mystery meat's movieverse

Health insurance rip off lying FDA big bankers buying
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Postby Spoilt Victorian Child » Thu Jan 10, 2019 3:56 am

mystery meat wrote:ragbags if you're talking about spiderverse sorry it takes backseat to beale st and favourite in my getting-my-ass-to-the-theater queue, sorry! i'll try not to miss it tho.

I loved The Favourite but please see Spider-Verse in a theater. I only make it to the theater like four times a year and if I could retroactively budget all of those to Spider-Verse I would.
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Postby landspeedrecord » Thu Jan 10, 2019 10:23 am

mystery meat wrote:also sorry i'm late in keeping this thread up to speed i just broke up with my podcast partner of five years after he emotionally exploded and burned all his bridges in an inferno of self-destruction so i've been reeling n shit.

perhaps consider rebranding to the act of seething?

jokes aside, good podcast, sorry to see it go. rip it up and start again!
rather be an idiot than a sheeple
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Postby palmer eldritch » Thu Jan 10, 2019 12:37 pm

mystery meat wrote:ragbags idk tbh

alex i can't get past the badness of Savage Innocents (the cheapness of the production, the really bad dubbing) to harvest the things about it that are 'uniquely Ray.' idk he really loses me with that one even though there are cool parts. i've never seen Born to Be Bad, i need to!

also sorry i'm late in keeping this thread up to speed i just broke up with my podcast partner of five years after he emotionally exploded and burned all his bridges in an inferno of self-destruction so i've been reeling n shit.


I was gonna say let's all watch BORN TO BE BAD for Ray completism and check back in here but it turns out I already did and forgot
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Postby mystery meat » Fri Jan 11, 2019 11:29 pm

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Viva Zapata! | Twentieth Century Fox | Elia Kazan | Marlon Brando / Anthony Quinn / Jean Peters | 1952

i liked it. Brando and Kazan did better work elsewhere though. amazing filmmaking serviceable screenplay shit supporting actors.

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Blackboard Jungle | MGM | Richard Brooks | Glenn Ford / Sidney Poitier / Louis Calhern | 1955

need to write a longform piece on the shitness of this, it's monstrous, the most morally misguided shit i've ever seen. there are so many scenes with Margaret Hayes getting ogled and catcalled by the sensationalized switchblade-unsheathing inner-city toughs as the hot teacher, with Louis Calhern as the staff cynic (who talks about them like they're animals) to ask her if she's "dressing like that" to attract "certain kind of attention (i forget the exact problematic innuendo but it was gross) (at which point Hayes chuckles as if we're supposed to find this dialogue funny?). later after Hayes is assaulted Glenn Ford's character's wife (Anne Francis) hindsight slut-shames her in a really needless scene. five years after Sidney Poitier played a tormented doctor in No Way Out, the only movie of its era to depict collective black defensive action against white racists in a heroic light, he's here playing a 'troubled student' who Glenn Ford (whose role would be played by Tom Hanks today maybe) sees potential in. there's an atrocious scene where he whitesplains to Poitier that the success of George Washington Carver and Joe Louis demonstrates that racism is no longer any excuse and then he starts bragging about how progressive the times are now and it's so easy now for black people to boostrap themselves in these modern times. it's so fucked. the end is a copout where the 'leader' of the delinquents is kind of scapegoated as the root cause of the other students' misbehavior (they were just knifing dudes but now that the bad influence is out of their lives they're cured!). there's a little bit of sociology lecturing, and a shoehorned scene that just fawns over the U.S. education system in areas that "aren't so troubled" (i mean if that sounds bad enough wait till you hear the content of this shit: it's temporarily disillusioned liberal do-gooder Glenn Ford returning to his mentor to refortify his dashed hopes, goddamn). Richard Brooks fucking sucked right? Stanley Kramer couldn't have fucked this up worse. the scene where the kids are destroying the poor mousy teacher's record collection is every boarder's worst nightmare.

