Sukhov
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Posts posted by Sukhov
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Robin and Marian
Next: Goldfinger (Sean Connery double feature)
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Briggs, Bobby- played by Dana Ashbrook in Twin Peaks: Fire Walk With Me
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Badi - Poorly made Turkish version of ET. Another remake trying to ape off the success of a popular American film. The alien "Badi" lands on Earth and causes problems for a family. The costume for Badi is very disturbing with a protruding chest (???) and weird lumpy, misshapen skin. This one is in purely so terrible it's funny territory.
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Vahsi Kan - Terrible Turkish "remake" (and I use that term loosely) of the First Blood films. In this film, the main character goes against mobsters who kidnap his family. The mobsters did so on the order of a former war buddy who holds a grudge against him. This doesn't really have a coherent plot or good acting or good effects. A funny oddity though.
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Garfinkle, Louis- story (Deer Hunter)
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Chicago
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Karate Girl
Next: war
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Kameradschaft
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17 minutes ago, LawrenceA said:
I have the Criterion Tree of Life Blu-ray, which includes a version with 50 additional minutes.
I see your agony, and it makes me laugh! Your tears are like a sweet nectar to my sadistic heart!
😈
Yeah but could you make it through Sátántangó?
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1 hour ago, fxreyman said:
Two films out of almost 900 that have small thumbnails showing some nudity? Whats the big deal? If someone was going to import this list into some kind of downloadable file at a workplace, then yeah, there might be a problem. But being that there has been no other comments about this, I think since it his own "favorite" list, I'd classify it as "art", which cinema is a major part of.
As far as his choices are concerned... well this is where subjectivity comes into play. These are "his" favorites. Who knows why he chose Exorcist II or Problem Child? Hell, if you were to view some of my favorites, you'd probably see some questionable selections as well. For instance... Chisum, Ice Station Zebra, Capricorn One, Crocodile Dundee, The Electric Horseman, and so on.
Mine would have Dr. No, Cannibal Holocaust and Conan the Barbarian.
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Kind of odd that Curb Your Enthusiasm is on the list. If it were a short miniseries or something like Twin Peaks: Season 3 that was structured like a movie I would understand it but Curb is really more of a TV show. It is refreshing to see X: the Man With the X Ray Eyes and Shock Corridor on the same list as Aguirre and Fellini. B films are often overlooked but many of them are very entertaining.
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The song is called "You're in the Army Now." It was a famous patriotic war song used in WWI and WWII. "You're in the army now/ not behind a plow, etc."
https://en.wikipedia.org/wiki/You're_in_the_Army_Now_(song)
It's at the beginning of this scene in Yankee Doodle.
Here is the full song on YouTube.
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The Cabinet of Dr. Caligari
Next: a western
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Saps at Sea
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On 1/11/2019 at 5:14 PM, MovieCollectorOH said:
If it makes you feel any better, it will probably never be repeated.
Most of these films are just the ones they usually play around St. Patrick's Day anyways. They just put a theme around it this year.
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Tie Me Up! Tie Me Down!
Next: Normandy
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12 hours ago, slaytonf said:
I've also wondered about how bad that movie looks. Early Technicolor movies like Becky Sharp (1935), or Nothing Sacred (1937) might be excused by the newness of the system. But Life With Father was shot in 1947.
Well the film is in the public domain so that may explain why it looks so bad. Maybe Criterion or some other company will "touch it up" someday.
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https://spectator.us/slavoj-zizek-roma-celebrated/
Slavoj Žižek: Roma is being celebrated for all the wrong reasons
It may be an instant classic, but it’s being widely misread
My first viewing of Roma left me with a bitter taste: yes, the majority of critics are right in celebrating it as an instant classic, but I couldn’t get rid of the idea that this predominant perception is sustained by a terrifying, almost obscene, misreading, and that the movie is celebrated for all the wrong reasons.
Roma is read as a tribute to Cleo, a maid from the Colonia Roma neighborhood of Mexico City working in the middle-class household of Sofia, her husband Antonio, their four young children, Sofia’s mother Teresa, and another maid, Adela. It takes place in 1970, the time of large student protests and social unrest. As already in Y Tu Mama Tambien, Cuaron maintains distance between the two levels, the family troubles (Antonio leaving his family for a younger mistress, Cleo getting pregnant by a boyfriend who immediately abandons her), and this focus on intimate family topic makes the oppressive presence of social struggles all the more palpable as the diffuse but omnipresent background. As Fred Jameson would have put it, History as Real cannot be depicted directly but only as the elusive background that leaves its mark on depicted events.
