If searing means highly intelligent and leaving one hell of an impression, try Visconti’s The Damned or Scorsese’s Raging Bull. I’ll confess that I like Momento, even if it is gimmicky and has already been mentioned. If you want to consider Coppola, last week for some reason I watched Apocalypse Now for the first time in 30 years. It has stood up remarkably well, though a young Martin Sheen is sort of a shocker.
Er, if you watch it, watch it carefully. If you like Rene Magritte’s paintings, you’ll probably like Exterminating Angel. If you consider surrealism silly or pretentious, or find it baffling, you may not like Exterminating Angel. Also, as Hector points out, Bunuel’s politics and those of, say, Sarah Palin, are at odds. All that said, I liked Exterminating Angel a great deal.
Slowly ploughing through The Golden Bough. Filling a hole in my education. Deep into tree worship by primitive Europeans. Good stuff, but in small doses, so it takes some time.
I have a wife as well as a movie collection, so frequently the choice is a joint one. It’s interesting to me that nobody so far has approached the question of ‘what to watch?’ as a social issue. I guess the experience has become more individual with the developing primacy of tape/DVD distribution. Or something.
Just a comment on Le Silence de la Mer. It is not specifically about the French Resistance. Instead, it explores the dynamic between a German officer (a composer in civilian life) and a French family on whom he is quartered during the occupation. It has an interesting connection to the French Resistance in that, to obtain the rights to the novel, Melville had to to submit the finished film to a jury of Resistance veterans for their approval, and agree to destroy the print if that approval was denied. Melville had himself been in the Resistance, his fellow vets signed off on the film, and it was distributed.
Le Silence de la Mer would make a nice addition to the Criterion library. It is difficult to see in the USA. I had to buy a copy from somebody in Canada, imported from Russia. I’d happily trade the Russian dubbing for a cleaned up print.
The Cranes are Flying (Soviet, mid-fifties). It has utterly no distance from the then-recent events it portrays. Surprised no one has mentioned it. But the sensibility is antique. To understand, you have to go to it. It’s not going to come to you. So, it might be a useful Soviet baseline for the OP’s inquiry.
Short answer to the original poster: I don’t believe so. I doubt it in late 20th century Western culture, and I’m even more doubtful that it’s a generalization that could cross cultures.
Just to continue the thinking out loud—what Bergman observed was doubtlessly true for him, but it may have been that he simply ‘connected better’ to the women he cast than to the actors with whom he worked. OTOH, to pick out another European giant of the last century, Visconti connected better with Helmet Berger (as a lover and as a director), and got an incredible performance out of him in The Damned. That’s not to imply that sexual energy is at the heart of the director-actor interaction. And, for that matter, I doubt you can fairly attribute the entirety of a performance by an actor or an actress to his or her direction (even if this website is called The Auters).
I think, on the whole, I agree with and would expand on the point Dr. Tomasulo made in his first post—it’s not so much a male/female distinction in the acting, as in how the roles are defined, explored and ultimately presented. And that has much more to do with social and cultural context of the whole project than it does with gender on the stage.
Good movies would be cheap at twice the price. Bad ones are too expensive, regardless of what they cost.
I also get the feeling that if you scour the net and are willing to buy secondhand, you can build a pretty nice DVD library pretty inexpensively. And nobody says you have to feed the concession stand at the movies. Finally, right here, right now, you can see some pretty good movies for free (Ratcatcher, Knife in the Water, etc.). I watched Ratcatcher here the other day. The experience was rather odd—very small screen inset on my laptop’s regular screen. At first that was offputting—like watching through a window beyond a window—then I realized that it was actually very fitting. Ratcatcher is a polished, coming of age jewel, and watching it on such a small screen was like viewing a piece of jewelry in its box.
I’d forgotten how much good stuff there was in the 70’s. I guess, if the 70’s were that good for movies with the economy that bad, the next ten years look pretty promising for American film. Brother can you spare a dime? No wait, that was the 30’s.
To get the most out of Breathless, trying watching it as the prequel to the Amanda Knox story. I doubt the rights to Foxy Knoxy’s most excellent European adventure have been auctioned yet, but who will be the counterpart, not to Godard, but to Jean Pierre Melville in his guise as pontifix academius?
A hatchet job that just goes to show that there’s no such thing as bad publicity. Now I gotta check out the book.
