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QUOTE(girltrouble @ Oct 19 2009, 01:32 PM) *
i saw it, but was bored to tears. my friend dragged me to it because she was super scared. it did nothing for me. but i wonder if you watch those ghost hunter type shows. i hate them, and i think my friend watches them a lot. so that might be the difference.

personally i'm much more scared by trad horror than that kind of pov horror. blair witch bored me too.

I don't really watch ghost hunter shows, but I think it is the POV thing that makes it more real for me. Most people either love it or hate it.
yeah. i hate it, but more, i love movies that use good framing.
i'm almost of the persuasion that a film without it can't be good without it. most pov movies never bother, which is a shame. it would add to the visual strength of the film. it's like writing paragraphs but never capitalizing.
Yesterday I reviewed “Mr. and Ms. Smith”. I like Brad Pitt!
I'm sorry for hijacking the thread but does anyone know of any scholarly articles about the film The Royal Tenenbaums? I was hoping to write an essay on it but if I can't find any sources then I'll have to do another topic. The only other subject that has come to my mind is Buffy (the t.v. show, not the movie).
that's what the thread is for, candy. when setting out to write something about a film, you can check imdb's boards for ideas from peoples comments or questions. i'm not sure if you are looking for serious articles, if so, check film comment, or film quarterly's websites. otherwise i'd suggest googling "The Royal Tenenbaums" and "theory" it will bring up lots of film blogs of people writing about the film you are looking for.

good luck.
I think I am the only person in the world who left the theatre after seeing Where the Wild Things are in hyperventilating sobs - it just reminded me so much of how hard it was going through my parents divorce when I was younger and it really hit a nerve. I have a massive headache and puffy eyes, ugh. That was supposed to be fun!
as a child of divorce i know how hard that can be. sad.gif
Thanks, GT. I emailed my prof because I had found a good article but I wasn't sure if the source was considered scholarly or not. Now I'm just trying to figure out a thesis. He left the instructions extremely vague so we could write about whatever we want. I'm trying to figure out something to say about the style of the film. I mean, obviously Wes Anderson's films are so highly stylized that they give the movie a very distinct feel but I don't know what the feeling is. Is it nostalgia?

The Royal Tenenbaums is my favourite movie and it's one of those movies where I love to just curl up on the couch on a cold or rainy day and put it on. It's comforting and familiar but I know that's more personal and doesn't really have to do anything with Wes Anderson's intentions. Gah! I have to get this thing in by Tuesday!
you're welcome, candy.

you know me i adore geeking/talking about films. i only wish i had seen RT so i could be more specific, or offer my own theories. you can try to google wes anderson and themes or symbolism or i think you will start to see a framework. look for what you find compelling, then think of how it works in other films, but most particularlly in RT.

just go with what you love about the film, and you'll do just fine. smile.gif

((madame)) We saw it last night & I can definitely understand why it affected you so. It's got some heavy stuff.

I reallllly enjoyed the movie. Very well done.
I finally saw The Diving Bell and the Butterfly on Sunday and have not stopped thinking about it since. What a lush and amazing film. Just really astounding in every way. It makes me want to see more of Julian Schnabel's art of all kinds.
anna k
I was reading Jezebel where commenters were talking about the lack of public support for the films Bright Star and An Education, saying they were intelligent films with strong female characters by great female directors. Even though I liked the directors, I'm not really interested in either film. It doesn't mean that I don't support good films made by women, but I didn't like that the examples used were of dramas that had a coming of age feel to them, genres I'm not really into, or that the film will fail if I don't go out and see it.

I'm also disappointed that Amelia looks like schmaltz. I really like Mira Nair, and it would have been great if Amelia Earhart was portrayed in a more realistic light, rather than a sanitized legend who seems more like a flawless creation than a real human being.
GT, get thee to a video store and rent The Royal Tenenbaums now! And Rushmore, if you haven't already seen it. I'm still going over the articles trying to figure out what the hell I can say about the way the film addresses its "social and cultural situation". He also said that we could talk about a film with less depth but "more lateral connection" and to be honest, I don't even know what that means.

