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Author Topic: Rate The Last Movie You Saw  (Read 1768678 times)
dave jenkins
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« Reply #17070 on: May 06, 2017, 07:38:42 PM »

Jean-Pierre Melville 100, Film Forum
I can't make it Tuesday (sorry, Drink), so I went down today. The print was imported from France and didn't have regular subtitles; they made their own and had a specialist project them on to image as the film played. The print was a bit beat up but looked pretty good. It was a real b & w picture; not one of those b.s. high-contrast "restorations" we're always seeing now. A guy intro'd the film and asked if anybody knew if the film had ever been screened in NY before. The consensus was this was the first time. Tuesday may be the last time anyone here gets a chance to see it projected. Who knows when a home video version will come (apparently, even in France it's not available on DVD)? Drink, you should get down to FF and see this on Tuesday if you can. Leave work early, quit your job, cut your boss's throat--do whatever you have to do. Otherwise, all that praise you give Melville is just a pose.

When You Read This Letter (1953) – 8/10. A woman’s picture, shot by the great Henri Alekan using many authentic exteriors of the Cannes setting, the story is fantastic is both senses of the word. When her parents are killed, a novice, Therese (Juliet Greco), leaves her convent in order to take care of her younger sister, Denise. Meanwhile a mature woman with money, staying at the Carlton, is being pursued by Max, a young man out for the main chance. The paths of Max and Denise cross, and although she does what she can, Therese cannot protect her sister from this lothario. Eventually, though, Max decides he loves not Denise but Therese, but Therese isn’t having any. Max is thoroughly worthless, but a charmer. His three love interests are in various stages of self-deception as he flits among them. It may be Max will leave town with one of the women, but not without the promise of a large sum of money attached.

Ginette Vincendeau,  in Jean-Pierre Melville: An American in Paris (2003), finds character motivations in the film unconvincing. However she likes a lot of the mise-en-scene. “Particularly remarkable is a scene on the beach in which Therese, having pursued Max ostensibly to retrieve the money he has stolen, is finally seen to fall for his charm. Hit by a pebble Max has thrown at her . . . Therese falters and he holds her in his arms on the moonlit beach, with the sea in the background. The shot is held for an unusual two minutes and twenty-three seconds. Although Therese’s sudden change of heart seems badly motivated, the shot pictorially has a poetic charge which overrides narrative inconsistency. At that point too, Greco’s hair, which had hitherto been tightly pulled back, suddenly falls loose on her shoulders and she is finally her ‘real’ self, in the more familiar Greco image.” (42-43)

There are many, many more wonderful images in the film, a feast for the eyes. No one in the NY area should miss the chance to see this.

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« Reply #17071 on: May 06, 2017, 08:13:34 PM »

 Thanks for letting me know. I will try my best to make it

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« Reply #17072 on: May 07, 2017, 12:44:00 AM »

Rome, Open City (1945) 8/10



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« Reply #17073 on: May 07, 2017, 01:02:46 AM »

Street of Women (1932) 6/5/10

Saw this pre-Code movie on TCM.

Alan Dinehart, whom I;ve never heard of before https://en.wikipedia.org/wiki/Alan_Dinehart  plays a successful architect has three women in his life: His wife, with whom he is stuck in an unhappy marriage; his girlfriend, played by Kay Francis, whom he loves very much; and his daughter, played by Gloria Stuart, whom he cares for very much.

Dinehart would love to divorce his wife and marry Francis, but he does not want to do so as long as his daughter is single – he wants her to get married first and out of the house.

Eventually, Stuart falls in love with a boy, but far from solving things, it complicates things: the boy is Francis's brother.


The rest of this post will contain spoilers


Funny thing is, at the end of the movie, Dinehart is able to live openly with Francis. Of course, only in a pre-Code movie would it be that the "happy ending" is achieved that way, with the man able to live openly with his mistress.

This movie has all the problems of those early talkies, static sets, etc. But for a movie of that period it's halfway decent.



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« Reply #17074 on: May 07, 2017, 04:11:51 AM »

There's a problem with the film, though: it has both Keach's v.o. AND weird visions of his dead father and whatnot. Why does the v.o. never comment on the weird visions? In Murder My Sweet, for instance, when Marlowe gets all hopped up on juice he keeps talking even while we see all the strange stuff going on. Sometimes Marlowe talks about the strange stuff he/we see (e.g. the spider webs made by thousands of tiny spiders working together). But in The Killer Inside Me we either get the v.o. OR the weird visions, never the two together. It's like there were two different films made and then spliced together.

2010 has its problems, too. I don't think the definitive adaptation has yet been made.

How long ago did you watch it?

There aren't any visions they are all decipherable flashbacks. They start with him watching his mother through venetian blinds screwing around with other men. Another is of when he he's in bed one night and hears water dripping in the sink, he gets up to turn it off and sees his mother in bed with another man, he's watching them get it on when she notices and yells at him to get out but the man is freaked out and runs from the room. His mother then gets out of bed and begins to slap the shit out of him. He fights back and they both fall on the bed with him on top of her. Just then his father bursts into the room and assumes his wife is diddling his own son or that his son is raping his wife and then he begins to beat the shit out of him.

If you saw a TV broadcast of this it may have been cut.

