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Discussion in 'Blu-ray and UHD' started by Ronald Epstein, Jun 7, 2019.
Why? Are you promoting these above physical copies? Maybe you were being sarcastic.
He was being sarcastic as a response to my post. This movie still hasn't shipped yet from Deep Discount, yet it's been in-stock at Amazon of all places for over a week.
Someone said they just bought the digital copy, so I jokingly said “buy more digital copies” because maybe more physical copies I collect would be announced.
I’m all in favor of physical media.
I watched Going My Way tonight. No, not this Blu-ray release which I have yet to buy, but I dug out my DVD of it. Parts of it upconverted beautifully and made for solid viewing. Other parts were soft, loaded with dirt, dust, and small scratches, and, annoyingly, reel change cues.
My opinion of the film hasn't changed with this fresh viewing: it's sweet, funny, and well made, but not nearly the movie that Meet Me in St. Louis, Laura, or Double Indemnity were., and as I said my review for The Bells of St. Mary's, I prefer it to Going My Way. I was also shocked beyond belief that Stanley Clements (who played the main juvenile delinquent whom O'Malley rehabilitates) was not billed at all in the credits.
All are really good movies, but different genres. It depends on your personal taste.
The point Matt was making is that Going My Way had no business winning the Oscar for Best Picture that year in comparison to those other movies he noted. Not a memorable choice for sure.
I understand, but I don't totally agree. All were worthy titles and I like them all, but only one of those could win and that one did. I personally thought it was a very memorable film and deserved the award.
Well then we just disagree as I think "Going My Way" is a fine film, but it's not as memorable to me compared to some of those other 1944 films. IMO, "Double Indemnity" is the best movie film from that film year, especially as I look back 75 years later.
Academy history is riddled with such anomalies. Ginger Rogers winning Best Actress for Kitty Foyle over Joan Fontaine in Rebecca is one. Around the World in 80 Days over Giant, The Ten Commandments, The King and I or Friendly Persuasion is another. I could think of a half dozen years where the 'Best Picture' winner was not actually 'Best Picture'.
Hell, I thought Bette Davis should have won over Joan Fontaine and Ginger Rogers that year. My list of Oscar misses is so long!
Mine, too! There aren't many years where I think the Academy got it right in the major categories.
Again, personal taste. It all depends on how you look at it. I would have no problem with any of those titles receiving the award, but only one could win it and that is the one that won it.
. . . .and that is why I lost interest in the Awards long, long ago.
My breaking point was the 1999 awards.
"Double Indemnity" should probably have won best picture. But if it had, we wouldn't have that wonderful story, which is no doubt apocryphal, of Billy Wilder tripping Leo McCarey on the way to accept his Oscar.
btw, if you discount the occasional forays into cuteness and corn, "Going My Way" has a unique quality of two people getting to know one another in real time, outside of plot or character arc, so that a first time viewer has no idea what might happen, which is not only radical in its approach but unprecedented, reminding me of nothing else in cinema other than Ozu (who was greatly influenced by McCarey, especially "Make Way for Tomorrow"). The only problem I have is with the ending, which is too easy, but then, if the film had been pessimistic, no one would have gone to see it.
I think because at that time in the 1940s with the war going on, people were looking to see movies that made them feel good and to have some time to forget their problems and escape for a few hours. That is why, for instance, Universal made all those B musicals with Donald O'Connor, Gloria Jean, Peggy Ryan, the Andrew Sisters, etc. Of course, other types of films were made too and people could still escape and just forget everything for a few hours at the movies no matter what was playing, but I think those uplifting and feel good films like Going My Way proved to be popular for the reasons I mentioned.
Well, yes. But what I'm trying to say is that for most of its running time (other than the end) "Going My Way" isn't a "feel-good" movie at all, and in fact breaks with all the cliches and formats of those war-time escapist movies, by focusing on the day to day activities of two priests and their interactions using a great deal of improvisation and spontaneity so that one really isn't sure exactly where the film is going, other than existing in the moment of its filming; a strategy that to me is present because Leo McCary is attempting to film something inexplicable, the process of faith; thereby making "Going My Way" have more in common with "Diary of a Country Priest" than "Here Come the Waves".
If you discount the musical sequences, it's a film about the interconnections between personality and spirituality, and how Christ is able to mediate the two, seen through an almost documentary approach in terms of the performances. By keeping the camera on his actors, and focusing their personal struggle within their personas/personalities, something magical takes place, which the film defines as unselfish love. In my opinion, this is why the film was so popular, not the feel-good ending and the occasional forays into Tin Pan Alleyism. And in documenting this unselfish love through the objective lens of a camera, Mr. McCarey shoots Bing Crosby and Barry Fitzgearald's interactions in a style that seems to this viewer as a precursor to Bresson & the French New Wave, as he is attempting to film a contradiction: the moment by moment flow of everyday life, and the spirit that somehow manifests itself within that flow.
Yes. That is an interesting way to look at it. I guess for me, it has always been a feel good type of film. I like the story line, the music and the overall production.