Screen cap from extraordinary “Short Term 12,” a strong contender for film of the year honors
by Sam Juliano
The Western Countdown will officially commence on Monday, September 30, but the two weeks prior may still feature a few essays on runner ups or western-related topics. In any case, if none or only part of that materializes we will still wait for the 30th, as it will give the current writers more time to complete their assignments. As stated on previous MMD’s the countdown will run Monday through Friday, and will conclude early in December. Group e mails have been distributed to the writers, who now now the dates their respective reviews will appear.
A video produced by 17 year-old High School senior Melanie Juliano of the U.K. trip is completed, and is planned for link up to the site in the coming weeks.
Typically, the past week was hectic in these parts, what will school starting. But for those with year round jobs without the seasonal chapter markers, it’s business as usual. At home I worked my way to the conclusion of THE WIRE Season 4, and now have only the final season left. In theaters Lucille and I saw two films, the latter the first screening in the new season of Film Forum Jr.:
Short Term 12 **** 1/2 (Friday night) Landmark Cinemas
The Three Worlds of Gulliver **** (Sunday morning) Film Forum
I am seriously tempted to rate SHORT TERM 12 with the highest ***** rating, but I’ll go with 4.5 and see if my feelings hold. If they do, (and I’m inclined to believe they will) I may go with 5.0 in the near future. This moving and intimate film features two powerful and naked performances by Bree Larson (Grace) and John Gallagher Jr. (Mason) as counselors in a halfway facility for troubled children. Treading cliched and mawkish territory, the emotionally expansive and intellectually intricate film is about ricks and challenges and the sharing of pain. The prime focus is on two teens: Marcus, formally abused and with an explosive temper, and Jayden, a bright but bored girl, whose life parallels some issues in Grace’s past. The final unforgettable scene bears the same kind of emotional resonance as the final coda in Truffaut’s The 400 Blows.
A staple in the Ray Harryhausen legacy, THE THREE WORLDS OF GULLIVER is irresistible if a bit on the silly side, but the special effects and the legendary score by Bernard Herrmann carry the day. The Film Forum sported a loved 35 mm print for the 1960 fantasy work.
As I fully anticipated Season 4 of THE WIRE was the piece de resistance of the series, even if my profession would make the issues in this unit professionally telling. Hence, I can say without any question that there has never been a more intricate indictment of an American school system in film or television than the ghastly corruption on display in Baltimore. More than the past seasons I can say there is a powerful connection to the characters and the layers of morality examined in the in and out of school trials of Randy, Dukie, Michael and Namond and how human evil again intrudes in the machinations of the Sanfield organization. Robert Wisdom’s “Colvin” is a deeply affected character, and the scene with Wee-Bey is unforgettable. Andre Royo as Bubbles is exceptional, while Gbenga Akinnagbe as Chris Partlow is quietly terror-inducing as Chris Partlowand Char Coleman is memorable as Cutty. The season is narratively complex and, and delivers the goods like the unfolding of a great novel.
Click on names for archives
Writers/Founders
Wonders in the Dark 
Sam – so glad you liked Short Term 12! I wish it was getting a wider release so that it could have the audience it deserves. Truly a good, honest, and thoughtful indie film – the type of film I can’t imagine anyone disliking. Hopefully word of mouth will spread. I see big things in store for Brie Larson.
Great to hear you are a big fan of this film David! It’s so well-written and acted and it probes down deep to the heart of its subject. Not sure I’ve been affected more by a film this year. And yes it deserves a wide audience of course. Have a great week my friend.
Sam, your high praise makes me want to see The Wire. I am caught up with some of the other big TV shows but The Wire escaped me even though I have read many stellar words about this show over the years.
And good to see you liked Short Term 12. I have only read some brief reviews about this but had already decided to see it although I will likely have to make do with a digital release as I can’t see this getting a theatrical release here.
Hope you have a great week ahead.
Sachin: THE WIRE is strong stuff, but yes it has received stellar praise and is among the most highly regarded of shows. While I still can’t say it’s the absolute greatest American television show (as some believe) it would certainly place on any short list. I hope to begin the final Season 5 this week. I strongly urge SHORT TERM 12, and very much look forward to your appraisal my friend! You have a great week too!