The best & zippiest resource I know for learning more about a movie (and having a conversation /confrontation with someone else's assessment) is to go to IMDB and go into "external reviews." You'll find this in the left column when you first get to a movie.

Some of the reviews at Netflix can be very acute, but there's also more guff to wade through. Also in Netflix the first 3 reviews become entrenched forever, so you usually have to past the reviews on the first page to find the goods.

PS Divorce: Telling our 2 sons that we were divorcing was the unhappiest day of my life...
the broken family... Doloroso!
(((dolor)))) sorry about the divorce. sad.gif

i'm with dolor. i like the imdb boards and reviews better than netflix, but they can be pretty flame-y and gross depending on the movie. my jaw was on the floor reading posts for irreversible with guys talking about how the rape was hot. it's disgusting.

Thanks ladies. This has been a pretty shitty weekend for me so it's hard for me to even concentrate. I feel like I have to get this done today (the proposal is due Tuesday) because tomorrow I'm working really late. One of the articles I have says something like...Wes Anderson is almost making fun of the "director's signature" but I haven't read far enough to see how he's doing that.

Anyway, I'm just going to keep on reading.
sorry, candy. i wish it was something i'd seen. you know how i go on and on.... i wish i could help.

just saw blindness and loved it. parts of it were really disturbing, but i felt honest. i loved all the production design, the editing, cinematography, sound and costuming were so perfect. i loved all the visual cues, the first part of the virus where there are spirals everywhere, then the sterile sea of white for the quarantine area that quickly becomes not just physically muddied, but morally, and the slow descent into darkness, and eventually hell. i think it was supposed to be referencing dante's inferno, and it did so perfectly. i loved the smart editing, and how it would selectively use white outs, then focus in. i think the best part was casting julianne moore. it was the exact opposite of the woman she played in safe, who was the only one to get a disease. in many ways where she starts at the start of blindness is the same place, as the wife in safe: a not too bright wife, with a condescending husband, but in this story she is much stronger, more resilient.

usually i hate films that end with the restoration of the family, (i'm looking at you spielberg, with your crappy, war of the worlds), but i loved how blindness ended up, because what it spoke to was the implosion of the insular nuclear family, in exchange for a bigger, broader, interracial, international family, and that makes it much more satisfying. what we watch is a society that, at it's base is so corrupt in it's capitolistic greed, that it needs to be razed, burnt to the ground in order to be rebuilt, literally re-envisioned. a great movie.
No prob, GT. After all, I'm the one who has to write it. I just wish I knew what my prof meant when he talks about "lateral connection".

Here's a guess at "lateral connection." It's connection on the side, as opposed to direct, head-on connection, and pertains to how the Tenenbaums are a large extended family which does not directly bump against each other (because they are each so caught up in their scenes, their POVs, so as to not see each other clearly, correctly and communicate directly), so instead they bump each other laterally, accidentally, as they scurry about, and interact more haphazardly, rather than straightforwardly...

It's just a guess... Helpful?

Thanks for the hugs and you too T-Gal. We've really worked at being good parents, post-divorce, and have done well... I trust. The divorce was not a ghastly battleground, that we certainly avoided. So awful for children to see their parents attacking each other, & fighting over them...
Meanwhile, I'm down here in delightful Mexico-- Xalapa, Veracruz-- and all is linda y bonita y saboroso.... y verde! Entonces, no tengo dolor aqui... Mas calor que dolor...
i cannot tell you how much i miss you dolor! wub.gif
According to one of my friends who actually spoke to the prof, lateral connection means that there are many aspects of a production that connect on a surface level in an interesting way. This is an option, as opposed to only looking at one aspect of a production in great depth.

I finished my proposal last night. I'm at school right now and I'll probably be here till at least 9 so I had to get it done yesterday. Anyway, I'm kind of trying to argue that with the Royal Tenenbaums Wes Anderson becomes a true auteur because the film is viewed almost like a book (there are captions, actual descriptions of the scene at the beginning of each chapter, a narrator, heavy back stories, and so much detail that it could easily become a book). And so there's kind of some irony there because he is an auteur/author of a film/book.
Anna, I saw Bright Star - loved it.

