World Class Soprano Dame Emma Kirkby and Lutist Jacob Lindberg
by Sam Juliano
The creme of the crop of the musical countdown will be featured over the next two weeks as we move towards this spectacular project’s glorious conclusion. Tons of comments and site hits are following each new post, and just this past week three posts attracted incredible attention. The thread under The Sound of Music landed over 200 comments in one of the site’s top posts to this date. Similarly both Jon Warner’s A Star is Born and the Oliver! post were exceedingly popular to the respondants. But virtaully every review has been well-attended, and as always Jamie Uhler’s ongoing “Getting Over the Beatles” series continues toi amaze in its prose brilliance. Joel Bocko has been turning on the gas, and this past week saw the latest exemplary essay in his Sunday “Fixing a Hole” series, as well as a delightful video post based on a poster of indellible film images. And trudging away day in and day in the resilient Dee Dee with her tenacious sidebar updates for the musical countdown. Bob Clark’s Saturday anime series always continues with high-quality entries.
Down at the offices of Catholic University in Chile the hardest of workers, Jaime Grijalba, is winding down his Halloween horror film series, which is updated everyday at the halls of Exodus 8:2. The latest run of films has included Hammer Dracula entries and several in the Nightmare on Elm Street franchise. It’s definitely the place to be for horror fans as Halloween approaches.
This was a very quiet week for Lucille and I. With so much writing on my plate for the countown I really couldn’t venture far from the house, and not until the weekend were we able to get out. We only got to see a single film (on Saturday night) and then on Sunday we attended the week’s big event: a concert featuring world class English soprano Dame Emma Kirkby singing early music, with renowed Scottish lute player Jacob Lindberg at her side. Named “Love Songs, Lute Solos & Laments” the spirited and often beautiful program was staged in the lovely Madison Avenue Presbyterian Church at 73rd Street, and featured music written by John Danyel, Daniel Bacheler, Robert Johnson, Thomas Morley, Claudio Monteverdi, Barbara Strozzi and others.
Few classical or opera afficionados have even heard of British ”Queen of Early Music” Kirkby, much less have been aware that she is considered one of the ten greatest sopranos of all-time according to BBC Music magazine. A former classics student at Oxford and English teacher, Kirkby made her mark as a soloist with little-known renaissance and baroque repetory, and in 2007 was appointed “Dame Commander” of the British Empire in the Queen’s birthday honor’s list. The soothing timbre and controlled vibrato of Kirkby’s expressive voice was magnificently complemented by the seductive tone of the lute, which Lindberg strummed with his fingertips on an instrument several hundred years old. Between Kirkby’s solos, which he underscored with his gentle accompaniment known in the baroque period as basso continuo, Lindberg offered some exquisite solo work of his own. The concert ran for two hours with a single intermission and an encore. I plan to have a formal review of it up at the site on Friday.
Lucille and I saw just a single film in theatres this week:
Martha Marcy May Marlene ** 1/2 (Saturday night) Angelika Film Center
The film is about paranoia and it’s built around a potentially fascinating premise, but it’s a turgid experience to sit through, as it lumbers along with no real story structure, a dank physical look, and an unsatisfactory conclusion. Elizabeth Olson in the central role is the one bright spot, but even she can’t save this tedious picture.
Here are this week’s links, a number of them updated:
Judy Geater has unearthed another desirable curiosity at Movie Classics with a superb review of “Laughter” starring Nancy Carroll, Frederick March and Frank Morgan: http://movieclassics.wordpress.com/2011/10/23/laughter-harry-d%e2%80%99abbadie-d%e2%80%99arrast-1930/
The ever brilliant writer and commentator R.D. Finch of The Movie Projector has penned a spectacular follow-up to his previous two posts on Ken Russell with a fascinating essay titled “Ken Russell at the BBC: Part 3, Dante’s Inferno http://themovieprojector.blogspot.com/2011/10/ken-russell-at-bbc-part-3-dantes.html:
Murderous Ink has penned two shattering reviews on what appear to be essential Japanese documentaries at Vermillion and One Nights: http://vermillionandonenights.blogspot.com/2011/10/buzz-of-honeybee-and-island-of-holy.html
Jaime Grijalba’s October countdown to Halloween has been a joy for fans, and his newest, No. 23 is “Freddy vs. Jason” at Exodus 8:2: http://exodus8-2.blogspot.com/2011/10/23-freddy-vs-jason-2003.html
Jon Warner declares “The Naked Spur” as Anthony Mann’s greatest western in a brilliant essay at Films Worth Watching: http://filmsworthwatching.blogspot.com/2011/10/naked-spur-1953-directed-by-anthony.html
Pat Perry has authored a fantastic double review of two highly-regarded multiplexers (50/50 and The Help) of recent weeks at Doodad Kind of Town: http://doodadkindoftown.blogspot.com/2011/10/5050-and-help-diary-of-friday-afternoon.html
John Greco has penned an excellent review on a rarely discussed gem by Michael Roemer – “Nothing But A Man” (1964) at Twenty Four Frames: http://twentyfourframes.wordpress.com/2011/10/14/nothing-but-a-man-1964-michael-roemer/
Filmmaker and blogger extraordinaire Jeffrey Goodman offers up an extraordinary list of La Novelle Vague titles that are essential for cineastes at The Last Lullaby: http://holessence.wordpress.com/2011/10/13/satsang-sacred-listening/
Laurie Buchanan asks her readers to ponder “What Do You Do With Fear” at Speaking From The Heart: http://holessence.wordpress.com/2011/10/20/what-do-you-do-with-fear/
Tony d’Ambra’s newest post at FilmsNoir.net in his marvelous ‘Film Origins’ series features 1940′s “Angels Over Broadway”: http://filmsnoir.net/film_noir/film-noir-origins-angels-over-broadway-1940.html
At Mondo 70, Samuel Wilson has penned an utterly fascinating review of the Spanish language “Dracula”: http://mondo70.blogspot.com/2011/10/wendigo-cumpla-dracula-1931.html
Roderick Heath has authored a master class review at Ferdy-on-Films of TV’s “The Woman in Black” (1989): http://www.ferdyonfilms.com/?p=11898
Murderous Ink in Tokyo has penned a brilliant historical and political essay on two celebrated Kinoshita featues, “Army” and “Twenty-Four Eyes” at Vermillion and One Nights: http://vermillionandonenights.blogspot.com/2011/09/apron-as-weapon.html
Sachin Gandhi of Scribbles and Ramblings has a fascinating, glowing report up at his place on the Calgary International Film Festival: http://likhna.blogspot.com/2011/10/ciff-2011-all-about-mavericks.html
Terrill Welch reports on the success of her second “Salish Sea Sunday Savings” sale at the Creativepotager’s blogsite: http://creativepotager.wordpress.com/2011/10/16/second-salish-sea-sunday-savings/
Qalandar reviews the Hindi gangster flick “Saheb, Biwi Aur Gangster” at Satyamshot: http://satyamshot.wordpress.com/2011/10/02/qalandar-reviews-saheb-biwi-aur-gangster-hindi-2011/
Shubhajit Laheri has penned a superlative capsule review of “Pat Garrett and Billy the Kid” at Cinemascope: http://cliched-monologues.blogspot.com/2011/10/pat-garrett-and-billy-kid-1973.html
Craig Kennedy’s “Movie Quote of the Day” at Living in Cinema is from Brian de Palma’s “Carrie” based on Stephen King’s novel: http://livingincinema.com/2011/10/23/movie-quote-of-the-day-carrie-1976/
Patricia examines a book “You are Not So Smart” by David McRaney at Patricia’s Wisdom: http://patriciaswisdom.com/2011/10/you-are-not-so-smart-david-mcraney/
Stephen Russell-Gebbett has penned an utterly brilliant review of Von Trier’s “Melancholia” at Checking on my Sausages: http://checkingonmysausages.blogspot.com/2011/10/melancholia-lars-von-trier.html
David Schleicher takes on Von Trier’s “Melancholia” brilliantly at The Schleicher Spin: http://theschleicherspin.com/2011/10/10/melancholia-marriage-and-the-end-of-the-world/
