WHAT FILMS HAVE YOU SEEN LATELY?

[knitwit45]

Was it sub titled, or dubbed? I think watching a musical, especially, would be difficult to view, if you are reading sub titles.

[MikeBSG]

When I saw "Tootsie" in Moscow in the mid-90s, I was surprised to see that they didn't do anything with the song lyrics in the middle of the film. The rest of the film had Russian looped over the American dialogue (which you could still sort of hear.)

[MikeBSG]

Today I watched "The Usual Suspects" (1995).

Okay, I was 19 years late to this particular party. It was okay, although I think I liked the first half of the film better than the second half (when everyone was yammering about Keyser Soze, this evil superman.) The line-up scene was very good.

Anyway, the movie made me wonder: Whatever happened to Neo-Noir? Back in the Nineties, it seemed like Neo-Noir was going to take over Hollywood. Now I can't really remember a recent movie that I would call neo-noir. Maybe "Brick" (2005), and that's nearly 10 years ago now. What happened?

[ChiO]

Saw three movies on the Big Screen this week, which, if memory serves me well, is my post-collegiate record (excepting film noir festivals).

Sunday

With the buzz and intimations of film noir, had to see AMERICAN HUSTLE. Jennifer Lawrence is deserving of every accolade she's getting. Great performance. Jeremy Renner is almost as good. And, playing the small Robert DiNiro role, Robert DiNiro is quietly frightening. Christian Bale? Not his fault - the fault lies with me - but from the very first shot, I couldn't get my mind off of Jeff Bridges and that was an unfortunate obstacle throughout. Another con job movie a la THE WOLF OF WALL STREET. (Query: What will critics make of this "cycle", "series", "genre" twenty years from now? What was our national neurosis?) Still able, however, to enjoy the film. But, as with THE WOLF OF WALL STREET, I can't give it the unqualified adoration I can for INSIDE LLEWYN DAVIS and it was bugging me because I couldn't figure out why.

Aside: Best trailer - THE GRAND BUDAPEST HOTEL (Wes Anderson) to be released March 7. I'm there!

Tuesday

The first of what Facets plans on making a monthly event - a members-only screening of a forgotten film, a film that created a stir upon release, but that has since fallen through the cracks (mostly due to poor distribution). First up: INTIMATE LIGHTING (Ivan Passer 1965).

This was Passer's first film as director, having earlier co-written two Milos Forman documentaries. Subsequently, before he and Forman came to the U.S., he co-wrote two other movies for Forman: LOVES OF A BLONDE (1965) and THE FIREMAN'S BALL (1967). In the U.S., Passer directed the lzcutter-Dewey-Mr. Arkadin-ChiO favorite, CUTTER'S WAY (1981).

A movie about nothing. Two old friends, both musicians, reunite in the village that one of them never left. They talk. The returnee soaks up the culture he had left behind...and remembers. An intimate portrait of people and life (and lives). A movie about everything.

As I walked shivering to the car, thinking about why I loved this movie and INSIDE LLEWYN DAVIS and only liked the other two movies recently viewed, the light bulb labelled "Isn't It Obvious, You Dolt" lit up. It has nothing (or very little) to do with the quality of the film and everything to do with a preference for films that are character-driven rather than plot-driven (Cassavetes, anyone?). Plot points and intricacy are unnecessary. An underlying story is needed only to provide a basis for the characters to reveal themselves. The characters - not the story - are the story. It's that simple. Now I can sleep at night.

Wednesday

Speaking of movies about nothing...

Greg Kot, rock critic for the Chicago Tribune, and Jim DeRogatis, former rock critic for the Chicago Sun Times and Lester Bangs acolyte, co-hosts of NPR's "Sound Opinions", host an occasional screening of a rock 'n' roll movie at the Music Box with all proceeds going to WBEZ, our local NPR station. Usually the movies are documentaries or something akin to TOMMY. But this night was different. Not a rock 'n' roll movie, but a movie where the rock 'n' roll soundtrack helps tell the story...the story about nothing...and everything.

Tag Line: Suddenly life was more than french fries, gravy and girls.

DINER (Barry Levinson 1982) – What do you get when a TV and movie screenwriter directs his first film with a bunch of young unknowns, and adds the greatest rock ‘n’ roll soundtrack in history? One of the best movies of the ‘80s, that’s what!

On Food: You have like chunks of roast beef in your heart!

