Sara Paxton and Bill Healy in Ti West's eerie horror film "The Innkeepers"
by Sam Juliano
As Lucille and I make preparations to watch the Super Bowl at the Montvale, New Jersey of our good friends Tony and Sara Lucibello, we are hoping the magic strikes for the Giants for the second time in four years. Our westward-bound amigo Joel Bocko of course is clamoring for a much different result, envisioning a revenge scenario for big bad Bill Belichick and the Tom Brady fueled New England Patriots. It’s the old story of an offensive juggernaut against a tenacious defense, and the end result could well be decided by an errant pass or a late-game fumble. I’ll return to this thread late tonight before publishing with the final fateful report. Flash!!!! Giants Win!!! Giants Win!!! Giants Win!!!! Giants Beat Patriots 21 to 17 to win their fourth Super Bowl and second against the Pats in four years!! What’s that “revenge” some here were talking about? Ha!
Weather in the NYC area has been unseasonably mild, allowing for apparel options that have left most far more comfortable than would even have been imagined for February. The Noir City Festival in San Francisco has concluded and we are looking forward to a final report from Dee Dee on the festivities. Here at Wonders we are gleefully anticipating the next installment in Peter Lenihan’s John Ford series on Wednesday. Allan’s year-by-year survey of the cinema, posting every Sunday, continues to attract numerous participants, and Jim Clark, Jamie Uhler and Bob Clark continued this past week with stellar entries in their ongoing series.
As the William Wellmann Festival is ready to kick off this coming Friday at the Film Forum, the 2012 film year has launched with a series of horror films that offer mixed results. Lucille and I (and the two oldest boys) had a busy week at the silent festival’s next-to-last screening, and in seeing a 60’s cult item with Anthony Perkins, and the aforementioned slew of new releases. We saw:
The Kiss (1928) **** 1/2 (Monday night) Film Forum
Pretty Poison (1968) **** 1/2 (Friday night) Film Forum
The Innkeepers **** (Saturday night) Village East Cinemas
Kill List ** 1/2 (Friday night) IFC Film Center
The Woman in Black *** (Saturday afternoon) Edgewater multiplex
Chronicle ** 1/2 (Saturday afternoon)
CHRONICLE does contain some arresting air borne set pieces, but I found the film laughably juvenile and pointless, and way over the top. It’s a coming-of-age character study that ultimately loses it’s way in metaphysical trappings and ludicrous superhero histrionics. In Ti West’s shuddery THE INNKEEPERS the Yankee Pedlar Inn is an eerie place and a perfect backdrop for a deliberately paced spook story that showcases a buffo conclusion (as did West’s previous “The House of the Devil”) that will raise the hair of genre fans and convert the uninitiated. It borrows from “The Shining” and a few others but all in all it’s a compelling hybrid. A few have complained about the lack of “explanations” but in a film of atmosphere and building terror, it hardly seems the point. The British KILL LIST employs a “Wicker Man” styled denouement, but it’s on gruesome violence overload that mitigates against some visceral thrills. THE WOMAN IN BLACK features Daniel Radcliffe in a post Harry Potter beginning, and the result is a passable Gothic ghost story that at least offers some striking locations and good atmosphere, even while overdosing on shaking doorknobs and dead ghostly children on windows. Radcliffe doesn’t offer up much though either with his one-note portrayal.
Greta Garbo’s THE KISS was the final MGM silent and Garbo’s last in that form, but it’s memorable for the work of Garbo and the two male leads and the ravishing cinematography of William Daniels and art direction of Cedric Gibbons under the accomplished direction of Jacques Feyder. Film Forum pianist Steve Sterner contributed another stirring accompaniment, and the screening was sold out well in advance, making a wait on the stand-by line the only way to get in. With a stroke of luck Lucille, Sammy, Danny and I secured tickets two minutes before the screening, and wound up in the front row. I won’t make such a mistake ever again, even if this occurance was extremely rare.
A splendid subversive camp piece that can be comfortably categorized as a black comedy or a neo-noir. PRETTY POISON features Anthony Perkins and Tuesday Weld in a bizarre, ironic turn on “Bonnie and Clyde” where Weld turns out to be the psychopath everyone assumes Perkins is. A gem of a script from Lorenzo Semple Jr.
Tuesday Weld and Anthony Perkins in 1968 black comedy "Pretty Poison"
Some blogosphere updates are included:
Judy Geater examines the subject of cats in the cinema in her latest splendid round-up at Movie Classics: http://movieclassics.wordpress.com/2012/01/30/take-five-cats-on-film/
Jon Warner has authored a marvelous review of Nick Ray’s “They Live by Night” at Films Worth Watching: http://filmsworthwatching.blogspot.com/2012/02/they-live-by-night-1949-directed-by.html
Jaime Grijalba celebrates some upcoming worldwide love for Chilean cinema at Exodus 8:2 in a new treatment of the Robinson Crusoe story that has even attracted the attention of Disney: http://exodus8-2.blogspot.com/2012/02/cine-chileno-del-2012-2-selkirk-el.html
Terrill Welch’s new oil painting posted at the Creativepotager’s blog, titled “Orcas in Evening” is a spectacularly beautiful canvas: http://creativepotager.wordpress.com/2012/02/04/orcas-in-evening-original-painting-by-terrill-welch/
Samuel Wilson has authored a superlative essay on David Cronenberg’s “A Dangerous Method” at Mondo 70: http://mondo70.blogspot.com/2012/02/on-big-screen-dangerous-method-2011.html
Tony d’Ambra offers up a stunning music noir video from Louie Ludwig (featuring his own music and lyrics) at FilmsNoir.net: http://filmsnoir.net/film_noir/great-new-noir-music-video-from-louie-ludwig-the-world-is-a-grinding-wheel.html
John Greco returns to Hitchcock’s “Vertigo” with more interview questions for author Patrick McGilligan at Twenty Four Frames: http://twentyfourframes.wordpress.com/2012/02/03/talking-vertigo-with-author-patrick-mcgilligan/
R.D. Finch at The Movie Projector has penned a stupendous review of Jean Negulesco’s 1946 drama “Humoresque” starring Joan Crawford: http://themovieprojector.blogspot.com/2012/01/humoresque-1946.html
Peter Lenihan’s latest installment of “Key Films” at The Long Voyage Home includes dazzling capsules of “Take Shelter,” “A Dangerous Method” and “Portrait of Jennie”: http://thelongvoyagehome.blogspot.com/2012/02/key-films-5feb12.html
Pat Perry has posted a stupendous Top Ten of 2011 list over at Doodad Kind of Town: http://doodadkindoftown.blogspot.com/2012/01/last-word-on-2011-best-and-brightest.html
Laurie Buchanan talks about retreating for those short moments of re-charging the batteries in a marvelous post titled “Rain Retreat Meditation” at Speaking From The Heart: http://holessence.wordpress.com/2012/01/24/rain-retreat-meditation/
“Explore the Dancing Image: Top Posts” is leading the way at Joel Bocko’s rich treasure trove at The Dancing Image: http://thedancingimage.blogspot.com/2011/12/explore-dancing-image-top-posts.html
Shubhajit has penned a superlative capsule on Andre de Toth’s “Pitfall” at Cinemascope: http://cliched-monologues.blogspot.com/2012/02/pitfall-1948.html
Roderick Heath has authored another epic essay of exceedingly craftsmanship at Ferdy-on-Films with his post on Brian de Palma’s cult classic “Phantom of the Paradise”: http://www.ferdyonfilms.com/?p=13046
Ed Howard has posted an extraordinary review on the Brazilian avante garde film “Limite” by Mario Peixoto at Only the Cinema: http://rheaven.blogspot.com/2012/02/titan-ae.html
Dee Dee has posted a wonderfully informative and engaging piece on the origin of lobby cards at Darkness Into Light: http://noirishcity.blogspot.com/2011/11/holding-auctiontaking-look-at-eleven.html
Patricia at Patricia’s Wisdom offers up a heart-warming post on sweets, health and well-being “The Irresistibly Sweet Blogger Award”: http://patriciaswisdom.com/2012/02/the-irresistibly-sweet-blog-award/
At The Schleicher Spin our very good friend David take a look at both “The Iron Lady” and “Haywire” and the results are terrific: http://theschleicherspin.com/2012/01/25/the-iron-lady-goes-haywire/
Filmmaker Jeffrey Goodman at The Late Lullaby has posted a stupendous round-up of the best cinematic experiences he’s enjoyed in 2011: http://cahierspositif.blogspot.com/2012/01/my-top-10-or-so-films-for-2011.html
Craig Kennedy at Living in Cinema recalls “The Spirit of St. Louis” on Charles Lindbergh’s 110th birthday: http://livingincinema.com/2012/02/04/the-spirit-of-st-louis-1957-charles-a-lindberghs-110th-birthday/
The ever-creative Stephen Russell-Gebbett features movie “helicopters” at his latest post at Checking on my Sausages: http://checkingonmysausages.blogspot.com/2012/01/helicopters.html
J.D. at Radiator Heaven offers up a superb essay on “Titan A.E.”: http://rheaven.blogspot.com/2012/02/titan-ae.html
Anu at The Confidential Report has checked in with a fabulous Ten Best list that fully warrants everyone’s attention: http://theconfidentialreport.wordpress.com/2012/01/09/top-ten-of-2011
Just Another Film Buff (Srikanth) has posted indelible stills for an American screen classic at The Seventh Art: http://theseventhart.info/2012/01/29/study-in-verticality/
Murderous Ink, in Tokyo examines ‘Nuclear Noir’ in a brilliant new post at Vermillion and One Nights: http://vermillionandonenights.blogspot.com/2011/12/nuclear-noir.html
