First we have to understand what we mean by the term “perfect”. When I think of it, the first thing that comes to mind is technical elements, and/or aesthetic ones. The first film the immediately comes to mind when I think “perfect” is…
I’ve got all the Black Wave films. That’s because I live in Belgrade, and I’m researching the subject.
I can’t agree that Makavejev’s “Ljubavni slucaj, ili tragedija sluzbenice PTT” is the main film text. It seems that the paradigmatic Black Wave film might be Zelimir Zilnik’s “Rani radovi” (Early Works, 1969). Though of course, I’m open for discussion and ideas on this topic.
At this stage of the game, the only Black Wave film available in a major home video release is Makavejev’s “WR” (God bless you Criterion!). But I will say this, and you heard it here first. Criterion folks, Aleksandar Petrovic’s “Skupljaci perja” (The Feather Collectors, 1967) is literally BEGGING for the treatment!
Interesting. Tell me more about your course, and who’s teaching it.
No, the Black Wave films are not really available on dvd by and large. Most of them are incredibly rare. Here are the ones I’ve found on actual dvd releases in stores:
Nevinost bez zastite (Innocence Unprotected, 1968) by Makavejev
Kad budem mrtav i beo (When I am Dead and Pale, 1967) by Zivojin Pavlovic
Delije (Tough Guys, 1969) by Mica Popovic
I think we can call him a genius. “Pulp Fiction” is a masterpiece, and maybe the most influential film of the postmodern era. Not many directors have made a film as powerful and unique as this one. It’s one of those seismic shifts in world cinema.
The real question is, is he on a downward spiral or not? I feel that “Death Proof” was weak overall, and “Kill Bill” clearly wasn’t as strong as “Jackie Brown”. So I’m looking forward to “Inglorious Bastards” to see if he can re-capture some of his old magic.
Maybe comments in the forum should be in order of the time they appeared, meaning, the newest ones should be at the top of the page. I’m interested in seeing the freshest comments immediately, then scrolling down if I want to track the conversation from that point on. That’s the type of thing I’d have to try out to see if I like it. One thing for sure, I don’t like having to scroll all the way down to the bottom of a long page to see the newest comment.
That’s a minor thing. This site is amazing. I felt like a little kid at Christmas when I first got on and saw everything in here. And the best thing is, I know it will only get better and better.
What other films were on your viewing list, and how did you find a copy of Makavejev’s “Ljubavni slucaj”? Or maybe your professor screened a copy in class for everyone.
Well, I think influencing a generation of people to imitate you is an awfully strong thing (and yes, highly ironic too. classic postmodernism!). How many filmmakers can lay claim to that? Not that it’s the sole measure of genius.
Seismic shifts don’t always usually mean things are made stronger after the fact. True, they are often rebuilt and re-defined. For one, Tarantino liberated narrative. Yes, Kubrick and Jarmusch did it before him. But they banged on the doors. Tarantino opened the jail cell. Also, Hollywood literally was never the same after “Pulp Fiction”. Whether its stronger is another story. But the conception of an indie film changed forever after “Pulp Fiction”. This is the film that built Miramax, which went on to take chances on other unique films and filmic voices.
Tarantino also made the auteur accepted on a widespread scale. He mainstreamed the spirit of Godard. All these young auteurs running around Hollywood getting money to make their films the way they want to owe a debt to Tarantino.
Have you seen Kusturica’s films from the 80s? You can certainly find those on dvd internationally. “Otac na sluzbenum putu” (When Father Was Away on Business) and “Sjecas li se Doli Bell?” (Do You Remember Dolly Bell?).
I’d also suggest the films of Slobodan Sijan from the 80s period in Yugoslav cinema. You might want to start with his first film, “Ko to tamo peva” (Who’s that Singing Over There?). That should be gettable, though probably only in Serbia.
The first, and best, text on the history of Yugoslav cinema is Daniel Goulding’s “Liberated CInema”.
