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umop apisdn

Women Make Films: Thursday Night Theme running September through December

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Just now, CinemaInternational said:

Perhaps it was a pipe dream, because it was truly given the shaft, but I wish that 1988's Zelly and Me was showing here. Such a haunting little film about an orphaned girl traumatized by a manipulative grandmother (Glynis Johns) who finds the nanny she relies on for kindness (Isabella Rossellini) is being driven away. It was a near perfect portrait of loneliness and it truly touched my soul.

I'm not following you;   How was the film "given the shaft"?

 

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And if we are comparing how many we've seen, I've seen 14 of them:

Merrily We Go to Hell

Harlan County USA

Daughters of the Dust

Mikey and Nicky

We Need to Talk About Kevin

Daisies

Dogfight

Children of a Lesser God

Girlfriends

Lost in Yonkers

The Hurt Locker

Yentl

My Brilliant Career

Crossing Delancey

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2 minutes ago, jamesjazzguitar said:

I'm not following you;   How was the film "given the shaft"?

 

The film was given the greenlight by British producer David Puttnam during his short tenure (one year) at Columbia Pictures. He was forced out of the studio about 6 to 8 months before the film was released. Most of the 22 films he gave the greenlight to were buried by the new regime, not so much released as let out the back door to die.  Zelly and Me was so minimally released that there are no existent box-office records of its release, and, aside from a stint buried on Amazon's streaming platform last year,  it has never been reissued since a late 80s videotape release.

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7 hours ago, UMO1982 said:

Women filmmakers were also writers and producers, not just directors.

..and still are. There's a lot of women in powerful positions all over the film industry; writers, set designers, animators....I think the head of FBC is a woman.

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On 7/12/2020 at 10:14 AM, umop apisdn said:

Well, I am known as the movie buff in the circles I frequent. Topics such as films being pulled from viewing and needing more context has become a topic of conversation. I try facilitate a respectful conversation between differing viewpoints while offering what historical background on the films I know.  I had a conversation just yesterday, with a few 30 somethings about Gone with The Wind and and one said "well no one protested back then". I told them that in fact there were protests and how Selznick dealt with Frank and Ashley's "political meetings". I also told them how Birth of a Nation really galvanized the African-American community to protest such portrayals in film. 

Did they learn something and change their mind? I don't know. Basically, all I can do is start the dialog and maybe educate people.

In my Indian community, I run a movie club and most of the viewers are in aged 60-80 while I just turned 40. We have discussed phrases used in those classic film that are are really jarring today. The most meaningful discussion  was about contemporary Germany events and after watching Fritz Lang's M.  I had explained that many German filmmakers had left Germany in the 1930s, and one elderly gentleman in his 80s was surprised to learn how early the persecutions had started and the increasing levels, specific laws etc.

I like talking things out and learning different perspectives, which I why I really like Jacqueline Stewart. How I wish I were about 20 years younger and still at the University of Chicago. I would have loved to taken classes with her and majored in something not so practical like economics.

Sorry for being rambling and verbose, maybe I should be less annoyed with Mark Cousins, after all.

 

Nope, you shouldn't...be "less annoyed", that is.

OR. to express my support for your dislike of Mr. Cousins' narration style, I'll now attempt an impression of the man and say.:

I agree?...that you upsidedown?...have a discerning?...ear?...when it comes?...to those who you feel?...some documentary filmmakers?...should hire who might be better?...and more capable?...voice-over artists?...for their documentaries?...and because?...their own vocal style?...and/or their accent?...can often be too distracting?...from  the information?...they wish to depart?...upon others?

(...OR, to put it yet ANOTHER way: There IS a very good reason why Ken Burns uses Peter Coyote's vocal skills so much in HIS documentaries)  ;)

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9 hours ago, CinemaInternational said:

And if we are comparing how many we've seen, I've seen 14 of them:

 

I've seen 32 of these.  And isn't the spotlight on Tuesday?

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9 hours ago, Dargo said:

their own vocal style?...and/or their accent?...can often be too distracting?...from  the information?...they wish to depart?...upon others?

Sounds almost like he's trying to imitate Shatner. But.... with incessant....questions.

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This is a great line-up of films, most of which I have not seen (and a fair number I have not even heard of). Sort of disappointed the programmers have not included my friend Patricia Rozema's 1999 adaptation of Jane Austen's MANSFIELD PARK; it would have been perfect for this series.

