Arkadin
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Posts posted by Arkadin
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I don't really watch that many audio commentaries because frankly, I just don't have the time. Like CS says you could be watching another film during that time.
I will say that every DVD I own with Martin Scorsese doing intros or commentaries has been watched. The man has a great love of the cinema and can pull apart a film in ways that few others can.
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Jules and Jim (1962)
Eyes Without a Face (1959)
Mississippi Mermaid (1969)
Wages of Fear (1954)
Delicatessen (1991)
Belle de Jour (1967)
The 400 Blows (1959)
My Life to Live (1962)
Elevator to the Gallows/Frantic (1957)
The Story of Adel H. (1975)
The Double Life of Veronique (1990)
The Grand Illusion (1937)
Rules of the Game (1939)
Le Bete Humaine (1938)
The Crime of M. Lange (1935)
Le Chienne (1931)
Beauty and the Beast (1946)
Orpheus (1948)
White (1994)
Red (1994)
Le Samourai (1967)
The Green Room (1978)
That Obscure Object of Desire (1979)
My Night at Maud's (1968)
Claire's Knee (1970)
M. Hulot's Holiday (1953)
Mon Oncle (1958)
Playtime (1967)
Weekend (1967)
Contempt (1963)
There's others, but that's all I can pop off the top of my head.
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I've heard of that one, but haven't seen it. Will check it out, thanks.
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Johnny Guitar (1954) was a great one as well.
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For B&W: Day of Wrath (1943)
Color: Contempt (1963)
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Totally agree. We as viewers need to support our tastes. It's sometimes hard to do so when many of the smaller films are not really promoted or not even shown except in some out the way place you can't find.
Many times you don't even know the film came out until it's showing is over.
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I don't have a problem with Speilberg and Lucas. Most of the films they have made have not been to my personal taste, but that's OK.
What I have a problem with, is the studios upon seeing how much money was in those films dumping smaller more intimate films and trying to make another flim like "Star Wars"--not for artistic reasons or a personal vision, but cold hard cash.
I know that the film industry like the music industry IS based on the premise of making money, but when they started gearing pictures more towards young teens (which in a way makes sense as they have the largest disposable income) to the detriment of others I think it really hurt them. they cut out a large section of viewers overnight.
This was already past the intital stage of TV introduction so they can't just say "Well those 30+ people are just gonna stay home and rest their bones by the tube". There was actually less stuff on the TV then than now and home video was just about to hit (ahh the Betamax!), but had not arrived as such.
There are many of us here who love movies, but would not go see a newer film because they are not creating something we find interesting on a regular basis. The few newer pictures we do like are usually discovered upon DVD rental--not in the theaters as it should be.
Charle Parker was an original player in Jazz with a unique style. When everyone stopped exploring their own styles and tried to play like him it really watered down Jazz as a whole.
You could say the same with rock music in the 80's context of Eddie Van Halen. There was NOTHING wrong with these players, but they generated so much enthusiasim that soon no one was doing anything original or new--they were just copying and feeding almost incestual-like off each other.
To come back to film, I don't think it's wrong to make a film like "Star Wars" at all.
What is wrong is to make all films like this and ignore other viewers.
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It looked interesting. I fell asleep early though. How was it?
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I guess I should point out after relating that story that they were life long friends and it was a tale both of them enjoyed re-telling.
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> > In response to a previous reply, I think, in many
> > ways, Joseph Cotten is Orson Welles' equal.
> Neither
> > was better than the other, it's just that Welles
> was
> > more flamboyant, and played those types of
> > characters.
>
> Yes, I'd go along with that. It's the reason they
> complemented each other so perfectly in The Third
> Man. Each was the ideal actor for the role. As so
> often it's the flamboyant actor who gets most of the
> praise.
In Cotton's autobiography he talked about working with Wells in the early radio days. Wells was also putting on the Mercury theater at that point. Cotton was just a beginner and hadn't had much experience.
Wells told Cotton all his faults and said "No, I don't think you have what it takes as an actor,"
Cotton's shoulders slumped.
"but as a Star," continued Wells, "I think you'd do alright."
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I agree. Gods and Monsters is a great film.
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> For the love of all that is Holy . . .Gimme back my
> "Darkness After Dawn"
Indeed.
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There is a ton of sexism and racism in films just like real life. Many of Griffith's statements showed that his thinking (whether intentional or unintentional) of those times was indeed racist.
Some of the racism is overt such as "The Bank Dick" (1940) where W.C. Fields is obviously shocked by the black man behind him who then proceeds to do some stereotypical "shucking and jiving". Not to mention his favorite bar in the club "The Black **** Cafe".
Blacks were pretty much reduced to stereotypes in early (mainstream) films and if you weren't the victim of stereotyping, you were just a butler, or a maid or a porter at the train depot.
"Algernon" in High Serria (1941) is an interesting paradox. The actor (Wille Best) has quite a few lines here--more than the usual comedic relief fare.
