Yes, Satantango is a brilliant work of art, and on the contrary, I believe it must be seen in one sitting. It’s doing an injustice to the film to cut off the rhythms it is deliberately creating.
I believe that no film is inherently “too long”; rather, it depends on how the film is told and if the film feels too long, whatever storytelling method being utilized is just not working. A short film could be too long and a six hour film could not be long enough.
Steve Oerkfitz…your point interested me. I feel your sentiment is apt, but I believe that the long takes of Tarr and Tarkovsky’s films justify their long running times. The slower the pacing, the slower the film. Films with quicker cutting seem to work better shorter.
Good point Mark, there are in fact chapters. However, I assume Tarr would love to have his film seen in one sitting. Personally, it was extremely fascinating to be stuck in his world for seven hours, and if the film was longer, I gladly would have continued watching. To each his own I guess.
Yes, I have read MELANCHOLY OF RESISTANCE, after seeing WERCKMEISTER of course. The prose mirrors the film; extremely long, detailed sentences that often deal less with action and more with states of mind and atmosphere. I believe the first sentence of the novel was considered by some critics to be the most impressive opening to a novel in many a moon. The book also refuses chapters, so it’s one elongated stretch of type. It was certainly no fun read, but then again I’m a bigger cinema fan than literature fan, so it didn’t match Tarr’s film for me. However, there were some nice moments in the book, including some interesting scenes that Tarr omitted. When I read it, I felt I was beginning to translate it cinematically, just as Tarr did.
I saw Slumdog last night and agree with many of the complaints I’ve read here on the forum. I’d like to mention one aspect that some people may be missing, or have just not mentioned. While the “it is written” theme could be a deconstructive element, “the catch-all of a bad fantasy” as Samiracle pointed out, from what I know it is also a Muslim reference. “It is written” is meant to evoke a sort of divine intervention from Allah, a way of situating the lives of people. Slumdog is as much about destiny, in the religious sense, as it is about the implausibility of fantasy. This is something that seems kind of fishy, for a film to be made by a non-Muslim but which seems to preach to its audience with the religion in mind. Boyle is trying to say that for these people, divine intervention straightened out their lives. That to me, contrary to what the Academy thinks, is not universal. This is an innately Muslim film.
The shot framing the two men staring out over the hazy construction site in Tsai Ming-Liang’s “I Don’t Want to Sleep Alone”. It is by no means my “favorite” frame, but it certainly is special. There are also a handful of brilliant single images in Theo Angelopoulos’ “Landscape in the Mist” and Lynch’s “Eraserhead”. Just off the top of my head.
I actually am a high school student so I’d love to shed some light on this.
I’d say that the first auteur that truly struck me on a gut level was Stanley Kubrick. You can be quite young and enjoy his films, even if its simply for the grandiose, eye-popping cinematography. There is a general air of uniqueness in his work that is quite undeniable and that certainly tipped me in the right direction, even I did not necessarily understand the films deeply upon first viewings.
Another director I engaged with in my primitive days of cinephilia was Richard Linklater. “Slacker” is a film that is loaded with thought-provoking conversations and impressively choreographed camerawork. In fact, I was eager to make some films of my own in the same style and did. At the same time, “Dazed and Confused” taps right into teenage culture with great accuracy and is a deftly paced and enjoyable independent film.
Those are my personal gateways to my love for cinema. And Sean Keeley, I indeed was blown away by “400 Blows” soon after.
1. Werckmeister Harmonies
2. Mulholland Drive
3. There Will Be Blood
4. City of God
5. Goodbye Dragon Inn
6. Eternal Sunshine of the Spotless Mind
7. The Life Aquatic With Steve Zissou
8. The Edge of Heaven
9. Three Monkeys
This is tough…I feel like I might be missing so many.
Bela Tarr’s The Man From London (2007) is unlike any other film regarding voyeurism. It takes so much time revealing what its main character is looking at, frequently without him in the frame, that the viewer too feels voyeuristic. Also, there are incredible long takes to coincide.
I’ve noticed people are expressing a lot of dislike regarding the Basterds storyline, positing that it was unnecessary and that Shoshanna’s story alone would have made a stronger film. This is possibly true, but Tarantino’s not always about focusing on one storyline. He tries to come at a subject from every angle in hopes of reaching a synthesis of sorts. It’s arguable whether he reaches that here or not, but I would like to point out one thing that perhaps was intended to deepen the film. Shoshanna and the Basterds, more than anything, are linked because they are both sadists, whether it is rooted in personal revenge or simple bloodlust. This I think adds an interesting dimension and asks if either of the two – Shoshanna or Aldo – have a justifiable reason for their sadistic pleasure in violence against the Nazis. Well, when it comes down to it, violence against humans.
Hank, I’m not necessarily saying one’s more sadistic than the other. I agree with you that the Basterds go to greater lengths with their sadism. I’m simply pointing out how their stories mirror each other to an extent. Matt Parks brings up a good point that speaks to Shoshanna as a sadist. I’m not denying her motives either.
WHICH MOVIES...PUT OUT IN LAST 5 YEARS...DO YOU THINK WILL ONE DAY JOIN THE CRITERION COLLECTION? over 3 years ago
Bela Tarr films, David Lynch films, the Gus Van Sant trilogy, and Tsai Ming-Liang films should all be added to the collection.
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Very Long-Form Films (Tarr, Others): Indulgence, Necessity, A Tool in Itself? over 3 years ago
Yes, Satantango is a brilliant work of art, and on the contrary, I believe it must be seen in one sitting. It’s doing an injustice to the film to cut off the rhythms it is deliberately creating.
