and I also revisited a couple of Fincher’s movies- Se7en and The Game, both as perfectly moody and masterful as I remember.
Sorry Drew – Tony Scott and fantastic work do not go in the same sentence. When your best film is True Romance, that’s as big a condemnation as could be offered.
Well perhaps “fantastic work” was going over the edge, but I’ve always found him to be at the very least a consistently interesting stylist throughout his career. I thought Domino was one of the more fascinating Hollywood films in recent memory – it was borderline avant-garde. I’ve enjoyed many of his films – Crimson Tide, Enemy of the State, The Hunger, and yes True Romance, and even his failures are at least interesting in one way or another most of the time.
Thanks so much Drew. Scott does have some well-respected adherents for his earlier work for sure, so I am reluctant to embrace Allan’s uncompromising position. In any case, reviews have been excellent for UNSTOPPABLE, so I’d definitely investigate it for yourself.
I can’t blame you for your infatuation with the Feuillade (and very nice post there at THE BLUE VIAL!) and re-watching the Finchers comes at a good time considering the release of THE SOCIAL NETWORK. Both of those films are indeed “moody” and “masterful.”
As always Drew, your presence here is deeply valued!
Thank you very much for the plug, Sam, and for again taking the time to put together all these links. It is a real feather in the cap of this blog that Paul Heaton commented on Jamie’s posting.
I haven’t made it to the cinema this week, but have watched three oldies – one was Sturges’ ‘The Lady Eve’, which I’ll admit I didn’t love as much as I’d expected to even though Stanwyck is wonderful. I suppose I’d hoped for more quickfire dialogue and fewer scenes of Henry Fonda falling over – but maybe I was just in the wrong mood for it, as I know it is a much-loved screwball classic.
The others were two 1932 films – ‘Rasputin and the Empress’ (Richard Boleslawski), starring all three Barrymores but with Lionel in gloriously over-the-top form as Rasputin, hardly giving John or Ethel a look-in, and ‘State’s Attorney’ (George Archinbaud), a smaller-scale comedy-drama which is basically John Barrymore playing himself, as a handsome lawyer who puts on outrageously dramatic performances in the courtroom but has a drink problem. I really enjoyed both of these pre-Codes – but then, sometimes I think I love every film I see which was made between 1930 and 1934!
Right you are, Judy. only yesterday I watched THE MOUTHPIECE again. Fantastic.
“You are an unmitigated scoundrel” – “thank you, I find it better than being an ordinary one.”
Thanks, Allan – I haven’t seen ‘The Mouthpiece’ as yet, but it sounds great from that snippet!
Thanks so very much for that Judy!
Yes, Mr. Heaton’s appearance here was an honor for this blog, and for Jamie Uhler in particular. Seems Jamie has a knack for bringing heavy hitters to the site, and I do congratulate him.
I understand where you are coming from with THE LADY EVE. I like it (and do find it as a screwball classic) but it’s not quite my favorite Sturges. That would be SULLIVANS TRAVELS. I agree that Stanwyck is typically superlative, though.
Well, Judy, I can’t blame you for your partially for films made between 1930 and 1934, as it’s a vintage period. I didn’t see STATE’S ATTORNEY, but I did like RASPUTIN AND THE EMPRESS, which was campy fun. Barrymore is quite wonderful in that over-the-top portrayal. Boleslawski directed the 1936 LES MISERABLES with Frederick March and Charles Laughton.
Thanks as always Judy for the stalwart support and friendship!
Vitriol is my middle name. Most people think it’s Douglas, but no, Vitriol’s there on my birth certificate.
Ha Rod! I can always count on you to spice things up around here!
Thanks, as always!
Sam, thanks so much for the wonderful mention.
Your write-up of THRONE OF BLOOD was very interesting and seems like quite the experience. I would love to be there to see it.
My week here was a little slower than normal, in terms of movie-watching. I was only able to catch THE SMALL BACK ROOM, THE WHITE SHEIK, and THE DAY THE EARTH STOOD STILL. Of the three, I would have to say the Wise film affected me the most. It certainly is an example of extremely fine craftsmanship and left me wondering whether Wise’s reputation is maybe a little less than he deserves.
Looking forward to the weeks ahead. Thanks, Sam, for your incredible cinephile spirit!
Jeffrey, once again I salute you for your incomparable kindness and statesmanship. Your loyalty to this thread has been an inspiration.
Lovers of THRONE OF BLOOD would indeed be well-served to see this production. It manages to create and sustain the dark and brooding quality of the film, and the staging makes excellent use of a widescreen film canvas. Shakespeare lovers too would appreciate this.