Srikanth (Just Another Film Buff) featues Chuck Workman’s “Precious Images” at The Seventh Art, making a comparison to Joel Bocko’s brilliant montage series: http://theseventhart.info/2011/10/23/short-films-13/
Michael Harford has a new collage up at the venerable Coffee Messiah’s place on “Coffee and Seuss”: http://coffeemessiah.blogspot.com/2011/10/dont-give-up-i-believe-in-you-all.html
Again Ed Howard and Jason Bellamy have produced a towering installment in their monumental “Conversations” series with a brilliant discussion on Kubrick’s “Barry Lyndon”: http://seul-le-cinema.blogspot.com/2011/10/conversations-28-barry-lyndon.html
Jason Bellamy has penned an exceptional essay on “The Ides of March” at The Cooler: http://coolercinema.blogspot.com/2011/10/men-behind-curtain-ides-of-march.html
Ed Howard has a terrific new piece in his “Films That I Love” series on Ernst Lubitsch’s “The Shop Around the Corner” at Only The Cinema: http://seul-le-cinema.blogspot.com/2011/10/films-i-love-55-shop-around-corner.html
In a set of links, the Film Doctor explores a number of economic and political topics, from Google & Facebook as Big Brother, to the illusion behind the “creative industry” myth: http://filmdr.blogspot.com/2011/10/reactionary-links.html
At Movies Over Matter Jason Marshall names “The Apple” as one of his favorite “bad” movies: http://moviesovermatter.com/2011/09/17/hes-so-eager-to-believe-and-so-easily-deceived-like-a-baby-watching-magic-hes-so-gullible-its-tragic-the-apple-my–favorite-bad-movies/
James Hansen has written an outstanding essay in defense of “Drive” at Out One Film Journal: http://www.out1filmjournal.com/2011/09/shadowing-spotlight-nicolas-winding.html
At Radiator Heaven J.D. reviews ”A Scanner Darkly” which he considers the first accurate translation of Philip K. Dick from page to screen: http://rheaven.blogspot.com/2011/09/scanner-darkly.html
Srikanth (Just Another Film Buff) offers a fascinating review of Kevin MacDonald’s “A Life in the Day” at The Seventh Art: http://theseventhart.info/2011/10/16/ellipsis-49/
Roderick Heath at This Island Rod has penned a towering essay on 1968′s “The Lost Continent”: http://thisislandrod.blogspot.com/2011/10/lost-continent-1968.html
TCM’s Greg Ferrara rescues rare clips of Christopher Lee telling ghost stories from a defunct CD-ROM on Cinema Styles: http://cinemastyles.blogspot.com/2011/10/christopher-lee-tells-stories-and-gives.html
At Cinema Viewfinder, Tony Dayoub kicks of New York Film Festival coverage with a thoughtful review of “George Harrison: Living in the Material World,” Martin Scorsese’s latest music documentary: http://www.cinemaviewfinder.com/2011/10/nyff11-movie-review-george-harrison.html
Steven Morton’s “First Thoughts on Tree of Life” are up at Petrified Fountain of Thought: http://petrifiedfountainofthought.blogspot.com/2011/10/first-thoughts-on-tree-of-life.html
Craig at The Man From Porlock analyzes the faults of Moneyball, and wonders why sports films keep raising the position of their “underdog” heroes: http://themanfromporlock.blogspot.com/2011/09/off-field-moneyball.html
Hokahey at Little Worlds marvels at the formal prowess of the Oregon Trail film “Meek’s Cutoff”, praising its “magnificent dissolves” and “real-time realism”: http://hokahey-littleworlds.blogspot.com/2011/10/oregon-trail-verite-meeks-cutoff-2011.html
At Not Just Movies Jake Cole discusses “The Blue Angel” and wonders why the Germans – kings of the silents – made such a strong transition into sound: http://armchairc.blogspot.com/2011/10/blue-angel-josef-von-sternberg-1930.html
Record Club #4 – The Dirty South” is leading the way at Elusive as Robert Denby, and proctor Troy Olson has quite a comment thread to show: http://troyolson.blogspot.com/2011/08/record-club-4-drive-by-truckers-dirty.html
Kevin J. Olson announces the return of his Italian Horror blog-a-thon at Hugo Stiglitz Makes Movies: http://kolson-kevinsblog.blogspot.com/2011/09/italian-horror-blog-thon-returns.html
The saddest of times for Jeopardy Girl as she movingly relates at The Continuing Story of Jeopardy Girl. Wonders in the Dark extends it’s deepest condolences to our friend up north: http://jeopardygirl.wordpress.com/2011/09/11/gone/
Adam Zanzie continues his recap of the book “War Horse” on Icebox Movies in anticipation of the upcoming Spielberg film: http://iceboxmovies.blogspot.com/2011/09/war-horse-1982-chapters-6-10.html
Dave Van Poppel at Visions of Non-Fiction has posted a terrific review of the documentary “Project Nim”: http://visionsofnonfiction.blogspot.com/2011/08/project-nim.html
Andrew Wyatt defends the 80s monster movie “Q” at Gateway Cinephiles: http://gatewaycinephiles.com/2011/09/30/looklisten-q-at-the-wufs/
Click on names for archives
Writers/Founders
I saw two movies this weekend– “Take Shelter”, and “The Three Musketeers” in 3D (and yes, I only saw it for the “Star Wars” trailer, and apparently everyone else in my theater was the same way– I think I was one of the only ones to sit through the whole movie). While the latter film is rather obviously trash, I was actually more disappointed by the Nichols/Shannon film, despite being tremendously impressed with the work they and everyone else invovled did. The direction is marvelously nuanced and restrained, treating the actors and the story of one man’s slow and suprisingly cogent descent into schizophrenia with a degree of sensitivity that you very rarely see with movies of this ilk (“A Beautiful Mind”, anyone?). What threatens to derail it all, however, is the ending, which I won’t spoil here, but for anyone who’s seen the movie… please tell me I’m not the only one who called “bullshit”.
I’m curious about “Martha Marcy May Marlene”. I had it confused with “Higher Ground” for a while. Probably the presence of cults and John Hawkes in both.
Bob—-
I pretty much felt precisely the way you did about TAKE SHELTER. However where we differ is your far more judicial approach to film reviewing. A questionable ending does not remotely undo all the brilliance which you admit yourself. This is an excellent film, regardless of what the end does or doesn’t do. However to be fair, a few others online have complained about the ending, including Maurizio I believe.
I am wondering if you thought the STAR WARS trailer was worth sitting through THE THREE MUSKETEERS for.
As it turns out I wasn’t a fan of either of the cult films. As you know the reviews for MARTHA MARCY were quite good. But I couldn’t get engaged at all (Lucille and Broadway Bob disliked teh film even more than I did) and found it’s excuse as a study in paranoia turned oput to be a study of ennui.
Thanks as always my very good friend.
Well, it’s a good thing they showed the trailer before the film, instead of after. At least once the trailer was done, sitting through “The Three Musketeers” was a choice all my own.
I have to agree with Bob’s view here Sam. A questionable ending doesn’t always undo all the good a film has reached beforehand (a good example for me would be Cave Of Forgotten Dreams by Herzog, which is still extremely worthy in spite of the silly albino alligator conclusion) but with Take Shelter it certainly does taint the movie. (SPOILERS) To have such a sensitive and realistic portrayal of mental illness be explained away with a cheap Sixth Sense style twist is almost unfathomable. Why not make the film more measured in what may actually be happening to the protagonist instead then (if you feel like echoing M Night Shaymalan in all his shitty glory)? Show a more balanced scenario where schizophrenia isn’t the only possible culprit of Shannon’s delusions? Give more evidence that the end of the world is actually coming, so that the final outcome can go in many different directions without feeling exploitive or crass. Don’t let 100 minutes of mature and powerful cinema fizzle out into sensationalism, just to have an unexpected curveball thrown at viewers. Once the end comes, it makes everything that came before feel hollow and insincere.
