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Post by Chalice_Of_Evil on Dec 26, 2020 5:07:21 GMT
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Post by Prime etc. on Dec 26, 2020 5:33:14 GMT
FANTASIA 1940 - A sublime experience and experimental project from Disney--I saw the 1990 re-release and see they shuffled the intermission to the ending in that version.
The Deems Taylor bits probably should have been cut down-why bother telling us what we are going to see in each segment--and why did they substitute Vulcan for Hephaestus and mistakenly have Morpheus the god when we see it is Night the goddess that sweeps over the pastoral landscape?
Also, since we end with Ave Maria, couldn't they have previewed the chorus?
Where were they on stage?
Just one of those things one ponders. I didn't know RKO released this!
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Post by BATouttaheck on Dec 26, 2020 5:51:19 GMT
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Post by kijii on Dec 26, 2020 18:48:22 GMT
Mank (2020) / David Fincher
Made in B&W, Fincher's latest film rambles into total incongruity. Other than indicating some Hollywood personalities from the 30s---Herman Mankiewicz, Joe Mankiewicz, Marion Davies, Louis B. Mayer, John Houseman, David O. Selznick, Ben Hecht, Joe Von Sternberg, and the Thalbergs: Irving and Norma (Shearer )--it has no meaning for me whatsoever. Much of this films seems to indication a Hollywood campaign against Upton Sinclair for California governor in the 1934 election.
However, while covering the 1934 California governor's race, it foreshadows and starts to cover the development of Citizen Kane with Orson Wells and John Houseman.
NOW WATCH THIS MOVIE WIN OSCARS AND MAKE A FOOL OUT OF MY REVIEW--
It won't be the first time.....
[Mank realizes his voice echoes through the room, but he continues, circling the table full of silent guests]
Herman Mankiewicz : Now I know none of you read, but you know what it's about. A deluded old nobleman, who tilts at windmills. So how might we update this story?
Butler : [whispers to Hearst] Do you want me to get someone?
William Randolph Hearst (Arliss Howard) : No.
Herman Mankiewicz : How about we make our Quixote... a newspaperman? Who else could make a living tilting at windmills? But that's not enough... no, he wants more than readership. He wants more than adulation, he wants love. So, he runs for public office, and because he's notably rich, he wins... no, w-w-w-wait a minute. Notably rich and powerful, can't win over an audience unless notably rich and powerful sees the error of his ways in the final reel. Notably rich and powerful and making no goddamn excuses for it is only admirable in real life. Isn't that right, Louis?
[Mayer glares at Mank as he drunkenly attempts to light his cigarette with the massive fireplace at the end of the room, unsuccessfully. Marion Davies takes a swig of her drink]
Herman Mankiewicz : So what do we do? Anybody? We give him ideals! Ideals that any dirt-poor, depression-weary audience can identify with. Our Quixote is against crooked trusts, he's for the eight-hour workday, fair income tax, better schools. Why, he's even for government ownership of railroads. And you know what we call those people?
Male Guest : Communists!
Female Guest : Anarchists!
Herman Mankiewicz : No, our Quixote, he's a two-fisted muckraker. In fact, someone predicts that he will one day win the presidency and bring about, get this...
[laughing uncontrollably]
Herman Mankiewicz : ... a socialist revolution!
Louis B. Mayer : What a bunch of bullshit.
Herman Mankiewicz : Is it? Tell him, Willie. Tell him.
[Silence]
Herman Mankiewicz : Upton Sinclair used exactly those words to describe a young William Randolph Hearst.
Louis B. Mayer : [leaping from his seat] You miserable bastard!
Herman Mankiewicz : [bowing] How do you do?
[Some guests begin to leave the room, but Hearst's and Mayer's eyes stay on Mank]
PLOT SUMMARY FROM WIKIPEDIA:
In 1940, Orson Welles is given complete creative freedom for his next project by RKO. For the screenplay, Welles recruits Herman J. Mankiewicz, who is in Victorville, California recovering from a broken leg he sustained in a car accident. Herman dictates the script to his secretary, Rita Alexander, who notices similarities between the main character and William Randolph Hearst. Producer John Houseman is concerned about Herman's dense, nonlinear screenplay, while Herman's brother Joseph worries that it may anger the powerful Hearst.
