Sight and Sound (2002) Greatest Films Club - Page 7

Farewell my Concubine

I have been hearing about this forever and finally got a chance to watch it. The touching story of a 50 years friendship sustained through very though political and personal times. Really, my poor writting skills cannot do justice to the mind boggling complexity of emotions displayed in this tremendously well acted and brilliantly photographed film.

SPOILER (not really but eh...)
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Question: is homesexuality more readily accepted in China or has the issue simply been ignored in the movie? My impression from watching the movie is that while it's handled discretely, it certainly does not seem tabou.

END

Thi, I am sorry, I have seriously slacked off on the hometheater front in the last couple of months because my futon crapped out on me. I find it very hard to concentrate on a movie when I am not comfy :b. But I should get it repaired this week end, so expect frequent updates from me



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Holadem

Thought I'd mention, if no one saw it, that Criterion is soon coming out with Flaherty's two other big classics, both of which have appeared on past Sight & Sound lists: Man of Aran and Louisiana Story. Louisiana Story was NUMBER FIVE in the original 1952 Sight & Sound poll, and Man of Aran tied at #24 with ten other films.

Other films from Criterion that placed high on past Sight & Sound lists but not the latest one:

Les Dames du Bois du Boulogne #21, 1952 poll
A Nous la Liberte #24, 1952 poll

Foolish Wives #17 at the 1952 Brussells Referendum, the original critics' list that inspired the Sight & Sound poll

Links to each Sight & Sound poll, as well as the Brussells Referendum (which I think was decided by committe and not a poll), can be found here, about halfway down the page:

http://www.alumni.caltech.edu/~ejohnson/

If it makes you feel any better I've experienced the same results in a few of my film classes. And that is even when I produce other film theorists' writings to back up my point. It's like "I'm wrong even though Dudley Andrew or Andre Bazin says the exact same thing??? Even though I can identify sequences that validate the point?? Okay."

It's very frustrating to hear one angle or explanation, especially if it goes against some apparently obvious points, and to be discounted on your work for not buying into it automatically. At times I've felt my instructor leading us along so far that there is no thinking left to do on my part. Of course I still do anyway, with iffy results.



You can't up my film count since I had already counted it, but I finally knocked out Broken Blossoms. I liked the film, but I thought Griffith just lingered too often with many shots/scenes. There really isn't 89 minutes worth of narrative there, more like 45 minutes to be honest, so the film feels very stretched.

BTW, I saw a typically horribly racist Griffith film a few weeks ago, the infamous The Battle and Elderbush Gulch. You have to love a guy who thinks a story featuring rampaging drunken Indians who enjoy eating DOGS is a quality idea. "The Klansman? Sounds like the start of a good movie. The Chink and the Child? Perfect. The Indians eat the dogs? Outstanding."

Great filmmaker or not, the dude was a big time racist. Even when he's trying to be positive it comes off more like "No, not you, you're one of the good ones." Yeah, thanks.

Les Vampires
I certainly appreciate the importance of this very early serial series, though I'm surprised that Fantomas was not on the list instead since it came before. I guess it's because of how popular Irma Vep became as a character.

It's an enjoyable series, though funny in it's simplicity and formula at times. Lots of climbing going on too.


The Bicycle Thief
I'd seen most of this film before, but I finally got to watch it all the way through. Really heartbreaking. Great performances by the father and son. I never realized that the film ended how it does, and near the end there is a great shot of the son watching his father that captures the moment perfectly.


Those 2 put me at 123.

I also watched Juliet of the Spirits but then found out it also wasn't a S&S choice, though every other Fellini film is.

That's exactly what I experienced and I'm extremely frustrated by it. If I could find the paper with the questions on it I would probably contest the TAs assessment, but it seems to have been lost in the void of my desk temporarily.

What really frustrates me is that the question asked us to summarize Bazin's thoughts, provide examples using the film's screened in class (or other films if we felt we could use those better) and provide our own representative film from the 1930's studio system.
I got a C because:
"You merely restate Bazin and give plot summaries of the movies, I think you would have been better off with the films screened in class and I'm not sure why the 1930s film is in here"

what really hacks me off is the plot summary criticism since that's something I never do at all. Really makes me appreciate my TA last semester, who although we differed on opinions about films he still graded extremely fairly and allowed me to make and form my own opinion's.

Adam

Added five more.

The Treasure of Sierra Madre features some great performances. Bogart is especially strong. He makes the gold-crazed man very believable, and all the more saddening because of Walter Huston's warning on what greed can do. The surprising part of the movie to me was the way the interaction with the Mexicans became almost a tender story. It could be seen as boggling down the pace of the film, but it's quite beautiful.