Yeah. It would’ve been possible to go with the cheap switcheroo ending if Nichols had spent time developing the dreams, hallucinations and shelter as elements of genuine precognition, something to be taken seriously. Bill Paxton did a movie some years back about a guy who “goes crazy” butchering neighbors at the behest of what we might first deem a hallucinatory angel, but because he’s dealing with a belief structure that many people take seriously (religious visions, God commands, etc) it’s easier to make the switch. “Take Shelter” is certainly ambiguous in its portrayal of the dreams and hallucinations to give them the same weight of reality, but all of Shannon’s actions throughout the film speak of a man who is aware, painfully aware, that the compulsions gripping him are signs of a deeply disturbed mind– he doesn’t take his fears of a “coming storm” seriously in and of themselves, but still feeds and indulges his delusions because he figures it might be easier to live with his condition than to go and seek treatment, and probably never see his wife and kid again. So the ending really does come out of he blue, and undermine so much of what came before. If he wanted to make a “Twilight Zone” episode, he shouldn’t have spent so much time asking us to look at him as a man disturbed. The question of his sanity is only raised at the very ending– up until then, we know he’s insane, as does he.
Anyway. To get back to some of the stuff I actually liked about the film– I admired how much Nichols and Chastain were willing to make the wife something of an unsympathetic character, at least as I saw her. She, and by extension most of Shannon’s support network (btw, I like the touch of Shannon’s doctor having the same name as him), seem to be in denial about his symptoms, even when they’re getting many of the classic warning signals of somebody on the cusp of schizophrenia, at his age. Paranoia about the dog, to the point of caging him and eventually selling him? Constantly showing up late to important dates, including going to his daughter’s school crusted in mud? Not letting his wife come near him after he wets the bed (and given they have a small daughter, I’m willing to bet she might’ve been able to detect a familiar odor if she weren’t so church-crazy at that moment)? Spending odd hours in his makeshift shelter, even before he starts building it up expensively? Hell, even visiting his schizophrenic mother unannounced? As Shannon later says, Chastain she knows what he comes from, and she comes off as unsensitive to his growing problems. Unfortunately, that’s something many people with mental illnesses have to deal with themselves– family members who can’t see past how someone else’s condition affects them, selfishly.
Maurizio—
I don’t support the position that the first 100 minutes of the film might be hollow and insecure because of an ending that frankly to me was far less a curve ball than it was ambiguous. Perceptions in the critical ranks have gone both ways, but a good deal believe it was deliberately non-commital. I understand what you are saying and I sympathize with your disappointment, but I didn’t myself find the ending as an issue here.
Thanks so much for the mention Sam. I have been looking forward to Martha Marcy May Marlene for a few weeks now and it will open here by mid November. I will let you know what I think of it.
I did figure you might have a bit of a break this week especially regarding all the countdown writing. On the other hand, if you reported that you saw 10+ films while writing excellent reviews (such as the great Sound of Music one), I would have been left even more speechless than on previous occasions 🙂
Sachin—-
You may well think far better things about MARTHA MARCY than I did. I saw where the director was trying to go, but just felt he didn’t pull it off. I felt I was watching the same scene over and over.
Ha! what you say about the writing and movie watching. I knew when the week started that I wouldn’t be seeing very much, and frankly did need a break anyone. I’ll be picking up the pace a bit this current week, but again I have some more writing to complete. Thanks as always my friend! Have a great week!
Uh oh… I’m planning to see Martha Marcy May Marlene tomorrow evening at the Angelika. Your very low rating has me worried now lol. I’m still going through with my plans, but I have duly noted your obvious misgivings. With my five day cold from hell, I didn’t go see anything in the movies this week. Texas Killing Fields got panned so badly that I might skip that one entirely. I’ll give you my impressions of MMMM after I see it tomorrow. What I saw this week in my den of germs and projectile mucus…
The American **1/2
Steel Helmet ****
I Saw The Devil *** 1/2
Gods And Monsters ****
Well I just got back from seeing MMMM…
Sam: The film is about paranoia and it’s built around a potentially fascinating premise, but it’s a turgid experience to sit through…
Maurizio: I agree 100%.
Sam: It lumbers along with no real story structure, a dank physical look, and an unsatisfactory conclusion.
Maurizio: Ditto Sam.
Sam: Elizabeth Olson in the central role is the one bright spot, but even she can’t save this tedious picture.
Maurizio: Meek’s Cutoff had more of story/point.
Sam: **1/2
Maurizio: ***
Hahaha Maurizio! Talk about timing! I was just preparing the answer to your first submission, when you chimed in with the follow up. Well, I can’t say I am surprised, though it is indeed startling that we came up with the same conclusions and nearly the same summary grade. I’m sorry that you got off a five-day cold to see the likes of this, but it has it’s fans. Heck the compilation sites have it sitting pretty with some impressive numbers. But WE in the know rightly think otherwise! Ha! Yeah, I found myself bored with the film, mainly because I felt I was watching the same scene over and over. As far as the films you watched indoors (den of germs) I must say I like those ratings on DEVIL, MONSTERS and HELMUT, which I would ditto. THE AMERICAN too I would think I would second. Maybe even a half star less for me.
Anyway, thanks as always for the great reporty and hope you are feeling better today my friend!
Wow, I came to turn off the computer for another day and your Monday Diary was already up and running – looks like you had a tremendously busy week.
I am still reading and impressed by all the musical reviews, and excited to see so many fine comments.
I once again did not make it to any movies, but did receive a new Meryl Streep – Nora Ephron one in the mailbox…so will watch a movie this week. I have 12 books to review before the end of the the year and 15 if we move into January. I did meet with one of my book groups this past week and everyone was there. They all saw Mozart’s Sister while on vacation, and were amazed that it was only here for 5 days and I missed it ( My out of town wedding weekend) – They too thought it was slow but elegant and all 6 were thumbs up. I will need to order it. The other movie they all saw was called Hedgehog and I had not even heard of that….so I am hoping to find that one also.
Thank you so much for mentioning my book review…very interesting book and it came about because of a blog discovery – blog is called You Are Not So Smart too, and the fellow is giving away lots of Kindles and ipads on his site.
I thought he was a bit too cynical for my taste, but lots of good information.
I am working on a post for Halloween now which began with Laurie Buchanan’s step up to FEAR post you called out above. I still am averse to horror films
and am giving out dimes this year to the children because we have just too much diabetes going on and our state leads the world in MS…. I remember one year, the Grandmother who lived next door to me, sat on her front steps and read Russian Folk Stories for Halloween…Wow was that a treat.
Thanks you for the good writing and great information sharing…What a lot of work – greatly appreciated.
I forgot to say that the concert of lute and voice sounded amazing and beautiful and I have been to 2 weddings at Madison Ave Pres…..a beautiful place for stunning music…..Oh how lucky you are to have so much life, music and energy available right near by
Patricia—–
What a fantastic comment! Well, I do remember many years ago when I was a trick or treater, and a good deal of money was collected at the end of the day. Some residents gave out pennies, nickels, dimes or quarters. Right now the rural suburban neighborhood I live in seems to attract hoards of trick or treaters. Last year Lucille and I were just about wiped out of candy, and we bought double the amount. We actually saw carloads of kids being dropped off to circulate our neighborhood. But as a borderline diabetic myself I can fully appreciate your wise strategy here. That story about the Russian grandmother reading the folk stories is terrific.
Thanks for expanding the information on the book review, which I still need to formally visit at PATRICIA’S WISDOM.
I can’t say I disagree with those women on MOZART’S SISTER. It was a slow film, but certainly it was elegant and intriguing, and it built to a moving climax. I’ll definitely watch it again when it gets to DVD.
Thanks so much for the very kind words on the musical countdown and for following all the new entries.
And thanks as always for stopping by my very good friend!
And you have been to two weddings at that church? Wow! Well then you know what a beautiful place that is, and how music is a perfect fit there!
Not much to report as I have been working on putting the final touches to my entries for the musical count and feverishly chopping away at the CRITERION titles Sam has sent over to me for viewing. Volker Schlondorff’s THE TIN DRUM is an amazingly complex look at the building tensions in Germany and a childs eye view of them. TIME BANDITS is a dementedly whimsical fantasy from Terry Gilliam, and Jacques Tati’s TRAFIC was delightfully funny even if the character of Hulot seemed to be waning in this final installment of the beloved French franchise. Falling in love with FRASIER on Netflix as well and I’m ashamed I hadn’t been more attentive to this well written and insanely intelligent comedy series during its initial broadcast run.
FRASIER is a great show. The characters are well developed and the level of humor is always high.