I saw a preview for The Fanstastic Mr. Fox - can't wait!!

Friday night I decided to go to the movies - but it was a bit past 7. So my choices were limited. Ended up seeing a documentary called Chelsea on the Rocks.. Don't bother.
anna k
I saw a new documentary yesterday called La Danse, about the Paris Opera Ballet. I was split on it. I enjoyed the scenes of ballet dancers rehearsing for a show, being critiqued by the choreographers, and the administration putting together the show. And the dances were incredible to watch, with a lot of fluidity and strength, particularly the stunning Medea and one dance that had this robotic/contemporary feel to it. What I didn't like was that it was two and a half hours long, and seemed way too long for a documentary about dance. Also, the dances and the choreographers were never identified onscreen through captions, and neither were the dancers, so I wouldn't know at times who/what I was watching.

I also watched 9 Souls last week, this Japanese film, and thought it was fantastic, and took what could have been a cliched trope (the prison breakout film a la The Great Escape or The Rock) and turned it into a road movie, where all the prisoners were still imprisoned by their crimes even in the free world, and had a lot of big dreams that probably would go unfulfilled. It was sad and funny and tragic and moving, with gorgeous landscapes of the Japanese countryside and a kickin' rock song that played during their escape.
Cara GirlTrouble,

Yes, I miss you too! I'm sorry that our movie trails don't overlap more often. This is more my fault (so to speak) since my trail skips about all over the place.... and I almost never watch anything current.
We do share an interest in Noir, and I did catch "His kind of Woman" recently, which is somewhat noir-- and then enters deeper into Howard Hughes' bizarritude. In ways that reminded me of the bizarritude of HH's "The Outlaw." I'll return shortly and say a bit more about that.

yr dolor

PS I've recently begun to maintain a film diary-- esp useful in regard to forgetting if I saw X, and what I made of it.

Do you-- or anyone else-- keep one?
I'm going to stay home this coming weekend and I just want to rent a movie and relax. I'm trying to think of what to rent now though, so that when I get to the movie store I know what I want. So...has anyone seen any good movies lately?
cc_g: Are into sci-fi at all? If you are, you might like Sunshine -- it's one of those movies that's really good to watch alone in the dark as it draws you in and makes you feel like you're on the ship with the characters. I really liked it (the ending is kinda wacky though).

I also recently watched a documentary called Touching the Void, perhaps you've already heard of it since it's been out for a while, but I highly recommend it. Another one that draws you in and keeps you there. It's about two mountain climbers, as unappealing as that may sound, it's really damn good and inspiring.
anna k
I saw Frozen River tonight, and it stuck with me. It was set at Christmastime, and the cold bitter winter heightened the isolation and desperation of the two main women, and their symbiotic relationship made more sense as the film went on. They felt like real people (which probably helped that they were played by lesser-known actresses), sort of made me think of My Life Without Me (trailer life in Canada, wanting to get out of poverty, big dreams and hopes, making drastic choices for a better life for them and their loved ones). I had wanted to see it last year and didn't get around to it, and am happy that it was an indie success, plus an Oscar nominee for Melissa Leo's heartbreaking performance. It's just a memorable and intimate little film, I'll look forward to whatever the director Courtney Hunt does next, I'm amazed that it was her feature debut.
the outlaw cracks me up. but you can see why jane russell had a career, what with that crazy bra

i used to have a movie blog/diary. but i prefer posting here.

been seeing remakes of late, and my usual diet of horror films. saw the uninvited, a super shitty remake of one of my favorite asian horror movies, a tale of two sisters. i don't care if americans remake foreign movies, but at least understand the materials and what makes that first film brilliant. much like the spanish film open your eyes was turned into vanilla sky, the makers of the uninvited drained every bit of subtlety out of it, which was one of the virtues of TOTS. uninvited spells everything out. heaven forbid americans have to figure anything out. i'm sure a dozen test audiences were utilized so everyone leaving the theater felt like their hand was held. [roll eyes] another mistake is that they upscale everything. and they do it here. a claustrophobic little house is turned into a huge house. a dock is turned to a doc boat house, and a spooky scene in TOTS, with some people coming to dinner is turned into a huge dinner party and drained of all it's murky creepiness.