I believe that no film is inherently “too long”; rather, it depends on how the film is told and if the film feels too long, whatever storytelling method being utilized is just not working. A short film could be too long and a six hour film could not be long enough.
Steve Oerkfitz…your point interested me. I feel your sentiment is apt, but I believe that the long takes of Tarr and Tarkovsky’s films justify their long running times. The slower the pacing, the slower the film. Films with quicker cutting seem to work better shorter.
Go to Comment
Very Long-Form Films (Tarr, Others): Indulgence, Necessity, A Tool in Itself? over 3 years ago
Good point Mark, there are in fact chapters. However, I assume Tarr would love to have his film seen in one sitting. Personally, it was extremely fascinating to be stuck in his world for seven hours, and if the film was longer, I gladly would have continued watching. To each his own I guess.
Go to Comment
Very Long-Form Films (Tarr, Others): Indulgence, Necessity, A Tool in Itself? over 3 years ago
Yeah, great point. A couch always beats a chair. It’s a tough call: less comfort with larger screen or more comfort with smaller screen.
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Werckmeister Harmonies over 3 years ago
Yes, I have read MELANCHOLY OF RESISTANCE, after seeing WERCKMEISTER of course. The prose mirrors the film; extremely long, detailed sentences that often deal less with action and more with states of mind and atmosphere. I believe the first sentence of the novel was considered by some critics to be the most impressive opening to a novel in many a moon. The book also refuses chapters, so it’s one elongated stretch of type. It was certainly no fun read, but then again I’m a bigger cinema fan than literature fan, so it didn’t match Tarr’s film for me. However, there were some nice moments in the book, including some interesting scenes that Tarr omitted. When I read it, I felt I was beginning to translate it cinematically, just as Tarr did.
Go to Comment
Why I didn't love Slumdog Millionaire. about 3 years ago
I saw Slumdog last night and agree with many of the complaints I’ve read here on the forum. I’d like to mention one aspect that some people may be missing, or have just not mentioned. While the “it is written” theme could be a deconstructive element, “the catch-all of a bad fantasy” as Samiracle pointed out, from what I know it is also a Muslim reference. “It is written” is meant to evoke a sort of divine intervention from Allah, a way of situating the lives of people. Slumdog is as much about destiny, in the religious sense, as it is about the implausibility of fantasy. This is something that seems kind of fishy, for a film to be made by a non-Muslim but which seems to preach to its audience with the religion in mind. Boyle is trying to say that for these people, divine intervention straightened out their lives. That to me, contrary to what the Academy thinks, is not universal. This is an innately Muslim film.
Go to Comment
What is (are) your favorite frame(s)? about 3 years ago
The shot framing the two men staring out over the hazy construction site in Tsai Ming-Liang’s “I Don’t Want to Sleep Alone”. It is by no means my “favorite” frame, but it certainly is special. There are also a handful of brilliant single images in Theo Angelopoulos’ “Landscape in the Mist” and Lynch’s “Eraserhead”. Just off the top of my head.
Go to Comment
Movies Teenagers Should Watch about 3 years ago
I actually am a high school student so I’d love to shed some light on this.
I’d say that the first auteur that truly struck me on a gut level was Stanley Kubrick. You can be quite young and enjoy his films, even if its simply for the grandiose, eye-popping cinematography. There is a general air of uniqueness in his work that is quite undeniable and that certainly tipped me in the right direction, even I did not necessarily understand the films deeply upon first viewings.
Another director I engaged with in my primitive days of cinephilia was Richard Linklater. “Slacker” is a film that is loaded with thought-provoking conversations and impressively choreographed camerawork. In fact, I was eager to make some films of my own in the same style and did. At the same time, “Dazed and Confused” taps right into teenage culture with great accuracy and is a deftly paced and enjoyable independent film.
Those are my personal gateways to my love for cinema. And Sean Keeley, I indeed was blown away by “400 Blows” soon after.
Go to Comment
The Greatest Film of the 2000s about 3 years ago
1. Werckmeister Harmonies
2. Mulholland Drive
3. There Will Be Blood
4. City of God
5. Goodbye Dragon Inn
6. Eternal Sunshine of the Spotless Mind
7. The Life Aquatic With Steve Zissou
8. The Edge of Heaven
9. Three Monkeys
This is tough…I feel like I might be missing so many.
Go to Comment
Films about Voyeurism? almost 3 years ago
Bela Tarr’s The Man From London (2007) is unlike any other film regarding voyeurism. It takes so much time revealing what its main character is looking at, frequently without him in the frame, that the viewer too feels voyeuristic. Also, there are incredible long takes to coincide.
Go to Comment
Reactions to Inglourious basterds almost 3 years ago
I’ve noticed people are expressing a lot of dislike regarding the Basterds storyline, positing that it was unnecessary and that Shoshanna’s story alone would have made a stronger film. This is possibly true, but Tarantino’s not always about focusing on one storyline. He tries to come at a subject from every angle in hopes of reaching a synthesis of sorts. It’s arguable whether he reaches that here or not, but I would like to point out one thing that perhaps was intended to deepen the film. Shoshanna and the Basterds, more than anything, are linked because they are both sadists, whether it is rooted in personal revenge or simple bloodlust. This I think adds an interesting dimension and asks if either of the two – Shoshanna or Aldo – have a justifiable reason for their sadistic pleasure in violence against the Nazis. Well, when it comes down to it, violence against humans.
Go to Comment
Reactions to Inglourious basterds almost 3 years ago
Hank, I’m not necessarily saying one’s more sadistic than the other. I agree with you that the Basterds go to greater lengths with their sadism. I’m simply pointing out how their stories mirror each other to an extent. Matt Parks brings up a good point that speaks to Shoshanna as a sadist. I’m not denying her motives either.
Go to Comment