by Sam Juliano
With Thanksgiving Day 2010 now a footnote in history, focus is now in the direction of Christmas cards, shopping and home decorating, while those in the snow belt brace themselves for what Farmer’s Almanac has promised will be a ferocious winter. The twelfth month of year is always the most exciting time for movie lovers, when year-end lists, award contenders and prestige releases brighten the cinematic landscape and serve as prime motivational components in the movie equation. Likewise, football fans are now primed for playoff action, and theatre and music fans can look forward to the finest stretch of the year for performances. In every sense, this is the time for unbridled excitement for those in event-mode.
Marilyn Ferdinand rightly referred to him as a “film critic extraordinaire” when announcing his move from San Francisco to the Windy City last week, but Jon Joseph Lanthier’s relocation has instilled some newly-rekindled spark for film criticism followers and movie and music fans as a result of the gifted writer’s commitment to “renew his cultural vows.” Lanthier, a longtime friend of WitD, is a class act, and we all wish him and his girlfriend a long and fruitful stay in the shadows of Wrigley Field, in the general proximity of the residences of our dear friends Laurie Buchanan, Jamie Uhler, Marilyn and Pat.
Jim Clark hit a grand slam with his magisterial essay on Tim Burton’s Ed Wood, and readers responded with a boat load of fantastic comments. Jamie’s new entry in his “Getting Over the Beatles” series caught some serious late fire, while again Bob Clark has sparked the flames of controversy with another brilliantly penned marathon essay on Joss Whedon that has attracted all kinds of traffic from undiscovered country. Joel Bocko has again authored a superlative treatment of a profound subject for his weekly Sunday afternoon series, while in the UK Stephen-Russell Gebbett continues to astound animation lovers with one great piece after another in a countdown that will forever be referenced by those looking to immerse themselves in this beloved artistic form.
The traffic response this week to the “Film Preservation Blogothon” scheduled for February (being co-chaired by Marilyn Ferdinand, Greg Ferrara and The Self-Styled Siren) has been sensational, and many thanks to ecstatic advocate Dee Dee, for her terrific sidebar promotional work. Seeing film noir titan Eddie Muller comment at Ferdy-on-Films was quite a thrill for many movie lovers, especially genre fans. And the exemplary action continues at Movies over Matter, where Jason Marshall’s movie survey continues on with the final choices for 1937.
On the cultural front, it was (typically) mostly film for Lucille and I, though we spent Saturday night at a wedding in the Bronx, and I have been engaged in a formidable exercise regimentation.
On Friday evening, after a mid-afternoon showing of a John Ford classic (see below) my weekend troupe attended the latest production at the always-reliable Irish Repetory Theatre, BANISHED CHILDREN OF EVE, directed by Kelly Younger, adapted from the novel by Peter Quinn. The simple but effective staging brings to life a work about the “draft riots” that racked New York City in July of 1863 during the height of the Civil War. Irish immigrants comprised most of those affected by the outbreak. Some compelling individual sequences and impassioned performances mitigate some uneven narrative progression, and the off stage piano is well employed.
I saw the following films in theatres:
Fair Game ** (Tuesday night) Edgewater Multiplex Cinemas
Tangled **** 1/2 (Wednesday afternoon) Edgewater Multiplex Cinemas
Burlesque ** (Wednesday evening) Edgewater Multiplex Cinemas
The King’s Speech **** 1/2 (Sunday night) Union Square Cinemas
The Grapes of Wrath ***** (Friday afternoon) Film Forum
Tokyo Story ***** (Sunday morning) IFC Film Center
FAIR GAME, a well-reviewed political drama comes off as preachy and besides the point, resulting in a film with a plethora of exposition and little suspense. This tedious display of redundancy could have been a cogent expose of corruption, but instead relies on overused devised like the hand-held camera, which only serves to accentuate the tedium. There’s little here that we haven’t heard or don’t already know, and even Penn and Watts are nothing, if not on auto pilot. The stressed out marriage is far more interesting than the government betrayals.
TANGLED gives Disney yet another masterful animated film, that employs a modestly effective score by Allan Menken, a colorful canvas, and an intriguing take on Hans Christian Anderson’s “Rapunzel” about the maiden abducted by the witch and kept prisoner from infancy in a tower hidden in the woods. Her long hair is let down for access to the tower’s high window, and a fashionable prince arrives on the scene to save teh day and restore the the heroine to her just regal status. The film recalls in spirit and exquisite beauty, Paul Zelinsky’s Caldecott Medal-winning “Rapunzel” which resuurected a beloved fairy tale.
THE KING’S SPEECH comes within a hair of a five-star rating, and I may just go the distance after a second viewing. The story of the stammering monarch, King George VI, this prestige picture lives up to the hype. It’s an emotionally engaging and visually exquisite film, with a lovely score by Alexander Desplat (with some inspired help from ‘Beethoven’s Seventh’) and two spectacular performances by Colin Firth as George and Geoffrey Rush as the speech coach who gave the King the confidence to deliver a vital war-time speech to the English people. Without question one of the best films of the year.
The only open-ended question in regards to the musical BURLESQUE with Cher and Christina Aguilera is the measure of its derivation. The narrative is episodic, the music banal, and Cher, though a force of nature appears as a plastered mannequin. Only Aguilera shines, and the reason has nothing to do with acting or singing. Predictable and slick, this is one musical to disappoint even the most ardent genre fans, and a validation of it might seriously tarnish one’s value judgement.
Seeing two of my five favorites films of all-time on the same weekend (TOKYO STORY and THE GRAPES OF WRATH) on the big screen is cause for celebration even in the chilled night air, and I was thrilled to have my good friends Andrei Scala and Tony Lucibello on board for the Ozu. The Japanese masterpiece is being shown for ten days as an encore to the completed Ozu Festival, which ran on weekends from July to November. The film, inexplicably, was not shown during the duration of the festival, but was brought on in an acceptable print for this popular run. The print of THE GRAPES OF WRATH may be the best yet seen of this classic since it’s original run, and only serves to enhance the film’s status as one of the greatest of all American films. I will now (happily) be able to include TOKYO STORY in my full Ozu round-up a few weeks from now.
The extraordinarily gifted (and passionate) Samuel Wilson continues to pen astounding essays at Mondo 70, and his weekend piece on neglected silent clown Harry Langdon, considering Three’s A Crowd (1927) is a godsend for all cineastes, especially fans of silent comedy. What a labor of love here: http://mondo70.blogspot.com/2010/11/threes-crowd-1927.html
John Greco, back in the saddle, has authored a wonderful essay on George Lucas’ American Graffiti at “Twenty Four Frames”: http://twentyfourframes.wordpress.com/2010/11/27/american-graffiti-1973-george-lucas/
And John Greco again, at his second site, Watching Shadows on the Wall, has displayed some stunnings photos from his New Mexico trip. These are truly breathtaking: http://watchingshadowsonthewall.wordpress.com/2010/11/27/my-photography-scenes-from-albuquerque-new-mexico/
Tony d’Ambra has posted another of his stellar noir capsule collections with a deft consideration of Side Street, Mystery Street and High Wall at a spiffy and redecorated FilmsNoir.net: http://filmsnoir.net/film_noir/summary-noir-reviews-between-wall-street-and-a-high-wall.html
Once again at The Seventh Art, Just Another Film Buff has raised the bar with an utterly spectacular review of Olivier Assayas’ marathon cut of Carlos that deserves full attention off all cineastes: http://theseventhart.info/2010/11/27/lights-camera-revolution/
And speaking of Carlos, Jake Cole has also penned a spectacular review of it. Read JAFB and Jake’s assessment and you will have achieved Carlos nirvana: http://armchairc.blogspot.com/2010/11/carlos.html
At Speaking from the Heart, Laurie Buchanan continues with her magnificent study of health, optimism and application in an alphabetical presentation that most recently features “M for Mindfulness.”: http://wp.me/pP1C5-r7.
Judy Geater continues to write with passion, authority and appreciation at her Movie Classics blog, where as of late she has demonstrated a rapturous specialty with Shakespeare and American director William Wellman. Her newest post is a spledid appraisal of Orson Welles’ brilliant Chimes at Midnight: http://movieclassics.wordpress.com/2010/11/21/chimes-at-midnight-1965/
Marilyn Ferdinand has announced Film Preservation Blogothon for the beginning of 2011, and her comment thread includes the reactionof venerated Noir Kingpin Eddie Muller at Ferdy-on-Films: http://www.ferdyonfilms.com/?p=7177
Meanwhile at the same busy site Australian wonderkind Roderick Heath continues to demonstrate his astounding expertise with the horror genre with his fecund essay on The Karnstein Trilogy: http://www.ferdyonfilms.com/?p=7245
Terrill Welch, artist and nature denizen extraordinaire, continues to bring her island Pacific paradise in the homes of appreciative bloggers all over the world, and this weekend in a post entitled “Black Friday with a Red Bubble” she showcases some of her beautiful oil paintings available at excellent prices at the Creative Potager’s blog: http://creativepotager.wordpress.com/2010/11/26/black-friday-with-a-red-bubble/
Filmmaker par excellence Jeffrey Goodman is thrilled to announce the return of “Movie Maker” and a brand new interviw on Sasha Alexander from fans of her television show. It’s over at The Last Lullaby: http://cahierspositif.blogspot.com/2010/11/moviemakers-back-and-great-new-lullaby.html#comment-form
Troy and Trisha Olson are as pleased as pink at their Thanksgiving celebration with their daughter Madelyn (her first in the Olson household!) while the talented scribe ponders what director will win his sidebar polling to receive the royal Olson Treatment. It seems like a neck and neck battle beween Bresson and Powell & Pressburger. How about casting your own ballot?: http://troyolson.blogspot.com/2010/11/happy-thanksgiving.html
The other part of the Olson equation is educator and author supremo Kevin J. Olson, who is gearing up for his Ken Russell blogothon at Hugo Stiglitz Makes Movies. Kevin takes a short break to give thanks to other bloggers, and what a beautifully magnanimous post he offers up for Thanksgiving. Kevin is quite a guy, but I’ve known this for a very long time: http://kolson-kevinsblog.blogspot.com/2010/11/thanks.html
Our friend in Tokyo, “Murderous Ink” has penned an utterly brilliant essay on a “Japanese World War II propaganda film” from 1937, The Fighting Soldier, at “Vermillion and One Nights.”: http://vermillionandonenights.blogspot.com/2010/11/exhausted-soldier.html
Shubhajit at Cinemascope has authored another dead-on capsule assessment of a film in the Humphrey Bogart DVD Collection, the classic They Drive by Night: http://cliched-monologues.blogspot.com/2010/11/they-drive-by-night-1940.html
Jason Bellamy and Ed Howard have again upped the ante with their incomparable “The Conversations” series entering it’s 22nd phase with a Part 1 consideration of master director Darren Aronofsky. They plan to examine his upcoming Black Swan as Part 2 next month. Here’s the link to Ed’s site, though you can also access the Slant mega-discussion at Jason’s “The Cooler”: http://seul-le-cinema.blogspot.com/2010/11/conversations-22-darren-aronofsky-part.html
Down in Santiago, Chile, our very good friend and writing colleague Jaimie Grijalba has penned an essential essay on Wes Craven’s 1972 cult film, The Last House on the Left at “Exodus 8:2”: http://exodus8-2.blogspot.com/2010/11/last-house-on-left-1972.html
Andrew Wyatt offers up an excellent capsule appraisal of Sylvain Chomet’s The Triplets of Belleville, which he recently saw at the St. Luis International Film Festival, at Gateway Cinephiles: http://gatewaycinephiles.com/2010/11/22/stliff-2010-day-eleven/
Greg Ferrara at Cinema Styles, one of the Film Preservation blogothon’s prime luminaries, has a loving tribute up to Hammer icon Ingrid Pitt, who passed on earlier this week at age 73: http://cinemastyles.blogspot.com/2010/11/ingrid-pitt-1937-2010.html
One of Michael Harford’s most affecting posts, “What do we know of one another” is headlining at the Coffee Messiah’s blog. As usual some arresting collage work showcases there: http://coffeemessiah.blogspot.com/2010/11/what-do-we-know-of-one-another.html
Longman Oz has returned (while he admits the Irish government is in dire straights) for an eloquent essay entitled “A Preulogy to Fianna Fail.” It’s heading up at the ressurected No Ordinary Fool, Dublin’s most accomplishedcultural blogsite: http://noordinaryfool.com/2010/11/22/a-preulogy-to-fianna-fail/
Jason Marshall, film, politics, theatre and literature specialist extraordinaire, continues on with his essential survey of the cinema since 1930, with a focus at present on 1937. The great work is on display at Movies Over Matter: http://moviesovermatter.wordpress.com/2010/11/21/best-pictures-of-1937-4-stage-door/
Craig Kennedy has authored an excellent review of Oscar hopeful The King’s Speech at “Living in Cinema.” His grad is three-and-a half stars out of five: http://livingincinema.com/2010/11/26/review-the-kings-speech-2010-12/
Kaleem Hasan’s Satyamshot is up and running after a most bizarre circumstance that closed the popular blogsite for 36 hours. Check it out: http://satyamshot.wordpress.com/2010/11/27/36-hours-later-and-apologies/
David Schleicher has headlined a noble piece on the independent arts and Robbie Girl at The Schleicher Spin that deserves fervant applause: http://theschleicherspin.com/2010/11/22/spotlight-on-the-independent-arts-save-yourself/
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
R.D. Finch has connected a pair of superbly-written essays on Italian cinema (De Sica and Antonioni) at “The Movie Projector”: http://themovieprojector.blogspot.com/2010/11/two-first-films-by-italian-masters.html
Tony Dayoub celebrates the recent releases on blu-ray of two Laughton classics: The Night of the Hunter and Modern Times at “Cinema Viewfinder”: http://www.cinemaviewfinder.com/2010/11/blu-ray-review-charles-laughton-x-two.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/
Dee Dee remains here with us in spirit and deed, and she continues to assist so many in ways tangible and not.
