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I saw "Everything is Illuminated" for the first time. It was just ok. I only rented it because I just saw Gogol Bordello perform live and Eugene Hutz is fuckin SEXX-AY! Had to see his acting chops.

I also rented "The Forbidden Zone" on DVD,..I had seen it years ago on VHS and the film transfer to dvd is truelly amazing. Girltrouble, please tell me you've seen it. Sometimes I think it beats Frankenhooker for my favorite asburd B-movie. (actually, since all the props in The Forbidden Zone are cardboard, maybe its more like a C-movie, dare I say D-Movie?)
sorta double post...


and sadly no, bean i haven't seen forbidden zone, it sounds great though! i love cardboard....
oh my yes, dolor! tears of the black tiger is marvelous, although i am not sure if the released verson is the fucked up miramax verson.... oh wait, the magnolia people released it....yay for magnolia! incase you haven't heard black tiger sat on the shelves for years in the us because the fuckwits at miramax (and when i say the fuckwits AT miramax, i mean the fuckwits who OWN miramax), didn't want anyone else to see it. i saw it years ago at the seattle film festival,(which, 'd argue is the movie lover's film festival, over say sundance which is for celebs and studios), it was one of the two screenings (the other was sundance) before miramax shelved it. the audience was stunned-- myself included, and if i'm not mistaken that year it won the audience award-- pretty extrodinary since most films had 2 or three screenings, and the SIFF has over 300 movies per year-- essentually, it meant that everyone at that one show picked up a ballot and voted for that movie. you will love it. it's unlike anything else out there.....

right now i'm watching the japanese version of dark water i've seen the american version, and while i thought hands down pulse the japanese is much creepier, so far the japanese and the american versions are neck in neck. the american version is more oppressive because of it's color palate-- mostly dark greys and blues, the occasional brown-- while the japanese is all warm browns, tans and nutral eggshells. oh my though, the japanese camera work is magnificent. from the polanski-esque face obscuring shots and symbolic framing, to the camera movement, it's one of the most marvelously shot horror movies i can think of. add to that, the japanese version has practically no special effects other than extremely subtle lighting.

next up is charisma from the library.... then from netflix is seance on a wet afternoon; i've wanted to see it for some time because it was remade very, very, very loosely into the japanese movie seance which was my entry into japanese film and the films of kiyoshi kurosawa (cure, pulse, bright future, charisma)-- my favorite japanese director. the tropes are similar to the ring or the grudge, but it's my favorite, because it has the most morally ambiguous plot. although it was made later, i think if there was a debate about which came first, ju-on( the grudge) would win because it was a low budget japanese tv miniseries (two of them actually), that was SUPER DUPER CREEPY. unfortunately it's almost impossible to find-- it's not even listed on imdb. if we're lucky AZN televison on cable will air them again on holloween. and since i'm on the subject of ju-on, the manga is not just creepy, it's seriously fucked up.

cha, it's so nice to know i'm not the only one sick of the beatles. especially when it's someone with as exquisite taste as yours... and i am with anna, i don't mind it if it's done by someone else,-- i have diana ross doing come together, and i love that, it's very kitchy-- but atleast it's fresh.
Ciao Gal-trouble,
I watched 'tears of the black tiger" yesterday and, yet indeed, it qualifies as Major Trip. And a pleasure! I don't think it was a fucked up version...
If you get the DVD from Netflix then in the "special features" you have the director /screen writer and producer talking about their conception of the whole thing, and you also see some brief clips of Thai movies from the 40's and 50's which served as their inspiration for acting style, language, mise-en-scene, melodrama. And they talk about casting their leads as 40's types. But I don't know where they got the inspiration for those occasional TOTALLY UNREAL painted backdrops.

I have some more orientalia percolating in my cue and I'll get back to you on that. And look into Charisma, dark water, Forbidden zone.

Oh, and are you at home with Guy Maddin? His is the most remarkable recovery of a prior cinematic aesthetic that I've come upon. (Comparable to T ot BT, thereby.)

If you're interested in radically reconceived Beatles, Anne Dyer's "Revolver, another spin" is one to look for.

-- ta fer na,
Yay! Another Guy Maddin fan!

Howdy Trouble-gal

-- BTW, when I call thee t-gal I'm referring Marvin Gaye's "Trouble Man," and maybe as sung by Joni Mitchell. [No joke: JM did record MG's TM!]

OK, I'm following you down the silk road into the twilight zone: I've put Charisma, Bright Future, Seance on a wet afternoon and Seance into my Queue.

And at the same time, should this also be your thang, I'm also in more classic territories, watching Ray's moody "On Dangerous Ground" (new to DVD), Bresson's "Au hazard Balthazar," "The Cranes are Flying" (second time), and Kommissar X collection-- goofy German 70's neo-Bond B-movies.
Reggae & out, dolor
I watched 'The Fountain' last night, with Rachel Weisz and Hugh Jackman, and talk about a letdown. The film was very beautiful cinematically, but the plot was stale, and the dialogue extremely contrived. I was bummed because they really emphasize the two living throughout several centuries, and that is not how it plays out in the film at all. So if you really like beautiful and haunting imagery this is great, but don't expect to get all wrapped up in the plot.
QUOTE(chachaheels @ May 26 2007, 10:39 AM) *
Yay! Another Guy Maddin fan!

Hi there beautiful Cha-cha,

-- and meanwhile my last comment over in the F-word lounge was in response to your strong words.

Much appreciated!