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The Outlaw | Howard Hughes | Walter Huston / Jane Russell / Thomas Mitchell | 1943

it's just like the screencap just a lot of stiff posing in doorways. Hughes was clearly cinematically illiterate, i will hate him forever for running RKO into the ground but i at least thought this was supposed to be kinda good. but nope! there's a lot of fake-folksy cornball preening that's buttered over with an extra cornball-cutesy score. i mean it's just like four actors standing around each other. the guy who plays Billy the Kid was shit. Walter Huston is so good it's tragic how massive the waste of his performance is here. damn.

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Play It as It Lays | Universal | Frank Perry | Tuesday Weld / Anthony Perkins | 1972

i just read the book, which is easily my favorite Didion and just the most searing read. sometimes i wince at really spare terse prose but this is definitely perfection of that mode, the sun-devoured entanglement of pithy, freakish vignettes all gnarling to abrupt terminus. the lazily acid dialogue of characters in a perpetual stupor of amorality. perfect rhythmic sequencing of brief pungent details. it's a book you gotta associate with the most agonizing kind of sunlight, total erasure in an enveloping white heat, the golden allure of California melting into the blanched, razed despair of the final frontier of American sanity...anyway what huh oh shit i was supposed to be talking about the movie. the movie's okay. it gets some things right but then there are other things that should've been layups that were completely whiffed on. it's just kind of a redundant and incomplete experience when you've already read the novel's perfection.

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Arsene Lupin | MGM | Jack Conway | the Barrymore bros | 1932

this movie's nothing to write home about. but it's also kinda effortlessly wonderful in the way only Old Hollywood could be. i watched it at the top of the morning, with a little bit of sun glare on my TV, and i got so thrilled by the constant somersaults and reversals in the story and the mechanics of the performances, and all the magical artifice. an utter delight!

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The Mad Miss Manton | RKO | Leigh Jason | Barbara Stanwyck / Henry Fonda | 1938

the conceit is amusing for ten minutes but then it wears out its welcome. the dialogue is mostly a barrage of limp wit with some occasional zingers in the mix, but the plot is a weightless trifle that floats out of sight in the first twenty minutes and never quite returns into focus. Stanwyck knows she's playing a more caricatured or stylized character -- the socialite prankster (i guess technically you would call this screwball though when you think of the really good screwball out there...this just doesn't stack up) all becalmed frivolity in getting knocked about by the jams and twists in the plot. or to put it another way, she's the only character who treats it all as a roller coaster ride kinda, isn't taking all the murder lunacy so seriously. Henry Fonda is a straight man of sorts, not too effective. i feel like this is just a dribble of crayon the same Stanwyck/Fonda screwball dynamic that The Lady Eve refines into lean surefooted perfection.

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Beware, My Lovely | RKO | Harry Horner | Robert Ryan / Ida Lupino | 1952

i'm a big Robert Ryan fanatic and i'd never seen this cuz who tf is Harry Horner? well boy howdy did Eddie Czar of Noir Muller spend what seemed like a half hour meticulously elucidating every scrap of production history trivia he could get his grubby mitts on, so now i'm a goddamn Harry Horner expert. he was mainly a production designer and so he directs in a y'know 'classical' theatrical way, facilitating an amazing barrage of long-take arty compositions of Ryan's and Lupino's faces interplaying with the period knickknack-ridden decor. but it's a good little story too, genuinely chilling at parts, disquieting.

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The Suspect | Universal | Robert Siodmak | Charles Laughton!!!! | 1944

between Scarlet Street and Siodmak's Uncle Harry from the year after, there was definitely a mid-forties sub-cycle of movies about naive dopey older men set upon by shrewish wives or aunts or whoever it is...the protag played by Edward G Robinson or George Sanders or in this case the ever brilliant Charles Laughton, is driven to murder in pursuit of some tempting woman...it's all great noir fodder. this is good shit.