On Make-Out Music: I like Presley.

On Life: Do you ever get the feeling that there's something going on that we don't know about?

Boys will be boys…and so will men.

On Marriage: When you're dating, everything is talking about sex. Where can we do it? Why can't we do it? Are you parents gonna be out so we can do it? Everything is always talkin’ about getting sex, and then planning the wedding, all the details. But then, when you get married...it's crazy, I dunno. You can get it whenever you want it. You wake up in the morning and she's there. You come home from work and she's there. So all that sex planning talk is over with. And so is the wedding planning talk cause you're already married. So...ya know I can come down here and we can bullshit the entire night away but I cannot hold a 5 minute conversation with Beth. I mean it's not her fault, I'm not blaming her, she's great.... It's just, we got nothing to talk about.... But it's good, it's good.

I'll always have a soft spot in my heart for Barry Levinson's first movie. And have ever since I saw it in 1982 at the (late) Biograph. It’s about young guys in Baltimore 1959 being young guys in Baltimore 1959. It’s about nothing…and everything. With a cast of before-they-were-stars. And every line is a gem.

On Relationships: You never ask me about the flip sides! (I hear you, Shrevie!)

I’m laughing my head off through most of it…and crying at the end. A March 2012 article in Vanity Fair said it is the most influential movie of the '80s. Never argue with Vanity Fair. But it is not totally, absolutely, 100% flawless.

As our younger, 26-year old, daughter and I were having our debriefing (it was her first viewing; clearly I have failed as a father):

Daughter: I cringed when Shrevie fanned out those 45s to Beth.
Father: I always do, too.
Daughter: And he wouldn't have done that. He loved the music and the records. He wouldn't have fanned out unsleeved 45s. It wasn't his character.

That's my girl!

[JackFavell]

Great catch... Ms. ChiO Jr. is obviously the perfect daughter of her thoughtful and discerning father!

I haven't seen any of them except Diner (favorite scene: Boogie and Beth in the beauty parlor, followed by records + Shrevie + Ain't Got No Home, followed by Paul Reiser sandwich)and Cutter's Way. This gives me a remarkably good idea of the other films. It also gives me an idea of what type of movie you like which is always helpful. Really glad to know that Ivan Passer worked under Milos Forman on those two movies...it reminds me that I've wanted to see Loves of a Blonde and Fireman's Ball for a long time. Your post gives me things to think about and films to watch, what order to watch them, etc. A wealth of info in your post which I'm very grateful for.

Knitty - French Cancan was subtitled, and though there were moments where the reading was slightly difficult, i.e. during a song, it didn't seem difficult to follow AT ALL, in fact, it was one of the least bothersome subtitled films I've ever seen. I think you'd love this movie, the bright colors, the songs, the dances, the laughs, the entire plot. It was just so well done.

[ChiO]

I could do with a little less Mickey Rourke and a little more Kevin Bacon

You know...when I first saw DINER, I was convinced that Mickey Rourke was going to be the next great thing (along with, at that time, William Hurt). There was DINER and BODY HEAT (ooooh, both of them), wherein Rourke, I would contend, was the heart and soul. And I thought that Kevin Bacon was the weakest link.

As time passes...now we know why I'm not a big Hollywood producer. Bacon gets stronger with each viewing and Rourke gets weaker. I'd like to think that it's just a reflection of how their respective careers went, but, no, I missed how strong Bacon was in the movie.

[Lzcutter]

I adored Kevin Bacon in Diner.

In fact, the piece of dialog that has stayed with me all these years is his:

It's funny. You know, when I was a little kid I always wanted a brother. I told that to mom once and she said, "You have a brother". I said, "Oh, so that's who the a**hole in the other bed is".

Funny, the things we remember.

And I totally agree with you, ChiO on Mickey Rourke. I, too, thought he was destined for great things. But, in the end, I think Kevin Bacon probably has had the better career. Too bad that he and Kyra lost so much money in the Bernie Madoff scandal and he is now doing The Following on Fox. He's good but the overall premise is one i just didn't buy into and I'd rather see him in films like Taking Chance.

[Mr. Arkadin]

In the U.S., Passer directed the lzcutter-Dewey-Mr. Arkadin-ChiO favorite, CUTTER'S WAY (1981).

