by Sam Juliano
Those summer denizens looking for beach weather got more than they bargained for this past week as temperatures in the big apple broke 100 on one day, and reached the high 90’s on two others. Needless to say air conditioners were running 24/7, and air levels outdoors were deemed unsafe, sending many flocking to multiplexes and other indoor cultural refuges. Here at Wonders in the Dark the comment threads have been sizzling, especially an escalating discussion on the valididity of film criticism and art in a protracted takedown of Jean Luc Godard’s Film Socialism. Godard supporters and detractors have helped make the thread one of the most popular in the site’s close to three year run. Jim Clark’s latest essay (on No Country For Old Men) and Jamie Uhler’s latest installment in his incomparable “Getting Over the Beatles” series were very well-received, and Allan’s ‘Fish Obscuro’ entries and Bob Clark’s excellent work on anime continue to lead the way. The musical countdown draws closer, but a good seven weeks of preparation remains fro Pat Perry and myself to sort out.
On a personal note I am nearing the end of my 25th year teaching in the Fairview Public school system (after two years starting out as an English teacher in a vocational high school) and am preparing for the summer program, which will run from June 27th till August 6th. Retirement? As Margaret Hamilton asserts: “I wouldn’t hear of it!” With five young kids, I will need to teach until I drop, and am physically removed from the classroom. It’s either that or sell my DVD collection! Ha! At 56, I could see myself teaching ten more years, providing I make it that far.
This past week yielded some highlights on the cultural scene, including an off-Broadway stage play based on and titled after Ingmar Bergman’s Through A Glass Darkly. The 90 minute drama featured celebrated British actress Carey Mulligan (as Karin) Chris Sarandon, Jason Butler Harner and impressive newcomer Ben Rosenfield in extraordinary form. This claustrophobic work, adapted by Jenny Worton from the first part of Bergman’s early 60’s “Faith Trilogy”adaptation of the Swedish auteur’s 1961 film Through a Glass Darkly – a dark, psychological exploration of madness and artistic creation by the sea. The theatre has never succeeded in capturing escalating madness as well as the cinema, which has at it’s disposal the use of the close up, visceral editing, and the orchestration of sound and visual elements which can’t quite be replicated on the stage. The play, faithful to the film’s story arc, depicts Karin’s return to her family’s Swedish island home after a stay in a mental institution. She’s joined there by her slightly older physician husband Martin, her hack novelist father David, and her brother Max, a lonely soul who’s taken up playwriting in an effort to emulate his father’s creative efforts. As the family’s old resentments resurface and Karin’s father reveals the extent of his cold creative impetuses, Karin’s madness worsens until it reaches its breaking point. Mulligan is raw and riveting in trying to emulate the great Harriet Andersson, and within the form’s limitations is often electrifing. Ben Rosenfield nearly matches her as Max in a portrayal of stark intimacy. Two major contributions come from set designer Takeshi Kata and lighting supervisor David Weiner, but the spare music from David Van Tieghem gives the film some added emotion. David Leveaux’s direction tries to isolate the intense dramatics, but there’s a cold and distancing quality to the adaptation that makes it only intermitantly effective. Basically Through A Glass Darkly is a series of vignettes based the film that recapture much of the wrenching emotionalism, but only a hint of the film’s explosive power. Note: It was wonderful to again meet our great friend and site colleague Phillip Johnston, who joined Lucille, Broadway Bob and myself for this production and a late night meal at The Dish. Phillip and Lucille enjoyed some steak, while Bob and I opted for veal parmigiana.
On the film scene Lucille and I saw the following, several with the kids in tow:
Battling Butler **** 1/2 (Monday evening) Keaton Festival at Film Forum
The High Sign **** (Monday evening) Keaton Festival at Film Forum
13 Assassins **** 1/2 (Thursday evening) Cinema Village
Super 8 **** (Friday afternoon) Edgewater Multiplex
Submarine ** (Friday evening) Montclair Claridge Cinemas
Keaton’s personal favorite film, Battling Butler and the wonderful short, The High Sign will be discussed in the Keaton round-up in August, but it was again a joy to hear Steve Sterner and Ben Model providing live piano accompaniment. The Japanaese samurai film 13 Assassins by Takashi Miike is the best of it’s kind since the glory years of Kurosawa and Kobayaski, and features an operative 45 minute final duel to the death that is heart-stopping. Prior to that, characters are beautifully examined setting the stage for the final assault. J.J. Abrams and Steven Spielberg collaborate on a wonderful and nostalgic take on the 50’s monster movie (Super 8) that offers the full gamut of emotions, and some arresting set pieces. At times it’s narratively uneven, but it all comes together in the end, and is hardly the worse throughout. The British coming-of age drama Submarine was a big hit on the festival front, but one wonders how this often excrutiating film could have seduced viewers into setting aside the overbearing narration, and the alienating characters. It was patterned after Rushmore, and is wholly unoriginal.
The following 48 blogosphere links are offered up:
Briton Judy Geater continues to treat the blogosphere to top rank reviews of fascinating subjects and her latest treatment of a William Wellman film (1939′s Beau Geste) is a Movie Classics masterpiece: http://movieclassics.wordpress.com/2011/06/05/beau-geste-william-a-wellman1939/
David Schleicher has made a towering contribution to the Malick literature with his extraordinary essay on The Tree of Life at The Schleicher Spin: ttp://theschleicherspin.com/2011/06/11/memory-and-magic-in-terrence-malicks-the-tree-of-life/
Celebration time at Cinemascope! Post #1000 has appeared, and in glorious fashion Shubhajit offers a treasure from his favorite director, S.Ray, Charulata: ttp://cliched-monologues.blogspot.com/2011/06/charulata-lonely-wife-1964.html
Samuel Wilson again treats the blogosphere to an extraordinary review, this time on the just released Abrams/Spielberg collaboration, Super 8 at Mondo 70: http://mondo70.blogspot.com/2011/06/on-big-screen-super-8-2011.html
Jake Cole has also authored a terrific review of Super 8, at Not Just Movies with some trolls in his comment section to boot: http://armchairc.blogspot.com/2011/06/super-8-jj-abrams-2011.html
At Twenty Four Frames John Greco has penned a wonderful essay on Fritz Lang’s 1956 Beyond A Reasonable Doubt: ttp://twentyfourframes.wordpress.com/2011/06/10/beyond-a-reasonable-doubt-1956-fritz-lang/
Meanwhile, John’s beautiful new ‘photography’ website is up and running: http://johngrecophotography.com/
Unfailingly brilliant and effervescent Laurie Buchanan invokes Rogers & Hammerstein in her ‘ushering in the summer’ post “June is Bursting All Over” at Speaking From The Heart: http://holessence.wordpress.com/2011/06/09/june-is-bustin-out-all-over/
Terrill Welch offers up a breathtaking photo of Wayne Island’s neighbor from a ferry in the aptly titled “Have a Seat” at the Creativepotager’s blog: http://creativepotager.wordpress.com/2011/06/10/have-a-seat/
That wonderfully astute, witty and personable blogger from Dublin named Longman Oz has authored a terrific review of an Italian arthouse hit, Le Quattro Volte at SmiledYawnedNodded: http://smiledyawnednodded.com/2011/06/07/lequattrovolte/
In Tokyo, the ever-resilient and gentlemanly scholar, Murderous Ink has continued on with his stellar work post-war Kurosawa, examining the 1950 film Scandal at Vermillion and One Nights: http://vermillionandonenights.blogspot.com/2011/06/postwar-kurosawa-scandal.html
Jason Marshall has written a review for the ages in proclaiming at Movie Classics that Terrence Malick’s The Tree of Life is a masterpieces and one of the greatest films in years: http://moviesovermatter.com/2011/06/05/%e2%80%9ctell-us-a-story-from-before-we-can-remember%e2%80%a6%e2%80%9d-terrence-malick%e2%80%99s-%e2%80%9cthe-tree-of-life%e2%80%9d/
Jaime Grijalba has authored a magnificent feature on the film and novel of Never Let Me Go by Kazuo Ishiguro at Exodus: 8:2: http://exodus8-2.blogspot.com/2011/06/never-let-me-go-2010.html
Indian culture mavens take note! At Kaleem Hasan’s spectacularly popular home from Indian film, music and politics, the lead post, featuring a you tube of the song “Bduddah Hoga Terra Baap” has attracted almost 300 comments! But the site performed as well on many occasions. Congrats Kaleem!: http://satyamshot.wordpress.com/2011/06/05/bbuddah-hoga-terra-baap-trailers/
And Hasan himself has penned a superlative review of the Indian film Dum Maaro Dum: http://satyamshot.wordpress.com/2011/04/28/specters-of-dum-maaro-du
Srikanth Scrivasson (Just Another Film Buff) has authored a wonderful capsule piece on an uncharacteristically dark and edgy Bollywood flick, Shaitan at The Seventh Art: http://theseventhart.info/2011/06/11/ellipsis-42/
Jason Marshall has written a review for the ages in proclaiming at Movie Classics that Terrence Malick’s The Tree of Life is a masterpieces and one of the greatest films in years: http://moviesovermatter.com/2011/06/05/%e2%80%9ctell-us-a-story-from-before-we-can-remember%e2%80%a6%e2%80%9d-terrence-malick%e2%80%99s-%e2%80%9cthe-tree-of-life%e2%80%9d/
Filmmaker affectionately makes reference to the tunes that have of late playing on the speakers of his “modern-day” stereo, his PC at The Last Lullaby: ttp://cahierspositif.blogspot.com/2011/06/other-random-tunes.html
Ed Howard takes a rare but enthralling look at Harry Smith and his prominent 1946 abstract animation work Interwoven/Tarantella at Only The Cinema: http://seul-le-cinema.blogspot.com/2011/06/film-no-3-interwoventarantella.html
At Doodad Kind of Town Pat Perry of musical countdown fame (and other ‘fames’ too!) has been on a roll again, and her superlative review of Morning Glory follows up on the heels of a great one last week on Bridesmaids: http://doodadkindoftown.blogspot.com/2011/06/on-home-screen-morning-glory.html
Wonders in the Dark readers by now have surely seen and accessed Tony d’Ambra’s collection of poems and prose, Cinematic Poetica, a new volume available at areasonable price, featured on the sidebar. For those who have been ravished by the works as they appeared over the past two years, here’s the chance to own the entire sensory collection in a beautifully ornate booklet: https://www.lulu.com/commerce/index.php?fBuyContent=10534204
Soccer fans will be thrilled to know that Sanchin Gandhi is far more than just an ardent film fan, when they venture over to Scribbles and Ramblings where an amazing sports post leads up: http://likhna.blogspot.com/2011/05/2011-champions-league-final.html
In his new post “A Psuedo Self-Portrait” Michael Harford offers up some lovely abstracts and a video tour of Descartes coffeehouse in Chicago. It’s there at the Coffee Messiah’s blogsite: http://coffeemessiah.blogspot.com/2011/06/pseudo-self-portrait.html
Stephen Russell-Gebbett again raises the bar at Checking on my Sausages with a highly original and fascinating essay titled “Humanity Through Excess”: http://checkingonmysausages.blogspot.com/2011/06/humanity-through-excess.html
Patricia at Patricia’s Wisdom offers up some key words when one is at the optimum level of satisfaction and happiness: http://patriciaswisdom.com/2011/06/exercising-the-emotions-ii/
At Ferdy-on-Films the always fecund Marilyn Ferdinand has penned a wonderful analysis (and look back) at “Armistead Maupin’s ‘Tales of the City/More Tales of the City” a mid 90’s television show: http://www.ferdyonfilms.com/?p=10132
At This Island Rod, writer par excellence Roderick Heath takes an in-depth look at the second James Connery Bond flick, “From Russia With Love”: http://thisislandrod.blogspot.com/2011/06/from-russia-with-love-1963.html
At Living in Cinema Craig Kennedy’s latest “News du Jour” offers up a number of interesting announcements, and one passing of a well-known director: ttp://livingincinema.com/2011/06/11/weekend-news-du-jour-611-612/
At Films Worth Watching Jon has authored a terrific review of the ever-popular The Assassination of Jesse James by the Coward Robert Ford: http://filmsworthwatching.blogspot.com/2011/06/assassination-of-jesse-james-by-coward.html
Dee Dee’s latest contest (advertised here at WitD) can be accessed and negotiated at her place, Darkness Into Light: http://noirishcity.blogspot.com/
Note: The contest has ended. Congratulations to David Noack!