Dolor, you are so very kind!!!
Guy Maddin is my favourite son of Winnepeg--next to my friend Steve, who's like, my brother, only way, way funnier and nicer and I adore him. Which of his films did you first see?

When you and GT talk about films, I realize I need to pay far more attention!
> Guy Maddin is my favourite son of Winnepeg--next to my friend Steve, who's like, my brother, only way, way funnier and nicer and I adore him. Which of his films did you first see?

I believe I saw Ice Nymphs first. My recollection is that "Cowards bend the knee" was the most moving, for its autobiographical poignancy, and "Saddest Music in the World" was the most funny. Plus it had all the great music, with that convocation of every ethnic combo in Winnipeg...

> When you and GT talk about films, I realize I need to pay far more attention!

I don't think you need anything. You know, it's better to dance than to watch.
I'd trade all my cinematic arcana to be able to skip the light fandango on chachaheels!

sadly, i have never seen a guy film. i've been hearing about him since gimli, but i've never gotten around to it. there was a huge buzz a few festivals ago about the saddest music, but something always pushed it's way ahead of his movies on my list... but then somethings take a long time for me to see... i've been trying to see laurence of arabia (or larry the arab, as my friend calls it), for more than 15 years...

cha cha, i am absolutely flattered, but i think i tend to be rather obsessive about films, if i love it, i will talk about it till the cows come home...that's way too much attention to pay...wink.gif

speaking of which, saw paprika which i have been yammering on about since i saw the preview of it before the host. and it was fantastic. directed by satoshi kon (tokyo godfathers, paranoia agent), it's...hard to explain, but the breifest explination (and a piss poor one), is that it's a meta-filmic dreamscape and brainstorm (for those of you who know your cheezy 80's scifi), but paprika is actually good.

if you've seen paranoia agent (which i highly recommend, available on netflix), it's similar in tone and themes-- bending of reality, surrealism, breaking the 4th wall, etc. the thing i love about his work in both is that neither of them could be anything other than anime. he takes reality and stretches, bounces and breaks it.

dolor, i still haven't watched charisma (see what i mean about it taking me a while? i've waited 3 years to see it, and i've had either library or netflix versions of it for the last month and i've still not watched it. i want to be in the perfect mood i guess, and i love k.kurosawa films-- they always have twists and suprizes, and i don't want to miss anything. i am still trying to digest cure and it's been about two months...

i do hope you like those films, and bright future, well i just thought it was so beautifly poetic... at any rate tell me what you think...

oh, and i adore bresson. esp. mouchette which had me in tears. how anyone can milk so much emotion from shots of hands and feet is beyond me. i, for one, love directors who don't use professional actors. (i can't stand movies like the player because it's little more than celeb spotting to me.)
You've gotta rent Forbidden Zone, GT! Its by Richard Elfman, Danny Elfman's brother, and Danny Elfman does the music. I think it was made in 1980.

Today I'm gonna have movie night with my rents. We are deciding between Once and Paris je T'aime. I agree its annoying when there are so many 'stars' in a movie, like everyone is a cameo,..therefore I am leaning towards Once.

I must confess that, as it stands, I don't "get" Bresson. And I believe that he's the only one of the masters that I don't catch on to. Does this have something to do with the case that I'm not religious? Or what?

But I haven't given up, perhaps Balthazar will enlighten me.... ?
dolor, i think the thing with bresson, is that he likes his dramatic scale to be the same as his stories, so they are small, very subtle things-- he's kind of the antithesis of someone like, say, douglas sirk, whose drama (and sets) dwarf the bresson, the charecters are dwarfed by the drama, but the heartbreaking thing is that the drama is in the minutea. the tiny, the small. the barely consequential.

perhaps it's the bresson you've seen. which of his films have you seen? for me the one that got me was mouchette, and as i said, it was in the hands and feet, but i think mouchette is, if i remember correctly, one of his most accessable.

in all honesty, i am not the biggest fan of the french new wave or the italian neo-realists. i find many of the films boring and tedious, that said, i love antonioni, which, any objective viewer would say is equally as boring and/or tedious. the same with bresson. i think his movies works best after seeing some sort of older film-- german expresionist, or silent film, where the emphasis is on visual language, like antonioni, it's about what is in the frame. the small movement of a hand or a foot. his films are very much editor's films-- meaning, the meaning in his films is thru the accumulation of shots into sequences. (does that make sense?) does that help? is there something specifically you don't like about them? or is it just the feeling you are missing something?

as for religion being needed to get bresson, i don't think so. it's been years since i've seen his films, but they didn't strike me as extrodinarily religious, and usually i pick that up quickly. but i'm not very religious (anymore).

tell me what you think about once, bean. i keep waiting for a really outstanding musical, but i prefer the old school theatrical type of musicals that are very, very out of vogue-- like bandwagon, singing in the rain, (really almost anything with gene kelly or syd charese), but i can't say no to a fame or a west side story either, meaning i will see anything associated with bob fosse-- all that jazz, sweet charity, etc... but speaking of musicals, a odd little gem is athena-- it's from the 50's... i think ...but let me just say this, by way of enticing you to add it to your netflix queue: heathfood junkies, body builders, and greek (or roman) mythology, and it's a musical. the only thing it's missing is "jazz hands",
I saw two films on dvd this past week, Flannel Pajamas and Candy. I really liked Flannel Pajamas, it's basically my idea of the perfect film, really talky. I thought Candy was ok, but the characters (drug addicts) were really pissing me off.