I wonder if Altman accomplished what he did despite the personality issues, and could have accomplished more had he been more disciplined on a personal level, or if those personality issues were integral to the headwiring that made it possible for him to do what he did, and without that he would have been nothing?
Not the kind of issue likely to be discussed in a hatchet job (or a hagiography, for that matter).
Just a comment on the terminology—I think the virtue is usually called “versatility” or maybe “breadth”, and failed attempts at it get labelled “inconsistency.” And FWIW, I think the Coen Bros. have shown versatility, but that everything they do is the ‘same’ in that they have a recognisable style and approach to whatever material they are tackling. I’d consider that ‘sameness’ a reflection of developed and disciplined creative talent, rather than a sign of a boring lack of imagination. Altman pitches and yaws a bit more than that. I don’t know if that reflects true genius or the ingestion of copious quantities of mind-altering substances. But it’s a little more complex than leaving the Joker of Spades on every corpse.
Criterion. . . . but soybean takes the cake. Why don’t you do some internet research on platypuses, ocopuses, marmots, ravens, sasha grey and whatever else comes to mind, then report back on what you find?
I suppose there is somebody out there who can honestly say that they don’t like any movies made since 1993. That might seem rather closed minded, but it might be an honestly held opinion.
To be more serious about your question—I don’t think there is anything wrong with you. But let me offer a thought that has little to do with film, but a lot to do with how people move through the stages of life. Ten years ago there were forms of entertainment that appealed to you a great deal, that you’ve since outgrown, or at least lost interest in. It’s probable that ten years from there will be things that you’ll find interesting that today you have no interest in, and that there are things today that you find interesting that ten years from now you’ll have lost interest in as completely as today you’ve lost interest in those pre-schooler cartoons of the late ‘90s. It just may be that you’re hitting these older films at the wrong point in your life and rather than forcing yourself to like them, or feeling like there’s something wrong with you for not liking them, you ought to cut yourself some slack.
You probably liked Y Tu Mama Tambien. It’s being touted in another thread as highly erotic, and for sure there is some skin in it. But watch it all the way to very end, listen to the voiceover and think about what the narrator is saying. The high school best buddies, amigos forever, go their separate ways—not because they’ve screwed each others’ girlfriends and gotten competitive over Luisa—but because their lives take them in different directions. They’re hitting another stage in life. You may at some point down the road find yourself actually wanting to watch The Bride Wore Black after watching Kill Bill and find Truffaut’s version of the folktale richer and more interesting than Tarantino’s. Or not. (yeah, I know The Bride Wore Black misses your cutoff by a couple of years, but it’s what came to mind).
Back in the 1970s the famous Chinese statesman, Chou En Lai, was asked by a French TV interviewer what he thought of the outcome of the French Revolution (1789-93), and answered the question by saying that it was too early to tell. Similarly, I don’t think the staying power of anything made since about 1990 can be predicted yet. Very old people will always remember the older stuff more fondly, and very young people will always be convinced that newer is better. You see more of the latter than of the former of this website, but that’s probably reflective of the audience demographic.
On the strength of what people in this forum had to say, yesterday I blind bought Berlin Alexanderplatz in the Barnes & Noble sale. I consider it a mildly insane blind buy, since to watch it (once) will take something like 15 hours. But it only cost two twenties and a five (50% sale off list, 10% members discount from that and a 20% coupon). Can’t let a bargain get away.
Maybe that’s not technically a blind buy, but letting the opinions of a bunch of internet enthusiasts separate me from my money is pretty close.
It’s very hard to generalize about violence in film.
In the last week I’ve watched City of God and Clockwork Orange, both which are quite violent, quite good and quite different. But when released, each was received with slackjawed astonishment. I’m not sure I’d want a steady diet of that sort of thing. But unlike Alex, nobody is wiring my eyelids open, strapping me in a chair and making me watch (OTOH, I have never raped or murdered anybody).
I also recently watched Ride the High Country, the movie that made Peckinpah (that’s a slight overstatement), and it was no more violent (but a good bit more intelligent) than any number of other Westerns of the era. I faintly remember seeing Straw Dogs when it came out and it was, at the time, the last word in mayhem, though obviously many chapters, verses and volumes on the subject have since been written.
Haven’t seen Inglorius Basterds, so I won’t comment on it. But I don’t think Reservoir Dogs was any more violent than Riffifi, and, though more blood flowed in Kill Bill than in The Bride Wore Black, I’d give have to give The Bride Wore Black the nod for dramatic tension and pure implacable vengeance.
