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OrsonLubitsch

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About OrsonLubitsch

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  1. I think it is *I Don't Want to Talk About It* (De Eso No Se Habla), directed by Maria Luisa Bemberg from Argentina but starring Marcello Mastroianni. Good film, indeed.
  2. Just my opinion. In preferential order: *THE GREAT DICTATOR* *CHRISTMAS IN JULY* *PINOCCHIO* *THE GRAPES OF WRATH* *THE LONG VOYAGE HOME* *THE SHOP AROUND THE CORNER* *THE PHILADELPHIA STORY* *HIS GIRL FRIDAY* *STRANGE CARGO* *REBECCA* THE GREAT MCGINTY FOREIGN CORRESPONDENT THE THIEF OF BAGDAD FANTASIA THE BANK DICK THE SEA HAWK MORTAL STORM THEY DRIVE BY NIGHT THE RETURN OF FRANK JAMES
  3. I couldn't agree more with your comments, Arkadin. Great list! I will make a point to catch the few I haven't seen. I am more interested in films that have been under-exposed or neglected rather than underrated. Many of the 90s films I love are avant-garde or experimental films not meant for a mass audience. Then we have foreign-language films, which most Americans avoid because they'd rather watch something familiar and something that does not require reading subtitles. The films below are not experimental, foreign, or challenging. And yet, because they were made-for-TV (oh, the horror!) have been forgotten/neglected/overlooked. *THE SECOND CIVIL WAR* (1997): Joe Dante directed this prescient political satire which in which the Governor of Idaho (Beau Bridges) declares war against the Federal government rather than accept the placement of Pakistani orphans in his State. Very smart and funny film. My underrated 90s list would include Dante's Small Soldiers and Matinee. *NIGHTJOHN* (1996): Beau Bridges again! This time, he plays a plantation owner in Charles Burnett's gorgeous, impeccably-acted story of how a 12 year-old girl becomes empowered when taught to read and write by another slave. Extremely moving, optimistic yet realistic film. *THE BOYS OF ST. VINCENT* (1992) Canadian film based on the true story of boys abused at a Catholic orphanage in Newfoundland. Harrowing but never exploitative or graphic. Henry Czerny gives a performance for the ages as Brother Peter. The second part deals with the effects of the experience on the lives of the now adult victims in a mature, engaging manner. All three films are available on DVD, although the latter has become an expensive collector's item.
  4. kingrat, the only Ivan Passer movie I've seen is a really good one he directed in the US: Cutter's Way. I simply Must check out Intimate Lighting. Thanks. Markfp2, you are right. For the country as a whole, the number of independent theaters has been decreasing since the late 80s (my estimate). Some smaller cities are doing fine though, mostly because of the presence of colleges and universities with film programs (enrollment in film schools has gone up). For instance, cities like Austin,TX, Columbus,OH, Charlotte,NC, Portland,OR have screens catering to independent and foreign-language cinema. Still, Hollywood has monopolized exhibition here and and in many countries around the world.
  5. Thanks for the tip. I will watch Not Quite Hollywood on DVD. *The Joke* is also available on DVD http://product.half.ebay.com/The-Joke_W0QQtgZinfoQQprZ3375453, by the way. The novel by Kundera has been translated to English too.