I hear you. I don’t think it’s a question of what good films have come out that were influenced by QT that becomes a measure of his genius. The sheer amount of films that come out that mimic his style say more to me than whether they were good or not, because QT can’t make other people’s films for them. That mimicry says to me that imitation is the sincerest form of flattery (sincerity being maybe just one element that can make a film good). People don’t usually imitate something that isn’t good, or interesting, or profound to them for some reason. Unless they’re performing satire, which of course has happened plenty to QT.
I agree with you that the superlative praise bears some scrutiny. I also agree that time will be the final arbiter on QT’s career, and his genius (or lack thereof).
But I feel pretty strongly about this: the worth of QT’s contribution to the arts will ultimately rest in judgment on the shoulders of “Pulp Fiction”. And I believe that “Pulp Fiction” is a film that will be remembered and celebrated for all posterity as one of those unique landmarks in the history of cinema. I think “Pulp Fiction” bears the mark of a genius.
Mmm, interesting. Antonioni is one of those “major auteurs” who I know pretty much nothing about. In fact, I don’t think I’ve seen any of his films. So you’d start off with “El Grido”? Gimme just a brief, bite-sized sample of the intro so I understand why.
I’d nominate “The Killing” to our list of perfect films on the other thread. There’s not one flaw in it (well, maybe except that camera reflection in the bus station scene). As tight and compact and expressive as a film can be.
I’d nominate “The Killing” to our list of perfect films on the other thread. There’s not one flaw in it (well, maybe except that camera reflection in the bus station scene). As tight and compact and expressive as a film can be.
I got a professor who loves Watkins, but I haven’t seen any of his films yet. I’ve been reading a lot about him lately in film magazines, so maybe people are starting to re-evaluate him. What’s the first film to start with as a primer on Watkins, and why?
Now now, let’s not bash anyone’s fanbase. Keep it nice on here. I don’t want to see this website turn into yelling and name calling contests. Nothing wrong with pretty young things. They have thoughts and tastes too!
“Going yard” means hitting a home run. He knocked it out the ballpark.
I can’t agree with you about “Jackie Brown”. I think that film is brilliant. I can’t see a flaw in it. There’s probably a ton of people who think it’s better than “Pulp Fiction”, I’m just not one of them.
My favorite thing about “Grindhouse” was the trailers. I don’t mean that sarcastically. They were tons of fun to watch!
You’re not that old, but the internet really does tend to be dominated by the under 50 crowd. Won’t see too many people beyond that hanging around on forums and whatnot. It’s a generational thing.
I gotta admit, I like “Titanic” too. And believe me, I’m not the love story type, not the DiCaprio/Winslet fan crowd type either. But the movie’s great. Here’s why I thought so:
When I was sitting in the theater, I was so engrossed in the movie that about halfway through it I realized, “Oh shit! All these people are probably gonna die. This IS the story of the Titanic, after all!” Any movie where I already know the ending of the story, yet can get so lost in it that it doesn’t even matter, and more than that, that I completely forget about the ending, well, something right is going on with that movie! Plus, the sinking of the ship is just great filmmaking. It’s the type of thing you can watch over and over again, just from the pure spectacle nature of it.
I’ve often felt that “The Exorcist” should be studied in intricate detail in film school courses. I mean, those courses that focus on the craft of filmmaking. The film is a master’s class with regards to almost every formal element of filmmaking (cinematography, directing, editing, sound design, music, acting, special effects, screenwriting).
For me, its an absolutely flawless work. I think its another nominee for our “perfect films” thread.
I have to disagree with you. Makavejev didn’t “co-found” the Yugoslav new film movement in 1957. There was no official program or movement to be co-founded in the first place. Yugoslav Novi Film was simply the entrace of a new generation of directors into the Yugoslav film industry, with new ideas and new styles and new reactions against the classical filmmakers and films. Similar to the entrace of the French New Wave onto their scene.
Also, what are you citing as the significance of the year 1957? At that time, Makavejev was making amateur shorts in Belgrade Kino Club and Academic Kino Club. His first professional documentary short was “Prokleti praznik” (Damned Holiday), shot in 1958.
