Arkadin
-
Posts
1,263 -
Joined
-
Last visited
Never
Posts posted by Arkadin
-
-
> {quote:title=ChiO wrote:}{quote} Lots of intriguing titles being bandied about. I am surprised that with Peckinpah being a hot topic, *Pat Garrett and Billy the Kid* hasn't been mentioned. Or is it over-the-radar? It and *Bring Me the Head of Alfredo Garcia* vie for being my favorite Peckinpah movies.(/quote)
You obviously haven't seen *Cross of Iron* yet!
-
He died in his late fifties. Peckinpah had a lot of problems getting his films made. It didn't help matters that he was an alcoholic, which was probably the contributing factor in his demise. *Ride The High Country* was a big hit, but he had lots of problems on the set of *Major Dundee* and battled the producer and actors every step of the way. The film was severely cut by the producers and a commercial flop. This started a reputation that Sam was never able to shake; of being combative and unreliable (like Orson Welles). *The Wild Bunch* was a success, but it too was cut and Peckinpah felt betrayed. The film also drew ire from many critics and people in the industry for its violence and because it closed a chapter on the western style of the fifties (things were changing anyway). Many never forgave him for that. *Straw Dogs* was banned in England for years because of a brutal rape scene, which did not endear SP to the media who thought he just had a taste for blood. By the time he was making *Bring Me the Head of Alfredo Garcia* and *Cross of Iron*, Peckinpah was creating very specialized works that most critics tossed off as trash, but would later re-evaluate as classics (Welles called *Cross of Iron* the greatest antiwar film ever made). Securing funding was always difficult though, and Sam (who was in poor health) struggled to make ends meet, finally directing rock videos in his last days.
-
Hi Molo, I own and love *Lust For Gold*. Great film that made my paltry List Your 100 Favorite Westerns list (could only list about 60). I also had *Pursued*, *Track of the Cat*, and of course *Day of the Outlaw* on that list as well. While you could label all of these as noir styled westerns, They're also psychological and socially conscious films that use the western genre for self discovery.
-
As FF stated, *Straw Dogs* is not a western, but it's a very gripping movie. Other good non-westerns would include *Cross of Iron*, Sam's only war film, *The Getaway*, a heist style w/Steve McQueen, and *Bring Me the Head of Alfredo Garcia*, one of the most harrowing noirs ever made.
-
Be sure and get back to me after you've viewed it. I'd like to know what you think.
-
-
Hi MissG.,
As Chris mentioned, *Silver River* is played on TCM from time to time, usually about once a year. I first became interested as a fan of Flynn and Ann Sheridan, but the supporting roles are great as well. I'll try and post some pics in the Western Gallery thread.
The misogynist view of Peckinpah comes from some of his movies that show violent things happening to the fairer sex. Films they point out include *The Wild Bunch* (1969), *Straw Dogs* (1971), and *Bring Me the Head of Alfredo Garcia* (1974). I personally disagree with this view and think the critics don't understand what they see, or are just simpletons. Peckinpah actually has many scenes within those films that are sympathetic or empowering of women. *Cross of Iron* (1976) and *Ride the High Country* (1962) can also be looked at in this way as well.
*The Lonely Man* is a great film. If you liked *The Tin Star* (also made the same year with Perkins), you should like this. I think *TLM* is a better movie with better performances however.
-
I?ve got a few rhymes for the house:
*The Lonely Man* (1957)
Jack Palance is an aging gunfighter who tries to reconcile with his estranged son (Anothony Perkins).
*Silver River* (1948)
A gambler (Errol Flynn) sets his sights on a mining town. An interesting tale of corruption in business.
*The Ballad of Cable Hogue* (1970)
An easy to find DVD that gets little love, even from Peckinpah fans. For all those who accuse Sam of being a misogynist, this movie proves them wrong. It?s also his most tender film.
*The Face of a Fugitive* (1959)
Fred MacMurray helps a new lawman in his hunt for two killers?one of which is himself.
-
Has anyone mentioned *The Mummy* with Boris Karloff and *The Black Cat* with Lugosi and Karloff? I thought *The Mummy* was sort of funny, because it seemed he walked so slow a turtle could outrun him!
*The Mummy* (1932) is one of my all time favorites. My wife and I watch the film every Halloween. It's sort of our "Wonderful Life" film for that holiday.
Karloff is amazing in this film. You never really see him walk with any kind of a gait. He just glides in and out. His acting is also impressive in it's subtley. He never raises his voice at all, he simply emotes. *The Mummy* decidely veered away from shock and offered thrills of a different kind. It's also a love story and Karloff's parts with Zita Johann are understated and tenderly played. Karloff always brought compassion to every character he portrayed and this one is no exception. How can we the audience, not be enthralled about a love that not only brings about death but supercedes death itself?