Frasier is classic!
I know, I can’t stop watching the F***ing show. Hallmark runs two hour blocks of episodes every night. WE channel has FRIDAY NIGHT FRASIER that runs the show all night long and now NETFLIX has every episode available for streaming.
This could stand as one of the greatest comedy shows of the past 30 years on AMERICAN TV and it’s up there on the laugh meter with shows like SEINFELD. It was spawned from CHEERS (another great show) and usurped it almost within the first season. The intellectual bickering between Kelsey Grammar and David Hyde Pierce is pomposity of the highest order and the deflation of these supreem windbags from the likes of Peri Gilpins ROZ, John Mahony’s MARTIN and Eddie has me crying from laughter some nights…
The guest cast is a veritable who’s who of great talent (Mercedes Reuhle as Frasiers boss, Marsha Mason as Martins hillbilly girlfriend, Jobeth Williams as Fraziers second big fling) and the one-time spot guests have an ever longer line of big names (Robert Prosky, Bruno Kirby, Rene Auberjenois, Austin Pendleton, Amanda Donahoe, Emma Thompson, Rita Wilson, Wendy Mallick, Laurie Metcalf, Virginia Madsen, Felicity Huffman, Laura Linney, Amy Brenneman, Jennifer Beals, Rosie Perez, Aaron Eckhart, Bess Armstrong, Estelle Parsons, Brian Cox, Saul Rubinek and, of course, that force of nature, Bibi Neuwirth as Frasiers Ice Bitch Ex-wife from hell, Lillith Sternen…
The writing on this show is electric, the visuals are better than standard live TV fair and the set and production design totally convincing so you can really hone in on the dialogue. I can’t think of too many comedy shows on Network TV that were as intelligent and a achingly funny as this…
Kelsey Grammar, despite his personal problems, is a comic actor of the highest level and his delivery and physicality are a brilliant fusion of exasperation and Jack Benny narcissism. He has created with Frasier Crane on of the greatest comedy characters in TV history…
Great stuff!!!!!
I love Frasier! A wonderful marriage of witty, intelligent comic wordplay, with the occasional touch of brillian physical comedy (Hyde Pierce is especially talented in the latter department.) I think the last couple of seasons started to go off the rails, but overall, it’s a TV classic.
I’m with you all the way on that PAT. While I think the show definately slowed down in the last two seasons it wasn’t slow enough to burn the memories of the hilarity of the first seven.
Favorite scene ever…
Frasier is blindfolded and sipping wine from a row of glasses while seated on the sofa and spitting the wine into a tumbler that Niles is holding in an attempt to test his taste buds for a Wine Tasting the next day…
Frasier (swishing the wine in his mouth and spitting): “Ah, the Cabernet Sovignon ’76!”
Niles: “That’s amazing! Absolutely correct. Your skills are so finely homed Frasier…”
Daphne (Wiping down the dining room table): “It’s amazing that your educated taste buds can tell one wine from the other but can’t tell the difference between my pot-roast and my flank steak…”
Frasier (blindfold still on and grimacing at Daphne): “Considering you learned to cook in England it’s a wonder I can tell the difference between your flank steak and a braized tennis ball!”
I almost wet myself the other night when I heard that one!
LOL!!!!!
Kills me…
Riot! 🙂
Dennis—
You know of course that I have never sat down to watch FRASIER, so I can only envy all the glowing reactions here! Agreed on THE TIN DRUM and TIME BANDITS and also have fond regard for TRAFFIC, though of course other Tatis rate higher.
Thanks for the excellent report my very good friend!
I saw the trailer to Martha Marcy May Marlene (I think that’s it) over the weekend and began to question the film’s quality on that basis. So, Sam, your mediocre rating doesn’t really surprise me.
Speaking of weekends, I saw Weekend, which I think is simply wonderful.
And I wish I could’ve been there with you and Lucille at the “Love Songs” concert.
Pierre—-
I do wish you were in NYC this past weekend, as I would have been proud to escort you to the Madison Avenue Presbyterian Church for this sublime concert. It most assuredly would have been your cup of tea, I know.
I can’t agree with you more on WEEKEND, which is absolutely one of the best films of the year. And of course we are not talking about the Godard film readers, but about the gay-themed British film that opened several weeks ago. It was a superbly-acted and candid film that engaged the viewer for it’s full duration. But there’s much more.
I can’t predict what you’ll make of MARTHA MARCY, as there is a strong majority critical opinion behind it. You may react more warmly to the way the paranoia angle is played. I look forward to your opinion my friend!
Thanks as always for the great comment!
Sam,
Thanks again for the mention! My movie watching was limited to just two films this week due to our huge semi-annual yard sale to benefit the cat adoption group we volunteer for. Space and entertainment was provided by a local storage company (Southern Storage). With four large storage units filled with donated items that needed to be gone thru, priced, and on Saturday had to taken out for display, well let’s just say it was a long, long day, but helpful for the cats who have a ton of backlogged vet bills and continue to want to eat!
Part one of my interview with Peter L. Winkler author of “Dennis Hopper: The Wild Ride of a Hollywood Rebel” will be posted tomorrow with part two on coming up on Friday.
On the movie front I watched….
Vertigo (*****) one of Hitchcock’s masterpieces with an obsessed James Stewart. Stewart’s acrophobic Scottie Ferguson twice fails to save his leading lady from death, and his own self from failure. A sense of doom follows the entire film. In my top five of favorite Hitchcock’s.
Wind Across the Everglades (***) a rare Nick Ray film that was recently shown on TCM. The film has a bad reputation, and while it does have its problems it was way ahead of its time on thoughts on conservation and the protection of wild life.
Are you kidding on VERTIGO?
You’ve never seen this film before?
Sam’s gonna have to revive me if you say this is true. VERTIGO has been my favorite of all Hitchcock’s film since I discovered it in a a theatrical rerelease back in the early 80 (horrible prints by the way). SAM and I were at the Zeigfeld theatre I think, like, the first day when it was remastered and restore back in the 90’s and I remember him and I sitting there with our jaws on the floor and both of us tearing up when “Madeline” comes back from the dead in the hotel room after Scotty has transformed Judy into his lost love. The Wagnerian inspired Herrmann score swelling to a crashing crescendo as he finally gets to kiss his long dead lover is one of the most disturbing, brilliant and psychologically dramatic moments in all of film history. James Stewart gives, possibly his best performance in this film.
Not just my favorite Hitchcock film, but on my top ten movie list in the No. 4 position…
I envy you having just seen this and experiencing it for the first time.
It’s like the first time you have sex, or get drunk, or kiss your first girl/boy-friend, drive a car…
You never forget the way you felt the first time…
Absolutely a ***** movie. I’m pretty sure if you look it up on Allan’s count that you’ll see it placed highest of any Hitchcock film.
Rightfully so…
@ Dennis – No, no I have seen VERTIGO many times before. Think the first time was back in the 70’s at the D.W. Griffith theater on 58th st. when his Paramount films were rereleased for the first time in years.
John and Dennis, I really have just seen ‘Vertigo’ for the first time – just got back from the cinema. I must agree it is a wonderful film and an astonishing performance by James Stewart – not sure if I prefer him in this or ‘Rear Window’. Don’t know how I’ve managed to miss it up to now, but to be honest I haven’t seen very many Hitchcocks and need to put that right. When I got to the cinema I found someone was giving a talk on the film before the showing – I got well out of the way to avoid spoilers! It was supposed to be a restored print but looked as if the restoration needed restoring again, to be honest. And yeah, fantastic score.
Judy — What’s so amazing about Stewart’s work in Vertigo and Rear Window is that it occurred so many years after his Oscar for The Philadelphia Story, at a point in his career when he didn’t have to take chances or prove himself. Anyone who criticizes Stewart for always playing the same character is full of beans, I say!