Yes, Wise is underrated. He directed what may well be the greatets musical ever in WSS, and the most popular musical in TSOM. But his noirs, work with Val Lewton and stand alone gems like THE HAUNTING and this one make his output prolific and diverse. I saw THE DAY THE EARTH STOOD STILL a few years back at the Jersey City Loews, and the late Patricia Neal showed up to speak. It was a memorable evening. The Powell and Pressberger and Fellini you saw are also notable achievements, but TDTESS is a sci-fi classic.
Thanks again my excellent friend!
No talking about the Jets and Giants?
Seems like for now the Jets have the upper hand, pulling out another close one, while the Giants felt back, losing an ugly one to the then 1-7 Cowboys.
The Giants gave me a depressing afternoon.
Hey guys, we have a long way to go. There will always be ups and downs! The Cowboys were long overdue.
You guys are always locking horns. It wouldn’t at all surprise me if the teams ended the year with identical records. But it does seem like the Jets are getting all the breaks so far!
THREE outings this week, Sam. You are clearly a man on the go! And then to turn around and wordsmith your adventures for the rest of us is icing on the cake – thank you! (and thank you, too, for the nod at Speaking from the Heart)
Well Laurie, compared to my activities of the past months -when film festivals attracted strong attendance- I have cut down my adventures. I attended only three “events”, though one was lengthy, and the other required a trip to Brooklyn. But I am finally learning that “moderation” is the best policy in everything we do. As always I can’t thank you enough for all your advice, optimism, and kindness. You are an amazing person!
Sam, I wish that Throne of Blood production would head upstate. If they can turn movie musicals into stage musicals, I wonder why things like this aren’t attempted more often. I’m looking forward to your own musical countdown after finishing Furia and Patterson’s THE SONGS OF HOLLYWOOD this week. It should go down as an essential guide to the genre’s evolution and the mystery of “people breaking into song.” Next on the reading list is Tino Balio’s new study THE FOREIGN FILM RENAISSANCE ON AMERICAN SCREENS, 1946-1973, a needed account of the marketing and critical reception here of movies from OPEN CITY through LAST TANGO IN PARIS, encompassing a “heroic age” when something like LA DOLCE VITA could become a domestic blockbuster.
I also have my nose in James Ellroy and Otto Penzler’s anthology BEST AMERICAN NOIR OF THE TWENTIETH CENTURY, which is of interest for movie fans for including the stories that inspired Tod Browning’s FREAKS and Joseph H. Lewis’s GUN CRAZY. Both Tod Robbins’s “Spurs” and Mackinlay Kantor’s “Gun Crazy” are very different and indisputably inferior to their film adaptations. The anthology as a whole is interesting for advancing a definition of noir independent of cinematic considerations, defining the literary genre by its dependence on impulsive, compulsive personalities. It arguably suffers from a bias in favor of Ellroy and Penzler’s generation; are we really meant to believe that the majority of the “Best American Noir…” was written after 1980? I have my doubts.
Between reading and errands, I didn’t watch a lot. What I did see were Thomas McGuane’s eccentric 92 IN THE SHADE, Elio Petri’s very eccentric A QUIET PLACE IN THE COUNTRY, and Richard Fleischer’s (euphemistically speaking) eccentric MANDINGO, for which a review should be up sometime today. Thanks as always for the shout-out, and stay well this week!
Hey Samuel. Thanks again for your ever-fecund and thorough report in the service of this site and thread. You are an extraordinary sport and generous guy. Both THE SONGS OF HOLLYWOOD and THE FOREIGN FILM RENAISSANCE ON AMERICAN SCREENS, 1946-1973 sound like must-reads. The first of course is a must for me and I ponder the specifics of the musical poll. Ellroy and Penzler’s book too sounds fascinating based on what you say here. I had mixed feelings on 92 IN THE SHADE, but liked MANDINGO, As to A QUIET PLACE IN THE COUNTRY I recall the dazzling cinematography especially.
Basede on what you say about that noir date I also have my doubts.
Thanks as always my very good friend for this awesome ereport!
I’m excited to hear the news of the upcoming Outer Limits blogothon. I hope to make some contributions.
I wouldn’t have expected much from Unstoppable; still I was amazed so many went for it. I really wanted to see Inside Job, since it was playing in Montclair, but just couldn’t swing it. That BAM show sounds like something I would have appreciated.
Frederick:
I have really wanted to see INSIDE JOB as of late, but hadn’t realized it was playing in Monclair. It is being touted by many as the year’s best documentary in a years rich with such works.
Yes, I’m sure the BAM production would have resonated with you!
I’ll be reminding you when the OL blogothon commences!
Thanks as always my very good friend!