Troy Olson has an assortment of posts leading up at his place on live basketball blogging, a new record club and the most recent Bresson reviews: http://troyolson.blogspot.com/
At From the Front Row Matthew Lucas has issued a brilliant and scathing condemnation of Godard’s Film Socialism: http://fromthefrontrow.blogspot.com/2011/06/review-film-socialisme.html
Jean has penned a perceptive essay on Terrence Malick’s Days of Heaven at Velvety Blackness: http://velvetyblackness.blogspot.com/2011/06/days-of-heaven.html
Peter Lenihan’s thoughts at The Long Voyage Home continue to gravitate to Terrence Malick’s The Tree of Life well after the viewing: http://thelongvoyagehome.blogspot.com/2011/06/what-calls-for-thinking.html
Hokahey at Little Worlds has authored a superlative essay on Super 8, where he elucidates some serious issues with the film: http://hokahey-littleworlds.blogspot.com/2011/06/poorly-developed-super-8.html
Drew McIntosh has posted an arresting lot of screencaps including three by Godard and one by Ferrara at The Blue Vial: http://thebluevial.blogspot.com/2011/06/godard-says-24-frames-minute-or-is-it.html
J.D. at Radiator Heaven has put his magnifying glass on John Carpenter’s Escape From New York: http://rheaven.blogspot.com/2011/06/escape-from-new-york.html
Adam Zanzie has penned a terrific review of 1964’s Behold A Pale Horse at Icebox Movies: http://iceboxmovies.blogspot.com/2011/06/behold-pale-horse-1964.html
Film Doctor has diagnosed the issues in Super 8 with his always insightful multi-step analysis: http://filmdr.blogspot.com/2011/06/monster-mash-8-notes-on-filmmaking-in.html
Ric Burke has penned a marvelous review of “The Maid” at By Kubrick’s Beard: http://bykubricksbeard.blogspot.com/2011/06/maid.html
Soccer fans will be thrilled to know that Sanchin Gandhi is far more than just an ardent film fan, when they venture over to Scribbles and Ramblings where an amazing sports post leads up: http://likhna.blogspot.com/2011/05/2011-champions-league-final.html
At The Cooler Jason Bellamy links up to the incomparable new Conversations entry with a dialogue with Ed Howard on Terrence Malick’s first four films: http://coolercinema.blogspot.com/2011/05/conversations-terrence-malick-part-i.html
At Hugo Stiglitz Makes Movies Kevin Olson is honored to post teh second presentation in the “record club” initiated by Ed Howard: http://kolson-kevinsblog.blogspot.com/2011/05/record-club-2-brand-new.html
At The Movie Projector R.D. Finch has posted the fourth installment of his fabulous “The Films of Katherine Hepburn and Spencer Tracy” series: http://themovieprojector.blogspot.com/2011/05/films-of-spencer-tracy-and-katharine_30.html
Slant writer extraordinaire John Lanthier likens A Serbian Film to a “transgressive” experience, awarding it 3 out of 4 stars at Aspiring Sellout: http://livingincinema.com/2011/05/14/review-a-serbian-film-2011/
Dave Van Poppel has some great documentary capsules from the Toronto Film Festivals posting at his place: http://visionsofnonfiction.blogspot.com/2011/05/hot-docs-2011-we-were-here.html
Jeopardy Girl asks her readers “What’s Good?” at her place this week in an ever-thoughtful post: http://jeopardygirl.wordpress.com/2011/05/16/whats-good/
47 Links!!!! Is that a record for MMD? Mind-blowing.
Your photograph with Mulligan is precious, Sam. And so is your description of the play – as opposed to the film.
Cheers!
Thanks so much Srikanth!
Actually I had forgotten one essential link, and added it after your posting!
The photograph was taken in the rain, hence the water spots. Ha! Yes, the play couldn’t quite transfer the film’s power, but it was interesting nonetheless.
NOTE TO ALL BLOGGERS: Unfortunately I was unable to get to a PC all day due to school obligations, and now must leave the house with Lucille and two of the kids to attend the Monday Buster Keaton Festival (COLLEGE and the short THE GOAT beginning at 6:30 P.M.).
This means I won’t be able to respond to the diary submissions until tomorrow. But I expect to go into high gear at that time and respond to every last one.
I’m sure that Jamie, Bob, Tony, Jim and/or others will be at the site tonight peaking in in the event there are some questions on any of the threads. My apologies.
In order to continue the conversation on “Super 8” without having to repeat myself, I am going to repost my comments from Craig’s site here.
Just saw “Super 8″. I am altogether “meh”.
I will say, this was the frist Abrams directed-effort whose visuals really impressed me since the “Lost” pilot. “MI3″ was just generic and loud, to me. “Star Trek” was just loud, like a “Star Wars” movie directed by Michael Bay. This, on the other hand, was actually a pretty accomplished by-the-books thing, but I’m not really sure that’s enough.
I liked it best when it was taking the Spielberg-aliens story into some surreal directions, but for the most part I found all the stuff that people are nostalgia-blissed over kinda of annoying. Those damn kids, especially.
Whenever I see lens-flares in an Abrams work nowadays, it takes all my effort to not look for bald men in fedoras and details that show we’re in a parallel dimension, instead of our own. I’m almost surprised he didn’t do his usual “Panic Room” floating-letters trick this time, too.
Being someone who was born in the 80′s, rather than growing up in them proper, I don’t really have any affection or nostalgia for the Spielberg-era beyond what I watched on VHS. “Close Encounters”, “E.T.”, and the Indiana Jones movies? Sure, those are awesome. “The Goonies”, “Poltergeist”, “Gremlins” or whatever else? No. Not really, no. So it’s an era I don’t care too much at seeing recreated at such a big scale as this film.
Sometimes growing up in the period or subject that’s being evoked helps you emotionally connect with it, but without that it becomes difficult. I dug “X-Men”, but then I grew up with the comics, the cartoons, even the trading-cards and action-figures. I grew up with “Star Wars” in the theaters, both Special Editions and Prequels, which mean far more to me than mere video-tape. I grew up with anime and video-games. These are the things I can have nostalgia for, but even that isn’t really enough at times (“Tron Legacy” got me in the right mood; “Scott Pilgrim” didn’t).
“Super 8″ just struck me as corny, without the emotional rose-tinted glasses through which to view the film. Too bad, because apart from my problems with the story and whatnot, it’s probably Abrams’ best directed feature yet, and proof that he can handle this kind of big-scale high-concept set-piece driven adventure with style, substantce and subtlety. Probably the biggest weakness of the film was its script, which is ironic considering Abrams’ background. The dialogue is serviceable, but nothing great. It’s got lots of Spielbergian spectacle, but the nitty-gritty of the action onscreen is usually a little lacking in moment-to-moment suspense. The pacing’s fine, but it’s the visual screenwriting that’s a little empty– most of the important information we get in the film is all delegated to dialogue.
More than anything, I think it shows the importance his collaborators have held in his television productions in the past. Abrams has talked about how good Damon Lindelof’s first pages of the “Lost” pilot were, communicating tons of information without any talking as Jack woke up in the bamboo. Lindelof is a very visual screenwriter. Abrams is an imaginative writer, but he’s still mostly a verbal one. He really could’ve used a second set of eyes to put more real, legitimate action on the page and screen, instead of just meaningless awe-moments. That battle sequence as the kids are running through the suburbs and the tanks’ weapons can’t hit anything– yet, it’s impressive to watch, but it doesn’t actually make any sense (and it doesn’t not make sense in a meaningful surrealist way, either, for the most part).
Abrams is good at dialogue and conceptual thinking, but beyond that his imagination is rather generic in its visualization.
This is going to sound a little bit like nonsense, but we only care if we care. Abrams is clearly appealing to the emotional in this film, pinning its success less on the sci-fi mystery and more on the hopes and aspirations of the scrappy kids trying to make their movie. It has a certain energy to it that gives the film a kind of momentum, the “let’s put on a show” instinct that’s popular in stage dramas of yesteryear and today. And I wish that I could be a little more invested in it all, but for the most part I find the kids a little annoying, to be quite honest. The chunky director, the crybaby actor, the braces-arsonist and the whiny know-it-all are all one-note characters that I have trouble carting very much about. Yeah, it’s nice that they wanna make a movie and kinda amusing that they’re constantly trying to take advantage of the disaster-zone their town is steadily turning into, but what could’ve been a cool joke is kinda drowned out by the hackneyed sentimental love story, which is really just a blue-collar “plague on both your houses” variation.