Hokahey insightfully talks about unruly audiences in today’s theatres at Little Worlds: http://hokahey-littleworlds.blogspot.com/2012/01/horror-horror-or-devil-within-possessed.html
Jason Marshall has penned an excellent takedown of Spielberg’s “War Horse” at Movies Over Matter: http://moviesovermatter.com/2012/01/10/you-can-lead-a-horse-to-war-spielbergs-war-horse/
At Scribbles and Ramblings Sachin Gandhi features an engaging film itinerary engagingly seen in the light of football groupings: http://likhna.blogspot.com/2012/01/2012-african-cup-of-nations-film.html
Roderick Heath at This Island Rod is an incomparable horror film writer and his review on 1986’s “The Hitcher” is wholly masterful: http://thisislandrod.blogspot.com/2012/01/hitcher-1986.html
Tony Dayoub has posted an excellent feature on the ‘Top 15 Films of 2011’ at Cinema Viewfinder: http://rheaven.blogspot.com/2012/02/titan-ae.html
At The Cooler, Jason Bellamy links up to his latest ‘Conversations’ session with Ed Howard on ‘3D in the Movies’: http://coolercinema.blogspot.com/2012/01/conversations-3d.html
Adam Zanzie at Icebox Movies has authored a marvelous essay on “The Girl with the Dragon Tattoo”: http://www.iceboxmovies.blogspot.com/2012/01/on-torture-and-revenge-in-girl-with.html
Michael Harford, the erstwhile ‘Coffee Messiah’ offers up an engaging video about the beverage’s worldwide popularity: http://coffeemessiah.blogspot.com/2011/11/coffee-break.html
Troy Olson announces plans to commence with his Robert Bresson project at Elusive as Robert Denby: http://troyolson.blogspot.com/2011/11/argh.html
At Petrified Fountain of Thought Stephen Morton has penned a masterful takedown of “Melancholia” http://www.petrifiedfountainofthought.blogspot.com/2012/01/review-melancholia.html
Drew McIntosh is a real scholar and good skate, as he just gave away a blu-ray of Tarkovsky’s “The Sacrifice” at The Blue Vial: http://thebluevial.blogspot.com/2012/01/take-two-tarkovsky-blu-ray-giveaway.html
Kevin Olson offers up a postscript to his recent Horror Blogothon at Hugo Stigliz Makes Movies: http://kolson-kevinsblog.blogspot.com/2011/11/italian-horror-blogathon-postscript.html
Dave Van Poppel is gearing for some updates at Visions of Non Fiction, but presently is still leading up with his very fine review of “Project Nim”: http://visionsofnonfiction.blogspot.com/2011/08/project-nim.html
At The Man From Porlock Craig exlores the work of the great S. Ray with a splendid review of “Pather Panchali”: http://themanfromporlock.blogspot.com/2012/01/iu-cinema-experiences-pather-panchali.html
Jeopardy Girl has some great plans in 2013 with a vist to the U.K. in the cards. She talks about it at The Continuing Saga of Jeopardy Girl: http://jeopardygirl.wordpress.com/2012/01/23/pickmeup/
Click on names for archives
Writers/Founders
With 58 seconds left, I thought Brady was going to do it. in hindsight, it seemed pretty unrealistic to expect a team to drive 80 yards to score under a minute but what can I say. Maybe it was too much faith in Tom Brady or just the Cowboy fan inside of me trying to shield the fact that the Giants were going to win another Superbowl. But the seasons over and credit should given where it’s due: Eli Manning is a two time Superbowl MVP and congratulations should be given to the New York Giants (ugh that felt bad). Now its VCU Ram season!
Two of my favorite horror films last year were reviewed by you, but sadly we don’t see eye to eye on both. The Innkeepers was my favorite horror film last year and, in my opinion, proves Ti West’s status as the most exciting American filmmaker in the genre. Kill List is easily the more difficult of the two films to enjoy and, in some case, appreciate. It may have been the most unnerving film I saw all last year, but I thought it was differently an experience that I felt was worth sitting through. Maybe one of the most fascinating cinematic statement on post-Blair England since Polanski’s Ghost Writer.
Anu—
I’d say we are definitely in agreement on THE INNKEEPERS as I gave it 4 of 5, which is an excellent rating. I was even toying with going four-and-one-half, which I may yet do at some point, but I love the film and think it’s a buffo horror film!!! There is no disagreement here at all. Any film that gets a 4, 4.5 or 5 from me is a film I like very very much. With KILL LIST yes, it was just too depraved for my tatse, but it was thrilling in a visceral sense and had an eerie finale.
I always fear Brady, but with 57 seconds left and 80 yards (two time outs were left for the Pats at that point) I was as confident as I ever could be. It was a real nail-biter, evenly played, and was won almost like fate lent a hand. As a Cowboys fan, I tip my cap to you for that difficult concession. You are a real gentleman my friend!
Sam, I knew the game was lost (a matter of perspective) when Welker dropped that pass — the pessimist in me took over. But at least Brady put that ball into the end zone and the Pats went down fighting. Frankly, I’m not in a conciliatory mood. The way I see it, the Bellicheck-Brady Patriots are still one of the greatest teams of all time, while the Coughlin-Manning Giants are a hot-cold squad that seems to have figured out when to get hot without having to or being able to play hot for a full season. But that’s a problem I have with all pro sports in this country: with the emphasis on round after round of playoffs, it seems like the best team too often loses to the hot team. If that makes the hot team the best team, then best is no more than a matter of timing. But while I expect to smart under gloating from my brother, who is more a Pats hater than Giants fan, I don’t begrudge the Giants fans here their happiness — I congratulate them. And the team was obviously the better one for two hours this season.
Anyway, before swallowing that pill, and besides seeing Dangerous Method, I watched United Red Army, which was nearly as harrowing an experience as the football game, but one which qualifies as great. Also saw My Man and I, which I guess is a William Wellman rarity, from 1952, well played overall by Montalban, S. Winters, Trevor and W. Corey but dragged down by contrivances to achieve a happy ending. Until then it’s a slice of lowlife comparable to pre-code Wellmans like The Purchase Price with Montalban transcending pidgin dialogue to portray a genuinely intelligent and decent person. I don’t know if it’s on the Forum schedule, but let us know what you think if you see it. Also: Valerio Zurlini’s Black Jesus, a superficial Congo-set Passion play that doesn’t really have much to say about Christianity or Africa. And: Steve Carver’s The Arena, a luridly inspired translation of the women-in-prison picture, complete with Pam Grier, to ancient Rome and, like many such Seventies films an electric hybrid of brute sexploitation and subliminally nightmarish fantasies of female empowerment and revenge upon men. Here’s hoping your viewing this week is as enjoyably eclectic.
Samuel—
Actually, the Giants were better than the Pats for four hours this season as they did beat them back during Week 8 of the regular season. Ha! Actually I have argued about the hot team winning the playoffs for years now with some impassioned sports fan friends. I have posed the very argument you make here, and like you have always felt the entire regular season is really a waste of time in determining a winner. It’s true what you say about the Giants sorting out a way to win the big games, which in the end is what counts the most. The jury, however, is still out on the Brady-Belichick Patriots that you are annointing among the greatest teams, since they have not really proven they can win the big ones, or at least not commesurate with the regular season that you are rightly negating here. We can’t have it both ways. I am (like your brother) a Pat hater, and no fan of Belichick. I am very happy for Tom Coughlin, since his job was in serious jeopardy when they slipped to 7-7. Now he can pretty much stay until retirement after the second Super Bowl trophy under his direction.
You penned a stupendous review on A DANGEROUS METHOD, and I agree with you on UNITED RED ARMY. Allan is even mo0re of a passionate fan of that one. I’d love to see that Carver and Zurlini, and am surprised that Wellmann rarity isn’t being offered during the festival.
Anyway, spectacular comment my friend! Have a great week!
Sam, I hate to break it to you but a football game lasts sixty minutes, so I measured the Giants’ superiority correctly. Also, the Pats have proven their big-game prowess, unless you only consider it a big game when they play the Giants and leave out the three Super Bowl wins. And it will remain true that in the 2007-8 season the Patriots defeated every team they faced; it just happens that one of those teams made the most of their second chance. In any event, everybody plays a full season so I suppose it doesn’t really matter when you start your finishing kick as long as you cross the finish line first. You can complain that the line’s been moved since ye olden days but rules are rules and by those rules the Giants are, if not the best team, nevertheless the champions once more.
I’d guess that My Man and I doesn’t make the festival cut because of the dialect inflicted on Montalban and the profoundly unconvincing happy ending, but I felt there was so much good in it regardless that I may write it up to sort things out. I also suspect that you might like Black Jesus better than I did, since it may work best on an emotional or spiritual level despite some characteristic Italian brutality — and I will be writing that one up shortly. Now back to your celebrating!