the strangers, a remake of the french horror film, ils, or them, actually downsizes the original, but misses the point. while i didn't think either movie was very good, ils had a few things going for it: for most of the movie you never knew how many people were hunting the main couple. could have been 5 people, could have been 2 dozen. the second was a terrific sense of mundane irony: after a night of killing, the killers, who we discover are about junior high aged kids, come running out of the woods to catch their school bus. this is completely lost on the makers of the strangers, who just make the killers a bunch of faceless vagabonds. the last, and easily the best thing about ils is the first 10 minutes, which was fantastic. so better than both movies.

tomorrow morning i'm going to try to watch charisma, which i've been meaning to's described as "eco- thriller" film. it's directed by kiyoshi kirosawa, (pulse, cure, bright future), one of my favorite directors. and i've been meaning to see it for years. cure, to me is the zenith of the serial killer genre for me, and it's wonderfully made. so charisma should be pretty amazing.
Anna, I loved Frozen River. I agree with you - Melissa Leo was fantastic & I was so proud of her for getting the Oscar nom. I really enjoyed her relationship with her older son too - the way he was looking out for the younger brother.
QUOTE(kari @ Nov 3 2009, 12:44 PM) *
Anna, I loved Frozen River. I agree with you - Melissa Leo was fantastic & I was so proud of her for getting the Oscar nom. I really enjoyed her relationship with her older son too - the way he was looking out for the younger brother.

I saw that recently for my film class and really loved it. I also loved her relationship with her son. I'll keep my eye out for more of Courtney Hunt's films.

I'm going to see A Serious Man tonight.
Speaking of lame US remakes,
one of the most notorious is the US version of "The Vanishing"-- which tacked on a high adventure finale + happy ending, and lost the distinctive existential creepiness of the original: "Welcome to oblivion..."
And the same (Dutch) director was drafted for the US travesty!

I never saw the (universally panned) US version, but am happy to report that the original Dutch version has recently arrived at Netflix, and so I'll be watching it shortly.
I'm finally going to see Where The Wild Things Are this weekend. I have a feeling it'll leave me feeling quite melancholy.

Has anyone seen Zelig, the Woody Allen movie? That's a possible contender for my Saturday night movie. I should also check the tv listings though, sometimes they have good stuff.
zelig is a riot, candy, although it's not like normal woody allen films. but personally, i love that movie. it got me into woody's films. ok, that, sleepers and what's up tigerlily?

i saw both in the theaters, dearest dolor, and i agree. the original knocked me on my ass, the remake was instantly forgettable. it's one of those films you don't even talk about after, because you've lost interest the second the credits roll. there is something to be said for leaving the audience uncomfortable, unhappy, angry or restless, sadly , hollywood hasn't figured that out yet.

i'm curious, dolor, is your film diary a blog? if so, can i have the addy?
lol, I just looked up Zelig at IMDB and most of the roles appear to be various doctors. I guess I'll figure that one out if I watch it.

I just want something silly that will give me a laugh.
anna k
I had a day off today, so I went to see the movie Skin. It was a really moving and affecting film about race, class, and the apartheid system in South Africa, and how the real story of Sandra Laing was a representation of the racial divides. She was born to white-looking parents, and looked black, and her parents supported apartheid and fought to have her legally declared white. Her being their child and looking black doesn't make them sympathetic to the black Africans, just wanting her to assimilate into being white. It's a powerful drama, and Sophie Okonedo as Sandra captured her shyness, confusion between being white and looking black, and how she couldn't really belong with either race.