Sam,
I’m glad you are safely back from England, resuming the Monday Diary as usual. As I was occupied with house renovation, reading and, of course, watching movies lately, I was a bit away from blogging and making rounds on my favorite sites.
I wasn’t aware of SHORT TERM 12 until I read this post, so I must check it out when it will open here. Sounds extremely interesting, especially as you make parallel comparison with THE 400 BLOWS.
In last couple of weeks, I spent hot summer hours in air-conditioned theaters in my neighborhood, which were showing the barrage of Hollywood summer blockbusters. I liked PACIFIC RIM, had mixed feelings with STAR TREK: INTO THE DARKNESS, and was predictably disappointed with WORLD WAR Z. I saw Miyazaki’s KAZE TACHINU twice, and decided I don’t like it. Also, I spent many hours studying G. W. Pabst and Weimar Berlin, to understand dadaism, Neue Sachlichkeit and film industry. I have mixed feeling about Weimar Berlin and its culture, since its notorious successor, Nazism, did not arise from total annihilation of the decadent Metropolis of 1920s. As you have commented at my site, the films produced under Hitler’s regime were fairly influential in Japanese film industry during war years. The problem is, JUDE SUSS was not as popular, but other kitsch musicals and comedies were. And I only saw few of them. Since many Japanese film directors, such as Ozu, Shimazu and Itami made substantial amount of comments and reference to these German films, I am interested to know how these two regimes were related in cinematic culture.
And high hopes for Western Countdown! Maybe I should have voted for a Japanese Western, such as “The Sharp Shooter”?
MI
MI—-
Thanks so very much my friend. Sounds like you’ve been busy on a number of fronts—in any case it is always a good idea to take a break from blogging. Yes, SHORT TERM 12 is one of the year’s most notable independent films, and one that leaves you deeply affected. As you may recall I was myself a huge fan of STAR TREK: INTO DARKNESS, but have since come to realize that the general positive appraisal was far from unanimous. I still have not checked out PACIFIC RIM or WORLD WAR Z. I know Miyazaki is winding down with his career, as I have recently read. I have read two books myself about Weimar Berlin, but would love to check out the one you read that connects Pabst. The subsequent examination of Dadaism is most fascinating I would imagine. Yes, I did indeed understand that the Japanese film industry during the 40’s was especially influenced by German cinema at at time was the totalitarian politics of both countries was comparable. That’s an intriguing study to access both cultures.
Ha! We did need at least one Japanese western in there!
Have a great week my friend! Many thanks as always.
I’ve read nothing but great things about ‘Short Term 12’, Sam. I’m figuring it will be making an appearance in Montclair soon. I’ve always had a soft spot for Herrmann’s score for ‘Gulliver’ too. The film is juvenile, but it’s still fun within those borders. Hope you have been settling in.
Frank— Yes the word of mouth and critical reviews have been spectacular, but as we know this does not always insure anything. This particular film really caught me by surprise and the glow from it remains. I would think it is indeed headed to Montclair soon. Yes GULLIVER is juvenile and not really in a narrative sense all that engaging, but there is so much to love still, most of all as you acknowledge, Herrmann’s magnificent music. Have a great week my friend.
Sam – with the vivid word picture you painted of SHORT TERM 12, I’m sorely tempted to see this film, painful though it may be.
There are times (albeit few) when I wish we kept a television in our home. The almost 5 stars you gave THE WIRE makes me yearn to have at least a peek at the show.
Make it a FANTASTIC week!
Laurie:
In the end the pain that is felt throughout SHORT TERM 12 is replaced by a real sense of purpose and optimism, and there’s a wonderful afterglow that underlines the resilience of the characters. I would pose that it is definitely your cup of tea. And yes, THE WIRE is one of television’s crowning moments. Thanks as always my friend, and have the best week!
Good morning Sam!
I look eagerly forward to Melanie’s video – no surprise to find a filmmaker in the Juliano family!
Have heard nothing but raves for SHORT TERM 12, which I believes opens here on the art house circuit next weekend. I will be keeping an eye out for it.