Thanks for you very generous reply.... esp. taking some time out from dealing with all the ever-encroaching fuckery!

It's not that I "dislike" Bresson, but I don't get him. Both: I don't appreciate him directly, and nor do I understand the case for him, why others consider him to be a master. The jury is still out... and I'm still working on it.

Virtually all discussion of Bresson underlines his religiosity, and specifically his Catholicism.

I'm intrigued by this flat non-acting style by non-professionals... but these people then do not transmit any kind of interior life for me. So, are they icons in some religious parable... whose import is lost upon me?

Perhaps Donald Richie, who is chatting away on this Criterion edition of Balthazar will clue me in. I'll get back to you if I can figure out more on this one.

I'll pay more attention to "the accumulation of shots," the language, the editing... We shall see.

And Hey, I saw Athena, in London, on the big screen years ago. What a trip!
It's not at Netlfix, and I don't know if it's turned up on DVD or VHS. Where did you come upon it?

Now I'm looking into "Once."
Sounds super charming.

Thanks again,
thank me for the reply? no, chica, thank you. i love talking about film, so you are really making me very happy!

but back to bresson...

really? hmm. for me i found lots of interior life. but it's kind of weird, it's like they shoot horses because you keep waiting for usual theatrical device of the charecters to have their little revealing monolouge, and most of them never do. that's kind of how i think of bresson films-- the people in his films never give much away. they don't feel the need to share anything with you. and i kinda like that, because i have to work for it. and yeah, i know aobut the whole catholisism thing, but it never really seemed to be crucial to "getting" his films. it explains a lot, but it's not de rigur. at least not to me. i do remember the film teacher where i saw pickpocket (the first bresson film i saw), talking about his catholic-ness, pennance, and guilt etc. but it was pretty stock stuff. nothing that would be some sort of little trick that would open up his films. and it was mouchette that really got me into him. pickpocket really did nothing for me. which of his films have you seen? i still need to see joan of arc...

have you ever seen wiseblood? it's this odd little john huston film from a flannery o'connor book, and it's classic southern gothic parable of saul/paul and it's super fucked up and weird, if you don't know the story, but if you do, then it allows you to follow the film's logic. but i watched it with a couple of people who knew nothing of it's base story, and they loved it every bit as much as i did. same with cool hand luke (christ story) and lots of other films. sometimes it's fun to see how they change the usual tropes of the story, sometimes it's just as good to not know, or care and just watch the story. that's kind of how i see bresson's films. it's just not needed.

but lol... maybe i should figure out which directors i don't get and have you explain them to me. i'm sure there are lots of them, none of them come to mind, although i loathe david lynch and the mathew barney. but i get them, i just don't like them.

throw out some filmic masters names and we can compare notes. i keep thinking of bergman. but i adore cries and whispers...hmmm.... but i can't say i like him. most of the masters i think i find a few films i like of theirs and reject the rest.... not a big fan of fellini, either, but i think the first 5 or so minutes of 8 1/2 are brilliant.

semi-random question: how do you feel about fassbinder?

i seem to be throwing out the names of a lot of cold, austere filmakers, although i haven't said anything about kubrick (not a huge fan of his) or early atom agoyan (i love exotica and the adjuster, when agoyan started casting people instead of curly headed robots)...

ooooo! i know! he's not a master, but: explain the appeal of the director of magnolia/punch drunk love, pt whatever his name is, and on the actor front, explain the appeal of drew barrimore. her i really don't get.

i love that you've seen athena! too bad they don't have it on netflix. it is so much fun! i found it by way of a friend of mine who has this talent for finding the odd and weird. she had seen it before and knew i would love it, and sure enough! she found it by way of a local hollywood video.
Girltrouble, I've always wondered: what do you think of David Cronenberg?
I haven't seen Once, but I have to say I'm not a fan of the director (John Carney). He's more versatile than most other Irish directors but IMO his films remain flawed. I did really like his debut, November Afternoon; it was deeply flawed but ambitious, and the story is compelling. Did you end up seeing Once greenbean?

GT, if you don't mind my 2 cents, for me the appeal of Paul Thomas Anderson was that he can be great with actors. In both Boogie Nights and Magnolia he directed actors at varying stages of their careers who I would have said had very different levels of talent, but he got great performances out of Mark Wahlberg, Burt Reynolds and Melora Walters as well as the more reliable P. Seymour Hoffman and Julianne Moore. Alongside this he also handles ensemble drama well and is good at creating a pervasive atmosphere. Haven't seen anything of his lately, thought I think he's got something in production.

He also captured the meglomaniac charisma of Tom Cruise as a near-evangelist 'motivational speaker', but I'm not sure TC was acting...

I'm not a fan of David Lynch, although I did like The Straight Story.
Querida T-Chica,

-- well, for me, the challenge of "getting" Bresson is of much greater import than getting Lynch, Anderson, Tarantino or any other flavor-of-the-month... I can't think of any other insight which I am more in need of, in this part of the woods.

[-- tho, by the way, here's another puzzle I'd love to figure out: Why was Lubitch of such fundamental importance in the history of japanese film? He taught an entire generation the difference betwen filming theater, and cinematic language.]

The other Bresson I've seen is Man Escaped, Lancelot, Diary of a Country Priest. Next in line: Mouchette.