In 1930, Herman visits an MGM location where he and the female lead, Marion Davies, recognize each other. She introduces him to Hearst, her benefactor and lover, who takes a liking to Herman. In 1933, Herman and his wife Sara attend Louis B. Mayer's birthday party at Hearst Castle with many Hollywood bigwigs. They discuss the rise of Nazi Germany and the upcoming gubernatorial election, in particular candidate Upton Sinclair. Herman and Marion go for a stroll, where they bond over discussions on politics and the film industry.
In 1940, Houseman grows impatient over Herman's lack of progress. Rita is also concerned with the timing of the writing, as well as Herman's alcoholism. Herman eventually finishes the screenplay in time. Houseman is impressed but reminds Herman that he will receive no credit for his work.
In 1934, Herman and Joseph begin working at MGM under Mayer. Studio executives, including Irving Thalberg, actively work against Sinclair's gubernatorial campaign. The studio produces propaganda films for a smear campaign, funded by Hearst, against Sinclair. Herman approaches Marion to get the films pulled, but is unsuccessful as she has already left the studio for Warner Brothers. Herman and Sara later attend an election night watch party at the Trocadero Nightclub, where Mayer announces the winner, Frank Merriam. Herman's colleague, director Shelly Metcalf shoots and kills himself after being diagnosed with Parkinson's disease and guilt-ridden over his role in the smear campaign, in spite of personally supporting Sinclair.
In 1940, Charles Lederer picks up the screenplay from Herman to deliver to the studio. Joseph visits Herman after reading the screenplay and warns him of Hearst's reaction and how it might affect Marion. He does, however, believe that it's the finest thing Herman has ever written. Marion also visits and does her best to persuade Herman to change the screenplay but to no avail. She tells Herman she will try to stop the picture from getting made.
In 1937, Herman crashes a party at Hearst Castle, where he drunkenly pitches the idea for the film he will go on to write in 1940, offending everyone present including Hearst, Mayer and Marion. Mayer reveals that Herman is on Hearst's payroll and compares him to a court jester. Hearst tells him an allegory about a monkey and an organ grinder and sees him out.
In 1940, despite pressure from Hearst, Welles is determined to make the film and intends to do a re-write without Herman. He visits Herman and offers him a buyout from the studio. However, reneging on the terms of his contract, Herman demands credit for the script, declaring it his greatest work. Welles is upset and tells Herman that he has gone to bat for him, before leaving angrily. Herman ultimately receives joint credit with Welles, and the two win the Academy Award for Best Original Screenplay for the film two years later.
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Post by BATouttaheck on Dec 26, 2020 21:47:29 GMT
 The young and the jaded have taken to calling it "outdated" with "poor CGI" BUT it's a damn impressive piece of work and it is way beyond me to figure out how they got those real dino's to play their parts so well ! All of the humans are a total package of delight ! |
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Post by Chalice_Of_Evil on Dec 26, 2020 22:06:03 GMT
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Post by Salzmank on Dec 27, 2020 2:30:07 GMT
Just rewatched that cheeriest and most warmhearted of all Christmas movies, Batman Returns (1992, dir. Tim Burton).  Half the plot makes no sense, and it’s way too long (something I realized for the first time on this viewing—I keep thinking the Burtonesque novelty value wears off on rewatches). Its real protagonist is either a disgusting grown-up baby with a fondness for firstborn sons on par with Herod’s or a schizophrenic who dresses as a cat to commit crimes. And yet—it is splendidly weird fun. It’s also perhaps the high point of personal filmmaking in superhero movies, with Raimi’s Spider-Mans as its closest competition. Tim Burton clearly couldn’t care less about the Batman “mythos” or anything like that; he just wanted to make the most Burtonesque movie possible he could with his premise. What struck me more than anything is how this flick is Burton’s Bride of Frankenstein. Both Burton and James Whale didn’t want to direct sequels to their originals, not really being personally invested in the material, but agreed to do it when their studios gave them huge budget and creative carte blanche. And both came back with intensely personal, intensely weird, intensely imaginative movies that are only “sequels” in the most generous sense of the word. Burton, who knows classic horror movies inside-out, had to pick up on the parallels, too: several shots are clear homages, and biblical imagery is constant—and, à la Whale, constantly mocked. I definitely have problems with Batman Returns. Michael Keaton is my favorite Batman, yet he’s a supporting player in both of Burton’s series entries. The Batman costume looks pretty stiff and silly (not that that aspect’s easy to fix—Christian Bale’s supposedly-real-world-grounded costume looked silly too). The plot goes haywire halfway through, with the run-for-mayor, frame-Batman, kill-firstborn-sons, and blow-up-city-with-penguins schemes speeding towards nowhere. Commissioner Gordon is so pointless that you have to wonder why they even bothered to pay Pat Hingle to show up. But this is probably my favorite Batman movie nonetheless. It’s just so gloriously bizarre, funny, and personal to its director. I wish they still made superhero flicks like this. |
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Post by BATouttaheck on Dec 27, 2020 3:57:30 GMT
Had seen it before but had no clear memory of it so watched it again... shall not make that mistake again. UGH ! Trivia: 
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Post by Prime etc. on Dec 27, 2020 4:33:15 GMT
THE PETRIFIED FOREST 1936
A young Bette Davis is not what I expected--so different from her Baby Jane era. I am not sure I would have even recognized her. Bogart really stands out in this--amazing how much intensity he conveys just by sitting in a chair and hardly moving. His parting line to Leslie Howard: "I'll be seeing you soon," is conveyed with some weightiness. Quirky film --seemed like a dry run for KEY LARGO in a way.
