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Post by Matthew the Swordsman on Oct 14, 2017 22:47:26 GMT
What classics did you see last week? (modern films are welcome too).
Note: Yes, I am posting this a day early. I want to change this thread series so it covers a "normal" Sunday-to-Saturday week. So next week's thread will be Sunday 15 October to Saturday 21 October 2017.
Note: My reply won't include my viewing for Sunday 8 October 2017, since I posted that last week. I imagine other people will do the same.
I hope this isn't too confusing.
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Post by Matthew the Swordsman on Oct 14, 2017 22:48:39 GMT
During the week I dedicated my viewing to films and TV programs produced for Britain's Central Office of Information (COI). The purpose of the films/shows was highly varied, with some intended to be shown in Britain only, and some meant strictly for international distribution. Some were seen by millions of people, while some were only seen by a very limited number of people. Some were shown in cinemas, some weren't.
These were viewed via a series of DVDs known as "The COI Collection": "Police and Thieves", "Design for Today", "They Stand Ready", "Portait of a People" and "Your Children and You". The exception to this was an episode of "This Week in Britain" from 1963, which discussed the making of the film "The Caretaker", this episode was viewed on YouTube.
Note: The "Looking at Britain" shorts are both film *and* TV. In some countries they were shown to an audience via a projector (and thus are film) and in other countries they were shown to audiences via TV (and hence are TV). I guess this may seem odd, but it is common with the output of the Central Office of Information.
Film:
Looking at Britain: National Parks (1961, 15 minutes) - 8/10. Pleasantly dated documentary about national parks in Britain. Features beautifully dated stock music as the soundtrack. My only complaint is that this was this was shot in B&W even though it screams for colour.
The Three A's: A County Modern School (1947, 18 minutes) - 7.5/10. Short documentary about a school in a farming town. Very much of its era in terms of the gender roles shown. Interesting to see some of the fashions of the period. The footage in this film was actually shot for an earlier film several years earlier, and was re-edited in 1947 for a "new" film.
Voyage North (1965, 21 minutes) - 7.5/10. Documentary/recruitment film, showing life aboard a military submarine. Interesting and oddly relaxing.
Looking at Britain: Industrial Town (1962, 11 minutes) - 8/10. A brief but interesting look into life in an industrial town in Yorkshire. The people in the town are hard-working, but enjoy a good lifestyle.
Charley Junior's Schooldays (1949, 9 minutes) - 7.5/10. Beautifully animated cartooon in Technicolor, created to teach people about the new education act, and how it required the building of new schools, training new teachers, etc....
Your Children's Meals (1947, 12 minutes) - 7.5/10. Educational film about the meals of children: how to encourage a child to eat, how to make food look appealing, and serving foods at regular times. Actually a lot more interesting than it sounds.
Shown by Request (1947, 18 minutes) - 7.5/10. Dry but interesting documentary about the Central Office of Information, and how it distributes documentaries to audience. I never knew so much work was involved with running a film library, or that films had catelogue numbers.
Designing Women (1948, 22 minutes) - 7.5/10. Interesting fantasy comedy about how to decorate a home, promoting simple, pleasant furnishings. Odd fact: though not produced for TV, it was shown on BBC TV three times, twice in 1948 and once in 1951.
The Best of Both Worlds (1970, 18 minutes) - 7.5/10. Recruitment film for the Women's Royal Naval Service (WRNS), pleasantly dated. Lots of vintage things on show. For about 3 seconds I even saw a classic camera I bought recently (the Kodak Brownie 44A, already somewhat old when this film was made). Despite being a recruitment film the whole thing is rather calm and relaxing...a reggae song is used as background music in various parts. The biggest surprise: The picture quality is quite good, surprising as films of this kind often suffer from poor picture quality,
Designed in Britain (1959, 14 minutes) - 8/10. A showcase for mid-century design, from furniture to fabrics to architecture.
Child Welfare (1962, 14 minutes) - 7/10. Documentary about how the UK government provides for the welfare of young children. The film has little artistic value, but remains interesting as a document of a time and place.
Tornado (1985, 29 minutes) - 8/10. Beautifully dated, beautifully filmed recruitment film for the Royal Air Force. Lots of retro technology on show, lots of beautiful synthesized background music, lots of cool footage of the airplanes. The only problem is the very poor film stock used, which has washed-out colour and a lot of grain.
The British Policeman (1959, 17 minutes) - 8/10. Charming little documentary about a day in the life of a policeman. From the trivial to the important, various tasks he does are shown.
John Turner, M.P. (1962, 17 minutes) - 7.5/10. The work of a member of parliament. Though this is considered a documentary, there was no such person as John Turner, he was purely fictional. Despite this, IMDb lists the guy as appearing as "himself".
Design for Today (1965, 15 minutes) - 7.5/10. This short is a showcase of mid-1960s design. Everything from household products to architecture to vehicles is shown. There's no narration, just an endless stream of footage of mid-century design. Fun.
Youth Club (1954, 17 minutes) - 7/10. Interesting but dull documentary about a youth club.