I'm definitely getting more out of Balthazar than the others. It's more... poetical. There are some wonderfully strange moments, such as when Balthazar visits the zoo (sounds like a Babar tale!) and sees his brethren, who are so much worse off than he...! Amazing encounters. Also, I already knew all about the sorrowful adorableness of Donkeys. Their plantiff cries: "Dolor!!" (Esp seeing the donkeys of the Zebelleen (sp?), in Cairo...)
I fear that there is a serious problem with it, "Balthazar," but I don't want to set that out yet...

Richie was not useful, but this disc includes a French TV interview with Bresson which is extraordinary. He is so intelligent and forthcoming! Explaining what he's up to. I was watching it last night, while falling asleep, and need to go through it again, with as much brain as I can muster. He explains his theory of acting.

Meanwhile, "Seance on a wet afternoon" is now on its way. Then Mouchette?

Yes, I saw Wiseblood. One of Huston's best. I don't think I've read any O'Connor, sorry to say. It's on my list... but there's Welty in first place.
Life is short!

More reply later...
thanks for that syb, i tend to dismiss that guy wholesale, but he does get a lot out of his actors. if you like magnolia, i am curious how you feel about it's nemesis: todd solanz' happiness...

and chacha, i adore chronenberg from scanners to existenz. history of violence was much better than spider imho; but his whole body horror thing carries a lot of resonance for me-- it was a way for me to understand my transexuality. i was never one of those who would ever discribe their situation (back when i was a boy) as a woman trapped in a man's body. that cliche always seemed silly and ill fitting to me, but that slow creeping dread of a body turning against you? that-- that i could relate to. personally, videodrome's body transformation was both a rough, dark fairytale of growing into a man, and a look at technology changing bodies, and 'long live the new flesh' was the name of a blog where i briefly wrote about gender theory. how strange that i could draw personal comfort with gender issues from his horror films, but m.butterfly is my least favorite of his films. crash i would say is my favorite; i love it's personal, customizable sexuality, (and i have a huge crush on deborah kara unger) and i think it's the most beautiful romance.... yeah, i love cronenberg, but i do wish he'd go back to what he does best: body horror.

and dolo, if you watch seance on a wet tomorrow, then i think we will watch it at the same time-- it should be waiting in my mail box if i'm not mistaken. meh. i am feeling guilty because i have to bring mysterious skin back to the library unwatched. shame on me! lol i've had it for more than a month....

i am curious to see what you think of mouchette, although i am afraid i might have built it up too much. but i love that you've seen and loved wiseblood. *sigh* i love that movie too. but i rarely meet anyone who knows it... but there are so many lost movies from the 60's and 70's. they barely get converted to video or dvd, and end up being raritys. tsk. s'too bad.
I for one love Todd Solanz AND PT Anderson!

Yes, I saw Once. It was charming and the music was good,..but I would'nt call it a "rock" musical as some have pegged it, unless you mean twee rock. And no GT, no dramtic orschestra or jazz hands at all. Its just a basic story about humble musicians making music. I haven't seen John Carney's other films so I don't know how it compares. I'd say anyone whos in the mood for a sweet, simple film should see it.
does anyone else giggle when they start talking about zelig heading the world bank? god, that guy gets
i just saw venus the other night. it was superb! typically, i'd get that icky feeling i get when they make yet another movie with an old guy going after a young girl. but peter o'toole (and the story in general) was spectacular.

hey gt, have you ever seen the happiness of the katakuris by takashi miike? that movie was! (but i liked it) lol
ooooh, my, yes, faerie! that movie is a ball. it's a remake, actually. the original movie was called the quiet family, and it was a south korean film (yay for k-film) by ji-woon kim (a tale of two sisters-- my favorite horror movie!). if i'm remembering correctly, the miike film is the musical, right? (they get mixed up in my memory since i saw them back to back. which means i'm not sure which i liked more, but i remember the quiet family starting with some interesting camera work--- and overhead shot of the main girl, and i loved it from that point on, and the musical started with the weird thing i can say is that i loved them both!

i should also mention that katakuris itself was actually remade, too. this time in hong kong, called a mysterious murder, but i haven't seen that one. do see the quiet family, it's less raucus, but still a treat, and you might also want to check out another one of ji-woon's films, the foul king. i don't usually recommend movies i haven't seen, but it made a huge splash at the seattle film festival years ago, and when it comes to foreign movies, their taste can be trusted. american films, on the other hand.... but the little i have seen of the foul king was great. (ich. add that one to my queue)
i also have to recommend the dark comedy, save the green planet if you liked the katakuris, give it a try, although it is certainly NOT for the squeamish... you can check my bust blog for other asian recommendations, ooch... i've been neglecting my bust blog...hmph!)

dolor! i do have seance on a wet afternoon, and i am going to watch it tonite (probably chased by charisma, completing the kurosawa link]-- damnit i need to watch that movie!)

if you haven't dolor, below is my brief take on the film. no real spoilers for it or seance, but i thought i'd give you warning. tell me what you think...wink.gif

ok, saw soawa, and i liked it. the soundtrack was fantastic, but not what you'd expect. it was very much 60's heist/spy/caper music, like the iprcress file*, the italian job, funeral in berlin and get carter, or those other early michael caine films. interestingly enough, it fit well, since the center of the movie is about the kidnapping. i liked it, but i think i prefer seance-- the kurosawa film. it's much more modern, of course, but i just found it's take on seances, ghosts, and the couple at the center of the story much more interesting.

*how can you not love a movie where the main charecter's name is....harry palmer (!)....
Hola G-T,

I'm halfway through "seance on a WA..."-- but now it's time for bed. [Sleeping, that is, no sex or love for lonely Dolor.]