Well, my Oregon Ducks are still #1 in the country and just two games away from a national title game. I did have to suffer through them playing their first game of the year where the result wasn’t a foregone conclusion 5 minutes into the fourth quarter (if not earlier). I forgot how bad I get when my teams don’t play up to my expectations…had to keep looking to my daughter sitting next to me to remind myself to not blurt out multiple expletives or hurl things at the TV 😛
Beginning to work my way through the 2010 films, or at least those that were released in my neck of the woods around 2010, lest I receive a scolding from Allan on the proper release dates of foreign films 😉
I wrote about BEST WORST MOVIE (***), which was a fun diversion for those interested in the cult of bad movies.
I also saw LAST TRAIN HOME (****), a documentary on a family of Chinese migrant workers and their yearly sojourn during Chinese New Year, as well as THE GHOST WRITER (***1/2), which was a enjoyable Polanski film with a good mix of wit and suspense, but not much beyond that. I intend on writing about both of these this week.
Troy: Just did some reading on the Ducks and found this telling passage:
Oregon have a bye this upcoming weekend and that should ensure that they remain the top team in the nation for at least another week. After that Oregon host the Arizona Wildcats on November 26th and then the Ducks are away at Oregon State on December 4th.
That should spell 12-0 for Oregon and trip to the national championship but college football fans know that strange things can happen. The Ducks are the team playing under pressure while their opponents have nothing to lose.”
With a 12-0 record still attainable, I expect you, Trish and Madelyn (and Kevin of course) will be on celebration mode soon enough. Good Luck!
Yes, you must ALWAYS be on your toes here. You never know when your innocent excitement can be misread for cinematic cluelessness!!! Ha!
I like THE GHOST WRITER, but like you didn’t find it as anything great. Seems like we are the exception though in the blogosphere. Haven’t seen BEST WORST MOVIE but enjoyed your review, and agree on the high regard for the Chinese film!
Thanks as always my very good friend for everything!
Oh, and even with all the behind-the-scenes wranglings and what not, can we please repost Allan’s piece on Thomson’s book. I had begun to read it last night and then my computer crashed. When I reloaded this morning, I see it’s been taken down. I guess I can log in to the site and read it, but it really should be out here for everyone to see.
Aye Troy! It is my understanding the piece will be up sometime tomorrow. It’s an excellent and vital piece for all sorts of reasons!
Thanks a lot for the mention, Sam. You seem to have had a relatively relaxed week. Can’t say the same for me though. Life’s exceedingly hectic right now. Just about managed some time to pen my review of The Maltese Falcon, and browse through some of the blogs I love, including the one I love most, viz. WitD.
I’d be eager to know your views on the Huston-masterpiece that is often qualified as the first film noir ever made. That qualification is, I guess, disputable, but what is not, is that the film remains a milestone in the cannon of masterpiece that the film noir movement provided us cinephiles with.
Take care.
Hey Shubhajit! You have THE MALTESE FALCON up there? I’ll definitely be over pronto! Great to see you are managing your balancing act, and are keeping CINEMASCOPE up and viable. As to FALCON, yeah it’s a landmark film for all sorts of reasons, and particularly for noir lovers. I’d say it contends for Huston’s best film with the likes of THE TREASURE OF THE SIERRA MADRE, THE DEAD and FAT CITY.
Thanks so much for those very nice words about the site my excellent friend!
Thank you, Sam-the-incredible, for all the pointers. Who needs RSS and stuff when you are presented with such relentless dedication?!
Cheers! And cheers again!
Well, I guess we can agree JAFB that comments like that are what make this all so gratifying. I hope I can soon get back into the swing of things, though I do see some sensible decision-making as vital.
Thanks for being such a great friend!
Thanks, Sam. The Patriots had a nice night yesterday…
Yes they did Joel. The rematch with the Jets will be quite the game!
Thanks as always my very good friend!
I caught the ending of Unstoppable and could only roll my eyes. It’s typical Tony Scott: loud rock/rap music, pointless jump cuts and shaky cam, corny dialogue, noise, noise, noise. When is he going to take filmmaking seriously?
Man, I want to see Throne of Blood; I also still need to see Welles’ adaptation of Macbeth, although I’ve heard it’s less than impressive. To date I’ve only seen the Polanski version, which, with its graphic sex and violence, suits me just fine haha
Last Thursday I attended the premiere of Casino Jack at the St. Louis Film Festival (wonder if Andrew Wyatt was there?), even though oviously Hickenlooper couldn’t be there. The movie is AMAZING! I don’t know if you’ve seen it yet Sam, but you’re in for a big surprise. It’s in my top five of the year.
There was also a surprise guest there: Kevin Spacey himself. I got to ask him a question during the Q & A, which I’ll most likely be writing about.