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23 hours ago, Fedya said:

In the documentary The Wonderful Horrible Life of Leni Riefenstahl made in conjunction with her 90th birthday, she claims that she only agreed to make Olympia on the grounds that the Nazis not ask her to make another movie, and that would have been before the genocide and the big war crimes got going.  She also claims that Goebbels didn't want her using some of the techniques she used in Triumph of the Will.

In any case if they didn't want to air any of the Nazi-era movies, they could show the documentary; or, I believe The Blue Light is obtainable.

And sorry, slaytonf, that I like pointing out the hypocrisy that says going on and on about the 50s blacklist is virtuous (I forget who the one poster is who always claims the blacklist killed John Garfield), but that suddenly when it comes to someone on the losing side of history being blacklisted, how dare you bring it up.

Note that I found this post below on a  they-are-trying-to-take-away-GWTW thread;

"Absolutely not. GWTW is an important part of FILM history. What's next taking books off the shelves in libraries and schools because they are not Politically Correct. Let's just put our heads in the sand and rewrite history."

Looks like that hypocrisy you mention.     But my understanding of  slaytonf's  position is that they consistently are for blacklisting:    E.g.   TCM shouldn't show Woody Allen movies.    

 

 

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17 hours ago, skimpole said:

I've seen 32 of these.  And isn't the spotlight on Tuesday?

Yeah, I made a mistake, I should have written Tuesday. 

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Just because a woman directed it doesn't make it good ... or interesting.

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19 minutes ago, UMO1982 said:

Just because a woman directed it doesn't make it good ... or interesting.

how dare you

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9 hours ago, jamesjazzguitar said:

Note that I found this post below on a  they-are-trying-to-take-away-GWTW thread;

"Absolutely not. GWTW is an important part of FILM history. What's next taking books off the shelves in libraries and schools because they are not Politically Correct. Let's just put our heads in the sand and rewrite history."

Looks like that hypocrisy you mention.     But my understanding of  slaytonf's  position is that they consistently are for blacklisting:    E.g.   TCM shouldn't show Woody Allen movies.    

 

 

I also knew you'd go digging around for that quote, because petty is in your world. There's a big difference between  a MOVIE and the REAL world. Why are you for showing nazi propaganda. It's a lot more dangerous than GWTW, again GWTW is a movie. That woman that was mentioned filmed nazi propaganda. Did you know there were 2,107 reported anti-semetic attacks this year? the world is already a very dangerous place, why should TCM show propaganda and honor the woman by showing her work that was so dangerous when there is still a neo-nazi party here. Shame on you. I applaud TCM for having the good judgment for leaving her out.

 

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14 minutes ago, lavenderblue19 said:

I also knew you'd go digging around for that quote, because petty is in your world. There's a big difference between  a MOVIE and the REAL world. Why are you for showing nazi propaganda. It's a lot more dangerous than GWTW, again GWTW is a movie. That woman that was mentioned filmed nazi propaganda. Did you know there were 2,107 reported anti-semetic attacks this year? the world is already a very dangerous place, why should TCM show propaganda and honor the woman by showing her work that was so dangerous when there is still a neo-nazi party here. Shame on you. I applaud TCM for having the good judgement for leaving her out.

 

Fedya already addressed this: "In any case if they (TCM) didn't want to air any of the Nazi-era movies, they could show the documentary (The Wonderful Horrible Life of Leni Riefenstahl ); or, I believe The Blue Light is obtainable".

 

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1 minute ago, jamesjazzguitar said:

Fedya already addressed this: "In any case if they (TCM) didn't want to air any of the Nazi-era movies, they could show the documentary (The Wonderful Horrible Life of Leni Riefenstahl ); or, I believe The Blue Light is obtainable".

 

Fine. So go rent it or whatever you need to do to see what's so interesting to you. Leave TCM out of it.

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On 7/12/2020 at 4:56 PM, CinemaInternational said:

And if we are comparing how many we've seen, I've seen 14 of them:

I'll bite. I've seen 34 of the films currently scheduled:

MERRILY WE GO TO HELL (1932)

SEVEN BEAUTIES (1976)

MADCHEN IN UNIFORM (1931)

LA CIENAGA (2001)

WANDA (1970)

THE WATERMELON WOMAN (1996)

HARLAN COUNTY USA (1976)

THE VIRGIN SUICIDES (1999)

LOSING GROUND (1982)

DAUGHTERS OF THE DUST (1991)

MIDDLE OF NOWHERE (2012)

WE NEED TO TALK ABOUT KEVIN (2011)

ANTONIA'S LINE (1995)

ANGRY INUK (2016)

THE NIGHT PORTER (1974)