I recently read a fascinating article in Texas Monthly about films based on Cormac McCarthy novels, and a thumbnail of the author’s argument is—the better the novel, the weaker the movie, and, conversely, the weaker the source material, the better the film. His explanation—at its best, McCarthy’s prose is a kind of visual poetry that cannot be literally translated onto the screen (but will always disappoint in comparison), while the stories in some of McCarthy’s relatively poorer work offer the basis for really great movies.
Not to highjack your thread, but any thoughts?
P.S. Blood Meridian is awfully intense. If you liked No Country, you might try All The Pretty Horses. It’s not exactly tepid, but there are fewer flies on the corpses.
Yeah, there is nothing wrong with going off topic once in a while, as long as it’s clearly anounced.
For me, the Crimson and the Ducks. With Yale self destructing in the last of the fourth quarter a week ago, I’m okay back on the East Coast, but the Beavers could still make trouble in the Civil War on Thursday. With a win this week, though, Oregon will in Padadena for New Year’s.
Incidentally, I root against USC. It’s nice to see those inglorious bast ards somewhere besides on top of the Pac 10 for a change.
I saw this in Boston when it first came out. I was in school there at the time. After seeing it, I never felt the same way again about the Callahan Tunnel. I hope they are using something besides yellow tile to line the tunnel that they’re building in the Big Dig.
“I remember my mother weeping with despair when . . . I announced my intentions of making a film. It was as if I’d said: ‘Mother, I want to join the circus and be a clown.’ A family friend, a lawyer, had to be enlisted to convince that there was a lot of money to be made in films. . . . . (My mother allowed herself to be persuaded, but she never saw the film she’d financed.)”
Luis Bunuel, My Last Sigh, p 33.
Support, yes, but sometimes excessive familial encouragement is not a good thing.
My Last Sigh is a wonderful book. While leafing through it looking for this quote, I found the following other lines that are worth considering—one is a question (unanswered, rhetorical), the other a warning.
The following question was asked of Bunuel, when he was an assistant, by his boss, Jean Epstein: “How can an insignificant asshole like you dare to talk that way about a great director!” (p. 90)
The warning:
“Watch out for the ballerinas . . . . They’re young, they’re innocent, they earn next to nothing, and at least one of them always winds up pregnant.” p. 119.
The Best Western in Pendleton, Oregon is a pretty good place to spend the night.
Seriously, it’s a genre. So what’s best depends what you are in the mood for. There isn’t a best western for all time, any more than there’s a worst western (any nominations for the worst Best Western?).
A couple of weeks ago I watched Ride the High Country, and it was wonderful. Also, over the summer I bought (for less than twenty dollars at Costco) the Boetticher box set and those films were just remarkable. All worth watching again.
Cinema that sears over 2 years ago
If searing means highly intelligent and leaving one hell of an impression, try Visconti’s The Damned or Scorsese’s Raging Bull. I’ll confess that I like Momento, even if it is gimmicky and has already been mentioned. If you want to consider Coppola, last week for some reason I watched Apocalypse Now for the first time in 30 years. It has stood up remarkably well, though a young Martin Sheen is sort of a shocker.
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Cinema that sears over 2 years ago
Duplicate post. Apologies.
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exterminating angel over 2 years ago
Er, if you watch it, watch it carefully. If you like Rene Magritte’s paintings, you’ll probably like Exterminating Angel. If you consider surrealism silly or pretentious, or find it baffling, you may not like Exterminating Angel. Also, as Hector points out, Bunuel’s politics and those of, say, Sarah Palin, are at odds. All that said, I liked Exterminating Angel a great deal.
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OT: What are you reading? over 2 years ago
Slowly ploughing through The Golden Bough. Filling a hole in my education. Deep into tree worship by primitive Europeans. Good stuff, but in small doses, so it takes some time.
Very interesting seeing what others are reading.
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How do you decide what film to watch? over 2 years ago
I have a wife as well as a movie collection, so frequently the choice is a joint one. It’s interesting to me that nobody so far has approached the question of ‘what to watch?’ as a social issue. I guess the experience has become more individual with the developing primacy of tape/DVD distribution. Or something.