Children's Thought and Language (1971, 11 minutes) - ??, maybe 7.5/10? This is impossible to rate. It's not really a film, but really a simple filming of 3-year-old children being tested on their intelligence. For example, they are asked whether two toys are the same, and if not, what the difference between them is. It's very interesting, but not exactly "entertainment".
Sixty Years of Fashion (1960, 18 minutes) - 7.5/10. Basically a fashion show, with models wearing clothes ranging from Edwardian era to 1960. I love looking at women's clothes so IU enjoyed this very much.
Victory Parade (1946, 20 minutes) - 7.5/10. Exactly what the title and date of release suggest: a post-WW2 victory parade. Entertaining, but I really wish it had been shot in colour.
Unit Beat Policing (1968, 22 minutes) - 7.5/10. Instructional drama film on unit beat policing, depicting a fictional crime....the real reason to watch this is to see things like the cars of the period, the architecture, stuff like that. As a drama it doesn't amount to much, but it has value as a historical document.
Mini-skirts Make Money (1968, 1 minute) - 7.5/10. Odd little bit of footage, featuring beautifully dated "swinging 60s" stock music and footage of women's fashion, including (but not limited to) the mini-skirt.
Local Newspaper (1952, 16 minutes) - 8/10. Documentary about a local newspaper.
Children's Society - Aunts and Uncles (1960, 1 minute) - 7.5/10. Public service announcement (or "public information film") about a child living in a children's home, and how two people are taking him out on a holiday. I firmly believe that all of humanity's film and TV output is worth saving, including PSAs.
An English Village (1957, 21 minutes) - 7.5/10. Life in the village of Harting. Pleasant and relaxing.
Winged Horizons (1965, 11 minutes) - 7.5/10. Recruitment film for the Women's Royal Air Force. Well-made and strangely enough breezy and entertaining.
A Family Affair (1950, 16 minutes) - 7.5/10. Documentary about the need for children to have foster parents. The director was Margaret Thomson, who did a good job.
Military Policeman (1961, 7 minutes) - 7.5/10. Recruitment film to encourage teenagers to sign up to become military policeman. When I rate something like this, I rate it as a film and not for its message, and on that note, it is a very well-made, entertaining film. [need to rate]
Speaking of Britain (1967, 25 minutes) - 5.5/10. Perhaps the most dated film ever? The film is about Britain, how it is changing, and why it should change. Britain has changed since 1967 but not in the way the film predicts. For example, the film presents tower blocks proudly, yet within a matter of years they were seen as vile (many of them only stood a short amount of time before they were beyond living in).
TV:
A Chance for Brian (telecast 1977, 6 minutes) - 7.5/10. This short was produced for TV, as part of the Central Office of Information's "London Television Service", which produced many shorts for TV boardcast, most of which aren't listed on IMDb. Though based in the UK, their output was never shown there. This short is about a juvenile delinquent, who finds help after running away from home.
"This Week in Britain" - Episode titled "Savile Row" (telecast 1976, 5 minutes) - 7.5/10. A look into men's suits. Some of the suits are very outlandish. There's also a look at business suits for women. Although produced in the UK, this series was never shown there. It was strictly for international broadcast, and ran from 1959 to 1980.
"A Woman's Place" - Episode titled "Test Tube Babies" (telecast 1985, 29 minutes) - 8/10. Documentary about In vitro fertilisation. Very interesting to say the least.
"This Week in Britain" - Episode titled "Men's Fashions" (telecast 1973, 5 minutes) - 7.5/10. First, we are shown a modern suit, which somehow seems more dated than the older suits. Then, four young adults are shown dancing on top of a moving vehicle while wearing crazy clothes. Confusing? Yes, but enjoyable.
"The Pacemakers" - Episode titled "Biba" (telecast 1970, 13 minutes) - 7.5/10. Short documentary about fashion store Biba. Interesting to see the fashions of 1970, which still had a 1960s flavour to them. "The Pacemakers", from what I've been able to gather, was shown in some countries as a TV series and in other countries was shown in cinemas. It was translated into several languages, including French, Spanish and Arabic.
"A Woman's Place" - Episode titled "The Image Makers" (telecast 1985, 28 minutes) - 7.5/10. Interesting look at the mid-1980s fashion scene, with lots of catwalk footage and fascinating clothes.
"This Week in Britain" - Episode titled "The Mary Quant Show" (telecast 1974, 5 minutes) - 7.5/10. A very, very very brief look at clothes designer Mary Quant. Her 1960s work is shown, as well as her then-current fashions. Fun.
"24 Horas" - Segment from unknown episode, segment titled "Men's Fashions" (1973, 5 minutes) - 7.5/10. An oddity: a segment produced for Mexican television by Britain's Central Office of Information. This is a Spanish-language version of the "Men's Fashions" episode of "This Week in Britain". Interesting, and just as weird as the English-language version.
"This Week in Britain" - Episode titled "The Caretaker" (telecast 1963, 4 minutes) - 7.5/10. Interesting look into the production of the film "The Caretaker". I might check out the film if I get the chance.
