ValentineXavier

> {quote:title=mongo wrote:}{quote} > They sleep by cameras.

I could fill 'em with sand, if I had 'em...

Prohibition era - a pair with Buster Keaton and Jimmy Durante: *Speak Easily* *What! No Beer?*

My favorite terrified coal miner film! Nice big bugs, too.

A pity the Muni/Niemoller film never got made!

Indeed I do remember Cinerama. My grandmother took me to see the earliest ones. I saw *2001* at the Detroit Cinerama, and later, from the front row of the Hollywood Cinerama.

Anti-Nazi resistance: *A Day In October* *Flame and Citron*

> {quote:title=MyFavoriteFilms wrote:}{quote} > *COLD WAR* > *Dr. Strangelove*

> {quote:title=MyFavoriteFilms wrote:}{quote} > *RACE AND JUSTICE* > *Where the Green Ants Dream* *Incident at Oglala*

> {quote:title=MyFavoriteFilms wrote:}{quote} > *DISASTER AT SEA* > *And the Ship Sailed On*

> {quote:title=MyFavoriteFilms wrote:}{quote} > Some of Oliver Stone's films blur that line, almost with relish. With mustard, onions too.

Interesting! I poked around a bit, and found that some of his later films are available on DVD, even if I've never seen them on cable. Further, I found that the library where I work has *Amen.*, a 2002 film about a Nazi officer trying to inform the Pope about Zyklon B, and the death camps. It is well-liked on the IMDb. I'll have to check it out, and check it out.

> {quote:title=cinemafan wrote:}{quote} > Shriners are part of the Masons. I always think of them as the ones with the funny hats - driving tiny cars in parades. Also, can't forget their hospitals. > Their hats are very feztive...

Right, I had forgotten that.

> {quote:title=FredCDobbs wrote:}{quote} > I originally wanted to talk about the film as a film, with all politics being secondary to the filmmaking techniques used to make this film. A reasonable desire, but difficult for what is a political film. > For example, the unusual technique of starting flashback sequences without telling the audience they are seeing flashbacks. Such as when we see Charlie at the beach with the other girl. This happens with just a straight edit following his fathers visit to the Embassy. By then, Charlie was already dead, but we see him at the beach with the girl, after his father visits the Embassy, and only several minutes later do we hear the girl telling the story to Charlies father about being at the beach with Charlie. So only then can we surmise that what we saw at the beach must have been a flashback. > > That type of thing makes this film very difficult for average audience members to follow, and it could be one of the reasons why this film is not better known. Piece of cake for us film noir fans, accustomed to flashbacks within flashbacks, with in... well, you get it. I think the film isn't that well known because of its political content, and time period. *Salvador* and *Walker* are about the same sort of political problems, and good films, but not shown too often. I'd also point out that Costa-Gavras' earlier film *Z* is even less known today, even though most would consider it a better film. I think that's because Costa-Gavras isn't well known in the US. Most of his films seem to be unavailable. But, hey, I'm glad you like *Missing*, and glad TCM showed it. Now, if they would only have a Costa-Gavras night, or week, with a film or two, every night...

I thought I'd try something a bit different here - remakes I'd like to see! *The Sound of Music*, directed by John Waters. It would be sweet - think Hairspray and Serial Mom. *Rebecca of Sunnybrook Farm*, directed by Terry Gilliam. If you have ever seen Tideland, which is perhaps his strangest film, just imagine what he could do with RoSF!

Viet Nam: *Winter Soldier* *The Deer Hunter*

I think "kaidan," or "kwaidan" means ghost story in Japanese. I have seen the two-part 1949 version, called *Yotsuya Kaidan*, but not the 1959 version. The 49 and 59 versions are both based on the same traditional ghost tale, but that particular tale was not one of those in *Kwaidan*. I did record the 1959 version from TCMHD, but have not watched it yet. It is a widescreen film. But, unfortunately, TCMHD showed it 'windowboxed,' so it did not fill the screen. I am hoping they reshow it in the future. I guess that makes two of us!

What? You omitted *Glory* ?

> {quote:title=traceyk65 wrote:}{quote} > > I was referring to the fact that both modern cineplexes and unwashed socks are sort of grey and smelly...and the floor is always sticky (so not extending the sock analogy to that, however) Apart from being grey, I would say that is about the only aspect of modern plexes that is NOT soulless, as disgusting as that might be...

Canine classics: *Call of the Wild* many versions, but I pick 1935 Gable version *A Boy and His Dog* *Cujo* A half a zillion Rin Tin Tin films, and *Won Ton Ton, the Dog Who Saved Hollywood*

NIce pics, but I have to disagree on one thing. Unwashed socks have LOTS of soul. I'm trying to think of something as soulless as a modern movie plex. Perhaps a brand new, unused trash can? I'm lucky in Ann Arbor, where we have the restored Michigan Theater. It shows indy and art house stuff, the Ann Arbor Film Festival, and sometimes series of classic films, occasionally for free. It has also had Welles and Fellini retrospectives. They have an organ, which sometimes plays the score to classic silents. Once in a while they have a small orchestra for a silent.

I'm a Katy Jurado fan too. Perhaps my favorite film of hers is *One-Eyed Jacks*. She had good parts in lots of TV westerns, too, not to mention *High Noon*.

> {quote:title=finance wrote:}{quote} > Most of the smoking I've seen in these films was gratuitous, with no connection to the plot at all. Maybe it was supposed to create some sort of mood. Back in those days, smoking was supposed to be sophisticated and social. Now, of course, the propaganda line is that it's rebellious and death-defying.

I can't help but wonder if the practice didn't begin after Hearst's war against *Citizen Kane*. Edited by: ValentineXavier on Jan 17, 2011 1:58 AM correct typo