The African Queen doesn't fare nearly as well. The mixture of genres works well for the comedy and romance, but not so for the adventure and war aspects. I don't find fault in Hepburn's performance, but her character and wants are just too ridiculous. Go down the river and blow up the prime German weapon? Ummm. I just didn't believe this, nor did I believe Bogart would half way go along with it. All of her first half characterization left a bad taste in my mouth. Too bad, because the second half is charming in a fantasy way. The moments when the rain clears their way to the river is wonderful. I can see why Bogart won an Oscar for this role, though it is inferior to the one he gave in "Treasure." I had not seem him play such a straight up comedic performance before. If he was funny previously, it was always in a hard-boiled, film noir suggestive way. This casting against type is successful.

Fear Eats the Soul is deceptively at ease. Both the story and film style looks simple. But there is a lot at work. The camera often has the two characters trapped, with frames within the frame. The storyline has a symmetry to it that really moves beyond simply prejudice standing in the way of happiness. I wondered if their marriage was out of true love or loneliness, or both. I don't know if the protrayal of German society is accurate. However, I don't think that is the main social insight the film offers. The prejudice becomes part of a sharp look as to why prejudice is often masked--out of need. The actress who plays Emmi is great. I had the chance to see Fear Eats the Soul at the Nuart Theatre this past weekend; the new print was very good except for one segment. This is my first encounter with director Fassbinder, I look forward to his other films.

The finale shootout of McCabe and Mrs. Miller is beautiful. Some of the snow in the foreground look superimposed; no matter, great sequence. Not sure if I like the rest of the movie nearly as much. The running of the whorehouse and others attempting to take it over were not very compelling, not detailed, either. The mood is well established, partially because of the songs. The mood was meant to be elegiac, but it came off as lazy.

I understand why Martin Scorsese proclaimed the battle in Chimes At Midnight to be the best ever. Sensational. I had seen Olivier's Henry V recently; Welles' battle is vastly superior. Of course, it did come much later, but it is still better than today's more graphic battles. I confess that my ear is very untrained when it comes to Shakespearian language. I am relatively familiar with his more famous plays, but Chimes At Midnight is not one of them. I got the gist of the story fine, but much of the movie depends on the conversations, and I admit that I didn't get nearly as much as I hoped. This is a major barrier for my viewing of the film. As it is now, I found the story compelling, especially towards the end, but I will need to visit this film again to gain more of a hold onto it.

My Neighbour Totoro - An enjoyable film with some great visuals. Is sometimes too cute early on, but not to the extent of bothering me. The last part is so visually interesting that it makes up for any shortcomings.

I wish there was a better DVD print with the original language track for comparison.

I just watched Crimes and Misdemeanors as usual with an Allen film, am a bit conflicted. On the one hand, what’s not to like with a cast the ranges from Claire Bloom to Jerry Orbach. Alan Alda is perfect as the successful, annoying brother-in-law. There is a great score mixing jazz and classical music and the whole film is a constant homage to Bergman’s Cries and Whispers, replacing the deep reds with subdued oranges, browns and some yellow. The story is compelling and Allen asks a serious moral question in the film, while at the same time poking a good deal of fun at those who take everything too seriously.

But still, for me there is something about this film that does not quite hit the mark. The balance between morality and humor is just off the mark, leaving me with a film I enjoy, but not revere.



Thanks for the info, Brian. Certainly I’ve seen Man of Aran many times (I think that it must have been required when I was in school), but I’ve never seen Louisiana Story. I look forward to their availability.

Do the Right Thing

An instant classic.

I don't really know what to say. It's too fresh in my mind, I will need a few days. I will however say that it might be the most powerful movie I have ever watched, simply because it's very real to me.

BTW, Lew's excellent thread on this masterpiece should be included as an extra for any upcoming release of this masterpiece!

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Holadem

I've seen 4 more films bringing my total to 60:

Aguirre: The Wrath of God (1977)
Brazil (1985)
Spirited Away (2002)
Brief Encounter (1946)

I just saw 2 more films raising my total to 52.
Some Like it Hot, lived up to every expectation i had for it (A+)
Pierrot le fou, not that excited bout it. It was interesting in it's own way (B-)

The S&S list gave me an excuse to re-watch Yi Yi a bit sooner than I might have otherwise. This is a film that just grows on me after repeated viewings. Edward Yang certainly has his own vision and takes his time showing his audience his view of the world. And it is all the more compelling for that, as we get to know all of the members of a family in crises along with their neighbors and friends.

Many films have as a theme a central character who has been given (or takes) a second chance. How many come to the conclusion that KJ does near the end of this film?

And the father is not the only family member who has pause to consider his actions and their consequences: indeed all of the characters have problems presented as their lives unfold. None of them really manages to unravel the deeper meaning of their individual problems—save for the young boy, Yang Yang who is filled with the confidence of youth that he can do anything (even when he fails) and show everyone what they cannot see.

The simplicity of the cinematography believes the complexity of the film: one that requires much reflection after each viewing.