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Post by wmcclain on Oct 14, 2017 22:57:47 GMT
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Post by Matthew the Swordsman on Oct 14, 2017 23:03:41 GMT
wmcclain Only three films? I expected more from you. Unless you do all your viewing on Sundays or something like that....
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Post by OldAussie on Oct 15, 2017 1:49:17 GMT
1st view -
The Last Unicorn (1982) 5/10
Hot Shots! (1991) 5/10
Revisit -
Blade Runner (1982) Television broadcast of the original/voiceover/happy ending version 7/10 - (Final cut 9/10)
The Flim-Flam Man (1967) 7/10
Laura (1944) 8.5/10
Marathon Man (1976) 8.5/10
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Post by Matthew the Swordsman on Oct 15, 2017 2:01:00 GMT
OldAussie I should re-watch Laura at some point. I remember enjoying it when I last watched it, but that was several years ago.
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Post by politicidal on Oct 15, 2017 2:09:32 GMT
My Cousin Rachel (2017) - 5/10
Momentum (2015) - 2/10
The Crash aka Jekyll Island (2017) - 3/10
Megan Leavey (2017) - 6/10
Everything, Everything (2017) - 5/10
Doc Savage: The Man of Bronze (1975) - 3/10
The Bad Seed (1956) - 6/10
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Post by claudius on Oct 15, 2017 13:52:24 GMT
Okay...
Late Oct 8 to Oct 14
THE SIMPSONS (1992) "Homer the Heretic" Dir: James Reardon. 25th Anniversary viewing Oct 8 1992. Fox Video DVD.
THE FORSYTE SAGA (1967) "The White Monkey" Dir: James Cellan Jones. Warner/Turner/BBC Video DVD.
MONTY PYTHON: ALMOST THE TRUTH (THE LAWYER'S CUT) (2009) "The Not-so-Interesting Bits, The Much-Funnier Second Episode, The Ultimate Holy Grail Episode, Lust For Glory." Dir: Bill Jones, Alan G. Parker, Ben Timlett. DVD.
ER (1997) "Friendly Fire" Dir: Felix Enriques Alcala. 20th Anniversary Oct 9 1997. Warner DVD.
NARUTO SHIPPUDEN (2015) "Neji's Judgment, Hopes Entrusted to the Future, The Formation of Team Minato." Viz Media DVD.
FALL OF EAGLES (1974) "Absolute Beginners" Dir: Gareth Davies. Koch Video DVD.
THE FORSYTE SAGA (1967) "Afternoon of a Dryad" Dir: James Cellan Jones. Warner/Turner/BBC Video DVD.
BATMAN: THE ANIMATED SERIES (1992) "Mad as a Hatter" Dir: Frank Paur 25th Anniversary Oct 12, 1992. Warner DVD.
THE KING OF KINGS (1927) Dir: Cecil B. DeMille. 90th Anniversary this year. Original cut. Criterion Collection DVD.
SATURDAY NIGHT LIVE (1977) "Hugh Hefner/Libby Titus" 40th Anniversary this weekend. Universal DVD.
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Post by howardschumann on Oct 15, 2017 20:39:01 GMT
CALL ME BY YOUR NAME
Seen at the Vancouver International Film Festival
Directed by Luca Guadagnino, Italy, France, Germany, U.S., (2017), 132 minutes
“And if the earthly no longer knows your name, whisper to the silent earth: I’m flowing. To the flashing water say: I am” – Rilke, Silent Friend
Chiron, in Barry Jenkins’ Oscar-winning film “Moonlight,” in addition to being gay and black, has to deal with drug abuse, bullying, and the lack of a supportive home environment. In contrast, in Luca Gaudagnino’s (“A Bigger Splash”) achingly beautiful Call Me by Your Name, 17-year-old Elio’s (Timothée Chamalet, “Miss Stevens”) life is safe, comfortable, and loving though, like Chiron, he must come to terms with his true identity. Written by three-time Oscar nominee James Ivory and adapted from the 2007 novel by André Aciman, the film is set in the summer of 1983 where Oliver (Armie Hammer, “Nocturnal Animals”) is an American research assistant studying with art history Professor Perlman (Michael Stuhlbarg, “Arrival”) at Perlman’s gorgeous villa in Northern Italy.
Oliver arrives at this idyllic setting with its gardens, peach trees, and lakes to greet the professor, his wife Annella (Amira Casar, “Saint Laurent”) a lover of German poetry, and his teenage son Elio who speaks several languages and transcribes piano scores for the guitar. Shot by Thai cinematographer Sayombhu Mukdeeprom (“Uncle Boonmee Who Can Recall His Past Lives”) and buoyed by the music of Sufjan Stevens, it is easy to feel yourself present in the languid summer afternoon, as Aciman expresses it, “with the scent of rosemary, the heat, the birds, the cicadas, the sway of palm fronds, the silence that falls like a light linen shawl on an appallingly sunny day.”
