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Author Topic: Rate The Last Movie You Saw  (Read 1761460 times)
Groggy
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« Reply #10185 on: February 05, 2012, 04:05:46 PM »

I remember you reviewing Abe Lincoln in Illinois, but then I also remember you calling him "Morley." Senior moment perhaps?

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« Reply #10186 on: February 05, 2012, 04:15:18 PM »

I remember you reviewing Abe Lincoln in Illinois, but then I also remember you calling him "Morley." Senior moment perhaps?

Probably. I had Robert Morley in mind apparently.

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« Reply #10187 on: February 05, 2012, 04:18:10 PM »

That makes sense.

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dave jenkins
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« Reply #10188 on: February 07, 2012, 07:13:06 AM »

The Snake Pit (1948) - 7/10. Olivia de Havilland plays a housewife confined to a NY state psychiatric hospital because of repressed memories and--it is finally revealed--a misplaced sense of guilt. Leo Genn is the stalwart Freudian helping her toward recovery in the face of institutional incompetence and staff members indifferent to her plight. After a series of relapses, the Talking Cure is validated. As awful as life in the institution is portrayed, the film ends up endorsing the system, even the judicious use of shock therapy (!). Toward the end a sentimental song is performed at the the big dance (!!). I recognized the melody as the one broadcast during closing time at the park next door to the place I lived when I was in Tokyo. A check on IMDb indicates that it is "Goin' Home"(1922), Music by Antonín Dvorák from the Second Movement (Largo) in Symphony No. 9 in E Minor "From the New World", Op. 95, B. 178 (1893), Lyrics by William Arms Fisher (1922). The melody was used again in the very last scene as the woman leaves the hospital for good.

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« Reply #10189 on: February 07, 2012, 07:24:44 PM »

Le silence de la mer (1949). Melville's first film, his first masterpiece. My fiirst Blu-ray viewing. 10/10.

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« Reply #10190 on: February 09, 2012, 12:27:56 PM »

The Best Man - 8/10 - A pretty spot-on political satire that (sadly) still has resonance today.
Got the mailer for the Broadway revival today. What a cast! Jame Earl Jones AND John Larroquette AND Candice Bergen AND Eric McCormack AND Angela Lansbury. I will definitely be going to this.

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« Reply #10191 on: February 10, 2012, 08:15:23 PM »

Marty - 8/10 - 3rd viewing.

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« Reply #10192 on: February 12, 2012, 08:01:24 AM »

The Philadelphia Story - 8/10 - 2nd viewing. Was a bit ambivalent towards it the last time but found it much more enjoyable on a rewatch. A few things bug me, namely the implicit classism (the coal miner isn't good enough for rich bitch Hepburn?), the annoying little girl and hearing the same speech about Hepburn as "a goddess" three times in five minutes. Wasn't convincing the first time; her haughtiness comes from something other than sensuality. On the other hand, you've got a marvelously witty, quotable script and Kate Hepburn being funny rather than annoying. Stewart and Grant are good but definitely secondary to Kate.

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« Reply #10193 on: February 12, 2012, 12:31:45 PM »

The Philadelphia Story - 8/10 - 2nd viewing. A few things bug me, namely the implicit classism (the coal miner isn't good enough for rich bitch Hepburn?)
The play is at pains to point out that class distinctions aren't the issue, character is. One can be upperclass and be an OK guy (like C.K. Dexter Haven) or one can be from the lower classes and still be a snob (like George Kittredge is revealed to be). Tracy Lord starts out being a snob, but then improves as the story goes along. Basically, the action of the play is her "education."

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the annoying little girl

but isn't the little girl supposed to be annoying? If so, the performance is a feature, not a bug.

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hearing the same speech about Hepburn as "a goddess" three times in five minutes. Wasn't convincing the first time; her haughtiness comes from something other than sensuality.
Not sure what you mean here. Are you saying Kate hasn't got much sex appeal? I'd agree with that, but I think what they're talking about has little to do with that. But if you're saying that the sex appeal is necessary (without being sufficient) and that without that there's no point discussing the rest, well, okay. Maybe you need to see the remake, High Society, where Tracy Lord IS played by a goddess (Grace Kelly).

