Lynch’s “Lumiere et compagnie” entry is pretty special, but only lasts a handful of seconds. Dark and ambiguous, technically and stylistically stunning.
Electric Sheep can always make for a nice read, “exploring the darkest corners of the cinematic basement” as they put it. They concentrate on one theme each issue (quarterly) and explore contextual issues etc as oppose to Box Office margins.
Little White Lies and Sight & Sound are my two other staples.
I know how highly some people regard this, but the ending is so abrupt and nonsensical that I find it just spoils the film. I guess it’s meant to be some metaphor about leaving troubles behind or something, with the protagonist climbing into a hot air balloon; but it’s just so…sudden.
Have you never watched Nollywood or AIT Moviestar or Zone Horror late at night? Some of the garbage on their is so laughable that it’s difficult to pull yourself away from it. I caught “Zombie Town” the other day, simply through boredom, and every element of it was just appalling.
I once had a DVD bought for me, just because it was in a bargain bucket, called “The Three Muscatels”. Perhaps the worst movie of all time.
And I can’t help but agree with Deckard, there needs to be some differentiation. But at the same time, what makes a film terrible, other than one’s own opinion?
Well put Dimitris. One thing that really annoys me is people who say they didn’t “get” a film – I mean, what is there to “get”? The events have all just played out in front of you and the ambiguities are obviously meant to be ambiguous. And an appreciation of cinema seems to be a rare thing, with audiences being too quick to condemn and label.
In answer to Law’s first question, Edward D Wood Jr’s work could be seen as faux-pretentious, particularly if you think him to be one of the worst filmmakers of all time, as many do. Tim Burton’s Ed Wood certainly upholds this stigma. Coincidentally, I find Burton’s Sweeney Todd, as a film and a concept, very pretentious, with the stylised, artsy approach feeling incredibly forced and spoiled further by too much reliance on VFX.
Also, as a side note, my personal favourite depictions of pretentiousness in cinema -
Who Is KK Downey – A Canadian production I saw a screening of at the BIFF earlier this year, a brilliant depiction of contemporary hipster pretentiousness. Mr Bean’s Holiday – Yes! I know! A God awful film, don’t judge me for having seen it. But the scenes with Willem Defoe are an amazing example of pretension in cinema. Spaced – Granted, it’s a tv series and not a film, but is scattered with references.
I think Abel hit the nail right on the head there. A clear definition might also help here:
[From Wiktionary]
1. Marked by an unwarranted claim to importance or distinction
2. Ostentatious; intended to impress others
Von Trier is certainly covered by this. And, dare I say it, even QT.
I suppose it would matter whether you regard Von Trier’s claim as “the best director in the world” as warranted or not. In which case he would get a pass. And the same with Tarantino. But I think you would have a tough time finding somebody on here that would regard him as highly as he does himself.
@Law The guy effectively changed his name from Lars Trier to Lord Trier. Self importance seems to be a running trend.
@Erickson – Film is subjective, but sometimes agreements have to be made. Such as 2001 being sci-fi or The Good, The Bad And The Ugly being a western; I’m not suggesting pretentiousness is as significant or definable as genre, but sometimes it is possible to point it out and say yes, this is definitely pretentious. OMG/HAHAHA is a self-righteous piece of indy filmmaking that tries to be something it isn’t. This is the best example I can think of off the top of my head.
Kung Fu Hustle has a pretty stylised approach to violence, sharing both the gore of a violent martial arts film and the downright slapstick of say, Tom and Jerry. If I’m reading this right, you’re basically asking the age old question of “does violence in movies cause people to be violent?” , in which case, I think this would be a good example as to how stylized violence is different to realistic violence: KFH makes the violence funny – but at the same time it takes it to such an extreme that it doesn’t really raise an ethical issue.
At the same time, something more realistic, yet equally extreme, such as Salo, Clockwork Orange or even Saw, where the violence isn’t particularly stylized but more believable, is still so extreme that an audience has to appreciate that it isn’t a way to act in “real life” and the presentation of violence should act to sway people against violence rather than toward it.
On the other hand, films that appeal to certain minorities or stereotypes, for example films aimed towards those involved in gang cultures such as “8 Mile” or “Live Rich or Die Trying” (not that I’ve seen either of these, but from what I’m aware they’re aimed at this sort of market), perpetuate stereotypes and make people in similar situations believe that this is who they are supposed to be and how they are supposed to act.
Stylized violence is fun. Even realistic violence has its place in Cinema. Films don’t make people dangerous – they just give idiots an excuse.