Elio now has to shift his focus from pursuing his French girlfriend Marzia (Esther Garrel, “Daydreams”) to show Oliver around town and give him bike tours of the area. Soon, however, he becomes annoyed by the American’s brusque manner and his abrupt “later” whenever he’s leaving. When Elio, who is Jewish, sees Oliver wearing a Star of David on a chain around his neck, however, he finds a common bond, jokingly telling him that his mother considers their family to be “Jews in discretion.” Sharing the same bathroom, their friendship begins to expand when they engage in conversation and go swimming together. Although Oliver gives Elio a neck massage during a volley ball game, the boy seems unable or unwilling to process the feelings that it brings up in him.
When Oliver causally tells Elio that he seems to know everything, the teenager confesses that he knows everything except “what really matters.” Even when physical intimacy is established, there is the sense that they hold back from fully expressing their feelings and even prefer not to talk about them. Chamalet, in his first leading role, is a revelation, delivering a deeply affecting performance that shows great promise. Hammer’s performance is restrained but also fully believable, making sure that the age difference does not get in the way of the honest and genuine relationship they have established. As they deepen their friendship, like lovers, their identities blend into each other and they express it verbally by taking each other’s name. Call Me by Your Name is not an “us versus them” movie. There are no real antagonists in the film. It is a celebration of love in all its wonder and mystery.
There is gay sex in the movie but, like “Moonlight,” it is about more than sex. As Guadagnino says, “it is about compassion, trust, and wisdom.” All three of these values are expressed in the conversation between Elio and his dad, an interchange that is moving and wise. Though the film is “gay-themed,” Guadagnino does not pigeonhole the characters into familiar categories and his refusal to deal in stereotypes or manufactured emotion gives the film the space to breathe and reach the place where tension can grow. Like “Moonlight,” the film has a universal appeal and can touch anyone who has ever felt the confused and conflicting longings of first love, or who knows from experience that, “The joy of love is but a moment long. The pain of love endures the whole life long.”
GRADE: A+
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Post by howardschumann on Oct 15, 2017 20:41:14 GMT
WEST OF THE JORDAN RIVER
Seen at the Vancouver International Film Festival
Directed by Amos Gitai, Israel, (2017), 86 minutes
“You’re right from your side and I’m right from mine. We’re both just one too many mornings and a thousand miles behind” - Bob Dylan
In the Israeli-French co-production West of the Jordan River, Israeli director Amos Gitai returns to the West Bank to interview journalists, politicians, non-profit groups, and ordinary citizens attempting to resolve the seemingly never-ending dispute between the Israelis and the Palestinians. Mainly shot in Hebron, the largest Palestinian city in the West Bank, the film’s subheading “Field Diary Revisited” recalls the 1982 documentary “Field Diary” in which Gitai visited the occupied territories immediately prior to and after the Israeli army's invasion of Lebanon. Reaction to the film’s criticism of Israel settlers, however, led to Gitai’s self-imposed 10-year-exile in France.
West of the Jordan River opens in 1994 when the then 35-year-old Gitai interviews Prime Minister Yitzhak Rabin about the peace process. According to Gitai, Rabin was “a man with a certain simplicity. Even if you disagreed with him, he was the only Israeli political figure who told the truth. He was rare… the only leader who sought dialogue, who sought agreement.” Now twenty two years after Rabin was assassinated by a Jewish extremist who opposed the Oslo accords, Gitai says “And now…we are feeling the lack of a real political figure who wants to move forward, a lack that puts the whole Israeli project in danger.”
He asks “What can we do? We can make a film. It’s a beginning. You have to be optimistic, and you mustn’t be bitter about your own country because your country is the source of your inspiration.” Though the film is heavily weighted toward an anti-government point of view, Gitai gives space to both sides including the young Israeli foreign affairs minister, Tzipi Hotovely who strongly defends the government’s policy in the occupied areas. An editor from the newspaper Haaretz, however, offers a deeply pessimistic comment that if Israel continues to support Jewish settlements in the West Bank and Gaza, it is likely to cross the point of no return and disappear within ten years.
As the film progresses, however, a strong desire for peace and reconciliation emerges through the quiet, thoughtful questions posed by the director. In one scene, “The Parents Circle,” a support group for both Israeli and Palestinian mothers who have lost sons in the conflict, come together to share the personal impact of their loss. Also featured are discussions with the non-profit group “Breaking the Silence” which encourages Israeli military veterans to talk about the harsh reality they have personally encountered in the West Bank. Though many work for reconciliation including those in the non-profit group “B’Tselem,” also known as “The Israeli Information Center for Human Rights in the Occupied Territories,” the culture of revenge and martyrdom runs deep.
In a heartbreaking moment, a 10-year-old boy tells Gitai that his dream is to blow himself up and become a martyr for Allah so that Allah will tell him about the good work he did during his life. In a more positive scene, Gitai talks with an Israeli settler who was shot in the hip by a would-be terrorist but who shows sympathy and understanding for the problems of the Palestinians. For those familiar with the issues, West of the Jordan River is a timely reminder of the human cost of the conflict. For those unfamiliar with the circumstances or the political players involved, however, the film does not clarify the issues or offer any background or context.