Furthermore, Yugloslav Novi Film was initiated in 1961, with the appearance of the first feature films by this new generation of directors. Those films were “Ples na kisu” (A Dance in the Rain) by Bostjan Hladnik and “Dvoje” (The Couple) by Aleksandar Petrovic. Makavejev didn’t direct his first feature film until 1965, though he was still part of the first generation of Yugoslav Novi Film.
When I say "A Perfect Film", What One Film Pops Into Your Head First? over 3 years ago
First we have to understand what we mean by the term “perfect”. When I think of it, the first thing that comes to mind is technical elements, and/or aesthetic ones. The first film the immediately comes to mind when I think “perfect” is…
“North by Northwest” by Hitchcock
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novi film - the yugoslav new wave over 3 years ago
I’ve got all the Black Wave films. That’s because I live in Belgrade, and I’m researching the subject.
I can’t agree that Makavejev’s “Ljubavni slucaj, ili tragedija sluzbenice PTT” is the main film text. It seems that the paradigmatic Black Wave film might be Zelimir Zilnik’s “Rani radovi” (Early Works, 1969). Though of course, I’m open for discussion and ideas on this topic.
At this stage of the game, the only Black Wave film available in a major home video release is Makavejev’s “WR” (God bless you Criterion!). But I will say this, and you heard it here first. Criterion folks, Aleksandar Petrovic’s “Skupljaci perja” (The Feather Collectors, 1967) is literally BEGGING for the treatment!
Go to Comment
New to The Auteurs? You Belong Here over 3 years ago
What’s up film folks! I’m a doctoral student from Los Angeles living and studying in Belgrade.
I’ve been on the new and improved Criterion site for about 2 minutes, and I can already tell I’m gonna be addicted to it…
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novi film - the yugoslav new wave over 3 years ago
Interesting. Tell me more about your course, and who’s teaching it.
No, the Black Wave films are not really available on dvd by and large. Most of them are incredibly rare. Here are the ones I’ve found on actual dvd releases in stores:
Nevinost bez zastite (Innocence Unprotected, 1968) by Makavejev
Kad budem mrtav i beo (When I am Dead and Pale, 1967) by Zivojin Pavlovic
Delije (Tough Guys, 1969) by Mica Popovic
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Top Scorsese over 3 years ago
The definition of a masterpiece is something that is endlessly repeatable and endlessly enjoyable.
GoodFellas is a masterpiece.
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New to The Auteurs? You Belong Here over 3 years ago
Wendy:
“Sorry, Wrong Number” is great noir! Show it on a double bill with “The Locket”.
“Au Hazard Balthazar” gets double billing with “Mouchette”!
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newbie intro thread over 3 years ago
Mao:
The first thing I do is stand up and say…“Roll ‘Shock Corridor’!”
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Movies That Should Be In the Criterion Collection over 3 years ago
I also have to vote for Rivette’s “Paris Nous Appartient”. I’ve never seen the film anywhere in all my film watching days. It seems pretty rare to me.
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QUENTIN TARANTINO over 3 years ago
I think we can call him a genius. “Pulp Fiction” is a masterpiece, and maybe the most influential film of the postmodern era. Not many directors have made a film as powerful and unique as this one. It’s one of those seismic shifts in world cinema.
The real question is, is he on a downward spiral or not? I feel that “Death Proof” was weak overall, and “Kill Bill” clearly wasn’t as strong as “Jackie Brown”. So I’m looking forward to “Inglorious Bastards” to see if he can re-capture some of his old magic.
Go to Comment
Feedback over 3 years ago
Maybe comments in the forum should be in order of the time they appeared, meaning, the newest ones should be at the top of the page. I’m interested in seeing the freshest comments immediately, then scrolling down if I want to track the conversation from that point on. That’s the type of thing I’d have to try out to see if I like it. One thing for sure, I don’t like having to scroll all the way down to the bottom of a long page to see the newest comment.
That’s a minor thing. This site is amazing. I felt like a little kid at Christmas when I first got on and saw everything in here. And the best thing is, I know it will only get better and better.