Charisma should be sailing in tomorrow, along with 'Le Amiche" which is early Antonioni, 1955, and will be the first time I've seen anything of his pre La Notte. Very much looking forward to it.

Then A Month in the Country, which is an Australian version of Uncle Vanya, and Pan's Labyrinth, which I missed on the big screen. (I live in the country, and so don't get out much.)

Mouchette next week, I decided to pause a bit after Balthazar.

I've also seen Quiet Family, in anticipation of watching the Jolly Katakuris. Which is the musical one. And I've already seen Miike's Bird People of China. But that will probably do it for that notorious dude, since I'm not keen on being freaked out &/or grossed out.

Just took a peak at your blog... and saw that you're keen on all kinds of music. Me too. Such as early R&B, yes. Well then, for starters, do you get "Portraits in Blue"? this superb program that comes out of Newark, and on various PBS stations. It's been dropped locally, which is a sad drag.

And.... Who does your lips?!
i want to adress movies, but...who does my lips?! i don't know what to make of that. you mean on my pic or my avi or...huh? are you making fun of me, my dear droll dolo?

as for the no sex/love thing, right there with you. i've been trying to get it together with a guy i like and i know he likes me, but... you ever date someone where getting together is a chore? something comes up for one or the other, and meh. i'd rather be alone than with someone who isn't gung ho about getting together with me. (yeah, right)

i need to see more antonioni, red desert was such a revelation, and the passenger, well that is, i think, the last movie i enjoyed jack nicholson's performance in. i could be wrong, but i find him seriously annoying nowadays, and no, i haven't seen the departed. i have to see infernal affairs first, which i could have seen years ago, but well, technical glitches got in the way.

a month in the country sounds fantastic. i do so love chekov. it's the theatre geek in me. you've seen vanya on 42nd, i think it's called... julianne moore, wallace shawn. i think that's my favorite version of any chekov film.

and i know what you mean, i just saw pan's lab 2 weeks ago. new movies take me forever to see unless it's one of my favorite asian directors, or on *sigh* dvd. i feel like such a film traitor.

as for miike, i know what you mean. i was gung ho about him after the auditon, but when he got to gozu-- i lost interest. anyone trying to emulate lynch-- sorry, i am just not a fan of lynch. someone telling me there dreams is boring enough, making me sit thru two hours of their dreams is nigh sadistic. i do want to see his dead or alive series tho. more yakuza, and pulpy filmaking, less gore and shock for it's own sake.

and no... i don't get portrait in blue... what radio station is it on in newark, and do they podcast?

and finally, thank you again for being my film buddy. i am going to have to return the favor and you will have to recommend movies for me for a stretch. just know it takes me a while...ugh... still haven't seen charisma... i love the director, why does it take me so long to watch his movies?

No nothing catty about the lips query, I'm just being silly.... Looking at this pic of you in the middle of your current melodramatic CRISIS, on the phone, trying to pin down all the FUCKERY, and you've got these super gorgeous pouty french lips... Now if I had lips like those, I'm sure I wouldn't be going to bed alone!
So who does them??

As for such loneliness, etc. I dare say that I'm much worse off that you. This is why I call myself "Dolor," in my pathetic self-pitying manner. I had a terrible break-up of a big four year event last summer, and haven't had even a silly tumble since. No fireworks... since July 4, 2006. I'm probably significantly older that you... and let me warn you: It does not get better!!

Whoops, this is encroaching upon another flavor of B-Lounge. Time for me to get back to work. More replying later.

But for a bit of on-topic before I go, getting back to Koreana: Have you seen Chungyang, movie of the famous poem, punctuated by the solo declamations of K "opera"? Recommended, on various counts. And for even more enjoyable historical mis-en-scene (for being more prosaic, less castle and more hut) that biopic about the famous bold K artist, can't think of the name. Do you know what I'm getting at? I can dig it up, if not. Wonderful expressive music, & moody scenery!

ciao for niao,

oh dolor, i just adore you!

ah, well i didn't take the lips comment too serously, and btw, i loved your name since i first read it. as for you being worse off than me. i wouldn't put money on it... i guess i'm an aquired i'm certainly older than the median age in the lounge, at least i think i am, and well it's been about 1.5 years for me. and while i haven't really missed it, this new guy, well he gets these kinky things going thru my head and leaves me high and dry. yesturday we were supposed to 'hang out' and ...he flaked...again. ah comparing scars! fun AND funny!
perhaps you and i should have our own thread: the lonely hearts film club...

and i am not sure what movie you are talking about but it sounds fantastic. when was it made? i know i'm not thinking of the right movie, cos i keep thinkiing of an indonesan epic. i think it was like 6 hours or somethiing. lol... how can you make a 6 hour movie, wtf? i mean, lord knows i loved sitting thru the kingdom at a film festival, but that was a miniseries. but i'm not answering your question... perhaps you can give me some more details?
[quote name='girltrouble' date='Jun 1 2007, 12:32 PM' post='155592']
[color=#ff0066] oh dolor, i just adore you!

"Awwwwwwwwwww........" [blushing...]

And I dig your gal warmth + guy dynamics..., my little G.T.Oh!

1.5 years! Yikes!! What gives?? And here I was assuming that you've been nibbling and/or gorging at the erotic smorgasboard. Whilst I... (you know the rest.) So good luck with this new guy... Tell him to bag the mind games, get with the program, and then go for the gusto! How's that for advice for the lovelorn?? Color me Abby.