While Gitai acknowledges that there is intransigence on both sides, dramatized by the circular motion of a carousel going round and round, he neglects to mention that the Palestinians have consistently refused a two-state solution and, even to this day, do not recognize Israel’s right to exist. In the Oscar-nominated 2001 film Promises by B.Z. Goldberg, a documentary that looks at the Arab-Israeli conflict from the point of view of seven Israeli and Palestinian children, one Jewish boy asks, "In war both sides suffer, maybe there's a winner, but what is a winner?" That question is still being asked sixteen years later.
GRADE: B+
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Post by morrisondylanfan on Oct 15, 2017 20:44:59 GMT
Hi all,whilst reading the papers filled with the Fall of the House of Weinstein,I saw... Italian duo:  All the Colours of the Dark 8 Given the challenge of carrying a one woman film,the super sexy Edwige Fenech gives an excellent performance as Jane Harrison. Chasing Giallo mystery and (loose) religious Horror,Fenech captures a fracturing of fear over Jane's face with a lingering of the sorrow just underneath the surface. Taking the traditional role of the girl in a Giallo, George Hilton reunites with Fenech to give a very good performance as Richard,with Hillton giving some rugged fear to the darkness. One of only two gialli to have the leads be parents who lose a child,the screenplay by Ernesto Gastaldi/Santiago Moncada and Sauro Scavolini bend the mystery into devil worshipping yelps. Whilst the devil antics give the flick a trippy vibe,the writers never explain how it is helping Jane, (apart from the wild sex!) which leads to the masses distracting from the building unease. Delving into Jane's scrambled state,director Sergio Martino expands the psychedelic flourishes of Wardh a with dazzling,ultra-stylised spray of colours across the screen painting the blending of fantasy and reality in Jane's mind. Pulling the mask off the killer early on,Martino finds other mysteries for the Giallo thrills,via expertly framed reflecting shots, designed for the foreground to unveil the sinister slithering in the background of Jane's life,as Martino paints with all the colours of the dark.  Febbre da cavallo 7 Whilst the boys get to have most of the fun in the movie, Catherine Spaak is still able to sparkle as Gabriella,thanks to Spaak giving Gabriella a feisty edge which strikes at the mishaps of the trio. Causing each other to fail at the races, Gigi Proietti and Enrico Montesano each give very funny performances as 'Mandrake' and 'Er Pomata',with Montesano giving Pomata a fake humble earthiness,and Proietti covering the money losing Mandrake with a rich layer of arrogance. Losing all their money at the races,the screenplay by co- writer/(with Alfredo Giannetti/Massimo Patrizi and Enrico Vanzina) director "Steno" sends Pomata and Mandrake on the tracks of loose- linked Comedy set-pieces based in them finding ways to fund their habit,from Pomata uses his grandmother to get the gangsters off his back for debt,and Mandrake using his fake businessman swagger to get cash in hand. Whilst the set-pieces are stretched a bit too long,the writers do well at keeping the comedy antics rolling by increasingly pushing the duo in a corner. Backed by a chirpy music score by Franco Bixio/Fabio Frizzi and Vince Tempera, director Steno and cinematographer Emilio Loffredo keep the atmosphere fast-paced with whip-pans following Mandrake and Pomata's money making tricks at the races. RKO duo: Hotel Reserve (1944) 6 Taking not one,but three directors to make (!),the mix of the trio leads to a constantly unsettled changing of tone. Put together by editor Sidney Stone,the film darts between a murky Spiv tale and a jet-set Thriller abrasively, with it going from stylishly low shadows and seeping steam,to the light-Thriller sunny outdoors with no shading of dour darkness intact. Being the main person who almost keeps things together, Lennox Berkeley delivers an excellent score, (he sadly only did 4 scores) which pounds on the anxiety and unease of Vadassy's secret mission. Going into the hotel from Eric Ambler's book Epitaph For A Spy, John Davenport (who was literary editor of "The Observer newspaper) casts an eye on espionage in tense exchanges between Vadassy and his fellow guests at the hotel,with the clipped exchanges between them all signalling hidden secrets. Finishing Vadassy's mission with a twist that would later be used in a large number of Gialli, Davenport cleverly makes the twist work by having Vadassy casually build the wrong impression in swift asides. Joined by a simmering Herbert Lom and elegant Patricia Medina as Andre and Odette,James Mason gives a terrific,dashing performance as Vadassy,who spies on the hotel reserves. My Favorite Wife (1940) 7 Taking over at the last minute when Leo McCarey got hurt in a car accident, (with McCarey's injuries making the comedy atmosphere desired on set difficult to retain) 27 year old director Garson Kanin enters the production with an impressive ease,as Kanin,editor Robert Wise (and un-credited editor McCarey) & cinematographer Rudolph Maté stylishly break the frame in two,so that the set-up and reaction to the punchlines are shown at the same time. Starting without a script in place, the writers never quite overcome the sown-together feel of the movie,but do weave a number of wonderful threads. Holding Nick and his two wives in the same hotel,the writers lock them in with sparkling Screwball Comedy dialogue which zips along Nick's very funny attempt to keep each wife unaware of the other. Introducing Bianca and Ellen to each other causes some of the one liners to lose their sparks to dry Drama,which gradually gets pushed aside by the playful rivalry between Nick and Burkett. Flatmates off-screen, Cary Grant and Randolph Scott both give terrific performances as Nick and Burkett,with Grant giving Nick shocked,slippery reactions to the sight of his "dead" wife",whilst Scott grabs the eyes of all the ladies,as a chiselled Burkett. Returning from the dead Irene Dunne gives a wickedly dead-pan performance as Ellen,whilst Gail Patrick hits the Screwball punchlines wide as Bianca,as Nick decides who his favourite wife is. |