That’s FANTASTIC that you met Spacey, Adam, and got in some questions to boot! I haven’t seen CASINO JACK yet, but perhaps Andrew did manage it. I have a lot of confidence in your views, and will see it at first chance. You penned a lovely tribute to Hickenlooper at ICEBOX MOVIES.
Adam I can’t agree with you more on Tony Scott and UNSTOPPABLE. His kind of filmmaking lacks any kind of artistry in any sense. THRONE OF BLOOD rates with IKIRU, SEVEN SAMURAI, HIGH AND LOW, RAN and RASHOMON as one of Kurosawa’s greatest films, and as far as MACBETH adaptations go it’s near the top. I agree with you on the Polanski version, and while the Welles is flawed it contains some excellent performances and some perfectly realize brooding atmosphere.
Thanks as alway sfor the terrific report my friend!
Sam thanks as always for the shout out! As you can imagine, no movies for me over the last few days. The two days of home studio openings went swimmingly though. But “rustic” Sam… my hand-milled strawbale timberframe home cringed just a little – poor la casa de inspiracion 🙂 It is true though, our home is handmade and in that sense is “rustic” – even if the finish makes those that admire woodwork drool. Always a thrill to share community with you!
What I do have for you and your dear readers is a little gem of images I came across of a “letter from a vanishing world – the reader” http://www.squareamerica.com/read.htm which if you poke around connects to a book by the authors. Feels a little like discovering a secret alley or passage way into the past when viewing these images.
thanks, this book seems awesome. I’ll have to add it to my wishlist.
Glad it was useful and inspiring Jamie. I think I just might add it to mine as well:)
Ah Terrill, I was thinking of rustic as rural, pastoral and picturesque, which qualifies your home, but it’s actually far more formidable than any of those definitions for sure. As of late it’s been a showcase to some beautiful art.
Those images are striking, a time portal back to a simpler time. It’s definitely a book to get hold of, and thanks so much for sharing it here.
As always it’s a special treat to have your submission here my very good friend!
Hi! Sam Juliano, Allan, and Wonders in the Dark readers…
Once again…let me take a look at what you did this week…
Sam Juliano said,”I managed three outings this week: an HD opera simulcast in a local multiplex,…
Sam Juliano is this the opera simulcast cast of which you speak?…Metropolitan Opera HD Broadcast of Gaetano Donizetti’s ‘Don Pasquale’
…a stage work at the Brooklyn Academy of Music (based on a classic of Japanese cinema) and a new movie release: Unstoppable…
… I can see that the film Unstoppable was the kind of, weakest link…alone this week.
Sam Juliano,”The thrilling appearance of the lead singer and songwriter of the British band ‘The Housemartins,’ Paul Heaton, in the comment thread under Jamie Uhler’s outstanding consideration of the group, was one of the site’s most honored moments ever. This is the second time Mr. Uhler has attracted the attention of the key artist in one of his feature posts, and he is to be enthusiastically applauded…”
By the way, I would have to agree with you, that was a nice gesture on behalf of the lead singer and songwriter of the British band “‘The House martins” to stop by and leave a comment unfortunately, I’am not familiar with this group yet, (with“yet” being the operative word.) However, not to rain on the parade I would think that was a ‘thrill” for those whom are familiar with the group…“The House-martins.”
Sam, unfortunately, I have not watched any new films or read any new books this week. I must admit that I have been busy assisting my parents (with housework) and my administrator, over there with his Ning this week.
However, I have returned to that thing called… Steam-punk. Why? you may ask…Because a couple Of people told me that Steam-punk isn’t a “fad,” but a “genre”…and after giving it a second look I have to admit that I agree with them and I tuned in to watch Dr.Who (2009)…In honour of my return to Steam-punk.
Sam Juliano, Thank-you, so much for the mention…as usual.
Take care!
DeeDee 😉 🙂
Dee, they are right – Steam-Punk is an honoured genre and the ‘Dr. Who’ to watch for it is ‘The Talons of Weng-Chiang’, the essence of Steam-Punk…
As always Dee Dee, I appreciate your thoughtful comments under my music and opera pieces. DON PASQUALE was a real delight, and the HD simulcast introduced this timeless masterwork to many who couldn’t afford tickets at the Met (or couldn’t make the trip over there). The stage work at BAM was THRONE OF BLOOD, based on Akira Kurosawa’s film classic. There were some minor issues, but by and large this was highly imaginative staging.
Yes, UNSTOPPABLE was easily the weak link, but the film received some very impressive reviews and is doing good b.o. I didn’t care all that much for it, but others do feel differently.