Samuel, you are quite right there on that first point. I stand corrected. I wasn’t thinking of the precise time of possession, but that is indeed the way I should done it.
As far as the Pats reaching legendary greatness though, I still am unconvinced. They appeared in 7 Super Bowls, and lost 4 times. Their 3 Super Bowl wins is behind:
49ers with 5
Steelers with 5
Cowboys with 5
Packers with 4
Giants with 4
If the Pats are to be regarded on the highest level, then surely they must rank behind all of these others. Or at least on the same level. They did lose two Super Bowls to teams other than the Giants, but a fair enough case could be made for the fact they did get there.
Samuel, despite my unreasonable obstinance regarding the Pats, I am still willing to admit that Brady is one of the games’s greatest quaterbacks ever, and Brady-belichick seems Hall of Fame bound. In the end my hex means little.
Belichick-Brady still lead Coughlin-Manning, 3 Lombardis to 2, and I believe that as a pair they’re surpassed only by Noll and Bradshaw’s four. But I will concede that this year’s victory was more clear-cut for the Giants, despite the suspenseful finish, than the last one, when they needed two miracles in one play to beat the Pats.
What happened in that last play of the 08 Superl Bowl that contains two miracles? I remember the helmut catch by Tyree, but what else was there?
I’m thinking of the way Manning escaped the clutches of the Pats before throwing the pass to Tyree — it was as if the tail of his jersey had torn off in a defender’s hands. I thought for sure he was going down, and yet he got loose. You may credit Eli’s athleticism, but it always looked like a miracle to me.
The only miracle in that Tyree catch was that Rodney Harrison, the Pats cheapshot artist free safety, played the ball and not Tyree’s knees.
Thanks Sam for the mention. Well, you seem to be in seventh heaven upon the Super Bowl victory of what I presume is your favourite team. Congrats, and enjoy while it lasts!!!
I managed to watch the following movies – Alexander Payne’s The Descendants, the brilliant Czech New Wave film The Joke (Zert), the excellent but underrated noir Pitfall, Chaplin’s swansong Limelight, Ritwik Ghatak’s greatest masterpiece Meghe Dhaka Tara (Cloud Capped Star), the visceral 70s thriller The French Connection, and Ozu lyrical & quietly melancholic gem Tokyo Story.
My two-year post-graduation course is nearly over. In fact, classes have been over for a few days now, and only a couple of exams to go before this stint gets fully completed. So, after a long time, I’m enjoying an extended period of relaxation & blissful lethargy. And this period shall continue for a couple of months more as I’ll be in a period of transition then before I get back to work-life by joining the company which has recruited me.
Hence, until then, I’ll try and watch as many movies as possible 🙂
Shubhajit—
I did of course see your review of PITFALL, but I need to track back at CINEMASCOPE to see which titles of this distinguished group you may have already reviewed over the past week. Yes, Ghatek’s great masterpiece THE CLOUD CAPPED STAR is one I have venerated for years (it’s one of my favorite Bengali films of all-time) and I am figuring you either reviewed it or are planning to do so soon. TOKYO STORY? Well, show me the stars and the heavens. cinematic bliss, incarnate. I love the Chaplin and have fair enough regard for THE FRENCH CONNECTION. As I say I’ll be investigating your place very soon. Of course I’d be interested in how THE DESCENDANTS went over with you. You have had quite a run there!
You’ve worked your tail off the last two years and deserve every bit of restful bliss you can negotiate. Best wishes on your new appointment, though I know you’ll be manning the fort here with your usual elan.
Hvae a great week my friend, and thanks for the congrats on the Giants win. Yes they indeed my favorite team, and they play their home games in nearby East Rutherford, New Jersey, which is barely a 15 minute ride from my home.
Many thanks!
Yes, I was revisiting The Cloud-Capped Star. I’d watched Ghatak’s Subarnarekha (The Golden Thread) & Komal Gandhar (E-Flat) quite recently, and so I thought of revisiting Meghe Dhaka Tara just to bring a full circle of his venerated Partition Trilogy for myself. And yes, it does rank as one of the greatest Indian as also Bengali films.
Do try & watch the other 2 movies of that trilogy if you haven’t already, as also his Ajantrik (The Unmechanical/The Pathetic Fallacy) which remains as one of my favourite Ghatak movies. In fact, I’m planning to watch his remaining movies too soon, which shouldn’t be an arduous task since he directed only 8 movies in his lifetime.
I’ve posted my review of Limelight earlier today, and plan to review Meghe Dhaka Tara soon.
Luck is on my side at the moment, as both Kill List and The Innkeepers, thanks to the perversities of international distribution, have fallen into my lap and I’ll be able to watch them soon, all the more peculiar because The House of the Devil only just came out here on DVD, and suffice to say it left me ravenous for more the talented Mr West, who only needs to think up stronger punchlines to add to his marvellous sense of craft. Horror cinema really does seem to be a nexus at the moment, with a small but substantial litter of films that seem to be reaching beyond the so, so tired reflexes of the slasher frightfest template at last after a quarter century.
Rod—
I greatly look forward to your sure-to-be-fabulous written report on both films at either FERDY-ON-FILMS or THIS ISLAND ROD, as your work in this genre is always definitive and unsurpassed. I am thrilled to hear that HOUSE OF THE DEVIL left you even more ravenous for Ti West, who is surely one of horror’s most accomplished contemporary proponents. I am also thrilled to hear of your satisfaction with the way the genre has been progressing (return to it’s roots in fair measure?) and of the promise it seems to portend. I’ll be keeping my eyes open for your investigations. Thanks as always my friend, and have a great week!
Sam, I’m excited for you and your home team. I’m also glad you so enjoyed Pretty Poison, which as you know I saw at the Castro in SF with Ms. Weld in the audience and later onstage. It’s a gem.
You’ll also be happy to hear that, upon a second viewing, The Artist was more engaging for me than the first time. I was swept up by the story and even held the score in better regard. (I was ready for the Hermann piece this time.) At this point I don’t see how Dujardin can lose the Oscar.
Am gearing up for the Oscar-nominated shorts (animation, live action & doc) in the next couple of weeks as well as A Separation.
Pierre—
Thanks for the congrats on the Giants win. I can’t say I am a fanatical football devotee, but like every other homer, I get excited when the local boys make good. This year the main excitement was generated by the unexpected nature of the Giants’ season, which at one point stood at a mediocre 7-7. They were spectacular in the playoffs, though they were assisted by the “fumble finger” 49ers and some key breaks in yesterday’s game.
I am with you lock, stock and barrel on PRETTY POISON, and took a good look at the supporting performance you mentioned last week (Beverly Garland as the ill-fated mother of Tuesday Weld) and thought it a hoot! The black comedy elements throughout are a real delight, and the late 60’s period is compellingly transcribed.
I am so thrilled to hear that THE ARTIST went over much better on second viewing! That is precidely the experience I had, as the second viewing (of four now) was the real charmer. Yes, the music is magnificent (my wife Lucille however is understandably a bit overtaxed with my obsessive CD playing of it in the car! Ha!) and the VERTIGO bit in retrospect is more a stroke of brilliance than it is a distancing act of plagerism. I also agree that after the SAG Dujardin must now be seen as the odds-on favorite.
I greatly look forward to your report on the Oscar shorts, as I do every year, especially if I don’t manage to see them in time. But even so…
Thanks for the tremendous comment my friend! Have a great week!
Pierre —
Jesus. Weld actually came out of seclusion and made herself public again?
What does she look like now? I really need to know this because I’m over the moon for her, even in pretentious hogwash like ‘Play It As It Lays’.
mark, Weld’s appearance at the SF Int’l Film Festival, when she was the guest honoree, occurred ages ago, maybe the 90s or even 80s. She was not very open during the interview portion, but then the interviewer wasn’t very good at it.
Well, at least she isn’t throwing empty gin bottles at journalists anymore.
I am delighted that you are so excited about the Giants win…Hip Hip Hurray.
We were enjoying our warm day and spent a great deal of time outside pruning and working on weed and blackberry control.
My oldest daughter in San Francisco went to a Traditions of the Celtic Harp – musically stunning story telling event – we so enjoyed hearing her tell of this experience and the evening.
My computer has been down again for much of the week…the Server people are due in the morning to try a new BOX and see if it has been the problem. I hope it is…because I feel like I am losing clients at Wise Ears
Learning about the “joys” of medicare this past week too as my partner will so be signed up and we will be paying $50 less than right now…ah and we all thought it would be like our parents. I think we all should study up on it sooner rather than later…because what “they” are suggesting is pretty scary stuff after we have all put in our due diligence.
Thank you for the “sweet” shout out…and I hope you dance through the win all week long. I wonder if this means NYC will have to do a ticker tape parade for the returning vets?
Patricia—
The Giants are scheduled for a stroll down the “Canyon of Heroes” tomorrow (Tuesday) which is a downtown Manhattan parade location utilized for sports teams that go the distance. The Yankees have made that track a number of times, but now the Giants can proudly point to four Super Bowl championships. As I said on a previous response on this thread, I am not a maniacal football fan, but like so many others winning has a way of pulling you in, if your favorite team is doing it. Ha! But yes, it will be a satisfying week, and I already bought the full battery of newspapers this morning.
