I’ve heard the Little Miss Sunshine/Slumdog Millionaire comparison a few times and I gotta say – exactly. In a year with Flight of the Red Balloon, Synecdoche, New York, Man on Wire and Happy-Go-Lucky, why are people talking about SM?
Budd Boetticher. I keed. I love Leone, but the grander steps are with Ford. I don’t doubt most personally prefer Leone, but the question is who’s better, not who we like. And I have a suspicion even those of us that grew up with Leone will eventually like Ford better as they age too. Dig into the French New Wave to see their battles with Ford. A long shadow indeed. I think Leone is one of the greatest Western directors ever. I think Ford is one of the greatest directors ever.
Much like “Kundun”, and even “Casino”, I think “Gangs” suffers from expectations. I also think much of the generally grouped complaints around “flat”, “long”, etc. at least partially comes down to the result of the characters actions become almost meaningless by the end. This of course is by design and to these ears seem as strange as stating “Adaptation” is less interesting in the second half or that “The Shining” is spare and slow. If memory serves Lisa Schwarzbaum called “Gangs” “a flawed masterpiece” and although I wouldn’t go that far, it’s close enough to repeat. I think I’ve seen it four times and each time I’ve been more forgiving of its errors and more amazed by its successes. Interestingly, the last few times I’ve seen the superior “Goodfellas” I’ve gone the opposite direction. It will be interesting to see how this film is viewed in 10-15 years.
Finally, I’m waiting for the time “Apocalypse Now” is realized to be the sham it is. ;)
Maybe outside the scope of the thread, however although half of the below do not take place over a single life, they focus on reflection over a life or contain a multiple generations view:
Hirokazu Koreeda’s After Life
Yasujiro Ozu’s Tokyo Story
The Maysles’ Grey Gardens
Akira Kurosawa’s Ikiru
Terrence Malick’s The New World
Ingmar Bergman’s Scenes from a Marriage
I enjoy the hell out of it, but it’s not even my favorite Melville film (Bob le Flambeur), let alone stack up well against a long list of top French noir/crime titles (Touchez Pas Au Grisbi, Rififi, Band of Outsiders, Le Trou, Wages of Fear, etc.). Perhaps it’s my negative reaction to a style focus especially with this subject matter (though same could be said for Outsiders). I certainly suspect (and this may be an American thing) there’s an emotional bridge I’ve yet to cross with Le Samourai that’s also my issue with Breathless (I know, I know).
The rule I’d have is that the film can’t be submissive to the source material—if there is one. It would have to show films strengths over other forms of Art. Narrative or not, the worst case would be simply a lit visualization (or more recently graphic novel conversion, ugh). Then there are documentaries.
A strong argument could be made for a ton of films from Murnau’s Sunrise to Antonioni’s L’ Eclisse to Kubrick’s 2001 (source written for film) to maybe most obviously Paul Almond’s Up Series.
Let me nominate Resnais’ Hiroshima Mon Amour.
Resnais is a cubist. I mean that he is the first modern filmmaker of the sound film. — Eric Rohmer
You can describe Hiroshima as Faulkner plus Stravinsky. — Jean-Luc Godard
We’ve already seen a lot of films that parallel the novel’s rules of construction. Hiroshima goes further. We are at the very core of a reflection on the narrative form itself. — Pierre Kast
Is it just me or are most of those on the Ford side giving reasons and those in the Leone camp not?
I’d also love to see an age breakdown as Leone is so much closer to a contemporary aesthetic and Wayne is almost Elvis-like in the associated baggage to plow through to understand at the center of so many Ford films. Not that I expect everyone to follow my path, but in my case it took decades to get Ford. Again it’s almost belittling to Leone to compare him in a contest I feel he’s doomed to lose, but skipping the more popular films of both where are Leone’s They Were Expendable and Young Mr. Lincoln (or even Mister Roberts if you give Ford primary credit)?
I’m glad a few are recommending “The Third Man”. Although I didn’t mention it, it is a personal fave and like “2001” had its originating novel written specifically to create a screenplay. It just seems directors feel less compromised in vision when not adapting a popular source material… and maybe more obviously, some cinematic considerations may be there at the start (though I haven’t read Greene’s novel).
Aside from no originating source, other difficult/less restricting fields include poetry and music, so let me mention a film I used to show for years as an introduction to friends—Wenders’ “Wings of Desire”. Obviously, a very visual literary film that you never suspect has a “better book” out there and you never doubt is functioning strongest in the medium you’re watching.