Too much time is spent there (and in the rote B-movie cliche stuff) that could’ve been spent really developing the Max Fisher insanity of these kids getting in over their heads trying to make a movie in the middle of all this mayhem. Instead, it’s just another trek to save the girl, save the alien and mend the fathers’ broken hearts. If the action were better thought out (again, he seems to work best with co-writers in designing set-pieces– he didn’t write alone on “Lost” or “Mission Impossible 3″, which had some pretty decent sequences) this wouldn’t really bother me as much, but in this case the heart is the only meat on the bone.
This is a superbly-written near takedown Bob, in your proven area of exceeding expertise. I am hard-pressed to take you on point by point, and can only react in the way it all washed over me. As I stated elsewhere I thought the characters were interesting, the sense of nostalgia palpable and the incorporation of the E.T. styled emotions most accomplished. At the end of the day when you care about the characters and the story concludes in satisfactory fashion, you are less likely to take issue with what I saw as a refreshingly abstract narrative.
Thanks as always my friend!
Sam: I’m checking in after replying to your kind words left at my place about Super 8 and letting loose a big war whoop for the mighty Meek’s Cutoff. That film is close to an instant classic as far as I’m concerned. If anything, getting out to the theater twice this weekend got me stoked enough to watch more movies overall than I have over recent weekends. Those include: Pasolini’s Teorema, a kind of one-joke movie but with an intriguing range of variations; Charles Vidor’s early psychological thriller Blind Alley with Ralph Bellamy as a psychologist hero who’s more scary than Chester Morris as the hostage-taking heel; Chang Cheh’s The Magnificent Trio, more melodrama than martial-arts film but engagingly high-spirited and sometimes poignant; Ho Meng-hua’s Lady Hermit a visually stunning swordplay showcase for the great Cheng Pei-pei; and Tadashi Imai’s Bushido: The Cruel Code of the Samurai, a seven-part showcase for Kinnosuke Nakamura undergoing generations of torment in the service of unworthy lords from feudal times to the salaryman’s present day.
I sometimes wonder why people don’t try adapting non-musical movies to the stage more often but I guess your review of In A Glass Darkly helps explain it to me. It just goes to show that film is more than theater with multiple angles and shouldn’t be judged exclusively by theatrical standards — though Ingmar Bergman himself might disagree, for all I know. But at least you got another brush with celebrity, you lucky so-and-so. Enjoy your week and keep on teaching as long as you love it.
Samuel: I can’t say I’m surprised at your celebratory reaction to MEEK’S CUTOFF, as I have seen the film elicit some passionate reactions in the blogging fraternity and in the professional ranks. I recall Jamie being a big fan, and Peter Lenihan literally went over the moon for it. I have never cared all that much for Reichert, and even found in person appearance at the Film Forum as smug. But that latter concern means clos to nothing; it’s the film that for me was all style over substance. Some will say that’s the point, but for me, it was a pretty-looking borefest. But you’re reaction has me looking up attentively and with resolve to watch it again!
You had a terrific week seeing two movies in the theatre (we are seemingly in general agreement on SUPER 8, and I did see that excellent review you penned at MONDO 70) and a lot of others at home. Of that exceedingly eclectic lineup I’ve only managed BLIND ALLEY and that Pasolini, and concur with the statement on both counts. The others are intriguing too, particularly that seven-part Nakamura!
Thanks for the very kind words about my teaching!
It was great to meet Ms. Mulligan, and yes, I completely agree with your thoughts on the film and stage in regards to “Through A Glass Darkly.” Good point about Ingmar! A stage man to the core!
Thanks as always for the spectacular wrap my excellent friend!
Sam, I hope you give Meek’s another chance, because I found it one of the more substantial and serious films I’ve seen recently. It just happens to be one whose substance isn’t contained in any conventional character arc. The fact that you deem it “style over substance” does at least show your appreciation for its visual style, while some critics don’t even give it credit for that. Anyway, I’ll be posting a full review of Bushido later this week; it’s an often-powerful film and the more I see of Nakamura the more he grows on me.
Thanks a lot Sam for the mention and the good words. By the way, its not #1000, but #500. #1000 is still quite far off 🙂
Anyway, apart from Berlin Alexanderplatz & Charulata, which you’re already aware of, I managed to catch 2 more films – Chaplin’s The Kid, and a recent Hindi movie called Shaitan (which was covered recently by Srikanth aka JAFB).
And with that my short vacation is over. Returning to my college today in order to attend the 2nd & final year at college.
Ah ha Shubhajit! I’ll revise that tonight! By either way it’s a remarkable accomplishment in view of all the challenges you’ve had this past year with school. It never ceased to amaze me how you kept CINEMASCOPE afloat, and even thriving, during this time of little free time. Well, you can explain yourself at length- soon enough, since your blogger appreciation interview is close at hand, following as it will the next one on Samuel Wilson.
I did indeed see your splendid capsules on BERLIN and CHARULATA (two of your best in fact!) and am delighted to hear about THE KID! Maybe when I check in at CINEMASCOPE a bit later this evening you’ll have something up! I do well remember Srikanth’s excellent essay on SHAITAN just recently!
Best wishes with your final year my friend! Thanks again and we’ll speak soon!
Thanks a lot Sam. You really are one of the kindest persons I’ve had the fortune of meeting and interacting with at the blogosphere. I’d be interested to read your views on Charulata & The Kid as & when you get time to visit my humble site. And yes, as for the interview, I’m looking forward to it.
“I will need to teach until I drop, and am physically removed from the classroom. ”
Please let me know in advance, Sam — I’d love to watch them haul you outta there — straight to a double feature.
Hahahahahahahahahaha Pierre!!!
That would be a glorious exit no matter how you figure it!!!
Will speak to you soon my incomparable friend!
I watched Kongo (1932) and although I wouldn’t say it’s The Human Centipede of the pre-code early 1930’s it must have been pretty strong stuff for those days. David J. Skaal would have written something like that…”strong stuff for those days etc.”
The main strength of the movie is Walter Huston’s character and of course his acting. He was one of the greatest if not the greatest. He made all his dialogue seem natural and logical no matter how silly or bad it must have looked on paper. Some of the other cast members couldn’t handle the melodramatic plot elements and hammed up some of their lines.
Lupe Velez was very good too…her and Huston were the only two (not counting the little Englishman who reminded me of Tony Robinson of Blackadder) who didn’t seem to be overacting in the manner of silent film actors.
The whole suttee human sacrifice bit was pretty horrifying for those days…I suppose it must still be pretty horrifying…the mention of drugs and the actual portrayal of a drug addict in need almost seemed real, and would have been anathema only a couple of short years later.
The only movie from 1932 I can think of right now that I like better than Kongo is The Mummy.
Thanks very much Andrei for this wonderfully perceptive take on KONGO, an often neglected minor-classic often compared with freaks and just released on a superb Warner Archives DVD. Strong words for Huston, but who can argue?
And placing it just behind THE MUMMY for 1932 speaks volumes considering your expertise for that particular period in film!
Thanks as always for the mention Sam and for the comment on the blog. Good to see you cutting down on the links…
You’ve got me excited for 13 Assassins which, by the trailer alone, seems boring.
Tell Broadway Bob to unhand our actress.
I warned Broadway Bob this morning Stephen, when I appeared in his room at about 11:00 A.M. to teach writing or on this day to show a video! Ha!
I can assure you that the last word to descibe 13 ASSASSINS would be boring. It’s as visceral and animated a film as I’ve seen.
Ah yes the links. As I say I will continue to take those on a weekly basis. Lately I have again been negotiating more than planned. Ha!
Thanks as always my very good friend for your cherished controbution!
Sam – Thanks again for the shout out, and especially for my new blog. Great shot of you, BB and Mulligan. The play itself sounds intriguing. Congrats on the twenty five years of teaching, these days that is quite an accomplishment. Keep on pushing, my friend!
In my part of town, The Little Cats Rescue, the small adoption group Dorothy and I volunteer for, was nominated for an Outstanding Non-Profit Organization Award from our local Chamber of Commerce. The Awards dinner was Friday night and we attended. While we did not win, it was as they say, an honor to be nominated, especially considering we were up against some much larger organizations.
I am looking forward to seeing SUPER 8. My own movie going was a few notches up this week starting with Woody Allen’s finest film in a long time. Below are some thoughts…
Midnight in Paris (****) This is Woody Allen’s most charming and consistent film in years. Owen Wilson is fine as Woody’s latest screen persona, a screenwriter who dreams that life would be better if he were living in the past. And what would better than to find himself transported back to the golden age of 1920’s Paris with F. Scott Fitzgerald, Gertrude Stein and company. Touching and funny.
King and Country (****) Dark, brutal, effective attack on war by Joseph Losey. A shell shocked soldier (Tom Courtenay) is put on trial for desertion after a “foolish” moment where he walks away from the brutality and loss of humanity of it all. A strong stomach is needed for some scenes. Masterful performances from both Courtenay and Bogarde. Earnestly directed by Joseph Losey.
Rio Lobo***1/2 The third of Howard Hawks loose trilogy of westerns tied together by a the similar theme of a group of men defending a town against a band of outlaws. “Rio Lobo” is distinguished by being a darkest version of the three most likely reflecting the times it was made (1970). Generally considered the weakest of the three, the film is marred by some weak performances from Jennifer O’Neill (in the Angie Dickinson part) and Chris Mitchum. Jack Elam does his usual ornery bit in the Walter Brennan part. Good soundtrack by Jerry Goldsmith.
Ansel Adams (****) Ric Burns documentary on the great American photographer Ansel Adams originally premiered as part of PBS American Experience series back in 2002. Burns gives us an in depth and personal look at one of the greatest photographers as well as a master of the darkroom. I will have more to say on this a 24frames.
Get Him to the Greek (2010) (*) The trip was rougher on me watching this horror than for the two moronic characters portrayed by Russell Brand and Jonah Hill. You really cannot give a damn about any of the characters in the entire film. If I counted right, there were about one and a half laughs.