I'm really glad that I saw this film, it opened up my eyes to what life under apartheid would be like (like blacks and whites not being under the same roof anywhere). Some telling and sad scenes including young Sandra trying to scrub her dark skin off with a homemade concoction that burns her, or standing outside in front of a clothing store window while her mother is inside the window holding up dresses for her to choose from.
you might want to go for bananas or take the money & run, or sleeper, candy. it's first part of his career, when he was all about the jokes. they are much more playful.

anna, i have the biggest crush on the sophie okonedo. she is so exotic looking.

i saw von trier's anti-christ tonight. such a beautifully shot piece of crap. it was super pretentious, but utterly ridiculous. it was funny reading people talking about how it was a good fusion of arthouse and horror. ugh. i could not disagree more. there are so many other movies that do that fusion better. my friend and i were laughing half way thru the movie.
girltrouble, I want to see anti-christ. Your thoughts on the film is exactly how I thought it would be, but it's something that I just have to see for myself.

anna, I saw an advertisement for Skin, I want to see it, but will probably have to wait for dvd if it doesn't get a bigger release.

I saw a film on NetFlix called Bex X, I believe it was from Belgium. It's about autism and bullying, sad, but very interesting.

This weekend I think I'm going to check out Coco Before Chanel, New York, I Love You and maybe A Serious Man.
Candy, I'd go for Sleeper or Bananas. I still quote certain parts of Sleeper today to my family because we're a bit silly. Then again, those are the two Woody Allen movies that got me into him. Speaking of which, did any one see his newest one? It's out on DVD now.

I really liked A Serious Man. It was a very dark comedy, but it raised some interesting questions near the end. I really loved that they cast unknowns for the leads. I read they were working on this and No Country for Old Man at the same time.


Could you please say more about von trier's pretension, ridiculousness, crappiness, etc.

I saw Charisma, some time ago. During a bit of contemporary Asian period.
But it seems that I get more out of the earlier generation, Ozu etc.

I'm about to watch a movie from the intervening period, "Crazed Fruit," about wild (?) Japanese teens in the 50's. Rebels w/o causes.

I need to have a better understanding as to why I find Tarkovsky spellbinding, and Kurosawa not. Since they are both slow and poetical /symbolic,
and come from another part of the world....
perhaps (re:kiyoshi kirosawa) it's the movie you pick, i will be the first to admit, he is hit or miss. i loathed doppelganger, i thought it was awful, and i didn't really think that much of charisma, much as i would like to have loved it. in order of how much i love his films, these are my favorite are: cure, seance, pulse, bright future, retribution. the first 3 are horror, or semi, and retribution is a hot mess, but it does some interesting things technically, so i do love it. but he's not that far away from von trier in his potential pretentiousness.

medusa, i knew it could be good or it could be awful. i was hoping it would be good. i love horror, smart directors, and arthouse/horror fusion to me is very intriguing. so i would have seen it no matter what anyone said, because i was curious.

as for von trier, dolor, i am curious as to what you think of him. i used to think he was the shit, i loved zentropa (i'm a sucker for rear projection (see retribution)), and the kingdom, but i thought breaking the waves was crap, and never bothered to see anything else of his till now.