THE BIRTH, THE LIFE AND THE DEATH OF CHRIST (1906)

CHILDREN OF A LESSER GOD (1986)

GIRLFRIENDS (1978)

THE CONNECTION (1961)

LOST IN YONKERS (1993)

MABEL'S STRANGE PREDICAMENT (1914)

OUTRAGE (1950)

HANNAH ARENDT (2012)

SHOES (1916)

THE HURT LOCKER (2008)

STORIES WE TELL (2012)

ORLANDO (1992)

YENTL (1983)

AN ANGEL AT MY TABLE (1990)

MY BRILLIANT CAREER (1979)

THIS IS THE SEA (1997)

CROSSING DELANCEY (1988)

THE DECLINE OF WESTERN CIVILIZATION (1981)

SMITHEREENS (1982)

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19 hours ago, SadPanda said:

Wow. Bossiness is okay here, huh?

As a matter of fact, stick around long enough and see who really is bossy and has nasty comments constantly. Some posters here get a kick out of being contrary no matter the topic. Wait till it's your turn when you voice an opinion and you get the the nasty laughing icon they're known for.

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1 minute ago, lavenderblue19 said:

As a matter of fact, stick around long enough and see who really is bossy and has nasty comments constantly. Some posters here get a kick out of being contrary no matter the topic. What till it's your turn when you voice an opinion and you get the the nasty laughing icon they're known for.

Umm.....okay.

Thank you.

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9 hours ago, SadPanda said:

how dare you

I dare because I can ..... and because what I said is obviously true.

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10 hours ago, UMO1982 said:

Just because a woman directed it doesn't make it good ... or interesting.

But sometimes their identity presents a unique point of view. For example a story about the Southwest US might be presented differently by a director raised in Arizona than a director from the UK.

• CROSSING DELANCEY (1988)

I just recently saw this and found it charming. Sad that ethnic movies may become a thing of the past because of absurd PC.

• YENTL (1983)

I am sad to say I've never seen this. I love Babs, but all the hype around her turns me off.

• CHILDREN OF A LESSER GOD (1986)

Only saw this once-in a theater-and I loved it.

• MERRILY WE GO TO HELL (1932)

The only film listed that I have on DVD.

Otherwise, I am not familiar with anything on the list. Does that mean they aren't as good movies? Or does that mean women filmmakers don't get promoted or as big of a break as men in the biz?

Maybe that's why TCM is doing a spotlight on the subject. For those interested in classic film to larn something. Too bad they couldn't get a better host/narrator?

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39 minutes ago, TikiSoo said:

But sometimes their identity presents a unique point of view. For example a story about the Southwest US might be presented differently by a director raised in Arizona than a director from the UK.

• CROSSING DELANCEY (1988)

I just recently saw this and found it charming. Sad that ethnic movies may become a thing of the past because of absurd PC.

• YENTL (1983)

I am sad to say I've never seen this. I love Babs, but all the hype around her turns me off.

• CHILDREN OF A LESSER GOD (1986)

Only saw this once-in a theater-and I loved it.

• MERRILY WE GO TO HELL (1932)

The only film listed that I have on DVD.

Otherwise, I am not familiar with anything on the list. Does that mean they aren't as good movies? Or does that mean women filmmakers don't get promoted or as big of a break as men in the biz?

Maybe that's why TCM is doing a spotlight on the subject. For those interested in classic film to larn something. Too bad they couldn't get a better host/narrator?

 Of course there were good women directors and good films .... but not all of them. I don't watch a film BECAUSE it was directed by a woman ... or a minority ... or someone who is left-handed. To make a big thing out of this implies  that we should be interested simply because the director was a woman. I only care if the film is any good, I don't care about the gender of the "cook."

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1 hour ago, UMO1982 said:

 Of course there were good women directors and good films .... but not all of them. I don't watch a film BECAUSE it was directed by a woman ... or a minority ... or someone who is left-handed. To make a big thing out of this implies  that we should be interested simply because the director was a woman. I only care if the film is any good, I don't care about the gender of the "cook."

So you don't 'support' any type of theme based programming?     

As part of branding it is common for a network to use theme based programming;   e.g.  when an actor or director dies,   they will feature their work for a day or two,,,. but it can be over done.

OR are you just not into group-based theme programming?  

Anyhow,  I don't agree with this assumption:  To make a big thing out of this implies  that we should be interested simply because the director was a woman.

I.e.  any adult should be able to figure out that a theme is just to highlight a certain 'type' of talent and not 'simply because' that talent belonged to said  'type'.

 

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