Disney’s ‘Tangled,’ latest animated gem
Thank you Sam for your mention… and for your dear readers – the 3 mystery original oil paintings go on sale this coming Friday December 3rd… everyone is welcome to follow the trail of links and see if they can guess which ones they will be.
Now for my favourite movie watch of the week. It was BAD TIMING (1980) by Nicolas Roeg another Criterion Collection. A complex and sometimes graphic film about obsession and a relationship that has gone terribly wrong. I find it hard to believe that Theresa Russell was only 22 when she acted in this film. She has a beauty and presence that takes up the whole screen at all times. Again, as with some of the other films I find moving, it is not an easy watch but worth the stretch and musing a film with such daring inspires.
Hey Terrill! Thanks for that heads-up, and I’ll for one be looking to see what those mystery paintings are. There has been quite a bit of excitement in the blogosphere over your magnificent art, and I’m anticipating a very successful sale!
That’s an excellent analysis there on Roeg’s BAD TIMING and a dead-on assessment of Ms. Russell. There are many fans of the director’s DON’T LOOK NOW at this site (in fact Jamie Uhler named it as his #1 film in the horror poll, a genre where teh films overlaps) and there are obviously some thematic similarities between the two films.
Many thanks as always Terrill, and I awaiting the very good news!
I also got to watch Grapes of Wrath this week, though not at the Film Forum. I have never been a big fan of John Ford’s film and Grapes of Wrath is no real exception. Outside of the incredible cinematography by the great Gregg Toland (whose work here really does make the film look ageless) and the great understated performance from Henry Fonda, the film falls flat for me. The great last words of Tom Joad before his departure just don’t have the power they do in Steinbeck’s book nor does the added Wheat Patch Camp segments bring anything to narrative. I just find it to be one of the great films of that era. Ozu’s Tokyo Story, which I didn’t get to re-watch this week (though after reading this post will certainly do by the end of this week), is a different story. Maybe Ozu’s finest achievement, though Late Spring is also perfect. I did however get a chance to see a 16 mm projection of Vigo’s masterpiece L’atalante and the blu-ray transfer of Coppola’s masterpiece (and dare I say his greatest film) Apocalypse Now.
Also thanks Sam for the mention and I’m happy to say I actually had time to get another post up this week.
I can’t agree with your position on The Grapes of Wrath, but to each his own.
Anu: While I cannot even remotely agree with you at all on THE GRAPES OF WRATH, which I see as one of the most towering films of American cinema, I both respect and admire your frank assessment here, which at least notes the film’s long celebrated components, like Toland’s masterful photography. You may be in the minority, but you hardly stand alone. (as I recall, Peter Lenihan -formerly Donophon- was no fan, although he loves Ford probably more than any other director) I know some don’t rate it favorably with the book. I felt the camp sequences near the end gave some relief to the film’s overwhelming bleakness, and in a cinematic sense brought the film full circle. I have always promoted Fonda, Carradine, Darwell, and Grapewin as well. I really do hope you can manage TOKYO STORY, and I quite agree with LATE SPRING, THERE WAS A FATHER, I WAS BORN….BUT and TOKYO TWILIGHT it’s the most celebrated component of a quintet of Ozu masterpieces that are timeless in their appeal, and wrenching in their emotional power. I cried again on Sunday morning almost throught the final third of the film.
Fantastic that you got to see that 16 mm print of L’ATALANTE!!! That’s another of the all-time greats! And certainly APOCALYPSE NOW can at least be argured for top Coppola film.
I will over there gladly to check out your new post and will revise the links!
Thanks as always my very good friend!
THE GRAPES OF WRATH is very good, Sam, but as far as early Ford goes I vastly prefer THE PRISONER OF SHARK ISLAND (a masterpiece on par with BIRTH OF A NATION or CITIZEN KANE in terms of film grammar innovation, by my estimation) and YOUNG MR. LINCOLN, which has taken on new significance to me as I’ve just emigrated to Illinois.
Hey Jon! That’s agreat choice there with the hugely underrated SHARK ISLAND, which I am a proud owner of on that wonderful Masters of Cinema Region 2 DVD. It’s visually exquisite, but there’s many more reasons to embrace it.
YOUNG MR. LINCOLN?? Not even Stephen Spielberg and Daniel-Day Lewis in tandem can ever erase that one! Ha! Seriously, it’s one of the 3 or 4 favorite Fords of all-time, so I fully concur with you and can see where you are coming from too with the move to Illinois. Lincoln is my favorite president by far, but I realize that conviction is a no-brainer.
So pleased to hear that you both like ‘Prisoner of Shark Island’ – I definitely agree this is underrated, with a wonderful central performance by Warner Baxter. Funnily enough, I was just reminded of this film while watching Curtiz’s ‘Captain Blood’, made just the previous year, where Errol Flynn also plays a doctor who lands up in court and in a penal colony after treating a fugitive, though the two films are very different in most other ways… I haven’t really seen enough Ford films to pick favourites, but have ‘Liberty Valance’ lined up to watch soon.
I’m increasingly inclined to see Young Mr. Lincoln as Ford’s masterpiece, with only The Searchers standing in the way. But The Searchers – despite having Wayne and Monument Valley may in some ways be more of an aberration for Ford in terms of narrative strategy and overall tone. So perhaps The Searchers is his aberrational masterpiece, and Young Mr. Lincoln his archetypal masterpiece? Anyway, have you read the Cahiers excavation of the film from the early 70s? Great stuff, though as I recall it focuses more on the screenplay than anything else, kind of ironic when you consider the source (then again, at this point I think the publication was moving more in a semiotic/political/structural (or post-structural? damn, I get these terms confused…) direction.
Anyway, yeah, great, great movie. I like Grapes of Wrath too but it has the “This is an Important Film” factor which can be a stumbling block for many.
Btw, I just discovered a fun site since we all love chronological countdowns (though this seems to be more of an exploration than a countdown): http://100yearsofmovies.blogspot.com/2010/06/your-mission-should-you-choose-to.html
Hmmmm… I’ve never been a huge Ford fan, but I’ve always though LIBERTY VALENCE was the masterpiece, or something like CLEMENTINE/SEARCHERS. I know many are huge fans of the LINCOLN one, but I’ve only seen that once at like 13 on VHS. I probably should revisit.
Liberty Valance has a slew of admirers, but I’m not really one of them: I found it rather stiff and a bit too self-conscious – not what I go for when I go for Ford (it could be seen as his post-auteur film, meaning the movie he made after the French had made him self-conscious of his status as an artist; in other words, his “Marnie”).
Interesting. And you’re probably correct on all accounts, though when you say ‘it’s stiff’ (it is), I’d say I think all or at least most of his stuff is stiff. Hence why I said earlier that I’m not a huge admirer probably.
Ford’s work is mostly reserved, but with a current of wild poetic emotion running underneath – sort of like the river under the ice in Young Mr. Lincoln. (The extent to which one responds to Ford is the extent to which one detects this subterranean energy, manifested in brief moments of fleeting but evocative visual poetry and the proselike solidity of his compositions and cutting.) In Valance I just don’t see that substream, it seems all “surface” – a screenplay film rather than a direction one. But it definitely has a lot of fans, Andrew Sarris was a big one I know (guess who wasn’t? 😉 ).
Uh, oh. A Kael reference (see below). Oddly enough I’ve always had such trouble separating Ford and Hawks. Everything you say about Ford here I feel about Hawks (and then some), one I adore (Hawks) the other I’m very mixed to ambivalent about. I was reading both these guys entries in the new Thomson and it’s eerie how much his feelings on these two mirror my own.
RE: Kael. I’ve decided in the past few days to give the old girl another chance. As you (and perhaps Sam) are the two greatest fans of her work that I know, what is your favorite book or two of hers? I own ‘5001 Nights’ or whatever, but that’s a book full of short pieces I want to dive into the larger essays. I’ve read her stuff in the library years ago, but I think I’m going to purchase it and really give it a more of a chance. We’ll see. Recommendations?
I got your back, Jamie…as soon as my books get here (I’ve got nearly Kael’s entire output, including the big ol’ compilation that was a massive influence on me – FOR KEEPS – not that I don’t have my issues with her, like everyone else…)
I’ll just buy that one, good used hardcover copies for 10-15 bucks out there? Sold.
I must agree with Jon on FOR KEEPS Jamie, though I’d add (I’m sre he would mainly agree) my own favorite Kael book, I LOST IT AT THE MOVIES, as well as THE CITIZEN KANE BOOK and KISS KISS BANG BANG. These are all essential volumes, methinks.
Joel, you are right to mention the “Important” banner surrounding TGOW, and that does diminish it in the minds of many (understandably).
That blogsite you uncovered is most interesting. The proprietor has a great plan there!
At the risk of sounding like an echo chamber, For Keeps is your best bet because it collects writings from all her eras – so it’s got breadth, and a tendency towards the best. I’m not sure you’ll get over your issues with her, but if you put aside the opinions (which, in truth, is only half the game with her, maybe less) she’s a whole lot of fun as a writer.
As for Hawks, he grew on me gradually, now he’s one of my favorites too. My take on him is less that there’s a river of emotion underneath than that his surfaces are so perfectly rendered – there’s a shot in Scarface where the cop pulls the towel off Paul Muni’s face in the barbershop and it’s just “right”; I can’t explain exactly why. In some ways he’s Ford’s opposite, while both have a certain formal restraint, Hawks has a stoic sense of economy and an unbrittle hardness that Ford doesn’t (which I don’t view as a drawback on the latter’s or former’s part, just diff’rent strokes).
And MM to keep the circular idea revolving, Ford’s presentation of many of his more iconic shots/passages he seems incredibly ‘economic’ while also being (as I said) iconic. When he’s good, it’s a tight theater like precision, and since it’s usually an action sequence, rather awe-inspiring. For example, the last time I saw LIBERTY VALANCE, the actual reveal that Doniphon has shot Liberty, shot from a dark alleyway. Wow. Doniphon slowly moves into position–and his swagger is just so cool from the shadows– then he makes the shot, flips the gun to his partner and turns and walks into the camera for the cut. It’s glorious.
This most recent viewing has me started on my next ‘philosophical’ piece (of which the XTC ‘Life Begins At the Hop’ piece was the debut) called ‘Action Painting the Wild West’. It’s about westerns, america (manifest destiny to be specific), painting, and women; quite a leap from pop music, poetry, and sartre.
_ _ _ _ _
I also like Hawk’s presentation of women, infinitely more interesting then Ford’s IMHO. All this is leading me to revisit ‘Only Angels have Wings’ tonight, which I will.
re: Kael, there are highlights everywhere, but in addition to the ones Joel notes I’d only add “When the Lights Go Down,” which has a fantastic essay on Cary Grant and some really potent stuff from the late ’70s. “Trash, Art, and the Movies” is also probably her tour de force – that’s in “Going Steady” (and “For Keeps”).
There’s a legend that, while shooting The Informer, Ford calmly placed his hand in front of the camera while Victor McLaglen was performing an intense scene. Obviously this broke the actor’s concentration, but Ford encouraged him to continue: “Don’t worry, Vic, keep going, I just know I’m going to cut to close-up here.”
Hawks women are great, but ironically my favorite Hawks might be the all-male Air Force: I don’t think any other film (even Only Angels Have Wings) more perfectly captures the unsentimental, almost existential stoicism of his philosophy. And I love the way the physical geography reflects the psychological journey.
Going Steady and For Keeps are great, without question, as is that famous essay you note.
Kael has always been one of our best critics, but she’s dissed a number of masterpieces. 1001 Nights at the Movies is one I find myself always going back to.
Hello Sam! I don’t know that I’m a “specialist extraordinaire” in anything, let alone all the subjects you list, though I won’t argue too much.
What a wonderful movie going week you had. I haven’t made it out to any new releases or anything else for that matter. I spent Thanksgiving in the mountains where it was ridiculously cold and had just snowed before I got there. The holiday went well, lots of great food with my family. I hope you had a great Thanksgiving as well.