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Films on the French Resistance over 2 years ago
Just a comment on Le Silence de la Mer. It is not specifically about the French Resistance. Instead, it explores the dynamic between a German officer (a composer in civilian life) and a French family on whom he is quartered during the occupation. It has an interesting connection to the French Resistance in that, to obtain the rights to the novel, Melville had to to submit the finished film to a jury of Resistance veterans for their approval, and agree to destroy the print if that approval was denied. Melville had himself been in the Resistance, his fellow vets signed off on the film, and it was distributed.
Le Silence de la Mer would make a nice addition to the Criterion library. It is difficult to see in the USA. I had to buy a copy from somebody in Canada, imported from Russia. I’d happily trade the Russian dubbing for a cleaned up print.
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WWII in perspective over 2 years ago
The Cranes are Flying (Soviet, mid-fifties). It has utterly no distance from the then-recent events it portrays. Surprised no one has mentioned it. But the sensibility is antique. To understand, you have to go to it. It’s not going to come to you. So, it might be a useful Soviet baseline for the OP’s inquiry.
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Are actresses better able to express the full range of dramatic emotions? over 2 years ago
Short answer to the original poster: I don’t believe so. I doubt it in late 20th century Western culture, and I’m even more doubtful that it’s a generalization that could cross cultures.
Just to continue the thinking out loud—what Bergman observed was doubtlessly true for him, but it may have been that he simply ‘connected better’ to the women he cast than to the actors with whom he worked. OTOH, to pick out another European giant of the last century, Visconti connected better with Helmet Berger (as a lover and as a director), and got an incredible performance out of him in The Damned. That’s not to imply that sexual energy is at the heart of the director-actor interaction. And, for that matter, I doubt you can fairly attribute the entirety of a performance by an actor or an actress to his or her direction (even if this website is called The Auters).
I think, on the whole, I agree with and would expand on the point Dr. Tomasulo made in his first post—it’s not so much a male/female distinction in the acting, as in how the roles are defined, explored and ultimately presented. And that has much more to do with social and cultural context of the whole project than it does with gender on the stage.
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FIND AN EXPLANATION TO THE EXTORTIONATE PRICES OF DVDs AND MOVIE THEATERS' TICKETS over 2 years ago
Good movies would be cheap at twice the price. Bad ones are too expensive, regardless of what they cost.
I also get the feeling that if you scour the net and are willing to buy secondhand, you can build a pretty nice DVD library pretty inexpensively. And nobody says you have to feed the concession stand at the movies. Finally, right here, right now, you can see some pretty good movies for free (Ratcatcher, Knife in the Water, etc.). I watched Ratcatcher here the other day. The experience was rather odd—very small screen inset on my laptop’s regular screen. At first that was offputting—like watching through a window beyond a window—then I realized that it was actually very fitting. Ratcatcher is a polished, coming of age jewel, and watching it on such a small screen was like viewing a piece of jewelry in its box.
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Worst movie to watch on a first date over 2 years ago
Maybe you ought to take into consideration who you’re going out with?
Or is this just a puerile ‘what grosses girls out’ kinda thread?
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Your Favourite films of the Seventies over 2 years ago
I’d forgotten how much good stuff there was in the 70’s. I guess, if the 70’s were that good for movies with the economy that bad, the next ten years look pretty promising for American film. Brother can you spare a dime? No wait, that was the 30’s.
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Ive realized something about Jean-Luc Godard over 2 years ago
To get the most out of Breathless, trying watching it as the prequel to the Amanda Knox story. I doubt the rights to Foxy Knoxy’s most excellent European adventure have been auctioned yet, but who will be the counterpart, not to Godard, but to Jean Pierre Melville in his guise as pontifix academius?
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Double Features over 2 years ago
Coming of Age:
Ratcatcher and Stealing Beauty
Let the Rio Bravo split the difference:
Y Tu Mama Tambien and Bottlerocket
As the twig is bent so grows the tree:
Who’s that Knocking at My Door
Reservoir Dogs
This could get addicting.
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Wow! Check out Richard Schickel's scathing attack on Robert Altman.... over 2 years ago
A hatchet job that just goes to show that there’s no such thing as bad publicity. Now I gotta check out the book.
I wonder if Altman accomplished what he did despite the personality issues, and could have accomplished more had he been more disciplined on a personal level, or if those personality issues were integral to the headwiring that made it possible for him to do what he did, and without that he would have been nothing?
Not the kind of issue likely to be discussed in a hatchet job (or a hagiography, for that matter).