More recently I’d suggest titles that came from visual artists primarily known outside of feature-length film (no matter the source). Schnabel’s “The Diving Bell and the Butterfly” has a lot of lessons, most obviously any story can make a great film if done right. It’s another nearly perfect “gateway” flick for those uninitiated to the power of cinema. Depending on the country you’re in, the other Steve McQueen’s “Hunger” either came out last year or is just making it to theaters now, and if not quite as strong is close.
The big screen isn’t the only “true way” to see a movie, nor does it take “tons of money” to make one. Also illegal downloading won’t ever destroy the film, music, software or any other industry. The industries not adjusting to a changing marketplace could only do that.
The Wild Bunch and Wings of Desire are great suggestions.
More include (yes, lots of Orson):
The Third Man
Touch of Evil
Citizen Kane
The Magnificent Ambersons
and maybe the opening I’ve watched the most times… Hiroshima Mon Amour ( http://www.youtube.com/watch?v=-T7qPEeCjek )
I’m placing a rather large Criterion order and hoping to save a few dollars if possible. Anyone know any general discounts or especially coupons active at the moment? Web searches have come up empty.
Probably not the wisest purchase with the economy the way it is, but coming out of SFIFF I’m itching for more to watch.
It could expand even beyond the art community to other academics, historians, etc., where I argue it becomes more interesting in looking back specifically to film, but I have to say it may be a mistake to equate liberalism with communism from the start of the question.
Slumdog Millionaire Overrated Film of the Year over 3 years ago
I’ve heard the Little Miss Sunshine/Slumdog Millionaire comparison a few times and I gotta say – exactly. In a year with Flight of the Red Balloon, Synecdoche, New York, Man on Wire and Happy-Go-Lucky, why are people talking about SM?
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Slumdog Millionaire Overrated Film of the Year over 3 years ago
“the dark knight was the most over-rated film of anytime…” Good point.
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How would you describe your favorite genre? over 3 years ago
Non-genre is my favorite genre.
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The Western: Ford or Leone about 3 years ago
Budd Boetticher. I keed. I love Leone, but the grander steps are with Ford. I don’t doubt most personally prefer Leone, but the question is who’s better, not who we like. And I have a suspicion even those of us that grew up with Leone will eventually like Ford better as they age too. Dig into the French New Wave to see their battles with Ford. A long shadow indeed. I think Leone is one of the greatest Western directors ever. I think Ford is one of the greatest directors ever.
Go to Comment
Gangs of New York about 3 years ago
Much like “Kundun”, and even “Casino”, I think “Gangs” suffers from expectations. I also think much of the generally grouped complaints around “flat”, “long”, etc. at least partially comes down to the result of the characters actions become almost meaningless by the end. This of course is by design and to these ears seem as strange as stating “Adaptation” is less interesting in the second half or that “The Shining” is spare and slow. If memory serves Lisa Schwarzbaum called “Gangs” “a flawed masterpiece” and although I wouldn’t go that far, it’s close enough to repeat. I think I’ve seen it four times and each time I’ve been more forgiving of its errors and more amazed by its successes. Interestingly, the last few times I’ve seen the superior “Goodfellas” I’ve gone the opposite direction. It will be interesting to see how this film is viewed in 10-15 years.
Finally, I’m waiting for the time “Apocalypse Now” is realized to be the sham it is. ;)
Go to Comment
Films about life. about 3 years ago
Maybe outside the scope of the thread, however although half of the below do not take place over a single life, they focus on reflection over a life or contain a multiple generations view:
Hirokazu Koreeda’s After Life
Yasujiro Ozu’s Tokyo Story
The Maysles’ Grey Gardens
Akira Kurosawa’s Ikiru
Terrence Malick’s The New World
Ingmar Bergman’s Scenes from a Marriage
Go to Comment
Le Samourai about 3 years ago
I enjoy the hell out of it, but it’s not even my favorite Melville film (Bob le Flambeur), let alone stack up well against a long list of top French noir/crime titles (Touchez Pas Au Grisbi, Rififi, Band of Outsiders, Le Trou, Wages of Fear, etc.). Perhaps it’s my negative reaction to a style focus especially with this subject matter (though same could be said for Outsiders). I certainly suspect (and this may be an American thing) there’s an emotional bridge I’ve yet to cross with Le Samourai that’s also my issue with Breathless (I know, I know).