JUDY-If I were to put REAR WINDOW and VERTIGO in a fight for best of the two I don’t think too many critics would argue too much if VERTIGO emmerged the victor. It is, as Hitchcock himself had admitted, his most personal film (the movie says alot about what turns him on, his view of women and the ideas of passion) and I feel the one that leaves the biggest emotional tag on his audiences. We have all come to love Hitchcocks films because they’re thrillingly entertaining, intelligent roller-coaster rides and we all have images in our heads when we think of a particular film (the shower in PSYCHO, the playground in THE BIRDS, the wine-cellar key in NOTORIOUS etc…), but none of these films leave you as EMOTIONALLY scarred as VERTIGO. There is a connection the viewer has to this film like no other in his canon as we, people who have all loved the unnattainable have all dreamt of the crazy ways we can find that lost emotion in other ways (Hitchcock just takes this to the Nth degree in the film).
As for Stewart, he had, till this period been playing the likeable lover or geek or nice-guy about town. It wasn’t till WINCHESTER 73 that he started acting against type completely and his darker side began to surface. Here, with VERTIGO, we have his most sinister performance, and it’s the most heartbreaking sinister type. He’s a man plagued by depressions of lost love by hideous means to (what seems) an innocent. The moment “Madeline” reappears in the hotel room (Judy dressed and made up to look like his lost love) that we see Stewart in, probably, his most psychotic mode. It’s a moment that sees the actor well into longing tears and change on a dime the moment he realizes the scam set on him. From that point on it’s a tour-de-force for Stewart as he yanks Judy into forced reality. It’s really a heaertbreaking turn by the actor and one that resonates forever in the audiences devastated by where fate and the machinations of chance take a person.
Herrmann’s score is probably his best as he ingeniously fuses the kinetic with the outright romantic at the same time. There are passages here that immediately bring Bartok and Stravinsky into play (the dream in the graveyard is a big example) and his evocation of Wagner’s LIEBESTOD is almost inscribed directly from the master German composer as both the love theme between Scotty and Madeline as well as that swelling explosion in the hotel room when the spector of Madeline shows itself as Judy. I cannot think of a moment in all of Hitchcock that has so moved me to tears as that one and its probably the greatest twist he ever concocted for any of his films. Herrmann was known to go over the head of the director and then talk Hitch into going against his original musical conceptions so he could put on display the music that HE wanted to compose. In the end, it was a shifty relationship that paid off in droves and created some of the best audio/visual moments in screen history (if Herrmann went with hitch’s original ideas on the music, PSYCHO’s shower scene would have been done without music)…
VERTIGO is not the typical HITCHCOCK film, it takes a while to settle into the sub-conscience and requires repeat viewings. But, for those that have the gumption and those that understand from the first viewing that something unseen is happening, the repeats are manditory in the discovery of Hitch’s BEST film.
Dennis, thanks so much for that detailed comment – I have been thinking about the film ever since seeing it and yes, that moment where Judy appears transformed into Madeleine is probably the moment which carries the greatest emotional power, as he appears to get the past back. I like your way of putting this: “as we, people who have all loved the unattainable have all dreamt of the crazy ways we can find that lost emotion in other ways”. I will definitely see it again and hopefully in a better print.
Pierre, thanks very much – I agree it is impressive that Stewart went on developing as an actor and taking on different types of role rather than repeating himself. The scene where he is in the mental hospital and completely oblivious to Barbara Bel Geddes is one where I find him very poignant and nothing like previous roles of his I’ve seen.
Agree with Dennis – Vertigo is not only my favorite Hitch film, it’s a close contender for all-time favorite film, period. An incredibly powerful dark dream, hypnotic, beautiful, and disturbing, like nothing else Hitchcock ever did, though all of his other work suggests the depths he plumbs here (and that’s saying something!).
It was one of the first Hitchcocks I saw, along with Spellbound & Notorious, and was actually a bit disappointed when I saw Rear Window & North by Northwest. Now I think they’re great movies, of course, but at the time I wanted more dark, psychological, unpredictable Hitch, having been set up by those first few viewings.
“Vertigo” is one of the few Hitchcock movies I like. My favorite is still “Rope”, but I can see why people get hyperbolic about this one. I’ll admit, though, I can’t get too excited about it at times, because a lot of it only appeals to me in the abstract. Mostly I like Jimmy Stewart’s personality and the restrained nature he has in the detective portions, in the first half. Kim Novack in both her guises doesn’t appeal to me that much (yeah, the ice-queen version is cute, but superficially so), so it’s hard for me to be that invested in the love story (to me, it feels a little like the story of a man who falls in love with a mannequin twice, and though I can understand that might kinda be the point, I’m nonplussed overall).
When the mannequin looks as good as Kim Novak, I say go ahead, get invested. Vertigo is probably my second favorite movie ever after 2001. The story and the personal aspects of Hitch’s psyche are not the only things to marvel at. The overall dreamlike vibe is astonishing and never loses power for me despite repeat viewings. Hermann’s score is insanely good, and those segments where Scotty follows and investigates Madeleine are pitch perfect in mood.
I like Rope, but it is clearly a very flawed film. Besides the obviously weak attempts to hide the edits, Stewart’s sudden change of heart/philosophy at the conclusion just doesn’t work with everything his character was mentioning earlier. It seems like a cheap way to have Stewart remain above the criminal fray. He basically gives Brandon/Phillip the drive, idea, philosophy, and intellectual means to commit murder, only to recant when they actually go through with the deed lol. It is also obvious that this plot development was not inserted to add narrative complexity, but instead because Hitchcock still seemed unsure of giving Stewart a role where he comes off as anything less than noble (sure he has crazy Nietzsche like ideas, but heaven forbid he act on them–seems to be the rationale). The fact that Rupert gets on his pompous high horse and actually becomes offended at their deed is almost laughable in its idiocy. The movie is also very short at 80 minutes to be honest. It seems that a fully fleshed out picture with a rigid set/location blueprint, was not in Hitch’s full execution grasp yet. He needed this experience to move forward and really have it pay dividends later. Rear Window basically takes the experiments of Rope and truly creates a masterpiece of cinema that bests the earlier film in almost every way.
MAURIZIO-would be really interested to know what your top 10 actually are because I have VERTIGO following 2001 as well. Of course they follow my number 1 and 2 films JAWS (I know, I know…) and CITY LIGHTS, but they’re both still pretty high…
Goes something like this…
Remember, these are MY FAVORITES (the ones I can see again and again till the cows come home)…
1. JAWS
2. CITY LIGHTS
3. 2001: A SPACE ODYSSEY
4. VERTIGO
5. FANTASIA
6. KING KONG
7. THE WIZARD OF OZ
8. APOCALYPSE NOW
9. THE GRADUATE
10. SUPERMAN
Well I don’t make much distinction between best and favorite. I guess it would go something like this….
1. 2001
2. Vertigo
3. The Night Of The Hunter
4. M
5. Vampyr
6. Le Cercle Rouge
7. Les Diaboliques
8. Taxi Driver
9. Stalker
10. The Tree Of Life
dunno, Mauriz, one of the things I love about “Rope” is how it exposes the cynical, charming misanthrope of Stewart as being full of hot air. His Nietchian psychobabble and ideas strike me more as some of George Carlin’s jokes from his 90’s period. He probably took his ideas about as srriously as Swift did in “A Modest Proposal”. So I find it interesting to see where some of this kind of philosophical thinking can lead to, but I don’t hold Stewart to be responsible for anything that the film’s Leopold and Lowe stand-ins commit. And I have to admit, one of the things I love about the film is how obvious some of the edits are, how visible the seams are. As much as I respect the more polished effort if “Rear Window”, I can’t claim to care very much for it. It’s a great work of craft, but for me rather empty, at least in comparison to “Rope”. It’s odd, but that later film, with all its surface pleasures, feels more like a warm up than the initial experiment. “Rope” is a film you work yourself up to, even if you work. backwards through the director’s canon. It’s the more rewarding work, even if it isn’t as finessed.
As for Novack, she’s really just a Barbie doll without the plastic smile, to me. The dream feel is interesting I suppose, but it feels too forced for me to call it anywhere near one of my favorite films, even if it is, say, my second favorite Hitchcock. Like Ford with “Searchers”, I like it more for what it inspired than for the film itself.
John—-
What you and Dorothy have done for the cat adoption group is simply astounding! You have expended time, money and ceaseless energy to this worthy cause, one that I can connect with for a number of reasons. You even had entertainment there? Wow! Hope the attendance met your expectations. Great show!