I think I liked “Fair Game” a little more than you, but not so much that I’ll argue with you. I might have given it another star, though I agree it wasn’t as strong as it could have been.
And what a treat it must have been to see both “Tokyo Story” and “The Grapes of Wrath” on the big screen. I am currently writing a piece on “Make Way for Tomorrow” (I don’t think I’m giving anything away by telling you that this movie is coming up on the 1937 countdown) and it has been said that Ozu was inspired by this movie. I’ve never quite bought that. I’ve never seen Ozu specifically say this (if anyone can direct me to a source I would appreciate it). I think people have identified the common theme and made that assumption, but I hardly think neglect of the elderly is a subject unique to the United States. I don’t think Ozu would have needed to see the U.S. movie to come up with “Tokyo Story.” Nevertheless, “Make Way for Tomorrow” and “Tokyo Story” would make a great double feature.
Ah, Jason, you are a modest guy for sure! You have spent years as an educator, and your passion and authority in literature, film and music has been well established in your beautiful essays.
The McCarey and Ozu would indeed make for a fantastic double feature, though like you I seriously question those who believe Ozu was influenced by MAKE WAY FOR TOMORROW, even with the thematic connections. Still, I adore that McCarey as you do, and I will be over with bells on to read your upcoming review. It is surely one of the best films of that year. The print I saw for THE GRAPES OF WRATH was spectacular, but TOKYO STORY was rough (as expected), as Japanese film preservation is notoriously inept over the years. Yes, this was one of the best weeks I’ve had all year, what with the two all-time masterwords, a top-rank Disney and that magnificent THE KING’S SPEECH.
Sorry you had cold temperatures in the mountains, but you warmed up with the very nice spread.
Thanks as always my very good friend for the terrific comment all around!
Thanks, Sam.
I’ll say again that in these countdowns the responses / discussions are every bit as important (if not more so) than the initial pieces themselves.
I quite agree Stephen! And your consistently brilliant essays are attractly a core constintuancy that is making this venture very special.
Thanks as always my friend!
I’ve just heard the sad news that Leslie Nielsen has died.
I’ve seen a couple of his dramatic films but for me he was still at his most brilliant in AIRPLANE and THE NAKED GUN (POLICE SQUAD too).
Aye Stephen. 84 years old. He won’t be forgotten for his performance in FORBIDDEN PLANET, though surely (or is that “Shirley?”) he is most popular for his comedic turns in AIRPLANE! and The Naked Gun films.
Nielsen achieved his greatest fame in the last stage of his career. May he rest in peace.
Thanks a lot for the very kind plug, Sam. I’m sorry to hear you were underwhelmed by ‘Fair Game’, as it is one I’d been looking forward to – I suspect I might like it all the same, though, as I’m a fan of Sean Penn and also still tend to go for hand-held cameras! Not sure when it will be released in the UK. I’ve also been eagerly looking forward to ‘The King’s Speech’, which my mum and brother saw at the London Film Festival and both admired – haven’t heard much about ‘Tangled’ as yet, but it sounds like another fine animation.
Talking of animation, this week I saw Sylvain Chomet’s ‘The Illusionist’ at the cinema, based on a script by Jacques Tati – it’s a delicately hand-drawn animation with detailed re-creations of 1950s Paris and Edinburgh. There were several young children in the audience and I did wonder how they would go for this quiet, slow-moving tale of a middle-aged magician, but they seemed to fall under its spell very quickly. Most of the film is silent, but there is the occasional line of French dropped in, and a dad near me did have to whisper a translation of one key line to his young daughter so she could understand what was happening, so it would have been good if a subtitle had been included at that point!
At home I saw three classics – Captain Blood (1935), High Sierra (1941) and Rio Lobo (1970), all of which I enjoyed a lot. I wasn’t too sure what to expect from ‘Rio Lobo’ as a semi-remake of ‘Rio Bravo’ and ‘El Dorado’, but I found it very entertaining – Hawks gets me every time. Anyway, many thanks again for putting this whole posting and all the links together, Sam!
Hey Judy! My position on FAIR GAME is in a severe minority, so I am definitely not one to gage in the full equation. Generally I do like Penn and Watts, and there is some built-in fascination to the subject, but for some reason it didn’t keep me engaged. I’d be most interested to know what you think, when you get to it. I’m very happy to hear that your mum and brother fell for that London Film Festival screening of THE KING’S SPEECH, and I dare say for several reasons that this is definitely your kind of film. I’m expecting they’ll be awards and nominations of Firth and Rush, and perhaps even the film, and a number of the technical categories. By any baromter of measurement, and taking into account the fascinating subject and period, it’s one of the best films of the year.
I really can’t tell you how much I want to see THE ILLUSIONIST, for the apt reasons you express here, as well as the fact that it’s by Chomet, whom I greatly admire. I am a big fan of THE TRIPLETS OF BELLEVILLE. Great to hear that kids are falling for it too, as I’d love to escort my brood to a showing!
All fine classic too there for at-home viewing. I’m always loved the Flynn swashbuckler CAPTAIN BLOOD since childhood, and the other two are most entertaining too.
This is a masterful wrap, my very good friend, and I’m always thrilled to get it!
Ah the unfortunate audience at the IFC theater at the 10:45 Sunday morning showing of Ozu’s Tokyo Story! And poor Sam! One of his favorite and revered films of all time! WHO was that dullard who fell asleep and started snoring like a pig during the film’s famous tear jerking, heart wrenching climax! The IFC theater number 3 is not very large and a heavy set man in his late-middle fifties (56) sawing logs while some of the most emotionally stirring moments in the history of cinema are unfolding before the eyes and ears of the customers who paid $12.50 for their seats is not what they had in mind while forking over the dough.
I’d bet the proverbial farm on that!
Outrageous! Incredible!
But it was ME! I WAS THE ONE “ON THE KIP”! I WAS THE ONE CATCHING SOME Z’S”.
I could create some lame excuse like: “Oh, you know Ozu’s film was so hypnotically captivating that it put me into a trance,” or “there must have been some knock out drops in the coffee Tony bought for me.”
But if I had to guess I would say it was hypoglycemia. I have only fallen asleep once during a film and that was “The Two Towers” because I find such sword and bogeyman fantasy films as boring and meaningless as lectures on the biology and behavior of fruit flies. But as I once mentioned I do have what my doctor referred to as “borderline diabetes” and that particular variety is dangerous in that ingesting more medication than needed can put one out like a light and fuck up a great movie going experience not only for the rest of the audience but for oneself (not to mention possibly causing seizures or brain damage).
But screw my brain I say!
I shall never forgive myself for ruining the last fifteen or twenty minutes of this timeless masterpiece by snuffling and wheezing and generally having a good snooze, but I also can’t understand why my two comrades did nothing about it.
“Why didn’t you wake me up?!” I kept pleading to know.
“Well,” answered Sam at one point, “I wasn’t sure I wanted to impinge on your privacy and I’d already seen the film…”
“Fuck my privacy!” I replied, “and what about all the other poor schmucks in the theater!”
“Well, usually New York audiences are pretty feisty and somebody will usually yell ‘shut the hell up!’ or ‘wake up asshole!’ or something to that effect.”
“Listen Sam,” I started, “nobody who would pay $12.50 to see a 57 year old Japanese black and white movie is going to behave like some yahoo trying to appreciate the aesthetic qualities of Harry Potter And The Half-Blood Ponce (not a typo)!”
I had a bagel and felt much better after that and then we went for Korean food. When I got home my sugar was only 103. That’s normal but after eating a bagel, drinking some sake and eating white rice I figure my sugar must have been dangerously low to have only gone up to 103.
Wilford Brimley would have been very disappointed in me I fear.
Again, my sincerest apologies…
At least I had a good laugh at myself after I awoke and was told what had happened.
Another classic entry entry Andrei! Well, let’s just say that I was tempted to rowse you from your restless slumber, as I was sure someone in the sudience would soon lose their temper. NYC audiences have no mercy for theatre disturbances, and they aren’t bashful to institute discipline. I did think it the height of irony that you konked out at about 12 noon, while watching one of the greatest films of all-time, and one that grabs you by the throat. But your explanation, (written here and explained to me in person) is fair enough.
Geez, at least you got that sugar count up. That is after all what is most important here.
Sam, thanks again for the double mention! I really appreciate it, along with your posting of so many other great links around the web. THE KINGS SPEECH has been getting good word and am looking forward to its opening here (in a month or so from what I have read). THE GRAPES OF WRATH is truly an American classic and I am sure a thrill to see on the big screen, as well as TOKYO STORY which I have to admit I still have not seen. Below is what I saw this past week.
Fair Game (Doug Liman) *** While there are no steps to greatness here I guess I liked this film a bit more than you did Sam. Naomi Watts gives one of the most astute performances of her career and Sean Penn is righteously indignant as her husband, though one gets the feeling the indignation is as much Penn the actor as it is his character’s.
Burlesque (Steve Antin) *** certainly nothing revolutionary here nor are there any shades of greatness, still it was not as annoying as some recent musical others (Nine for example). “Burlesque” contains a story as old as a MGM or Warner’s musical; the talented kid from nowhere becomes a star and save the financially strapped nightclub from going under. Cher looks like she is preserved in wax. Aguilera can sing but cannot act. Cliché ridden yet I found it a light, pleasant though forgettable entertainment, nothing more, nothing less.
LennonNYC (Michael Epstein) ****1/2 Excellent documentary on the final years of John Lennon living in New York City. From his days, with Yoko of course, living in The Village, we revisit bagism, Jerry Rubin, The Elephants Memory Band, Richard Nixon’s enemies list, his deportation battle, the One to One Concert , May Pang, the househusband, Sean, the Double Fantasy Sessions and sadly his murder on October 9th, 1980. There are plenty of outtakes from the Double Fantasy sessions and interviews with the musicians who participated in John’s post Beatles career.
The Bravados (Henry King) ***1/2 – I have been debating whether to give this film ***1/2 or ****as I found it to be a film with an unusual slant, yet still falling short of being a great western. Two reasons for its failing have to do with casting. Gregory Peck, plays unconvincingly against type here as a revenge seeking rancher out to kill the four men responsible for his wife’s rape and murder. I personally kept thinking of what James Stewart could have done with this role, a character he perfected in Anthony Mann’s great western’s of the same period as this film. Second, Peck’s female co-star, a very young, and very bad Joan Collins is completely miscast. Still the film is an interesting parable on the price one pays for taking justice into one’s own hands.
When Comedy Was King (Robert Youngson) ***1/2 – Those old enough to remember will recognize Robert Youngson’s name. This 1960 compilation film is marred by Youngson’s penchant for ill advised sound effects for every little movement the characters made. Still he should not be judged too harshly as he was well intentioned exposing new audiences to silent film. Today the film is worth watching, not for the Chaplin, Keaton or Arbuckle clips, all easily accessible today on home video, but for the lesser known silent comedians whose work is still either unavailable or rare. Little known or forgotten actors like Snub Pollard, Charley Chase, Chester Conklin, and Billy Bevan.
Son of Kong (Ernest B. Schoedsack) **/12 Carl Denham (Robert Armstrong) returns to Skull Island and meets Little Kong in this sequel to the original 1933 “King Kong.” Instead of trying the repeat the formula the director and writer seem to go for laughs. Here, Little Kong has more facial expressions that all the human actors put together. It is as if he realizes the whole thing is a put on and he is in on the joke. Hard to recommend unless you grew up watching this on TV every Thanksgiving Day when it was shown on local TV station WOR-9 in New York along with the original, “Mighty Joe Young” and “March of the Wooden Soldiers.”
John: Your photographic work and excellent summaries at your second site really deserves regular mention to be honest. I can’t wait to hear your opinion of THE KING’S SPEECH. I dare say you might be happily penning a superb review of it too! I’m sure it will finish on my Top 10 list for 2010, and will be as expected a big Oscar contender.
I’ve known for some time of your high regard for THE GRAPES OF WRATH, and it’s one film we stand toe to toe with. I may actually see it a second time at the Film Forum this coming Thursday night on it’s final day of the run. The print was THAT beautiful! I do hope you’ll get a chance to see TOKYO STORY. It’s one of those rare experiences that broaches an epiphany.
Yes, it does appear that I am much harsher on FAIR GAME than just about everybody, aside from Jason Marshall. As I say I’ll watch it again on DVD and see if I was too hasty to reach a negative judgement.
I actually liked NINE more than BURLESQUE -believe it or not- but yeah, neither one is to write home about. Still, you make some reasonable observations there.
For some reason, I am not quite sure if I saw the Epstein LENNON film. I’ll need to ponder this more. Great review!
I agree that THE BRAVADOS falls short of greatness, though as you point out there are some worthy components.