Go to Comment
novi film - the yugoslav new wave over 3 years ago
What other films were on your viewing list, and how did you find a copy of Makavejev’s “Ljubavni slucaj”? Or maybe your professor screened a copy in class for everyone.
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the hate corner over 3 years ago
“Fargo”? “Do the Right Thing”? Wow. You guys hate some masterpieces!
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QUENTIN TARANTINO over 3 years ago
@Wendy
Well, I think influencing a generation of people to imitate you is an awfully strong thing (and yes, highly ironic too. classic postmodernism!). How many filmmakers can lay claim to that? Not that it’s the sole measure of genius.
Seismic shifts don’t always usually mean things are made stronger after the fact. True, they are often rebuilt and re-defined. For one, Tarantino liberated narrative. Yes, Kubrick and Jarmusch did it before him. But they banged on the doors. Tarantino opened the jail cell. Also, Hollywood literally was never the same after “Pulp Fiction”. Whether its stronger is another story. But the conception of an indie film changed forever after “Pulp Fiction”. This is the film that built Miramax, which went on to take chances on other unique films and filmic voices.
Tarantino also made the auteur accepted on a widespread scale. He mainstreamed the spirit of Godard. All these young auteurs running around Hollywood getting money to make their films the way they want to owe a debt to Tarantino.
Go to Comment
novi film - the yugoslav new wave over 3 years ago
@Prudence
Have you seen Kusturica’s films from the 80s? You can certainly find those on dvd internationally. “Otac na sluzbenum putu” (When Father Was Away on Business) and “Sjecas li se Doli Bell?” (Do You Remember Dolly Bell?).
I’d also suggest the films of Slobodan Sijan from the 80s period in Yugoslav cinema. You might want to start with his first film, “Ko to tamo peva” (Who’s that Singing Over There?). That should be gettable, though probably only in Serbia.
The first, and best, text on the history of Yugoslav cinema is Daniel Goulding’s “Liberated CInema”.
Go to Comment
QUENTIN TARANTINO over 3 years ago
@Wendy
I hear you. I don’t think it’s a question of what good films have come out that were influenced by QT that becomes a measure of his genius. The sheer amount of films that come out that mimic his style say more to me than whether they were good or not, because QT can’t make other people’s films for them. That mimicry says to me that imitation is the sincerest form of flattery (sincerity being maybe just one element that can make a film good). People don’t usually imitate something that isn’t good, or interesting, or profound to them for some reason. Unless they’re performing satire, which of course has happened plenty to QT.
I agree with you that the superlative praise bears some scrutiny. I also agree that time will be the final arbiter on QT’s career, and his genius (or lack thereof).
But I feel pretty strongly about this: the worth of QT’s contribution to the arts will ultimately rest in judgment on the shoulders of “Pulp Fiction”. And I believe that “Pulp Fiction” is a film that will be remembered and celebrated for all posterity as one of those unique landmarks in the history of cinema. I think “Pulp Fiction” bears the mark of a genius.
Go to Comment
newbie intro thread over 3 years ago
Mmm, interesting. Antonioni is one of those “major auteurs” who I know pretty much nothing about. In fact, I don’t think I’ve seen any of his films. So you’d start off with “El Grido”? Gimme just a brief, bite-sized sample of the intro so I understand why.
Go to Comment
What is Kubrick's Most Under-Appreciated Film? over 3 years ago
I’d nominate “The Killing” to our list of perfect films on the other thread. There’s not one flaw in it (well, maybe except that camera reflection in the bus station scene). As tight and compact and expressive as a film can be.
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What is Kubrick's Most Under-Appreciated Film? over 3 years ago
I’d nominate “The Killing” to our list of perfect films on the other thread. There’s not one flaw in it (well, maybe except that camera reflection in the bus station scene). As tight and compact and expressive as a film can be.
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Age / Level of education? (An informal poll) over 3 years ago
33. Doctoral student.
I’ve BEEN in school forever. Why? It’s fun, I guess! Haha! I’ll continue working as a professor too, so I don’t pan on ever leaving.