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Is inconsistency a virtue? over 2 years ago
Just a comment on the terminology—I think the virtue is usually called “versatility” or maybe “breadth”, and failed attempts at it get labelled “inconsistency.” And FWIW, I think the Coen Bros. have shown versatility, but that everything they do is the ‘same’ in that they have a recognisable style and approach to whatever material they are tackling. I’d consider that ‘sameness’ a reflection of developed and disciplined creative talent, rather than a sign of a boring lack of imagination. Altman pitches and yaws a bit more than that. I don’t know if that reflects true genius or the ingestion of copious quantities of mind-altering substances. But it’s a little more complex than leaving the Joker of Spades on every corpse.
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SCI-FI TOPICS AND (IM)POSSIBILITIES IN FILMS, over 2 years ago
For s and g, check out the website, Insultingly Stupid Movie Physics.
After all, as those guys put it “The minds of our children and their ability to master vectors are (shudder) at stake.”
The Bad Astronomy website is also fun, though it’s not particularly focused on movies.
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Double Features over 2 years ago
Another Halloween special:
The Shining and
Oregon taking USC apart, 47-20, in Autzen Stadium yesterday (for all you LA film school types)
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How did you find The Auteurs? over 2 years ago
Criterion. . . . but soybean takes the cake. Why don’t you do some internet research on platypuses, ocopuses, marmots, ravens, sasha grey and whatever else comes to mind, then report back on what you find?
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What's wrong with me? over 2 years ago
Crobley93
I suppose there is somebody out there who can honestly say that they don’t like any movies made since 1993. That might seem rather closed minded, but it might be an honestly held opinion.
To be more serious about your question—I don’t think there is anything wrong with you. But let me offer a thought that has little to do with film, but a lot to do with how people move through the stages of life. Ten years ago there were forms of entertainment that appealed to you a great deal, that you’ve since outgrown, or at least lost interest in. It’s probable that ten years from there will be things that you’ll find interesting that today you have no interest in, and that there are things today that you find interesting that ten years from now you’ll have lost interest in as completely as today you’ve lost interest in those pre-schooler cartoons of the late ‘90s. It just may be that you’re hitting these older films at the wrong point in your life and rather than forcing yourself to like them, or feeling like there’s something wrong with you for not liking them, you ought to cut yourself some slack.
You probably liked Y Tu Mama Tambien. It’s being touted in another thread as highly erotic, and for sure there is some skin in it. But watch it all the way to very end, listen to the voiceover and think about what the narrator is saying. The high school best buddies, amigos forever, go their separate ways—not because they’ve screwed each others’ girlfriends and gotten competitive over Luisa—but because their lives take them in different directions. They’re hitting another stage in life. You may at some point down the road find yourself actually wanting to watch The Bride Wore Black after watching Kill Bill and find Truffaut’s version of the folktale richer and more interesting than Tarantino’s. Or not. (yeah, I know The Bride Wore Black misses your cutoff by a couple of years, but it’s what came to mind).
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What was the best decade for film? 30's, 40's, 50's, 60's, 70's, 80's, 90's, or our present decade? over 2 years ago
Back in the 1970s the famous Chinese statesman, Chou En Lai, was asked by a French TV interviewer what he thought of the outcome of the French Revolution (1789-93), and answered the question by saying that it was too early to tell. Similarly, I don’t think the staying power of anything made since about 1990 can be predicted yet. Very old people will always remember the older stuff more fondly, and very young people will always be convinced that newer is better. You see more of the latter than of the former of this website, but that’s probably reflective of the audience demographic.
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Blind Buys over 2 years ago
On the strength of what people in this forum had to say, yesterday I blind bought Berlin Alexanderplatz in the Barnes & Noble sale. I consider it a mildly insane blind buy, since to watch it (once) will take something like 15 hours. But it only cost two twenties and a five (50% sale off list, 10% members discount from that and a 20% coupon). Can’t let a bargain get away.
Maybe that’s not technically a blind buy, but letting the opinions of a bunch of internet enthusiasts separate me from my money is pretty close.
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Some things about violence in cinema over 2 years ago
It’s very hard to generalize about violence in film.
In the last week I’ve watched City of God and Clockwork Orange, both which are quite violent, quite good and quite different. But when released, each was received with slackjawed astonishment. I’m not sure I’d want a steady diet of that sort of thing. But unlike Alex, nobody is wiring my eyelids open, strapping me in a chair and making me watch (OTOH, I have never raped or murdered anybody).