SON OF KONG deserves just what you give it here, and I have always had much fondness for WHEN COMEDY WAS KING for all sorts of reasons. It’s the filmic compendoium that first introduced me to Laurel & Hardy’s classic BIG BUSINESS for one, and it had me on another glorious obsession seeking out the iconic dup like never before. But as you note there are so many reasons to revel in it.
Thanks for this typically superlative wrap my very good friend!
Hey Sam. Thanks for the plug. Watched Wall Street 2 and the Scorcese directed Boardwalk Empire pilot this week. WS2 was terrible. This is what Hollywood thinks the GFC was about? Equally disappointing was BE: US$20-50 million spent on a period gangster flic that has nothing new to say! Give me a cheap b-movie from the 40s any night of the week over this stuff.
Tony, thank you my friend!
It does seem that you have some support for that less-than-overwhelmed reaction to BOARDWALK EMPIRE as Maurizio and Dennis can attest to. I am holding off on this until an eventual DVD release, but I’ll certainly be remembering what you say here.
As far as WALL STREET 2, let’s just say that I deliberately avoided seeing it. Your reaction will NOT be motivating me to reverse that “oversight.” Ha!
Thanks for the plug, Sam.
I really hope The King’s Speech is as good as you and everyone else says. I want to believe, but everything about it looks like the usual Oscar/BAFTA bait. Still, I do love me some Colin Firth.
It IS Oscar bait Jake! And it is a BAFTA kind of film, and an almost studied prestige piece. But it also is irrefutably an excellent film, that clicks on just about all cylinders, and it renews your faith in the movies. It’s not Claie Denis, Olivier Assayas or Jacques Audiard, but heck it doesn’t have to be. It’s beautifully-crafted and it wears it’s heart on it’s sleeve, which in view of the talent on display here is A-OK in my book. I can’t wait to read a review on it from you!
Thanks as always my very good friend!
Oh, I don’t hold every movie to the Kiarostami-Scorsese postulate or some madness; I just think the marketing for the film, what little there’s been, has been dismal. They really keep pushing it as this stuffy damn thing when the reviews touch more upon the heart. I just wish there was more catering to that side, because everything I see of the film itself clashes with the early reviews.
Oh I realize that Jake, and admittedly after reading my response here I think I came on too strong. I’d wager you will like THE KING’S SPEECH with some relatively minor caveats, but we’ll see. I know one thing though: a great review will come out of it!
Sam, thanks so much for the wonderful mention.
It sounds like you were in cinephile nirvana this week, having the opportunity to see two of your all-time favorites on the big screen. I know how much of a treat that must have been.
This week was a big sports week for me. I’m an avid tennis fan and seeing Federer beat Nadal to win the year-end masters was a great end to the season, and should set us up for an incredibly exciting 2011. I’m also a fan of the LSU Tigers, who unfortunately did not fare so well this weekend against Arkansas.
In terms of movies, this week I caught UMBERTO D, MONKEY BUSINESS, THIS IS ENGLAND, GOLDEN DOOR, and STALAG 17. I was glad to see them all, but De Sica’s film especially blew me away. It captures the feeling of a dog and its owner as well as any I’ve ever seen. And I really thought De Sica brought tremendous feeling, restraint, and humanity to the whole thing. Its huge reputation is much deserved in my opinion.
All right, Sam, here’s to another awesome week. Thanks for everything that you do!
What about the New Orleans Saints, Jeffrey? You had to please with their late win over the comeback Cowboys after squandering that big early lead. Still, I can see the passion for tennis (and for the popular Federer) as I one time followed it years ago during the days of John McEnroe, Jimmy Connors and Borg. I found McEnroe and Connors as great players, but both were serious head cases. Occasionally I’ll still watch it, and I can see why you’d find it an exciting spectator sport. I hope LSU will come back for you next week!
Yes, I completely agree with you on De Sica’s UMBERTO D, a guaranteed tear jerker, no matter how many times you watch it, and it’s a seminal work of Italian realism, one of the greatets humanist statements in the cinema. Geez, I tear up just THINKING about that film, never mind actually watching it! Ha! Hence I quite agree with you when you say it’s great reputation is deserved.
The Marx Brothers film is very fine -not among their best (DUCK SOUP, HORSE FEATHERS, A NIGHT AT THE OPERA) but always fun, and I do like THIS IS ENGLAND (and the television sequel THIS IS ENGLAND ’86) very much.
Yes, Jeffrey I was in cinematic nirvana this week, and you know the feeling well, having seen so many great Grench classics in Paris theatres through the years. Seeing it this way can never be matched by a DVD screening.
Again, I appreciate the fantastic comment, my very good friend!
That story by Andrei Scala is one of the funniest I’ve ever read at this place. Looks like the bagel idea worked.
You have Lisa and I excited about The King’s Speech. It might be Oscar bait, but that’s not necessarily a negative aspect. Happy to hear about Tangled, and as far as Burleque I expected that.
Right on with those Film Forum classics.
Yes indeed Frank! It has prestige and Oscar written all over it, but this isn’t a bad thing at all. If this aspect informed a shallow film, it’s one thing, but this is really a class act down the line.
Do see TANGLED when you can in one of the local multiplexes. I saw it in 3D, and actually (finally) appreciated this embellishment.
Thanks as always my very good friend!
So it was the Giants’ turn to dust off the wands, eh?
That might only be temporary. They really aren’t playing all that well.
Joe, it’s hard to say if the Giants have reversed themselves. There isn’t really much margin for error the rest of the way, as the Eagles are a powerful team. We’ll just have to wait and see. Thanks as always for stopping by my friend!
I’m hearing a lot about the Coen Brothers’ new film, “True Grit” Sam. Is this expected to be a big hit?
Rick, I want to see ‘King’s Speech’ ‘Black Swan’ and ‘True Grit’. I’ve heard the latter will be a major awards contender. But all three should be visible.
Ricky, it is indeed gleefully anticipated by many! Whether it will be on a level with their best films, is yet to be seen, but this may well be the case. Always great to have you stop in!
Sam-
Thanks, as always, for plugging my dormant website. I keep wrestling with whether to shut it down, revamp it, or just quietly get back to it one day when/if the rest of my life settles down.
My only cinematic outing this week was to the highlly enjoyable “Love and Other Drugs” with Anne Hathaway and Jake Gyllenhaal. It’s funny, touching and features very nice work from both leads. Worth a look.
The main event here was the arrival and installation of my new 47″ HD LCD television, which – after years of watching movies on a 27″ “low-definition” screeen – is both a revolution and a revelation for me!
I inaugurated it by screening the recently remastered disc of “The Red Shoes’: it was a point of pride to me that I got both my boyfriend and his buddy – whose film tastes run primarily to the action, adventure and horror genres – to sit down and be completely mesmerized by this Powell/Pressburger masterpiece.
Pat I can well understand the quandary here, though I must admit for selfish reasons I am hoping you hang on at least for a while until that inspiration and motivation returns (perhaps inspired by a holiday film that bowls you over as is likely). But blogging is something we do in our spare time, and should never let it intervere with the more important things in our lives. (I know, I need to practice what I preach, no? Ha!) But you have some bliss, and this is all just a diversion. For me, meeting people like you on line (and in person no less!) is the greatest joy of this experience, far more profound than any talk about movies or anything else for that matter. The movies are really an excuse to engage in the matters that several at this site have reveled in for so long. Is it middle to old age mellowing? Perhaps, but it’s all that really matters when perspective is counted in. And the holiday spirit accentuates this conviction.
I will always refer people to your site, as the archive there will always have value and topicality for a host of reasons.
I haven’t seen LOVE AND OTHER DRUGS yet, but Lucille and Melanie saw it last week and enjoy it as much as you did. I hear Hathaway (who is co-hosting the Oscars!!!) may well be a nominee herself for this turn!!
I wish you the best with that new plasma and some optimum viewing!! That’s a great, great choice to go with THE RED SHOES and greater even to turn on your boyfriend (and his friend) to it. I have some good friends who generally have fine taste overall, who would be hard-pressed to respond to that film, but I can’t deny it’s visually spectacular and the color is arresting. The Criterion blu-ray is true cinematic bliss, and I lost count of the number of bloggers over the past few years who have effusively written about it!!
Thanks so much Pat for stopping by here as always!! Have the best holiday season ever!!!
Sam, here’s a stat that may interest you. Blogger allows me to see which sites refer folks to me, and as I write, your accolade has resulted in 22 more hits for Three’s A Crowd. For my blog that amount of traffic from one source is pretty impressive, so thanks for the good word.
I’m interested in the response to Tangled which seems mostly positive among bloggers. There’s an impression spreading that the Disney ad campaign gravely misrepresents the movie. I must say I wasn’t enthused by the trailer I saw at Toy Story 3 but your comments only add to a corrective effect that may finally send me to the Rapunzel film. I’ve also heard only good, your comments included, about King’s Speech, which should be reaching upstate shortly.
Over the weekend I stumbled upon Francesco Rosi’s Cadaveri Eccelenti on Netflix under its little-used alias, The Context. Even dubbed and fullscreened, I call it a must-see. I also followed through and watched Open City and was duly impressed. I’ll be reviewing it in tandem with Tino Balio’s Foreign Film Renaissance once I finish the book, which has me thinking more than ever about the convergence of “art” and “exploitation” under the Production Code and the dominance of studios over theaters. The Rosselini really does strike me as a common source for much of Italy’s arthouse and grindhouse product for decades to come. Apart from that, I watched Roy Ward Baker’s The Vampire Lovers as a pretext for Wendigo and my belated tribute to the late Ingrid Pitt, and Dr. Jekyll and the Werewolf for a Paul Naschy blogathon now under way.
May every week be at least as entertaining as the last was for you.
Yes indeed Samuel, the traffic on your link is impressive. It’s actually 31 right now, in fact. Thrilled to hear what you say there, as it means that many are looking in on your splendid work.
I do well remember the trailer too for TANGLED and agree it wasn’t very effective. I think one needs to focus on “Rapunzel” and especially Zelinsky’s award-winning picture book, perhaps before seeing the film to see the narrative and pictorial similarities, that will set the groudwork for the changes and Alan Menken’s surprisingly fine score. In a year when we’ve already had the likes of TOY STORY 3, HOW TO TRAIN YOUR DRAGON and DESPICABLE ME, this is an unexpected late year genre gem. The 3D was used creatively too.
Knowing your general interest in history, I do think you’ll find all the good aspects in THE KING’S SPEECH, but we’ll have to see.
I love that Rossellini film, though I haven’t yet watched that particular Rosi. I appreciate what you plan to do there, and likewise applaud your upcoming tribute to Hammer star Ingrid Pitt, who you single out in your mention here of THE VAMPIRE LOVERS. I haven’t yet seen DR. JEKYLL AND THE WEREWOLF but I’d like to look in on your planned participation in the Paul Naschy blogothon, which recently launched.
Am definitely interested in this:
“I’ll be reviewing it in tandem with Tino Balio’s Foreign Film Renaissance once I finish the book, which has me thinking more than ever about the convergence of “art” and “exploitation” under the Production Code…”
and will be there to add my two cents to the review!
Thanks as always my very good friend for your sustained support and enthusiasm!
Ha! Renewing my cultural vows, indeed. My girlfriend and I are quite touched by your words, Sam…having the support of WitD is quite an honor. And, ya know, Chicago is much closer to NYC than San Francisco, so hopefully I’ll be making it out to the east coast more often than I have been in recent years.
I’ve already connected with the lovely, witty, and culinarily gifted Marilyn Ferdinand, and I’m looking forward to meeting up with Jamie, as well, who apparently lives blocks away from my new apartment. To bigger and better things in 2011! Cheers!
Jon, thanks for the continued support and friendship, and thrilled to hear that affection from your girlfriend. The best of times to you both!
Yes, I did suspect Marilyn is a Class A culinary operator, and I bet you’ll get more than your share of samples there! I was already thinking of that expansion in reverse, and the Big Apple may one day be a destination. If you do get here, Lucille and I will have the red carpet all ready for you, and a trip to the Film Forum is madatory! But I’m sure you’ll grow fond of Chicago for all sorts of reasons, and I do hope that you and Jamie hook up soon!
Jon, the honor is ours, I assure you!
yes, we will be seeing each other soon, can’t wait to meet the immortal Joseph Jon, ‘a man so famous they named him twice!’. Should be fun.
I too want to make it to NY soon (it will be my next vacation I swear), I’ve never been to MoMA and I want to spend a week there basically, while watching a film or two in the evening with the Juliano clan.
Damn the WITD crew are all starting to meet and hang out. Someone should plan some big vacation so a group photo can be taken. We can all celebrate by dancing around and burning copies of M. Night Shyamalan and Twilight films……….
Yep Maurizio, I am thrilled at all these coming connections. I like that idea about the Shyamalen and Twilight films! LOL!!! I’m sure I will see you at the Film Forum, maybe for that Lang in Hollywood Festival that’s coming:
http://www.filmforum.org/films/lang.html
Jamie, that is great news that you are settling on a game plan to show up in the Big Apple! I will be here to unroll the carpet my friend!