I spent my week filling in major gaps in my silent film viewing experience, thanks to my hard-working DVR and TCM’s current abundance of “Story of Film”-related offerings. Over the past week, I have seen THE JAZZ SINGER, INTOLERANCE, BIRTH OF A NATION, and THE WIND – all exceptional. I liked THE JAZZ SINGER and its star, Al Jolson, much more than I expected to. (His blackface bit, I could have lived without, although one essay I read made the point that, of all the early films in which white actors appear in blackface, only Jolson’s JAZZ SINGER transformation has thematic significance, in that the “blackface’ represents his adoption of different identity, rooted in American musical theater, rather his religious heritage. Food for thought.)
THE WIND was riveting, exciting drama and reminded me of why I so greatly admire Lillian Gish. It prompted me ot pull out my copy of her autobiography THE MOVIES, MR. GFIFFITH AND ME, and I’ve been dipping into it throughout the week. More in that in a minute.
I admired, more than loved INTOLERANCE for its spectacle and ambition, but I found the constant cross-cutting between periods and stories to not always be effective and I didn’t get nearly as emotionally invested in the Babylon, Medieval France or Biblical segments as I did in the contemporary section with The Boy and The Little Dear One.
And then, there is BIRTH OF A NATION. I’ve always been aware ofits dual reputations for cinematic innnovation and racist propaganda – and I was stunned and overwhelmed by the degree to which both reputations are well deserved. It’s breathtaking to see how Griffith solidifed the language of film, and horrifying to see how indeliby he brought to life the vilest of racial stereoptying. Watching Mae Marsh leap to her death to avoid a black man’s advances, I had to wonder how much Griffith contributed to and reinforced the mythos that underlies American racial prejudice. I was futher stunned and disappointed to read Gish’s bizarre defense of Griffith in her book. I also thought about Spielberg’s LINCOLN and how it acts a corrective in restoring honor and dignity to abolitiionist Thaddeus Stevens who in Griffith’s film is depicted in the thinly-veiled greedy and malicious character of “Austin Stoneman.”
Whew! That’s a lot for diary entry – maybe it’s time I started writing at my own blog again! Anyway, to all the WITD gang, have a great week!
Somehow in all my furor over BIRTH OF A NATION, I forgot that I also watched METROPOLIS this week, in its entirety for the first time although I has seen a substantial segment of the film before. What can I say – I unreservedly love this film: it’s visuals, its excesses, even its sentimentality.
Pat—-
Thanks for the kind words about Melanie! She did a real good job with that video and I do hope to post it at the site soon. Yes I am not at all surprised that everything you’ve read on SHORT TERM 12 has been super-positive. As far as I’m concerned it has lived up to the critical hype. And I am nearly certain you will be issuing praise for it. With the help of TCM you have indeed navigated some masterpieces this past week. I like what you said there about respecting but not loving INTOLERANCE. I completely agree! Still, it is of course a towering silent achievement for all sorts of reasons. As to THE WIND, well that is simply one of the greatest of films, and I am proud to say it has placed in the western countdown.
Would you by any chance be interested in doing that essay for the countdown, Pat? If not, I completely understand, but as it is presently one of 6 or 7 on my own list to do (too many I must say!) I would surrender it to you in a heartbeat. Don’t believe it will be coming up until November, but I will check to be sure. Gish is extraordinary, and she always said that it may have been the greatest film she acted in. Great point about LINCOLN, Spielberg and Thaddeus Stevens, and of your splendid assessment of BIRTH OF A NATION, which remains for many reasons a masterpiece, and historically one of the most significant of films. The new Masters of Cinema blu-ray is an awesome accomplishment.
An astounding comment Pat, and so much appreciated. Have a great week my friend!
(and great addition on METROPOLIS!)
Sam – I would be happy to do the post on THE WIND. I’m not sure if I still have any of the emails listing dates and assignments, so please let me know when it is needed. Thanks.
Fantastic Pat! I am thrilled you will have input into this countdown, and for such a great film to boot!
THE WIND is scheduled for Tuesday, October 22. It finished No. 34 on the Top 50.
Thanks so much Pat!!!!