I agree Dee Dee, that it was a big honor for Jamie and Wonders in the Dark to have had Paul Heaton leave a comment. I know Jamie was on Cloud 9, as well he should be.
I know you have generously assisted your folks and have lent a helping hand to those blog administrators, again typical for you. As a result you had a slower week on the cultural week, which is most understandable.
Thanks again for your traditionally excellent comment here, my wonderful friend!
Allo! Allo! Bobby J.,
Bobby J. said, “Dee, they are right – Steam-Punk is an honoured genre and the ‘Dr. Who’ to watch for it is ‘The Talons of Weng-Chiang’, the essence of Steam-Punk…”
Right you are!
As a matter of fact, I’am in search of this title (Video) in order to add it back on my Vodpod…
As I touch my pointer-finger to my temple and repeat these words…The Talons of Weng-Chiang, which is considered the essence of Steam-Punk.
By the way, Bobby J. I have been lurking over there on the A-Thriller-A-Day (Boris Karloff’s Thriller) blogspot (when time permitted me to do so…) reading not only yours, Sam Juliano, but the other commenter’s comments too!
All I can say is…say it’s so that the countdown has “officially” come to an end?!?
DeeDee 😉 🙂
I’m sure Bobby will see this Dee Dee, but just wanted to add that the final post on the THRILLER FOR A DAY venture is up there now. They have officially proclaimed that beginning January 1st they will proceed with the original OUTER LIMITS. As there are 49 episodes of that show it is clear it will run about two months when you add in the days with special features. David J. Schow, who authored THE OUTER LIMITS COMPANION (and who contributed to the Thriller threads) will no doubt be a major player this time around.
I’ll admit I don’t know much about Steam Punk, but applaud all the enthusiasm here!
Hi! Sam Juliano, Allan, Tony, Bobby J., and WitD readers…
Joseph Losey’s The Prowler is coming from VCI on Feb 1.
Joseph Losey’s “The Prowler” Is finally available on DVD…According to ClassicFlix
(On a personal note: I kind of, figured that it would soon be released on DVD with a [Eddie] Muller commentary…As a matter of fact, I watched the middle and end of this film this Saturday morning. (and I mentioned on my administrator’s Ning that I can’t hardly wait for this film to be released with Muller’s commentary…I was just kidding, but Of course!
Who Knew?!? as I shrug my shoulders an protrude my bottom lip!)
Therefore, I will be looking forward to this DVD and most definitely the extras…
Famed director Joseph Losey’s long neglected masterpiece, scripted by legendary blacklisted screenwriter Dalton Trumbo, has been restored to its original bleak splendor by the Film Noir Foundation and the UCLA Film & Television Archive.
The Synopsis:
A nefarious cop stalks a lonely, repressed Los Angeles housewife and decides to win her in the traditional film noir fashion – by knocking off her husband!
Bonus Features: Documentary featurette “The Cost of Living: Creating The Prowler,” with James Ellroy, Christopher Trumbo, Denise Hamilton and Alan K. Rode, “Masterpiece in the Margins”: Bertrand Tavernier on The Prowler, On the Prowl: Restoring The Prowler. The Film Noir Foundation and UCLA Film & Television Archive Partnership, Photo Gallery, Audio Commentary by Film Noir Expert Eddie Muller, Original Theatrical Trailer Product Specs: DVD9; Dolby Digital 2.0; RT – 92 minutes; B&W; Aspect Ratio – 1.37:1 – 4×3; Year – 1951; SRP – $19.99…
DeeDee 😉 🙂
Dee Dee: Fantastic post here! Allan had informed me by e mail a few days ago that THE PROWLER was just announced, but I appreciate this detailed information of the DVD extras. This was the one Losey film that had remained elusive, and many consider it among his best work. it’s definitely a time to celebrate for cineastes. I am thrilled too that Eddie Muller will have a commentary here, and know how you have followed his spirited appearances for severla years now in the noir community and at special festivals and events. VCI does very good work for their special editions.
As always thank you Sam. It looks like you had another busy week. What happened to slowing things down?
As for me, I made it out to a couple of new releases:
127 HOURS — very good.
FAIR GAME — pretty good.
I also got out to the Hardboild Hong Kong series at the Los Angeles County Museum of Art. They showed a double feature of THE KILLER and AS TEARS GO BY, neither of which I had seen before.
Of course I watched many other movies on DVD and Netflix Steaming, but no need to go into details there. Lots of stuff for my upcoming series on 1938.
Keep up the good work. Your efforts are greatly appreciated by me and many others, many of whom I’m sure we never hear from in comments.
Well Jason, when you consider some of the weeks I’ve had dating back to the summer, a seven-day period of three events is a scale back. For a number of reasons I’d like to keep things less hectic, so two or three cultural activities a week will be fine by me.