-
I'd be remiss if I didn't mention my favorite Giallo classic, *Deep Red* (1975). Although ripped off by American film makers to make such films as *Halloween*, *Friday the 13th*, and other 80's slashers, it's a much more complex film than any of what it inspired and worthy of critical study. It was also one of the first films to combine Horror with rock music, which was pretty unheard of at that time.
-
While I love the novel, The movie of Bradbury's classic just doesn't seem to have the same punch. It's not the fault of the actors however. I think it's the fact that they missed so much of the thought and imagery behind the book.
One part I do like is the scene in the library where Dark meets Will's father and offers him eternal life. That scene is beautifully played and the actors are intense and working off each other. It's worth seeing for that scene alone.
For those that haven't read it, check out Something Wicked This Way Comes. I think it's possibly Ray Bradbury's best book. His later work The Halloween Tree, is a fine companion piece.
-
If you're asking what films have moved and inspired my way of life, I could list a few:
*Stars in My Crown (1950)*
*Europa 51 (1952)*
*El Cid (1961)*
*Harvey (1950)*
*Open City (1945)*
-
I have not been able to put it all together, at least to my satisfaction. But sometimes I ask too much. I like movies that resolve (more or less) at the end, and maybe this one does, but no doubt Godard has given us many straws to grasp at and it's for us to do with it as we will. I really like this movie and I may never tire of viewing it again, and yet again.
I don't know that we are really supposed to put it together in a linear sense. *Contempt* is a film of miscommunication. This is evidenced clearly by the broken relationships, Lang's thoughts, The Odyssey, and even even the inclusion of Francesca, the interpeter. One of the funniest things is Palance's little red book of quotes (I have the answer here) where he says "To know that one does not know is the gift of a superior spirit. Not to know and to think that one does know is a mistake. To know that this is a mistake keeps one from making it."
-
I have the long cut. It's a great film. Hopefully, it will be on DVD soon.
-
I love the *Big Sky*. It's a great film where characters learn about themselves. The plot (although good) is simply a way for us to look inside their ideals and convictions. Sometimes we learn more from seeking than finding and that's certainly true of *The Big Sky*.
-
*The Ninth Day* is an amazing film. I've only seen it once so I don't have much to say here (I don't really feel I can discuss something in depth on one viewing), but I enjoyed it quite a bit. Glad to find someone else who's seen it.
-
No love for *Under the Volcano* (1984), *Night of the Iguana* (1964), *Key Largo* (1947), *Reflections in a Golden Eye* (1967), *The Kremlin Letter* (1970)?
-
We actually discussed this book and the films at SSO awhile back:
http://silverscreenoasis.com/oasis/viewtopic.php?t=2626
I thought lz had a thread here as well, but I don't seem to be able to find it.
-
_Arkadin_ is probably right that the "we the audience are being photographed, including us as participants," but allow me to posit another possibility.
*+The cinema substitutes for our gazes a world more in harmony with our desires. *CONTEMPT* is a story of that world. (camera turns directly to the audience)*+
*With that opening quote from *Andre Bazin* and statement of intent, the camera turns and begins to film us, the audience -- not as participants, but as the subjects. We are not watching a movie and actors; we are projecting our fantasies, our desires, onto the screen. The trials and tribulations of filmmaking may provide the underpinning for a narrative of a failing marriage, but the "real" movie is us. And, if that is the case, then the film is not about voyeurism or even exhibitionism...it is about narcissism.*
That's a very interesting theory, and one I had not thought of. Cinesage discussed the idea as well that Godard was actually trying to create friction between himself and his viewers. His focus was to make us actually feel "contempt" for him and drive us out of theaters! I'd like to quote him accurately, but I can't find the original thread! Hopefully, he will drop in and discuss it. I've heard the color filters are for the respective flags, but like you, I don't really buy that answer. Thoughts and ideas are most welcome here.
*Contempt* is a film of astonishing depth and while I love the movie and have watched it several times, I'll be the first to admit I have barely begun to mine its treasures. I took notes the last time I watched and ended up with five pages of scrawl--front and back!
-
Glad to find another fan of this one. I wrote a post about *Contempt* for the Here's Looking At You Kid (in the Films and Filmmaker section) thread which deals with voyeurism in film.
Hope to see you in the discussion in the days to follow.
-
*I dont know if I can make a case for the voyeurism theme continuing into the second half of the film when Scottie works towards changing Judy into Madeleine. Someone else may want to pick up the ball at this point. But a thought came to me while watching the movie earlier this week (for the umpteenth time): all the while Scottie is undressing Madeleine, Judy is actually aware of being undressed. Judy is aware that she is being followed and spied on. As hes been falling in love with her, she has been falling in love with him; falling in love with this poor sap who is following her, following an illusion. Unbeknownst to Scottie, he is being watched too.*
Scottie is being watched--by us. Many people get all upset when they find out the truth of Judy. They are missing the point. After Madeleine dies, our focus shifts to Scottie (much like when Marion is killed in *Psycho* we are left with Norman as our point of interest).