A movie about nothing. Two old friends, both musicians, reunite in the village that one of them never left. They talk. The returnee soaks up the culture he had left behind...and remembers. An intimate portrait of people and life (and lives). A movie about everything.

As I walked shivering to the car, thinking about why I loved this movie and INSIDE LLEWYN DAVIS and only liked the other two movies recently viewed, the light bulb labelled "Isn't It Obvious, You Dolt" lit up. It has nothing (or very little) to do with the quality of the film and everything to do with a preference for films that are character-driven rather than plot-driven (Cassavetes, anyone?). Plot points and intricacy are unnecessary. An underlying story is needed only to provide a basis for the characters to reveal themselves. The characters - not the story - are the story. It's that simple. Now I can sleep at night.

Passer is one of those directors whose work should be reevaluated. The man knows how to get everything on film:

[youtube][/youtube]

[Lzcutter]

Ark and ChiO,

Thank you so much for mentioning Cutter's Way! The clip just makes me want to see that film again. A true underrated gem.

Mr Cutter and I went to see Dallas Buyers Club last weekend. What a terrific, character driven little film that is. Jared Leto captures Rayon completely and I can see why he has won so many awards for the role and is likely to win the Academy Award for Best Supporting Actor.

Matthew McConaughey is on a roll in redeeming his talent and his career. Forget all those bad rom-coms and such he was doing a few years back, if you can, because he has made a terrific return to actually acting. He is just terrific in this film as well as True Detective, the HBO series he co-stars in with Woody Harrelson that is airing right now.

He has gone from underdog to possible front runner for the Oscar for Best Actor with this film and if he wins, I wouldn't be surprised. It truly seems to be a toss up right now between him and the lead actor from 12 Years a Slave.

And ChiO, I was disappointed by the Academy's lack of love for Inside Llewyn Davis but was glad to see that the cinematographer picked up a nod. How ironic if he wins this year? Roger Deakins usually shoots the Coen Brothers films but was busy making Skyfall and wasn't available. He's been nominated 11 time, including this year, but I think Bruno Delbunno may take it.

Be sure to see the T-Bone Burnett concert film, Another Day, Another Time with music from and inspired by the film. It is just terrific!

[RedRiver]

I've always liked DINER as well. While Chio was at the storied Biograph, I, with my northside lifestyle, was comfortable at The 400. Still waiting to learn why on Earth it was called that! I'm just fine with a movie about nothing, as long as the nothing is really sharp and clever. Filmmakers such as Jim jarmusch, Kevin Smith and Lars von Trier sometimes settle for nothing; minus the clever!

I also like the first half of USUAL SUSPECTS better than the second. But I like all of it. It's intriguing and full of surprises. I don't think I'll EVER fully understand what's real and what's fabricated. But it's fun, so I don't complain! With all the deserved praise afforded Kevin Spacey's more recent work, this is still my favorite. He created a whole, rich, real character.

[ChiO]

While Chio was at the storied Biograph, I, with my northside lifestyle, was comfortable at The 400.

Oh, you North Shore types. What? You think the Biograph was on the southwest side?

Only went to the 400 once. I was a Biograph-3 Penny-Parkway (especially the Parkway!) kinda guy. And, now, all three are gone (though Biograph still operates for live theater).

[CineMaven]

Has anyone thought of re-making this ( "Twelve Angry Men" ) movie with WOMEN?

That is a fascinating thought. Indeed, most people would take it to just be a display of cattiness. It is interesting how, in 12 Angry Men, it is very much a power struggle for many of the characters, which is a traditionally masculine trait and it is therefore acceptable and thrilling. I wonder how perceptions would change even if the cast was just mixed?

You're so right Norfious. When women exhibit the exact same traits as men, they are judged differently. Your mixed cast idea sounds more interesting than my original thought.

* * * * *

Damn! You make me sorry I didn't watch yesterday. That darn baking got in my way. You'd never see Kitty baking goodies for a bake sale....

Uhhhhhhhhh...no. If Kitty cooked...it wouldn't be in the kitchen. I'm hoping you're done with that. ( And that it was successful. )

* * * * *

Tess, thanks for taking the time to reproduce that marvellous exchange. SS is a film that deserves many viewings (I have seen it thrice and the last was the best, thanks to KINO's flawless print included in their DVD release).

Thanxx! I really liked it. I was really struck by the nastiness and edge of the movie. And Joan really jumped into it.

