[!@#$%!]

jacques tati's "playtime"

 

 

 

 

hilarious. such wonderful anarchy. there is practically no story. the end reminded me of 8 1/2

[Sonic Youth 37]

 

[batreleaser]

Saw Lincoln last night and liked it.

[!@#$%!]

Originally Posted by foreverasskiss

i
i didn't like KIDS and thought Gummo was so untrue, fabricated and an exaggerated version of some white trash culture in america that was cultivated in Korine's mind to make others believe it was true. and of course, that was the point.

funny thing, i have this conviction that people get more influence from their families than they give credit for, so i have this idea about korine that he learned from his pbs-documentary-making dad, and that's why his movies (the ones i've bother to see, not sure i'll ever again but anyway different story) that's why his movies have this documentary feel to it (i.e., kids, gummo). and yeah i liked neither movie although gummo in the end wasn't that atrocious.

i think the dude who did "george washington" (something green something) was a lot kinder to his characters than that bastard korine, and much more watchable and ultimately more interesting.

[evollove]

When I was a kid, an adult saw the movie KIDS and said he was now worried about me. I knew enough about the movie to say, "I dunno. I never raped anyone."

"But you would," he said, as if the film gave him a secret look into my heart.

Fucker.

[Rob Instigator]

The KIDS soundtrack is the only part I like about the movie. After searching for SLINT for months I heard some on that soundtrack then bought the slint LP's and EP's

[Sonic Youth 37]

 

[!@#$%!]

Originally Posted by Murmer99

Also, Playtime is Tati's masterpiece. One of my favorite films

Sadly, I haven't seen that much by him. Mr. Hulot's Holiday and Trafic were very enjoyable too. Anyone have recommendations?

he didn't make too many, so if you'll quickly watch them all... there's one he wrote for his daughter and was made recently as an animation... the illusionist. haven't watched it yet but it's on my netflix queue.

[demonrail666]

I haven't seen Traffic or The Illusionist but can recommend Jour de fete. Less anarchic than Playtime, it's gentler, more like Holiday. A great Sunday afternoon film.

Just watched

 

The Asphalt Jungle.

Loved it. In another age, Sterling Hayden would've made a great Judge Dredd.

[demonrail666]

Originally Posted by Murmer99

Gummo was a soulless waste of time.

I don't hate it but always thought it looked like one of those 'edgy' fashion spreads you see in style mags. Spring Breakers just seems like it'll be the same kind of thing. I' wanna see it but I'll wait till it's on DVD cos I imagine I'll be wanking through most of it.

[demonrail666]

Yeah, I sometimes get those two films mixed up. They're almost identical in lots of ways. I prefer Asphalt Jungle but not by much; they're both great.

I've never seen any evidence to support it but I wonder if Robert Bresson was thinking of the end of Asphalt Jungle when he shot the climax of Au hasard Balthazar.

[ilduclo]

going to see On the Road this weekend. Sounds like it's pretty true to the book

[!@#$%!]

 

fanny and alexander, tv version, on blu-ray

OH, THE FUCKING DELIGHT!!

[demonrail666]

Originally Posted by Murmer99

I never noticed that, but I will watch them both again soon to try and understand what you mean by that.

It's probably nothing. It just struck me when watching the final scene with Sterling Hayden, who's been shot and dies surrounded by horses just after the scene where the commissionar has described him as an animal. The Hayden character is seen as a loyal 'beast of burden' type even by his accomplisses. Then obviously in Bresson's film, Balthasar is shot after helping criminals and lays down to die with the animals, too. Like I say, there may be no connection at all, and I'm certainly not saying Hayden's character is meant to be in any way Christ-like. I've never heard of Bresson citing that scene as an influence but who knows?

Just watched

 

Bullitt

The car chase still holds up (and if anything gets better every time I watch it) and I don't see how anyone couldn't like Steve McQueen. I've never been that into the movie as a whole, though. Surprising because on paper at least it should be just the kind of thing I'd love, and I'm still not sure why I don't. Although it's a film I'll never miss if I notice it on TV - perhaps in the hope that it'll finally win me over completely.

[stu666]

 

[sonic sphere]

 

[!@#$%!]

tom stoppard's anna karenina directed by some guy whp's name i don't remember

 

the trailer, at the movies, had looked spectacular, and i love the novel, and i like tom stoppard, so i HAD TO watch this.

at first it was QUITE FUCKING GRATING to adapt to the conceit that the whole movie is staged-- on a stage. kindasorta. at times the stage opens and you're in the fucking steppes. and then i thought: "oh, tom fucking stoppard, it's you and your fucking postmodernism you!" (that's the guy i was just talking about the otehr day who stuffed his plays with "theory," but i couldn't remember his name... well it is tom stoppard... anyway...)

so what happens here is that instead of getting some sort of realist recreation (like you had for example with fanny and alexander where the world is "there" in front of the camera) there is a fuckload of signifying, here. neither showing nor telling but rather "pointing at"-- bits of acting and staging that signify "here the person travels to the farm", "now they have moved to a restaurant", "and now these two are both horny." and there's a bunch of shots of little toy trains. kinda like an old godzilla movie. well, it's a kind of "telling", but it's quick.

it really breaks the conventions of narrative cinema and it's highly annoying...

...at first.

because, if you have read the novel, you know it's a massive motherfucker that takes forever to read (i read 1-2 chapters per day over a summer). and you know how movies adapt massive novels-- pick a thing or two, shine a light over it and obscure the rest, bam, it is done.

but here no! here every main piece of plot was covered! very little was missing! and this was done by-- signifyin'

****** SPOILERS GALORE NOW FURIOUSLY ENSUE **********

yes, tolstoy's disquisitions about oblonsky's calves weren't there; and levin's tortured dreams and meditations weren't spelled out word by word, but they were-- signified! you know what i mean? there was something always pointing at these things. so that if you knew the novel you could say "ah, here's where levin realizes he had been thinking wrong but living right" or, "oh shit, look at kitty's old dumb parents, all phegmy," etc.

******************SPOILERS NOW ENDED************

now how this looked like to someone with no knowledge of the novel whatsoever, i don't know. probably contrived and highly theatrical, like a baz luhrmann movie, and at times you almost expected them to break into song and dance, but fortunately (for me anyway) they didn't. regardless, all this posturing was still meaningful. plus, keira knightley's delicate neck/jawline and enormous canines are always fun to contemplate (as roland barthes made it clear-- the closeup is the reason for movies to exist).

so where was i going with this? oh yes. a high level of artificiality that serves the story well, i think. tom stoppard! you clever fucker!

the sets by the way were fucking exquisite.

3.5/5 maybe?? it was a long shot all along. and quite heroic. and it looks fucking great.

*******ONE LAST FAT SPOILER FOR THE ROAD *********

oh shit, i almost forgot-- the only part that really was lacking at the end and looked like fucking treason was they did not have vronsky going to war (in a train, of course, what else) and grinding his teeth full of deathwish. fuckers! that-- that was wrong, that. that! he doesn't just run away into the next pussy! not this time! hronged us you have with that wrong plot. does not compute. fuckers!

[h8kurdt]

The guy who directed that (Joe Wright) also did Atonement. That was a great film and all it's clearly done by somebody who knows what they're doing in terms of directing.

[demonrail666]

YESSS!!!!

That was the first Bresson film I ever saw and immediately made me want to see everything by him. 10/10 is right.

[pad_023]

I just started watching Von Trier's the Kingdom, pretty impressed so far. It's kind of a cross between a hospital drama and Twin Peaks.