If I’d have meant “hip-hop” films, I would have said “hip-hop” films; as it is, I was trying to make a point about how gang culture, if displayed realistically in cinema, may influence people in that situation to act in the same way, similar to indoctrination through propaganda. I chose those examples to pinpoint one particular group. I could just as easily have picked Gammorah or Elephant, realistic portrayals of violence with realistic characters at the heart.
I’m not even all that sure if I agree with this argument i’m making, just playing the devil’s advocate – this is an argument that is frequently being raised and it needed to be mentioned here.
“Nobody goes to see them. If they premiered most of the Australian movies of the past 24 months on a plane, people would be walking out in the first 20 minutes – and that’s not good.”
- President of The Screen Producers Association of Australia. :D
I don’t think the purpose or intention of these films is to indoctrinate, but a consequence of using characters based on a real demographic. Hip hop films were simply an example where the audience is clearly identifiable.
Now, Gammorah in particular doesn’t generally show that much violence – bar the graphic opening scene, most of the film is about the threat of violence – but at least two of the narratives in the film are about children or young teens idolising and eventually becoming a part of the underground gangster culture. Of course the filmmakers want this to come across as a tragic occurrence, but the adverse effect is that some Italian kid sees the film and wants to be like the characters in it, and has a means to be so.
Yes, it’s the 2008 one we’re talking about. The film adaptation is a saddening tale more than a Scarface-esque rags to riches story. Spoiler The young duo die in a tragically straightforward shooting, the initiation ceremony of withstanding a bullet whilst wearing a kevlar jacket, the execution of the tennant identified by the young boy – the whole tone seems to be set against the actions that are being performed, the filmmakers trying to express just how different the lifestyle is from Tony Montana’s. That’s my reading of it anyway.
Never have done, never considered it. And after forking out more than their wage in a ticket and having to sit through 20 minutes of commercials, I don’t think it’s in any way necessary.
Personally, I’ve been looking forward to this for a long time – then the first trailer came out and it blew my mind, it just looks amazing and worked so well with Wake Up playing over the top.
Then the second trailer came out and we heard Max’s voice… that’s the only thing that I have to say against it, which is niggling to say the least.
I hope it turns out to be as special as it promises.
Yeah, I saw it last night, was left feeling a little underwhelmed. It’s not as pioneering as Mr Cameron would have us believe, and I don’t mean that it has suffered from overhype – there’s nothing really new whatsoever, it simply amalgamates various techniques we’re already familiar with and meshes them together under an overly fantastical premise of interplanetary warfare and technological fervor.
Granted, the CGI is near photoreal at times, but this is only a progressive step that we’ve been waiting to happen anyway – The Lord Of The Rings had the same kind of impact on us when that was originally released, but we’d hardly say that it “changed the way we see cinema” as has been claimed about this release.
The direction too comes across as being a tad unimpressive. One scene involving the protagonist flying atop a prehistoric-esque bird was shot in such a bland way, with Cameron not making use of the 3D technology that he has spent the best part of 12 years working with.
To be brutally honest, the preview screening has made me less interested in the film than I was before. I’ll still see it when it get’s released, which shows that it wasn’t dreadful or anything, but from what I’ve seen it’s nothing too special to speak of as yet.
The Industry have invested millions into the hardware without considering the fact that modern 3D films can’t be viewed in the vast majority of homes yet, due to frame rates etc. When they realise how badly their home entertainment sales suffer, they’ll probably rethink their strategy…
The British New Wave, or more specifically “Kitchen-Sink Drama” was a movement unfortunately dwarfed by the impact of the French New Wave, leaving many gems under-appreciated and almost ignored; Billy Liar is a brilliant example of the movement that portrayed life for how it was and shoved the North of England briefly into the international spotlight.
Written by the late, great Keith Waterhouse, who passed away only a couple of weeks ago, Billy Liar is a genuinely entertaining film that clashes the gritty backdrop of a 60’s industrial town with an overtly comic performance by the characterful Tom Courtenay. Beside a stellar cast, Courtenay shines in the role of Billy, but though it is a character based drama, the film comes together in so many other ways – the portrayal of the city is just as interesting as the characters, maybe because of the familiarity I share in that it is my hometown, but nonetheless it is fascinating to see the changes being made that left a huge impact on the whole of England.
The contrasts in the different parts of Billy’s life are beautifully presented by the changing surroundings, be it the drab and stale background of his dead end job in a funeral parlor, or the bright and open moorland on top of which Billy discards the calendars that have caused him so much aggravation.
Sticking to the STFC! ideal of brief discussion, I’ll wrap my thoughts up here and point out that Billy Liar is an enjoyable film that provides a good introduction to Kitchen-sink drama. I chose it not because it is my favourite film, far from it in fact, but I felt that this field of film has not yet had the full The Auteurs treatment it deserves.