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Post by BATouttaheck on Dec 27, 2020 5:03:30 GMT
THE PETRIFIED FOREST 1936 I watched this recently and quite enjoyed seeing the young Bette. Bogart's stillness and power to draw all attention to him was like watching a snake ! Recognized Porter Hall (her dad here) as the Macy's guy who examines Kris Kringle in Miracle on 34th Street.
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Post by kijii on Dec 27, 2020 5:21:11 GMT
The Trial of the Chicago 7 (2020) / Aaron SorkinThis movie is streaming from Netflix. I believe it is bound for multiple Oscar nominations!! There is nothing simple about this movie: there are no simple "good guys" or "bad guys" here, just complex humans bound up in a complex trial of the late 60s. The movie was totally engrossing for me since the events of the movie started a couple of weeks after I fist met my wife in the Summer of '68. In many ways, the movie encapsulates the times. The movie is masterfully written and directed by Aaron Sorkin (who is bound for yet another nomination or two in this project). Actors include career three Oscar winners, Eddie Redmayne, Mark Rylance, Michael Keaton; and two Oscar nominees, Frank Langella and Sacha Baron Cohen. Great movie that I will see again--lots of content in an entertaining package!! Abbie Hoffman (Sacha Baron Cohen) : Winning elections, that's the first thing on your wish list? Equality, justice, education, poverty and progress, they're second?
Tom Hayden (Eddie Redmayne): If you don't win elections, it doesn't matter what's second. And it is astonishing to me that someone still has to explain that to you.
William Kunstler (Mark Rylance) : We've dealt with jury tampering, wiretapping, a defendant that was literally gagged, and a judge who's been handing down rulings from the bench that would be considered wrong in Honduras, so I'm a little less interested in the law than I was when this trial began.
Judge Julius Hoffman (Frank Langella) : Mr. Hoffman, are you familiar with contempt of court?
Abbie Hoffman : It's practically a religion for me, sir.
The real guys  Plot Summary from Wikipedia with SPOILERS:
In August 1968, Abbie Hoffman, Jerry Rubin, Tom Hayden, Rennie Davis, David Dellinger, Lee Weiner, John Froines, and Bobby Seale make preparations to protest at the Democratic National Convention in Chicago. Five months later, all eight of them are arrested and charged with trying to incite a riot. John N. Mitchell, the Attorney General, appoints Tom Foran and Richard Schultz as the prosecutors, while all the defendants except Seale are represented by William Kunstler and Leonard Weinglass.
Judge Julius Hoffman shows significant prejudice for the prosecution. Seale's attorney, Charles Garry, cannot attend due to illness, leading Judge Hoffman to insist that Kunstler represents all eight defendants. This insistence is rejected repeatedly by both Kunstler and Seale. Seale receives support from Fred Hampton which Judge Hoffman assumes is legal help. Abbie Hoffman openly antagonizes the court. Judge Hoffman begins removing jurors who are suspected of sympathizing with the defendants due to reported threats from the Black Panther Party and charges the defendants and their attorneys with multiple counts of contempt of court.