People Will Talk (***1/2) Joseph Mankiewicz was always known for sharp dialogue and that is what highlights this film, intelligent humor, something that is missing in much of today’s comedies. The film takes its shots at the medical profession as well as the McCarthy witch hunters of the day.
Safe in Hell (1931) – ***1/2 -Despite its melodramatic elements, this pre-code William Wellman directed film should be better known than it is today (Judy of Movie Classics gave this a superb write up a while back). Dorothy MacGill is a New Orleans prostitute who finds herself involved in murder and arson before seeking refuge on a Caribbean island where there is no chance of extradition. Unfortunately, life keeps turning the screws on poor Dorothy. The film is racier than many other pre-code films filled with leering men and scenes of a semi-undressed MacGill. Overall, the film is a bit stage bound (it was based on a play) but there is some nice shadowy photography that adds to this film’s pleasures.
Tennessee Williams’ South (**1/2) – A 1973 Canadian Broadcasting Corp. documentary split between interviews with Williams himself and scenes from many of his works. Williams who died some ten years later visits his former home in New Orleans and his place in Key West. He talks about his early life, the influence it had on his writing and recites scenes and poems from many of his works. This is all interspersed with scenes from many of his works including the “GOD” scene from “The Night of the Iguana” and Jessica Tandy, the original Blanche Dubois performing a monologue from” A Streetcar Named Desire.” In all there is nothing new here or exciting.
Glad to hear you got to see ‘Safe in Hell’ and that you liked it, John – must agree it is wild melodrama, but as you know I’m a big fan of this film and definitely think it should be better-known. Thanks for the kind words about my review. I also liked ‘Rio Lobo’, though not quite as much as the other two in that Hawks trilogy, which I find it impossible to choose between.
Sadly I’ll probably have to wait until next year for ‘Midnight in Paris’, as in the UK we always seem to get Woody’s films 12 months late – but I’ll look forward to it, anyway, and nice to hear that Owen Wilson has a good part, as he’s an actor I like, but his films tend to be a bit hit and miss. (Loved him in ‘The Darjeeling Limited’!)
Judy – I have to give RIO BRAVO the number # 1 position in the trilogy. For me, it is one of the best westerns made and Wayne’s personality fits the character of John T. Chance perfectly.If RIO BRAVO has a problem, it is Rick Nelson’s stilted performance which was a commercial move by Hawks trying to pull in the emerging teenage audience of the day.
SAFE IN HELL definitely needs to be better known.
John: Thanks for the excellent words on the Carey Mulligan photo and the teaching! Much appreciated! The fact that you and Dorothy were nominated for that award is really something! I know you guys have been active on that front all year, and I can only fathom the kind of time and dedication it entails! Congrats to both of you! Yes, going up against larger organizations made it difficult or nearly impossible I’m sure.
I’m sure you’ll get to SUER 8 soon enough. I give Woody’s latest a bit higher grade than I did, but I can’t argue it has charm (love those rain in Paris sequences!) and some great lines. I had a problem with the Wilson character (not Owen Wilson’s acting) as too bumbling to be a writer, but perhaps that quibble will be at least partially erased in subsequent viewings. Can’t argue with your framing of the 20’s there, that’s for sure!
Courtenay and Bogarde are indeed superlative in Losey’s KING AND COUNTRY, and the film warrants the rating you went with. Nice capsule there! And I’d have to say I’m with you too on Hawks’ RIO LOBO, which is definitely the weakes of the three. Like that Goldsmith score too!
You saw a films here I’ve never watched: the Tennessee Williams documentary (ouch!), the Ric Burns documentary on the photographer (I look forward to the planned review at 24 FRAMES!) and that dreadful (I will avoid at all costs!) GET HIM TO THE GREEK! I agree with your assessment on PEOPLE WILL TALK completely, including the rating!
I do well remember Judy’s terrific review of Wellman’s SAFE IN HELL, and applaud you too on the great capsule here.
What a phenomenal comment, par for the course for you! Many thanks my great friend! Continued success at the photography site!
Just to clarify Sam, Dorothy and I were not nominated, the organization we volunteer with was nominated. But you are correct about going up against larger organization is tough and there are politics involved.
I get ya John, sound clarification there.
Sam thanks for the mention as always. Congrats to you on 25 years of teaching. That’s quite a milestone and well worth celebrating so I hope you’re able to do so.
I love Carey Mulligan and am expecting big things from her in the future as she’s one of the most promising acting talents that I’ve seen. I do love the Bergman movie, but yes seeing it as a play seems like it would be missing something unless they re-tooled it and perhaps re-imagined it for the stage.
My big moment over the week in film was Nicholas Ray’s Bigger Than Life. I found it to be a towering film and perhaps his best. For so many years it was hard to find until Criterion got hold of it. I’m glad they released it as it seems like such an important film considering the time in which it was made. James Mason was brilliant I thought and gives his best performance. Anyway, I’m also going to be watching Barry Lyndon again soon!
Thanks as always Jon for the effervescent and engaging comment here!
First off, my deepest appreciation for you on the congrats for the teaching tenure. As I say I hope to continue for quite some time, God-willing. Mulligan is indeed a multi-talented performer and a sweetheart of a young lady to boot. This latest stage role shows a depth of feeling that should bring her some choice roles in the future. Her work in “An Education” of course is marvelous. What you say about the difference in transference with this type of material is undeniable. The stage captures an intimacy and a focus that film can rarely achieve, but on the other hand, psychological deterioration is film’s domain what with the use of the close-up, dissolves and fluid editing better equipped to convey it.
Nick Ray’s BIGGER THAN LIFE is a great one indeed, and I can’t fault you at all for naming it your favorite in the director’s pantheon. It certainly would be among my Ray favorites; Mason is terrific and the use of color rather astounding. That is a great Criterion blu-ray!
Right on with BARRY LYNDON!
Thanks again my friend!
Thanks for the mention, Sam. Say it isn’t so about Submarine! I was looking forward to that one.
Film Dr: Thanks very much. Don’t go by me (or Craig Kennedy) on SUBMARINE, as apparently the vast majority of the critical establishment have fallen for it lock, stock and barrel. It started off well enough, but that central device was grating, and the arc on a nowhere path. But as I say it may well work for you.
Sam, thanks so much for the awesome mention!
That’s a great picture of you and Carey Mulligan. And that stage version of the great Bergman film certainly sounds pretty interesting. I’m also, of course, jealous of the Keaton films you were able to see.
This week, I saw SIMON OF THE DESERT, THE PRODUCERS (Brooks’ version), THE YOUNG GIRLS OF ROCHEFORT, Cassavetes’ FACES, and THIEVES LIKE US. Although I was glad to see them all, I would have to say I’m in the minority position of liking the Altman film the most. I’ve long been a huge fan of MCCABE & MRS MILLER, and with this work, Altman seems to be evolving that languid style into even more unexpected and uncharted places. Not always a very easy work, but one that I found endlessly interesting.
Here’s to another great week, Sam. Thanks for keeping the cinephile spirit very much alive and well!
I like Thieves Like Us a lot too–I thought it had a pretty solid reputation, though some people probably begrudge the fact that Altman was kind of remaking something like They Live by Night (which I still prefer a bit, and to be fair to Altman what he was really doing was a new adaptation of the novel). It makes a great double feature with Aldrich’s The Grissom Gang, a film it has some similarities with (as in, execs clearly wanted another Bonnie & Clyde gangster romance ripoff and got something very, very different).
Peter, thanks so much for the comments. I guess I was trying to say that most people probably wouldn’t place the Altman above some of those other films I saw this past week. But I found it really fascinating. I know that Kael was a huge fan of it. But I don’t hear it discussed that much anymore. Thanks so much for the heads-up on that Aldrich, too. It’s one I still need to see.
To be honest, I couldn’t quite put it above The Young Girls of Rochefort myself, but they’re both great films (as are Simon & Faces, obviously). I’d love to hear your thoughts whenever you get to The Grissom Gang, it really blew me away the first time I saw it. It lacks the stark simplicity of something like Emperor of the North, but it’s a very special movie.
Thanks, Peter. I will definitely let you know when I get around to seeing the Aldrich film. EMPEROR OF THE NORTH is another of his films I still need to see, as well.
Thanks so much Jeffrey! Well, I won’t deny it was a thrill to meet Mulligan, even for just a few words. She was often electrifying in her interpretation of Karen, and it’s clear her talent in one of depth and diversity. I know the Film Forum would be your place of destination if you were in Manhattan this summer, as Mondays are showing the icon’s work until mid August! But I’m sure you have already seen just about every film on display. The double last night of COLLEGE and THE GOAT was an utter delight.
Well Jeffrey, you have more support on THIEVES LIKE US than you might think, and a seeming upsurge in Altman regard as of late has brought even more attention to his venerated output, this popular critical hit included. I respect FACES and think Jacques Demy’s musical is magnificent, but my favorite of this great batch is Mel Brooks’s THE PRODUCERS, one of the cinema’s greatest comedies of all-time. I have friends who constantly quote lines from the film, most from the Nazi writers Hans Liepkind, the over-the-top effeminate “Carmengia” (the scene in the elevator when he gets a near orgasm standing next to Mostel and Wilder is a classic!) and Dick Shawn as the flower-child Hitler. Bunuel’s SIMON OF THE DESERT is a masterwork to my eyes.
Thanks Jeffrey for the always cherished comment here!
Sam, I actually have some gaps when it comes to the Keaton shorts. I really need to track those down one of these days!
My first question is this.
Did you get Carey Mulligan’s phone nuumber Sam?
LOLOL!!!!
While nothing extra special to chime in with today, I did catch up with some wonderful TV shows and some excellent BLU-RAY’s this past week.
The start of was this ravishing bizarre and visually triumphant look at murder and revenge that is Tetsuya Nakashima’s brilliant CONFESSIONS. This ensemble character study follows the lives of several students and a techer that are forever changed by the death of an innocent child. Harking back to the witness testimony frame work of Kurosawa’s RASHOMAN, this film only borrows the idea of the predicament being replayed from different points of view. From that point on, the film delves into the darkest corners of youthful disassociation and teenage vanity. Shocking, gut-wrentching, poignant and disturbing all at once, I have a hard time saying what kind of a film I really think this is (aside from contemporary social commentary I’d go with HORROR?). Whatever IT IS, I know that Sam and I, who viewed it on the giant screen in the basement screening room, were absolutely blown away by this film. According to Allan and Jamie Uhler (who both I chatted up about this film they both loved), I was made aware that the director has leaques of admirers for his work and I can see why.
