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Postby Eyeball Kid » Tue Jul 09, 2019 9:06 pm

Speaking of De Palma, I watched the Neil Diamond version of The Jazz Singer the other day and there was a completely gratuitous split diopter shot in it. Added nothing to the scene, it's like the director or DP just wanted to have it in there for the hell of it.
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Postby mellowgold » Tue Jul 09, 2019 9:08 pm

hiddenicon wrote:The Muppets

delightful


Currently watching the muppets take manhattan like someone who hasn’t slept in 4& hours
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Postby Gnarls » Tue Jul 09, 2019 9:21 pm

I’m going through a De Palma phase right now, mainly due to all the weird byways he’s traveled and the pure shit he’s made. It’s fun just to read his filmography. Hi, Mom & Wiseguys & Redacted & Mission: Impossible & Dionysus in ‘69 all hanging out together. He’s definitely a major creep though.
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Postby Gnarls » Tue Jul 09, 2019 9:21 pm

Carburetors man that’s what life is all about
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Postby Eyeball Kid » Tue Jul 09, 2019 9:24 pm

Hi, Mom! is a good early one*, but he didn't truly hit next level until Sisters

*I know Greetings has its fans, but it's basically proto-edgelord trash, imo
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Postby Eyeball Kid » Tue Jul 09, 2019 9:28 pm

Also rethinking my late-period designation for Carlito's Way, if only because it feels reductive to use "early", "middle", and "late" for such a large body of work.
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Postby landspeedrecord » Tue Jul 09, 2019 9:37 pm

segmenting careers can be reductive, but I also think it can be helpful

I think of early de palma as everything before carrie, the highlights of which are hi mom, sisters, & phantom of the paradise

carrie is when I think he fully realizes his talents imo. I would argue that film through mission: impossible is his "prime," though I'm sure some people would say it's a shorter window. there are some stinkers in there, but it's a high batting average and showcases the best technical work of his career

everything since then is post-prime, late career work. snake eyes is neat, femme fatale is assuredly the highlight, but the rest is fairly mediocre... haven't seen domino yet tho

love de palma. it bummed me out that in baumbach's doc he seemed to equate his "best" work with his most financially successful work. I guess that makes sense in that box office successes allow you more creative freedom or to even just get your next film made (and failures can potentially kill your career), but I tend to think a lot of de palma's less financially successful works are his best
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Postby inmate » Wed Jul 10, 2019 1:31 am

murder a la mod and hi, mom! are both extremely underrated and probably my two favorite de palmas, although it's been a long time since i've watched any of his films
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Postby theta » Wed Jul 10, 2019 7:44 am

body double is an incredible movie and one of my all time favorites
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Postby Plainsong » Wed Jul 10, 2019 8:13 pm

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Crossfire (1947)- Edward Dmytryk
This was great, Robert Ryan and Gloria Grahame were the standouts in terms of performance, but the rest of the cast was great as well.
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Day Of Wrath (1943)- Carl Theodor Dreyer
This was perfect.
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Diamonds Of The Night (1964)- Jan Nemec
Liked it.
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Distant Voices, Still Lives (1988)- Terence Davies
Beautiful and heartbreaking all at once.
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Dodsworth (1936)- William Wyler
This was great, particularly for the lead performances, especially from Walter Huston and Mary Astor.
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Election (1999)- Alexander Payne
This ruled.
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Postby palmer eldritch » Wed Jul 10, 2019 8:56 pm

brutal review of diamonds in the night
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Postby regal mallard » Thu Jul 11, 2019 1:29 am

Witherspoon's been in a lot of crud over the years but trying to imagine other star actresses of her generation pulling off both Freeway and Election (and Man in the Moon) at that point in their careers reinforces how rare a talent she is

Sucks that her recent ventures into even mildly ambitious material in How Do You Know and Egoyan's Devil's Knot have bombed. Two interesting/dissimilar performances in undervalued films. And then her distinctly unglamorous supporting work in Mud and Inherent Vice. Career maintenance no longer needed perhaps but think what she could do with Claire Denis or Korine THINK
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Postby Milk » Thu Jul 11, 2019 2:31 am

I have been watching the films of Patrick Dewaere i had yet to see, he was to the 70's french cinema a bit like maybe a sort of...i don't know...Heath Ledger? terribly talented but died tragically in 1982 at age 35 from suicide.

I started with F... Comme Fairbanks (1976)

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It says Michel Seydoux presents on top of the poster, that's Lea Seydoux's (Blue is the Warmest Color, Spectre) granduncle who was a producer.