Numerous undercover local police officers and FBI agents testify. At the time of the convention, Hayden noticed two cops tailing Davis and attempted to let the air out of their tire, but was caught and later arrested. Abbie and others led a protest to the police station where Hayden was being kept, but turned around upon seeing the police blockade outside. When attempting to return to the park, police had taken control of the hill with orders to disperse the crowd. A riot ensued, and the protestors clashed with police in an attempt to claim the hill. Kunstler makes a point that none of the defendants instigated the riot.
Days later, the defendants learn that Fred Hampton was killed during a police raid. In retaliation to Seale continuing to speak up for his constitutional rights, Judge Hoffman has him taken to another room, beaten, and returned gagged and chained. The prosecution and defense object to the Judge's order, and Judge Hoffman declares Seale's case a mistrial.
The defense decide to put Ramsey Clark, Attorney General during the riots, on the stand. Judge Hoffman refuses to let him testify that he had declined to initiate prosecutions after the riots because of evidence that the Chicago Police Department instigated them. Dellinger punches a bailiff, resulting in his arrest.
Kunstler presents a tape implicating Hayden to the defendants, and preps Hayden for a cross examination. On the night of the riot, Davis tried to pacify cops attempting to arrest a minor who was climbing a flagpole. After the police clubbed Davis's head, an enraged Hayden exclaimed, "If blood is gonna flow, then let it flow all over the city!". The defendants were eventually cornered by police, who removed their badges and proceeded to assault them. Abbie deduces that Hayden was taken out of context, claiming that the original statement would have started with, "If our blood is going to flow..."; Hayden asks him to testify.
In his testimony, Abbie reinforces that Hayden was misconstrued, and states his disdain for the U.S. government's leadership. At the end of the trial, despite Judge Hoffman's instructions and objections, Hayden uses the closing statement to name the 4,752 soldiers who were killed in the Vietnam War since the trial began. This act prompts many in the court to stand and cheer. An epilogue describes the lives of Abbie, Hayden, and Judge Hoffman after the trial.
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Post by kijii on Dec 27, 2020 19:59:34 GMT
Ma Rainey's Black Bottom (2020) / George C. Wolfe
Last movie with the late Chadwick Boseman. He is very good in the film.
Levee (Chadwick Boseman) : [Talking to God] Did you turn your back? Did you turn your back, motherfucker? Did you turn your back? Come on. Come and and turn your back on me. Turn your back on me! Come on, where is you? Come on and turn your back on me! Turn your back on me, motherfucker! I'll cut your heart out! Come on, what's the matter? Where is you? Come on and turn your back on me. Come on, what you scared of? Turn your back on me! Come on!
[he scoffs]
Levee : Coward motherfucker!
[Pointing his knife at Cutler]
Levee : Your God ain't shit, Cutler. Your God ain't shit.
Ma Rainey (Viola Davis) : They don't care nothin' about me. All they want is my voice. Well, I done learned that. And they gonna treat me the way I wanna be treated, no matter how much it hurt them. 
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Post by Chalice_Of_Evil on Dec 28, 2020 4:12:20 GMT
Winchester (2018).  
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Post by BATouttaheck on Dec 28, 2020 4:21:21 GMT
 Finally have seen what leads up to the climactic ending .... and no, his accent still did not bother me.
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Post by louise on Dec 28, 2020 10:39:03 GMT
Stand-In (1937). Wonderful film, Leslie Howard hilarious as a bemused accountant trying to make sense of Hollywood Joan Blondell very good as the long suffering stand-in.
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Post by wickedkittiesmom on Dec 28, 2020 14:20:16 GMT
Stand-In (1937). Wonderful film, Leslie Howard hilarious as a bemused accountant trying to make sense of Hollywood Joan Blondell very good as the long suffering stand-in. I'm a big fan of Leslie Howard.
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Post by Chalice_Of_Evil on Dec 29, 2020 21:26:35 GMT
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Post by Chalice_Of_Evil on Dec 30, 2020 1:26:07 GMT
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Post by Prime etc. on Dec 30, 2020 4:49:35 GMT
THE FELLOWSHIP OF THE FROG 1959 - The first "krimi" apparently (though wouldnt Mabuse films be considered that too? Never seen a Mabuse films--one of these days). Pretty good--in a couple scenes someone uses a Bolex 16mm. I have one. Good camera. In the english dub, the criminal mastermind's name is....Harry Lime!
