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Old 09.04.2012, 10:52 AM   #16141
demonrail666
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Yeah, I don't see a reason why it couldn't be changed at the script stage but I imagine he's a particularly difficult writer to adapt anyway. I think of him primarily as a stylist, even more than Burroughs, or Ballard. I've never been particularly into his plots or even his ideas but love the way he can describe a scene. There's a kind of precision to them that's really literary, in a way that reminds me a lot of Ian McEwan - another novelist whose books I generally really like but which don't seem to translate very well into film, at least for me. I am fascinated to see how Cosmopolis turned out, though.
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Old 09.04.2012, 11:49 AM   #16142
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His characters always seem like they're giving a speech rather than having any kind of conversation. He's at his best when describing an event but I don't think he's particularly interested in people, as such, except on some kind of conceptual level. That's not really a criticism, more just a personal prejudice of mine, I suppose. And it's more noticable in some books than in others. White Noise (which I otherwise really like) has probably the worst case of it but I don't remember it being that bad in Cosmopolis, although I may just have gotten used to it by then.
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Old 09.04.2012, 12:13 PM   #16143
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But Donny D (as I call him) is not a realist. He flaunts this in LIBRA and UNDERWORLD where we find him gleefully juggling paranoid visions compiled from fact and fiction. And he tosses realism totally out the window with elliptical prose-poems like BODY ARTIST and POINT OMEGA.

Everything in a well-crafted novel should be raised to the same stylized pitch, whatever that pitch, dialogue included.

(Although I admire and prefer the delicate touch it takes, say Updike, to transfer something from my own life onto paper.)
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Old 09.04.2012, 01:26 PM   #16144
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He's not a realist, you're right, but most of his most celebrated passages (say the opening chapter in Underworld or the description of the mass wedding in Mao II) definitely qualify as a very heightened form of naturalism, which his dialogue invariably seems at odds with - which I'm sure he would say is key to his overall message (whatever that may be).

Incidentally, I really couldn't get into Libra. No particular reason, I just couldn't get interested in it. I never finished Underworld, either, but I think that's kind of standard, even with a lot of DeLillo fanatics. I think the idea with Underworld is just to read the first chapter, declare him a genius and then quickly move on to something else before the rest of the book starts to inspire any doubts. (See also the first chapter of Ian McEwan's Atonement.)
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Old 09.04.2012, 03:31 PM   #16145
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Less Than Zero

I love this film. It's not particularly good but nonetheless.
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Old 09.05.2012, 12:53 PM   #16146
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The Virgin Suicides

 


Lost in Translation
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Old 09.07.2012, 02:00 AM   #16147
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Old 09.07.2012, 05:41 PM   #16148
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Just got back from going to see a film in a cinema for the first time in 13 years and it was fucking terrible. Was it always this LOUD?
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Old 09.07.2012, 09:50 PM   #16149
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Quote:
Originally Posted by Murmer99
I went to see Annie Hall in a theater today and had a good time.

That's a film I'd love to see on a big screen.
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Old 09.08.2012, 07:06 AM   #16150
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Old 09.08.2012, 11:25 AM   #16151
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Quote:
Originally Posted by Murmer99
 


I've been busier than usual, therefore I've tried for the past two days to squeeze in some time to watch Fritz Lang's "M". I've fallen asleep both times due to the circumstances but I remember noticing certain things in the second viewing that I didn't appreciate the first time. I'm not sure why I've never seen this one. Fritz Lang is an interesting director to me, and my favorite of his work so far is The Testament of Dr. Mabuse.

You absolutely must see his American films. Not his Westerns so much but his crime films. The Big Heat, Scarlet Street and The Woman in the Window are some of the bleakest films Hollywood has ever produced. I actually prefer them to most of his German films, although I do think M is a masterpiece. Metropolis bored me silly, though.

Quote:
Originally Posted by Murmer99
I appreciated it more than I ever have this time around. I loved the quick shots of the bumper cars that Woody placed in proximity with his character bumping into other vehicles when Annie leaves him. I really thought that was brilliant. I felt more of an emotional connection with the film towards the end, when it plays the song that Annie sings.. "seems like old times" and it shows the flashbacks of their relationship just after it has seemingly ended. And of course that quote from Woody right before the film ends. I wouldn't disregard this film as pessimistic.. Woody adds sincerity and absurd dark humor that all makes sense to me. It's somewhat sad and beautiful at the same time. I'd have to admit it's one of my favorite films of all time. Most of the reviews I've read from writers I particularly admire are quite mixed on this one.