In which he plays a young man just back from military service (it would be a thing in France until the late 90's and now they're kinda bringing it back without the military part...the Macronian Youths, so to speak....). Trouble is, the end of his service is tainted by two months of jailtime he got for protesting...something obscure which is never truly mentioned or else i missed it. He returns home without work experience but with a chemistry degree but nobody will hire him because of his recent jail time. This is a topical movie in France at the time, unemployment is high, especially among the youth, and this movie's theme is in good part unemployment and what it can do to the mind of someone who WANTS to work (something i know nothing about), or at least that lives in a society that only values individuals if they have a job (something i DO know a lot about).

His character is called Andre but given the nickname Fairbanks by his father, an American who used to work in Hollywood and moved to France during the Mccarthy witch hunts which is interesting because the role is played by John Berry, who WAS an American director who exiled himself to France in said witch hunts. Fairbanks for Douglas of course, which represents an ideal of heroism and moral virtue (well in Fairbanks roles) that the father sees in the son but which he personally feels extremely unfit to meet. By the end of the film, his character is in fact wearing a hat similar to the one Fairbanks wore as Zorro..

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The best cleft chin in the history of French cinema at the very least

He meets a young theater actress called Marie (Mary Pickford was Douglas Fairbanks's wife...hmm) played by Miou-Miou who is here at the peak of her youthful charms (it's bad form to comment on an actresses attractiveness i know and yet i'm doing it anyway, I'd actually forgot she used to be so pretty and fell a little in love with her throughout the course of the film, don't @me)


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Miou-Miou being pretty. AMONG other things, she was nominated for a Cesar (French oscars) that year for this role after all so i'm certainly not implying it's all she does well. For the anecdote her stage name, yes, is Meow-Meow in French, it was a nickname given to her by French comedy legend Coluche because he felt she had a cat like voice.

She is taken with him, as he is with her, but his inability to find work affects his self-esteem and feeling of self-worth deeply and he refuses her request that he move in with her (despite that she assures him she doesn't care that he's without work). Frankly the movie's plot thread is thin but it's basically a succession of scenes in which we start to understand that Fairbanks is slowly drifting into mental illness as he's forced to take shitty jobs he is not motivated to keep and feels that he is not worthy of Marie.

There's a nice energy to the film despite the topic and this is due to the fact a lot of the scenes are at least partly improvised. A lot of lines are obviously not written. Dewaere and Miou-Miou have great chemistry which could be easily explainable by the fact they were still a couple early in the shoot... but the story of their split brings a sort of uneasy melancholy to the movie. She was working on another film at the same time as this one, a movie on which she'd tried to get Dewaere the lead but the producers preferred French singer Julien Clerc (who had no acting experience). During the shoot Clerc apparently charmed Miou-Miou and she left Dewaere for him and so despite the onscreen chemistry, in reality Dewaere was heartbroken and i find in his acting, and even more so improvisations, a sort of underlying wistfulness, like maybe he's trying to charm her back and everytime they laugh at each other it feels both real (because I think a lot is) and simultaneously sad (perhaps more awkward than sad for her...) He certainly did not take their split well, he famously in fact punched Clerc in the face in public on one occasion. I in no way condone physical violence, especially not of the vengeful jealous type which is rather toxically masculine to say the fucking least (this is France in the 70's though :roll: :? )... that being said, I always thought Clerc was a corny annoying guy so i'm secretly not entirely against this action either, just the reasons behind it. Probably I mostly hate him for ruining radio in the 80's with his ubiquitous, bad hit Coeur de Rocker ( https://www.youtube.com/watch?v=xs6w11M4Tyc, you can see Gainsbourg playing his dad in this video.)

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A scene which feels improvised and in which Dewaere decides he's not gonna put Marie down anywhere. The laughs they share towards the scene's end seem very genuine.

By the movie's end Fairbanks is clearly losing his mind despite that Marie very much still wants him and he climbs on stage in front of an audience while Marie is the lead in a play (Alice in Wonderland) and tries to get her to leave with him to Venezuela (which in a very don-don moment i learned from this film means Little Venice, because the natives used pagodas to get everywhere), she leaves the stage and locks herself in her dressing room to cry while the rest of the cast tries to stop Fairbanks, who is by then rather completely mental, from breaking in.

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Fairbanks with his Zorro-like hat and Marie as Dorothy

The movie ends with him strapped on a gurney and being taken by ambulance to a mental institute. The last scene is a vision he has of himself and Marie on a flying carpet above Paris. A bittersweet sequence that is also a reference to the end scene of one of Fairbanks's most popular movie, The Thief of Bagdad, in which he flees with the princess on a flying carpet at the end.