I certainly will be looking for the first half of the Dennis Hopper interview at TWENTY FOUR FRAMES! This has been a terrific week for you, as you have had back to back musical gems here at WitD as well.
I understood you to mean that your VERTIGO viewing was NOT your first. Dennis had broached this here in a subsequent comment of his own. I completely concur with the masterpiece rating. I haven’t seen that Ray film, but am intrigue. I understand though (based on your rating) that one must proceed with caution.
Anyway, thanks again John for the great comment, and for your tireless work.
Sam, thanks so much for your wonderful mention. I was curious to see MARTHA MARCY MAY MARLENE, but your words make me a little less eager. I feared it might not be up my alley either.
This week, I took in a larger lot than usual, seeing Jacques Becker’s GOUPI MAINS ROUGES, Denis’ THE INTRUDER, Pialat’s GRADUATE FIRST and LE GARCU, FIRST NAME: CARMEN, THE BROWN BUNNY, JAMAICA INN, THE STORY OF A CHEAT, and ZABRISKIE POINT. I was happy to see them all, but I have to signal out LE GARCU, Pialat’s swan song, as my favorite in the group. As usual, the acting is extraordinary, and I really love how there is such a head-on engagement in his work with areas of life that most directors avoid altogether, or choose to sum up in simpler ways. He’s really a special filmmaker among all the French, and I would even say a special filmmaker, period.
Thanks so much, Sam, for all that you do! Here’s to another awesome week.
Jeffrey—-
I can’t say for sure, but reading your tastes from a distance I would say it (MARTHA MARCY) wouldn’t be your thing. But that perception could be wrong. The film obviously has some serious support in the critical ranks, which while having me dumbfounded may also be pointing to aspects I may have missed. It was one of the most difficult films to sit through of any I have seen this year.
That’s an amazing lot you looked at this past week, especially with all you do as a filmmaker in preparation!!! It seems the French films were dominant this week. I’ve seen the entire lot and I’d go with either the one you named or Guitry’s THE STORY OF A CHEAT as best one. I would have to say I fully agree with what you say there about Pialat doing things that other directors would skim over. That’s what makes his drama often so intense and mesmerizing. Yes I quite agress that he’s a special filmmaker, period!
Thanks as always my great friend for the great comment and the very nice words!
Sam,
Thanks for all the support with the musicals countdown and for all the kind mentions. You were busy this week and didn’t get to see many movies, which was a bit like my week as well. A very busy workload with long days, doesn’t leave much time for energy in the evenings to attend to viewings. We also were in Chicago this weekend for my sister-in-law’s wedding, which was a lot of fun for all of us. I took advantage of the lovely weather yesterday to get the yard in order, and I felt like it was the last “warm” weekend of the year, but we will keep our hopes up.
I did manage to see Hanna, with Saoirse Ronan. Although the film is not a masterpiece by any stretch, it does have a campy performance from Cate Blanchett, which is rather fun, some overt stylings, which are wonderful to look at on the Bluray, and a commanding central performance from the young Ronan, whom I really hope we see great things to come.
Up this week are Throne of Blood, Senso, and Fishtank. Have a great week Sam!
Jon—
When it comes to support you are sitting with a few others at the top of the heap. I can’t ever thank you enough for all you have done! Hope and anticipate you had a great time at the wedding, and a good outdoor session outside. It is indeed getting cooler. I just got in from seeing PARANORMAL ACTIVITY 3 with the family and it was brrrrrrrrr out there! I wasn’t the biggest fan of HANNA, but can’t contest the points you bring up there. Conversely I was a huge fan of Wright’s ATONEMENT and liked PRIDE AND PREJUDICE well enough too. You have a trip of riches coming up there and I’ll have one eye on FILMS WORTH WATCHING. Have agreat week my very good friend!
No wonder you had a tough time freeing up time to see movies with the torrid writing schedule you maintained. And I’m sure you have more essays to put together. That sounds like a wonderful concert on Madison Avenue. And a perfect time slot on Sunday afternoon. I know Kirkby specializes in early music. It’s not the easiest period for people to appreciate.
I read this morning that all the “action” this weekend was in theatres showing Paranormal Activity 3. Not sure I’ll be investing in a ticket for that.
I’d love to see the kids in their costumes.
Frank—
I do indeed have more. I have to pen the #2, #7 and #9 essays, and I haven’t started any as of yet. And what with Halloween weekend ahead, another movie palace screening of Castle’s HOUSE ON HAUNTED HILL potentially on Friday night, and a trip through a local Haunted woods for “Fright Night” with the kids has us booked solid. Ha!
Yes the Kirkby concert was sublime, as it was at the same location two years ago. True what you say about the earliest music, but this pair are just remarkable.
Yes, I hear it pulled in over 50 million.
You will get pictures my friend. Many thanks as always!
Great, you saw the Kirkby/Lindberg pair live? They are possibly the best pair for Renaissance/Baroque madrigals, ballads and laments. I have been a Kirkby’s fan for more than two decades, and firmly believes nobody can beat her Bach’s Hunt Cantata. Also, Lindberg is one of the best traditional lute players, alive or dead, not only for his playing but for brilliant reading/analysis of Renaissance music. Oh, I would love to read your review!
I cannot keep up with all the activities in WinD this week … All the musical countdowns (all of them are my favorite), 40 second film and Old Dark House review. Still reading…..
Thank you for the mention!
MI
MI:
I can’t tell you how thrilled I am that you not only have heard of Kirkby, (and Lindberg) but are extremely astute on her music and period. I did see them two years ago as well at this very same location (November of 2009) performing some immortal music by Dowland and Purcell. Here is a link to the review I wrote for Wonders in the Dark:
https://wondersinthedark.wordpress.com/2009/11/05/dame-emma-kirkby-and-jakob-lindberg-perform-dowland-and-purcell-at-orpheus-in-england-venue-at-madison-ave-presbyterian-church/
That is quite an overwhelming compliment for her as far as what you say about her rendition of that Bach Hunt Cantata!! I can’t tell how thrilled i am to get such a superlative framing of this pair!!! I applaud your taste my friend!!
Thanks too for the kind words on the musical countdown and site activity. It’s an honor to have you here!!!
Good morning, Sam –
Wow, that is disppointing about MARTHA MARCY MAY MARLENE. I will probably see it anyway, but yours is not the first lukewarm review I’ve read.
My weekend was mostly about preparing for and writing my final countdown post, a most enjoyable assignment around a musical of which I have many fond personal memories.
But the highlight of my week was seeing Von Trier’s MELANCHOLIA, a film which has haunted me for days. I’m hoping to get a short review up at my blog this week. My only regret is that seeing it on TV (via ONDemand) is an inadequate way to experience its overwhelming visual beauty. Not sure when I’ll get to see it on the big screen (I’ve heard the release date is November 11 – not sure if Chicago will be even later), but it begs to be seen there. It’s not without its problems, but the cumulative effect is emotionally devastating.
Pat—
I have a screener of MELANCHOLIA. I’ve had it for three weeks but have steadfastly resisted looking at it, as I really want to make my first viewing on a big screen in a movie theatres. Yes, the release date (in NYC) in November 11th, so I figured I’d hang on a little longer. What you say about the ‘overwhelming visual beauty’ does scream out big screen, so I will try to stay the course. But your favorable response is thrilling, even with the acknowledgement of some issues.
Your final countdown post is a gem, and it informs a very great musical film. I’m sure it will be quite a hit, as well it should!!
You may wind up liking MARTHA MARCY more than I did. Let’s see…..
Thanks as always my excellent friend!
I’m not surprised Paranormal Activity 3 cleaned up. Oddly it is the only Halloween horror movie out there.
Indeed Peter. That fact did surprise me.
Thank you my friend!
Sam – This post surfaced a wonderful memory…A few years ago Len and I had the privilege of hearing Jakob Lindberg (and several others) at the Royal College of Music in London. The performance we attended was to raise awareness of stringed instruments. It was beyond AMAZING!
Laurie—-
You convey some fantastic information here!!! So you know first-hand of Lindberg’s musical brilliance with that appearance at the Royal College of Music in London!!! Wow! The lute may not be everyone’s thing, but one can’t help ro be amazed at how he conquered this instrument, and how he even wenta s far as to buy a rare lute from an auction at Southby’s. This is purported to be only one of five of this kind in the world!
