Sight and Sound (2002) Greatest Films Club - Page 123

Lew Crippen · 05-06-2008, 09:28 AM

Brook I’m pretty sure that some of your missing movies are available on VHS—perhaps not the favored format—but if you have a specialty video store in your area, go down and check it out. When I lived in Dallas, Premiere Video had some of these—as I recall, that is how I watched Through the Olive Trees and Les Vampires.

There is a well-known Chicago store, Facets, that has every video known to man. They do some online renting—I’m not sure of the price, but you might check them out.

**HTF Ads**

Martin Teller · 05-07-2008, 11:16 PM

Two good ones tonight!

#314 - Strike - Pretty amazing. And this was Eisenstein's first feature, too. I'm a little surprised that it's Battleship Potemkin that gets all the praise, this one was so much more impressive to me (although I admit it's been a few years since I've watched Potemkin). Lots of techniques and imagery that I was stunned to see in a 1925 film. Very poetic and stunning, with a great eye for composition and timing. There's even some humor. They're not kneeslapping gags or anything, but at least he tried. Of course, the story is pure propaganda (not that I object to a pro-union sentiment one bit), but it's told very well and with a few surprises. It's really exciting stuff. I haven't seen a ton of Soviet silent films (mostly just the well-known ones) but this ranks way up there, right behind Man With a Movie Camera. I may have to revisit me some Eisenstein. Rating: 9

#315 - Orlando - Sad to think this would have completely slipped under my radar if it hadn't appeared on this list. Based on a Virginia Woolf novel (which I haven't read), it's wildly inventive and very playful. I don't know which inventions are Potter's and which are Woolf's, but I loved how it toys with gender roles, time, and the fourth wall. And all with sparkling wit and whimsy and insight. Tilda Swinton is absolutely terrific in it. It greatly resembles a Peter Greenaway work, not only in its conception but also in the music (very Michael Nyman) and the production design (by people who have also worked with Greenaway). The film is quite beautiful. However, the very end was a letdown -- a dreadfully blunt song by Jimmy Sommerville (who I already wasn't that fond of) in a cameo appearance. Not enough to ruin the whole experience, but that final moment really just didn't work at all for me. Rating: 9

Martin Teller · 05-09-2008, 02:44 AM

#316 - A Touch of Zen

I'm not a big fan of wuxia films. They're okay, but I'm not much of a martial arts guy. And at the risk of losing some film snob cred, I'd rather see the newer entries in the genre, where modern techniques make all the qinggong and so forth look so much cooler. The obvious trampolines here kind of ruin the effect. But this is a clearly influential film, and I appreciate it for that. The lightning-quick editing helps cover the cheapness of the effects, and keeps the battles exciting, although occasionally confusing. For my money, the best thing here is not the fight scenes (which are pretty sweet) but some of gorgeous images throughout. Lots of beautiful scenery and dramatic low angles. The story is reasonably engaging for most of the three hours... a little slow to get going, perhaps, but not intolerably so. Major buzzkill: a cruddy non-anamorphic DVD with some scenes too dark to see what was happening. Rating: 7

Martin Teller · 05-09-2008, 03:30 PM

#317 - Death in Venice

One of those frustrating cases where I can't formulate much of an opinion. There are no particular flaws nagging at me, I could even make a case for its greatness. But I didn't connect with it on any level, and the whole thing just kind of washed over me. The only thing I wanted to note was that there seemed to be an inordinate amount of zooming going on. I guess it's weird to complain about a perfectly valid camera technique, but for whatever reason I found it distracting. Otherwise, I've got nothing much to say. It was poignant and well-executed, and the theme of an artist failing to acheive beauty was a little bit interesting, but I also have to say I was kinda bored most of the time. At least I can appreciate all the references in Who's Camus Anyway? now. Rating: 6

Martin Teller · 05-10-2008, 08:11 PM

#318 - Make Way for Tomorrow

A moving (and depressing) story of how we treat our aging parents, the perfect thing to guilt you up just before Mother's Day. You could call this an American version of Tokyo Story, and I'd be surprised if it wasn't an influence on Ozu. Other than the wonderful performances by Victor Moore and Beulah Bondi, there's nothing spectacular about the film, but it is very realistic, honest, and sensitive. The ending is one of the most touching scenes I've witnessed for some time, it certainly brought a tear to my eye. Rating: 8

Adam_S · 05-12-2008, 06:00 AM

The Eclipse - 6 of 10

is it possible Antonioni actually made a film I like? apparently he did, cause this one actually has an interesting story and a decent ending (though Antonioni does his best to ruin it with fifteen minutes of random shots of Italy set to an atonal score after he's already resolved the film). Basically it's about a woman who breaks up with a man and falls for a stock broker only she doesn't want to let herself fall in love. There's several impressive shots and interesting moments between the couple (can't remember any of them now though) and some nicely put together sequences. Nothing spectacular, but a solid film.

george kaplan · 05-13-2008, 09:52 AM

Well if Bunuel could make a film I not only like, but actually love (The Exterminating Angel), then I guess Antonioni might. As Blowup proved, he can make a fantastic film, but he can't seem to help himself from screwing it up by completely ruining it via the ending as he did in Blowup. Hopefully his ending of Eclipse doesn't completely ruin it, but I'm not hopeful.

Adam_S · 05-13-2008, 05:57 PM

no it doesn't completely ruin it, but it is the sort of art film nonsense that's vapid and empty but supposed to provide meaning and depth. it really is just five minutes of a few random shots of the city (occasionally with women in the frame) set to an atonal score, he's already resolved the rest of the love story by having the couple actually decide things, they're still in a slightly ambiguous position but it is satisfactory. Not at all like the mimes playing tennis cop out ending.

as for Exterminating Angel, it's definitely sitting well in my mind, and improving imo, the more I think about it.

Martin Teller · Yesterday, 10:07 PM

#319 - Steamboat Bill, Jr.

It's hard to go wrong with Buster Keaton. I wouldn't rank this one among his very best (Cameraman, Sherlock, General), but it's pretty good. The first two-thirds are amusing, but it's only the stormy climax that truly impresses. I wasn't really in the mood for a silent comedy and I was kind of bored at first, but the dynamite ending definitely perked me up. Rating: 8