Hi Sam,
Again a very busy week around these parts and it’s hard to keep up with everything of late. I’m sure the same is true for all of you. I am very much looking forward to the western countdown and have my essays mostly written at this point so I should be good to go. Hopefully we can find someone for every last essay on the list and have it fully accounted for. I have picked up some newer releases. Just watched The Place Beyond the Pines, which I thought was solid. I am not giving it too much praise though, because I felt like it lost a bit of steam toward the end once the younger generation took center stage. I thought the first 2/3 was better. I have also picked up Side Effects, although I’m keeping expectations low as Soderberg is not usually my cup of team. I will also be rewatching The Battle of Algiers for the first time in many years. I also picked up what looks like an interesting film called Arcadia, starring John Hawkes. I’ve heard nothing about it though so I have no idea if it’s any good. Hope you have a great week Sam!
Jon—-
As always your production is remarkable, even when you are challenged from all directions. I know you have been a major proponent of the western countdown, and are approaching it with incomparable enthusiasm. Hence I am not at all surprised your essays are already in place. Most of the essays are covered, so it’s likely we will have blanket coverage in the end. But either way be rest assured we are nearly there. I do happen to agree with you that THE PLACE BEYOND THE PINES is most effective over the first half or so. When Gosling leaves the scene, it is diminished, largely for the reasons you pose. But yeah, on balance it’s a pretty good film. Haven’t yet taken in SIDE EFFECTS nor ARCADIA, but THE BATTLE OF ALGIERS is of course a supreme masterpiece. Have a great week my friend.
Hey Sam. You size up Season 4 of THE WIRE quite well, and this comment in particular stands out-
“Hence, I can say without any question that there has never been a more intricate indictment of an American school system in film or television than the ghastly corruption on display in Baltimore.”
Indeed, the classrooms and hallways of the school are portrayed in an honest and raw way, and while it did get a bit uncomfortable at times, it’s still a great showcasing of the way youths react in certain environments and how quickly things can get out of hand. I can’t think of a more higher praise for the season than yours, seeing as you’re a teacher. Everything else you say is on point as well. Season 4 had a wealth of memorable characters, as well as equal amount of poignant and shocking moments. Not to mention that it was just great drama in general.
Viewing for me this week was dominated by Season 1 of Boardwalk Empire. Minus a few hard to swallow dramatic turns, this was a hugely enjoyable drama. Although now I’m seasons deep in 4 different shows.. I really need to start what I finish lol.
The big movie event for me this past week was getting the opportunity to see Wong Kar Wai’s THE GRANDMASTER on the big screen. I’m still collecting my thoughts on it, however I wouldn’t hesitate to call it a masterpiece, and easily the best film I’ve had the pleasure of seeing on the big screen (I don’t see many movies in theaters, unfortunately). Combining time-weary romance, feelings of angst and longing vs. martial arts discipline, incorporation of Chinese history, a restless style, and the most visceral, artistically rendered fight scenes since RAGING BULL (oh yeah that’s my number 1 favorite movie if you didn’t know), Wong Kar Wai has created a masterwork that spoke to me on a personal level. I saw the American cut though, so perhaps my opinion of the film will only rise when I see the longer version.
I also saw Martin Scorsese’s period melodrama THE AGE OF INNOCENCE (Netflix DVD) which managed to impress me and underwhelm me at the same time. I continue to plug along through the filmography of my favorite director, and now only a handful of his films remain (next up is THE LAST TEMPTATION OF CHRIST, which you will probably hear my thoughts on next MMD).
Have a great week everyone!
Mike—-
Talk about great assessments of THE WIRE, yours here blows mine away! Yes, as a teacher (and as a six year Trustee of the Fairview Board of Education before I began teaching in that district) I anticipated this season greatly. As I said to others I do consider the show a benchmark and one of the great television achievements (not #1 for me, but still very high) As you note the raw realism and dramatic heft really elevate this monumental show. Great to read of your own passion and expertise here! I did watch some of the first season of BOARDWALK EMPIRE, but I do need to return to it. Presently I will finish THE WIRE and then complete the nearly-finished BREAKING BAD (my absolute favorite of all recent television) up to the point where it is presently on television with only a few weeks left, and then on to catch up with GAME OF THRONES. Then would be in no special order, DEADWOOD (already saw Season 1), ROME and BOARDWALK EMPIRE. But I am admittedly getting ahead of myself here. That is high praise indeed for THE GRANDMASTER. I watched the blu-ray of it while in Kendal (U.K.) and while dazzled by the style, I found it a bit redundant and distancing. But I am hardly willing to dismiss it just yet, and I am too big a fan of the director to firm anything up in my head. Your superb analysis is too persuasive anyway. I know there are some people who aren’t the biggest fans of THE LAST TEMPTATION OF CHRIST, but I think I’d be willing to go to the mat for it, and greatly look forward to your report on these pages! RAGING BULL is a masterpiece too, needless to say. Thanks for the fantastic comment my friend, and have a terrific week.