* * * * *

And it's funny. Ok in a tragic sort of way.

You know, come to think of it, you're right Wren. In a sardonic way.

* * * * *

Anyone doubting Robinson's range as an actor should watch the famed tough guy in this meek, domesticated role. That man could play practically anything! SCARLET STREET is a beautiful noir...

Eddie G. is an amazing actor. Seeing him in "Our Vines Have Tender Grapes" or "Double Indemnity" or "The Amazing Dr. Clitterhouse"and then in "Key Largo" surprises me it's the same man. I do like him when he's a little meaner...but he is a fine actor. Here's a very brief sample:



* * * * *

I saw French Cancan (Renoir, 1954). What an absolutely great movie! This is now my second favorite movie musical of all time, after Singing in the Rain. I never thought I'd find a movie I liked as much. I found French Cancan funny, sad, beautiful, dramatic, colorful, worldly and tremendously exciting. The french settings were superb, the cast a dream. The story is a mere trifle, but the execution of it was just plain masterful, full of charming stars outdoing themselves and each other to present a postcard of Paris at the Belle Epoque...

I’m not that great a musicals fan ( “Bye Bye Birdie” ) but you’ve whet my appetite with your review. Movie-isms? Uh huh. Got’cha.

* * * * *

Saw three movies on the Big Screen this week, which, if memory serves me well, is my post-collegiate record (excepting film noir festivals)...

Try doing movies back-to-back-to-back and then you'll really be cooking with gas.

INTIMATE LIGHTING (Ivan Passer 1965) ...A movie about nothing. Two old friends, both musicians, reunite in the village that one of them never left. They talk. The returnee soaks up the culture he had left behind...and remembers. An intimate portrait of people and life (and lives). A movie about everything...

ChiO, I like what you wrote and you've made me really very curious about this film. So I found and wanted to share director Ivan Passer talking about his film, which one can check out the first of three parts here:



I loved listening to his gentle voice, and could see he gave a lot of thought to his stories. He's a story teller with a gentle sense of humor. Even the stories he told after the screening show him weave a tale. I'll take an action, but I also enjoy character-driven films. If we can't become invested in a character and his/her outcome...good or bad, what's the point. I remember a quiet little film Ashley Judd did that came and went quickly ( "Ruby In Paradise" ) and just enjoyed being immersed into the story of this girl's life. You and Passer have made me very curious about his 1965 film.

A couple of friends have touted "Inside Llewyn Davis" as I see being done here. Guess I'd better add that to my list as well.

[ChiO]

"(One) of the ten films which have most affected me" - Krzysztof Kieslowski on INTIMATE LIGHTING. Unfortunately, available only on Region 2 DVD.

[JackFavell]

The bake sale was actually very successful, and ...dare I say it? FUN. Met some other moms who don't seem crazy. Amd the best part is, it's OVER. Cane down with the flu this weekend and you know what? That's over too, thank god.

I re-watched RULES OF THE GAME yesterday as I was starting to feel better and I had a hankering to watch more French films, which I seem to have an affinity for lately. On second watch, with a lot of time passed since the last watch, it really hit me strongly, rather than the kind of meh feelings I had the last time, when I didn't understand why this film is considered great.

This time through, after getting used to the film techniques (deep focus completely threw me the last time I think), I found ROTG to be not only about the decadence and crumbling of the class system, I think it's about the decadence and crumbling of everything. The fall of Civilization. It seemed SOOOO fresh and modern, a perfect example of today's TV and electronics age told 80 years ago before they were even a twinking in someone's brain. One could substitute today's obsession with the unreal worlds of electronics for Dalio's obsession with music boxes; and the lack of feeling for human life is, if anything, even more apparent today with our twenty-four-seven monitoring of so-called news. Basically, the things that make the movie great are still around. The moral lack which drives people to value the foolish and fickle above the deep and sombre (sometimes rightly), the class restrictions are coming back, the phoniness and ennui of life are still with us. We dream of a different life, but can't really escape our ingrained habits and selfishness. People are still killing themselves over those who aren't worthy, people are still jaded and shunned by society, people still talk behind other's backs, and people are still strange and crazy enough to kill for nothing at all. Plus ca change.....

And I guess I've seen more of the world now, so I've changed... and the movie, if anything, has become more meaningful.

I hope the next time I watch, I will have changed some more, and I'll find even richer troves to mine in this film.