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Enchanted Island | RKO | Allan Dwan | Dana Andrews / some assholes | 1958

fuck this shit ass flick. garish racism/misogyny, all-around ineptitude. the diminishing returns of the Classical Hollywood western/adventure/action brand of auteurism. i guess Dwan was completely out of steam (even tho he did the stellar Silver Lode and Tennessee's Partner just a few years before), like i wonder what his sixties work looks like, jesus. Dana Andrews looks older in this than he does in the mid-60s flicks i've seen him in. he's an actor born for psychodramatic close-up, slick black-n-white, not photographed in this inept washed-out glaring n blaring Technicolor. the camera just seems to emphasize how pudgy and unremarkable Dana Andrews is, his jowls seem bigger than they probably are somehow.
Last edited by mystery meat on Tue Jan 15, 2019 9:15 am, edited 1 time in total.
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Postby mystery meat » Fri Jan 11, 2019 11:29 pm

landspeedrecord wrote:
mystery meat wrote:also sorry i'm late in keeping this thread up to speed i just broke up with my podcast partner of five years after he emotionally exploded and burned all his bridges in an inferno of self-destruction so i've been reeling n shit.

perhaps consider rebranding to the act of seething?

jokes aside, good podcast, sorry to see it go. rip it up and start again!

thank you landspeedrecord
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Postby Franco » Tue Jan 15, 2019 8:57 am

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Destry Rides Again (1939) jfc. Not anything that pushed the western genre forward, but it has the light-touch of Jimmy Stewart doing the Jimmy Stewart thing in the Old West, along with MARLENE DIETRICH singing, straight up running the town, and having a Grindhouse-level blowout brawl. Built not to fail.
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Postby mystery meat » Tue Jan 15, 2019 9:25 am

i can't believe i haven't seen that yet. the idea of Jimmy opposite Dietrich blows my mind
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Postby Plainsong » Tue Jan 15, 2019 9:42 am

Franco wrote:Image

Destry Rides Again (1939) jfc. Not anything that pushed the western genre forward, but it has the light-touch of Jimmy Stewart doing the Jimmy Stewart thing in the Old West, along with MARLENE DIETRICH singing, straight up running the town, and having a Grindhouse-level blowout brawl. Built not to fail.

Seconding this. Stewart and Dietrich together unexpectedly rules.
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Postby mellowgold » Wed Jan 30, 2019 5:51 pm

not sure if this is the thread to post this in but w/e!

in an attempt to curb myself from being caught in a frenzy when i have free time and having no idea what to watch, i developed a ridiculous system. to clear up some blindspots, too, i wrote out a bunch of filmmakers - some im familiar with but most im not -- and assigned them a number. then i randomly picked a number and work through some of that director's filmography.

I landed on Sydney Lumet first and watched Network (wow im dead), Dog Day Afternoon (really great!) and rewatched 12 Angry Men (there's nothing I can say). Landed on Hitchcock next which lol im prob familiar with him more than any other director ever but theres still plenty ive not seen. watched The Man Who Knew Too Much (56) (ive seen this maybe like 20 years ago. it's p good! better than the 30s version for sure. Doris Day singing "Que Sera Sera" in the final scene cracks me the eff up every time omg) and watched Marnie today, which is mostly bad but still found some stuff to like about it. Sean Connery is pretty awful in it.

anyway, ill update whenever i watch Mystery Meat Movieverse pictures!!! Going to do Notorious next and then move on to another filmmaker.
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Postby mystery meat » Wed Jan 30, 2019 5:54 pm

thank you for your contribution mellowgold! Lumet is such an exciting filmmaker to explore cuz he made soooo many movies. i'm gonna watch Lumet's The Hill soon, a Connery flick from the year after he did Marnie!

ima update my viewings later i'm so lazy
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Postby mellowgold » Wed Jan 30, 2019 5:59 pm

nice! yeah Lumet is ... really incredible. each of those three movies really knocked my socks off in different ways and at some point im going to go back to him for sure.