We observe Scottie, knowing the truth behind all the thoughts and motives. We wonder how he will react should he learn the truth. We see many clues to who Judy is (not just the necklace) and wonder what will trip her up. We observe Scottie's total depravity in his treatment of Judy as the ultimate sex object, never seeing anything in her but the image and undertones of Madeleine. Judy, like Norman, destroys herself to become loved, but also like him in the end, she has no identity and is lost -- figuratively and literally over the parapet.
Just as Madeleine was Scotties obsession, his life has become ours. Hitchcock turns us into voyeurs. He did this with other films in the past *(Rope, Rear Window)* and will continue this line through the early sixties *(Psycho, Marnie)*, but this is the one film where he puts us into the equation with full knowlege. In an almost God-like way, we become observers in the life of Scottie knowing the train wreck of his life is coming, but unable to look away.
Great analysis CM. I feasted on every word.
-
The breakdown of a marriage is not a light subject. John Cassavetes *Faces* (1968) is downright harrowing, while Igmar Bergman?s *Scenes From a Marriage* (1973) is realistic and hopeful, but neither could ever be called beautiful. *Contempt* alone can make such a claim.
Showing tomorrow night on TCM (10/5), Godard uses the camera to tell a story about two people, but the context of their relationship is heightened by a tyrannical director who creates a romantic triangle. *Contempt* is also a triangle of filmmaker, subject and audience, but which of us is the interloper?
This is an amazing film with many layers. I can?t begin to describe them in this short space?nor will I attempt to. Instead, I offer a few observations:
Note how the film begins with the camera over the opening credits, which finally comes to rest on us. Actors, director, even film crew is mentioned. Finally at the end, we the audience are being photographed, including us as participants.
Also important are the American film references here. While French New Wave directors often loved to show their influences, in this film those influences tend to have actual connections with the story. One such incident is when Paul gets in the bathtub with his hat on. Camille asks what he is doing and he replies: ?I?m Dean Martin in *Some Came Running* (1958).? This link gives us insight into Paul?s character, as Dean Martin?s ?Bama? is clearly a misogynist who treats women as little more than toys. *Some Came Running* and *Contempt* also have ties in that both films deal with relationships and hypocrisy. As for Palance?s character, he is a stand-in for the actual American producer who demanded Godard show Bardot in various states of undress to titillate viewers and sell the film. Godard acquiesced by showing Bardot?s naked body at the beginning of the film, slapping us in the face with her curves. By doing this, he removes expectations of sex and lets us see Camille as a real person instead of Bardot playing a character.
Observe how the widescreen process is used to exaggerate the gulf between Camille and Paul. They are often at opposite ends of the frame. In the apartment, they often walk in and out of the frame showing us an empty home. In the theater, the camera has to actually pan back and forth between them as the bitterness deepens.
Fritz Lang plays himself as a director making a film version of The Odyssey, which again has all kinds of references and links to our characters. When they look at the rushes, pay attention to what is said about the characters and do a little research on Greek myth and tragedy if you haven?t studied it before. Lang says very few words in this film, but they are all very important. He is its moral compass and has many interesting things to say about life (as well as the filmmaking process).
Finally, it would be impossible to separate Georges Delerue?s masterful score from the rest of the movie. This is what gives the film its depth, making these characters real to us. Without the music, Contempt is a daring experiment. Its inclusion is what causes the film to live and breathe, turning it into a work of art.
Have fun watching and I hope we can discuss this one.
-
The Verdict (1982)
-
Before we wrap things up, I would suggest that there is a lot that has not been covered. We have not explored films like Keaton's *The Cameraman* (1928) or *Sherlock Jr.* (1924) that show how voyeurism works in comedy. *The Decalogue* (1988) is an incredible set of one hour films that deal with self and objective examination--humanistic as well as spiritualistic. *Network* is an in depth look at the power of media. We were supposed to discuss this, right? *8 1/2* (1963)? *Persona* (1966)? Don't forget *Contempt* (1963) showing this weekend (anyone up for a watching party field trip?)! This film literally begins with the camera dissecting not only the creation of a film, but the dissolution of marriage. What about *The Blue Angel* (1930) where a schoolteacher begins as voyeur and ends as subject?
Best "Under the Radar" Westerns
in Westerns
Posted
Those guys are pretty sensitive about certain things. I've got some friends over there and it's amazing what they will and won't show.