there are parts of anti-christ that are unsettling, it's use of visuals and sound are excellent, but after a while he seems to be confused, horror isn't just being vulgar, it's the foreboding, dread, and feeling that things are out of control in the world at large, he trades that twisted world for a more personal one, and the film goes off the rails. plus, honestly, i wanted the people in the movie to shut up. the film was so much better when it was quiet and he let the images speak for themselves. yes, i know it's a movie about a therapist using therapy to try to cure his wife, but the doowop (read bullshit or psychobabble) get's thick quick. von trier seems unable to not try to prove he's smart, which is why i prefer trouble everyday. it's quiet lyricism worked better for me. horror is best if the audience is doing the theorizing, not those on screen. in the credits he lists researchers for 5 different topics, which is good, but it's as if he thought he needed to cram every sentence he read into the film's symbolism, and ultimately it's that, that drowns it. but along the way we get another irrational female who mis-interpets her sexuality in a way that leads her to the crazies, much as in breaking the waves. von trier seems to think women are crazy and it's their lack of understanding of sex that does it. some people said that the film wasn't misogynistic, but was about misogyny, i tend to think it is pretty sexist. no, he, the man doesn't come out looking very good, but if you watch a neil le butte film, his guys don't come out looking very charming either, but the women are feeble, weak minded sex objects, instead, von trier sees his women as weak, crazy sex objects. but maybe that's me. like i said, i haven't seen any of his films since BTW.
gt, just a fly-by question since i had the same exact issue with kurosawa v/s tarkovsky a week ago....
I think it's this *ethno mimical* barrier for me.
I have a feeling older Japanese movies just ring the wrong mirror neurons when I'm trying to feel the characters - the facial expressions and extra gutturals tend to translate to my limbic brain as "unjustified rage". So my gut reaction ranges from a childish what is he so mad about, can't he pull himself together? To where I had to make my buddies stop (Kurosawa's)Stray Dog after ten minutes because I was getting a nano panic attack*** (true, I was stoned after a long break, but still - weird.) (and we've done night after night of Tarkovsky together where no one gets hurt;) So Trakovsky soothes me.
I'm slavic, i understand deep self-loathing quite well, but it is tender. It expresses as melancholy; even when you kill in Tarkovsky you do it like you're killing yourself. In mercy. In old japanese movies (brutally stereotyping, SO sorry), it's the other way around.
So my question, gt, how do you get over that barrier where your empathy switchboard indicates one emotion but you know the characters are experiencing something else? I guess that can become an aesthetic experience in itself? Takes acquiring?

(Now that's a beginner sushi dilemma if there ever was one. Thanks.)

*** from the cognitive dissonance (while under the influence) of watching a fellow human being experience emotions so diagonally across the color wheel from where i'd be?
That's a stupid question. Sorry.
And it's not a movie question, it's a UN question - can we all be friends if we can't read the emotions off each other's face correctly. I think that's what made me so uncomfortable, cuz my almost limitless capacity for empathy suddenly grinds into rubble. So please ignore it.
it's not a stupid question, but not one i can answer. although i should point out, i was talking about the films of kiyoshi kirosawa, NOT akira kirosawa-- who did stray dogs. kiyoshi is still alive, and making films, unlike akira, who is dead.
I have to say that in all those recent Asian movies that I crashed through, the most extraordinary moments came in Kurosawa's Pulse,
scenes when they're sensing phantom presences,
how K creates and builds these scenes,
and esp when they go into that one empty (?) room...
Also, there was real power in his focus upon the effects of a collective loneliness, the paradox of a *shared loneliness*...

I'd like to see it again.

I think we agree much on von T.
I hope I'm not boring you with this theme (?) but I take it that again we're dealing with the pathology of masculinity: someone who dislikes women, dislikes his own sexuality (because it binds him to women), dislikes female sexuality (ditto)...

"So, Lars, let's talk about your Mother...."

I also really admired Zentropa, esp. from a technical standpoint. Grooved to the very selective use of color-- like the rumblefish in "Rumblefish."
He first wanted to call it Europa, but then the Polish movie came out "Europa, Europa" (also good) so he skipped to the more sci-fi-ish "Zentropa."

Your reference to Slavic Melancholy was ... very illuminating! Something to think about. I'm not Slavic, but I was raised on slavic melancholy. Then I saw it in Russia & Poland, & heard it in Dvorak & Martinu etc. And I think that pertains to why Tarkovsky effects /affects me (us?) so.
yes, well i am a sucker for formalists so zentropa was just what i needed. i'm not bored at all with the theme, and i think that that pathology might be a good template for looking at antichrist. the sexuality is weird in it, in that she, the woman in the story, is beating her head bloody against a toilet with the seat up. defoe's reaction? time for sex! it's a bit more complex than that, but everything seems to be a reason for humping in the film. there is bdsm thrown in, but the woman is blamed for everything. at worst, defoe is a cold, but concerned husband, while gainsbourg is abusive, sadistic, masochistic, hateful towards her child, the list goes on and on. i have to admit i read a interview with 5 people about their take on antichrist, one of whom was a feminist, she said, it wasn't misogynistic unless the woman was viewed as "every woman" which, first off seems a rather ridiculous hurdle. after all, if you have 3 women but all of them are written in a hateful way, does that not make it misogynistic? how does a cast of two or more change that? what's more, the film only has two people in it: he and she. so automatically they are archetypal. obviously this is somewhat allegorical, so they are both universalized. it's just faulty logic.