“Ferocious winter” – bite your tongue, Sam! I can’t abide another one. I just can’t. They don’t call this (Chicago) the Windy City (with knives for gentle breezes) for nothin’!
I just saw on Google that James Franco and Anne Hathaway are going to host the Oscars. yes, Yes, YES!
Many happy congratulations on the blog traffic! And even more importantly for your “formidable exercise regimantation.” Whoo-hoo!
“Within a hair” or a gnat’s whisker of a 5-start rating is close enough for me. We’re definitely going to see “The King’s Speech!” Fantastic review – thank you!
This evening I plan to see (sans Len) “The Spiritualist” (1948).
Thank you, Sam, for pointing to Speaking from the Heart. Make it a wonderful week!
Ah, Laurie! I better bite my tongue, especially as we paid a stiff price with extremely cold weather and icy roads last year. Here’s hoping to some moderate numbers this time! And yes, I know the Windy City can be a force of nature, and not in a very good way!
James Franco and Anne Hathaway hosting the Oscars? Yay to that indeed!!!! This is the first I’ve heard and that’s a great dup they have lined up there! I’m sure Franco will be in the running for a Best Actor Oscar too for 127 HOURS!
Thanks for the kind words on the site activity and especially for your incomparable support on my resolve to stay ahead of myself health-wise! You have helped me in so many ways.
Oh, you and Len will adore THE KING’S SPEECH; I’m certain, even in fear of over promotion!
Enjoy THE SPIRITUALIST and the best to you always my wonderful friend!
It’s either Stagecoach or The Searchers for my favorite Ford movie. But I wouldn’t turn my nose at The Informer, The Grapes of Wrath, The Man Shot Liberty Valance, Wagonmaster…..
All excellent choices Fred. I’d only add HOW GREEN WAS MY VALLEY and YOUNG MR. LINCOLN to that incomparable mix, but as we’ve mentioned already on this thread, several others including SHARK ISLAND, RIO GRANDE and MY DARLING CLEMENTINE would push close.
Thanks as always for stopping by my very good friend!
Altman v. Hollywood
Monday morning hangover
While everyone else seemed to be out shopping, swilling latte, & lining up for holiday movies, I was sunk in armchair, half dead, watching TCM. And then I saw something.
Watching “A Star Is Born” (La Garland’s version) I was struck by the savagery of another film I once thought merely a good slick genre spoof.
Sterling Hayden’s suicide in Altman’s “The Long Goodbye” is an iteration of James Mason’s self-drowning, but it’s stripped of all the rosy romanticism Cukor gave his soap opera. Mason takes his life almost daintily in the pink dusk of the Pacific, while Hayden wades fully clothed into the Malibu drink in the blackest of California nights.
At first “The Long Goodbye” scene seemed to confirm what I’d always suspected about the film — that it’s not so much the deconstruction of a genre, but a satire on Hollywood private eyes and private eye pictures (I haven’t read Chandler’s novel, but I suspect Altman radically revised it). Now after seeing “A Star Is Born,” I wonder. Even the roiling of the ocean reflected in the glass doors of both beach homes is the same. Is Altman savaging some cherished Hollywood iconography along with everything else?
It now seems “The Long Goodbye” isn’t just an excellent spoof of Chandler, Marlowe, “The Big Sleep,” et. al. , it’s something much larger.
This is a frightening, pitiless Coke bottle in the pretty kisser of tout Hollywood real and unreal, Altman’s cinematic revenge on a town that despises mavericks, an eloquent hate letter to Tinseltown (of course, there’s the parodic echo of “The Third Man” in the film’s last scene). Not a shred of fondness for the paradigms of the past can be found; this is no homage. “The Long Goodbye” is an all-out assault, an act of destruction, a film that goes beyond cynicism all the way to nihilism.
Norman Maine’s famous suicide is mockingly alluded to. The drugged, bare-breasted girls who are Marlowe’s neighbors are “The Big Sleep”s Martha Vickers ca. 1973. Marlowe’s cold-blooded killing of Terry Lennox is almost as shocking as the pop bottle smashed across the young face of the gangster’s girlfriend. Is there an act of violence more horrifying in American film? Not even the gruesome murders in “The Godfather” can match it. Even more appalling is the fact that later we see the girl together again with the boyfriend, the brute who butchered her face.
“The Long Goodbye” not only annihilates its characters, it annihilates its audience too. No wonder so many Chandler purists hate it.
Outside of this film and “Nashville,” Altman’s ouevre is more or less hip, and I use that term derisively. But “The Long Goodbye” and “Nashville” represent revolutionary leaps of style and content.
Now I can go back to the maudlinity of “A Star Is Born” and take my Big Snooze (and why am I obsessed with Altman these days??).
I guess I just miss good first-run movies.
Cheers, everyone
Mark:
Thanks so very much for posting your maiden entry at this vital weekly thread! Be rest assured your submission here is deeply appreciated and much valued, despite my getting to it a bit late. The number of submissions at this thread has gleefully mushroomed, and it’s been taking me more time as of late to deal with them all. After yours, I see I have several others to address. I love the “Monday Morning Hangover” lead-in!!!
Your analysis of THE LONG GOODBYE is superlative, and I’ve always agreed it’s a satire. The comparison you pose here with the 1954 A STAR IS BORN is persuasive too, as is the suicides of Hayden and Mason. I must say that I slightly favor Wellman’s 1937 original, and have always been moved by March and Gaynor. And I’m saying this as a lover of musical films, and of the artisty and performance in the 1954 film. Nothing can match the tearfest at the end of the 1937 film, when Gaynor steps to the mike and intones one of American cinema’s most adored lines: “Hello everybody, this is Mrs. Norman Maine.” It gets you every time. It works too in the Cukor, but there’s an earthy homespun sincerity in the earlier film that rings more credibly. But ah, it’s a debate that will rage on for many years to come.
This here Mark is a great statement and certainly food for thought for noir fans:
“The Long Goodbye” not only annihilates its characters, it annihilates its audience too. No wonder so many Chandler purists hate it.
Outside of this film and “Nashville,” Altman’s ouevre is more or less hip, and I use that term derisively. But “The Long Goodbye” and “Nashville” represent revolutionary leaps of style and content.”
Thanks again for the fantastic addition here my good friend!
Greetings and Thanks Sam for the mention, amongst all these fine other people.
Trying to build on the art, so except for seeing Harry Potter (listening to the kids spout off after scenes sometimes was more amusing than the film.)
Looking forward to reading your Ozu essays and always sounds like a great weekend for you and the family.
Although the book is great, GOW is still one of the most memorable films of that time period. Unions being what they are today, and having been in one at one time, the anti-union atmosphere in that film is still permeating in todays world.
The Illusionist is a must when it ever gets here, and I also saw that the MicMacs will be out soon also, on dvd anyway.
It’s nice to see such a growth in this very fine forum for film and friends! Cheers!
Always great hearing from you Michael, and yes, we do manage to fit in some very nice family ventures for the weekends. We just firmed up a screening of the musical SCROOGE (with Albert Finny) at the Jersey City Loews movie place for Saturday, December 11 with an organ sing-a-thon of Christmas carols, and then a Saturday morning screening of IT’S A WONDERFUL LIFE at the Lafayette movie palace in Suffern, New York. December is always a great month for seasonal events.
LOL on what you say there about the Harry Potter films, but how true! I wouldn’t exactly choose these to begin a theatre binge! Wait, I must make sure my daughter Melanie isn’t around as I write this……..ok, coast is clear. The Ozu re-cap is delayed, but it will be done by the end of December, and it will be a comprehensive mega-essay as I plan it. Thanks so much.
Yep, I completely agree with you on those pertinent and timely union comments in regards to THE GRAPES OF WRATH. And it remains as powerful as it was when released 70 years ago. I’ll save further comments for a possible review of it down the road.
I really can’t wait to see THE ILLUSIONIST either, as I love Chomet. MICMACS is well worth a look-see too.
Thanks for the very kind comments about the site. You are one of the main reasons the community aspect has developed here!
Andrei falling asleep to Tokyo Story reminds me of my own battles with L’avventura by Antonioni. My first viewing ended with a 40 minute chunk missed due to heavy slumber while in film class. A few years later I attempted a second viewing and found my couch extremely comfortable and impossible not to close my eyes for dozens of minutes at a time. Films I watched this week…….
Barry Lyndon ****
Millers Crossing ****
Encounters At The End Of The World ***1/2
The Duellists ****
Kingdom Of Heaven (directors cut) ***
The Crucible **
Alligator * (my recent trip to the Everglades made me want to see this lol)
This is the third time I watched Barry Lyndon and still can’t find it in my heart to proclaim it a masterpiece. While Kubrick is my favorite director and seven of his films get 5 star ratings from me (The Killing, Paths Of Glory, Dr Strangelove, 2001, A Clockwork Orange, The Shining and Full Metal Jacket) Lyndon falls short. I could go on for paragraphs why this is so (and maybe one day I will) but for now I will just say that it is a gorgeous film that narratively fascinates me very little.
I need to get myself to the movies more often this month. I have fallen far behind on current releases this year. There is so much I still need to see.
I offered a complete list of the movies I’ve seen since April but it was accidentally deleted. Suffice to say it consisted of about six or seven films, and included “The Other Guys” and “Iron Man 2.”
I go to the movies nowadays when a relative is visiting from out of town or out for drinks for a friend’s birthday and everyone goes to a movie after leaving the bar. Otherwise I stay home and avoid the $12+ ticket (seriously, that’s how much it is in New Hampshire, at the only theater in my parents’ vicinity – Boston and New York are even worse). I think the only movies I saw in theaters of my own volition in the past seven months were Inception, The Social Network, and Let Me In – the first and last alone.
So yeah, in other words, don’t feel too bad there.
I’m always curious to hear this reaction to film, and film going (in theaters I mean). While I understand that with what the economy is that not everyone can get out all the time and afford movies in theaters depending our your financial situation, OR depending on where you live a theater that plays arthouse, revival, indy, or foreign (the films most film fans want to see) may not be a legitimate travel option. But seeing a film in a theater (especially alone, at least to me) is the true experience. It’s something I’ve always found curious, Joel as you’re such a Keal devotee, or from that ‘school’ that believes film is about all an entertaining form–and going to the movies is above all else the way to experience it (I agree with the second part of that sentence). (I sometimes joke with people that I live in Chicago, or chose to live in a large city like Chicago, 95% for the film/art/culture and 5% for the larger job market)
Again, it’s not as curious if you avoid seeing films in theaters because of limited geographical options, and $. If these are the reason’s omit my discussion/thoughts.
_ _ _ _ _
This past year I saw Resnais WILD GRASS, Ray’s JOHNNY GUITAR and Denis’ WHITE MATERIAL in the theater (among many others) I wouldn’t trade the charged walk home I had after viewing any one of those for anything in the world (the Denis I listened to the second half of the Who’s BY NUMBERS walking and was so touched by the juxtaposition). To me, that’s the power of cinema.
“Blue Red and Grey” seems particularly “Denis” to me for some reason, despite the dour subject matter of WHITE MATERIAL and the obstreperous joie de vivre of the ukulele track…
That’s the one that really did it…
It’s mostly $$$ but there is a time-spent issue. No matter what, I would privilege DVD/home viewing over film screenings simply because there’s so many classics to see (most of which aren’t available on a big screen most of the time) and I am more interested in catching up with these that staying up with contemporary cinema, at least at this point in my life. That said, if I could, I would definitely make more of a space for screenings – at least one or two a week.
There’s also the question of what kind of screening. There are different phases in my theater-going – the first phase, a “golden age” (not in terms of what I was seeing, but in terms of my enthusiasm) was for about ten years in my childhood when I would go to the multiplex and see whatever was new. Then there was a time when I was seeing older and more offbeat films, and mainstream moviegoing was now just a social affair, something to do with friends on the weekend. Then a quiet period where it was pretty much only a social thing, and then another great time, which only lasted for about a year or so in retrospect, and was at its peak in the fall of 2006 when I lived in New York and would see several classics a week (I think at one point as many as six) – I’d get the Village Voice (when they still ran screening times; whoever stopped them from doing that should be shot) and would coordinate all the possible screenings much as Sam does now I’m sure. Then into the period I’m in now, where theatrical excursions are VERY rare and I stick mostly to DVD (if we want to subdivide, there was a TCM period too). There was a brief month or two this spring when I flirted with become a regular reviewer on a defunct blog, writing about new releases in theaters and on DVD every week, but that was short-lived, the exception that proved the rule.
If I started going to more movies today, it would definitely tend towards classics and more offbeat fare; theoretically, I like a good blockbuster as much as the next guy but I’m just not interested in the direction Hollywood/mainstream entertainment has gone in since 1999. One reason I drifted away from cinemagoing even before tightening my hold on my wallet was that after almost every screening, I was somewhat disappointed.