I did see your excellent review on 127 HOURS up at MOVIES OVER MATTER, and I do largely concur with your beautifully presented insights. I haven’t yet seen FAIR GAME, but your evaluation is just about what I would expected of it. I am a fan of Woo’s THE KILLER, but haven’t seen AS TEARS GO BY. That’s a great venue you attended there at the Los Angeles Museum of Art!
Thanks for those very flattering words, which are deeply appreciated. I look forward to your (stellar) continued coverage of 1938, my very good friend!
Hello Sam! It’s an honor to be featured once more on your blogroll, even with such a weak entry this time. The thing is I’ve been planning for a while to do an entry on Dracula, but I fell sick on Friday, spent Saturday and Sunday ill and even today I’m still coughing and sneezing, but I still have a LOT of things to do. Good thing I don’ have anymore classes since this friday, only deliveries, which shall be… exhausting.
Anyway, your outings seem to have been a really good time, except for the movie… which I’d like to see myself. I’m not a fan of “Deja Vu”… but I just love “Domino”… don’t ask why, I don’t even know myself… so I’ve been following his career for a while.
I’ve been editing the documentary I’m working on and it’s just fine, no perfect, but working. I also received the grade for the short I sent you and, as I guessed, the teacher repudiated it, giving it a failing grade (3,5 out of 7 in my country, being a 4 the aprooved grade), now I wish you would just talk to her, hahaha, well just kidding, but it would be awesome if one day she (as a documentary director she is) receives an email in english saying ‘oh this is the best thing ever’ hahahaha.
So yeah, I’ve been having rough days and I should be studying for a big test, but here I am, procastinating. Movie wise, my week was:
– Detective Dee and the Mystery of the Phantom Flame (2010, Hark Tsui) **** This was a good and entertaining kung fu movie without a lot of kung fu but a lot of sylish costumes and special effects, so give it a go if you’re a fan.
– Flipped (2010, Rob Reiner) **** Cute and well acted… nothing more.
– Maria (1988, Aleksandr Sokurov) **** Well made and touching, his documentary fails to be perfect because it shys away from its political statement, or so I thought.
– The Metamorphosis of Mr. Samsa (1977, Caroline Leaf) **** Yeah, the short featured on the animation countdown, I still think it can’t really compare itself to the novel… the death of Mr. Samsa would have been a nice animated event.
– Piranha (2010, Alexandre Aja) **** Geez, I’m just noticing I liked everything this week, I’m just condecending or make good choices? I don’t know, but as badly acted and ridiculous this was, I found it had a daring perspective that many horror movies miss.
– Swinging the Lambeth Walk (1849, Len Lye) **** I didn’t expect a thing from this short featured here and I got something really important ou of it. Good visuals.
– Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics (1911/Winsor McCay/J. Stuart Blackton) ***1/2 This was interesting when the animated part started, the rest was meh.
Anyway, not much else going on, sickness kicks in and glues me to the bed and the screen, so there you go.
Good wishes to all! Take Care.
Jaimie: I am sorry to hear that you have been under the weather, and hope you are feeling much better today. Your post on the Universal DRACULA wasn’t remotely weak at all. Your essay and screen caps gave this classic some very fair assessment.
As I stated in another response, UNSTOPPABLE actually received very solid reviews, with soem saying it is hands down Scott’s best film to date. But you must have a taste for this sort of thing. I liked RUNAWAY TRAIN with Jon Voight quite a bit more.
I am flabbergasted that your instructor gave you that kind of a grade, and I rather question her sanity! But apparently there is no rhyme or reason to the evaluation system there. Very sad.
I do agree with you on Sokurov’s documentary, which typically (for him) veered off the normal path. Still, a striking work. Great to see you added two from Stephen’s countdown. I liked both myself! I haven’t seen FLIPPED nor DETECTIVE DEE, but respect your reaction to both. Windsor McKay was a pioneer, but the work is antiquated now an difficult to appreciate.
I really hope you are feeling better, and am thrilled that your essay will be going up today at Wonders my very good friend!
Sam,
Thank you for posting the link again.
Your review of “Throne of Blood” stage adaptation is quite fascinating. As you states, Kurosawa’s film is itself derived from Shakespeare’s work, but has created “different” depth from the original “Macbeth”. I really wonder how the Kurosawa’s work was transformed on the stage, since Kurosawa’s cinematic devices are quite essential in his story telling. This is also interesting in that Japanese cinema is becoming commodity in global scale. This kind of “commoditization” used to be limited to mainly Hollywood cinema, and to some extent, French, Italian, pre-war German and Soviet cinema. And I do believe the same “commoditization” should happen to Korean, Chinese or Iranian or whatever cinema…. Appreciation of the talents and great works should be shared and cherished.