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In the end not a great movie but an interesting one still for Dewaere, in fact one of his biographer who also knew him claimed it was the movie in which Dewaere was closest to playing himself. But Les Valseuses (with ALSO Miou-Miou) or Serie Noire are more essential Dewaere.

Of note, Thierry Lhermitte and Christian Clavier appear here as unknowns with small nameless roles (a waiter and a frustrated unemployed young man respectively), both were then just starting comedy theater at Cafe-theatre le Splendid with the soon to be famous troupe of the same name and within half a decade would become stars by being in (and writing) some of France's biggest ever comedies (today they're both actually closer to icons) Lhermitte and Miou-Miou would actually star together fifteen years later in 1991's La Totale, which is the film James Cameron based True Lies on (well remade technically but like...most of the action scenes in True Lies are not in La Totale, budgets being quite different)
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Postby emotional fascism » Thu Jul 11, 2019 7:38 am

regal mallard wrote:Witherspoon's been in a lot of crud over the years but trying to imagine other star actresses of her generation pulling off both Freeway and Election (and Man in the Moon) at that point in their careers reinforces how rare a talent she is

Sucks that her recent ventures into even mildly ambitious material in How Do You Know and Egoyan's Devil's Knot have bombed. Two interesting/dissimilar performances in undervalued films. And then her distinctly unglamorous supporting work in Mud and Inherent Vice. Career maintenance no longer needed perhaps but think what she could do with Claire Denis or Korine THINK


yeah, she also did well in American Psycho. she took some risks early in her career that would have made her an indie darling for life if she continued. Legally Blonde changed her trajectory big time.

I hear she's real good in Big Little Lies, but I don't watch it.
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Postby tricksforchips » Thu Jul 11, 2019 12:22 pm

Monrovia, Indiana (dir. Frederick Wiseman)

Image

Just a nice and soothing portrait of rural America that makes your re-think some of the biases you may have from living in a city. You're somewhat humbled as you recognize that this area, even though it's overwhelmingly Republican and pro-Trump have the same goals, routines, and desires as someone from a larger city. That was also my criticism of the film, though. I feel like it was far too apolitical for its subject -- but it's a Wiseman film so what can I expect? I suppose this shows the disconnection from politics that these areas have compared to other and higher density areas.
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Postby soft milk » Sat Jul 13, 2019 10:12 am

Sea of Love

Image

probably one of my favourite pacino movies. hot sex scenes. ambiguous new york locales. ellen barkin takes control. a hyperactive john goodman. really dumb plot. this shower curtain above. there's the yankees, there's samuel l. jackson, and it smells like old carpeting in my grandfather's apartment. glad it was on netflix so i could rewatch.
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Postby Plainsong » Sat Jul 13, 2019 10:16 am

Image
Eros + Massacre (1969)- Yoshishige Yoshida
Really loved this.
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Experiment In Terror (1962)- Blake Edwards
Really liked this.
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Eyes Without A Face (1960)- Georges Franju
This was great.
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Fanny And Alexander (1982)- Ingmar Bergman
Watched the theatrical version and it's a god damn masterpiece.
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Fox And His Friends (1975)- Rainer Werner Fassbinder
Lukewarm about this at first, but the last half an hour won me over.
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Funeral Parade Of Roses (1969)- Toshio Matsumoto
Really loved this.
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Postby regal mallard » Sat Jul 13, 2019 10:23 am

soft milk wrote:Sea of Love

Image

probably one of my favourite pacino movies. hot sex scenes. ambiguous new york locales. ellen barkin takes control. a hyperactive john goodman. really dumb plot. this shower curtain above. there's the yankees, there's samuel l. jackson, and it smells like old carpeting in my grandfather's apartment. glad it was on netflix so i could rewatch.

Becker had a nice seedy run with this, Malice (great crazy Alec Baldwin), and The Boost (great crazy James Woods on coke [I MEAN YOUR CHARACTER WAS ON COKE MR. WOODS PLEASE DONT SUE ME IM A BIG FAN])
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Postby soft milk » Sat Jul 13, 2019 10:27 am

speaking of harold becker i think i'm gonna watch City Hall today
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Postby easy » Sat Jul 13, 2019 10:33 am