Hitchcock physically tormented Tippi in The Birds and then just flat out embarrassed her in Marnie, god.
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Postby mondrary » Wed Jan 30, 2019 6:18 pm

that's exactly what i do with movies, mellowgold! or at least have been doing for a time, i've got a big ol list (along with a couple other list of films / directors that i pick from) and i have it numbered and pick random ones. i try to keep like four filmographies going at a time because i like some variety, but then i get like one from each filmmaker from the library and have those for the week to watch. right now i'm doing godard, cronenberg, harmony korine, and polanski.

re: lumet, i'm gonna double-check to make sure he's on my list as i've only seen 12 angry men and dog day afternoon and think they are both wonderful. i'm excited to see what you think of other filmmakers you watch 8-)
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Postby mellowgold » Wed Jan 30, 2019 6:27 pm

that's cool! it's a good system to avoid just idly scrolling thru the void of movies i have access to. esp this time of the year where there's not much to watch!
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Postby Franco » Wed Jan 30, 2019 6:30 pm

mg that’s amazing. Kinda wish you would’ve squeezed Rebecca into your Hitchcock 3. But maybe another day
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Postby Franco » Wed Jan 30, 2019 6:31 pm

Except duh maybe you’ve seen it
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Postby mellowgold » Wed Jan 30, 2019 6:33 pm

I watched Rebecca for the first time last summer. I did not like it!!!
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Postby mellowgold » Wed Jan 30, 2019 6:35 pm

or i thought it was fine. it was pretty dull but Judith Anderson's Mrs. Danvers is ImageImageImageImage
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Postby Franco » Wed Jan 30, 2019 6:38 pm

Lol yeah that’s fair
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Postby goldsoundz » Wed Jan 30, 2019 6:52 pm

i like rebecca but i think it kinda sputters toward the end a little bit.
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Postby Franco » Wed Jan 30, 2019 7:29 pm

I have questions about Lumet actually. A diversity of styles, yes. An eye for memorable, classic material yes. But as a director what are we talking about?

Clinical, economical, deferential. I haven’t seen much outside of the heavy hitters but those are adjectives I’m comfortable with. Is there a larger visual style that I haven’t registered?
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Postby mystery meat » Thu Jan 31, 2019 12:35 am

i don't think Lumet is very nail-down-able by auteurist benchmarks (thematic concerns, recurrent visual styles), like idk i'm sure you could home in on his philosophy of directing actors or location shooting or 'New York cinema' or whatever he writes about in his book. but he's just so prolific and pumped out so many wildly divergent and varied and occasionally horribly shitty films over like fifty years, i think that's what's most exciting. just that he's a really good director who made so many different kinds of movies and it's just a big thicket of stuff to explore.
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Postby inmate » Thu Jan 31, 2019 1:10 am

everybody should watch lumet's 1972 movie child's play with james mason and robert preston.
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Postby mellowgold » Thu Jan 31, 2019 8:22 am

"Clinical, economical, deferential"

is not close to the adjectives i'd use from what i've seen. his movies are full of rage and passion; i think they're pretty stylistic, too. there are some really interesting shots in Network and Dog Day that made me pause the film to figure out where the camera was placed etc
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Postby Franco » Thu Jan 31, 2019 8:46 am

hmm yeah. i guess something like visual "efficiency" is what i was circling there, not that that can't be artful or elevated at times. in that of all the things viewable as a throughline there are a lot more thematic threads from work to work than there is a style.
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Postby mellowgold » Fri Feb 01, 2019 9:29 am

Watched The Searchers last night... John Ford...is not for me. :?
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Postby mystery meat » Fri Feb 01, 2019 9:30 am

mellow no!
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Postby mystery meat » Fri Feb 01, 2019 9:31 am

i kid, The Searchers is a hard pill
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Postby mellowgold » Fri Feb 01, 2019 9:49 am

lolol

on the other hand, i also watched Notorious, which rules.
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Postby mystery meat » Fri Feb 01, 2019 11:12 am

you saw them when they were notorious...now watch them when they're

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Postby mystery meat » Sun Feb 03, 2019 3:07 pm

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Old Acquaintance | Warner Bros | Vincent Sherman | Bette Davis / Miriam Hopkins | 1943

an old-school shriekfest waged between two timebombs of melodramatized neurosis. the 40s Warners BDavis hysteria cycle is always rewarding imo, but Miriam Hopkins as the best-friend-cum-rival-author just makes it so much more thrilling. amazing that this is also the same play that is the basis of George Cukor’s Rich and Famous, a far lesser film than this one i must say.