AMC’s second best show on the station and the BEST NEW show on American television, THE KILLING, is drawing to its first season conclusion. Last nights episode of the day-to-day account of a homicide investigation took an extra shocking turn when all fingers began to point to one of the main characters.
Invested with the kind of naturalistic acting you rarely see on the small screen these days, this is the rare detective procedural that veins in many different realistic directions allowing the audience to understand, slightly, the whirlwind of stress and confusion a professional in this field must face when dealing with a high-profile, media saturated case. Mireille Enos (BIG LOVE) is the chief detective and it’s her very presence on the show, quiet, contemplative and patient, that acts as a fly paper to anyone that just happens to skim over the show while channel surfing. She’s electrifying in even the most mundane and quiet moments of each episode as you are brought just a little closer to the way she sees and thinks things through. Developer Veena Sud has managed to align the show with top notch writing and directing talents (EUROPA EUROPA’s Aniegska Holland has directed a few now) and the result is an hour out of each week that grips into you so tight that your upset to have to wait seven full days to see what happens next. I wouldn’t be surprized at all if THE KILLING was big this year with nominations at the Golden Globes and the Primetime Emmy’s.
Kinda sad that the “best new show on American television” is a remake of something from Europe, isn’t it? Especially coming from a channel that has built its reputation on (mostly overrated) original programming.
Whatever. AMC has lost my vote of confidence ever since they cancelled “Rubicon”.
Still, it IS the best new show on American television (miles ahead of network bullshit) and I’m greatful for it even if it takes from another show from across foreign waters…
While I would agree with you, for the most part, if we were talking about MAD MEN, I cannot go aong on the ride with you completely when it comes to this show and the wonderful BREAKING BAD.
For the most part, though, I think that television (save THE SIMPSONS) is the biggest waste of time out there…
Gimme something like THE HONEYMOONERS, I CLAUDIUS, THE TWILIGHT ZONE, LOST or BATTLESTAR GALACTICA anytime…
Bob’s right here, Dennis. The foreign original is a lot better. I have seen it myself. On a similar theme the French Spiral isn’t bad either, though a little more sensationalist.
The point is, Allan and Bob, is that THE KILLING is the BEST SHOW on AMERICAN TV right now. I’m sure you are BOTH right about it’s original origins being better, but I’m amazed a show of this caliber even entered the monds of American TV producers at all.
As for BREAKING BAD, this is one of the rare AMERICAN ORIGINALS that can hold up to any of the shows made across the oceans…
Well Dennis, I bet she is deviding her time between NYC and London, with a few other places in the mix, presumably in California. As I’ve stated here she is definitely a sweetheart, and she’s a model of humility. While I have yet to see the killing, I have no question to doubt your astute assessment of it. It may well make a “killing” (couldn’t resist that!) at teh Globes and Emmys.
Of course, since I was sitting with you there to watch CONFESSIONS I can readily admit you have sized it up magnificently! I can’t wait for your reaction to MEMORIES OF MATSUKO, which we may watch tomorrow night in fact!
Many thanks my friend for the fabulous report here!
Oh, BTW, I forgot to make mention that the BEST show on AMC is Vince Gilligan’s BREAKING BAD…
Dennis, thanks for the expertise here. I can’t say I am familiar with the show.
Sam,
Thank you for the mention. And I am always amazed about your energy and dedication to go rounds over as many blog sites as possible every week. 47 sites!
As always, I enjoy your weeklies and especially reviews of broad range of films, theatre, and music etc. I have been planning to see “13 Assassins” for many months for now, but missing the opportunities. I confess I am not a big fan of Miike, but this one seems exceptional. Keaton shorts are real treats, aren’t they? I love all of them, with their hilarious actions and visual aesthetics. Also, I enjoy watching their shooting locations, laid-back LA before the time of massive development. In “High Sign”, LA looks like a huge amusement park, with lots of silly criminals! I found the following article some time ago, you might find interesting.
http://latimesblogs.latimes.com/thedailymirror/2009/12/location-sleuth.html
In short, the carousel in “High Sign” is not the one in “The Sting”.
Thanks,
MI
Hello my friend!
As of late I seem to have fallen off a little with the blogging at other sites, but I managed to ralley this past week. I appreciate your very kind words about the focus of the posts at WitD! I know Miike is one director that seems to divide audiences, though AUDITION is one that was roundly applauded. 13 ASSASSINS is so well staged and set up that it’s tough not to appreciate its craftsmanship. That operatic marathon finale is really the height of cinematic exhilaration.
The Keaton shorts are treasures and last night I was reminded how funny and brilliant “The Goat” is. The Film Forum audience was in stiches, and the piano accompaniment from Ben Model was quite a treat. Of course the follow-up of the classic feature COLLEGE was really the capper. Mondays have bcome fun time in the NYC area. That is certainly a very observant point you make about “laid-back” LA in the far more carefree days between the two wars. Thanks again for this wonderful link! I am checking it out right now! “The High Sign” is another that sits with his best shorts.
Thanks so mch for your always-wonderful submission here my very good friend!
Sam, that’s a great photo. There are even some mysterious dots that appear to be on the lens.
Carey is one of my favorites. She would appear to be a great choice for that complex Bergman role. The reviews I saw on it here at school on the PC were ‘meh.’ Still, glad to hear it wasn’t a waste of time by a stretch.
Also, relieved to learn that Super 8 is an entertaining time. My neighbors were raving about it yesterday.
http://en.wikipedia.org/wiki/Orb_%28photographic%29#Paranormal_interpretation
Ha Peter! The “dots” as you call them are raindrops on the camera lens. It began drizzling shortly after we walked out of the theatre.
The reviews were tough, there’s no denying it. But a few including TIME OUT NEW YORK’s theatre critic (traditionally one of the toughest to please) saw the worth, even with some reservations. Carey is indeed wonderful, and in person she’s one of the friendliest of people.
SUPER 8 is a roller coaster. Hope you get to see it.
Many thanks my very good friend!
I really would love to attend that Keaton Festival tonight Sam, but I’m not sure I can swing it. Am I to understand they are showing ‘Sherlock Jr.?’
Then there’s ‘La Dolce Vita.’ But a three-hour commitment is daunting.
As you know I have been promoting ’13 Assassins’ for some time now. Great to read that strong response.
Thanks for considering Frank. They showed COLLEGE and THE GOAT last night and a great time was had! Didn’t realize how funny the latter was, as I haven’t watched it in a long time.
My plans are in granite to see LA DOLCE VITA on Thursday night, the final screening of the run, unless it’s held over. But the line for the Italian masterwork last night was snaking down the block, while the Keaton was a stone-cold sellout.
You must indeed see 13 ASSASSINS!
Many thanks my very good friend!
Thanks for the mention Sam! I’ve sort of been taking a break since the Hot Docs fest, but I managed to see three films this weekend. I finally saw Hanna, which I really enjoyed. Although it was kind of simple, I thought the action was great and Cate Blanchett was quite the bad-ass. I also saw Certified Copy, which I’m still struggling to decide on. I thought it was interesting and confusing, but I’ve enjoyed reading people’s theories on what it all means. Last night I saw the new X-Men film which, to be honest, I really didn’t care for much at all. Just so cheesy and most of the performances were not very great.
Hope your week is looking well!
Dave
Dave: We are definitely on the same page with X MEN (what a complete waste of time!) though I’ll admit I was taken by CERTIFIED COPY and not so much for HANNA, even with my strong feelings for Joe Wright. I look forward to your return to blogging at your site when you are ready.
Thanks as always my very good friend!
Where’s the other hand, Sam?
The coronation of ‘The Tree of Life’ at this year’s Cannes Festival seems entirely deserved, for this is a rhapsodic piece of work, startlingly original, unabashed by its excesses, a quantum leap over the philosophically opaque ‘The Thin Red Line’ and ‘The New World.’ “The Tree of Life’ is the film Terrence Malick was born to make. In it he stands as the exalter, a visionary and this recherche of lost time could be Malick’s bid for movie greatness.
~ As of now that’s all I want to say because ‘The Tree of Life’ requires a second and probably a third viewing to absorb the profusion of its imagery and the nuances of Pitt’s troubled family life. I’ll return when I’ve seen it again, but suffice it to say this is probably a breakthrough film.
Re the rumpus over Godard and his supposed humorlessness. Brigitte Bardot spread on a fur rug in ‘Contempt’ is a parody of skin magazine nudity, I think. You see Mme. Bardot’s derriere? C’est belle, non? But pretty much like most other asses, oui? You’ve seen one you’ve seen them all. Une petite scandale. In other words it’s funny.
In ‘Weekend’ the famous traffic pile-up is a satire of bourgeois car-centric culture (and it gets funnier and more relevant with the passage of time). The Mozart concert in the barnyard (bringing culture to the masses?) is comic, too. The plebeian will probably never appreciate the mysteries of high art, anyway. They’re too busy scratching for a living.
Then there’s the hippie cannibal preferring the flesh of Rolls-Royce drivers because it’s much tastier. Godard can be a razor sharp satirist.
Sam, I almost bought a Bergman boxed set that included “Through a Glass Darkly” this weekend!!
Mark S, I can’t believe you Malick distaste was cooled by Tree of Life. The one film in his canon that I don’t like. Oh well, I do have to get around to writing my (negative) thoughts.
Jamie, I’ll be interested to read your pan.
Despite a few bumps of grandiosity, I think Malick has finally achieved the transcendent effect he’s been reaching for.
Ha Marc! My left hand was actually on Phillip Johnston’s shoulder, trying to pull him into the picture. That may account for that strange devilish look on my face!
Well, Mark, to say that I am thrilled, happy, ecstatic, and pleased with your reaction to Malick’s THE TREE OF LIFE would be an understatement still, for you have really come a long way here. But this is hardly an aberation, as you’ve meticulously documented your grievances in previous commentaries here, and each was critically compelling regardless of whether one agrees or disagrees. Your assertion that it’s a “rhapsodic piece of work” is right on the money from these eyes and ears, and it is indeed as you say ‘the movie that Malick was born to make.” It seems the consensus around here has favored the film resoundingly, though Jamie and Bob Clark have some issues with it. Although I like THE THIN RED LINE considerably more than you do, I can’t dispute your contention that THE TREE OF LIFE is Malick’s masterpiece. For me it edges ahead of THE NEW WORLD as his piece de resistance, and a full realization of his unique vision. I must admit you surprised me here, as I was figuring you would resist it just based on previous Malickian observations. But tomorrow is another day, and he’s traveled to places he’s never been to before. I would have to endorse your proposition that it’s a ‘breakthrough’ film, and that the Pitt sections require re-viewings. I plan to have a second helping myself as soon as I can.