I also feel the need to recommend Charlie Bubbles, which would be a good companion piece should you enjoy Billy Liar.
@Geronimo Again, I caught Charlie Bubbles in DVD, so I don’t know where you’d be able to get hold of it, sorry. And loving this film isn’t pathetic, it’s a genuine classic.
I’m unfamiliar with Walter Mitty, although by reading the Wikipedia synopsis it sounds a little similar.
A heads up that Ratcatcher is currently available on the BBC iPlayer to UK residents, which makes up for the fact that we can’t see it here on The Auteurs. A really poignant piece which would be saddening if it wasn’t so visually awesome.
favorite short film. almost 3 years ago
Lynch’s “Lumiere et compagnie” entry is pretty special, but only lasts a handful of seconds. Dark and ambiguous, technically and stylistically stunning.
Go to Comment
Film Magazines almost 3 years ago
Electric Sheep can always make for a nice read, “exploring the darkest corners of the cinematic basement” as they put it. They concentrate on one theme each issue (quarterly) and explore contextual issues etc as oppose to Box Office margins.
Little White Lies and Sight & Sound are my two other staples.
Go to Comment
GREAT MOVIES WITH BAD ENDINGS... almost 3 years ago
Charlie Bubbles.
I know how highly some people regard this, but the ending is so abrupt and nonsensical that I find it just spoils the film. I guess it’s meant to be some metaphor about leaving troubles behind or something, with the protagonist climbing into a hot air balloon; but it’s just so…sudden.
Go to Comment
WHAT IS YOUR PICK FOR THE WORSE MOVIE EVER MADE? almost 3 years ago
Have you never watched Nollywood or AIT Moviestar or Zone Horror late at night? Some of the garbage on their is so laughable that it’s difficult to pull yourself away from it. I caught “Zombie Town” the other day, simply through boredom, and every element of it was just appalling.
I once had a DVD bought for me, just because it was in a bargain bucket, called “The Three Muscatels”. Perhaps the worst movie of all time.
And I can’t help but agree with Deckard, there needs to be some differentiation. But at the same time, what makes a film terrible, other than one’s own opinion?
Go to Comment
Pretentiousness almost 3 years ago
Well put Dimitris. One thing that really annoys me is people who say they didn’t “get” a film – I mean, what is there to “get”? The events have all just played out in front of you and the ambiguities are obviously meant to be ambiguous. And an appreciation of cinema seems to be a rare thing, with audiences being too quick to condemn and label.
In answer to Law’s first question, Edward D Wood Jr’s work could be seen as faux-pretentious, particularly if you think him to be one of the worst filmmakers of all time, as many do. Tim Burton’s Ed Wood certainly upholds this stigma. Coincidentally, I find Burton’s Sweeney Todd, as a film and a concept, very pretentious, with the stylised, artsy approach feeling incredibly forced and spoiled further by too much reliance on VFX.
Also, as a side note, my personal favourite depictions of pretentiousness in cinema -
Who Is KK Downey – A Canadian production I saw a screening of at the BIFF earlier this year, a brilliant depiction of contemporary hipster pretentiousness.
Mr Bean’s Holiday – Yes! I know! A God awful film, don’t judge me for having seen it. But the scenes with Willem Defoe are an amazing example of pretension in cinema.
Spaced – Granted, it’s a tv series and not a film, but is scattered with references.
Go to Comment
Pretentiousness almost 3 years ago
I think Abel hit the nail right on the head there. A clear definition might also help here:
2. Ostentatious; intended to impress others[From Wiktionary]
1. Marked by an unwarranted claim to importance or distinction
Von Trier is certainly covered by this. And, dare I say it, even QT.
Go to Comment
Pretentiousness almost 3 years ago
I suppose it would matter whether you regard Von Trier’s claim as “the best director in the world” as warranted or not. In which case he would get a pass. And the same with Tarantino. But I think you would have a tough time finding somebody on here that would regard him as highly as he does himself.
Go to Comment
Pretentiousness almost 3 years ago
@Law The guy effectively changed his name from Lars Trier to Lord Trier. Self importance seems to be a running trend.
@Erickson – Film is subjective, but sometimes agreements have to be made. Such as 2001 being sci-fi or The Good, The Bad And The Ugly being a western; I’m not suggesting pretentiousness is as significant or definable as genre, but sometimes it is possible to point it out and say yes, this is definitely pretentious. OMG/HAHAHA is a self-righteous piece of indy filmmaking that tries to be something it isn’t. This is the best example I can think of off the top of my head.
