Sukhov

Engen, Gaalen

I searched Angela Hill in Google and all I got was some MMA fighter.

The Street Angel was scheduled once but it wasn't shown because of rights issues.

You can't record it on your TV?

Pulgasari - This kaiju film was created by Shin Sang-Ok after he was kidnapped by Kim Jong-Il. It is based on the success of Godzilla1985. The standards of its costumes, sets, and effects are on par with other East Asian and even western films of the time. After the Feudal lord imprisons an elderly man he builds a small figure of a "Pulgasari" and curses the lord. The daughter spills blood on the figure bringing it to life. The Pulgasari feeds on iron and metals and it helps the local militia to fight the lord's soldiers in carefully choreographed battle scenes. The film is actually a metaphor for "historical materialism" as Jonathan Ross notes. The Pulgasari helps to destroy the old feudal order but its taste for iron and mineral resources will lead it to "invade other countries and start wars all over the entire world" as the daughter notes so the villagers become its enemies. Some critics have noted the unintentional similarities between the Pulgasari and the brutal Kim dictatorship as the Kims fought off the Japanese but ended up becoming the enemies of their own people. The Kim family actually got Kenpachirô Satsuma and the Japanese crew of Godzilla to help make the film, though they originally thought they were going to make a film in China. This film is a real bizarre one but stands up to other kaiju films of the time. If you're interested in the genre, I would recommend it. The entire film is available on YouTube with English subtitles.

Carry on Cowboy is a British western set in the old West. These are the British westerns listed on Wikipedia. https://en.wikipedia.org/wiki/Category:British_Western_(genre)_films

Very beautiful film. My favorite scenes are where the group of women shun Emmi on the stairs but then after gaining back their respect Emmi shuns the new Slavic immigrant woman in the exact same way. I think the ending would have been sadder reversed with Emmi in the hospital bed and the audience unsure whether Ali will stay with her or go back to the Couscous woman.

I think he's the son of Dumbo.

Is that Marian Nixon? (she was in the 1932 version of Rebecca of Sunnybrook farm)

A bit in cheek and chin structure I guess, but their eyes look nothing alike and Lemmon's nose is a lot fatter than Kelly's.

Hey, I'm sure cats love jazz too! Here is a clip from Russian jazz comedy "Jolly Fellows." Based on Berkeley and Chaplin comedies the director had seen when he visited Hollywood.

Yeah, Fassbinder was gay as you probably already know. Ali: Fear Eats the Soul which is also on, features his lover El Hedi ben Salem in a lead role too. They actually met in a gay bathhouse!

He's also created by a scientist's concoction rather than being bitten by another werewolf.

22 July - English language Netflix film about the Breivik attacks. This one recounts how he bombed Oslo and then went to the island to shoot all the kids. Interspersed are the family's reactions to their son who was attacked on the island. This one was really well done but also very graphic as it depicts the killings up close. It shows the brutality of the events that day. Very sad film. I recommend it. 7/10

Aren't you a big fan of Bill Maher?

From the foreign additions- 1. Stone Years, Pantelis Voulgaris, Greek edition 2. My Life as a Dog, Lasse Hallström, Swedish edition

My top FF films of 1985 1. Pulgasari, Shin Sang-Ok, North Korea 2. Come and See, Elem Klimov, USSR 3. Ran, Akira Kurosawa, Japan 4. One Second for a Feat, Eldor Urazbayev, Gil-sen Om, USSR 5. My Life as a Dog, Lasse Hallstrom, Sweden 6. Love, Love, My Love, Shin Sang-Ok, North Korea 7. I Loved You More Than Life, Rasim Ismailov, USSR (Azerbaijan) 8. The Tale of Shim Chong, Shin Sang-ok, North Korea/ West Germany 9. Salt, Shin Sang-ok, North Korea 10. Guinea Pig: Devil's Experiment, Satoru Ogura, Japan Mishima: A Life In Four Chapters, Paul Schrader, Japan Police Story, Jackie Chan, Hong Kong Shoah, Claude Lanzmann, France The Fantastic Journey of Mr. Bilbo Baggins, the Hobbit, Vladimir Latyshev, USSR A Time to Live, a Time to Die, Hsiao-Hsien Hou, Taiwan I've also seen... Tampopo, Juzo Itami, Japan The Adventures of Hercules, Luigi Cozzi, Italy Macho Man, Alexander Titus Benda, West Germany

Yeah, I saw that one as a kid. His nemesis (The Dirty Bubble) was played by Charles Nelson Reilly, of Match Game 74 fame. It was the last screen appearance for both actors.

There's nothing wrong with showing them, especially Munchausen because that one is actually very enjoyable and not very political.

