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Spatulater bro! posted:Looking at Goldblum's filmography, his first role was in Death Wish where his official credit is "Freak #1". Somehow that seems so appropriate. Isn't his name in Nashville literally Tricycle Guy, or Tricycle Man?
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Mar 7, 2017 21:56
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DeimosRising posted:Isn't his name in Nashville literally Tricycle Guy, or Tricycle Man? Yep, Tricycle Man.
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Mar 7, 2017 21:58
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Spatulater bro! posted:Yep, Tricycle Man. I've only recently gotten into Altman and so far he hasn't let me down. Nashville, Long Goodbye, and Thieves Like Us are treasures and The Player is drat good too. Countdown is better than its rep but super obviously got butchered by the studio. That's all I've seen so feel free to harangue me about which ones to watch next everybody
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Mar 7, 2017 22:14
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mash, mccabe & mrs miller, 3 women, california split, images, quintet, come back to the five and dime jimmy dean, popeye, gosford park
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Mar 7, 2017 22:18
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How is A Wedding?
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Mar 7, 2017 22:47
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DeimosRising posted:I've only recently gotten into Altman and so far he hasn't let me down. Nashville, Long Goodbye, and Thieves Like Us are treasures and The Player is drat good too. Countdown is better than its rep but super obviously got butchered by the studio. That's all I've seen so feel free to harangue me about which ones to watch next everybody I vote 3 Women.
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Mar 7, 2017 22:57
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Scorpio Rising - Kenneth Anger, 1963 The pop music contrasts nicely with the counter culture imagery. Although the Jesus and Nazi stuff is kinda silly, the film gives off an undeniably real sense of darkness and danger. Overall it may not be as shocking and subversive as it was in 1963, but it's still a pretty cool experience. 443/1000
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Mar 7, 2017 22:58
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Spatulater bro! posted:Children of Paradise - Marcel Carné, 1945 I feel the same way about Sholay. DeimosRising posted:That's all I've seen so feel free to harangue me about which ones to watch next everybody Short Cuts
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Mar 7, 2017 23:19
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Coaaab posted:How is A Wedding? It owns and the story behind it is funny: "The film was inspired by a remark Altman made while doing publicity for his previous film, 3 Women. Upon being asked what his next movie would be, Altman jokingly replied that he was going to shoot a wedding next. Later, Altman and his production assistant decided to follow through on the idea and began planning the film."
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Mar 8, 2017 17:31
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Amarcord - Federico Fellini, 1973 A gorgeously shot movie, full of lively colors and striking compositions. And that's about the only thing that kept me going through this. I actually kinda hated it. The characters and situations at best were of zero interest to me, and at worst annoyed the hell out of me. The film's filled to the brim with attempts at humor, and not once - not one single time - did something resembling a smile even start to cross my face. Just the opposite, in fact; most of the jokes spurred me to check how much time was remaining. How many fart, piss, and masturbation jokes really need to be crammed into two hours? Apparently Fellini said about 85 of each, because that's the bulk of what this movie is. Oh, that and shots of fat breasts and asses. It's all just so cringey and unpleasant. Apparently the purpose of all of this nonsense is to invoke some sort of nostalgia. Whatever, the only thing I saw were jackass people doing boring jackass things. I've seen four Fellini movies before this - 8 1/2, La Strada, La Dolce Vita, and Nights of Cabiria - and they've all ranged from very good to exceptional. But now Amarcord has sullied my opinion of Fellini a little bit. A shame. 444/1000
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Mar 8, 2017 21:32
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Interesting, Amarcord might be my favorite Fellini, at least so far, I've only seen 5 or 6 of his films. Maybe I just love fat breasts and asses!
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Mar 8, 2017 21:34
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Basebf555 posted:Interesting, Amarcord might be my favorite Fellini, at least so far, I've only seen 5 or 6 of his films. Maybe I just love fat breasts and asses! Possibly, everyone in the movie sure seemed to.
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Mar 8, 2017 21:37
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Amarcord is awful, and it's a good preparation for the other bad (but not as bad as Amarcord) Fellini films on the list that feature similarly terrible reliance on bawdiness and whose only saving grace is the art direction.
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Mar 9, 2017 08:32
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Peaceful Anarchy posted:Amarcord is awful, and it's a good preparation for the other bad (but not as bad as Amarcord) Fellini films on the list that feature similarly terrible reliance on bawdiness and whose only saving grace is the art direction. I'm glad to see someone agreeing with me. This is one of those opinions that I almost feel pressured to second guess myself on since it's so against the consensus.