I honestly don’t deny Godard’s capacity for scorching satire, and your vivid examples there are proof parcel! That hippie cannibal! Ha!
Mark, I’m happy you didn’t buy the Bergman set. I will speak to you by e mail.
Many thanks as always for the super-thoughful and invaluable submission on this thread!
You made my WEEK with your response to THE TREE OF LIFE!
I’m not a particularly religious person nor am I a member of any organized denomination, but I have read large sections of the Old Testament and admire the religious paintings of the High Renaissance (especially Raphael), and I think — I think — Malick has made a deeply religious film in the orthodox Christian manner here.
I plan to see it again on Saturday to help clarify some of the family narrative, which is perhaps purposely ambivalent, but I have to confess in some of the imagery thoughts of Dreyer, Murnau and Bergman did cross my mind, especially Murnau, and I know how much Malick reveres silent film. Anyway, I’ll have more to say after I’ve seen it again. (At the matinee a few people, not many, walked out of the theater!!! Guess the film wasn’t enough like ‘Thelma and Louise’ or ‘Troy’!)
Mark: I look forward to a report on the second viewing! I hear the religious disclaimer you add here.
Great that you met Carey Mulligan, Sam – such a good actress, and interesting to have a play adapted from the film instead of the other way round. Many thanks for the kind mention. I haven’t seen very much this week… I read ‘The Big Clock’ by Kenneth Fearing, which I really enjoyed as a quirky thriller with some sweet hardboiled prose, and then also enjoyed the noir film adaptation with Ray Milland and Charles Laughton, who are both good, especially the latter.
Also just saw ‘Guess Who’s Coming to Dinner’, after reading R.D. Finch’s excellent review – must agree with his criticisms of it, but, despite all the film’s failings, I still enjoyed seeing Hepburn, Tracy and Poitier’s performances. Apart from that, I foolishly watched the first episode of the mini-series ‘Camelot’, which was appalling. Total waste of James Purefoy and Joseph Fiennes.
Judy, I see Carey as one of the best of the young actresses. It is always an interesting concept to see a play based on a film, and that seems to be where things have been headed as of late on Broadway and the off-Broadway venues. But Bergman isn’t an easy subject, even if the theatre was where he brought many masterworks.
Interesting that you managed to read “The Big Clock” and then see the film. It’s definitely a quality noir, and I agree with what you say about the performances from Laughton and Milland. I did see your comments at R.D’s superlative review of the Tracy-Hepburn collaborations at THE MOVIE PROJECTOR in regards to “Guess Who’s Coming To Dinner” and can’t argue at all. I did however enjoy (as you did) the performances and the hokey premise still amused me. I always considered that film a guilty pleasure, and even liked Poitier’s work. I am not at all surprised at what you say about that mini-series of “Camelot” and will steer clear of it.
Thanks as always my excellent friend!
Your wide-ranging report really rang some bells for me today, Sam!
First there was the photo of you with Carey Mulligan, an actress I have been very interested in since seeing Never Let Me Go. Then there was the introduction to the intriguing play she’s in. And finally, the reference to David Schleicher’s account of The Tree of Life and David’s splendid listing of other reviews of that film.
Great stuff!
Thanks Jim!
Carey Mulligan is a sweetie, and watching her naked portrayal of Karen was thrilling. I’m sure some great things from her are upcoming. David Schleicher wrote a great review of TREE OF LIFE and graciously linked up to other reviews. A scholar and a gentleman I say! Thanks for the kind word’s about the play’s introduction!
Have a great week my friend!
Well, a sad link to Bergman today with the news that Gunnar Fischer, hie first great DP, has died at the age of 100. He didn’t shoot Darkly as Byvkvist took over with The Virgin Spring, but he shot all the 1950s classics.
It’s remarkable that Fisher reached that incredible age. He was surely one of the all-time greatest cinematographers, and one of my personal favorites.
Sad news, indeed.
Sam great to see you and Broadway Bob posing with Carey Mulligan. It is a keeper! Thanks as always for making room in your blogging rounds for Creative Potager. Today’s post is “an invitation to by an original painting” and is the last of my efforts to get the Study of Blue solo exhibition invitations delivered. Yes Sam, you are invited as virtual browsing is also welcomed. No, you cannot take time out of class to attend 🙂
Last night we watchedAlejandro González Iñárritu BIUTIFUL. I remembered that you felt it was a bit choppy and I agree though I am not sure that this takes away from the overall film. As you can guess a father fighting on the fringes of society to raise his children and see to there well-being before he dies is my kind of film. It portrays a harsh picture of Barcelona and of life in general… yet is a great reminder that we may not and most like will not have everything in order when we depart this world. A film deserving of more than one viewing, I offer it up as a “must be watched” on some quiet particularly contemplative day this summer. A great week to you Sam and to your many contributors and readers!
Geez Terrill, you can be sure I’d always prefer to look at some of your beautiful paintings than sit in school at this time. Heck at any time! I’ll be over there very shortly!
Thanks for the very kind words on the Carey photo. I know my devilish grin was out of place, as I tried to pull Phillip Johnston into the picture.
I may have indeed said something about the atory arc being choppy, Terrill, but I loved BIUTIFUL anyway, and awarded it 4 1/2 of 5 stars at a previous diary. It’s a powerful film with an unforgettable performance. All that you say about the film there can be readily agreed with.
You have a great and productive week my very good friend! many thanks as always!
Hello Sam and everyone! Thanks for the mention of my review of Never Let Me Go. I’ll have something special for this friday on the blog, please do come!
You had quite a weekend, with a lucky encounter with one of the most beautiful and talented british actress from around the globe, as well as the most promising, she will win an oscar soon enough, and she will be inmortalized (not that you need an Oscar to be a good actor/actress, but you know, it makes you a legend.
I wanna see those Keatons, in fact, I’ve never seen a Keaton (feature or short), due to lazyness more than anything, but I love my silent comedies, and he looks like one of the best around. I gave the exact same rating for the samurai film “13 Assasins” (****1/2) it’s really one of Miike best films, and one that consolidates him as one of the best directors working today (for those who were still dubious about that status).
“Super 8″… I’m waiting a bit, I’m still not sure about it, specially after some near opinions (Monsieur Bob Clark for example).
My week and weekend was fully dedicated to the TV Pilot, I barely managed to see my girlfriend tuesday, which is bad. I shot the past two days with a green screen, a 16 y.o boy, two videogame fanatics, and Minecraft. It was tiring and right now I’m moving some archives to start editing in a computer that was lent to me. I hope it works and that the edition goes smoothly.
Movies I saw:
– Eva (1962, Joseph Losey) **** It was a bit strange in its structure (I tended to confuse some characters), but it was an acting showcase of grand proportions, that leaves you wanting for a better conclusion, but there you have the wandering camera of Losey, always looking for the other side of the stuff you see.
– Priest (2011, Scott Charles Stewart) ***1/2 While it was most of the time bland and unoriginal, it was still exciting to see Beatty kick some vampires and be awesome. It has a final action sequence and a message towards what church really stands for in the world of today’s religious people.
– The Servant (1963, Joseph Losey) ****1/2 Magnificent direction, acting, camera work, everything is just splendid, one of the best british pieces and one of the best films about social heriarchy, but still, it could have ended earlier, while the tension was still in its highest point. We understand (somewhat) the reasons behind the servants, why do we need to see the total overrun of the society?
– X-Men: First Class (2011, Matthew Vaughn) ***1/2 Unbalanced would be the best way to describe this film. It doesn’t know if it wants to be a comedy or a drama, if it wants to be serious or reference itself (or the epoch in this instalment), it feels rushed in the development of some characters, but the interpretation of Xavier and Magneto was splendid, and the best actor of the whole thing was Kevin Bacon, just wonderful.
Thanks again Sam and have a good week!
Jaime, the unbalanced qualities of “First Class” are natural to the characters and the time period, the early 60’s spirit of change on the cusp, and all these volatile young people discovering both their tremendous new powers and the way that the world will react to them. Yes, “X-Men” is always rife with us-vs-them social discoveries, but one of the things that really appealed to me was the way all of the mutants gradually discovered that they weren’t alone in the world. The way they play out their drama on the epic, global scale of the Cuban Missile Crisis reflects this as well, as a kind of “coming out” of mutantkind to the whole world. It can get away with being both a comedy and a drama, both serious and loose. It does so better than the previous movies did, anyway. The more I think about this one, the more I love it.
Hello Jaime!
Yes that review was a burst of passion, and in my book it still leads at EXODUS 8:2, even if you’ve added a few posts after it. I am intrigued at what might be at your site on Friday and can promise you I will be there! Yes, it’s always a thrill to see a star of Carey’s caliber, and especially after a stage performance. She’s certainly a theatregoer’s dream–friendly, gracious and humble. And she’s lovely. But in Manhattan, anyone can see anyone else at anytime without a problem., as Broadway Bob has proven. I agree that Carey will be an even bigger star in the years to come.
Your admission about Keaton leaves you with something truly spectacular to look forward to! Geez, you life will change Jaime! Ha! You have a least a dozen masterpieces and others that push close, as Allan can attest to. Certainly I’ll do all I can to help out. But it will be priceless to read about your various reactions! I am preparing to watch a Miike musical called “Happiness of the Katakuris” very soon for the musical countdown, so I’ll get to see another side of this intriguing Japanese artist. I knew you were a big fan of 13 ASSASSINS from months ago, and all I can say is you were right on the money! Excitement in spades, and great build-up! It certainly renewed my faith in the samurai film.
I am sorry you missed spending much time with your girl this week. But you made progress with teh TV pilot at least, and did some other constructive things there.
As far as Monsieur Clark’s response to SUPER 8, well let’s just say we present both sides. I will always argue that it features characters we care about and real emotions, always overriding factors in genre films with ups and downs. Let’s see what you think.