  6. Thanks HollyGoli. My thesis concerns the Salta trilogy of Lucrecia Martel, the best-known and perhaps most talented director of the New Argentine Cinema. I have also recently completed a review of the Aussie cult film Bad Boy Bubby, which will be published in the next issue of Film International magazine. My next essay deals with Suzhou River by 6th generation Chinese filmmaker Lou Ye. It is mostly a riff on Vertigo. Here's a brief comment I wrote years ago about Jaromil Jires. His The Joke is probably my favorite movie of the Czech New Wave. THE JOKE (Zert) by Jaromil Jires Jaromil Jires was born in in 1935 in Bratislava, Czechoslovakia. He attende FAMU, the state film academy in Prague, with contemporaries Ivan Passer and Milos Forman. After making a few shorts and experimenting with Magic Lantern shows, he directed his debut feature, The Cry, in 1963. The film aligned Jires with others who had caught the wave of liberalization surging through Czecholslovakia. It allowed them to make films of daring and innovation. Influenced by both the subjectivity of the French New Wave and the documentary objectivity of cinema verite and Italian Neo-realism, the directors who became known as the Czech New Wave worked within these two influences. Non-professional actors, improvised dialogue, gritty camera work, and keen observations of everyday life were combined with allegory and surreal content to produce highly personal filmmaking styles. The political climate opened up sufficiently to allow these films to be produced and released although the artists still faced official disapproval and controversy. At the same time they attracted international attention and acclaim. The Cry was well received internationally but resulted in Jires being denied the opportunity to make a film for almost five years (Jires is said to have racked up the largest number of rejected scripts of any of the New Wave directors). Finally in 1968, Jaromil Jires directed The Joke (Zert), with the great Milan Kundera writing an adaptation of his own novel reflecting his disillusionment with communism. The plot focuses on Ludvik, an embittered man who seeks revenge for an incident in his youth. He had sent a postcard to a prospective girlfriend in which he sarcastically responds to something she had said about Trotsky. The card fell into the hands of a student committee who failed to see its satiric tone. Ludvik is expelled from the party and the university, and further punished with prison, and years of forced labor. Fifteen years later, an accidental encounter with the wife of a key student leader provides the opportunity for revenge. The Joke alternates nimbly between scenes from the past and present, utilizing frequent cross-cutting, and astutely placed snippets of voice-over narration. The denouement provides surprises at every turn. Eventually, Jires implicates everyone, including the protagonist. The Joke was released in 1968, a turbulent year in Czech history. After a brief period of increased liberalization, the Soviets invaded Czechoslovakia, reestablishing a harsh regime. The film was banned and vanished from Jires' official filmography. (It has been restored and released on dvd in North America). Jaromil Jires went on to direct a highly allegorical film of great repute: Valerie and Her Week of Wonders.
  7. Thanks for your kind comments, Kingrat and H.G.. I defended my thesis today so now I'll have time to post more frequently. I do always check the boards though specially posts from like-minded people like you.
  8. Here in Miami we are actually expanding our "art film" space. Two theaters run by academic institutions are doing well. And the two theaters sponsored by film societies are either expanding programming or moving to larger quarters. A couple of museums have also been offering screenings of "non-commercial" films. My town cannot be the exception. The picture of film exhibition you paint is a bit too dark.
  9. You are referring to the Czech New Wave given the examples you offer rather than a "Classic" era in cinema. I've come up with a dozen titles that constitute a primer on the Czech New Wave, the "must-sees" if you will. I excluded any films made in the past thirty years or films made by Czech directors abroad. CLOSELY WATCHED TRAINS (Jiri Menzel) LARKS ON A STRING (Menzel) THE SHOP ON MAIN STREET (Jan Kadar) DAISIES (Vera Chytilova) ABOUT SOMETHING ELSE (Chytilova) LOVES OF A BLONDE (Milos Forman) FIREMAN'S BALL (Forman) BLACK PETER (Forman) THE REPORT ON THE PARTY AND THE GUESTS (Jan Nemec) DIAMONDS OF THE NIGHT (Jan Nemec) THE JOKE (Jaromil Jires) VALERIE AND HER WEEK OF WONDERS (Jires)
  10. Great picks, HollyGoli! I recently had a marathon viewing of both Heimat and Heimat II At my school (U of Miami), we had a student-only screening of Disney's Song of the South (school-owned fine 35 mm print).Enjoyable but far from Disney's best. I would really like to watch CEILING ZERO and RIDE THE PINK HORSE.
  11. Thanks, HollyGoli. I decided to pick movies I love which are not shown often enough. That's why there's no Welles or Lubitsch among them. Then again, I could have included Welles' CHIMES AT MIDNIGHT and Lubitsch's LADY WINDERMERE'S FAN, which get the short shrift from programmers. Very much looking forward to your picks!
  12. On a clear, sunny day: Frank Borzage's sublime STREET ANGEL (1928) starring Janet Gaynor Henry Hathaway's deliriously romantic PETER IBBETSON (1935) starring Gary Cooper. George Cukor's very queer and Shakespearean SYLVIA SCARLETT (1935) with Hepburn and Grant. Jacques Tourneur's STARS IN MY CROWN (1950) with Joel McCrea Stormy weather: Fritz Lang's DR. MABUSE, THE GAMBLER (1922) Producer Val Lewton's THE SEVENTH VICTIM (1943) starring Kim Hunter Carl T. Dreyer's DAY OF WRATH (1943) Roman Polanski's REPULSION (1965) with Catherine Deneuve
  13. By Brakhage on Criterion DVD is the obvious way to go. A unique artist he was.
  14. The Trouble with Angels: Lupino's directorial swan-song. Next: HALLELUJAH, I'M A BUM!
  15. CAUGHT: Ophuls' materialism critique A personal fave: I WALKED WITH A ZOMBIE
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