Meanwhile, it's Friday night, and where am I...?
Physician, heal thyself!

The movie about the painter is "Chi-Hue-Seon- Painted Fire." With the great traditional Korean music, very expressive.

Whoa the western sun is blasting in the window, and I must leave this room.

But before I go, I've also have lost all patience with Jack Nicholson's toothy shtick. The only movie I can think of where he set that aside was grim "Ironweed." But I am now curious about the Passenger. If I like these Antonioni movies from the 50's, I'll dip my toe in it.

have fun... chica!
Dear Abby/dolor,

like i said, i haven't really missed it. and actually, i think fridays are best spent at home painting, detoxing from work. *shrugs* i do like being not in a relationship. my average relationships last about 4 years, so, i need the break. there is a lot of personal 'issues' that i wanted to resolve that i just can't in a relationship, so i am in no rush. as for the boy, i'm not sure if it's just bad timing, ill communication, or just that i am quick to cut a guy off. i know how i want to be treated. add to that, that honestly, i prefer women. yet, he is the first guy who really caught my attention....and god...this is so not the thread for this...*covers herself with a fig leaf*...

ahem....i should email you directly when i feel less lazy.

oh, that's right! film!

i have wanted to do a drunken film trifecta, with lost weekend, ironweed, and barfly, three movies somewhere on my films to see list, but heaven knows there is no way that list is going to be marked 'done' by the time i die if i end up living to be 120. wouldn't you know, the darn creeps keep making more movies!

....speaking of which, i have to look up that movie. i've never heard of it! dearest, dolor, you are indeed a treasure!

i agree with you about jack. he's about as much fun as body scum in a hot tub.

as for the passenger, the convertable scene hit me like a sack of bricks when i was just a wee film lover, before film classes etc, i had no idea who antonioni was but that scene..... oh! it goes something like this:

jack and maria schneider are riding in a convertable.
most of the movie takes place in a desert, it is bright. brown, desolate, sparce-- (quintessentually antonioni, if you've seen red desert)
maria, stunningly beautiful, is standing up, the wind, very sensually whipping her hair, jack is explaining that he is running away.
she doesn't understand, his old life sounds dreamy, and asks him what he is running from.
he replies tursely, pointing with his thumb over his shoulder, indicating behind him.
she turns, smiling, still enjoying the feeling of the ride.
she sees a colonade of trees stretching into the distance. normally what would be beautiful looks... oppressive... the darkness of the trees feels claustrophobic, suffocating. the trunks of the trees seem wall like. it looks not so much like a country road as a dark, over grown over corridor.
on screen we see her reaction to this simple shot:
her hair covers the screen, only her face and corners of the screen aren't covered with darkness.
the elation on her face evaporates. instantly the weight of all that past, all that history, overcomes her.
her face drains. she almost looks sick.
she slides down in her seat.
now she understands...

turns out, that it's the sequence that shows up in movies about great movies. you might have seen it if you watch those things. i know i do. even though wild horses couldn't make me see forrest gump. you'll have to excuse my descriptive embellishment, tho' that's how i remember that scene. i think it's pretty accurate, embellishment or no, but i wanted you to get why it effected me so much. it's really an extremely simple sequence. i loved how jack explained himself, and the theme of the movie, almost wordlessly. i thought it was so brilliant. i rewound the scene to dissect it, and loved it all the more. i saw it back when i was a boy, and... i just got it. the need to find my own, perhaps new identity, the oppression of other's expectations, and our own past, that made plenty of sense to me, even in high school. pardon my need to reduce all films to my own experience/understanding of my own transexuality, but, it was, and is my way of relating to things, preparing myself for obstacles to come, and making sense of what i've gone thru...

now where the hell did that fig leaf go to?
Hi There, my dear Gal-trouble,

Aren't you in pacific time? i.e. up late or up early? Myself, I'm up with the Robins.

Lots of tangents here and hard to keep up with them all!

On the flick front, do you ever do reviews at Netflix? I've done some... not to hear myself talking, but always because I'm trying to be helpful, submitting a review when there isn't one, or putting in some comment /dissent which is absent from the other reviews. If you're curious, go to "River of Grass," the lead review is mine and this will then lead you to my others. It will give you an idea of my range.

On the transexual front, and the wonderfulness of T-Gal, one thing I've *really* appreciated in the B-Lounge is how you've taken the time to get into the vulnerabilities of the male psyche, from your front-line experience. This is a topic that most straight men don't have much of a clue about, but with your fem insight, you've focused in on it. At least twice I've seen you discussing this. One of the big mistakes that women make in regard to men (perhaps the most serious?) is that they take male aggression /obnoxiousness at face value, instead of seeing how in functions as a cover for their vulnerability. And women also miss out on the extent to which male aggression is manipulative, that it's not simply aggression, but also strategic, helps men take advantage of women. I think you know what I mean, even if you'd use different language.

The purpose of a fig leaf is to suddenly slip off, then to be repositioned,
with a giggle. Gotta go...
I dont' usually post in here.... but I just saw "Knocked Up" and it was seriously the funniest movie I've seen in a long time. I thought it would be like some bad comedy version of "She's Having a Baby" and have a few funny moments and be stupid and sappy, but it never went there, and I was laughing my ass off from beginning to end.

Honestly, I found the movie to be more about relationships - between men / women; women / women; men / men - than about having a baby. To me, the pregnancy thing was kind of more the catalyst for showing the different facets of relationships that evolve between and among the sexes.