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Mar 9, 2017 15:59
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Spatulater bro! posted:I'm glad to see someone agreeing with me. This is one of those opinions that I almost feel pressured to second guess myself on since it's so against the consensus. Eh, I mean its not like you're saying 8 1/2 is poo poo. That's the one that cinephiles will crucify you over. Peaceful Anarchy makes a pretty good point though, in that I'm someone who really loves good art direction in film. Like, if the sets and the costumes look good, I don't even need a story or any dialogue. So there are lots of probably flawed films that I consider my favorites on that basis alone.
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Mar 9, 2017 16:04
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Basebf555 posted:Eh, I mean its not like you're saying 8 1/2 is poo poo. That's the one that cinephiles will crucify you over. I'm actually the same way. It's just that if the film actively gets on my nerves, no amount of pretty stuff is going to help me like it.
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Mar 9, 2017 16:15
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I like 8 1/2 but the idea of anyone under 40 being that passionate about it feels a little foreign to me.
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Mar 9, 2017 16:16
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Raxivace posted:I like 8 1/2 but the idea of anyone under 40 being that passionate about it feels a little foreign to me. quietly copies down excuse
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Mar 9, 2017 16:20
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Raxivace posted:I like 8 1/2 but the idea of anyone under 40 being that passionate about it feels a little foreign to me. I thought 8 1/2 was excellent, but in certain circles that's not enough, you have to think its one of the few greatest films ever made. I only talk to people about movies on the internet though, so I'm not sure about the age thing.
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Mar 9, 2017 16:24
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I'm thinking I'll start Shoah tonight. If you all never see me again you'll know why.
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Mar 9, 2017 17:14
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Basebf555 posted:I thought 8 1/2 was excellent, but in certain circles that's not enough, you have to think its one of the few greatest films ever made. I only talk to people about movies on the internet though, so I'm not sure about the age thing. I finally got around to watching it a month or two ago. It's good, but it's not even the best new to me Fellini film I've seen in the last year (Toby Dammit)
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Mar 9, 2017 18:13
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Toby Dammit is a masterpiece, its pure psychedelic Fellini concentrate. Also has easily my favorite Rota score.
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Mar 10, 2017 01:18
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the entry for histoires du cinema is back for whatever reason if you want to change your list https://letterboxd.com/film/histoires-du-cinema/
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Mar 10, 2017 15:01
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Radio Spiricom posted:the entry for histoires du cinema is back for whatever reason if you want to change your list https://letterboxd.com/film/histoires-du-cinema/ Thanks for the heads up. I like having the full film in there much better than just the first episode.
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Mar 10, 2017 15:22
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So I've only watched one hour of Shoah and I've already teared up at least three times. This is gonna be loving rough.
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Mar 10, 2017 18:13
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Spatulater bro! posted:So I've only watched one hour of Shoah and I've already teared up at least three times. This is gonna be loving rough. I haven't seen it but it definitely sounds like something you should break up into a few parts. Maybe let a few days go by between parts even.
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Mar 10, 2017 18:21
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Basebf555 posted:I haven't seen it but it definitely sounds like something you should break up into a few parts. Maybe let a few days go by between parts even. Yeah, I'm actually forced to do just that because Netflix is shipping each disc of the movie separately and I'm on the one-at-a-time disc plan.
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Mar 10, 2017 18:26
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I watched it all one Saturday or Sunday. On the one hand it was a very intense experience and I certainly cried several times, on the other hand it means that as it lingered over the following days I could reflect on the film as whole, whereas watching it piecemeal would mean I'd be anticipating (fearing?) what was coming up next and make it more frustrating.
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Mar 11, 2017 02:01
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On the same note of breaking viewings up, has anyone been through Tie Xi Qu: West of the Tracks? I finished part 1 today, and although I think it's a great documentary so far I feel like ~1.5 hours could have easily been cut out of that alone.
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Mar 12, 2017 02:40
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The Passion of Joan of Arc Definitely an intense one. The material could easily be a stage play, which is unusual to see in a silent film- almost like a predecessor to 12 Angry Men. Dreyer is very intensely focused on the human face- pores, wrinkles, texture, the sorts of things usually covered by makeup. We see so little of the place it may as well be in abstract (though the set was very elaborate in order to achieve some of the angles Dreyer needed.) Of course Maria Falconetti is astonishing, another one of those great silent performances- you can really feel the conflict in her and how much it takes to keep resisting. Very stark and very spiritual. 357/1461
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Mar 14, 2017 06:24
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Maxwell Lord posted:The Passion of Joan of Arc Those extreme closeups are why it couldn't be a stage play without some major changes. Dreyer was really presaging Bergman/Nykquist in terms of the camera's ability to create facial acting as a form. Some of the expressions and transitions in Passion could only be approximated on stage through the use of big old exaggerated masks.