Go to Comment
Which film, according to you, better represents the art of Cinema? about 3 years ago
The rule I’d have is that the film can’t be submissive to the source material—if there is one. It would have to show films strengths over other forms of Art. Narrative or not, the worst case would be simply a lit visualization (or more recently graphic novel conversion, ugh). Then there are documentaries.
A strong argument could be made for a ton of films from Murnau’s Sunrise to Antonioni’s L’ Eclisse to Kubrick’s 2001 (source written for film) to maybe most obviously Paul Almond’s Up Series.
Let me nominate Resnais’ Hiroshima Mon Amour.
Resnais is a cubist. I mean that he is the first modern filmmaker of the sound film. — Eric Rohmer
You can describe Hiroshima as Faulkner plus Stravinsky. — Jean-Luc Godard
We’ve already seen a lot of films that parallel the novel’s rules of construction. Hiroshima goes further. We are at the very core of a reflection on the narrative form itself. — Pierre Kast
Go to Comment
The Western: Ford or Leone about 3 years ago
Is it just me or are most of those on the Ford side giving reasons and those in the Leone camp not?
I’d also love to see an age breakdown as Leone is so much closer to a contemporary aesthetic and Wayne is almost Elvis-like in the associated baggage to plow through to understand at the center of so many Ford films. Not that I expect everyone to follow my path, but in my case it took decades to get Ford. Again it’s almost belittling to Leone to compare him in a contest I feel he’s doomed to lose, but skipping the more popular films of both where are Leone’s They Were Expendable and Young Mr. Lincoln (or even Mister Roberts if you give Ford primary credit)?
Go to Comment
Which film, according to you, better represents the art of Cinema? about 3 years ago
I’m glad a few are recommending “The Third Man”. Although I didn’t mention it, it is a personal fave and like “2001” had its originating novel written specifically to create a screenplay. It just seems directors feel less compromised in vision when not adapting a popular source material… and maybe more obviously, some cinematic considerations may be there at the start (though I haven’t read Greene’s novel).
Aside from no originating source, other difficult/less restricting fields include poetry and music, so let me mention a film I used to show for years as an introduction to friends—Wenders’ “Wings of Desire”. Obviously, a very visual literary film that you never suspect has a “better book” out there and you never doubt is functioning strongest in the medium you’re watching.
More recently I’d suggest titles that came from visual artists primarily known outside of feature-length film (no matter the source). Schnabel’s “The Diving Bell and the Butterfly” has a lot of lessons, most obviously any story can make a great film if done right. It’s another nearly perfect “gateway” flick for those uninitiated to the power of cinema. Depending on the country you’re in, the other Steve McQueen’s “Hunger” either came out last year or is just making it to theaters now, and if not quite as strong is close.
Go to Comment
IS ILLEGAL DOWNLOADING FUTURE OF CINEMA about 3 years ago
The big screen isn’t the only “true way” to see a movie, nor does it take “tons of money” to make one. Also illegal downloading won’t ever destroy the film, music, software or any other industry. The industries not adjusting to a changing marketplace could only do that.
Go to Comment
Favorite opening scene about 3 years ago
The Wild Bunch and Wings of Desire are great suggestions.
More include (yes, lots of Orson):
The Third Man
Touch of Evil
Citizen Kane
The Magnificent Ambersons
and maybe the opening I’ve watched the most times… Hiroshima Mon Amour ( http://www.youtube.com/watch?v=-T7qPEeCjek )
Go to Comment
Favorite opening scene about 3 years ago
Deliverance and its dueling banjos?
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Ran is now officially OOP about 3 years ago
Not much info, but possible confirmation here – http://reassurance.blogspot.com/2009/04/some-re-releases-in-july-bad-news-for.html
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BEST 10 MOVIES OF ALL TIME about 3 years ago
The Man Who Would be King is great. And it still wouldn’t be in the Best 50 Movies of All Time.
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Placing large Criterion order. Coupons? about 3 years ago
I’m placing a rather large Criterion order and hoping to save a few dollars if possible. Anyone know any general discounts or especially coupons active at the moment? Web searches have come up empty.
Probably not the wisest purchase with the economy the way it is, but coming out of SFIFF I’m itching for more to watch.
Go to Comment
Is there a liberal bias in the film community? about 3 years ago
It could expand even beyond the art community to other academics, historians, etc., where I argue it becomes more interesting in looking back specifically to film, but I have to say it may be a mistake to equate liberalism with communism from the start of the question.
Go to Comment