I won't give anything away, but there is a scene with the two main male characters in a hotel room in Vegas that had me just about on the floor laughing because 1) it was so just FUNNY and 2) it was so accurate for the state they were in...
Good morning T-Gal,

Now for a specific recommendation, as you requested, the movie that is first in line from Dolor to GT, is The Holy Girl.

This is an *very* unusual and striking movie. Written and directed by a woman, but with no standard chick-flick limitations. The Holy Girl is empowered by her Holiness (which is both religious and erotic), and she's also another hunk of GirlTrouble, getting herself and others into big trouble with her intense & holy gal-itude.

In sum, the Holy Girl is my favorite of all the Spice Girls! She's just the spiciest!! Que saborsa...
So please seek her out.

If you find her intriguing, there's also the earlier La Cienaga-- the Swamp. But if you see the Holy Girl first, then you'll have a better idea of how La director Martel works, and it will seem less confusing, plotless?, and swampy.

BTW, Almodovar liked La Cienaga, so he helped her out, and produced the Holy Girl. Gracias, PA!
Zoya, I have heard that from a few people about Knocked Up. I may check it out.

I went to see Away From Her yesterday. It was excellent. Wonderful acting, very touching story.
oooh, i was debating seeing away from her yesterday. i'll have to check it out.

can i just say...i did like bug, dammit. i'm one of the few (if not the only person) in the theatre who did like it. but i liked it. they shouldn't have marketed it as a horror film, though. because the fact that it wasn't pissed a lot of people off.
Rented Science of Sleep, thought it was adorable. I wasn't real psyched about the ending, normally I'm not crazy about happy ever after style endings, but I really would have liked to see this movie have a happy ending. Besides that, I loved everything.
I was actually a little disappointed by "Science of Sleep", it felt kind of forced, like the character's eccentricities were really contrived. However, I really did like how all the surroundings were set up, there was always a lot to look at.

Just saw "Knocked Up". Laughed my ass off, and I think they did a pretty good job at making it realistic. The characters all had really considerable flaws and unlikable things, yet you still like them in the end.
Knocked Up isn't out here until October sad.gif.
I had The Science of Sleep at home, watched it this week. Well, let me rephrase that, I watched half of it. I had to stop the movie at midpoint to go do something, but when I came back later just thought "you know, I'm not really compelled to finish this." So I didn't. Maybe I just wasn't in the mood. Usually I enjoy movies in this genre, and well, my boyfriend Gael is always a joy to watch. Perhaps I will try it again some day.

yeah, i was disappointed by sleep too. the visuals were fantastic, as that director's films/videos always are. michael gondry, yes? but i think he might have spike syndrome, a malady named for spike lee, where the director makes better films if they are taken from a book, story or screenplay, not originally created by the director.

sigh. i miss my dolor. unsure.gif
GT-good, glad I am not the only one.

We miss you in Okayland, I've been wondering where you've been.
> i miss my dolor.

Hey beautifully lipped one, I'm still here. I thought you'd dumped me, since you didn't reply to my last two. Oh, these sensitive fem egos! And I still owe you s'more replyin'. Oh these frantic lives!

Plus I now have an avatar... You like?? Does it make me look fat?? There you find two of me, both dom and sub.
(No lipz-inc., tho.)

BTW, my personal pic, the one that sets you a-giggling, is the final scene in Spirit of the Beehive. It's not accurate, insofar as little Anna is empowered, filled with the spirit, as we say goodbye to her. But it captures (in more ways that one) our wee Dolor, in this moment of lonely pathos.

OK, things are frantic 'cause I'm taking off for the weekend (yay!) but I do wanna tell you about Le Amiche. We liked it.
It's a women's pic. (The story comes from Pavese, who is not known to me, just a name.). At this stage, Antonioni likes women, is intrigued by them, their situation and nature. Some are strong and wise, some are silly and catty. They are all very pretty, very nicely dressed. (Let's all go to Italy in the fifites, now!) By contrast, the men are feckless, and at best, boring. Very effective use of music (Fusco), as a counterpoint to what's taking place before us. In all, a pleasure, recommended.

SPOILER alert: In the context of the melodrama, the pessimism of the ending is intelligent, mature, and complements the strong woman who is the focus of the story. Later on, once we get to La Notte and Eclsipse MA's pessimism (concerning our isolation, the impossibility of communication, esp. between the sexes) will become overwhelming, and so either existential, or pathological, depending upon how you look at it, your own experiences. (How have your's been, T-Gal?) Here it works very nicely, offers a kind of sober maturity that was and is rare in the US.

-- time to pack my bags,

oh dolor, you tart! posting at a time when i can't really reply or give you a propper hug-post! so i will pinch your cheeks instead!


and me dump you? nothing doing! i will be forever worshiping at your filmic feet, so to speak. it was my sensitive fem ego. i get self consious about hogging a thread, and i was posting every other post. i think i'm thread neurotic... :/

sigh. i love when you talk all sexy and antonioni to me. *swoon* he's one of those directors whose progression is the most interesting to me. i love how much his style changed to his pov. unlike people like kubrick, who always seems suffocated in a block of plastic ice from first film to last...

still haven't seen charisma, but the killing of sister george is coming from netflix... hmmmm.

what did you think of the seance set?
i love when you talk all sexy and antonioni to me


gotta go for now, but I will post more (i've been feeling oddly compelled...)
yay! i always lurves me sum chacha too!