After the kind of weather you’ve been subject to, it’s nice to hear you are out in the yard. Happy news too about your daughter’s attendance at the “Tradition of the Celtic Harp” storytelling event. Can’t blame you for being thrilled to hear all about it. I wish I were there myself! San Francisco has been a busy place as of late, as Dee Dee has related with the Noir Festival at the Castro!
Very happy to hear about the medicare discount, though the problems with the PC are not much fun. I just had a virus I needed to have removed after my kids were downloading music.
Hve a great week my friend! Many thanks as always!
As time was winding down, I thought for sure a field goal would result in a 18-17 NY win. But then everyone stepped out of the way and Bradshaw was on his own. It looked like he thought about stopping but I was not sure if he fell or decided to literally touch down. However it happened, it was probably the least celebrated winning touchdown as I have ever seen. There was no celebration because that it looked like that was what the Patriots wanted and not what NY wanted to do. On my TV feed, the commentators could not stop talking about how it was a mistake and instead was a “smart play” by the Patriots to get the ball back. Manning admitted so in an interview later on that he shouted for Bradshaw to stop. Still, I thought there was no way that NE could pull a win given the time on the clock. However, there was plenty of optimism among the commentators because it was Brady. That optimism existed with 9 seconds & even 5 seconds. When time ran out, the ball could still have been remarkably caught but it wasn’t. In the end, Manningham’s catch is what will grab plenty of attention but I will remember Bradshaw’s touchdown because I have not seen such an unwanted winning touchdown like that previously.
Thanks for the mention Sam. I have not seen too many new films recently and still trying to catch up with some 2011 films. Given the extended coverage the award season keeps getting every year, I think the Oscars should be over by end of January. An early finish for the award seasons would probably even force the studios to start releasing buzz films late October thru Nov as opposed to leaving a lot of titles for the final 2 weeks in December.
Sachin—
I have since listened to interviews and read newspaper accounts, and apparently it is true what you say about Manning screaming for Bradshaw to stop. This has much to do with the incredible trepidation connected to Brady have the ball in a game’s waning seconds. Bradshaw actually tried to stop, but as you no doubt noticed his momentum carried him in. But there is another side to the coin, methinks, as failure to take advantage of a conceded touchdown even under these mitigating circumstances could conceivably lead to a muffed play afterwards. Who’s to say the ensuing field goal couldn’t be blocked or missed, or that another play from scrimmage couldn’t have been mishandled. Most football experts would argue that the Giants did the right thing by going in when the opening was there, figuring there’s always a chance another wouldn’t materialize. Giving Brady the ball with only 57 seconds and one timeout left wasn’t a big risk as even he would find the situation nearly hopeless. It almost seemed inevitable that the game’s final play would be a Haill Mary pass into the end zone, and the only hope for the Pats was a lucky bounce, which ultimately they did not get. But it is true that Belichick is almost never outcoached, and he played his cards here exactly as they should have been played.
I completely agree with you that the Oscars should go off at the end of January, and that the new year should get a timelier start. Maybe they will wise up at some point. I look forward to the documentation of your catch-up at SCRIBBLES AND RAMBLINGS. Many thanks as always my friend. Have a great week!
Is it possible that Bradshaw thought he was down by virtue of touching the turf at the one-yard line? That would explain much, since he didn’t really look out of control when he turned and sat down across the goal line. It certainly lent a note of sublime absurdity to the game, since it will be acknowledged forevermore that the winning touchdown was scored by mistake. I’m not sure if that can happen in any other sport.
I tried to keep up with the game (YAY, WE WON!!!!!!) but, at the same time, I was working on transferring music from CD’s into my very first IPOD (actually a very good MP3 player from SONY that does everything the IPOD does but at half the price).
As a newbie to this technology, it took a little while to figure how to transfer the music to file in the computer and then send the files to the player. Took a couple of hours to get it all in and transferred but the work paid off.
I just cannot get over the sound quality on this thing.
Beethoven’s Concerto for Violin and Orchestra sounds so dynamic coming off this thing that you’d swear Joshua Bell was in the room with me…
My cherry has been busted. I’m now officially in the digital domain…
Saw ALBERT KNOBBS, MY WEEK WITH MARILYN and EXTREMELY ANNOYING AND TERRIBLY SENTIMENTAL while on vacation in Florida last week. For the most part I wished I had gone out to a local seaside bar and gotten wrecked on Cutty Sark instead.
ALBERT KNOBBS was passable at best but elevated by two superb performances by Glenn Close and the even better Janet McTeer.
MY WEEK WITH MARILYN is sentimental, pseudo-historical trash that would have been perfectly prescribed by my doctor had I been suffering from insomnia. All the hooplah for Michelle Williams turn as the iconic bombshell is for nothing and it’s not so much a performance as a very light-weight imitation. Kenneth Branagh, normally a very interesting actor who can set off fire-works with Shakespeare, was an utter embarassment as Laurence Olivier and I wonder if Branagh can sleep at night knowing he didn’t do one of his great heros justice with his less than lackluster interpretation.
EXTREMELY LOUD AND INCREDIBLY CLOSE (or is it the other way around? Fuck, who cares?) is the worst kind of sentimental trash and it’s use of one of the most sickening disasters in American history is played as a heart-tugging device to sell a rather shallow and oft-times nauseatingly sweet story. The only light at the end of this films tunnel was some fine direction by the ever reliable Stephen Daldry (BILLY ELLIOT, THE HOURS, THE READER) and an amazing turn by the always good Max Von Sydow (but, then again, Von Sydow could read the telephone book and make it interesting, so no real stretch here-and he hardly utters a word in the film).
Other than being saddened by a vacation that would have been better given another week (aren’t they always too short?), I’m glad to be back home and I’m prepping for the intellectual back and forth that Sammy and I are going to commit to film this Wednesday for the annual WITD pre-Oscar debate video. As always, being in the room with Sam, egging him on, choking on my coffee as he fumbles to find yet another broken pair of glasses and getting to the real nitty-gritty of the awards debacle is tons of fun. So keep a look out as we’ll be coming to a YouTube channel near you! I can promise you all a few surprises are in store for this one!!!!!!!
Can I suggest that the pre Oscar debate is held in the men’s room of the local bus station, any debate covering that embarassment should be done in a suitably shit-smelling location. Just talk about what a pile of utterly obscene wank the Oscars is and move on.
“All the hooplah for Michelle Williams turn as the iconic bombshell is for nothing and it’s not so much a performance as a very light-weight imitation.”
Seriously? Wow I’m not even going to attempt to defend the film. I’ll get lambasted for sure. But you didn’t even appreciate the performance? I thought it was filled with depth and she had a wonderful humility about it all. It stayed far from caricature or imitation. I thought she created something special.
I agree, Jon — Williams did a very good job of capturing Monroe’s offscreen character. My only wish is that she’d been made up to look more flesh and buxom to support the illusion.
Pierre,
Haha! More flesh and buxom? I’m not sure it would have looked right on Williams, but IMO she looks pretty darn good as she is now. 😉
Williams looks great but one thing she didn’t have — and could’ve had more of — was Marilyn’s shall we say jigglyness.
Well Dennis, you were apparently busy then over the weekend, but still managed to catch some of teh game. fair enough.
I didn’t dislike MY WEEK WITH MARILYN to the extreme that you did, and thought at the very least that Michelle Williams gave an engaging turn. I know everyone is piling on against EXTREMELY LOUD AND INCREDIBLY CLOSE, but there are far far worse films out there. The performances of young Horn and veteran Von Sydow make it at least worth a look. I wasn’t much of a fan of ALBERT KNOBBS, but can admire the acting, yes.
Glad you’re back my friend, and look forward to Wednesday’s interview!
Sam, I’m glad to hear that “Pretty Poison” has stood the test of time, and it’s good to see it getting some retrospective attention. It got some good reviews when it was first released and I loved it. I couldn’t stay away from it and saw it several times in theaters. A few years later it played on TV, and I got a real shock. The film had been totally deconstructed and re-edited into a conventional television narrative, thus losing all its peculiar character and wicked sense of humor. I can still recall details (those chemicals spewing into the river, for example) and scenes and lines from it after all this time. (“Here’s your Pepsi, sweetheart.”) As I recall, Tuesday Weld came in second in the NY Film Critics awards for best actress that year, the closest she ever came to getting an acting award. Perkins was wonderfully cast, exploiting audience associations with him to pull a switcheroo on us. It was also a gas to see Beverly Garland after an absence from the screen of several years.
RD—–
I can’t say how delighted I am that you are such a big fan of PRETTY POISON. I don’t have the background that you and Pierre have with this film by a longshot, but the very fact that it held sway with you to that extent speaks volumes to me. I had honestly forgotten the one single non-theatrical viewing I had of this film years ago, and it was honestly like a new discovery I made the other night. The print was lovely, and what a treat from Perkins and Weld. The film is suversive camp and a gleefully nasty streak of irony. I thought Nowl Black’s screenplay was top-rank, and while I can’t say I’m conpletely surprised I was fully unaware that Weld came in second with the N.Y. Film Critics Award that year. Wow! I can also see why the chemical spouring in the water would stick with you among the details, as that aspect of the film was vividly drawn. And yes, you put it superbly there when you say “Perkins was wonderfully cast, exploiting audience associations with him to pull a switcheroo on us.” As I stated to Pierre I also thought Garland was a gas, especially when she slapped Perkins and her daughter around. I have put in an order for the DVD this week, and liked the film so much I even thought of seeing it again before it closes out on Thursday. Anyway, greatly appreciated, superlative comment here in every sense my friend. Have a great week!