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On the other hand, you've got a marvelously witty, quotable script and Kate Hepburn being funny rather than annoying.
Some of it's good. On the other other hand you get stuff like this:

Kate: How do I look?
Father: Like a queen . . . like a goddess.
Kate: And do you know how I feel?
Father: How?
Kate: Like a human. Like a human being.
Father: Do you know how I feel?
Kate: How?
Father: Proud!

[where's the emoticon for "gagging"?]

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Stewart and Grant are good.
I like Stewart, Grant not so much. Grant is good at comedy; as the wounded lover (early on) he's hard to take: "Isn't that so, Red???" and the like.

I really commend High Society to you. The plot is streamlined, Frank and Bing sing some songs, Satchmo does his thing, Grace Kelly shines, and its all done in color.

« Last Edit: February 12, 2012, 12:35:02 PM by dave jenkins » Logged


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« Reply #10194 on: February 12, 2012, 12:38:38 PM »

1. Of course they want to get that across but it's pretty much a lost cause unless you demonstrate it. You can talk and talk about how tolerant you are but when crunchtime comes and you run away with the rich hubby you're either a hypocrite or at best disingenuous. And is Mr. Haven a good guy? He struck me as an oily jerk.
2. Jenkins, are you not the one who once lectured me that (paraphrasing) being deliberately something stupid does not justify the stupidity?
3. Mostly I'm complaining that the message is hammered into our skulls again and again and again in such a short period of time. Do we need variants of the same speech thrice in a few minutes? To me, unapproachable goddess implies something other than imperious attitude.
4. I did not say every single line of dialogue is great.
5. Grant gets the weakest part of the three leads but he's not bad.
6. None of what you say commends High Society to me, but I appreciate the thought.

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« Reply #10195 on: February 12, 2012, 01:09:31 PM »

1. Of course they want to get that across but it's pretty much a lost cause unless you demonstrate it. You can talk and talk about how tolerant you are but when crunchtime comes and you run away with the rich hubby you're either a hypocrite or at best disingenuous. And is Mr. Haven a good guy? He struck me as an oily jerk.
Cary Grant, a jerk? And what makes you think he's rich? The play's thesis is demonstrated thusly: Tracy originally kicked Dexter out because she was intollerant of his less-than-perfect ways (he sometimes got drunk); then she decided to marry a guy who, like herself, appeared to have no flaws; but in the course of the play she discovered that she herself is in fact flawed (she too can get drunk, can be attracted to other men); furthermore, her fiancee is an intollerant jerk (who can't stand an imperfect wife); she realizes what it's like to be on the receiving end of intollerance and decides to be more forgiving; therefore she forgives her philandering father, forgives her first husband, says goodbye to the snob, and remarries Dexter (whom she's always loved even when she was pretending she didn't). Thus we are given a romantic comedy with the moral that we should all be more tollerant of one another; the audience entertained and properly elevated, leaves the theater singing Kum-ba-ya . . .

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« Reply #10196 on: February 12, 2012, 01:23:09 PM »

"Tollerant"?

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« Reply #10197 on: February 12, 2012, 03:13:38 PM »

"Tollerant"?

Talleyrand.

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« Reply #10198 on: February 12, 2012, 03:56:59 PM »

Three Days of the Condor - 8/10 - 2nd viewing. The first time I saw this I didn't think much of it. This time around I was able to follow the plot a bit better, though it still seems a strand too convoluted and paranoid for its own good. Slick direction, well-staged violence (the near-absence of music in key scenes helps) and a pervasive sense of dread that only the best thrillers can pull off. Excellent cast is a big plus, especially Cliff Robertson and Max Von Sydow; the latter's elevator ride with Redford was my favorite scene. The biggest detriment is Faye Dunaway, here the definition of a token love interest.

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« Reply #10199 on: February 12, 2012, 05:04:03 PM »

Three Days of the Condor - 8/10 - 2nd viewing. The first time I saw this I didn't think much of it. This time around I was able to follow the plot a bit better, though it still seems a strand too convoluted and paranoid for its own good.
The only real difficulty is discovering that Von Sydow is very much the wild card in the deck. Once you realize he contracts to the highest bidder, his shifting allegiances make perfect sense.

I agree about Dunaway.

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