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Peter Watkins over 3 years ago
I got a professor who loves Watkins, but I haven’t seen any of his films yet. I’ve been reading a lot about him lately in film magazines, so maybe people are starting to re-evaluate him. What’s the first film to start with as a primer on Watkins, and why?
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QUENTIN TARANTINO over 3 years ago
Now now, let’s not bash anyone’s fanbase. Keep it nice on here. I don’t want to see this website turn into yelling and name calling contests. Nothing wrong with pretty young things. They have thoughts and tastes too!
“Going yard” means hitting a home run. He knocked it out the ballpark.
I can’t agree with you about “Jackie Brown”. I think that film is brilliant. I can’t see a flaw in it. There’s probably a ton of people who think it’s better than “Pulp Fiction”, I’m just not one of them.
My favorite thing about “Grindhouse” was the trailers. I don’t mean that sarcastically. They were tons of fun to watch!
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Age / Level of education? (An informal poll) over 3 years ago
You’re not that old, but the internet really does tend to be dominated by the under 50 crowd. Won’t see too many people beyond that hanging around on forums and whatnot. It’s a generational thing.
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QUENTIN TARANTINO over 3 years ago
Yeah, watch “Jackie Brown” again and re-evaluate it. It deserves attention as a great movie.
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Favorite score? over 3 years ago
I’m partial to the scores in “Dead Man” and “Murder by Contract”. They go together great for a double bill.
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favorite films? over 3 years ago
“Pulp Fiction” by Tarantino, “Breathless” by Godard, and “It Wasn’t Love” by Sadie Benning.
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Films you love but most people hate. over 3 years ago
I gotta admit, I like “Titanic” too. And believe me, I’m not the love story type, not the DiCaprio/Winslet fan crowd type either. But the movie’s great. Here’s why I thought so:
When I was sitting in the theater, I was so engrossed in the movie that about halfway through it I realized, “Oh shit! All these people are probably gonna die. This IS the story of the Titanic, after all!” Any movie where I already know the ending of the story, yet can get so lost in it that it doesn’t even matter, and more than that, that I completely forget about the ending, well, something right is going on with that movie! Plus, the sinking of the ship is just great filmmaking. It’s the type of thing you can watch over and over again, just from the pure spectacle nature of it.
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Your Favorite Godard Film? over 3 years ago
I LOVE that book “Speaking About Godard”. It’s got a great structure. It was a really refreshing and original read for me when I first got it.
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Film Education over 3 years ago
I’ve often felt that “The Exorcist” should be studied in intricate detail in film school courses. I mean, those courses that focus on the craft of filmmaking. The film is a master’s class with regards to almost every formal element of filmmaking (cinematography, directing, editing, sound design, music, acting, special effects, screenwriting).
For me, its an absolutely flawless work. I think its another nominee for our “perfect films” thread.
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Perversity Is a Matter of Perspective over 3 years ago
@Henry Zeo
I have to disagree with you. Makavejev didn’t “co-found” the Yugoslav new film movement in 1957. There was no official program or movement to be co-founded in the first place. Yugoslav Novi Film was simply the entrace of a new generation of directors into the Yugoslav film industry, with new ideas and new styles and new reactions against the classical filmmakers and films. Similar to the entrace of the French New Wave onto their scene.
Also, what are you citing as the significance of the year 1957? At that time, Makavejev was making amateur shorts in Belgrade Kino Club and Academic Kino Club. His first professional documentary short was “Prokleti praznik” (Damned Holiday), shot in 1958.
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Perversity Is a Matter of Perspective over 3 years ago
Furthermore, Yugloslav Novi Film was initiated in 1961, with the appearance of the first feature films by this new generation of directors. Those films were “Ples na kisu” (A Dance in the Rain) by Bostjan Hladnik and “Dvoje” (The Couple) by Aleksandar Petrovic. Makavejev didn’t direct his first feature film until 1965, though he was still part of the first generation of Yugoslav Novi Film.
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