Quote of the Week:
” ‘Two-Faced Woman’ — they’re trying to kill me — they’ve dug my grave!”
~ Greta Garbo
As for last week’s apocryphal Novarro quote it’s discussed in either Gary Carey’s “Cukor & Co.” or Gavin Lambert’s “On Cukor.” I’m not sure because I picked it up from a third book source. Here’s Cukor on Garbo and ‘Two-Faced Woman’ —
” ‘Two-Faced Woman’ failed because it was anti-Garbo. The World War II loss of the European market meant Garbo had to be Americanized into “the girl next door.” They put her in a swim suit, which looked bad, quite bad. She was fairly broad behind and quite flat up front. People had already noticed that she walked like a man, but in those early stunning gowns, it hadn’t mattered. It was camouflaged, in fabric and romance.
In ‘Two-Faced Woman,’ her last film, she was supposed to be a modern. But Garbo was at her best in other, more romantic eras. And in highly emotional and glamorous roles. As in ‘Mata Hari.’ Of course, the secret to that film’s success was the combination. Garbo played the reluctant seducer, Ramon Navarro, the love object. As so often occurs, the homosexual actor excels at playing a romantic hero. Compare him to the male lead in ‘Two-Faced Woman,’ Melvyn Douglas: a dull heterosexual, instead of a handsome, romantic homosexual who makes women in the audience swoon.
MGM got rid of Novarro. Not because of his voice, which wasn’t high-pitched, nor because he ever said “What’s the matter, Mata?” ; he didn’t. It was because he was homosexual and refused to marry a woman for publicity. You’ll notice that most of Garbo’s great leading men were homosexual — in getting rid of them, MGM tried to make stars of dull men like Melvyn Douglas, and in the process they hurt Garbo and stripped her of that ethereal romance we loved.”
Of course, Cukor directed Garbo in her greatest performance, as Marguerite Gautier in ‘Camille.’
‘The Woman in the Window’ –Fritz Lang, 1945. Lose the ‘Wizard of Oz’ ending — “It was all a dream, and you were there, and you, too!” — and you’ve got a decent, downbeat crime thriller. ‘The Woman in the Window’ is no EIN FILM VON FRITZ LANG from Germany’s Golden Period, alas, but it’s a pretty fair example of noir (hell’s bells, Lang invented the whole genre) and Dan Duryea is one of the slimiest creeps ever to pollute a Hollywood movie. With Joan Bennett and Edward G. Robinson, who teamed up with Duryea again later that same year for Lang’s much superior ‘Scarlet Street.’
Speaking of Lang. If you watch ‘Metropolis’ and Ridley Scott’s ‘Blade Runner’ back-to-back, the latter suffers greatly because it possesses none of the stupendous insanity of Lang’s visionary work. I’ve always liked ‘Blade Runner,’ but it can’t compare. As sci-fi, even Kubrick’s mechanical, inhuman ‘2001’ can’t touch the flamboyant madness of ‘Metropolis.’ “The Dawn of Man” sequence is strangely transfixing, though. Of course, ‘Blade Runner’ possibly borrows from the Hugh Ferriss architecture-of-the-future drawings and the 1929 ‘The Metropolis of the Future’ book that ‘Metropolis’ pre-dates and almost clairvoyantly foreshadows.
The story in ‘Metropolis’ is a weird mix of Biblical homily and Marxist manifesto, but the occasional sentimentality really doesn’t matter because the scenario plays a secondary role to the film’s staggering design and crazy set pieces, like robot-Maria’s salacious bump-and-grind at the Club Yoshiwara.
I hope everyone’s watching TCM on Monday nights to see ‘The Story of Film’ and gems from Hollywood’s silent era like last night’s showing of Keaton’s ‘The Three Ages,’ which had me crying with laughter, and ‘The General,’ considered Buster’s masterpiece.
