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About sineaste

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  1. Tom Waits is definitely your man if you want a growl of a noir sound, and the visuals were good too. Sometimes when people try to capture the noir look, they go a little overboard, but this video got it just right, and also had some original touches.
  2. I haven't listened to them in a while, but those are both good songs, especially Mystery Achievement. I've been a little lax in keeping up with the Pretenders, but their CDs have lots of good songs and very little filler
  3. Part 8 of the Beatles' film Let It Be. Continued disturbance of the peace from the rooftop of 3 Savile Row.
  4. All the Young Dudes seems to pop up quite a bit in memorial concerts for deceased British rock stars, at least those connected with the Bowie era. That makes it a bit of a downer.
  5. Very true. The happy ending is a bit of a stretch, but I can halfway buy it. Two people on the wrong side of the law, who see the light and want to help each other go straight and live decent lives, etc. Maybe. Maybe not. Jean didn't seem to care too much about material things, but I can't see her staying in Skip's bachelor barge for too long. I'd love to see how Skip fills out the Work Experience section of his first employment application. Or, shot in the back by a stinkin' Commie. On the Fourth of July.
  6. http://mos.totalfilm.com/images/t/the-seven-ages-of-sci-fi-part-two--00-429-75.jpg> Don't worry, it's a dry heat. *The Day the Earth Stood Still, Caught Fire, and the Fish Came Out* It's a rough twenty-four hours for the big blue marble as it suffers one catastrophe after another. In the end, good old planet Earth manages to survive all these disasters, though there's a rather unpleasant odor left in the air.
  7. Well, if you're going to delineate a genre, you have to have at least a few defining characteristics. But whatever they might be, I generally find them underwhelming, but to each their own. Whether it is a specific genre or not is not very important as far as I'm concerned. The movie itself is of more importance than the label, though it does make for some interesting debate. Pickup on South Street is a fine noir, mixed in with the old Commie scare. And Skip is ahead of his time with his off the grid living arrangements. After his sarcastic remark to not wave the flag in his face,
  8. An early 1970s British band with solid rock credentials mixed in with a bit of glam, Mott the Hoople had some minor success in the U.S. They did produce quite a lot of good tunes, including Roll Away The Stone, along with goofy BBC announcer, who can't even get the title of the song correct. Bloody hell. http://www.youtube.com/watch?v=_CFUuN__7tE
  9. I remember Stewart giving a somewhat similar speech when he calls out Brandon and Phillip toward the end of the movie, though I believe they left the "you swine" phrase and some other parts out. It came as a bit of a shock because up till then Rupert had been pretty calm and collected. One of the aspects of the movie I noticed was the old "weak link" partner that so often happens in crime pictures. Phillip becomes pretty hysterical and careless in his speech and actions around Rupert and I got the impression that super cool Brandon might just be considering making bigmouth Phillip his
  10. Most of the reviews or writing about film noir that I come across on the net, which perhaps is not representative, usually makes rather conspicuous mention of one of the items on the checklist-the femme fatale, her victim, the lighting effects, the fatalistic view of the world, etc. It becomes very self-reinforcing. And while noir doesn't necessarily have to be set in a big American city in mid-century, that does make up a significant number of the movies classified as noir. But I can appreciate movies not set in that time and place, because, as you say, it is
  11. Well, sometimes film noir is about overreaction. . I agree that the top drawer noirs, where everything is running just right, are very appealing and hit you in a very direct way. Just considering them in retrospect, after the light go up, they seem to have some of the same elements that melodramas have, but that in no way detracts from their entertainment value. And even when they're just average, I enjoy them a little, a sort of genre bias. Maybe we've become too caught up in terms, and should appreciate the individual films for themselves. I like Tom Waits, but never became a big
  12. That is quite a bit to digest, but I can see where the play is quite different from the movie. I wonder if some of the characters in the original play would have been considered types as far as 1920s theater would be concerned. To get back to the play, Rupert, per Hamilton's description, is quite different from Rupert as played by James Stewart, who didn't seem at all foppish or effeminate. The play makes him appear a lot closer to Brandon and Philip in both age and outlook, and though the two killers are the ones truly responsible for their act, Rupert in the play might appear to be
  13. I would be interested in seeing the character descriptions from the original play. I've got to go, so I'll just say I don't see the same emotional involvement from Hitchcock with the themes of the movie, but it's certainly possible. Either way, I think it turned out very well.
  14. Even though the movie is different from the play, Hitchcock himself said he took it on as a stunt, a technical challenge. He even went so far as to refilm the last four or five long takes because he was dissatisfied with the colors made by the setting "sun." I think Rope is one of the better of Hitch's comparatively unknown movies. It has the look and style of a play about a high end dinner party that just happens to be hosted by two privileged killers in a nicely confined space. Very agreeable.
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