Wow, Sam, what a game! Congratulations to the Giants and you — it was really a tremendous Super Bowl, and a great win for Eli and the whole gang.
I loved hearing about your experience with THE KISS. It sounds right up my alley. I have greatly enjoyed the discovery of late of both THE MYSTERIOUS LADY and THE FLESH AND THE DEVIl and have it on my radar as one of the next Garbo I need to track down.
This week, I saw CHOCOLAT and Hong Sang-soo’s NIGHT AND DAY. I was very happy to see them both, even if I can’t call either personal favorites. But anything by Denis is interesting in my book, and I continue to be fascinated by the Nouvelle Vague stylings of some of the Korean filmmakers.
Here’s to an awesome week. Happy for New York, and happy for you!
Jeffrey—-
It was indeed a Super Bowl for the record books! I can say candidly here that had the Giants drawn your New Orleans Saints during this playoff run, it’s unlikely they would have ended up Champions. The Saints have had their number for years, they demolished the Giants already this past year, and the match up of teams clearly favors the Saints. The Saints got a bad break against the 49ers, or in all likelihood they’d be holding the trophy now. But these are the breaks and the way the game goes, and the Giants certainly earned it just on the victory over the Packers in the second round.
THE KISS is right up your alley for sure!!! As is tonight’s final feature in this glorious silent festival, Vidor’s THE PATSY with Marion Davies. And yes, those other two Garbos you mention here are wonderful as well. I am also a big fan of Denis and of that early-career CHOCOLAT (not to be confused with that saccharine Juliet Bonoche movie, Ha!) I am trying to remember NIGHT AND DAY, but it is not ringing a bell with me. I will do some research momentarily. Thanks as always for the incomparably kind words of support and appreciation. To say that YOU are supremely appreciated is a no brainer! Have a great week my friend!
Sam , People always have great expectations from Brady, and he is one of the greats, but the Giants do seem rise to the challenge when they play the Pats. It was a great game, nail biting down to the last seconds. I’m sure NYC will be celebrating today! PRETTY POSION is one of those films that never got its due. I saw it when it first came out and remember thinking what a terrific little film it was. Tuesday Weld was excellent. She should have been a bigger star only she never got the right role to connect with.
Here’s my movie list of the week….
Red Tails (***) Like Spielberg’s WWII drama, “Saving Private Ryan,” “Red Tails” lacks real characters. Instead we get caricatures and too many obvious special effects. That said, the film is entertaining and moving at times, still you feel you have seen it all before, and you have in an old John Wayne war film, except the here actors are Black. The story of the Tuskegee Airmen deserve something better than this.
The Americanization of Emily (****1/2) Extremely undervalued anti-war film. The only reason I did not give the film the full five star rating is Arthur Hiller’s rather pedestrian direction, though this is overcome by Paddy Chayefsky’s brilliant script who is the true auteur here. Add to that the excellent performances from Julie Andrews and especially James Garner in the best role of his career. Working on a full review for 24frames .
Gonzo: The Life and Work of Dr. Hunter S. Thompson: (****) Well done and interesting documentary. The filmmakers give a three dimensional view of Thompson’s life and work, the good, the bad and some ugly.
House of Numbers (**) Unbelievable and unconvincing prison drama about a two look-a-like brothers, both played by Jack Palance, one of who helps the other break out of jail. Surprisingly, the source story came from the pages of Jack Finney.
The Far Country (****) James Stewart’s brooding dark side is on full display in this upper north western. The films has an ethereal feel to it that fits in with Stewart’s character who remains isolated from all others in the film except for Walter Brennan’s character whose death triggers him into action. Overly familiar in its storyline and not up to the level of other Mann/Stewart collaborations like “The Naked Spur,” “Winchester ’73” or “Bend of the River” but certainly still a worthy film. There will also be full review at 24frames in the near future.
Namath(***) HBO documentary on Joe Willie Namath. Standard stuff but it brings back memories of a time when the NFL and AFL were separate leagues and that magical year when three New York team (Jets, Mets and the Knicks) all won championships.
-30- (**1/2) Actor/Director Jack Webb does create a nice atmosphere of what it’s like to work at a newspaper however, the film gets bogged down in too much corny dialogue and sentiment.
Payback(**) Mindless pulp remake of POINT BLANK with Mel Gibson in the role made memorable by Lee Marvin. The film gets everything wrong with gratuitous over the top violence, a lack of style and a bad script.
John—
I do hope all is well in your home, if you know what I mean (LOL!!!) but I’m sure the results have been accepted now. It’s so true what you say about the Jints rising to the challenge! The Canyon of Heroes celebration is scheduled for tomorrow, though New Jersey’s Gov. Chris Christie is still complaining that the Garden State should rightfully be hosting the parade since the Giants play in East Rutherford. (as do the Jets) Either way I’m good with it.
I was thinking you may have reviewed PRETTY POISON at TWENTY FOUR FRAMES, but I’ll have to check. You are one of four people on this thread who knows this film well and rates it highly (with Pierre, R.D. and Mark) and I musch appreciate your commentary on it. True too what you say about Weld here.
Of that amazing lot you managed this past week, I like FAR COUNTRY, THE AMERICANIZATION OF EMILY and GONZO best. I would also dissmis PAYBACK, and HOUSE OF NUMBERS, and although I haven’t seen it yet, I expected as much from RED TAILS. I haven’t seen the Namath documentary, but would like to at some point, and neither have I seen 30.
As always an enthralling presentation my friend. I wish you and Dorothy a great week!
Sam,
I have not written about PRETTY POISON and have not seen it in many years but I just ordered it on DVD and expect to do a review sometime in the near future.
Sam,
Well congrats on the Giants! Honestly the game could have swung either way and hinged on a few plays in the end. Could have been won by either team and at least it was quite entertaining. I enjoyed the game for sure. I am about to get on a plane today and will be gone all week so I’ll have to make this rather shorter than usual. I caught up with several films.
50/50- Solid film. Enjoyed Gordon Levitt and although the script had some cliches, it had several moments of great truth.
Moneyball- One of the best films of 2011. Great script and direction and wonderful performance by Pitt. This film was better than I expected.
The Artist- Okay Sam I am prepping some sort of essay on this and probably can’t go into everything here, but I don’t get it. I honestly didn’t care for the film and it’s not that the film is bad per se, but in my opinion it makes the cardinal sin of just being lazy. It’s lazy filmmaking. Borrowed plot. Standard visuals. Acting that probably wouldn’t be any different had anyone been in the film. Even the music is borrowed (Vertigo). Oh and don’t even get me started on that sequence. I couldn’t stand it. That music completely took me out of the film. I was soooooo distracted. The fact that it will be awarded Best Picture is probably even more an indictment in my opinion.
Sorry Sam. Didn’t like it! As I said I’m planning more thoughts and hope to have that out soon. Have a great week!
Oh and thanks Sam for the wonderful mention!
Jon—
The game could certainly have gone either way, and until Manning got his hands on the ball for that final long drive that featured the spectacular Manningham catch, it appeared that the Pats would have their revenge.
I hope you have a great trip and get to do some fun things.
I liked both 50/50 and MONEYBALL, the latter maybe a bit less than you and the former a bit more. But we are on the same page, something of course we are most assuredly not on THE ARTIST, a film that’s within a hair of my top film of 2011. I can understand why you call this “lazy filmmaking” because of the borrowing of the Herrmann passage, but aside from that I thought there was a great deal of spirit, energy and originality, a spark of nostalgic glee and an infectious story arc that both honored and celebrated the silent era. Dujardin was magificent, his co-star was winning and lovely, the dog Uggie is an instant icon, guillaume Schiffman’s lustrous black and white cinematography helped resurrect a long ago time with ravishing beauty, and all told Ludovic Bource’s score was one of the most beautifully written in years. The piano work is sublime. James Cromwell and John GToodman were well used too. i found THE ARTIST one of the most piercingly elegiac films in year’s and a film that negotiated a deep well of emotions. But there you have it. We don’t disagree often but in this instance we are admittedly many miles apart. Remember though that the certain Oscar win is no more than a confirmation of what nearly every critics’ group have told us already. The Oscar voters are playing “follow the leader” here.
Anyway I think you and I will get over it my friend! LOL!!!!
Thanks as always and again have a great trip!
Sam you’re right we will agree to disagree and move on. Actually, this film reminded me of a reaction I had 10 years ago to the Coen’s The Man Who Wasn’t There. I felt like they spent so much time trying to make a “film noir” that they forgot to make an interesting film. I really disliked that film and sort of have the same problem with The Artist.
“The Artist” is about as artful, exquisite and entertaining a film as I’ve seen in years. It fully deserves all the praise it has been winning.
Except that THE MAN WHO WASN’T THERE is a masterpiece of the highest order, otherwise Jon I agree with you.
Ha! I am on the other side of the coin here. Love the Coens, but not that film at all, and adore THE ARTIST.
I’m always really mystified when anyone doesn’t like that film. It’s like I’m not on the same planet.
Be rest assured you are in the supreme majority on that film Jamie. Nearly everyone I know does love it.