By the way, this year marks 100-year anniversary of Akira Kurosawa. Museum of Modern Art in Tokyo is running the special screenings of all his works, including digitally remastered RASHOMON.
While on the subject, I just read a story about how Kurosawa became a film director. It was during the war, and military influence was so powerful in Japanese film industry. Back in those days, to become a film director, you had to present your own work and pass the critical reviews by military personnel. They were mean, uneducated and quite unforgiving. To mitigate the matter a little, another film director would be present to give a professional opinion. Kurosawa was determined to become a film director, directing a film for the review but very upset about the whole process. He knew his temper would explode if any of the military personnel make a mean comment or uneducated slant. Ozu was called as a professional observer. After the screening, those military personnel made urbane remarks and pointless critiques. When Kurosawa was about to explode, Ozu stood up and said, “This is more than perfect, I have never seen better film than this. Congratulations, you are now a director.” and left. All the present, including Kurosawa, were completely dumbfounded. And Kurosawa was allowed to direct films professionally.
In later years, Kurosawa said, “Even though Ozu-san stopped me then, I should have yelled at those idiots.”
Such different characters, but both are great nonetheless.
MI
Murderous Ink:
My deepest apologies for the long delay in responding here. I have neglected your submission (and a few others) because of a medical procedure on Wednesday. Needless to say, this is one of your most brilliant commentaries, and I’m honored to have it posted at the site. As to your rightful inquires into the manner that the stage version of THRONE OF BLOOD was managed, let’s just say that a noble attempt was engineered in the stage devises–a rectangular screen was set across teh top of the stage with film images replicating scenes from the film, and many of Kurosawa’s brooding atmospherics were re-created by some imaginative set design. I do well realize that Kurosawa’s centennial was upon us, and that’s precisely why Criterion released their mega box set with many of his works. Your wonderful anecdote about Kurosawa’s coming-of-age as a filmmaker is very much appreciated! Fascinating!
I thought my friend, that you would love to see this link of Japanese films that will be screened next month at the Film Forum as part of a Takemitsu Festival:
http://www.filmforum.org/films/takemitsu.html
I plan to attend several of these!!!
Thanks so much for the fantastic submission here!
Please do not feel bad about delay in response… I always cherish your weekly reviews and reports, and just reading them is a treat for me.
Toru Takemitsu Festival…. for his cinema soundtracks! That is a superb idea, I would say. I really liked his collaboration with Masaki Kobayashi, and those are in the program! I wouldn’t miss any of those, if I were you…..
A friend of mine saw him in person many years ago, during his concert….. in the Mens Room in the concert hall. He came in rather carelessly, stood next to my friend, and went on his business, whistling a tune…. My friend anticipated composer’s own rendition of “November Steps”, but it turned out he was whistling a very popular Japanese Enka (a kind of ballad), one of the Top 10 of the week at the time…. even though he is known for more ‘serious’ works, he actually loved popular songs. He himself wrote a handful of popular songs (sort of) as well. His works in cinema soundtracks were also born from his desire to connect to wider audience, I think.
MI
Thanks Sam. May need to rename myself Banquo Oz the way that you keep my name present at the feast of links above!
Still essentially away from all things cinematic at present. However, I did watch some of John Sayles’ earliest flicks the other night. Terrific stuff. Booked some tickets for the French Film Festival later this month, also. Includes Rachid Bouchareb’s latest offering in OUTSIDE THE LAW, which is set in post-WWII Algeria.
“Banquo Oz!” Ha! Good one!
I’d love to hear about your attendance at the French Film festival in Dublin! I admired Bouchareb’s DAYS OF GLORY, and am optimistic about OUTSIDE THE LAW. Sayle’s early work holds up beautifully. It’s a special bonus that he’s a Garden State artist.
Thanks so much for stopping by my very good friend. I understand the blogging is on sabatical, as well it should.
Sam,
Thank you for the mention of my blog and especially for the kind words regarding the Animation Countdown. Thanks too for the interesting and encouraging comments on the individual pieces.
I hope people are getting something out of it. I’m looking forward to your Musical Countdown because I think your huge enthusiasm is perfectly matched to the genre.
Stephen, you are most welcome and quite deserving of far more than that. The fact that you have worked so hard on this countdown for another site is worthy of the highest praise, and to boot the essays and choices have been first-rate. As the poll winds down the excitement will increase for many. Thanks so much for your confidence in me in conducting the musical polling.