i wish i had a camera-- there is this place called the "cha cha lounge". it's in a pitch black non-discript front, with little to distiguish it from the exterior save two neon lights; one in each of it's two windows. they read: [blink]cha cha[/blink] (i have to add the interior is just as dark but with a tiki/mexi-wrestler/hair metal theme).

and kari, thank you. you are sweet. i love the okayers but i haven't got as much time to catch up so i feel too guilty to

and the only filmic thing i have to say is i've given up on watching charisma. i never even put it in my dvd player. i'm going to return it to the library and get back on the waitng list for it....god i suck....
just saw art school confidential and loved it. when talking about comic book directors brian singer(xmen, x2) and sam raimi (spiderman 1-3) usually get mentioned, but i think terry zwigoff is the best. his movies are less about the cape and longjohn set, and examining the lives of underground/indy comic artists. although his best known film is the wonderfully hateful, bad santa, his first film, the biographical documentary, crumb deals with the most famous of all the 60's underground artists, robert crumb. and while i may not be the biggest fan of the artist, the movie is a heartbreaking look at his withdrawn, curmugeunly life and family. his other two movies are drawn (pun intended), from a indy comic artist who owes his career to crumb; daniel clowes, and the two films are ghost world and the affore mentioned ASC; both are odd coming of age tales. i usualy loathe coming of age films, because of penchant for saccarine sappy gloss, but zwigoff's films avoid the usual pitfalls. one thing i like about ASC is it's look at identity, but more for it's use of style. both in the art displayed and in it's story telling. with different lighting and editing, this could have been a noir film.

speaking of comic book movies, while it isn't a zwigoff film, i can't recommend american splendor highly enough. stylistically the most complex comic book movie it's based on the long running auto biographical comic of the same name by harvey pekar. the thing about AS, if you've never read it, is that pekar never draws it. different artists do their takes on pekar's working class travails. and the movie takes the same approach. it starts with a few panels (drawn i think by robert crumb) and then delves into a dramatization staring the amazing paul giamatti, who is brilliant here. because of the story (he was a favorite guest on late night with david letterman), one can't help wonder what the real pekar (and many of the other charecters) are like. knowing this the directors show you. and as far from hollywood as the film is (and it's pretty gritty), the real life people are, well, more real. the film bounces back and forth for a bit between harvey, "harvey" and the comicbook "harvey" and it works perfectly. what in another film would be distracting, here makes the film deeper, more interesting and compelling. somehow, you watch giamatti, but have a good sense of how the real pekar would act, and it never takes away from the film or the person. i'm a sucker for meta-filmic self-reflective films, but you don't have to dig film theory to grok it. american splendor is one of my all time favorite movies. i can never see it enough.

i've also been on a kevin smith kick. last week i saw an evening with kevin smith2, evening harder. which is just a bunch of Q&A with the director. in the first evening movies he comes off as a foul mouthed everyman who could almost be a stand up comedian, in the second he comes off as a crass, sexist prick. the first one was great because of it's freshness, and catty almost kathy griffinesque stories about meeting famous people, the best of which is his story about working for prince in paisley park. but in this one, litterally the best question is "if you could be half man and half sausage, which way would you be? top man bottom sausage, or the other way round?" it just seems tired. and if you like kevin smith, this two disk set may change your mind.

the last of my kevin smith filmathon for a very, very long time is clerks2. back is the wooden acting, but if you liked the original, (don't get me wrong, i did, wooden acting and all), you'll probably like this, but.....less. on the upside there are lots of film references, but some of the bits are taken from the evening with ks movies. one thing i have to say i loved though-- the dance scenes. i was not really feeling c2 until the blues brothers/ferris bueller dance number. put a bunch of people in a triangle shape and let them dance in sync for no good reason and you have me in the palm of your hand. almost as fun as the busby berkely number in tank girl.
I concur: American Splendor is a great film.

It's the summer of sequels and in the last few weeks I've seen Pirates of the Caribbean: At World's End twice and today we saw Ocean's 13. Both were fun although I'm craving something to sink my teeth into and I know that my future cinema going, with all the other sequels this summer has to offer, will not sate me so increased rental of dvds it is.

I watched I Capture the Castle last weekend and although not as good as the book it was sweet and beautiful. I also love Bill Nighy in a dark, serious role (as opposed to Davey Jones); I readily recommend Gideon's Daughter and I need to bump The Girl in the Cafe up my rental list.
count me in on the american splendor lovefest!

i saw knocked up last night. i actually paid for it (the original plan was to sneak in after seeing some other movie, but there be slim pickings at the movies!) but it was really funny and i liked it.

i rented intermission, and it's okay. after the shocking opener it kind of goes downhill.

i just saw christmas with the kranks on tv (don't ask why). it wasn't as bad as i thougt it would be, but it's not, you know...good...either. lol

basically, i'm on a movie-watching binge!
I quite like Intermission; the (multiple) storylines are a little slight but it's a great showcase for some good British and Irish actors. It also shows a side of Dublin which doesn't often appear in cinema.

I liked The Girl in the Cafe for Bill Nighy and the Reykjavik setting, but found Kelly MacDonald's character somewhat opaque and annoying. I didn't really believe in her.

I have to say I really didn't like Art School Confidential: too pretentious by half. I know it was sending up a precious artists culture but it still left me cold. Ghost World was awesome though, both for being a good (because weird) coming of age story, as you say GT, and because it features a pre-bombshell Scarlett Johansson.

This silly season I confess I'm looking forward to... The Bourne Ultimatum, bombastic title and all. I think the Bourne films are what the Bond films should be.
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