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Post by mikef6 on Oct 16, 2017 0:07:37 GMT
Madame Curie / Mervyn LeRoy (1943). This superb bio-pic (they knew how to do them back in the day) is, I believe, virtually forgotten today. Marie Skłodowska (Greer Garson) is discovered in a huge lecture hall in Paris during the late 19th century. She is the only woman in the hall listening to a physics lesson delivered by Professor Jean Perot (Albert Bassermann). When she passes out from hunger, the professor takes her under his wing only to find out that she is more intelligent than his male students. As Perot tries to find her a space in a laboratory to do independent research, he turns to the brilliant but socially inept scientist, Pierre Curie (Walter Pidgeon). His creation of M. Curie is at once shy, resilient, determined, comic, and touching. My favorite acting in the film. Curie and Sklodowska marry and begin researching together. Their university, not believing their theory of a new element that was not inert, allowed them only a dilapidated building on campus for their experiments. There follows a great set-piece as they first set up a smelting operation in which they melt down tons of boron and then go through years of leaching out all traces of known elements from the result. Their final discovery of the new element – which they call radium – is a scene of great power. Robert Walker, as Curie’s lab assistant, has one good comedy moment of confusion and delight when Marie comes to the laboratory for her first day. Also with Harry Travers, May Whitty, Van Johnson, and Margaret O’Brien as the Curie’s young daughter.
Greer Garson came a long way from her birth to final resting place. Born in Essex, England, she got her start on stage in England. From there she came to Hollywood and became a huge star – which not many people remember today. She is tied with Bette Davis for the most Oscar nominations in consecutive years (5). I’m afraid that her star has considerably waned compared to many of her contemporaries. She married her third husband, a Texas oil man and rancher, in 1949. After she retired, she lived the rest of her life with him on ranches in Texas and New Mexico. She and her husband are buried in a Memorial Park near a very heavy trafficked intersection in Dallas, Texas. Thousands, maybe hundreds of thousands, of vehicles pass by there every day and I doubt there is one in ten thousand who have ever heard of her, much less know that she lies nearby.
Mozart: Die Zauberflöte (The Magic Flute): Metropolitan Opera HD Live (2017). The October 14 Saturday matinee streamed live in HD to movie theaters. One of Mozart’s last and most deeply spiritual compositions, “The Magic Flute” was written and first produced in a popular theater rather than an opera house. The libretto was written by the theatrical impresario Emanuel Schikaneder (played by Simon Callow in “Amadeus”) and premiered at his theater. Technically, the work is a singspiel. Not considered opera in its day, it alternates spoken words with songs, not unlike today’s Broadway or West End musicals – but “The Magic Flute” is so much more. It is one of the world’s great treasures. During the interviews at intermission, one singer was asked why he liked his role. He replied, “It is good for the voice and good for the spirit.” Another singer said that performing this music was “food for the soul.” The same things are true for us who watch and listen.
…Continuing my trek through the ten years of Doctor Who: New Series, leading up to the Christmas Special on December 25 when current Doctor, Peter Capaldi, will cede the TARDIS to Jodie Whittiker, the first female actor to play the title role. Here is the second half of the first season:
S. 1 Ep. 7 “The Long Game” April 21, 2006. Written by Russell T Davies. Written by head producer and showrunner Davies (who penned 8 of the 13 episodes in season one), I thought, on first viewing 12 years ago, that this was the first “routine” story of the new series. The Doctor and Rose land on a future Earth and find (as has happened so often in Doctor Who history) that the people are in thrall to some mysterious overlord who turns out to be an evil space alien. Seeing it again for the first time in a decade, this story has risen considerably in my estimation. It is more intricate and science oriented than I remembered, contains a bit of social satire that is even more relevant today than in 2005, and features a delightful turn by guest star Simon Pegg as a gleeful villain and the human spokesperson of the alien – he’s a banker protecting his investment. Still the least of the first season adventures, it is very much worth watching.
S.1 Ep. 8 “Father’s Day” April 28, 2006. Written by Paul Cornell. Rose asks The Doctor to let her see her father who died when she was an infant. Against his better judgment, The Doctor travels with her to the day her father was killed by a hit and run driver. Things go wrong with Time so the entire Earth is threatened with destruction. Writer Paul Cornell, who has a long history with the Doctor Who franchise as novelist as well as screenwriter, pens one of the show’s most emotional and moving stories.