Highly recommended.

Brings my total to 80.

I also saw Some Like it Hot(A+) and Pierrot Le Fou(A-). Pierrot was pretty amazing, the direction and storytelling were very unique, and i found it quite interesting.

What can one say about Ai no corrida, other than the obvious (and often written), ‘most erotic movie I’ve ever seen’.

This is (of his films I’ve seen) easily the most accessible of Oshima’s films (and not just because of the non-stop sex). But is also quite disturbing as the sex and sexual obsession becomes unrelieved. We feel at the inevitable conclusion (I almost resisted the temptation to write ‘climax’) a sense of pathos, but also relief.

Recommended, but for those who are offended by graphic sex, this film should be avoided.

i forgot to put in a movie i saw a couple weeks ago. Paths of Glory (A-)that pushes my total to 53

I updated my initial post on here, and will be keeping track of my progress there, (so it can be used to confirm how many I've done Thi).

http://www.hometheaterforum.com/htfo...10#post1297910

Adam

Kirk, I agree about African Queen. The film has always underwhelmed me as a classic, though the stars themselves are able to elevate the film and the 2nd half does grow more interesting. It still feels forced to me though.


Lew, Yi Yi improves each time for me too, though I loved it the first time out. It is a great example of slow pacing done well. It fits the tone of the theme underlying it (of 2nd chances and satisfaction with life). There is something very human about how all the characters are written, which is a strong point of the film.


Adam, obviously I hear you on those complaints. I got similar feedback on one paper where I introduced Chaplin films that we hadn't watched. Of course I also included discussion of the films from class, but was expanding on that to show a consistent theme running throughout Chaplin's career as part of my argument against the philosophy presented in one of our readings. The whole point was that you couldn't take 1 or 2 films and say "see, that was Chaplin's point" (in this case being actively anti-work) when I could show that those examples were actually better tied to a career length approach. In this case it was proposed that Chaplin intentionally screws up to undermine the work process at all times, whereas I said that one of his running comedic themes was instead to simply cause chaos within any formal structure, not just work. I also showed that he often did as much undermining of his own character in this same way, and that in many films he displays work as an admirable character trait (one in which the "good guys" have). Not to mention the fact that he was such a workaholic himself that it's hard to imagine him trying to make an active social statement against work.

For all that I got knocked for introducing the other films into the paper, etc. To me it seemed suspiciously like some knocks for simply taking a counter-stance to the proposed concept. The bottom line was that it was fairly well-written, cited numerous written and cinematic examples, and produced an overall theory with supporting data. It was actually a much longer paper than was required in fact, but I asked about that and he said that was no problem.

Very frustrating.

Up to 125
Cries and Whispers
At first I wasn't sure where this was going and it felt perhaps too dry. But it kept showing signs that interested me and delivered big time down the stretch. The use of red including the red fades is very powerful. Not a film you can appreciate on just one viewing.

Spirited Away
The dub acting didn't seem too bad to me and at times was very engaging. It's a tough call between a good dub and subtitles for me. Subtitles maintain the original acting, but at the cost of a viewing experience quite different than the original audience had (ie, glancing at subtitles all the time). I think a very well-done dub is a valid form of a film actually, in the sense that it is trying to translate the film experience to this other culture/language. I still promote the availability of the original film at all times, but I won't just knock a dub on some principal.

Anyway, the fim itself reminded me of what made Disney great when they were at their best. Fantastic characters that capture your imagination and incredible background animation. Plus plenty of story depth. Of course this film also adds numerous layers of subtext, not unlike Alice in Wonderland or Gulliver's Travels in which the characters are as much symbolic of some political or philosophical viewpoint as they are just imagination.

The strength of the film is that it can be enjoyed as a straight adventure animation film (I heard kids laughing at several charming moments) without dilluting the deeper meanings. That sort of duality makes the film one of the greats of 2002. I hesitate to see it as an all-time classic this soon, but it certainly impressed me enough to want to revisit it again.

It really had a lot in common visually, in characters, and in story with stories/films like Alice in Wonderland (a lot like this story), Wizard of Oz, and Pinocchio, but not so much as to make it simply derivitive.

133 after rewatching Stagecoach.

I had first seen Stagecoach maybe 3 years ago, but felt I needed a second chance to re-evaluate it. The first time seeing it I felt the movie often dragged in the journey. I enjoyed it more this time around. It works better now because the first time I wanted to get a hold on the plot instead of enjoying the journey. Now the characters and interaction of them IS the point, so it becomes more entertaining. The character development is good, too.