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Post by kijii on Dec 30, 2020 5:14:30 GMT
Jackie Brown (1997) / Quentin Tarantino
I run hot and cold with Tarantino, but I really enjoyed this one. As usual, it has a complicated plot but it held my attention with a minimum of violence and foul language--just enough to make the point but no more. Unlike a complicated film-noir that moves so fast that you can't keep up with the characters, this one moves slow enough to catch our attention and then (often) reshows the same scene as seen from different points of view. I also liked the way Tarantino zooms in with a close shot of character's faces from time to time.
[Ray Nicolet and Jackie Brown are discussing Ordell Robbi's business]
Jackie Brown (Pam Grier) : He sells guns.
Ray Nicolet (Michael Keaton): You ever see him sell guns?
Jackie Brown : No.
Ray Nicolet : Then how do you know he sells guns?
Jackie Brown : He told me. Besides, why else would an ATF man be after him?
Ordell Robbie (Samuel L. Jackson) : This you and me talking, is this like a lawyer-client thing, and you can't repeat nothing I tell you?
Max Cherry (Robert Forster) : You're not my client until you get busted and I bond you out.
Ordell Robbie : Well, if we ain't got no - what's that shit called? - confidentiality, why should I tell you a thing?
Max Cherry : Because you want me to know what a slick guy you are. You got stewardesses bringing you fifty grand.
Ordell Robbie : Now why would a stewardess be bringing me fifty grand?
Max Cherry : Now you want me to speculate on what you do. My guess is you're in the drug business, except the money's moving the wrong way. Whatever you're into, you seem to be getting away with it, so more power to you.
 Plot Summary from Wikipedia:
In 1995, Jackie Brown, a flight attendant for the fictional Mexican airline Cabo Air, makes ends meet by smuggling money from Mexico into the United States for Ordell Robbie, a gun runner living in Los Angeles. Ordell is under surveillance by the ATF, so he uses couriers to move contraband. When another courier, Beaumont Livingston, is arrested, Ordell assumes Livingston will become an informant to avoid jail time. Ordell arranges for $10,000 bail with bondsman Max Cherry, then lures Livingston into a car trunk and kills him.
Acting on information Livingston had already shared, ATF agent Ray Nicolette and LAPD detective Mark Dargus intercept Jackie as she returns to the United States with Ordell's cash and a bag of cocaine (though Jackie was unaware the cocaine was stashed in her luggage). She is sent to a county jail, which alerts Ordell that she might become an informant. Having received payment from Ordell, Max retrieves Jackie from the jail and becomes attracted to her. Ordell arrives at Jackie's house to kill her, but she pulls a gun that she has taken from Max's car. She negotiates a deal with Ordell whereby she pretends to help the authorities while smuggling in $550,000 of Ordell's money, enough for him to retire.
For this plan, Ordell relies on Melanie Ralston, a beach-bunny he lives with, and Louis Gara, a former cellmate. Unaware of Jackie and Ordell's plan to smuggle in $550,000, Nicolette and Dargus devise a sting to catch Ordell during a transfer of $50,000. Unbeknownst to all, Jackie plans to double-cross everyone and keep $500,000 for herself. She recruits Max to assist and offers him a cut.
On the day of the transfer, Jackie enters a dressing room in a department store to try on a suit. She has told Ordell she will swap bags there with Melanie, supposedly passing off the $550,000 under the nose of Nicolette, who has been told the exchange will take place in the food court. Instead, the bag she gives Melanie contains only $50,000, and she leaves the rest behind in the dressing room for Max to pick up. Jackie feigns despair to Nicolette and Dargus, claiming that Melanie took all the money and ran.
In the parking lot, Melanie taunts Louis to the point where he loses his temper and shoots and kills her. Louis confesses this to Ordell, who becomes livid upon discovering most of the money is missing and then realizes Jackie is the culprit. When Louis and Ordell get into a heated argument about Louis seeing Max in the store but thinking nothing of it, Ordell kills Louis and leaves with the bag. Ordell turns his anger toward Max, who tells him Jackie is frightened for her life and is waiting in Max's office to hand over the money. Ordell holds Max at gunpoint as they enter the darkened office. Nicolette jumps out from his hiding place and kills Ordell.
The ATF drops the criminal charges against Jackie for her cooperation. Now in possession of Ordell's remaining money and his car, Jackie plans a trip to Madrid. Max declines Jackie's invitation to join her. They kiss goodbye, and she leaves as he takes a phone call. Max cuts the call short as Jackie drives away.
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