Later all —
You’ll notice that most of Garbo’s great leading men were homosexual — in getting rid of them, MGM tried to make stars of dull men like Melvyn Douglas, and in the process they hurt Garbo and stripped her of that ethereal romance we loved.”
Love the quote of the week Mark, and much appreciate that fascinating investigation of Ramon Novarro’s sexuality and MGM’s foolhardy attempts to make the duller actors more sexually compatible. Apparently it didn’t work, and is to blame for Garbo’s decline with audiences. But Novarro is one actor I’d love to read more about in a formal biography. I also agree with you on the reason you put forth for the success of MATA HARI. In any case TWO FACED WOMAN is definitely lesser Garbo, while CAMILLE as you note features her greatest performance. Interestingly enough THE WOMAN IN THE WINDOW’s ending for many has always been regaled as the reason why the film does not live up to the classic status that others have held it to. The whole dream thing is contrived, argue some. But all is all I still like the film myself. Yes, great that THE STORY OF FILM is getting the red carpet treatment at TCM, and nice to hear that you are enjoying those great Keaton masterworks. Enjoyed your great extended comment my friend. Have a great weekend.
Hello Sam and everyone!
Glad to hear that all the problems will most surely come to an end soon for you and your family, and I’ll be looking forward to the video that your daughter made.
The movies I saw last week:
– Aquí se construye (Building Here) (2000, Ignacio Agüero) **** Great documentary from Chile about how building or destroying new places to live is akin to the construction and history of a family or of a singular individual. A work that visually is a bit faulty, but in terms of metaphors and importance, it’s quite astounding.
– Blancanieves (2012, Pablo Berger) **** A beautiful and gorgeous black and white silent film that truly seems to be concieved in that way and not as a gimmick of sorts, as if the story didn’t actually need any sound or dialogue besides those necessary. There’s particularly a good half hour of this movie that is whimsical and magical and reminiscent of the great silent films of all time, but then plot, intertitles and even the forceful references to the original Snow White tale wear it down from what could’ve been a film on a greater league than ‘The Artist’ (though this already is much much better than that). The same as when I was saying that if you’re not doing something interesting with colour, do it in black and white, here applies the same rule, if you’re not going to use much dialogue, then why make it a sound film at all. Maybe that’s what Malick needs to see.
– Crystal Fairy (2013, Sebastián Silva) **** The second film that Silva made with Michael Cera this year, and this one is much better, as a trip to find San Pedro, a powerful drug, with the unexpected company of a woman who is connected to the nature who calls herself Crystal Fairy. Is interesting in many ways, yet it still doesn’t achieve the level of something like The Maid.
– The World’s End (2013, Edgar Wright) ****1/2 What a relief. This movie couldn’t be bad, couldn’t dissapoint in any way, shape or form, don’t listen to the nay sayers, this is on the same level as the rest of the trilogy (though Shawn is my favorite), with the same visual flair and invetive scripts, references and smart planning that makes this movies so memorable and rewatchable in the future. The movie also manages to get some sensible things out, and it doesn’t shy away from certain topics and decisssions that would’ve been looked at in a bad mood if this was done by some unknown director, I can imagine Edgar Wright handing out the script and getting shit for some of the decissions and twists made here and there, but he does what he does and he does it greatly, and I think people trust him, he wouldn’t have the Antman gig if it wasn’t that way. The scifi elements were handled in a great way and it was a fun ride, a bit emotional. I think the ending was strange but maybe I need to rewatch it, and that will happen, for sure.
That’s all Sam, have a great week!
Jaimie—-
Another excellent report Jaimie! Thanks for the kind words about the family and about Melanie’s video. I am hoping next week will bring some renewed commitment and entertainment. I’m sure you will have fun watching the video when we get it posted at the site. Sounds like you have come in with quite a uniformly positive film round-up, which all things considered is a rarity. THE WORLD’S END is clearly the winner, but you make stellar cases for the other three as well. I have seen none of these to this point. As I say, all vivid reports, especially the final one. Have a great weekend my friend, and many thanks as always!
Great to hear that you’ve watched ‘The Wire’ season 4, it reminded you of me when I watched it a couple of years ago.
I’ve been on a small mission to watch an ‘Alfred Hitchcock Hour’ a day. I’ll have more to report once I’ve seen the more of the first season. One or two really classy ones in there too.