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too late to die young (2019, sotomayor)

this was pretty good. quiet, dreamy, nostalgic. demian hernandez is hypnotic.
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Postby R C » Sat Jul 13, 2019 12:03 pm

just finished RELAXER and it’s so good. I think I like BUZZARD more, but still I enjoyed it.
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Postby mondrary » Sat Jul 13, 2019 12:14 pm

i watched coco and far from heaven last night. coco ruled, possibly my favorite pixar movie from this decade but i'd need to re-evaluate / see a ton of them, especially inside out, which also rules. far from heaven is also immediately my second favorite haynes after safe; wonderful, deconstructive '50s-style melodrama with beautiful cinematography. for haynes i'd rank them:

safe
far from heaven
carol
velvet goldmine
i'm not there

just dl'd superstar which i'm so excited to see
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Postby landspeedrecord » Sat Jul 13, 2019 12:27 pm

superstar is great... enjoy. you should check out poison after

both of them harness camp in a gritty experimental way that I adore
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Postby soft milk » Sat Jul 13, 2019 1:22 pm

The Big Easy

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roger ebert called this one of the richest american films of its year. it's no surprise cause jim mcbride directed it and i've always found him to be someone who cares less about keeping his clever plots coherent and more about comfortably meandering off with his quirky, americana cut characters. dennis quaid plays a corrupt, alligator obsessed cop and horndog who sleeps with a gator squeaky toy and walks with the swagger of someone who knows his ass looks good in those jeans. he falls for ellen barkin's ADA character and from then on it doesn't really matter what drives the plot forward, it's more about them, what happens to them, what happens around them and the odd city they inhabit as corruption gives into conscience. bad cajun accents, bad attitudes, goofball disguises, plot devices worthy of a soderbergh caper and a pretty great, if minimal, ned beatty performance. it's funny too (there's a running gag with a toupee that pays off well). oh, also kudos to dennis quaid for convincing mcbride to use his band's music during a sex scene. i took some screencaps of moments i liked.

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you are only coming through in waves
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Postby furrowed brow » Sat Jul 13, 2019 10:16 pm

mondrary wrote:i watched coco and far from heaven last night. coco ruled, possibly my favorite pixar movie from this decade but i'd need to re-evaluate / see a ton of them, especially inside out, which also rules. far from heaven is also immediately my second favorite haynes after safe; wonderful, deconstructive '50s-style melodrama with beautiful cinematography. for haynes i'd rank them:

safe
far from heaven
carol
velvet goldmine
i'm not there

just dl'd superstar which i'm so excited to see


Mildred Pierce is amazing. Granted I'd never seen the 45 adaptation nor knew anything about the book.
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Postby carlagain » Sun Jul 14, 2019 3:35 am

i rewatched Carol to see if it i still liked it, and i still like it
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Postby Plainsong » Sun Jul 14, 2019 5:29 am

Image
General Idi Amin Dada: Autoportrait (1974)- Barbet Schroedor
This was incredible.
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Gertrud (1964)- Carl Theodor Dreyer
This was heartbreaking, and a beautiful film to finish off Dreyer's career.
Image
Gun Crazy (1950)- Joseph H. Lewis
Really loved this.
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Gunfight At The Ok Corral (1957)- John Sturges
Really liked this.
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Hands Over The City (1963)- Francesco Rosi
Really liked this.
Image
Haxan (1922)- Benjamin Christensen
Loved this, especially the visuals.
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Postby vivian darko » Sun Jul 14, 2019 5:37 pm

i doubt this will be controversial here but the new gaspar noé sure is bad
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Postby furrowed brow » Sun Jul 14, 2019 5:41 pm

carlagain wrote:i rewatched Carol to see if it i still liked it, and i still like it


Yeah Carol is my second fav Haynes. Mildred Pierce is shot by Lachman and scored by Burwell, so it scratches a bit of a Carol itch at times.
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Postby mellowgold » Sun Jul 14, 2019 8:22 pm

soft milk wrote:The Big Easy

Image

roger ebert called this one of the richest american films of its year. it's no surprise cause jim mcbride directed it and i've always found him to be someone who cares less about keeping his clever plots coherent and more about comfortably meandering off with his quirky, americana cut characters. dennis quaid plays a corrupt, alligator obsessed cop and horndog who sleeps with a gator squeaky toy and walks with the swagger of someone who knows his ass looks good in those jeans. he falls for ellen barkin's ADA character and from then on it doesn't really matter what drives the plot forward, it's more about them, what happens to them, what happens around them and the odd city they inhabit as corruption gives into conscience. bad cajun accents, bad attitudes, goofball disguises, plot devices worthy of a soderbergh caper and a pretty great, if minimal, ned beatty performance. it's funny too (there's a running gag with a toupee that pays off well). oh, also kudos to dennis quaid for convincing mcbride to use his band's music during a sex scene. i took some screencaps of moments i liked.

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This is great!!!!! It was like so enjoyable to watch something that competently told a story in like 90 min and that was that. Nothing more to add!
wimbledon, strawberries, bubbles, please protect me. happy midsumma, hope you spend it in your heart, everyone is there. bitch.
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