I also recently watched Ride the High Country, the movie that made Peckinpah (that’s a slight overstatement), and it was no more violent (but a good bit more intelligent) than any number of other Westerns of the era. I faintly remember seeing Straw Dogs when it came out and it was, at the time, the last word in mayhem, though obviously many chapters, verses and volumes on the subject have since been written.
Haven’t seen Inglorius Basterds, so I won’t comment on it. But I don’t think Reservoir Dogs was any more violent than Riffifi, and, though more blood flowed in Kill Bill than in The Bride Wore Black, I’d give have to give The Bride Wore Black the nod for dramatic tension and pure implacable vengeance.
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Which directors have the worst fanboys? over 2 years ago
I don’t think dead directors can have fan boys. It would be cinematic necrophilia. Gotta have a different word—Bergmaniacs?
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Cormac Mccarthy (The Road, No Country for Old Men) over 2 years ago
I recently read a fascinating article in Texas Monthly about films based on Cormac McCarthy novels, and a thumbnail of the author’s argument is—the better the novel, the weaker the movie, and, conversely, the weaker the source material, the better the film. His explanation—at its best, McCarthy’s prose is a kind of visual poetry that cannot be literally translated onto the screen (but will always disappoint in comparison), while the stories in some of McCarthy’s relatively poorer work offer the basis for really great movies.
Not to highjack your thread, but any thoughts?
P.S. Blood Meridian is awfully intense. If you liked No Country, you might try All The Pretty Horses. It’s not exactly tepid, but there are fewer flies on the corpses.
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O/T: NCAA- What University/College Do You Root For? over 2 years ago
Yeah, there is nothing wrong with going off topic once in a while, as long as it’s clearly anounced.
For me, the Crimson and the Ducks. With Yale self destructing in the last of the fourth quarter a week ago, I’m okay back on the East Coast, but the Beavers could still make trouble in the Civil War on Thursday. With a win this week, though, Oregon will in Padadena for New Year’s.
Incidentally, I root against USC. It’s nice to see those inglorious bast ards somewhere besides on top of the Pac 10 for a change.
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Has anyone seen The Friends of Eddie Coyle??????????? over 2 years ago
I saw this in Boston when it first came out. I was in school there at the time. After seeing it, I never felt the same way again about the Callahan Tunnel. I hope they are using something besides yellow tile to line the tunnel that they’re building in the Big Dig.
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What Does Your Family Think Of Your Love of Cinema? over 2 years ago
“I remember my mother weeping with despair when . . . I announced my intentions of making a film. It was as if I’d said: ‘Mother, I want to join the circus and be a clown.’ A family friend, a lawyer, had to be enlisted to convince that there was a lot of money to be made in films. . . . . (My mother allowed herself to be persuaded, but she never saw the film she’d financed.)”
Luis Bunuel, My Last Sigh, p 33.
Support, yes, but sometimes excessive familial encouragement is not a good thing.
My Last Sigh is a wonderful book. While leafing through it looking for this quote, I found the following other lines that are worth considering—one is a question (unanswered, rhetorical), the other a warning.
The following question was asked of Bunuel, when he was an assistant, by his boss, Jean Epstein: “How can an insignificant asshole like you dare to talk that way about a great director!” (p. 90)
The warning:
“Watch out for the ballerinas . . . . They’re young, they’re innocent, they earn next to nothing, and at least one of them always winds up pregnant.” p. 119.
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Best Western of all Time? over 2 years ago
The Best Western in Pendleton, Oregon is a pretty good place to spend the night.
Seriously, it’s a genre. So what’s best depends what you are in the mood for. There isn’t a best western for all time, any more than there’s a worst western (any nominations for the worst Best Western?).
A couple of weeks ago I watched Ride the High Country, and it was wonderful. Also, over the summer I bought (for less than twenty dollars at Costco) the Boetticher box set and those films were just remarkable. All worth watching again.
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Movie About A Train And Hobo Ride Contest over 2 years ago
Anybody know where I can buy a Pet Rock? I need a last minute holiday gift, and I can’t find an 8-track anywhere.
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What Are your Mexican Favourite Films? over 2 years ago
Never thought I’d get to mention Y Tu Mama Tambien and Exterminating Angel in the same sentence.
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