Well you have Jon here on your side.
LOL!!! We are drowning together.
I have always liked The Man Who Wasn’t There in the past, but after my last discussion with Jamie about that film I went back and watched it again. What I realized after not seeing it for a few years is that one must look at TMWWT as something more than film noir. I had the same reaction to Once Upon A Time In Anatolia. These films are only superficially about the noir genre in terms of story/structure, and actually are more geared towards philosophical character studies (which most good noirs are about anyway but not to such a dominating degree). I must say that it probably sits as my second favorite Coen Brothers film after No Country For Old Men (which is similar in theme but adheres more to conventional noir/western plot lines) these days. Saying all that Jamie… I still consider True Grit a masterpiece lol.
Aye Maurizio, billiant comment methinks. I have seen that philosophical slant, similar in one sense to what we saw in A SERIOUS MAN. I should really watch the film again.
Yep, I don’t know how some of those sequences (the leg shaving scene, the monologue about hair being cut as a part of us then mingling with the dirt, or the slow out of focus pans as he walks in focus amongst the crowds) can be watched then just turned off and with a shrug of the shoulders say “eh, it’s only a noir pastiche”. I almost think you watched it on mute.
I’ve only seen ‘Country’ once in the theaters, liked it and thought “I want to see this again”, so the first day it was available on dvd I bought it… and I haven’t revisited it. I need to badly. So it could be up there for me too (it already is btw), with ‘TMWWT’, ‘A Serous Man’, and to a slightly lesser degree ‘Barton’.
Yeah, we’ll never see eye to eye on ‘Grit’. A waste of time.
Yeah A Serious Man is also similar in scope. One reason why I still can’t get into that one though is that thematically it felt like a rethread for the Coen Brothers. They had already expressed those points more effectively for me in the two former films. With True Grit they seemed to be expanding/exploring new territories and seemingly showing a different outlook or side to them….
There was more of a Yiddish biographical slant to A SERIOUS MAN, but in the end the brothers made some similar observations I thought.
I also think much of TMWWT philosophically is beyond noir. Not in depth or subject but era. It’s a kissing cousin to noir but it’s very much of a philosophical zeitgeist of the late 90’s early 2000’s not the 1930s-1950s. (granted both are using similar precedents like Camus and Sartre)
One really needs to watch the deleted scene too, it depicts the first version of the courthouse scene specifically his defense attorney’s statements.
TRUE GRIT is the Coen’s in populist mode. For intellectual Jewish auteurs this, um, isn’t a place they should be exploring for their progression as it doesn’t really add anything. And it’s seen in how the film is made… Deakins hasn’t been that stock in a long time. Shots of characters in front of lights with dusty atmosphere? Yeah, I think I’ve seen that about 16,325 times in my life, and I’ve only been around 31 (glorious) years.
The problem with TMWWT, I think, is that the Coens are neck deep in their usual pastiche-satire style, only they play the conventions of noir so deadpan it’s hard for the uninitiated to know what they’re supposed to be laughing at. If you’re familiar with the genre, then it’s easy to see how they’re playing much of it for subtle laughs. If you’re not, however, so much of the film can just be taken at face value as actual noir, rather than a parody of it. Their other genre experiments, by and large, have either played things so over the top in comedy or close to the chest in dark drama that it’s impossible not to see their commentary. Here, it was possible to confuse the messenge with the messenger.
Anyway. Who says a couple of intellectual Jewish auteurs shouldn’t go into full populist-Western mode? Should intellectual Presbyterian auteurs be on notice, too?
My point fly clear over your head. Jews, Presbyterians, atheists, Moroccans, etc shouldn’t move toward the West or towards populism. They should strive for their unique cultural identity, and perspective. Smoothing out of this (the desire of all populism), and reducing everything to a (bland) sameness is, well, not what I think individuals should seek (creators or audiences). This goes to style, aesthetic, philosophy, commerce, politics, and on and on and on…
No, I get your point. It’s just I don’t hold that unique cultural perspectives should make one beholden to those at the expense of universal interests. The Coens are as entitled to cook up their own old-fashioned Americana as much as anyone else, and said populist entertainment is all the richer for it. Yeah, exploring what makes us different and individually interesting is good, but so is looking at what we share in common. Sameness is not always bland.
And anyway, I’m not of the opinion that “True Grit” is really any more or less populist than any number of other movies they’ve done. It might not be as good, but that’s neither here nor there.
Only an American would confuse (or attempt a slight of hand) and insert ‘Western’ or ‘American’ alongside some idea of ‘Universal’. A countries cultural imperialism (by coercion or implied force) does not make their values and beliefs universal to all cultures. Think outside your ideological background for a second.
It depends which kind of “Western” we’re talking about here. If you mean the culture of the West being synonymous with global culture– then yeah, that’s wrong. But if you mean the genre of the Western being universal, which is more or less what I meant, what’s the problem? As long as people feel free to make movies set in the American West from non-American perspectives or even while shooting on entirely different continents, I say you might as well call that universal, after all. It’s a symbolic landscape more than anything else, nowadays.
@ Sam- I do love the Coen Brothers, but not that film so we do agree on that.
@Jamie- No I just don’t like it. I’ve seen it once and it was in the theatre 10 years ago. It is certainly well made and I understand the artistry etc. But, I just personally disliked the film. Disliked the “homage” toward film noir and I didn’t feel like it gave me any sort of insight that I hadn’t already had in any other film. It was my reaction and I will hold that until I see it again. The difference with The Artist though, is that I think TMWWT is well made while The Artist is just lazy filmmaking.
However, as far as “Homage” films go, I do really like Far From Heaven, which I thought gave me some insight and did something with the Sirkian Melodrama that I hadn’t seen before. It seemed refreshing. As long as we’re talking homage.
Hey Sam, in the past week or two I’ve been catching up on all the 2011 releases I’m only now getting my hands on, the best of which were the Dardennes’ excellent The Kid with a Bike and Terence Davies’ new masterpiece The Deep Blue Sea. The real headscratcher for me was The Descendants which I didn’t like at all–really conventional, slowly paced script, and Clooney’s a great actor but I can’t remember him ever being so miscast. I have no idea why it’s been accorded importance, to be honest.
Peter—
God I am jealous that you saw the Dardennes film, espedcially as I have been watching that trailer numerous times over the past weeks at the IFC. But as per our friends Sachin, Srikanth and Drew, I have known this is a must, even not considering the long-held adoration for these great artistst. Then you saw the Davies film as wll. Wow! Another one that I can’t wait for. I understand the problems you have with THE DESCENDANTS. In the end I do like it more, but among Payne’s fans it is generally seen as inferior to SIDEWAYS and ELECTION. I did like Clooney though. But fair enough. You saw some great stuff there! Have a great week my friend!
Peter I’m with you. The Descendants is completely predictable filmmaking and I didn’t buy Clooney as a father at all. I actually think I just have something against Payne’s filmmaking.
I rather like The Descendants.
I finally saw The Artist over the weekend. I’d have to say it’s the best film I’ve seen this year, and it contains the best performance by an actor in Jean Dujardin. I think the film’s composer used original material throughout, only going with the Vertigo bit as a kind of homage that greatly enhanced the mood in that scene. The dog Uggie was wonderful, the heavy nostalgia and sentiment a real joy, and the love story at the center beguiling. Now I undersatand all the love for the first time.
The Giants win had all of us in a tizzy!
Frederick—
Your visit to this thread today has me thrilled. It is very very close to my own ‘Best Film of the Year’ as well, and it’s that rare film that has united the snob critics, the casual critics, Europe with America, and all the awards’ groups on both sides of the Atlantic. All the Oscars will be doing here is validating what nearly everyone else has been asserting for months. You frame all it’s joys here beautifully my friend. Many thanks as always!
We all had to hold our breath when they reviewed Manningham’s catch, even though the replays showed both feet in bounds quite clearly. Like any other big game it all came down to some miscues and dropped passes, and on both counts the Jints were on the receiving end. Manning was a true warrior on the final drive, and the pressure was on Brady, even with only two sacks registered.
It was great watching the NFL’s most ated coach take on the chin again. Coughlin is Hall of Fame bound.
I would love to be able to see Pretty Poison over it’s final days at the Film Forum.
Frank—
Yes that was a a heart-stopping moment, as a call against the Giants would have sealed their fate. Yes, both feet were in, and Manning is a football superstar. And you left out the “h” on hated, though that’s quite an accurate assessment. Belichick was, however, magnanimous in defeat to Coughlin in person. I agree Tom will be enshrined in canton.
PRETTY POISON ends on Thursday.
Thanks as always my very good friend! Have a great week.
Yeah I looked at the site. It is possible I can go over there tomorrow.
Frank, I’d love to go again myself, but I have a busy week coming up with the Kevin Spacey RICHARD III on Thursday at BAM and then all the Wellmann films that open that three week event. Hope you get over there.
First I’m happy the Giants won the Super Bowl. I did not think they had a great enough team to do it. Was pleasantly surprised by the final outcome. What I watched these last few weeks that I can remember here…….
The Grey ****
Valerie And Her Week Of Wonders ****
Bridesmaids ***
Tuesday After Christmas ****
Red Riding Trilogy 1974 *****
Red Riding Trilogy 1980 ****
Red Riding Trilogy 1983 ***1/2
The Phantom Carriage *****
My Bloody Valentine (81) **1/2
Bill Cunningham In New York ****
Maurizio—
I know you were psyched last night, and here’s a high-five for you!!!! Yes, what made the season so memorable was that it was all so unexpected.