Hi Sam,
Thanks again for the mention. I did not get to see too much recently due to my trip to New Mexico but I did catch a couple before we left last week. Hitchcock’s “Foreign Correspondent” (****) was a first time watch and a wonderful WW II spy thriller. Also saw a repeated viewing of “Planes, Trains & Automobiles” (***1/2) as a prelude to the upcoming holiday season, and a better version of a cross country disaster trip than the recently released “Due Date” which it reminded me of. On the plane trip out west I watched Richard Brooks’ “The Professionals”, on my ipad, an enjoyable action packed western with terrific performances from Lee Marvin and Burt Lancaster and a rousing musical score by Maurice Jarre along with fantastic cinematography from Conrad Hall. Also managed during the trip to read a light mystery called “Painted Ladies” by the late Robert B. Parker.
The New Mexico trip itself was fantastic, gorgeous scenic views though the weather was cold. It was down to 18 degrees one early morning in Socorro when I was out taking photos, and the morning we left Santa Fe there was a dusting of snow on the grass, trees, etc. Still we did a lot, had fun and ate well.
John:
Great to hear you had such a memorable trip there in New Mexico, though it seems to have been unusually cold. But it’s great to get away, eat well and experience some gorgeous scenery!
Hitchcock’s FOREIGN CORRESPONDENT merits the rating you settled on, and it’s surely an entertaining piece. I guess I liked PLAINS, TRAINS AND AUTOMOBILES a bit less, but I know others who concur with you. I haven’t seen PAINTED LADIES, but I am with you all the way on THE PROFFESSIONALS, Jarre and Hall. Even when you are tied up you always manage to take in more films that most do on the most prolific weeks! Ha!
Welcome home my friend, and as always thanks so much!
Yas got Harry Potter planned for the weekend, Sam?
Well Frank, as I reported on the newest Diary, I saw Potter and lived to regret it! Ha! Just kidding! But I’d say the series has nearly worn out it’s welcome with me.
Sam….aren’t you excited to about ‘the Outer Limits’ blog a day. I think that one will even exceed the ‘Thriller’. I’ve already found an article, an interview with Dominic Frontiere, that I think they will be posting up as an extra. But I think probably know about it already.
Hmmm….
Anyway, I watched…
‘Auntie – The Story of the BBC’**** (1997) – An incredibly detailed and painstaking documentary made by the corporation and with virtually a “who’s who” of personnel from Director Generals to heads of departments and the makers of the programs, covering radio and TV. The first episode alone just deals with 1922 – 1945, the 2nd from 1945-1960, the 3rd from 1960 to 1970 and finally 1970 to 1986. A real social document of the first order and even the infamous infighting and battles for the heart of broadcasting.
Against the Wall**** – A John Frankenheimer film for HBO, made 1993 and a true return to his finest form since the ’60s. It tells the story, in rich detail, of the prison break in Attica during the early 1970s. It’s an extraordinarily sure-footed and hard hitting and doesn’t pull it’s punches.
Also watched, the episode ‘Little Lost Robot’, from the primitive but important SF anthology from 1962, hosted by Boris Karloff.
Oh, and I watched a stack of THRILLERS, probably two a day, sometimes more. It’s a fever!!
Plus listened to this because a brief fragment was playing on the radio due to the composers death…
Henryk Górecki – Symphony no 3
Bobby:
Thanks a million for posting Gorecki’s SYMPHONY NUMBER 3; it’s probably my absolute favorite modern classical piece, and it’s mournful cadences are never forgotten once heard. How thoughtful of you to post it here in coommemoration of this great composer’s passing! Ironcally, though more spiritual and musically intricate I have always compared it favorably with Barber’s “Adagio For Strings,” another composition I adore.
I’ve already seen the Frontiere article thanks to you, and I am gearing up for THE OUTER LIMITS blogothon. I love that show just about as much as I do THRILLER, and I expect the discussion to reach the heights of passion and erudition. I’m already gathering together a list of my very favorite episodes….DEMON WITH A GLASS HAND, THE SIXTH FINGER, THE FEAR OF THINGS UNKNOWN, THE ARCHITECTS OF FEAR, CORPUS EARTHLING, THE BELLERO SHIELD, THE INVISIBLES, NIGHTMARE, A FEASIBILITY STUDY, THE ZANTI MISFITS…
I am not familiar with the BBC documentary, but it appears I must seek it out. Thanks for the heads up! I agree with you completely on the HBO Frankenheimer, which was a riveting sit, and a deft psychological study. If I’m not mistaken it won an Emmy. Alas (and I am ashamed with my love for Karloff) I did not see the essential science-fiction show you promote here, and do not know of this episode you single out.
Thanks again for the awesome wrap, and I look forward to the fun that will be had at the OUTER LIMITS thread in about six weeks, my friend!