S.1 Ep. 9 & Ep. 10 May 5 & 12, 2006. “The Empty Child” and “The Doctor Dances” Written by Steven Moffat. This excellent and scary two-parter was written by Steven Moffat, the future head writer and showrunner (starting with season 5). A new continuing character, Captain Jack Harkness (John Barrowman) is introduced. The Doctor makes some Sherlockean level deductions in the second episode to end this chapter.
S.1 Ep. 11 “Boom Town” May 19, 2006. Written by Russell T. Davies. The last surviving member of the alien crime family, the Slitheen from the planet Raxacoricofallapatoria, plots to open a space/time crack to power her escape from our solar system. The Doctor, Rose, and Captain Jack have to stop her.
S.1 Eps 12 & Ep. 13 “Bad Wolf” and “The Parting Of The Ways” June 2 & 9, 2006. Written by Russell T. Davies. This two-part finale to season one is complex, surprising, and even epic. More than one viewing is recommended for complete understanding. John Barrowman leaves after three stories as a regular to take Captain Jack to a new series, “Torchwood,” the first of three spin-offs to come, Also, Christopher Eccleston completes his era as The Doctor after a single season, regenerating (as Time Lords can do to “cheat death”) into actor David Tennent in the last seconds of the last adventure. Even before this, the BBC had announced the show’s renewal for a second series.
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Post by rudeboy on Oct 16, 2017 0:25:16 GMT
CALL ME BY YOUR NAMESeen at the Vancouver International Film Festival GRADE: A+ is one of my favourite contemporary novels - an absolutely beautiful, shattering work. I am so thrilled that the film appears to do the novel justice... this is my most anticipated of the year by a long way! |
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Post by kijii on Oct 16, 2017 0:43:57 GMT
My Cousin Rachel (2017) - 5/10 Momentum (2015) - 2/10 The Crash aka Jekyll Island (2017) - 3/10 Megan Leavey (2017) - 6/10 Everything, Everything (2017) - 5/10 Doc Savage: The Man of Bronze (1975) - 3/10 The Bad Seed (1956) - 6/10 Have you seen the Burton/de Havilland version of My Cousin Rachel (1952)? I tried this year's version, but the earlier one is much better: www.imdb.com/title/tt0044937/reviews-33 |
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Post by politicidal on Oct 16, 2017 0:45:59 GMT
My Cousin Rachel (2017) - 5/10 Have you seen the Burton/de Havilland version of My Cousin Rachel (1952)? I tried this year's version, but the earlier is much better .
Didn't even know it existed. I'll check it out. Yeah, the 2017 one looks good and I though Rachel Weisz did fine but otherwise I found it a slog to get through. |
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Post by kijii on Oct 16, 2017 0:59:24 GMT
Have you seen the Burton/de Havilland version of My Cousin Rachel (1952)? I tried this year's version, but the earlier is much better .
Didn't even know it existed. I'll check it out. Yeah, the 2017 one looks good and I though Rachel Weisz did fine but otherwise I found it a slog to get through. What is interesting about the 1952 version is that it was Richard Burton's first feature film, and he was every bit as good as the veteran Olivia De Havilland. One would have thought of them as equal status at that time (which they weren't on film at least). Also, received a nomination for Best Actor in a Supporting Role "right out of the gate." Daphne du Maurier was still alive to see that performance too. |
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Post by howardschumann on Oct 16, 2017 0:59:52 GMT
CALL ME BY YOUR NAMESeen at the Vancouver International Film Festival GRADE: A+ is one of my favourite contemporary novels - an absolutely beautiful, shattering work. I am so thrilled that the film appears to do the novel justice... this is my most anticipated of the year by a long way! I haven't read the novel but it is a beautiful film, best film I've seen this year by a mile. Not scheduled for release until the end of November but I hope you can get to see it. I think it is Oscar worthy though it might be a stretch for some of the old fogey judges. |
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Post by manfromplanetx on Oct 16, 2017 1:19:09 GMT
Another high quality Japanese film Classics week for us Sakura no mori no mankai no shita , Under the Cherry Blossoms (1975) Masahiro Shinoda On a lonely forest track "Mountain Man" (Lone Wolf and Cub’s Tomisaburo Wakayama) in an indiscriminate violent rage murders a man and his servant, but refrains from killing the delicate wife ( Shima Iwashita), struck by her beauty he decides to keep and take her as his wife. Any thoughts of compassion for the woman are quickly dispelled , rather than being a submissive helpless victim, the beautiful city woman demands to be carried on his back, along the way she constantly browbeats the self proclaimed lord and strongman of this wild mountain realm. At every opportunity she taunts and questions his very "manliness". The gruff and brutish mountain man has been dethroned, he now bends to her every whim and is totally occupied by the excessive, extreme demands of his manipulative new wife.... .. AKA Under the Blossoming Cherry Trees it is an extraordinary film that defies any simple categorizations. A grisly, erotic adult fairy tale ? Creatively composed the film seamlessly blends elements of traditional Japanese theatre, folktales, ghost stories/supernatural, socio-political commentary, anti-imperialist sentiment, very dark humour and existential philosophy, the film is based on a 1947 short story