Philosophically…I come down on both sides. Ideally, I prefer seeing a movie on the big screen because I want a movie to be bigger than life, overpowering (all the things Kael responded to). That said, I do see an advantage to home viewing which is that you can approach it on your own terms. I’ve seen the same movie in theaters and on DVD and preferred it on the latter simply because I was able to choose the time and place and be in the right “mood” whereas the theatrical experience is more hit-and-miss (for a higher price). And I’ve always had weird responses, in that while I’ve seen Lawrence of Arabia three times on the big screen, I can’t say I didn’t love it just as much on the small screen (even pan-and-scan before I knew any better; those days I can’t go back to). On the other hand, A Man Escaped, which is supposedly much more intimate I responded to way more on the big screen (albeit it was also my first time). It has a lot to do with the “set” too – the type of audience, the atmosphere of the place etc. So in other words, while I’d rather see most movies on the big screen I may be more amenable than most (or maybe have conditioned myself to be more amenable than most) to appreciating something on a small screen too. That may also be where I am right now speaking, probably 4 years ago I wouldn’t have held this more equitable view.
Long response, but it’s such an interesting topic I find and one that probably doesn’t get addressed that much.
Well, Maurizio I must say that L’AVENTURA (and a great deal of Antonioni for that matter) is a major challenge because of the excrutiating pacing and ambiguities. I love this director, but I recognize he is not everyone’s cup of tea. Ozu, on the other hand is a supreme humanist, and much of his work is emotionally wrenching. Still, you were making a direct connection of your own experience, and it’s true that some just don’t connect to a style or concern. Andrei did love Ozu’s EQUINOX FLOWER (which he saw at the same place a few weeks before) so I’m led to believe he did have the problem he elaborated on.
Your ratings of this lot are close to my own with two minor divergences and one major. I like BARRY LYNDON to the tune of 5 stars, and I like MILLER’S CROSSING less, to the tune of 2 to 2 1/2. The major disagreement is with THE CRUCIBLE, which for me is a 4 to 4 1/2 star film. But even with very good reviews upon release, I have come across others who for the most part are with you. I am partial to the play, and love that subject, so it’s tailor-made for my tastes. And Day-Lewis always enthralls. It’s Miller’s second best play too, behind DEATH OF A SALESMAN.
Hopefully, Maurizio, you’ll see TRUE GRIT, BLACK SWAN (and THE KING’S SPEECH) before the year ends, but you can only do what your schedule permits you to.
Always a great pleasure getting your full report my very good friend!
I will certainly go see Black Swan, True Grit and The Kings Speech. Along with Carlos and the Pat Tillman doc they are the ones I am looking forward to seeing the most.
I love the Crucible subject as well. I was in a Salem witch museum a few months back when I did my New England excursion. I remember the presenter referencing The Crucible a few times throughout. I had never seen the film and was intrigued by Daniel Day Lewis’ involvement to finally obtain a copy through Netflix. I was disappointed in the soap opera like impression it left with me. I wanted a more intense depiction of historical events that obviously was not the desired intention. I can’t fault anyone else but my own particular selfish demands.
Haha I thought Andrei was pulling everyone’s leg again. The boy cries wolf and no one takes him at face value. I have neglected Ozu beyond what is allowable. I have seen only 4 films by him and none within the space of ten years. He seems to be the kind of artist you begin to appreciate as you grow older. I will wait another year or two and dive back into those cinematic waters.
The reaction Antonioni got in my class (if I remember correctly) was unanimous scorn and derision. Not one person had a kind word to say. I think this is partially due to age (late teens, early twenties crowd) and what you attribute to his measured style.
Well I hope Lucille’s birthday went well and if you did secretly indulge in some sweets or birthday cake when others attending were not looking or preoccupied (that’s what this sneak would do) then all must be forgiven………
Thanks very much for that Maurizio! I had two small sugar free jellos, and some mango (urged on me by Tony d’Ambra in what had always been some excellent advice) but stayed clear of the sweets.
I fully understand why students in their late teens and early 20’s would find Antonioni exasperating, and agree that it takes some time to develop a taste.
I can’t fault you for that lack of connection with Hytner’s THE CRUCIBLE, and yes it is telling that you ordinarily are mesmerized by this subject. I remain smitten with the film (and Miller’s great play) but it didn’t resonate with everyone. Of course my favorite film about witchcraft is Dreyer’s 1943 masterpiece DAY OF WRATH, but that’s a no-brainer.
You have a great line-up there in the planning stages for the recent (and soon to be) releases, and I know you’ll find a diamond or two in the ruff! Hope you get over for the upcoming Japanese Festival at the Film Forum, (which starts Friday) I may make anywhere from 6 to 10 of these: (check this out when you get a chance!)
http://www.filmforum.org/films/takemitsu.html
Yes, Andrei does cry wolf a bit! Ha! I’m sure future viewings of Ozus you haven’t yet seen will bolster your opinion.
Really no time to talk today… Running to work now as I was asked to come in early…
Love the fact that you sang the praises of the Firth film as I have been busting to see it ever since I saw a trailer for it a few weeks back…
Last night sepisode of THE WALKING DEAD topped last weeks and I’m looking forward to capper of the season next week…
So, are we on for TANGLED Wednesday night with the little ones????
Yes, I do believe we are still on for TANGLED Dennis. As I stated to you, my two eldest have not seen it, and I liked it enough to desire a second viewing! Ah, you will be very pleased with Mr. Firth, methinks! I’ve all heard from John Rossi, the art teacher that THE WALKING DEAD is terrific. One day…..
Thanks as always my very good friend.
Thanks much for the mention, Sam. I’ve been so out of the loop and was “thankful” that I least got to see one new release in November, and that it – 127 Hours – was worth my time! Pains me that I wasn’t able to see the Chaplin films that played here after their run at the film forum. Til’ next time, supposing there is one.
I’d like to see Tangled what with all the lavish praise. Who knew it would be an Oscar contender, eh?
Ah Daniel, married life changes the picture here I’m afraid. But really now, let’s face it, blogging and film going is fun, but it can never come in the way of the things that matter most in this life.
Today’s lesson on the soapbox! Ha!
All joking aside, you do what you can. The fact that you’ve kept GETAFILM going for so long is a testament to your perseverence. Great that the one theatre visit yieled something as effective as 127 HOURS! I completely agree. You’ll get many more clances on the Chaplins and classic films in general.
Yes, who would have though that TANGLED would be joining an already-crowded animation field? But it was lovely, I must say. As a huge admirer of Zelinsky’s Caldecott Medal winner, “Rapunzel” I did envision this as a success story.
Thanks as always Dan, my very good friend!
Sam – I must disagree with you on FAIR GAME – the performances (especially Watts) were compelling as was the domestic drama around their marriage. I do agree it became too preachy in the end, however.
THE KING’S SPEECH looks like stereotypical British Oscar Bait – but your rave has me a bit more interested in it now (though I think WHITE MATERIAL and BLACK SWAN will remain at the top of my must see list).
And naturally I envy that you were able to see THE GRAPES OF WRATH on the big screen – one of my favorite films and one my favorite books.
RIP Leslie “Don’t Call Me Shirley” Neilsen
David, that’s a fair enough assessment on FAIR GAME, and I’ll admit I do need to give this one another go round down the road.
It does appear that even those skeptical about Weinstein produced prestige pictures are responding with effusive praise for THE KING’S SPEECH. Like you I am passionate about Claire Denis and Darren Aronofsky and numerous other art house vehicles release in 2010 (Un prophete, Lourdes, Carlos, Vincere, Dog Pound, Bluebeard, Mademoiselle Chambon, Fish Tank, etc.) but there’s definitely room for this ravishing period piece with its showcase performances, script and visual and aural elegance. Let’s see what you make of it.
And yes, your own love for THE GRAPES OF WRATH and the Steinbeck source is well known in these parts. I again applaud you.
Yes, Nielsen will always be fondly remembered.
Many thanks my very good friend!
I’m blown away by the new WITD has now on Blackberry!!!! I’ll show it to you when I see you and the kidsa on Wednesday. THE WALKING DEAD has become, for me, the single most engrossing episodic television show currently on TV. The plot is branching in many different direction, some epic, some tragic, all fascinating. It takes the “rules” set up by Romero’s NIGHT OF THE LIVING DEADn adapts the comics of the same title, and adds a seriousness to the proceedings. Like STAR TREK THE NEXT GENERATION, both the cast and crew take the proceedings as a legit and feasible account of what may come and this bolters an air of realism within the fantasy of the show. Aloing with that of tried and true favorite, THE SIMPSONS, THE WALKING DEAD is the only show I have any use for these days since the demise of LOST. PS-MOGULS and MOVIE STARS on TCM is a terrific Documentary series on the early days of cinema that I also recommemd.
Can’t wait to see how it looks on Blackberry Dennis!
And as far as THE WALKING DEAD, I keep hearing as much from other teachers here in the school, some of which are among our regular contributors. I am wondering if a DVD release is imminent?
Count me in.
Thanks as always my very good friend.
Ugh…. Uunghnnghhhhhh
I’m sorry about that, sunday night I slept the amazing total of 1 (one) hour and I aaaam tired.
Well, thank you Sam sooo much for being featured in your prestigious and always awesome blog roll call. As always, I’ll pay back by telling you ALL about my boring week (Ha!).
So, yeah, I didn’t sleep because I had two things: script presentation (pitch) and an oral exam, and only the last one gave me the goodies with an amazing grade (6.1 out of 7). And that’s besides the enormous feeling of sadness I felt when I knew about Leslie Nielsen, I was depressed.
But that was today, I’m getting ahead of myself. Last week was wow, extreme in all the ways you can imagine. In fact, my mind is kinda blurry and I can’t remember well what has happened.
I know I spent three full days down in my universitie’s basement editing the short documentary I’m working on, and we’ll continue this week until Friday, when we have to present it to the teacher (and then, I shall be FREE), editing in non-fiction is a bitch, let me tell you about it, it’s hell, it’s like editing the images, then you have to be persuasive and then you have the interviews, which you have to maim to have them say what you wanna say… phew, Hell I tell you.
One day, I don’t remember which, I went to “Canal 13”, that being the local national broadcasting channel 13, in which I pitched a show similar to the Today Show, and it was greatly received, specially due to its connection to social networking and other stuff, but good.
But well, let’s see your week, Thanksgiving is something I don’t understand neither I care to, so yeah haha, anyway the wishes and salutations, as well as being thankful are well received, but everyone must be like that every day of the year, as I try to do myself.
You saw a lot of movies (that was a shocker), Fair Game has me intrigued due to its mixed reception, I shall see it. Tangled doesn’t convince me yet, so I’ll wait for this one. Same thing goes to The King’s Speech, sounds like Oscar Porn, if you know what I mean. I really wanna see Tokyo Story and The grapes of Wrath (I know, heresy).
Movie wise, I saw:
– A Brief History of Time (1991, Errol Morris) ****1/2 Wow, seeing an interview with Hawkings and be so inmersive, informative and really visually appealing. I saw this to write an essay on Morris for an assignment (hey, that was the other thing I did).
– Harry Potter and the Deathly Hallows (2010, David Yates) *** I am furious, really. How can they mess up so bad? How can they make it so uninspired? Why, David Yates, why? What did I do to deserve this? I love this book and you have two movies to do it, and you make it Slooooooooooooooooooooooow and half the time I was confused (and I’ve read the books at least three times each). Nothing to say.
– La joie de vivre (1934, Anthony Gross, Hector Hoppin) ***1/2 Yep, the short featured on this amazing countdown was kinda neat, but felt… plotless? I don’t know, if I wanna see something plotless, it must have some pretty interesting visuals, like in ‘Destino’ (again, so good) and I didn’t get that here.
– The Death of Stalinism in Bohemia (1990, Jan Svankmajer) ***1/2 I have a problem with political films, specially those who are too close to being propagandistic, specially when they use clichés about certain political sectors. I’ll just say that much.
– Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (1999, Errol Morris) ****1/2 This was so good, getting inside and being able to ‘understand’ the mind of this character was really interesting, and again Morris made it visually compelling, props for my new favorite director.
– For Her (2008, Fred Cavayé) **** This was so good, really, this is a fench thriller and it never went down the path of the cliché, so I’m glad. This is the movie that was remade into ‘The Next Three Days’.
I haven’t had the time to do anything else, but soon I shall avenge my free time by occupying it with a lot of entertaining activities, cultural and not so cultural.
Anyway, Sam, everyone, it’s always a pleasure, see you around.
Hello Jaime, and as always a special treat to read your weekly activities. Your report is unfailingly ebullient and diverse, and so much is always packed into your perceptions and frankness. That’s a terrific grade you received for the oral exam, obviously, and I can’t fathom all the painstaking work that went into that documentary session in the university’s basement. I completely agree that non-fiction would be especially difficult as there’s no room there for “interpretation.” I know it’s a bummer to lose Leslie Nielsen, but at least we can solace ourselves that he lived a long and prosperous life making a ripe old age. It is amazing how all the testimonials are pouring in, and I know you penned your own lovely remembrance.