I couldn’t agree with you more on that gleefully abstract and mesmerizing VALERIE AND HER WEEK OF WONDERS, the powerful Romanian drama TUESDAY AFTER CHRISTMAS, and the two deserving five star masterpieces you acknowledge here: Sjostrom’s THE PHANTOM CARRIAGE and the 1974 RED RIDING TRILOGY chapter. They are both tremendous. I’d go an additional half star more on BRIDESMAIDS, which I know is not ordinarily your kind of thing, and would completely agree on the mainly forgettable MY BLOODY VALENTINE. I haven’t yet seen BILL CUNNINGHAM IN NEW YORK, but am impressed by the rating.
Thanks as always my excellent friend. Have a great week!
Sam – I am thrilled that you are getting to DANCE THE JIG over the Giants win, Win, WIN! I can well imagine the victorious ear-splitting volume at the Lucibello home last night, and face-splitting grins as you drove home 🙂
Laurie—
I was just about doing the jig at the Lucibello house last night, and my hands are still sore from high-fiving everyone in sight. Even on the way home we heard car honking on the highways and on local streets. It was thrilling for Lucille and my two yopungest, who attended the party.
Here we go Laurie:
Many thanks my friend! Have a terrific week!
Thanks very much for the mention, Sam.
The Superbowl is on too late for a semi-interested viewer in England but when I do get to see a match I enjoy it. I had never heard of Pretty Poison until now – that’s one to be checked out.
I’ve just announced a ‘Movie Morality Blogathon’ at my blog if you’re interested…
Hope all is well.
Stephen—
Just wanted to let you know that you will have the questions in your box sometime around 10:00 P.M. tomorrow night EST time. (I know that’s about 3:00 A.M. wednesday your time) great to hear that American football has some appeal for you, though I agree it’s tough to navigate time-wise. I would wager that PRETTY POISON is definitely your cup of tea. I’ll definitely be checking out that “Movie Morality Blogothon” at CHECKING ON MY SASAGES ASAP!
I am just over a bad and lingering bout with the flue. Everything is improving new, thank you.
Have a great week my friend!
I’m sorry to hear that mixed report on ‘Kill List.’ I’ll still watch it when it comes to Montclair. I know the film is a strong tonic.
Remarkable Super Bowl game. One of the all-time greats. Manning to Manningham will be a resonating battle whoop for years.
Peter—
I like that framing of KILL LIST as a film that’s a “strong tonic.” It may work for you, I’m not sure!
Yes, Maning to Maningham, a kinship made in heaven! The celebration continues.
Have a great week my friend!
Past Her Prime Time
First, congrats to you and your Giants, Sam, but I wonder about that circus called the Super Bowl — the $3M per 30-second commercials herniating themselves trying to be funny, the endless displaying of those gaudy, barbaric Super Bowl rings, the supermodels, the celebrities, the whole Roma Colosseo clamor and roar made me feel so alienated from American pop culture.. I’ve read that the average price of a ticket was $5K. At Barnes & Noble that could buy a lot of books and DVDs, the whole ouevres of Ford, Welles, Ophuls, Lubitsch, Bergman, Bresson, Ozu, etc., etc. I thought the game was supposed to be about mansport, the smell of pigskin, the playing of football, but it’s really all about American consumerism, the buying and selling of ‘stuff’ to keep the great wheels of capitalism grinding over everybody and everything. I sound snotty, I know, like a cultural snob or an elitist, and people certainly have the right to spend their hard-earned money any way they want, but what’s it all about, Alfie?
And then there’s the Material Girl, Madonna, the half-time entertainment. Isn’t the ex-Mrs. Ritchie getting a bit long in the tooth for these gyrations? And what does Madonna talk about with her boy toys after she burps them? I can’t imagine their post-coital conversations. To give a girl her due, once upon a time Madonna made a great record called ‘Live to Tell’, an enigmatic ballad that was the theme to the Christopher Walken-Sean Penn film ‘At Close Range’ — one of the strangest, murkiest hit singles since the Jay-Nette’s ‘Sally Go ‘Round the Roses’. But that was back in 1986 and now Madonna needs to stop her cradle-snatchings. Does she really believe that adolescent male nectar will keep her young forever? Again, Sam, congratulations to your team, really, and I’m a crank who needs a bullet through the head.
‘Pretty Poison’ has evolved into a cult classic, a ‘lost’ nugget from Hollywood’s second Golden Age, the auteur/modernist era of the late 60s through the mid-seventies, and I need to revisit this picture. It was released almost simultaneously with Cassavetes’ masterpiece, ‘Faces’, and I had a crush on Weld (and Gena Rowlands) for the longest time after seeing this and ‘Lord Love a Duck’. Where is she now?
Later, Sammie et al
Mark—
When it comes to assessing all our cultural abominations, you are second to none. I absolutely loved reading this take on the Super Bowl, Madonna and the out-of-control ticket prices. Yes, I would certainly join you for a book, CD and DVD buying spree with the money saved from the tickets we did not buy. It simply is no longer finantially feasible to attend NFL football and Major League baseball games. For those unable to resist indulging, the only way is at home on television. When you factor in parking, gas, tolls and food you are talking hundreds of dollars for a single seat a long distance from the action. The situation is completely out of control, and one is really forced to keep their distance. There was a big parade today in the Canyon of Heroes and at Met-Life Stadium in New Jersey, which many tens of thousands attended. Those would be the same people who would regularly attend sporting events. of course having said that, with me sports is the odd man out as far as liove events go, with movies, plays and concerts all pulling from the same wallet. ‘What’s it all about indeed Alfie?’ Yes it’s consumerism of the worst kind, and people let it happen. True too though that if this is what they want then so be it. We must draw the line ourselves.
I definitely enjoyed your take here, believe me!
And I am delighted at all the love for PRETTY POISON, which I have thought about all week since last Friday’s viewing. great stuff! And I’d like to know more about what is going on with Tuesday Weld myself!
Have a great week my friend. Many thanks!
How ’bout dem Giants, eh?
In filmlandia, I caught up with:
The Grey – ****1/2 – Full review over at The Spin. Suffice it to say I loved it.
A Separation – **** – Superb Iranian domestic drama seems a shoe-in for Best Foreign Language film. If I get around to it, might pen a review, though I don’t know if I have anything to say that hasn’t already been said about this. I literally just got back from seeing this – so it might bump up to ****1/2 after deeper thought.
50/50 – **** – Surprisingly effective “cancer comedy” featuring engaging performances (even Seth Rogan was tolerable). Reminded me a bit of THE SAVAGES in tone.
FINAL DESTINATION 5 – *** for fans of the series, Zero stars for anyone else – Hilarious continuation of “let’s kill vapid, good looking young people in overly elaborate situations” had me howling from start to finish. Consider this series one of my favorite guilty pleasures.
David—
Aye the Giants have so many of us smiling today!
Wow, you loved THE GREY that much eh? Well, both Maurizio and I thought it reasonably solid as well, and still waiting to hear from Jamie, Allan and others on it. I’ll definitely be taking a spin over there soon! I will admit the cold tundra was alluring and atmospheric for starters. Yes, A SEPARATION is a master class piece, and I’m surprised you’re already tempted to bump it up. Like so many I counted it among the ten best films of the year. I have argued for months in support of 50/50 (which received excellent reviews BTW) but I have been met with some impassioned opposition here among my friends at WitD. Hope you pen a lengthier piece if you don’t think it’s too late.
Yeah, I’m not really a fan of the FINAL DESTINATION series.
Anyway thanks so much my great friend and have another terrific week!
Okay – so I had to write about it (of course) and now I’m positive – A SEPARATION warrants ****1/2 and now owns a place in my ammended Top Ten for 2011 (at #6).
http://theschleicherspin.com/2012/02/06/a-separation-white-lies-and-blood-money/
Great news here David!
Thanks for the mention, Sam. Sounds like you had a good week. I was really happy for the Giants, but I got pretty scared there near the end. When Bradshaw went into the endzone, the whole party I was with erupted in cheers, but I was yelling “No! They shouldn’t have done that!” and I stand by that. 57 seconds and 2 time outs was absolutely enough time for the Patriots to score, and if both Sanders and Hernandez hadn’t inexplicably dropped passes, I think they could have pulled it out. Another bold, smart call by Belicheck in letting the Giants score to get the ball back–he’s definitely the kind of coach who makes the risky calls like that. But it was great seeing the Patriots lose in the end!
The only newish movie I saw over the last week was Blackthorn, starring Sam Shepard as an aging Butch Cassidy living in South America. I have to say, for a movie almost completely relegated to VOD, it was excellent. Exactly what you want from an old-fashioned traditional Western, with a terrific central performance, some thrilling gunfights, and magnificent vistas from Bolivia. Definitely worth watching for western fans.