However, I do still feel it goes on a bit too long. The editing pattern of this long half is to show a few talking, then cut to an establishing shot showing the stagecoach in the landscape with the musical score at full force. It gives the feeling of a long time lapsing; too long, I'd say. Everything off the stagecoach is more well paced and very well done. That the action, photography, and performances are good in a John Ford film needs almost no mention. The sound design of the film is also great, be it the musical score carrying the film or silences that really grab out attention. Hatfield's final point of the gun is one such example. The movie is quite exciting, and not just the action sequence (spectacular); there are moments like the dissolve bridging the stagecoach coming out of the water and on with its journey that is a perfect merging of imagery and music, it's a small, glorious moment.

Just finished with all Solaris and all of the extras on the Criterion release.

As always with this director it takes a while for me to decide how I really feel about the film. I’ve now watched it twice and probably need at least one more to come to any valid conclusion.

On the one hand, you just have to be in awe of some of the cinematography and the very long takes, with the slow, elegant camera movement. And on the other hand I sometimes want to say—Ok, I get it, now more on (and I’m one who loves long, boring movies).

Right now I don’t rank this film with Andrei Rublev but it is still required viewing.

This leaves my total at 81, as I’ve decided that I had not seen La Strada by the time I decided to tilt at this windmill and therefore need to see it again—no bad thing.

A Taste of Cherry – I saw this a couple of days ago and I’m still wondering about this film. I found all of the conversations interesting and was never bored during his driving around. I also found the ending coda sequence jarring and unnecessary. It is certainly better than the one star that Ebert gave it but I don’t know if it is the masterpiece that Rosenbaum writes that it is. Both reviews can be accessed through IMDB and Rosenbaum’s is a great read after you’ve seen the film.

Criterion has announced another former Sight & Sound finalist: Hiroshima Mon Amour. It was #11 in both the 1962 and 1972 polls.

up to 204 with Great Expectations - A well done film of a literary classic that I never completely warmed up to. I don't have much in the way of criticism, the cinematography is particularly fine, but I just didn't find myself emotionally involved for a story with an almost tragic romance at it's center. Certainly not to the degree of Lean's Brief Encounter.

I've found myself at various levels of disagreement with a lot of the recent viewings in this thread, That Obscure Object Of Desire in particular I was shocked at, but also the less than rapturous reviews for two other movies I love - Broken Blossoms and My Neighbor Totoro. And then Crimes & Misdemeanors is one of my very favorite Woody Allen films.

But I haven't been up to writing enough to construct a worthy defense for them so carry on!

Looking at my Netflix list, it will be a good long while before I watch another. I think Loves of a Blonde is next but that's probably a couple of months away. I might get to the S&S films in my own collection by then. :b

Up to 126 with Amarcord
A great slice of life comedy/drama in the same vein as some of Woody Allen's work (thought obviously pre-dating those films). I enjoyed it, though I'm sure not nearly as much as I would if I were Italian. The obvious theme of celebration of an Italian childhood just isn't going to have the same affect to someone from outside of that culture.

I could still enjoy it, but I didn't catch on to the comic angle for several minutes which I attribute to the cultural and language barrier (hard to pick up on parody and/or sarcasm with another language). I can see how the film has all the appeal of A Christmas Story but done with a much more artistic sensibility behind it.

In the end it just made me wish I was better able to identify with it on the same level as Fellini was when he made it.

I'm in, Thi. Please correct my total to 49 (I think I PM'd you the figure of 52).

My 49:


1. 2001: A Space Odyssey
2. African Queen, The
3. All About Eve
4. Annie Hall
5. Apartment, The
6. Apocalypse Now
7. Blade Runner
8. Blue Velvet
9. Bonnie and Clyde
10. Bridge on the River Kwai, The
11. Casablanca
12. Chinatown
13. Citizen Kane
14. Conversation, The
15. Do the Right Thing
16. Double Indemnity
17. Dr. Strangelove
18. E.T. The Extra-Terrestrial
19. Fargo
20. Godfather Part II, The
21. Godfather, The
22. Gone with the Wind
23. GoodFellas
24. Grapes of Wrath, The
25. It's a Wonderful Life
26. Jaws
27. Lawrence of Arabia
28. Maltese Falcon, The
29. Network
30. On the Waterfront
31. One Flew over the Cuckoo's Nest
32. Piano, The
33. Psycho
34. Pulp Fiction
35. Raging Bull
36. Rear Window
37. Rosemary's Baby
38. Schindler's List
39. Seven Samurai
40. Shining, The
41. Short Cuts
42. Singin' in the Rain
43. Some Like It Hot
44. Star Wars
45. Sunset Blvd.
46. Taxi Driver
47. Treasure of the Sierra Madre, The
48. Unforgiven
49. Vertigo

Jon

Make that 127
Three Colors: Blue
A beautiful film about loss and the reasons to go on living. The only Kieslowski film I had seen before this was Tykwer's version of "Heaven". I was really impressed and can see why he gets so much praise. I have White and Red on deck for tomorrow and I will bump my count to 128 after I see those (for the "Trilogy" entry on the list).

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