Bobby—Yes, it is the kind of series that invites marathon watching. As I’ve stated to others on this thread it’s obviously a television landmark, and Season 4 is probably the high point. I hope to embark on the final season after my kidney stone procedure/surgery on Friday. Maybe by Sunday I will be able to resume. I greatly look forward to your reports on THE ALFRED HITCHCOCK HOUR, which I remember we discussed at the hotel in London. I am itching to see those elusive shows as well. We can only hope they will appear on DVD at some point, especially with Universal crawling their way to the conclusion of the half hour episodes. Have a great week my friend.
Short Term 12 does sound a darn interesting film. I’ll keep an eye for it in the off chance that I manage to get hold of it sometime soon. I’ll also keep an eye for the video compilation on your UK trip – should be a fun watch 🙂
I managed to watch the following movies in the meantime:
– A Midsummer Night’s Sex Comedy – a lesser Woody, I’ll admit, but it has made me interested about the Bergman original
– Kanal – the bleak, claustrophobic & brilliant second chapter in Wajda’s acclaimed Three War Films Trilogy
– A Man & a Woman – the enormously popular, if decidedly slight, French romantic comedy
– Mohan Joshi Hazir Ho – a terrific & lacerating satire on the plight of tenants & the inefficiency of the judicial system in India
– The Time to Live & the Time to Die – Hsiao-Hsien’s lilting & lyrical ode to his own growing up in a tiny town in Taiwan
p.s. I have posted 995 reviews at Cinemascope so far. So the Hsiao-Hsien film would be my 1000th movie review there.
Shubhajit—-
Hope to have that video up very soon, though the technical knowledge to post it is not within my own grasp. Jason Giampietro may be able to do it. Hope you get a chance to see SHORT TERM 2. Yes, MIDSUMMER is lesser Woody, though the Bergman intrigue is warranted. KANAL is certainly a gem, and THE TIME TO LIVE & THE TIME TO DIE is a Hsaio-Hsien work of distinction. Agreed on the mixed assessment of A MAN AND A WOMAN, which is very slight and would love to see MOHAN JOSHI HAZIR HO, which you make an impassioned case for.
Congratulations on that amazing performance at CINEMASCOPE! I will be stopping in soon to check on your latest work my friend. Thanks as always!
Sam,
Just noticed my comments earlier this week did not make it here. Must have screwed something up. Anyway, not much to report. Did not see any films in the past week or so though I did catch the Sunday premiere of BOARDWALK EMPIRE which I found a bit disjointed and below par. Tomorrow we fly out to Jackson Hole, Wy. and will spending the next week exploring Yellowstone and the Grand Tetons. Probably will have little, if any, internet time. Hope all is well and looking forward to the western countdown.
John—
Sorry your original post didn’t take. Didn’t see that particular episode of BOARDWALK EMPIRE, but sounds like I didn’t miss much. I am figuring you will have some spectacular photos from Yellowstone and the Grand Tetons – perfect for your photography blog. Have a great time, and we’ll speak when you return my friend.
Sam, I’m dying to see SHORT TERM 12. I’m hoping I can be somewhere where it’s playing very soon. It sounds right up my alley.
I continue to follow along with the TCM program accompanying the Cousins’ doc. This week I took in Keaton’s THE PASSIONATE PLUMBER and ONE WEEK, Lloyd’s NEVER WEAKEN, and the second installment of Cousins’ doc. I was very happy to see them all but probably had the greatest experiences with ONE WEEK which I found to be yet another Keaton film where his inventiveness reaches heights where I am left in complete amazement and the Cousins’ doc which I particularly liked for its handling of Dreyer and von Stroheim.
Hope you had a great week. Thanks so much, Sam, for all that you do!
Jeffrey—I am certain you will come in with a stellar assessment of SHORT TERM 12! Hopefully you’ll get a shot at it soon. I love the Cousins’ documentary as well, and do remember how well it covered Dreyer and Von Stroheim among others. I am a huge fan of Keaton’s ONE WEEK too and very much appreciate your excellent appraisal. Like the Lloyd and other Keaton as well. Thanks again my friend. Your amazing friendship is one of joys of my blogging experience. Have a great week!