I'd recommend you go see it if they play it in your area, demonrail.

Yeah, I really must. It tends to get shown quite regularly so I've probably just taken it for granted a bit. Plus I've now seen it so many times on TV that I can pretty much repeat the dialogue line for line. But there are certain scenes that I imagine would be amazing on a big screen, like when he goes back to Brooklyn or the scenes in LA. Oh well, until the next time it's screened, "la di da"
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Old 09.08.2012, 04:35 PM   #16152
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Quote:
Originally Posted by E. Noisefield
 


And it was fucking great. I can't believe it took me so long to notice this movie. It might have had something to do with the ultra lame US poster:

 

I just watched it again. The first time I saw it I had a really hard time taking Ryan Gosling seriously but for some reason he clicked with me this time around. Excellent film.
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Old 09.08.2012, 04:39 PM   #16153
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Quote:
Originally Posted by Keeping It Simple
 

Is that any good? A friend keeps trying to get me to watch it but I'm really put off by the poster.
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Old 09.08.2012, 06:24 PM   #16154
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Yeah, no arguments on any of those points from me. A massive Cary Grant fan, too. England's Marcello Mastroianni, only better. (I'm only half joking with the Mastroianni comparison.)

Just watched ...

 


Fear and Loathing in Las Vegas.

I don't think this is a bad film but I do think it pretty much says everything it has to say in about the first 30 minutes and that everything after that just seems like more of the same.
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Old 09.10.2012, 05:12 AM   #16155
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Quote:
Originally Posted by demonrail666
Is that any good? A friend keeps trying to get me to watch it but I'm really put off by the poster.

Yeah. It's done in a very slick and stylistic way.
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Old 09.10.2012, 12:45 PM   #16156
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Does no one else think that Hitchcock is one of the most over-rated fucking directors is the history of over-fucking rated directors?
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Old 09.10.2012, 02:33 PM   #16157
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Quote:
Originally Posted by Murmer99
I assume it would've been easier to appreciate Hitchcock during his time. I think he is one of the masters of cinema and deserves the respect he gets. He's one of the most impressive directors to use visual techniques to escalate the stories in his films. Visual irony and whatnot... simplistic techniques that weren't necessarily "flashy" compared to others. There's always something interesting about most of his shots to me... the classic shower scene for instance in Psycho. I've always felt there was a thematic quality to that scene... how it seems to show very little violence by using that cutting technique or whatever.. despite the fact that the main character is being stabbed to death and there's blood pouring in the shower. The majority of his violent scenes aren't merely there for the sake of it.. to entertain by showing someone dying and then moving along. He gives the audience the feeling that someone has just died, and even finds a way to add wit and dark humor to it. It has also been mentioned how the camera floats away from her corpse and moves gradually towards the money she stole. Perhaps not something everyone would notice initially, what it means...

The acting is always top notch in everything I've seen by him. Not enjoying his films is understandable, but I don't see how he is "overrated". The unsettling finish to "The Birds" is brilliant too. I guess to each his own, though...

I think what it is that pisses me off is that the story is moot. I always feel he's going "fuck the story, here's a new camera trick/overblown scene". Vertigo and North By Northwest for me was him at his absolute worst. Yes I realise I'm committing heresy by saying that, but they feel to me to be one big set piece after another with LOUD music to set tension another 10 more notches.

I guess it's fitting that the only two films of his I really enjoyed was Rope and Shadow Of A Doubt. Him at his most restrained (next to Lifeboat I suspect although I haven't seen that so can't say) and most enjoyable.

In my opinion anyway.
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Old 09.10.2012, 02:35 PM   #16158
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Oh and Tippie Hedren was so annoying in the Birds. She was NOT good in that film.
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Old 09.10.2012, 04:19 PM   #16159
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I can completely see what H8kurdt is saying, even though I'd still consider myself a Hitchcock fan. He's definitely one of the flashier directors and there's a lot of truth to claims that he always put style before substance and as such I've never found him to be the most emotionally involving of directors. If nothing else though he was technically superb.
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Old 09.11.2012, 09:47 AM   #16160
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Don't get me wrong, I'm not criticising Hitchcock but I do think his style of making films isn't necessarily for everyone. Although I prefer him to Kubrick I put them in a similar category. They're both very 'technical' directors.

Anyway, from the sublime to the ridiculous ...

 


Sex and the City

I'm not gonna criticise this movie, it is what it is, but did it really need to be roughly the same length as Stalker?!?
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