Anyway thanks for this great and timely comment my friend!
That’s too bad about Martha Marcy May Marlene! Definitely one I’m still looking forward to see, but good to know that there is a divisive reaction out there. Another ‘downer’ of a film I’m excited about Tyrannorsaur. I hope it fairs better. I saw Take Shelter this weekend and just looked back at your positive notice. I can’t say I was as taken with it as you were. Definitely some great performances and suspenseful scenes… I just wish there was a bit more of a mystery to it. I found the ending a bit of a cop-out.
Hope all is well Sam! Thanks again for continuing to mention my little blog. I’ll get back in the writer’s seat soon!
Thanks so much for stopping by Dave!!!! Don’t let my position on MARTHA MARCY MAY MARLENE turn you away. Remember my position is in a rather small minority. You may connect with it. I am intrigued by TYRANNORSAUR! I thought the ending of TAKE SHELTER was far more ambiguous that some might believe, but yes, there were some tense scenes and superlative performances.
I look forward to the upcoming action at your blog my friend! Thanks!
Sam, an actual “Occupation” of Albany began this weekend at a park strategically located between the state capitol and city hall — and according to reports Gov. Cuomo tried to strangle the thing in its cradle, but couldn’t get the local police to do his dirty work. Today is Day Four but it’s getting cold up here at night, so we’ll see how long the occupiers hold out. More power to them while they stay.
As for movies, my new DVR is really skewing my viewing patterns as I build a backlog during the day faster than I can cut it down at night while still blogging. I’m going to have to get more judicious in my recording. I’m behind on TCM’s Nick Ray films but did catch up with The Lusty Men, which was all right. Was really impressed with Delmer Daves’s The Hanging Tree, as I have been with nearly all Daves’s westerns. Also not bad as an adventure film was Richard Fleischer’s Bandido with Mitchum as a mercenary in Mexico, while Allan Dwan’s Frontier Marshall is a breathtakingly ahistorical account of Wyatt Earp in Tombstone with some good action and the typical Fox musical dressing, and Edward L. Marin’s Colt .45 is just a typical Warners potboiler for Randolph Scott. From TCM’s neorealist night of a week or so ago I saw Giuseppe De Santis’s Bitter Rice, which really skirts the border between social realism and exploitation with history’s biggest mud-wrestling catfight. Despite all this I found time to watch my Netflix DVD of Herzog’s Stroszek; suffice it for now to say that it’s a characteristic work.
I was briefly tempted to see Three Musketeers because the ads really made it look like something gloriously stupid on an epic scale — but I’ve thought better of it so far.
Samuel—
Wow, I hadn’t read about that occupation! Yes, I would think they won’t be holding out much longer as temperatures have plummeted. It’s chilly out there now in the NYC area on this Tuesday night, so I can only imagine what it’s like in Albany! seeing everything you would like to is not easy, especially with a super active blogger like yourself. Geez, I know that routine! THE LUSTY MEN was precisely “all right.” No more. I saw your review of FRONTIER MARSHALL, where you did a terrific job framing it within the pantheon of Wyatt Earp films. (What is the besy Wyatt Earp film of them all? MY DARLING CLEMENTINE?) The Scott Western is indeed a potboiler; THE HANGING TREE quite good, but you are REALLY talking my language with de Santis’s BITTER RICE, a film that Allan and I think is a masterpiece, and with Herzog’s STROSZEK, which is most impressive.
Yeah I think you are right to stay clear of THE THREE MUSKETEERS! Ha!
Thanks my friend for the terrific wrap! You had an excellent week. I hope all goes well with the protesters.
Sounds as if that concert with Dame Emma Kirkby was wonderful, Sam. You certainly had a busy week with all those essays for the countdown, so I’m glad you were able to get out and about a bit all the same.
I made it to the cinema this weekend and saw ‘Midnight in Paris’, which I loved – I’ve enjoyed the last few Woody Allen films a lot, and it was nice to see Owen Wilson in such a good part. I understand Woody is continuing his tour of European capitals by heading for Rome with his next one, ‘Nero Fiddled’!
At home I saw ‘Laughter’, the pre-code I’ve reviewed on my blog, which I liked despite seeing it in a poor print – thank you very much for the plug. I also saw the Sinatra/Doris Day musical ‘Young at Heart’, and was surprised to find that in effect this is a melodrama with some songs thrown in – a remake of the 1930s drama ‘Four Daughters’, which I haven’t managed to see as yet, with Sinatra in the role that made John Garfield a star. I thought Sinatra was excellent in it and gives a haunting performance of ‘Someone to Watch Over Me’. Hope everyone has a good week!
Judy—
It was indeed a relief to get out on what turned out to be a lovely Sunday afternoon. The weather as expected now is turning colder, what with November a stone’s throw away. Dame Kirkby is an angelic presence.
I wasn’t quite a big “Midnight in Paris” fan as I was never sold on bumbling main character as an author, but I am in the extreme minority on this. The film has received excellent reviews, and just about everyone I know save for one person, are completely in agreement with you. I like YOUNG AT HEART, but love FOUR DAUGHYTERS, which is a Warner Archives release.
I can’t even begin to thank you for all you have done for so many writers, for the dozens and dozens of comments, the peerless enthusiasm and expertise, and for being such a wonderful friend!!!
Well happy Monday Sam! It is a glorious day here much like yesterday. A long walk along the shoreline is definitely in order. But before I go here are my two picks for sharing on this Monday Dairy post…
LE NOM DES GENS (2010) directed by Michel Leclere – a French film of the most interesting stylistic mix between narrated documentary introduction to younger selves providing guidance in an astoundingly complex exploration of racial and cultural relations. It was a movie I began to like much better at the end than in the beginning or middle. I couldn’t help but think of Woody Allen and then his name appeared in the translations.
THE TREE (2010) directed by Julie Bertuccelli – an Australian film that had me most disoriented in the driving scenes particularly when the camera went wondering off the road in the moving vehicle. Though I was prepared to love this movie as trees are a favourite of mine, I ended up fending off the ring-side shouting of my partner who took a deep dislike to the obnoxious 8 year old Simone and the weak-kneed parenting of her mother. Though having been a single parent with strong-willed children of my own I could relate, I am guessing this aspect of human relations will strike an annoyance in more than my dear husband and it seems to take away from some of the other strengths of the film’s story.
Terrill—-
Thanks as always for the perceptive comment and lovely greeting from your island paradise. Hope that long walk on the shore line brought you some creative inspiration as well as some meditative unwinding.
I was fascinated to read your capsule on LE NOM DES GENS, though I acknowledge you didn’t take to this till late in the game. So Woody was involved in this in some way? Interesting.
As far as THE TREE, I did like it, but understand the issues you and David had with it. I like Ms. Bertucelli’s SINCE OTAR LEFT much more, and I advise it if you haven’t seen it. It’s an emotionally wrenching film set in Soviet Georgia:
http://attrition.org/movies/otar.html
Thanks for the great capsules, and have a terrific week my friend!
Vat? Only one film this week? Snap out of it, Sammy
Last night I was completely baffled by a director I hold in high esteem.
What, in this world we all so tenuously share, is Todd Solondz getting at in ‘Life During Wartime’?
Is he drawing a moral equivalence between pedophilia and terrorism? Or does he pose the question just to debunk it? Are all the apologies and forgiveness manifestations of Jewish guilt? Are we to forgive the 9/11 terrorists, too? Would that have prevented the Iraqi war? Does a country full of delusional, mendacious, dysfunctional people deserve the leaders it gets (though Solondz populates ‘Life During Wartime’ with blue state Jews)? Is the Jewish Solondz mocking Judaism (the old “not all anti-Semites are Jewish” bit)? What does Charlotte Rampling mean when she says ‘the enemy’s within’? Is ‘Life During Wartime’ an uneasy combination of anti-war leftism and pro-Israel Zionism, with Solondz’s man-boy molestation fetish thrown in for shock value? His response to 9/11 and the first decade of the new millenium has me flummoxed (though the film’s opening restaurant scene is the old Todd Solondz of ‘Happiness’ I know and love).
Maybe I’m overthinking this; maybe our resident Solondz fanatic, Jamie, can enlighten me. I’m severely disappointed in this new film.