by Ango Sakaguchi. Startling and bizarre with touches of the surreal the twisted captivating love-story is both mercilessly cruel and darkly funny. Through many of his films director Masahiro Shinoda explores the role of women in Japanese society under the traditional dominant masculine world, here there is a suggestion that the real oppressors are women, and it is really they who are in control.... Wonderfully eerie music from Tôru Takemitsu and superb cinematography stimulate the senses intensifying the atmosphere of psychological dread. The stunning imagery is highlighted by an environment of cascading cherry trees, at times raining with blossoms, these scenes portray cinematic moments of spellbinding, unforgettable beauty. .The two main protagonists, opposing forces, are outstanding together. A uniquely original highly entertaining multi faceted film ... Outrageous ... Highly Recommended Sonezaki shinju , Double Suicide of Sonezaki (1978) Yasuzô Masumura , Intense emotional drama Excellent Kigeki hatsumoude resha , New Year Trip (1968) Masaharu Segawa Highly entertaining comedy Kita no zeronen , Year One in the North (2005) Isao Yukisada Epic historical of settling northern part of Hokkaido Excellent Akanishi Kakita , Capricious Young Man (1936) Mansaku Itami One of only a few surviving films from the director with Chiezô Kataoka Very Good , however surviving preserved print is poor.  |
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Post by kijii on Oct 16, 2017 2:50:15 GMT
I used part of this week to make up for some of my gaps in viewing some of George Stevens-directed movies:
The 3'45" The Greatest Story Ever Told (1965) was my first experience for viewing a movie relating to the life of Jesus Christ through different portions of the 4 gospels. If was VERY LONG, but it was a rainy day anyway.... It seemed to me that many of the words spoken by Christ were not always told in the right place or situation in the movie. Nevertheless, they were basically covered.
I'm not sure how to rate this, maybe L for LONG?
Something to Live For (1952) was a well-presented drama about an alcoholic actress, Joan Fontaine, being "rescued" by another alcoholic and AA member, Ray Milland. As an AA member, Milland is often upon called upon to help other alcoholics in crisis. Though the two become a bit romantically attached through there mutual problem to get through their urges with their drug of choice, Milland makes no secret to of that fact that he is married with young children. Milland's wife is played by the sweet and understanding Teresa Wright. (I had no idea that Milland and Wright had co-stared in three movies together, which almost makes them a Hollywood couple in the same vain as William Powell and Myrna Loy, etc.) All turn in good performances in a compelling movie about choices.
8.
A Damsel in Distress (1937) is a total romp starring Fred Astaire, George Burns, Gracie Allen, and Joan Fontaine. Don't try to understand the story. Just go along for the wild ride of comedy, singing, dancing, and convoluted plots. In the end, everyone gets to do what they do best and it all adds up to some great entertainment--though I don't really think that Burns and Allen did their own dancing here. Did they?
8 for fun.
OK, this covers my George Stevens-directed feature films from Alice Adams (1935) through The Greatest Story Ever Told (1965). And yes, I am a fan!
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The Wayward Bus (1957) is based on a John Steinbeck story. This wide-screen, black and white movie starts out looking like a B movie but turns out to be a compelling ensemble drama, with lots of spills and thrills along the way.
I enjoyed seeing Joan Collins playing against type as a lonely alcoholic trying to hold onto her dedicated husband, Rick Jason. Also, Jayne Mansfield does very well playing a multilayered woman whom Dan Dailey falls for.
7
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Post by rudeboy on Oct 16, 2017 2:55:35 GMT
Call Me By Your Name is one of my favourite contemporary novels - an absolutely beautiful, shattering work. I am so thrilled that the film appears to do the novel justice... this is my most anticipated of the year by a long way! I haven't read the novel but it is a beautiful film, best film I've seen this year by a mile. Not scheduled for release until the end of November but I hope you can get to see it. I think it is Oscar worthy though it might be a stretch for some of the old fogey judges. I hope I do too but due to the subject matter it's unlikely to get a release here in Singapore unless it becomes a major awards contender. Possibly I'll have a chance to catch it when I visit my folks in the UK at Christmas, although with its late October release date it could well be gone from local cinemas by then. I do feel that it will factor into the awards race. The Academy has broadened its membership in recent years to include a younger and more diverse membership - and time, inevitably, is thinning out the 'old fogey' establishment. Twelve years ago Brokeback Mountain, a very conventional (though excellent) film, was unable to win... this year, we saw victory for the far less vanilla Moonlight. I do feel that James Ivory will be the frontrunner for the adapted screenplay Oscar. He is a multi-nominated veteran who has never won and the fact that at 89 he would be (correct me if I am wrong) the oldest competitive Oscar winner ever would be quite the story. Do try to check out André Aciman's novel if you have the chance. It really is a thing of beauty.  |
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