and i agree, dolor, i really should move pulse to #1 of all kirosawa's films (although i admire cure and seance a lot). it seemed the most visceral. it was so moody, and contained so many kinds of fear:loneliness, technology, death, loss, disease.... he took all he had learned and really showcased it in that film (kirosawa is considered the grandfather of asian horror, since either he or his students had a hand in all of those pale wet asian girl films like the ring, the grudge, etc. the style was mostly fermented in his horror miniseries for tv. i've seen the grudge, and it was mindblowing: low tech horror using old school camera effects instead of cgi, and it was very, very unsettling. easily better than anything that followed. ).
i saw Amelia tonite.... ehhhh...... Hilary's my girl but it was kind of flat.
I've only seen Zentropa and half of "Element of Crime." (I actually bought both of these... as VHS bargain.) And also The Five Obstructions-- which is fun.

Even with the first two, my admiration was checked by the package of misanthropy > misogyny > sexual loathing. LvT has an especially bad case of this masculine affliction.

Time to see Zentropa again: I just went over to Netflix where I found that it has now been re-assigned its original title, Europa, and has been given the Criterion treatment.

With Pulse, the reason to see it again is to figure how whether /how those amazing scenes fit into the film as a whole. In general, I'm fond of open-ended and seemingly arbitrary endings (such as The Holy Girl, Memento) and I want to revisit that one, where you have them sailing off on their ship to...?

On the other hand, the aggressive symbolism (or crypto-symbolism?) of Bright Future and Charisma just didn't work for me. Haven't seen the Cure.

November-December is a down time for me, so I should probably be focusing on up movies, and /or going back to Mexico...
Ignore this post: Sometimes when I click on a forum in the Lounge I get sent to a post on page 2 or something and I don't notice I am responding to something sent ten posts ago. Sorry. GIrltrouble already clarified this issue about the two Kurosawas.

Confused: The Kurosawa who made Stray Dog and the Kurosawa who made Pulse are two dif. people, right?? Maybe I'm wrong; I'm wrong often enough.

Seven and others: I am crazy for old Japanese films of the 1940-70s (hell, I really love the modern ones, too). I don't think of facial expressions being different as much as ACTING styles. I tell myself that there is more than one way to tell a story/make a film and I try to throw my pre-conceived American notions out the window. This is NOT to say that I did not have to go through an adjustment period with some films and some actors. I guess I feel my comfort with old Japanese film is something I worked a little bit to achieve (and I'm so glad I took the time and made the mental leap). I love Stray Dog, BTW...I hope you give it another chance when you are not so stoned. smile.gif
anna k
I saw An Education last night, despite having written it off as a coming-of-age film. It was so good and so funny and sweet, even if you could see the ending coming. There was this light brevity to it that captured a girlish spirit, how everything in the story was from the girl's point of view (at times I wanted to see scenes without her, like between her boyfriend and his friend, to get a different side of the story), the cute 60's song that opened the film, the total fantasy boho life that the girl wanted (and that I wanted too when I was a teen, albeit in a different era), and being fascinated by both her schoolteacher (they tried to marm up Olivia Williams, it looked a little unconvincing) and her boyfriend's female friend, this glamourpuss who you never really got inside of.

It recreated early 60's London in a very realistic way, like capturing a blue and gray color to the streets, the warmth of her working-class home, and interesting in how her father seemed to alternate between wanting her to have an Oxford education then wanting to marry her off to the rich artsy boyfriend for upward mobility.

All in all, the film just had this sense of class to it that I appreciated, and I'm happy that it's been so successful.
This afternoon I went and saw The Men Who Stare At Goats and it was really good. The friend who I went with and I thought it was hilarious but we were the only ones laughing in the theatre. We have an odd sense of humour but I do think it was quite funny. It was short - only about an hour-and-a-half - but I think that was perfect about it. Ewan McGregor is amazing.
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