So does Roma really just celebrate Cleo’s simple goodness and selfless dedication to the family? Can she really be reduced to the ultimate love object of a spoiled upper-middle class family, accepted (almost) as part of the family to be better exploited, physically and emotionally? The film’s texture is full of subtle signs which indicate that the image of Cleo’s goodness is itself a trap, the object of implicit critique which denounces her dedication as the result of her ideological blindness. I don’t have in mind here just the obvious dissonances in how the family members treat Cleo: immediately after professing their love for her and talking with her ‘like equals’, they abruptly ask her to do some house job or to serve them something. What struck me was, for example, the display of Sofia’s indifferent brutality in her drunken attempt to park the family Ford Galaxie in the narrow garage area: how she repeatedly scratches the wall with chunks of plaster falling down. Although this brutality can be justified by her subjective despair (being abandoned by her husband), the lesson is that, due to her dominant position, she can afford to act like that (the servants will repair the wall), while Cleo, who finds herself in a much more dire situation, simply cannot afford such ‘authentic’ outbursts – even when her whole world is falling apart, the work has to go on…
Cleo’s true predicament first emerges in all its brutality in the hospital, after she delivers a stillborn baby girl; multiple attempts to resuscitate the infant fail, and the doctors give the body to Cleo for a few moments before taking it away. Many critics who saw in this scene the most traumatic moment of the film, missed its ambiguity: as we learn later in the film (but can suspect now already), what truly traumatizes her is that she doesn’t want a child, so a dead body in her hands is good news.
At the film’s end, Sofia takes her family for a holiday to the beaches at Tuxpan, taking Cleo to help her cope with her loss (in reality, they want to use her there as a servant, although she just went through a painful stillbirth). Sofia tells the children over dinner that she and their father are separated and that the trip is so their father can collect his belongings from their home. At the beach, the two middle children are almost carried off by the strong current until Cleo wades into the ocean to save them from drowning even though she herself does not know how to swim. As Sofia and the children affirm their love for Cleo for such selfless devotion, she breaks down from intense guilt, revealing that she had not wanted her baby. They return to their house, with the bookshelves gone and various bedrooms reassigned. Cleo prepares a load of washing, telling Adela she has much to tell her, as a plane flies overhead.
After Cleo saves the two boys, they all (Sofia, Cleo and the boys) tightly embrace on the beach – a moment of false solidarity if there ever was one, a moment which simply confirms that Cleo is caught into the trap that enslaves her… Am I dreaming here? Is my reading not too crazy? I think Cuaron provides a subtle hint in this direction at the level of the form. The entire scene of Cleo saving the children is shot in one long take, with the camera moving transversally, always focused on Cleo. When one watches this scene, one cannot avoid the feeling of a strange dissonance between form and content: while the content is a pathetic gesture from Cleo who, soon after the traumatic stillbirth, risks her life for the children, the form totally ignores this dramatic context. There is no exchange of shots between Cleo entering the water and the children, no dramatic tension between the danger the children are in and her effort to save them, no point-of-view shot depicting what she sees. This strange inertia of the camera, its refusal to get involved in the drama, renders in a palpable way Cleo’s disentanglement from the pathetic role of a faithful servant ready to sacrifice herself.
There is a further hint of emancipation to come in the very final moments of the film when Cleo says to Adela: ‘I have much to tell you.’ Maybe, this means that Cleo is finally getting ready to step out of the trap of her ‘goodness’, becoming aware that her selfless dedication to her family is the very form of her servitude. In other words, Cleo’s total withdrawal from political concerns, her dedication to selfless service, is the very form of her ideological identity, it is how she ‘lives’ ideology. Maybe explaining her predicament to Adela is the beginning of Cleo’s ‘class consciousness’, the first step that will lead her to join the protesters on the street. A new figure of Cleo will arise in this way, a much more cold and ruthless – a figure of Cleo delivered from ideological chains.
But maybe it will not. It is very difficult to get rid of the chains in which we not only feel good but feel that we are doing something good. As T.S. Eliot put it in his Murder in the Cathedral, the greatest sin is to do the right thing for the wrong reason.
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The Snake Queen and the Snake Queen's Wedding form part of a film series from Indonesia based on native folklore. A goddess wishing for a daughter creates an egg and hatching from it like a snake is a beautiful woman. In this second film, the snake queen makes men compete to win her affection. Not that great but a mildly interesting oddity nonetheless.
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14 hours ago, LawrenceA said:
It looks like it had a limited release on December 28.
I never expected to come around my way, theatrically. I knew I'd have to wait for home video of some sort.
It'll probably be up online before it even hits theaters.
I checked Netflix to see if it had anything. Gosh, it really irritates me how they'll have the trailer for something but not the actual feature. I could get the trailer from YouTube!
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skipping z
The Avenging Eagle
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The Avenging Eagle - Lawrence mentioned this one in another thread and I really love Hong Kong Shaw Brothers Kung Fu movies so I gave it a watch. A man is raised in an evil clan to fight and kill. After being ordered to kill a pregnant woman he decides to leave but the leader of the clan sends martial artists to bring him back. Along the way he meets a man who helps him, little does he know this man is the husband of the dead woman. Together they embark to fight the evil leader and bring peace to the woman's spirit. I really enjoyed this one. It had good martial arts and the sets and costumes seemed very authentic. My favorite death was any of the ones with the blades that were on the husband's wrists. His ally used a chain device to kill his opponents. A very good film and I recommend it.
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colorizing deserves another shot
in General Discussions
Posted
I kind of like some of the colorized films. Laurel and Hardy colorized-