‘The Tingler ‘ — Yeah, I know; schlock horror with Vincent Price. But it’s on John Waters’ Ten Favorite Films of All Time List, right up there with Fellini’s ‘8-1/2’ and Eustache’s ‘The Mother and the Whore’ !!!!!!! lol
Tonight I’ll be spending over six hours with archfiend Mabuse, watching Lang’s 1922 ‘Dr. Mabuse the Gambler’ and his 1933 ‘The Testament of Dr. Mabuse’.
I am giddy with excitement.
Later, my friends
Mark—
Jamie has been busy as of late, but perhaps he’ll be able to stop by and offer a defense of Solondz’s film. You won’t get that defense from me as I frankly dislike the film, and found it a clear case of this director not being able to get over himself. The only film of his that I now look on with half-hearted enthusiasm is his first, WELCOME TO THE DOLLHOUSE. He’s filled with cyncism and mean-spiritedness, and I find him a major narcissist with nothing new to say anymore. But I will listen. Jamie is a brilliant guy and he always makes a profound case.
THE TINGLER, eh? The entire family saw this last year at the Film Forum with the theatre fully rigged. One usher posed as an audience member and was attacked by the reptilian creature, screaming in the middle of the movie! Ha! But yes, Price is a hoot! Waters has it with THE MOTHER AND THE WHORE? LOL!!!! Ya gotta love the guy!!
We are all going to see THE HOUSE ON HAUNTED HILL at the Loews Jersey City movie palace on Friday night with Emergo in the theatre (the skeleton gliding across the top over the screen) We all saw this presentation last year at the Film Forum. This is my favorite Castle horror.
Hope you had a great time with mabuse my friend. Great stuff!
Thanks as always for the great wrap!
Hello Sam and everyone.
Wow.
And I really mean wow.
I’ve never expected this before, my name on a blog’s entry, big on the start, wow. I’m just astonished, really. Thanks a bunch Sam, if I ever need a name to throw when I receive the Oscar (ha!) yours would be in the top 10, really Sam you just keep me going at this times. Thanks.
Your week was a quiet one in terms of moviegoing (for a movie I’m still not sure about), but a hard work of writing! I say, a week of writing is a good week, no matter if you loose your house in the process… but that’s just me, and you know I’m crazy.
I’ve spent my last days and maybe weeks in that. Writing and rewriting: essays and screenplays, short and long, all for classes and for the making of the final short film at the end of this year. In preparation for that, I shot this little thing, which I hope garners a positive response from the teacher.
My week, movie wise:
– A Nightmare on Elm Street: The Dream Child (1989, Stephen Hopkins) **1/2 Maybe the worst of the series, full review at my blog, horror madness.
– A Nightmare on Elm Street 4: The Dream Master (1988, Renny Harlin) *** Dissapointing entry following number 3, which was great. Full review at my blog.
– Don’t Look Now (1973, Nicolas Roeg) ****1/2 Near masterpiece in suspense and 10% horror or maybe something else, review at my site.
– Flesh for Frankenstein (1973, Paul Morrisey, Antonio Margheriti) **1/2 A bit of bad acting can ruin an atmospheric nonsensical piece of regular writing. Review at my place.
– Freddy’s Dead: The Final Nightmare (1991, Rachel Talalay) *** Better than expected, but bad acting brings this down. Review at my horrorific blog.
– Freddy vs. Jason (2003, Ronny Yu) ***1/2 Entertaining and worth watching. Full review at my blog (as of now, at the top).
– Kill Bill: Vol. 2 (2004, Quentin Tarantino) ***** My favorite of the two installments (which form a real masterpiece of cinema), and my favorite Quentin Tarantino movie. This movie is a piece of art, I mean, just look at it, it combines so many different visual styles that it feels as if you’re watching a summary of modern and post modern cinema in this post-post-modern film, what a treat to catch this on TV and just be involved in the story and the characters once again. What a wonderful film.
– Mourir auprès de toi (2011, Simon Cahn, Spike Jonze) **** Short film and great little animation piece, great art and great music behind. The hand of Jonze, while invisible in this one, is what makes this short film possible. It is online to see for free, and I recommend it as an example on a film that goes beyond what is seen in animation today.
– New Nightmare (1994, Wes Craven) **** What a great film of meta, the thing that Craven is getting an expert at. Review at my site.
– A Fire (1961, Ebrahim Golestan) **** Short iranian poetic documentary film, edited by a poet who died too young. It bases its story on the fire of a oil extractor, and how people (common and working) are trying to keep it at bay, and how this is just one of many that will occur as time goes by.
Thanks again Sam and have a great week!
Jamie—
You deserved to be mentioned in taht way, as you are a tireless worker who gets no real help, and works around the clock. The Halloween countdown is a real labor of love on your part.
I enjoyed your short movie here, though of course I could negotiate it for obvious reasons. But it looks and sounds great and I’d be MOST interested in knowing how it goes with your professor. It was a great idea to post it here!!!
Yes, you have long respected prolific writing, and I know you have put your nose to the grindstone for a very long time, not only with film and music, but with literature. As far as myself, yes I did have to pull back this past week. But the present week is headed is a different direction, if at least nominally. We all just got back from an early evening showing of PARANORMAL 3 at our local multiplex. My youngest daughter screamed at teh right moments (ha!) and they all seemed to be reasonably impressed. The reviews were solid. On Friday night we are seeing HOUSE ON HAUNTED HILL at a local movie palace. We watched it last year too at the William castle Festival, but this time it will be seen on a massive 70 foot screen.
Your reviews of A FIRE and that Spike Jonze film are intriguing, I must say. As to all the horrors, I have been following them at your blog (but need to make some more comments tomorrow at some of them) and greatly respect your expertise in this genre.
Your five-star regard for KILL BILL 2 and 4 1/2 for DON’T LOOK NOW did not escape my attention!!!
Have a great week my excellent friend, and thanks for the great wrap!
Thanks a lot Sam for the mention.
Yes, the countdown for musicals is nearing the final leg, and so this sure is an exciting time for all aficionados of this genre. Personally I would have liked to see some Indian films featured in this countdown as Indian films (especially the mainstream, non-arthouse ones) have a strong allegiance towards songs & dances, or at least songs. Most of the film industries in India, be it the ones at Bombay, Calcutta, Madras, etc. have had their share of exceptional and enormously popular composers & singers.
Last week was a tad too hectic for me, so I too had more or less a light week in terms of movie viewing. I managed to watch just one movie – a Bengali film by Aparna Sen called Paroma (that’s the name of the principal protagonist – a traditional & conservative middle-aged housewife who ends up having a surreptitious & liberating relationship with a younger guy).
Shubhajit—-
I nearly voted for LAGAAN, but there were a few other Bollywood musicals under consideration. You are right though, that justice would have been served by having a few make the 70. As I recall a few were named, but I’m not sure what panel members cast the ballots. But this is ademittedly a big hole in the presentation. I know this. Yes, the final two weeks of this long-running countdown will be most exciting.
I’m assuming you will have a review of PAROMA up at CINEMASCOPE, so I’ll be checking it out. As always my friend, thanks for the great wrap and have aterrific week!!
Hello Sam! I sure miss movie blogging. Though I haven’t completely stopped, the past few months have been slow. But I will return in better form soon! You have, however, been missing my post on Roller Boogie, another terrible movie I love. Unless you’ve purposely overlooked it so your opinion of me won’t be tarnished, which I could well understand. (Ha!)
Unfortunately I haven’t been making it out to new releases as much as I would like to. I finally got out to see Moneyball, which I like quite a bit. There are so many things out there I really want to see though — and some I don’t but feel like I should (like Martha Marcy…).
Jason—
It’s great to see you back my very good friend!!! You are missed, I can tell you that much. But I understand you have been busy and have had to pull back from blogging at least for a short while. I must indeed check out your post on ROLLER BOOGIE ASAP, as I have unintentionally missed it. I agree with you on MONEYBALL and would be most interested to know what you think about MARTHA MARCY, but I’m sure you’ll find with teh end of teh year within earshot, there will be others more pressing.
I am thrilled to know you are still planning to return to the ranks my friend! Thanks you!