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Going Hollywood | MGM / Walter Wanger | Raoul Walsh | Bing Crosby / Marion Davies | 1933

i always show up for Raoul Walsh but when you throw endlessly fascinating renegade independent producer Walter Wanger into the mix, and Donald Ogden Stewart (he who is responsible for the ‘light existentialism as wrought within society’s upper echelons’ stuff in the screenplays for Holiday and The Philadelphia Story) on top of that, then it becomes the ultimate enticement on my to-watch list. this is my first Marion Davies flick, and she’s perfect here, all slumbery and dreamlike and the most languid wit — well hold up, i mean she’s perfect until this abominable blackface scene that made me hate humanity for a hot minute. so yeah this is definitely a flawed flick, very schizoid movie made about Hollywood’s self-image, there’s a real mania and verve to the direction that’s classic Walsh, some of the musical numbers and montages are insane. Bing Crosby is so much more interesting when he’s a young crooner playboy than when he becomes America’s favorite priest with Going My Way in 1944. here he’s self-consciously fucking around with his image onscreen the way Dean Martin later would in something like Kiss Me Stupid.

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The Blue Gardenia | Columbia (?) | Fritz Lang | Anne Baxter / Richard Conte | 1953

Anne Baxter is one of the all-time greatest actors in Hollywood history, def a less bombastic star than many of her contemporaries and super underrated as a result. no one ever talks about her! her character detailing is so skilled in this one. it's extremely dark, with Raymond Burr’s attempt to date-rape her catalyzing the whole knotty noiry plot. it maybe gets less interesting and more formulaic as it proceeds but it’s so masterfully directed all the way through i just couldn’t bring myself to care.

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Hearts Divided | Warner Bros | Frank Borzage | Dick Powell / Marion Davies | 1936

this fuckin sucked. i can’t believe Borzage also produced this! what a gargantuan airball dude. this is just cutesy bullshit about Dick Powell is Napoleon’s (Claude Rains!!!) younger brother who, lemme remember, passes himself off as Marion Davies’ lowly tutor at some random manor in New England (i forget why and how he arrives there and under what circumstances, could not hold it together for this dumb shit) so he can break free of the shackles of Great Man Theory of History fatalism and do normal guy things like fall in love, and orchestrate the most circuitous ruses in order to do so. moreover, she realizes Who He Is and they still declare their love for each other and that’s still not the end of it! there’s like a boring extra half hour of Rainspoleon castigating his lil bro with boring political disputes that have no place in a goofy costume romance. i was happy to delete this from my DVR.

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The Spanish Main | RKO | Frank Borzage | Maureen O’Hara / Paul Henreid | 1945

this is more like it! vibrant if vacuous swashbuckler garble with serviceable action and good color, but that’s all i need baby. i kinda enjoyed Henreid in the Flynn role here, usually i find him so boring (no offense to the Henreid-heads). Maureen O’Hara is really worshipped by the camera in this one, she’s stunning.

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Robin and Marian | Richard Lester | Sean Connery / Audrey Hepburn | 1976

i cherish Richard Lester like an old school Hollywood auteur so anything with his name on it is the very stuff of movieverse. this movie is so sweet and sugary and entertaining, another one about historical fatalism, with an aged Robin Hood realizing he never really made a substantial mark on anything. Richard Harris is Richard the Lionheart all weathered and pallid and sickly and evil (all the opening stuff with the atrocities of the Crusades is like in the tradition of the 'revisionist' Westerns of the 70s but regarding medieval lore and legend). despite all this parched and grisly mythbusting, it's not long before Robin returns to Sherwood -- where the Sheriff of Nottingham still reigns -- and kinda restores his legend by graceful, jubilant, romantic exploits, none of which are grandiloquent, just simply adventurous in the best way. Audrey Hepburn as Marian is so wonderful. but will the indefatigable romantic spirit win out? will Robin and Marian truly rejoin their hearts in love? will the Sheriff of Nottingham be vanquished once and for all? tune in to this late-70s Lester gem to find out!
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