slaytonf

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About slaytonf

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  1. I don't think it is so extreme an analogy. What has been overlooked in the discussion so far has been an element that links the two, the question of power. Slavery is the most direct, brutal expression of power over another individual, which often included rape. You will notice the character of sexual harassment and abuse takes the form of a person in a position of power, or authority using it to exploit someone else. And as for the culture of keeping it quiet, you have the threat: "Don't report it, no one will believe you." Slavery was always wrong, a vile offense, even though it was sanctioned by society at large. The same holds true for sexual harassment, abuse, and rape. It is always wrong to treat people in a demeaning, exploitative manner, no matter what cultural norms approve. A vast dark universe of injury I hope is being revealed. Perhaps, like the sea change that happened with slavery, we will see a similar change with sexual brutality.
  2. Charles Manson is dead. At last.

    Yes, yes, yes. Just the movies.
  3. Charles Manson is dead. At last.

    Drugs aren't necessary to create a monster. I hesitate to tread into psychoanalysis, but I will say it appears Manson was a person totally without a conscience. One of the articles about him excerpts an interview of him. In response to a question about wether he cared about what he was responsible for, he answered something like, "Care? What's that?" Well, it's a long time since I saw it. I don't remember what made me make the association. But I am glad I'm not the only one who remembers it, and thinks well of it. Pretty much what you might think. He was a long time going about dying. If my proposition about the psychic burden of his continued existence is true, then his death at long last would bring a welcome relief. The only other notorious personage I can think of who went about taking so long to die is Francisco Franco, who as far as I know is still dead. My wish is for him to stay dead a good long time. Always predictably tiresome.
  4. For anyone who was aware of things at the time of the horrific killings inspired and directed by this monster, an undeniable psychic burden, despite imprisonment and impossibility of parole, has been lifted. But I post here not to bury him, or ruminate on times past, but to muse on the effect on movies. Most directly it resulted in the TV movie Helter Skelter (1976), a generally admired dramatization of Vincent Bugliosi's (by himself) book of the trials he conducted. I've never seen it. There was another TV movie/series pilot, undoubtedly influenced by the events, that actually came out earlier, The Law, in 1974. It starred Judd Hirsch, and I remember liking it. Nothing else comes to mind. I can't imagine something that so traumatized and preoccupied the public conscience not having a profound resonance in movies. But I guess it's more indirect. The unfortunate identification of Manson and his group with the counterculture movement of the Sixties has been cited as contributing to it's end. The directors who came to prominence in the Seventies, a decade of experiment and innovation in American movies, couldn't have been immune from it's influence. I'm wondering how to identify it.
  5. Movie title please

    The only thing that comes to mind are two series pilots by Aaron Spelling. They are not of the time you mention, but were TV movies made in the seventies. They are The Letters (1973), and Letters From Three Lovers (1973). Here are some links: http://www.imdb.com/title/tt0070305/ https://en.wikipedia.org/wiki/Letters_from_Three_Lovers
  6. Art in Movies

    Duffy (1968) is a largely forgotten (even by TCM) heist movie starring James Coburn and Susannah York. Why it's so is beyond me, because it has everything that makes a heist movie great. It has a tricky, picaresque plot, with engaging characters, exotic locations, including the coolest beach resort ever (a set, built for the movie!), humor, excitement, and a surprise ending where everyone gets what's coming to them, or what they deserve, and leaves you smiling. But wait, there's more! It has James Coburn at his coolest, and lankiest, Susannah York at her slinkiest and sylphiest; a super supporting cast including James Fox, John Alderton, and James Mason; the Mod scene of Sixties London, with a chic, sexy music score by Ernie Freeman; and a killer song sung by Lou Rawls! ("I'm Satisfied," which I don't know why is not a standard.) And there's even more than that! providing the pretext for this post. It has absolutely the most incredible, amazing, fantastic, wild, crazy house in all the movies. It's Duffy's place in Tangiers, which he has decorated with an irreverent, idiosyncratic collection of--well--sculptures. They look to be almost entirely female nudes, in a style I can only describe as eclectic found-object. Duffy calls it "Pop-porn." Here are some examples (as always, I apologize for the poor image quality): Man contemplating beast: Man makes a find: Or_gy in a Wardrobe ™: Duffy's balcony of earthly delights: I don't want to make this post too long, but Duffy's pad is best appreciated by watching the movie. I've excerpted the arrival of the heist gang at his place: And finally, Lou Rawls' song. Here Duffy is arriving at the beach resort, unsuspecting of his imminent involvement in the scheme:
  7. Please cut the politics

    Well, I don't know, but don't be surprised if someone asks you what your problem is with the weather.
  8. Please cut the politics

    Uh oh, now you've done it.
  9. Art in Movies

    I'd like to belatedly post the remaining images from the movie I mentioned above, West-end Love-in. The last one's a painting:
  10. Art in Movies

    Here's an interior.
  11. I won't try and change your opinion, s and m, but I'll offer up an observation I've made before for your consideration. Vertigo (1958) is Alfred Hitchcock's best movie, but it is not the best Hitchcock movie. Vertigo is almost completely opposite from the standard Hitchcock movie. It is character driven, not plot driven. It has virtually no action. It has tension, but no suspense. The pace is, well, deliberate, not quick, or active. There is no MacGuffin. A lot of the dislike--or, let me rephrase it, disappointment a lot of people have for the movie might stem from their unfulfilled expectations for a movie with the name Hitchcock attached to it. For the best Hitchcock movie, you can take your pick, mine is The Birds (1963). But Vertigo is Alfred Hitchcock's best movie, and a masterpiece. For me, it's what makes me rank him with the best. In it, Hitchcock did what he almost never did any time else--at least to any great extent. He explored the characters' inner workings, their motivations, dire needs, compulsions, insecurity, and agony. It has some of his best camerawork, both innovative and magnificent. His expanding space with the use of a telephoto lens to visualize Scottie's disorientation was remarkable. And the culminating scene, where Scottie finally realizes his perverted ambition of recreating his dead love, where he and Madeleine kiss, and they and the camera whirl in an ecstatic dream, all bathed in the sickly green illumination from the hotel's neon sign is one the the great moments in movies.
  12. You seem to be equating the treatment of women onscreen with the r_ape of minors. If I'm wrong, I apologize, but if I'm right, I'm afraid there is hardly any comparison. I agree the depiction of women by Hollywood (and others) has been and continues to be deplorable. And to the extent it contributes to social conditions that lead to monstrous violations, it can be rightly condemned. But in raising your objections to women's treatment on screen you seem to minimize the crimes committed against the vulnerable and powerless and even blame the victims (by the use of quotes). In doing so, you are perpetuating the very cultural norms you object to.
  13. On further reflection, I will say this. Let's take Chinatown (1974) as an example. And it's an especially good one as he's in it. Though he directed it, it also has contributions by a lot of other talented people, the actors, the cinematographer, and the screenwriter, Robert Towne. That could make me reconsider my opinion.
  14. Look how ready people are to defend a child r-apist.

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