I see you managed two Joseph Losey films this week! I agree THE SERVANT is masterful (deserving the rating you went with here) and EVA (the only Losey I have not seen) was just ordered from Amazon after Allan’s review sold me. But I am indeed expecting some great acting, a fact you insure.
I like X MEN less than you, but appreciate the great capsule. I haven’t seen PRIEST yet, but again compliment you on the fine short review.
Have a great week my excellent friend! Thanks for the terrific wrap as always!
Nice photo – she looks tired, you two, bright eyed and bushy tailed ; )
Thanks for the mention, although you needn’t –
We recently watched Out Of The Past and found it quite good – nice to see Mitchum as a “not so mean one” for a switch.
Also The Last Zapatistas, Forgotten Heroes – nice documentary and that period of time in Mexico doesn’t sound much different than the whole of the Middle East today really –
My best to you and the family = Cheers!
Michael: It is great to hear from you! And you will always be on the link role as your site (and your persona) is cherished in these parts. I’m figuring the summer and the outdoors will bring out a renewed sense of enthusiasm for you and me both! Yes, Mulligan looks there like you went through the ringer, exactly what one would expect in view of that demanding and emotional stage role she is managing night after night. Ah, OUT OF THE PAST, the favorite of many as the greatest noir, and one of the great American films. Mitchum was unforgettable there!
That Mexican documentary sounds intriguing, especially with that parallel.
Thanks so much my friend and best wishes to you guys! I’m sure we’ll talk soon!
Congrats on reaching that 25 year milestone Sam 🙂 I believe you are now obliged to get to a half century mark but if that sounds daunting, then better to take it in 1-2 year increments. After all, film fans are used to 1-2 year timelines not only for looking ahead but catching up films from previous 1-2 years of festival runs.
Thanks again for the mention. It seems your links have increased ever since you mentioned trying to limit the number 🙂
I was looking forward to Submarine mostly because I wanted to see what Richard Ayoade could do as I have found his character in the IT Crowd amusing. I will probably check out the film when it opens here end of summer.
What a priceless pic with Carey Mulligan. She has certainly been enchanting in the few films I have seen of her but I didn’t know she was also doing some plays.
Hahahaha Sachin! That’s an enticing proposition! Interesting parallel to film fans!
I can’t explain the increase in links except to say that I am always afraid of leaving people out. I even erred this time, but inexplicably leaving off Dan Getahun, Greg Ferrara and Andrew Wyatt. I will always commit some oversight. To be sure there will be some weeks that I know I won’t be able to do all the updates, but for now I’ll take it one week at a time.
I hope you take to SUBMARINE and am wondering if I was too harsh. The film received strong reviews for sure. I saw that film in a theatre that had no air conditioning on a mid-90’s day, and Lucille and I (and Danny) got half-price tickets, and were the only ones in the theatre. So I didn’t see it under the best of conditions I’ll admit.
Carey seems to be exploring all avenues indeed.
Many thanks my very good friend for the kind words and terrific submission!
I’m looking forward to Super 8 later in the week. It’s been a good summer so far with decent mainstream fare and some really high end counter-programming in the art-houses. I fear this trend will not last the whole season though.
The Tree of Life, of course, is a ***** masterpiece.
I also saw X-Men: First Stand (***1/2) which I enjoyed more than I should have and Midnight In Paris (***1/2) which I was torn over…lots to admire, but I thought the casting of the leads was off though Cotillard was brilliant as always.
On DVD, I tried to watch Vanishing on 7th St, but it was completely worthless. Poor Brad Anderson, a director who has shown much promise in the past really jumped the shark on this piece of junk. I guess I’ll be kind and give it *.
And then I watched Mike Leigh’s Another Year (****) which I enjoyed a great deal, probably even more so than Happy Go Lucky. It might rank only behind Secrets & Lies in his canon perhaps.
Oh yeah, Vanishing on 7th Street was terrrirrible.
David:
Looks like we are in agreement quite a bit! In addition to our mutual regard for Malick’s TREE OF LIFE as a masterpiece, we share enthusiasm for Mike Leigh’s latest (which finished in my top five films for last year) a film of deep emotional resonance.
Likewise, like you I enjoyed the Woodman’s latest but wasn’t bowled over for precisely the same reason (Owen Wilson) I also went with the same rating. I liked X MEN less than you though, and haven’t seen VANIGHING ON 7TH ST, though based what you and Jason say here, is a very good thing! Ha!
Many thanks for everything my very good friend!
Sam –
Forgive my late arrival here – it’s been a long and stressful day.
I LOVE the pic of you and Bob with Carey Mulligan. What a treat for you. I’m happy to hear that she’s as great onstage as she is in films. The idea of adapting Bergman for the stage is intriguing.
Here, I’ve been continuing to delve into the musical genre, catching “The Umbrellas of Cherbourg” and Pabst’s film of “The 3 Penny Opera” (seeing and heaing Lotte Lenya cover “The Ballad of Pirate Jenny” was a real treat.) I also caught “Midnight in Paris,” which I liked, didn’t love. For me, Owen Wilson was not entirely satisfying as a Woody “stand in”.
And Sam – I nearly forgot to congratulate you on 25 years of teaching – that is a wonderful milestone to celebrate. I imagine that your students are very lucky to hae someone with your enthusisam and erudition. Keep up the good work!
Ah Pat, it’s never late on this thread, and I greatly appreciate you stopping by! So you had one of those days. Ugh.
Yes, there is no doubt it was athrill to meet Carey Mulligan in the flesh, though the encounter was very brief and involved shared greetings, and the pose shot. Bob was prepared with several items for her to sign. But she’s a charming, super-friendly and humble young lady. What a career lies ahead for her. She certainly did her best to bring Harriet Andersson to the stage and all things considered was quite compelling! The staging had problems, but held your attention, and included some powerful moments.
Great to hear you’re enthusiasm continues for the musical countdown, and it always a treat to watch that magical Demy film, and to listen to Ms. Lenya!
Pat, I felt the same way about MIDNIGHT–liked it, didn’t love it, and found that bumbling Wilson character unconvincing as a writer.
Many thanks as always my excellent friend! Have a great week!
Pat: Thanks for those lovely words of congratulation.
Oh, and Sam congrats on surviving 25 years in Jersey public schools!
And, WHOA on the Mulligan pickl! I am mad jealous you met one of my favorite up-and-coming actresses in person!
David: You know the game in Manhattan. Just hang out, and teh vast majority of these stars will automatically sign things and pose. Unless you are Nathan Lane, Vanessa redgrave or Patrick Stewart, you will always smooze the New York theatregoers! Ha! But yes, it was certainly a thrill to meet Carey Mulligan. She’s a real doll.
Thanks for the kind words on the vocational milestone my friend!
Sounds like another great week Sam! I love that picture with one of the most talented young actresses out there today. I have nothing to report myself this week. No movies, no events other than attending the L.A. Pride parade on Sunday. It was fun, but the same thing as every year. Lots of hot messes showing off their messiness. Luckily the overcast, chilly weather didn’t deter the go-go dancers, the only real reason to go.
Well Jason, the Pride parade in Manhattan is pretty much the same, though it seems to always generate quite a bit of attention from all the local politicians, eager to win votes. And the weather will never deter the activities, as you know. Ha! Broadway Bob always gives me a full report.
Thanks for the kind words, and for the recognition of Ms. Mulligan.
Loved your essay at MOVIES OVER MATTER on Henry Fonda!
Many thanks my very good friend!
Sam – I’m a day late. Not because the dog ate my homework…
We’d been having weather almost as sweltering as yours, but yesterday (which coincides with one of our days off) was a glorious weather day and we made a picnic and went on a lengthy bicycle ride — leaving in the morning and returning in the late afternoon, when we simply sat in the shade of our backyard and enjoyed the rest of the day.
CONGRATULATIONS on 25 years of teaching! I’m absolutely confident that if you want to teach ten more years, you will. And the Fairview school system is very fortunate to have you. After August 6th will you and yours enjoy a vacation somewhere before you head back into the classroom for a new school year?
Thank you for pointing to Speaking from the Heart.
Laurie: You are never late here! It is I who am often late at my favorite places, including your altar of positive thinking! That picnic and bike ride are the kind of activities that take full advantage of the waether and outdoors and the spirit. But heck, I’m not telling you anything knew as you practically coined the concept! I’m sure you and Len felt great after that marathon burst of exercise! Good for you both!
Those exceedingly kind words about my teaching teaching career are deeply appreciated! I do hope to stay healthy to go another 10 years. This summer we have tentative plans to visit our annual seaside resort in Wildwood, New Jersey:
http://en.wikipedia.org/wiki/Wildwood,_New_Jersey
The kids do look forward to it! We usually go for four or five days, sometimes a bit longer.
Many thanks as always my excellent friend!
Sam – This is the first opportunity I’ve had to properly follow the LINK you provided. I’m so glad I waited. What a wonderful annual vacation getaway for you and yours. No wonder you look forward to this gem in the sun!
By the way, this late afternoon, I treated myself to the DVD movie, “Bright Star.” A movie based on a true story that took place in the late 1800’s, it’s about the love between John Keats (poet) and Fanny Brawne (his muse). I never realized that Keats died from tuburculosis at the tender age of 25. He died believing he was a failure. To this day, he is, in fact, one of the most beloved romantic poets of all time.
Ah Laurie, I LOVE “Bright Star,” and actually wrote a full review of it here at the site. I also named it the #1 film of 2009 on these pages and fully agree with everything you say here!!!
Thanks again my friend!!!
Hey I didn’t even see the 25 years thing. What an accomplishment! Out of curiosity (doing the math) what did you do in your in the period prior to becoming a teacher (and earning the degree that got you there, obviously)? I ask because the fact that you entered your ultimate career around 30 and found such success in it is encouraging for someone like me, a 27-year-old with no career in sight, haha…
Well Joel, that’s an interesting question. Ha!
I went for my undergraduate degree part-time and didn’t attain it I was 24. I then began my master’s work (while working as a limousine driver–airports!) at Montclair State University here in New Jersey, and decided to go back and complete the teacher’s courses I needed to get a job as an educator. I then taught two full years at Bergen Technical Vocational School in Hackensack, New Jersey as a high school English teacher, but I was eaten alive by the kids. I was never a great disciplinarian, but in those years I was lucky to escape with my life! Those kids were certainly not academic-minded, and were not readers as I recall. I then resigned my position on the Fairview Board of Education after the first year of my second elected term and took a job in my hometown system at about age 30, and here I am now after 25 years. So actually I’ve taught 27 years if you count the two years at Bergen tech, and 28 if you count one full year as a full-time substitute in Union City, New Jersey.