Go to Comment
MICHAEL BAY SPEAKS OUT, FINALLY! almost 3 years ago
http://www.youtube.com/watch?v=MiHsxQJ9ZOo
I think this will be relevant to your interests.
Go to Comment
what did you watch today? almost 3 years ago
THX 1138 – Shows that Lucas did, at some point, have talent.
The BBC are showing Man On Wire for free on their iPlayer to UK residents. Just thought I’d make sure y’all knew.
Go to Comment
Stylization of violence in film almost 3 years ago
Kung Fu Hustle has a pretty stylised approach to violence, sharing both the gore of a violent martial arts film and the downright slapstick of say, Tom and Jerry. If I’m reading this right, you’re basically asking the age old question of “does violence in movies cause people to be violent?” , in which case, I think this would be a good example as to how stylized violence is different to realistic violence: KFH makes the violence funny – but at the same time it takes it to such an extreme that it doesn’t really raise an ethical issue.
At the same time, something more realistic, yet equally extreme, such as Salo, Clockwork Orange or even Saw, where the violence isn’t particularly stylized but more believable, is still so extreme that an audience has to appreciate that it isn’t a way to act in “real life” and the presentation of violence should act to sway people against violence rather than toward it.
On the other hand, films that appeal to certain minorities or stereotypes, for example films aimed towards those involved in gang cultures such as “8 Mile” or “Live Rich or Die Trying” (not that I’ve seen either of these, but from what I’m aware they’re aimed at this sort of market), perpetuate stereotypes and make people in similar situations believe that this is who they are supposed to be and how they are supposed to act.
Stylized violence is fun. Even realistic violence has its place in Cinema. Films don’t make people dangerous – they just give idiots an excuse.
Go to Comment
STOP THE FILM CLUB! almost 3 years ago
I’ll have Ganster’s place! That is, if you’ve room for another Josh?
Go to Comment
STOP THE FILM CLUB! almost 3 years ago
Woah! – Don’t forget me and Calderara. 17 & 18
Go to Comment
Stylization of violence in film almost 3 years ago
If I’d have meant “hip-hop” films, I would have said “hip-hop” films; as it is, I was trying to make a point about how gang culture, if displayed realistically in cinema, may influence people in that situation to act in the same way, similar to indoctrination through propaganda. I chose those examples to pinpoint one particular group. I could just as easily have picked Gammorah or Elephant, realistic portrayals of violence with realistic characters at the heart.
I’m not even all that sure if I agree with this argument i’m making, just playing the devil’s advocate – this is an argument that is frequently being raised and it needed to be mentioned here.
Go to Comment
Survey about rating movie projects online almost 3 years ago
“Nobody goes to see them. If they premiered most of the Australian movies of the past 24 months on a plane, people would be walking out in the first 20 minutes – and that’s not good.”
- President of The Screen Producers Association of Australia. :D
Go to Comment
Stylization of violence in film almost 3 years ago
I don’t think the purpose or intention of these films is to indoctrinate, but a consequence of using characters based on a real demographic. Hip hop films were simply an example where the audience is clearly identifiable.
Now, Gammorah in particular doesn’t generally show that much violence – bar the graphic opening scene, most of the film is about the threat of violence – but at least two of the narratives in the film are about children or young teens idolising and eventually becoming a part of the underground gangster culture. Of course the filmmakers want this to come across as a tragic occurrence, but the adverse effect is that some Italian kid sees the film and wants to be like the characters in it, and has a means to be so.
Go to Comment
Stylization of violence in film almost 3 years ago
Yes, it’s the 2008 one we’re talking about. The film adaptation is a saddening tale more than a Scarface-esque rags to riches story. Spoiler The young duo die in a tragically straightforward shooting, the initiation ceremony of withstanding a bullet whilst wearing a kevlar jacket, the execution of the tennant identified by the young boy – the whole tone seems to be set against the actions that are being performed, the filmmakers trying to express just how different the lifestyle is from Tony Montana’s. That’s my reading of it anyway.
Go to Comment
Dumbing down subtitles. almost 3 years ago
Wild guess I’d say audio-descriptive version.
Go to Comment
STOP THE FILM CLUB! almost 3 years ago
w00t – My copy of East of Eden just arrived. Also, “STFC! presents: East of Eden” gets my vote.
Go to Comment
Do you tip any theater staff? almost 3 years ago
Never have done, never considered it. And after forking out more than their wage in a ticket and having to sit through 20 minutes of commercials, I don’t think it’s in any way necessary.