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Mar 14, 2017 07:25
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A Man Escaped - Robert Bresson, 1956 Watching a Bresson film after watching a lot of mainstream Hollywood films is like eating a delicious salad after having gorged yourself on Doritos. His directing style is refreshingly basic and elemental. It's good for you. He does away with big camera movements, lavish effects and flashy edits, focusing instead on the bare essentials of film language. When I see a film like this I'm reminded of how much of what we see in typical movies is superfluous fluff. Where this rudimentary style became most apparent to me in A Man Escaped is how we never see any shots beyond Fontaine's own perspective. We never see a Nazi guard marching down a hall unless Fontaine is looking at him. We never see any establishing shots of the prison. It's all shot in an almost first-person style. It creates intimacy. What I enjoyed most about this is the focus on small tactile details like the door splinters, the fabricated rope, the metal hooks, and Fontaine's meticulous process in executing his plan. With so much attention to the minutia, it's exciting. We're invested. The escape itself is exhilarating despite having nothing very "cinematic" about it. It's the investment in the situation, not intense music or other movie tricks, that puts us on edge. 445/1000
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Mar 14, 2017 15:31
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Basebf555 posted:Interesting, Amarcord might be my favorite Fellini, at least so far, I've only seen 5 or 6 of his films. Maybe I just love fat breasts and asses! This is almost certainly why Ebert loved it
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Mar 14, 2017 15:36
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L’argent - Robert Bresson, 1983 As usual, Bresson's characters move through their scenes with no affectations or emotions whatsoever. He liked to call his actors "models", because they're essentially stand-ins for us, the audience. And it's a brilliant method. Why bombard us with emotions from actors when we ourselves are already so full of our own emotions, able and willing to conjure them if only given the right cues? Bresson understood this fact and utilized it to the fullest extent. His style here reminds me of early Haneke. No music, no flashy cinematography, just efficiently-cut scenes of events. That's the heart of this film - events and, more importantly, their consequences. There are a lot of extreme things that happen in this film, but for the most part we don't see any of them directly. We see the aftermath. I think it's easy to read this film as a "money is the root of all evil" sort of parable. I personally read it a bit differently. I think Bresson is exploring the relationship between our life's circumstances and our morality. How much of who we are would change if our circumstances also changed? If we lost everything we care about, would we have it in us to do evil things? Maybe our happy, stable sense of self is more tenuous than we realize. This is my favorite Bresson film so far. 446/1000
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Mar 16, 2017 18:23
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Spatulater bro! posted:His style here reminds me of early Haneke. No music, no flashy cinematography, just efficiently-cut scenes of events. That's the heart of this film - events and, more importantly, their consequences. There are a lot of extreme things that happen in this film, but for the most part we don't see any of them directly. We see the aftermath. quote:This is my favorite Bresson film so far.
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Mar 16, 2017 18:55
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Coaaab posted:Being able to construct an effective armed robbery+car chase sequence that's mostly shots of floor pedals requires some sort of prodigious talent. Or magic. Or the shot of the sink filling with blood as the guy washes his hands. It's chilling even though we saw nothing of the murder itself.
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Mar 16, 2017 20:07
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The African Queen Well that was a lot of fun. After some unfortunate early scenes of African natives with bad teeth fighting over a half-finished cigar, the movie focuses on the onset of war and on Humphrey Bogart and Katherine Hepburn. Both actors are in good form- the crazy inspiration Rose has to try and destroy a German warboat instantly puts a unique wrinkle on the "prim Christian missionary" character, and Bogart has fun with a more comic role than he's usually given. You can tell there were a few rough patches in production (a scene of Rose and her brother walking in a burned-out field uses really obvious blue screen, I guess because it was added later), and the effects, even by the standards of 1951, are a little lacking, but overall the visuals are appealing in a way that's unusually messy for the period- there's a lot more grime and heat to everything. Again, though, Bogey and Hepburn are the draw- they're just fun together and the movie has a light comic feel while still managing some good drama here and there. A grand adventure, and one I'm glad I got to see on the big screen. 358/1461 Next: Probably City Lights
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Mar 20, 2017 08:18
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City Lights makes me cry like a baby.
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Mar 21, 2017 02:08
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City Lights is probably the movie from this project that had the biggest leap from "I have no idea what this is" to "all-time favorite" along with Le Jetee.
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Mar 21, 2017 05:09
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weekly font posted:City Lights is probably the movie from this project that had the biggest leap from "I have no idea what this is" to "all-time favorite" along with Le Jetee. Mine is probably Children of Paradise. Before two weeks ago I couldn't have told you a single thing about it, but now I own the Criterion blu-ray and consider it one of the best movies I've seen.
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Mar 21, 2017 15:09
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