Well, as far as Thanksgiving goes, your sentiments are not off the mark, but keep in mind that it is now a major holiday in the US (actually the second biggest holiday of the year behind Christmas) and a day that generates more air traffic (the day before and after particularly) than any other time of the year. And it’s a day off from work and from school! But yeah, it’s a mass slaughter of turkeys nationwide, and the message is often lost in the commercial aspects. Basically, it’s a time to gourge yourself, and on that count I stayed clear.
Yes THE KING’S SPEECH is perfect for the Oscars: handicaped British monarch, lush score, beautiful costumes, lovely cinematography, two top-rank actors, literate script and raptorous accents. But who can really argue with that kind of mix? The film is inspiring, historically fascinating and it’s a lot of fun to boot. There are SOME films that aren’t as good as their Oscar like elements would lead you to believe. THE KING’S SPEECH is not one of them. It’s superb. FAIR GAME is liked by many, but I found the subject redundant and the film’s pacing rather turgid. I lost interest about a third of the way through. But let’s see what you think–I understand the subject greatly interests you.
Morris is one of the best documentarians of the past 30 years, and A BRIEF HISTORY OF TIME is one of his best for sure (My absolute favorites of his are THE THIN BLUE LINE and GATES OF HEAVEN) Your affinity for MR. DEATH is very well-founded too, methinks! I am not at all surprised that he has become your “new favorite director” now with your hands on involvement with this kind of film.
I liked the Svankmajer somewhat more than you, but fair enough on that one and also on LA JOIE. Yes, yes, yes, on the new HARRY POTTER movie. It was VERY slow, and redundent and uninspired. But my kids would want me hung if they read this! Ha! And even the professional critics were overwhelmingly positive so go figure! I have not seen FOR HER, but very interesting assessment there!
Good luck with your school-related agenda for this week, and as always your report is always fascinating and deeply-appreciated my very good friend!
Not much going on here — waiting to see the results of the poll on my site and trying to fit in movies as I have time. It’s obviously a busy time of the year, but I still had time to catch both part one and two of MESRINE and parts one and two of CARLOS (still trying to carve out the time to finish with part three). I liked MESRINE quite a bit (though not as much as Allan seemed to like it) and CARLOS is shaping up to be one of the best of the year. The portion in Austria is amazingly well done for this type of film.
While putting up Christmas decorations over the weekend, the three of us all watched our annual viewing of IT’S A WONDERFUL LIFE and MUPPET CHRISTMAS CAROL. It made me happy to see Madelyn enjoy LIFE so much (I didn’t expect a B&W film to hold a 21-month old’s interest) and she particularly enjoyed when they were dancing the Charleston, performing her own version in kind.
Troy: I’ll admit I’ve thrown my own support behind Robert Bresson in your sidebar poll, but that’s mainly for selfish reasons, as the Frenchman is one of my two or three favorite directors. But I would also rejoice if Powell & Pressberger were to capture the top spot. I know full well too what a masterful job you would do with either of these two or anyone else who might finish on top. I haven’t seen MESRINE just yet Troy, but will remember your sentiments when I get to it. I quite agree on CARLOS, which is a towering work, and one of the year’s best. Yes the Austrian segment is masterful.
Madelyn danced the Charleston and loved IT’S A WONDERFUL LIFE? Well, there you have perhaps the most joyful anecdote on the entire diary thread, and I wish I were there to see it. Priceless.
Thanks again my very good friend, and I’ll be keeping my eyes peeled to the activity and results at ELUSIVE AS ROBERT DENBY!
Allo! Allo! Sam Juliano, Allan Fish, and WitD readers…
Allan, how are you feeling? I hope that all is well…Because Sam Juliano, mentioned that you were a bit under the weather.
Therefore, I sent you a Get-Well e-card, but I’am not sure if you received the card yet…I was hoping to “cheer” you up a bit…What!?!
Now, let me turn my attention to your co-founder and what he did this week…
Sam Juliano said,”On the cultural front, it was (typically) mostly film for Lucille and I, though we spent Saturday night at a wedding in the Bronx, and I have been engaged in a formidable exercise regimentation…”
I bet the wedding ceremony was very nice and hang in there Sam, when it comes to your “formidable exercise regimentation.”
…”On Friday evening, after a mid-afternoon showing of a John Ford classic (see below) my weekend troupe attended the latest production at the always-reliable Irish Repetory Theatre, BANISHED CHILDREN OF EVE, directed by Kelly Younger, adapted from the novel by Peter Quinn…Some compelling individual sequences and impassioned performances mitigate some uneven narrative progression…”
Hmmm…after reading your critique of this play I’am unable to gauge whether you would give this play the thumb(s)-up or the thumb(s)-down…Is your feelings about the play lukewarm?!?
Sam Juliano said, “I saw the following films in theaters:Fair Game ** Burlesque **
Seems Fair Game ** and Burlesque ** are the two weakest films among the six films that you watched at the theatre…and Tangled,**** (Woot Woot!) The King’s Speech, **** 1/2 Tokyo Story *****(No brainer) and The Grapes of Wrath *****(No brainer)
(Even though I have never watched Tokyo Story nor The Grapes of Wrath) that you, viewed at Film Forum are the winners this week.
Speaking Of, the Film Forum I hope that Tony, and author D.H.Schleicher, check-out the Film Forum link that you have provided your readers,with too… all I can say is Thank-you, for the link!
Sam Juliano, Once again, thank-you, for the mention too…as usual!
DeeDee 😉 🙂
Dee Dee, Allan has admittedly had a terrible bout with the flu, requiring all kinds of anti-biotics. He is finally over the worst of it today I believe. I can well understand the terrible time he has had, sad to say, but I’m sure he appreciates your concern. That’s a lovely gesture sending him that e card, but for you it’s par for the course. I salute you, Great Lady.
The wedding was indeed quite an event! My brother’s wife’s younger sister was the bride in this all-Albanian reception. The music and dancing was gloriously ethnic, and the wedding couple rising in an elevator style gezebo from under the floor in a cloud of smoke was something I had never previously seen. The food was excellent, but I was very careful to limit what I ate and the amount.
As to the play, I’d say it was a little above average when you consider everything. Lucille and Broadway Bob liked it way less, but I saw some historical interest in the NYC draft riots, and appreciated the fine acting and interesting set design, even with its rather uneven quality.
Yes, the love for both GRAPES and TOKYO STORY is a “no brainer” and I was very impressed with THE KING’S SPEECH and TANGLED. Others liked FAIR GAME, but for vital reasons I found it torturous. BURLESQUE was just too derivative. Strictly as entertainment the enchanting THE KING’S SPEECH blows away that turgid and suffocating FAIR GAME, which disavows tension for excessive exposition. When the most interesting thing about a political film is a marriage on the rocks, well, let’s just say ‘failure’ is a word that comes to mind. Ha!
And I’m sure Tony and David will love that schedule! I must also mention the spectacular work you’ve done in promoting the Film preservation fundraiser/blogothon. The work that is being done by Marilyn, Greg and The Self-Styled Siren is fully deserving of your efforts, though you are no stranger to lending a hand to noble and selfless causes.
As always thanks for all your wonderful e cards and concern, and for being the shining light you are for so many of us. You are atrue inspiration my dear friend!
@Troy Olson
Troy said,”While putting up Christmas decorations over the weekend, the three of us all watched our annual viewing of IT’S A WONDERFUL LIFE and MUPPET CHRISTMAS CAROL.
Troy, did you know that in some film noir circles Capra’s “It’s A Wonderful Life” is considered a film noir…when you get time check-out this podcast by two film noir experts name Clute and Edwards
Out Of The Past Podcast
…”It made me happy to see Madelyn enjoy LIFE so much (I didn’t expect a B&W film to hold a 21-month old’s interest) and she particularly enjoyed when they were dancing the Charleston, performing her own version in kind.”
Ha! Ha!…I would have loved seeing Madelyn, doing the Charleston, too!
Thanks, for sharing!
DeeDee 😉 🙂
I can certainly see some film noir aspects in LIFE, DeeDee. My wife always tries to tell me that it’s not as dark a movie as I claim it to be due to its happy ending, so perhaps this is the back-up I need to prove my point to her…I’ll be checking out that podcast at work today.
Rest in Peace
In addtiion to the recent passing of Leslie Neilsen, sadly a few others have left us too. Directors Irwin Kershner (The Empire Strikes Back), he was 87 and Mario Monicelli (Big Deal on Madonna Street) who was 95.
John, thanks for honoring these important figures here. I had read that Monicelli jumped out his fifth-floor hospital window, as he was apparently suffering from pancreatic cancer. Sad, but a very long life for both Kershner and himself.
Of course for so many Nielsen is a comedic icon.
R.I.P.
I was abit prematurely in posting as I meant to add former New York Yankee shortstop Gil McDougald who was rookie of the year his first season. McDougald is remembered for sending a hard line drive directly into the face of Cleveland ace Herb Score. Score was severely injured in one eye and broke his nose. Fortunately, Score did not lose his eyesight but he was never the same pitcher again. MacDougald was 82 years old.
I do well remember Phil Rizzuto always talking about McDougald during Yankee broadcasts John, and I’ve heard about that infamous liner. Great opening season for sure, though as we know he never reached the Scooter’s level. Thanks for reminding Bomber fans of his passing, John.
Sam – I watched “The Spiritualist” last evening. It was so interesting to compare/contrast 1948 “special effects” with today’s special effects. The scene where she’s running down the cliff path to the beach and falls (last one in’s a rotten egg!). I think they “spun” the backdrop behind her. Women in dresses (only), men always in suits, and everyone smoking. I enjoyed the storyline – that was quite the scam!
That’s an excellent point of comparison there Laurie! And astute observations there about the clothes and the smoking! The film is widely considered a minor classic, and yes that was quite a ruse. The film is mainly distinguished by camera wizard John Alton’s gothic, and fog-swept cinematography, and some memorablwe performance by Turban Bey and Cathy O’Donnell. Bernard Vorhaus helmed this with a stylish underpinning. This is the first time the film has been presented from pristine original elements, and I have Dee Dee to thank for owning it now!
Thanks so much Laurie for sharing your reaction!
Thanks Sam for the mention. Wow man, you seem to have gone back to one of your movie-viewing expeditions! On this front, I’m not keeping very well, but the good thing is I’ll be leaving for home on 18th December which I sure am looking forward to.
I bet you are indeed greatly looking forward to that break Shubhajit, and I wish you a relaxing (and movie saturated reprieve!) Ha! Yes, I had one of my best weeks in quite a while, but the right films just happened to be out there. Still, the holidays always give us the most pleasure culturally and in every sense!
Thanks very much my very good friend!
Dennis: I know you are working later tonight (I’m sure what time though) but just be advised that as today (November 30) is Lucille’s 47th birthday, we will be having a very nice Baskins and Robins chocolate chip-chocolate ice cream cake that I just picked up. For those attending here for pasta night it will be an overdose of carbs for sure, but hey you know…once in a while? Of course I will NOT be indulging, and do not eat sweets, pasta, bread or rice anymore at all, but it will be fun seeing the kids have fun. So if you are free, stop by!
Sam – Just saw this and wanted to send my best birthday wishes to Lucille! Hope you all have a wonderful celebration tonight. I admire your willpower to give up the bad carbs – especially at this time of year. But I guess we all do what we gotta do, right?
Pat
That’s lovely of you Pat, and I will indeed convey the well-wishes to here shortly. It’s a dark, raw and rainy day here in northern New Jersey, but the house will be warm and festive for sure! I wish you were here in the NYC area at this time Pat, and always am moved by your many kindnesses and good will.
I’m afraid my abstenence goes beyond a mere diet, as all my recent health screenings did really borderline Type 2 diabetes (my father and just about everyone on his side has and has had this, even with their long life spans) which requires met formain twice a day. I was told I could reverse this with proper attention, and I have frankly been fanatical in every sense!
Many thanks again my friend!
Hi Sam, I’m looking forward to ‘The King’s Speech’, it seems to have certain vibe about it. I wonder what the odds are on Firth winning the Oscar. Might be worth a punt.
Anyway, I’ve been watching ‘Thriller’….a day, even after the blog has finished. Went through the ones I hadn’t seen and then I’m now back to the beginning of the show, just having watched the 4th episode today.