Stephen—
Normally I’d say 57 seconds simply isn’t enough time, but it’s true that when Brady is at the helm it’s a far different story. And you were right to say that the Giants should not have scored–Manning himself was urging as much on Bradshaw. Well at least not for one more play anyway. I also agree with you that the two dropped passes weighed mightily on the outcome. But in the end it was for you and me and so many others a sweet encore after 08. And when you dislike the Patriots and their coach intensely, it’s even sweeter. Yet Belichick is indeed as you note a master strategist, and he made the correct and bold call there. It was pure bliss looking at the television re-runs of this morning’s parade in the Canyon of Heroes and in Met-Life stadium. These are things one doesn’t see often in their lives.
I’ll definitely research BLACKTHORN, which you make most intriguing. One other blogger over here saw it not long ago as I recall, and also gave it a favorable assessment. Many thanks as always my friend!
Have a terrific week!
Hello Sam and everyone!
Wow, sports. Can’t live without its fans, can you? Not a fan I must say, but I respect those who love the likes of the competing arts, specially the olympics, something I will really enjoy this year.
What a horror filled week you had there! I like it, the only one of those I saw was The Innkeepers, I’m glad you liked it, it was enough for me: atmospheric, but maybe way too much, because the script was a bit left behind, a ***1/2 for me. I look forward to The Woman in Black and The Kiss from the rest of the bunch you saw.
I had an ok week, my grandma’s dog got sick, so we are curing her in my house and so time has gone by between here and there, looking at movies, reading, thinking, spending time with my girlfriend and playing videogames! So yeah, quite relaxing.
My week movie wise:
– After Death (Oltre la Morte) (1989, Claudio Fragasso) * Also known as Zombi 4, but with no relation to the rest of the Zombi Italian films. This movie is trash and the worst: boring. It has some pretty ridiculous and awesome opening featuring one of the scariest and most ridiculous zombies of all time, but then it goes downhill. How amazing it is that this is worst than Troll 2, just because it’s less entertaining.
– Dr. Phibes Rises Again (1972, Robert Fuest) ***1/2 This was a rewatch (thanks to your DVD) with not real increase of the initial rating, as opposed to the first movie, which had a boost. This one is ok, it has not as much interesting deaths and tricks, but still it’s entertaining for Vincent Price. The downplaying of the policeman cut out all the funny and entertaining moments that the first movie had and balanced quite well.
– Ed Wood (1994, Tim Burton) ***** I’ve talked about this film before and added it to the diary a bunch of times. It’s one of my favorites, an ode to filmmaking.
– Groundhog Day (1993, Harold Ramis) ***** On Groundhog Day I saw this movie THREE times, as it played all day long on TCM here. What a treat, it’s great to see this film once again, one of the comedic masterpieces of the modern era, and the greatest showcase of acting for the man: Bill Murray. With every watch, the film goes deeper and you appreciate the acting, the framing and the editing of the film much much more.
– I Bury the Living (1958, Albert Band) *** This was a fine movie, and even a simple one, not many bombastic moments, but highly impressive visually (anything with the map was interesting), but the thing is that, even at the end, it just seemed like an extended episode of the twillight zone, and, the end was highly dissapointing. Nevertheless, the acting was good.
– I Am Keiko (1997, Sion Sono) ****1/2 Following the recommendation of Stephen, I saw this little and short japanese gem. Quite impressive in the color department, the framing and the acting was really good, but certain sequences and numerings, almost poetic in the way they are filmed, was sure the highlight of the whole thing. Really good and just almost perfect.
– Raising Arizona (1987, Joel Coen, Ethan Coen) ***** This is by far my favorite Coen brothers movie, and the only one I can truly call a masterpiece of the visual form. A riot from start to end, and a great performance from Nicolas Cage, a movie filled with imprecision and taking ques more from the legendary horror filmmaker Sam Raimi, than from anything else. The acting is over the top, the action is implausible, as well as the situations, just above perfection: a great and entertaining film.
– Raising Cain (1992, Brian De Palma) **** I cheated a bit here. I saw the enhanced version not aprooved by De Palma, an experiment that someone did, and highlighted the most important aspects of the film itself, making it incredibly interesting in the psychological sense, as well as the thrilling aspects of the film itself. I mean, here you can trully see the full scope of the acting by Lithgow, maybe one of the most underrated actors, here giving a hell of a performance.
– Saw (2003, James Wan) ****1/2 Saw (lol) this not long ago and I loved it, the editing can be a bit tiring and nauseating, but it still works for some moments and it’s quite great at giving its sensation of dread and nihilism that fills the film and the whole concept of this serial killer that has never killed anyone.
– King Eagle (1971, Cheh Chang) ***1/2 A sword-martial arts film from the legendary Shaw Brothers company, this one is good with the action and the plot, but little else for a discussion here, save for the great directing from the classic Shaw collaborator, Chang. Entertaining enough.
Well, have a good week Sam!
Jaimie—
I am no longer a sports fanatic (I once was, and held season tickets for the the New York Islanders ice hockey team for a number of years, and continue to follow the baseball New York Yankees with fervor, as I have since I was a youngster in the 60’s) but when your home team goes the distance it’s always a moment to savor for the rest of your life. Thanks for the very kind words.
Yes, a week of horror on the big screen, and for me THE INNKEEPERS was the best of the lot (WOMAN IN BLACK was a passable Gothic piece though, and most people seem to like CHRONICLE and KILL LIST) but I understand your position with the inexplicable narrative resolutions. For me it worked on the tension, measured pace and atmosphere, but again I could understand why those elements might not completely work for everyone, without more story information. Fair enough. Looks like you had a good week there with your girlfriend and family, though as an animal lover I am saddened to hear that news about your grandmother’s sick dog. I hope they have everything under control now. We have three dogs, four cats and two parrots in this house, and each is considered a member of the family.
I can certainly do something to help out with you seeing THE KISS soopn enough. You would also be interested in THE PATSY, another Vidor silent with Marion Davies that ended the four month Monday Festival last night. I have a copy of that on a Warner Archives DVD. Both films are essential Vidors.
For a second I confused AFTER DEATH with the Fulci ZOMBIE film, but I see your further explanation. Yeah, I would take a pass on that too. Ha! I agree that Vincent Price makes the DR. PHIBES sequel worth a view, and for me I think I may like it a bit better than you. I like the camp elements and the satiric thrust. As far as I BURY THE LIVING, that’s one that I have always had fond memories sice childhood when I saw it repeatedly on television airings. I agree it kind of falls apart at the end, but not before it sustains some terrifying tension after the black pegs are removed from the cemetery chart and are replaced with white ones. I well remember being alone in the house watching it decades ago, and being genuinely horrified. You are right to note the chart scenes as the best in the film. The film has great atmosphere.
While neither ED WOOD nor GROUNDHOG DAY gets a five star rating from me, I’d say you are fair enough to go the distance. I’d go 4.5 on both which is close enough–they are classics of their kind. And I well understand the veneration for RAISING ARIZONA which I like less but highly respect. Most Coen fans rate it highly too.
Terrific that you responded so stronly to Stephen’s review of I AM KEIKO. I must see that myself. I haven’t seen KING EAGLE and cannot take SAW, but understand it’s high reputation with most.
RAISING CAIN is another I need to see again at some point.
This was a wholly spectacular submission here my friend! I wish you continued bliss, and as I say I hope the dog is better.
Thanks for the very kind mention, Sam, and glad you enjoyed the Super Bowl. I’ve had a busy week at work but have seen quite a few films at home – including several silents, as I follow along with Allan’s series: Sherlock Junior (1924), He Who Gets Slapped (1924), The Gold Rush (1925) and The Joyless Street (1925). All fantastic.
I also saw DeMille’s ‘The Plainsman’ from 1936, with Gary Cooper and Jean Arthur as Wild Bill Hickok and Calamity Jane, and really enjoyed it – almost a screwball Western in places! And I re-watched the Tommy Steele musical ‘Half a Sixpence’ from 1967, which has great songs but is better on stage.
Also saw Mike Figgis’ ‘Mr Jones’ (1993), where I think Richard Gere is good as the manic depressive title character but his romance with Lena Olin doesn’t really add anything.
Thanks for the kind words on the Super Bowl fun we all had Judy. Yes I quite agree you saw some real treasures there–four masterpieces to my eyes too. As you well know the early period is incomparable, and a viewing is always of the loaded deck variety. THE JOYLESS STREET is one film that needs to be seen by more, and there is an astonishing DVD of it on the incomparable German Filmuseum series. I also like THE PLAINSMAN quite a bit and couldn’t agree with you on that delineation of it’s essence. I am also no fan of MR. JONES (Figgis did have one good film with LEAVING LAS VEGAS though) but I never did see 1967’s HALF A SIXPENCE. I am not surprised it’s better on the stage. Have a great week Judy. I’ll be looking forward to comparing notes with you on the Wellmann series that starts Friday here at the Film Forum.
Have a great week my friend!
Well, I am flabbergasted – I know I left a comment here yesterday, but it doesn’t seem to be here now. Think there must be some issue now with posting comments from work…. Drat! Oh well, congrats on the Giants win and thanks, as always, for kindly including my sleepy little blog in your links list. Have a great week!
Pat—
I am saddened to hear about the lost comment, and know well how frustrating such an experience is, especially when you put your heart and soul into it. I looked into wordpress and was unable to find anything. That’s too bad. Ah, I’m sure your wonderful blog will come to life soon enough. Thanks on the Giants, it was a lot of fun this past weekend. I wish you and Marlon a great week my friend!