You may be a bit down Joel, but something will click for you when you least expect it. Someone with your amazing analytical and writing talent can’t miss.
I see – I forgot you were a limo driver! Thanks for the compliments, but my self-criticism was somewhat tongue in cheek; while a steadier job might be nice, I’m not particularly looking for a career at the moment. Re: your experience at the voc school, I’ve got many friends and relatives with similar experience! Those first years teaching can be brutal!
I was figuring you to be tongue and cheek there Joel.
And yes, teaching at the beginning is a very trying time, regardless of where you are placed. I was once locked in a classroom clothing room, and had to wait until a principal came there to let me out. Very embarassing.
Another week, another trip to the record store (which I couldn’t afford, but oh well…)
This week’s batch, influenced by the taste/recommendations of some here – particularly Sam & Jamie: Wish You Were Here (Pink Floyd), an RCA Red Box recording of Handel’s Messiah, a classical compilation, This Nation’s Saving Grace (The Fall), The Predator (Ice Cube), Criss-Cross (Thelonious Monk) which I owned on vinyl but had no digital copy of, and a Yo! MTV Raps! compilation they were playing in the store while I was shopping, and which I got – after discount – for about $1.50.
And after that a trip to the bookstore, where I got several bulky art tomes with lots of color reproductions and, Jamie will be happy to now, a copy of Les Fleurs du Mal, 1983 translation (year I was born!). Poetry can be hit and miss with me – I am fascinated by Blake & Rimbaud but can’t say I really understand them, but I connected with the Baudelaire right away. Can’t wait to read the rest.
Oh, and as for that picture topping this post: vaguely creepy (that’s an intense stare you’ve got there, Sam!), but I like it haha… Funny how casual she looks there, just like one of the guys, took me a second to realize who it was.
Some great eclectic buys there Joel, I mean Handle being scanned alongside ‘The Predator’? I love it. I await your take on that album, as I do love it, and it’s always a shock for me to listen too; it’s so rightfully angry but then I think were ol’ Ice Cube is now. The definition of ‘Sell out’.
Interesting what prompted the Pink Floyd buy, are you a fan? I’m marginal (if that), but I do like a few of their late 60’s-early 70’s stuff (specifically Ummagumma (1969) and
Atom Heart Mother (1970), especially AHM), but this is a rather recent acquired taste as my brother in law loves them so I reapproached them and their entire catalog. I also find that I feel The Wall to be rather insufferable in it’s ‘seriousness’.
Congrats on the Baudelaire, one of my favorite works of poetry– a book (was it?) TS Eliot who said it was the ‘greatest representation of modern poetry there could be’. I just got one of his minor books (if he has such a thing in my eyes) that I’ve yet to tackle since I’ve been enraptured by my favorite poetry book of 2010– ‘If There Is Something to Desire’ by Vera Pavlova. I’ve debated even writing a small piece about it for Wonders, can this place stand a poetry essay?
I do like Floyd quite a bit – Dark Side of the Moon is probably a top 10 album for me, in that I’ve never gotten sick of it after a million listens which is always a good sign.
The reason I bought this particular album is that I was thinking of making a greatest-hits comp for listening to in a car, but iTunes doesn’t allow you to download Shine on You Crazy Diamond (either part) without purchasing the whole album. And if I’m going to buy a whole album, I’d rather go to the store to a) give them the business (they’re a cool place) and b) have a hard copy with cover art, etc. Plus it was actually cheaper, because I bought it used.
Actually, what got me in the mood to make a greatest-hits (or “favorite hits” I suppose) comp was … The Wall. My feelings have always been somewhat similar to yours. Comfortably Numb has been at times my favorite song and is still way up there but I found most of the rest of the album tiresome, vaguely depressing, and as you say, too self-serious (even though I love Dark Side, go figure). But on a recent listen a lot more of the songs popped out at me – and I wanted a way to hear them without having to skip over the rest of the album (not currently having an iPod I couldn’t just make a playlist). So long story short, I guess I like The Wall more than I used to it but still want to isolate the songs I really like.
As for the rest, Handel & Cube together – yeah that kind of sums up my taste in all arts, I’m a breast man, er breadth man (Freudian slip…)
I think it’s easy to like Dark Side and not the Wall as Dark Side ‘moves’ and in many ways is the most accessible Pink Floyd release (though I think the early Syd stuff is the ‘funniest’ to listen to). It’s brisk, but still complex and intricate, and incredibly melodic (especially for what is essentially a prog-rock record) whereas The Wall is a lot of chamber hall singing (which if it were say Madness it would be fun) which is just so tiresome.
I’ve always remarked to friends that I’m surprised The Wall is such a druggy’s album– nothing about it says ‘man this would be a blast to listen to inebriated’. But hey, I’m a heavy metal, hardcore, or power pop fan when inebriated so different strokes I guess (fun response: I think the best marijuana song is [back when I dabbled in the stuff] was Johnny Rivers’ ‘Rockin’ Pneumonia and the Boogie Woogie Flu’. It’s just so absurdly fun and stupid).
It is good to own Floyd albums though, great self-indulgent covers and books those are.
I should also note that “Dark Side of the Rainbow” works pretty well, possibly because of some of the qualities you mention (though it’s not just the general sense, you really do have to cue it up on the third lion roar, or it falls flat – that extra second actually does make all the difference!) The literal sense in which the lyrics are supposed to match up is pretty stupid – they don’t, other than like one or two moments – but rhythmically and melodically the album actually provides a really nice score for Wizard. Makes you look at the movie in a very different light, one darker and moodier. And I didn’t even have to do it stoned! (Well, not the last time anyway…)
Joel: I am also a big fan of “Dark Side of the Moon.” I also love “The Wall” and “Wish You Were Here,” though I know the former seems to have a rough time in critical circles. But the film is a sure contender for my musical countdown, at least on my personal ballot. I can’t speak for Pat or for Allan.
That photo is creepy. I’m not sure what motivayed me to put on that ‘cat who ate teh canary’ look, but I was struggling to pull Phillip Johnston into the picture (but failed.) Carey is as humble as they come, and readily agreed to sign for everyone and to pose for photos. Quite a great lady!
Thanks for the typically great submission my friend, though I know I’m out of my element with much of that music. But terrific dialogue there with you and Jamie!!!
Sam, you really can cut down on the number of links. We won’t mind.
This week I saw X-Men: First Class, which I liked quite a bit. It was a bit tonally inconsistent and undeniably weak in areas, but nothing was seriously wrong, and most of the issues were probably due to the rushed production schedule. If it had really had time to breathe and get polished a bit, I think it could have been one of the finest superhero pictures yet.
I then watched the original X-Men to remember how it started out. The first one has aged quite a bit, but the opening scenes are still excellent. They set up a world with a handful of main characters beautifully, and get us to care about them with a minimum of fuss and flash. The rest of the film, though, is a bit rushed–everything seems carried forward by the needs of the plot, and the action scenes seem pretty tame and low-impact now. Still, a pretty solid movie.
In preparation for The Tree of Life, I re-watched Days of Heaven. I’m a little bit conflicted on this one–both times I’ve watched it, I’ve felt so alienated from the characters that I don’t really feel as engrossed in the story or impressed by it as I think I should be. (Although the fire and locusts sequence is pretty amazing.) However, afterwards, when I think about it or read about it, it grows in my memory, becoming more complex and beautiful. A difficult film, but a rewarding one. It’s not my favorite Malick, though.
Finally, on Friday night I drove an hour and a half to Indianapolis to see The Tree of Life. Masterpiece. I’m still kind of on a high from it. Nevertheless, I don’t think it’s flawless and I’m not sure it’s better than The New World, though it’s certainly more ambitious. I’ll have to see it again (and again after that) before I’m completely sure what I think, but on first viewing: The creation of the universe sequence was awe-inspiring, the birth and toddler-hood of Jack brought tears to my eyes, and the main narrative section was powerfully personal, but the ending didn’t live up to the rest of it. There was something about it that just seemed tame and on-the-nose and bland to me. I certainly didn’t feel it lived up to the last five minutes of The New World, which is perhaps the most beautiful sequence of film I know.
Anyway, that was my week. Hopefully I’ll have fuller thoughts up on my blog soon.
Hello Stephen! It’s always a special treat to have you chime in here! And you did a lot more than chime my friend! Many thanks.
Well, you took that one-and-a-half hour plunge, driving to Indianapolis to see what you ultimately label as a masterpiece, despite the relatively minor disatisfaction with the final sequence. I completely agree with you on the creation of the universe segment and the early days of Jack were deeply moving and as you say the main narrative was deeply personal. I think a second viewing would indeed clear up some indecision.
I can see exactly where you are coming from with DAYS OF HEAVEN, and have always had the same issues with connecting to thos characters. It’s actually my least-favorite Malick, though I’d still say it’s about a 4/5.
Most interesting response to X MEN, saying it may at times be tonally inconsistent, but on balance one of the best superhero movies yet. I’ll have to see it again at some point; I know i was abrupt in dismissing it. The first X MEN does hold up, on that point I am in total agreement!
I’ll look at your blog for some further elaboration!
Thanks again my very good friend for the great wrap!
So a doyen of Cahiers gets it in the neck one week and recent critical buzz film Submarine the next… is Sam the Damn is here to stay?
I sort of liked Submarine. I think that it could have been a lot better though. However, it was not so much the two kids that bothered me, but the parents / family friends. That whole sub-plot was rather tedious/cringe-inducing for me (even if it did involve Sally Hawkins and Paddy Considine).
Anyway, I found Oliver Tate to be a comical Don Quixote-like figure – the earnest oddball / over-thinker who will never fit in during his school years but who will suffer a thousand minor humiliations in his attempts to do so. A familiar enough chap, I must admit.
I only had time to go see a South African play during the week. Will write about it any day now!
P.S. I am not sure who this other Longman Oz is that you are now following above. However, while I ought to be able to take some Wildean comfort from imitation being the most sincere form of flattery, the bugger seems to be better at me at everything. Bet he has a hump and facial warts though.