At the same time, I’ve been playing some episodes of the ‘The Prisoner’, including the classics ‘A, B and C’ and ‘Free for All’. Then I started to play, all on my tv monitor next to my bed, ‘The Twilight Zone’ randomly from seasons 3 and 2. Having seen them too many times over the years, I opted for to watched ‘Alfred Hitchcock Presents’, especially as I’ve only ever watched one or two episodes since getting the box sets of 1 – 4 of the show. I haven’t watched it consistently since its TV showing over a decade ago. Probably watched 15 episodes so far; it’s absolutely superb. Every episode has had something to recommend it for. And it’s interesting to see how ‘Thriller’ directors and crew worked in the narrower confines of 23 minutes. The stand outs so far have been the Hitch directed ‘Breakdown’**** (full marks) starring Joe Cotton as a cold, hardened businessman who ends up in an accident, is unable to move but thought to be dead by all around him. It’s beautifully directed and photographed (by John Russell) and pitch perfect, something to be worthy of close inspection by the director’s many admirers. Yet, most biographies ignore his shorter works, which is dim beyond words. It’s like exploring the novels of an author and not mentioning the just as rich short stories. The other masterpiece so far is Ray Bradbury deliciously delightful ‘Shopping for Death’ about a pair of retired insurance investigators who find a low-life wreck of a haggled and abusive woman who is statistically liable to be killed due to her attitude at the temperature of 92 degrees, and the heat is rising and rising…
I also watched his hour length ‘Four O’clock’** from the Revue show ‘Suspicion’ (1957-1958, 21 episodes). It’s based upon a short story by Cornell Woolrich and about a watchmaker who, suspecting that his wife is having an affair, builds a bomb to blow both her and her lover to smithereens at 4 O’clock. Only problem is that burglars break in, knock him out and tie him up in the basement…as the clock ticks away. It’s very suspense and has a terrifically edited finale. It only falters on closer inspection due to some of the details.
For Hitch fans who haven’t seen it, it’s public domain and can be downloaded and watched here: http://www.archive.org/details/Suspicion_1_01_Four_O_clock
It made me want to track down ‘Ford Star time’, which also had a Hitch directed episode called ‘Incident at a Corner”, his sole colour TV segment, photographed by John L. Russell. Alas, this one has escaped me for now.
Pay or Die* – It’s ‘Marty’ meets ‘The Untouchables’. Interesting and captivating period Mafia tale with many of the Catholic rituals reminding me of sequences in ‘The Godfather II’. The ending was unexpected.
The First Men in the Moon (2010) – The novel is a classic and most of the things to be found enjoyable in this new adaption are from the original work. Alas, this is scripted by Mark Gatiss, who seems to be flavour of the month at the BBC. The photography was good, the effects more than fine, the score mundane and the acting seriously lets it down. It came across waaaay too much like ‘Wallace and Gromit’ in space, trying to include nods to Melies and using the framing structure of the ’60s film. Trying to give nods to every cinematic variation of the story since it’s publication at the turn of the century.
I found it as clodding a work as Gatiss’ three part Christmas ghost story from a couple of years back. Had someone done just a straight adaption with good casting it may have amounted to something. Alas, the whole is far less than the ’60s version with a terrifically cast Lionel Jefferies.
‘Scarlet in Pink’ – It’s part of three recent re-workings of Sherlock Holmes tales; modernised, speeded up, trying to be hip and cool for an MTV demographic. In fact, there is very little difference between this and the Doctor in the new Dr. Who; they are both inordinately smug and knowledgable in that B movie manner, where the central character knows far too much. I usually revel in Holmes’ deductions but here I just rolled by eyes.
‘Rogue Male’* (1976) – A BBC/Warner 16mm film version of the novel by Geoffrey Household starring Peter O’Toole and Alistair Sim. It starts off at a good trot and seems to be heading off in a spiffing adventure but after the heroes arrival in England, it becomes increasingly silly unbelievable in the situations. One of the chief joys is the two meetings between O’Toole and a magnificent Sim in Turkish baths.
Also watched ‘Have Gun Will Travel’, only two episodes. The pilot for an original Bernard Herrmann score that was utilised as stock for the remainder of the series and a 2nd one because it was scripted by the hack known as Gene Rodenberry and won a Writers Guild of America award. It’s slightly better than the pilot or the usual episodes, but not much. The idea of an intelligent and cultured cowboy gunfighter strikes me as an oxymoron; a concept that from that dim era of stampeding western shows killing drama.
Also, in the vein above – I watched the only two episodes of ‘Gun Smoke’ for which Herrmann composed original scores. His scores were the best thing about them. Then I watched about three episodes of ‘Maverick’, but not for Herrmann (he never scored for the show) but because they were written and directed by Douglas Heyes, who only a few years later would direct ‘The Hungry Glass’, ‘Eye of the Beholder’, ‘The Howling Man’, ect, ect. His segments weren’t half bad and one was a pretty engrossing variant of ‘The Postman Always Rings Twice’ for the first half but faltered in it’s concluding 3rd as it tries to fix it up.
Very unlikely to find any kind of real gem, but interesting to see where this talent blossomed from.
Attenborough The Controller**** – A superb segment of the ‘Time Shift’ strand which explores the 5 year reign of David Attenborough in which he made BBC2, the second national channel of the Beeb, into the emblem of Public Service Broadcasting. Full of great interviews and clips and a splendid watch.
Brewster Macloud – Robert Altman’s allegorical fantasy film from the early ’80s. Interesting experimentation but really no plot or point of entry to engage the film. An interesting failure and the director pissing away the power he had accrued from MASH.
Oh, Sam – I read a reply by Troy about my bit on TV, asking for some references on the sources – I didn’t get a chance to reply in the last week. So if you could forward these recommendations….
The Battle for the BBC
The Rise and Fall of ITV
and this, probably the finest article on the internet, so I’m going to follow up by buying all his books…
Click to access p0056-p0073.pdf
…others will follow as I research this area more.
Anyway, glad to hear that the training regime is kicking in.
I have been promoting THE KING’S SPEECH relentlessly, Bobby, and with the exception of a snag I ran into at another site manned by a longtime friend, I have read nothing but effusive praise. Sure it’s Oscar bait, but in this instance there’s a good reason! Ha! I know you are no pushover, but I dare say this one may float your boat on a number of counts.
I have also watched more THRILLERS and have engaged in numerous repeats. Look, we waited for this set for years (settling for inferior bootlegs with artifacting and bad sound) and it will take a very long time before we get our fill. (And even at that it’ll be temporary!) Your commentary at the THRILLER A DAY site was staggering, and further proof of how lucky we were to attract your attention. I am gearing for the OUTER LIMITS and plan to re-watch some key episodes over the upcoming weeks: “Demon With A Glass Hand,” “Corpus Earthling,” “The Bellero Shield,” “A Feasibility Study,” “The Man Who Was Never Born,” “The Sixth Finger,” “The Forms of Things Unknown,” “The Invisibles,” “The Architects of Fear,” and some others, to prep for the blogothon.
I do know both “Breakdown” and “Shopping For Death” from ALFRED HITCHCOCK PRESENTS and like you I love both. My favorite episode of the series is a popular one: “Lamb to the Slaughter,” with Barbara Bel Geddes, but as you astutely note, it’s a great show across the board. I think it’s criminal that Universal has gone only as far as the fourth season, and it’s unfair too that “The Alfred Hitchcock Hour” is unavailable on DVD. In any case, a blogothon on that show would be awesome too! I haven’t watched any episodes for a few years, and your reminder has me scheming! Ha!
Thanks for that download link to “Suspicion” and specifically the episode “Four O’Clock” as I for one haven’t seen this show in any sense. There is also an episode in THE TWILIGHT ZONE titled “Four O’Clock” but it’s not really one of Serling’s better efforts. It’s a big cliche on a common series theme. Still I absolutely adore TZ, and won’t be able to resist upgrading the whole series to blu-ray at some point. The Bradbury episode reminds me of a TZ episode called “That Evening Sun,” which I’m sure you know well. And I am a huge fan too of the work of Cornell Woolrich, who was one of noir’s most celebrated figures. I am also to counted as a fan of “The Prisoner.” Seems like you and I Bobby, are in essentially the same age grouping, and we will never let go of these great anthology series from our young years. I am also by the way, angry with Universal for not releasing the admittedly inferior third season of “Rod Serling’s Night Gallery.” We haven’t discussed this series, but who can be less than greatly imprssed with several of the series’ finest moments: “They’re Tearing Down Tim Riley’s Bar,” “A Fear of Spiders,” “Silent Snow, Secret Snow,” “The Messiah On Mott Street,” “Cool Air,” “A Question of Fear,” “Pickman’s Model,” “Camera Obscura,” “Lindemann’s Catch,” “Green Fingers,” “The Sins of the Fathers,” and “The Caterpillar.” I’ve used all of these at some point in my classes over the years, and they inspired some great writing responses.
I’m noy familiar with “Incident at a Corner” I’m sorry to say, but most interesting!
I would have to agree with you there on “Pay or Die” which is entertaining, but rather minor. Good that Warner Archives brought it out though.
I adore Vernes’ THE FIRST MEN IN THE MOON, which I read many years ago in Junior High School (along with other Vernes in an impassione dreading binge of his work, similar to what I later did with the far more prolific Agatha Christie) and am hardly surprised at the failed recent adaptation. I’m always had a soft spot for the 60’s version of course. Too bad about “Scarlet in Pink” and I haven’t seen “Rogue Male” but am intrigued by your interesting assessment.
There isn’t any “plot or point of entry” for “Brewster McCloud” but I wouldn’t quite say it’s a failure as you do. It’s a fascinating time capsule, and in a narratively abstract sense it’s engaging.
Geez, looks like I’m really missing something with Attenborough’s “The Controller.” One day I’ll have to rectify that, especially with my high regard for David.
That’s a great way to track down Herrmann’s scores, and I’d also be much interested in checking out the ones he authored for “Gunsmoke” and “Have Gun Will Travel.”
I’m sure Troy has already seen this Bobby, but I’ll notify him by email too (that you posted). I will shortly check out that seemingly awesome link you added here near the end of your response.
This is a Hall of Fame comment, that is further proof of your consumate brilliance my friend. Peter Enfantino and John Scolari just found that out too! Thank you so much!
Sam, what is this nonsense about Lucille’s “47th birthday”? You college educated crackpots are all the same. You receive your degrees then you forget how to spell…how to count…
It makes one wonder in the dark about the true quality of higher education in America. Your wife is twenty-nine Sam…twenty-nine!
And has been for quite some time…
Maybe you’re still ashamed of yourself for luring her away from her Girl Scout troop at the tender age of 15 and mesmerizing her into becomming your child bride under more than dubious circumstances. Those of you living outside of the tri-state area, or too young to remember, are probably unaware that Sam was once referred to as the “Humbert Humbert” of Fairview, New Jersey nor to have knowledge of or recall his infamous “shot gun” wedding that had the whole county talking for years.
I won’t even mention all his Mann Act convictions!
Well, Sam’s disingenuousness notwithstanding it was a lovely pasta night as always with the starch flowing and the meatballs glowing and I believe Lucy was truly moved by our rendition of “Happy Birthday To You”.
“LUCY! YOU HAVE SOME ‘SPLAININ’ TO DO!!!!!”
Ah yes, my ruse was detected. I didn’t want anyone to know Lucille was really 29, as they REALLY would have thought I robbed from the cradle!
And thanks for letting the cat out of the bag on me being a local Humbert Humbert. You’ve ruined my reputation, and managemnt at this site will never be the same again! You’re a real pal!
My pleasure buddy boy. Any time!
Or perhaps Sam hasn’t bought into the oldest lie in the book: that women are at their most beautiful and alluring before 30…
Ha Jamie! Thanks for rescuing me my friend!
I actually believe they are most beautiful and alluring between the ages of 9 and 55.
Sue and I watched The King’s Speech last night at the Union Square. Sue thinks it’s the best film of the year, and my judgement is close to that position. Great acting, and beautifully-made. No wonder it’s winning praise from all who have seen it. I bet it will be a strong contender for the Oscar.
Thanks for the reccomendation, buddy. I owe you one!
Peter, that is really music to my ears, though as you know I got the advanced word! Ha! Oh I knew Sue would be ecstatic!!
Thanks for this glowing report!
Thanks so much, Sam, for the words of encouragement. Sometimes I feel like some crank blathering film nonsense from the hinterlands (Columbus, Ohio).
Regarding “L’Avventura” nod-offs, derision, etc., I recall once upon a time disliking and dozing through Visconti’s “The Leopard.” Last summer I watched it again and found it ravishing, a major work.
How could I have been so wrong? It was the same picture, but I wasn’t the same person.
Hey, Maurizio, try “L’Avventura” again and notice the way Monica Vitti, his real protagonist (Lea Massari is just a decoy), obliquely, almost invisibly, enters the film across the background in a shot near the film’s beginning. It’s one of Antonioni’s many peerless, novelistic touches.
With all the garlands hung round its neck, “The King’s Speech” is now on my must-see list this weekend. Thanks again to WiTD!
Mark, I deeply appreciate your witty commentary here! Yes, some films do take a second or third viewing to warm up to (sometimes too it goes the other way, liking some less on repeated viewing) as I’ve found countless times. THE LEOPARD blu-ray is quite a tunner, I will say that!
You may not like THE KING’S SPEECH as much as I did, and I fear over-promoting it, but let’s see how it washes over you. I’d be very interested in finding out what you think. I am sure at the very least you will appreciate Firth and Rush.
Thanks again!
love this article. thanks for the good material.