RIP Dušan Makavejev – Founder of the Black Wave and lifelong radical The pillar of midcentury Yugoslav cinema leaves an antic, subversive Spend enough time immersed in modern American cinema, and one starts to get the wrong idea about political films. It would appear that to comment on the government would require didacticism, a soapbox, and a sense of gravitas befitting the fate-of-a-nation stakes. In midcentury Yugoslavia, this was not the case. A vibrant, radical, and often bizarre school of filmmaking known as the ‘Black Wave’ sprung from the sociopolitical turbulence of the era, as a new generation of film artists pushed back against state-sponsored oppression with a weaponized offensive of whimsy, surrealism, and subversion. Most prominent among them was Dusan Makavejev, a rabble-rouser with a yen for the silly and provocative in equal measure. He gave the movement a face, an international presence, and in no small part, an identity. Publications in Bosnia and Serbia have confirmed that Makavejev died early this morning at his home in Belgrade. He was 86 years old. Born in Belgrade on 13 October, 1932, Makavejev grew up with an innate understanding of how cruel a country could be to its citizens. Life under crypto-fascist dictator Josip Broz Tito, the horrors of the Holocaust, civil wars, mass purges — Makavejev survived it all, and carried the chip on his shoulder into his art. His films took the powers that be to task, exposing hypocrisy through dark humor and targeted absurdity. His early work in his native Yugoslavia shrugged off the junta’s prescribed doctrine of austerity and repression, suggesting that a good romp in the sack qualifies as an act of protest. It was there that he made his masterpiece, WR: Mysteries of the Organism, a docu-narrative hybrid forging a daring thesis from Warholian pop detritus, John Wayne impressions, Stalinist propaganda, and **** jokes. To this day, it remains startling in its sheer originality and revolutionary spirit. Makavejev’s ideologies attracted the attention of Yugoslav censors, who banned him from the country for sixteen years. He’d continue to expand his filmography from the safe refuges of Sweden, France, and America, landing another festival-circuit triumph with his merrily obscene Sweet Movie. For his final formal work, he contributed a segment to an omnibus film titled Danish Girls Show Everything, a fittingly **** end to a career steeped in the pleasures of flesh. Even so, Makavejev will be remembered primarily not as a common ****, but as a great thinker who understood the potential of erotics to smuggle a more sensitive message to a wider audience. Sex sells, which means sex has to be a necessarily capitalistic enterprise, and it’s in the infinitesimal space between these two ideas that Makavejev set up shop. Experimental, defiant, and able to command an audience, he should live on as the exemplar for all filmmakers pursuing a political bent.

Thank you very much, Lawrence A for mentioning his passing in another thread. I thought this was important enough for its own thread. https://lwlies.com/articles/rip-dusan-makavejev-yugoslav-cinema-black-wave/ RIP Dušan Makavejev – Founder of the Black Wave and lifelong radical The pillar of midcentury Yugoslav cinema leaves an antic, subversive Spend enough time immersed in modern American cinema, and one starts to get the wrong idea about political films. It would appear that to comment on the government would require didacticism, a soapbox, and a sense of gravitas befitting the fate-of-a-nation stakes. In midcentury Yugoslavia, this was not the case. A vibrant, radical, and often bizarre school of filmmaking known as the ‘Black Wave’ sprung from the sociopolitical turbulence of the era, as a new generation of film artists pushed back against state-sponsored oppression with a weaponized offensive of whimsy, surrealism, and subversion. Most prominent among them was Dusan Makavejev, a rabble-rouser with a yen for the silly and provocative in equal measure. He gave the movement a face, an international presence, and in no small part, an identity. Publications in Bosnia and Serbia have confirmed that Makavejev died early this morning at his home in Belgrade. He was 86 years old. Born in Belgrade on 13 October, 1932, Makavejev grew up with an innate understanding of how cruel a country could be to its citizens. Life under crypto-fascist dictator Josip Broz Tito, the horrors of the Holocaust, civil wars, mass purges — Makavejev survived it all, and carried the chip on his shoulder into his art. His films took the powers that be to task, exposing hypocrisy through dark humor and targeted absurdity. His early work in his native Yugoslavia shrugged off the junta’s prescribed doctrine of austerity and repression, suggesting that a good romp in the sack qualifies as an act of protest. It was there that he made his masterpiece, WR: Mysteries of the Organism, a docu-narrative hybrid forging a daring thesis from Warholian pop detritus, John Wayne impressions, Stalinist propaganda, and **** jokes. To this day, it remains startling in its sheer originality and revolutionary spirit. Makavejev’s ideologies attracted the attention of Yugoslav censors, who banned him from the country for sixteen years. He’d continue to expand his filmography from the safe refuges of Sweden, France, and America, landing another festival-circuit triumph with his merrily obscene Sweet Movie. For his final formal work, he contributed a segment to an omnibus film titled Danish Girls Show Everything, a fittingly **** end to a career steeped in the pleasures of flesh. Even so, Makavejev will be remembered primarily not as a common ****, but as a great thinker who understood the potential of erotics to smuggle a more sensitive message to a wider audience. Sex sells, which means sex has to be a necessarily capitalistic enterprise, and it’s in the infinitesimal space between these two ideas that Makavejev set up shop. Experimental, defiant, and able to command an audience, he should live on as the exemplar for all filmmakers pursuing a political bent. - From Love Affair or Case of Missing Switchboard Operator. My favorite film of his-