Go to Comment
'WHERE THE WILD THINGS ARE' MOVIE: WILL IT WORK? almost 3 years ago
Personally, I’ve been looking forward to this for a long time – then the first trailer came out and it blew my mind, it just looks amazing and worked so well with Wake Up playing over the top.
Then the second trailer came out and we heard Max’s voice… that’s the only thing that I have to say against it, which is niggling to say the least.
I hope it turns out to be as special as it promises.
Go to Comment
Did anyone go see 10-min Avatar preview on friday night? almost 3 years ago
Yeah, I saw it last night, was left feeling a little underwhelmed. It’s not as pioneering as Mr Cameron would have us believe, and I don’t mean that it has suffered from overhype – there’s nothing really new whatsoever, it simply amalgamates various techniques we’re already familiar with and meshes them together under an overly fantastical premise of interplanetary warfare and technological fervor.
Granted, the CGI is near photoreal at times, but this is only a progressive step that we’ve been waiting to happen anyway – The Lord Of The Rings had the same kind of impact on us when that was originally released, but we’d hardly say that it “changed the way we see cinema” as has been claimed about this release.
The direction too comes across as being a tad unimpressive. One scene involving the protagonist flying atop a prehistoric-esque bird was shot in such a bland way, with Cameron not making use of the 3D technology that he has spent the best part of 12 years working with.
To be brutally honest, the preview screening has made me less interested in the film than I was before. I’ll still see it when it get’s released, which shows that it wasn’t dreadful or anything, but from what I’ve seen it’s nothing too special to speak of as yet.
Go to Comment
Did anyone go see 10-min Avatar preview on friday night? almost 3 years ago
The Industry have invested millions into the hardware without considering the fact that modern 3D films can’t be viewed in the vast majority of homes yet, due to frame rates etc. When they realise how badly their home entertainment sales suffer, they’ll probably rethink their strategy…
Go to Comment
STOP THE FILM CLUB! over 2 years ago
Yeah, who the fuck is Josh Bower?
Go to Comment
STOP THE FILM CLUB! over 2 years ago
If it suits, I was thinking Billy Liar, the British “kitchen-sink” drama that was actually shot in my hometown in the early 60’s.
Go to Comment
Stop the~ Billy Liar over 2 years ago
John Schlesinger’s
Billy Liar
The British New Wave, or more specifically “Kitchen-Sink Drama” was a movement unfortunately dwarfed by the impact of the French New Wave, leaving many gems under-appreciated and almost ignored; Billy Liar is a brilliant example of the movement that portrayed life for how it was and shoved the North of England briefly into the international spotlight.
Written by the late, great Keith Waterhouse, who passed away only a couple of weeks ago, Billy Liar is a genuinely entertaining film that clashes the gritty backdrop of a 60’s industrial town with an overtly comic performance by the characterful Tom Courtenay. Beside a stellar cast, Courtenay shines in the role of Billy, but though it is a character based drama, the film comes together in so many other ways – the portrayal of the city is just as interesting as the characters, maybe because of the familiarity I share in that it is my hometown, but nonetheless it is fascinating to see the changes being made that left a huge impact on the whole of England.
The contrasts in the different parts of Billy’s life are beautifully presented by the changing surroundings, be it the drab and stale background of his dead end job in a funeral parlor, or the bright and open moorland on top of which Billy discards the calendars that have caused him so much aggravation.
Sticking to the STFC! ideal of brief discussion, I’ll wrap my thoughts up here and point out that Billy Liar is an enjoyable film that provides a good introduction to Kitchen-sink drama. I chose it not because it is my favourite film, far from it in fact, but I felt that this field of film has not yet had the full The Auteurs treatment it deserves.
I also feel the need to recommend Charlie Bubbles, which would be a good companion piece should you enjoy Billy Liar.
Discussion starts in earnest on the 26th
Go to Comment
Stop the~ Billy Liar over 2 years ago
Afraid not, I have the DVD. You still have quite a while though?
Go to Comment
M Bay to remake The Tenant? over 2 years ago
I thought he was meant to be teaming up with M Night Shyamalan on a remake of The 400 Blows?
Go to Comment
Stop the~ Billy Liar over 2 years ago
@Geronimo Again, I caught Charlie Bubbles in DVD, so I don’t know where you’d be able to get hold of it, sorry. And loving this film isn’t pathetic, it’s a genuine classic.
I’m unfamiliar with Walter Mitty, although by reading the Wikipedia synopsis it sounds a little similar.
Go to Comment
what did you watch today? over 2 years ago
A heads up that Ratcatcher is currently available on the BBC iPlayer to UK residents, which makes up for the fact that we can’t see it here on The Auteurs. A really poignant piece which would be saddening if it wasn’t so visually awesome.
Go to Comment