Athough it is a very awful stereotyped role, Algernon is seen as a counterpoint to Bogart's character in that he is not accepted and out of place in a world that has no use for his kind. He, Marie (a woman),and Pawd (a dog) relate to Bogie because they are outcasts like himself.
There are tons of other examples I could give or you could just go rent "Mandingo" (1975).
There were many great films that took on racism in an intelligent way such as Patch of Blue (1965), The Learning Tree (1969), Killer of Sheep (1977) and others.
I think all these films are important to see because it helps us to understand what people thought about women and race at various times.
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I think Tom would make a great host. He could certainly rip off the one-liners and stories. Heck, I'd even vote for him to sit through the Essentials w/RO! At least let him pick 4 of his faves. Now where's my Blue Valentine's album?
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Something that I don't think gets enough credit about this film is Ennio Morricone's haunting score. It's an incredible peice of music that adds so much to the mood of the film, yet it can completely stand alone by itself.
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Great film. I went to bed early yesterday, but pulled out the DVD tonight!
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I agree. Humoresque is one of my favorites as well. I also loved her in Possessed (1947), Sudden Fear (1952), and A Woman's Face (1941).
"Cheyney" has been already talked about in this thread and it's one of my faves (of Joan's) from the 30's also.
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Journey's End is a great film. It's sad that Whale is mostly known for his work in the horror genre because he obviously did many other great films.
I'll also go with:
The Big Parade (1925)
All Quiet on the Western Front (1930)
The Lost Patrol (1934)
The Grand Illusion (1937)
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Rope is my favorite Hitch film. I would have cast Ganger and Dall for best villians, but I'd already made them my favorite leading men in another thread!
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I enjoyed Reservoir Dogs and Jackie Brown. I did not really care for Pulp Fiction although like all Tarentino's films there is some great diologue in there. Have not seen either Kill Bill film yet.
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> > Most people who watch slient flims have run into
> this
> > problem at one time or another though, and there's
> > quite an easy solution. Put your own music on the
> > stereo while you watch.
> >
> > When Metropolis was shown with that awful
> soundtrack
> > years back most people just turned down the sound
> and
> > supplied their own music. There are some films
> today
> > where I still do this and it's not a big deal.
>
> The problem with that is, if you're not an expert on
> silents, like I'm not, how would you know if any
> random music that you chose would even fit the mood
> of whatever silent you're about to watch? I'd rather
> have a score done by someone who's put thought into
> that.
Classical music, early 20th century (Charles Ives,etc),early Stride Jazz piano (James P. Johnson, Fats Waller (who played the organ in theaters for silents early in his career)), and early Ambient (David Torn) are all great choices.
I am just suggesting that this might be an alternative to people who don't care for the current score or don't like watching in silence.
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> > Are you kidding? It's hard enough to get folks to
> > watch silents on TCM as it is. To show silents
> > without scores would be deadly. The fact is that
> > silent films were never meant to be shown silent.
> > Simple as that.
>
> That's basically the point I was trying to make, but
> I think you put it accross better than I did
I would agree for general people clicking across TCM they might find a silent scoreless film a big turn off (or at least enough to "turn off" TCM).
Most people who watch slient flims have run into this problem at one time or another though, and there's quite an easy solution. Put your own music on the stereo while you watch.
When Metropolis was shown with that awful soundtrack years back most people just turned down the sound and supplied their own music. There are some films today where I still do this and it's not a big deal.
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It's on DVD at my house!! Just kidding, yes they are both great films. Massey is a wonderful actor who is often overlooked. I have both of them as well and I agree that the RKO version is the definitive one.
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I know foreign films are supposed to be
> considered intellectual, I just usually find them
> dull.
I don't consider a foreign film more or less intellectual than anything else. It's just a film. I'm sure you have seen quite a few English films (Black Narcissus, The Third Man, etc.). Those ARE foreign films.
There are many films that are not in engilish w/ subtitles which may be what you don't care for. Some of these have dubbed english tracks that are quite good so that might be a way for you to get started.
A foreign language film does require more attention (similar to a silent) to understand what's going on.
I know from your posts that you enjoy doing something while you watch the film, but you might try to find a time (dinner, in bed) where you can devote some attention to one. I think you will like what you see.
The definitive film noir
in Film Noir--Gangster
Posted
When you're talking Noir, I think of the Holy Trinity of actors who are very much linked to the genre. These would be Edward G. Robinson, Humphrey Bogart, and John Garfield. You can't leave the devil out so I'd also add Robert Ryan as well.
Out of the Past (1947) is THE definitive Noir because it contains ALL the elements; voiceover, flashback, femme fatale, etc.
My personal list would include:
1)The Maltese Falcon
2)Double Indemnity
3)Scarlet Street
4)Out of the Past
5)Force of Evil
6)Detour
7)In a Lonely Place
8)Gilda
9)Sunset Blvd.
10)Act of Violence
11)Rififi
12)Body & Soul
13)The Setup
14)Touch of Evil
15)Chinatown
16)Le Samourai
18)Leave Her to Heaven
19)The Third Man
20)Kiss Me Deadly