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« Reply #17075 on: May 07, 2017, 04:12:32 AM »

Rome, Open City (1945) 8/10

Agree saw it on TCM also.

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« Reply #17076 on: May 07, 2017, 09:36:44 AM »

How long ago did you watch it?

There aren't any visions they are all decipherable flashbacks.
No. The first vision comes with Keach having coffee in the diner. Suddenly there is an older man sitting across the room looking at him. Keach looks back at the guy, unnerved. A telephone call from the station interrupts. When Keach gets up to leave, the old guy is gone. We figure out that the guy is his father (we later see his photographic image). The vision of the father, throughout the film, recurs. When the father shows up, he is very much in the present, NOT a flashback (although he may trigger flashbacks).

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« Reply #17077 on: May 07, 2017, 09:57:12 AM »

Danielle Darrieux 100, Jenkins Home Entertainment System

Mayerling (1936) - 6/10. The heir to the Austro-Hungarian Empire (Charles Boyer) is trapped in duties and a loveless marriage, so takes up with young lady at court (Danielle Darrieux). When the scandal threatens to separate them, the pair decide to die together. Fin. This handsomely mounted film doesn't have much more than impressive sets and costumes and the performances of the two leads, but those performances are pretty good. Boyer does imperiousness like no one else, and Darrieux--19 playing 17--is suitably doe-eyed to seem a sacrificial calf. A pre-Hollywood Anatole Litvak shot this in French.

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« Reply #17078 on: May 07, 2017, 04:05:58 PM »

No. The first vision comes with Keach having coffee in the diner. Suddenly there is an older man sitting across the room looking at him. Keach looks back at the guy, unnerved. A telephone call from the station interrupts. When Keach gets up to leave, the old guy is gone. We figure out that the guy is his father (we later see his photographic image). The vision of the father, throughout the film, recurs. When the father shows up, he is very much in the present, NOT a flashback (although he may trigger flashbacks).

He never shows up in the present, that I can remember, you watch the same film? Anyway I'm planning on watching it again either tonight or tomorrow, and report back.

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« Reply #17079 on: May 07, 2017, 05:27:36 PM »

He never shows up in the present, that I can remember
Your memory sucks.

Anyway, the point is the film uses v.o., weird visions, AND flashbacks to put over the plot. It's all too much. A more spare approach was indicated by the material. The Keach version is just too cluttered.

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« Reply #17080 on: May 07, 2017, 05:31:09 PM »

Your memory sucks.

Anyway, the point is the film uses v.o., weird visions, AND flashbacks to put over the plot. It's all too much. A more spare approach was indicated by the material. The Keach version is just too cluttered.

You sure it's not your memory that sucks? The film is very, very good and Susan Tyrrell is outstanding.  Wink

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« Reply #17081 on: May 07, 2017, 05:44:47 PM »

The Great Man (1956) 7/10


Jose Ferrer directed and starred in this film, loosely inspired by real-life TV/radio personality Arthur Godfrey.

Ferrer plays a radio host at a fictional radio/TV network. The network's big star, Herb Fuller, suddenly dies in an accident, and Ferrer and his agent, played by Keenan Wynn,  decide that this is their big chance, to get Ferrer to replace Fuller. They pitch the execs on the  idea of doing a memorial show to Herb Fuller, hosted by Ferrer,  with the assumption that Ferrercwill then take over Fuller's job.

Now, Ferrer - who did not really know Fuller - begins the process of speaking to people who knew Fuller and finding out about the man. Ferrer/Kynn had pitched the show as memorializing Fuller as an "every man," whom 150 million Americans loved because he was "one of them." But as he goes around talking to people and finding out about phones realized, he finds out that the guy was really one big fat crumb. The guy cheated in his wife with a bunch of girls, was rude and a jerk etc etc etc. The people who knew him largely hated him. Americans loved him .... what'll Ferrer do for the show? That's the dilemma.

This movie played on TCM. The image quality was not very good; the sound quality was terrible.

Every morning as Ferrer walks into work, he slaps the ass of the girl at the front desk and says, "Hey, Sexy!" I've never seen that in a 1956 movie.

This movie is as much about how much the media is able to manipulate the public as anything else. About public persona vs. private life. And about how foolish people are to fall for media crap.


SPOILERS FOR REST OF POST

This is pretty good, but I was disappointed in the ending: Ferrer dramatically, on the live memorial show, decides he can't go through with the bullshit, and he decides to tell America what a jerk Herb Fuller really was. So everything ends happily ever after. I would have preferred that Ferrer have the memorial show, telling America about THE GREAT MAN, just like Kirby York did for the deceased Col. Thursday in FORT APACHE. Ford did thta because it's good for the country to have heroes, even bullshit ones. I say here, if the theme is how much the media manipulates everyone, and how many "heroes" are bullshit, let's go with that all the way: It would have been much darker and better to have Ferrer decide to give the people what they want, rather than the happily-ever-after ending.

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« Reply #17082 on: May 07, 2017, 06:29:06 PM »

Susan Tyrrell is outstanding.  Wink
Yes, she is. I wondered when you'd finally get around to mentioning her. Or the fact that this is a reunion of sorts for she and Keach after Fat City.

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« Reply #17083 on: May 07, 2017, 07:41:10 PM »

Yes, she is. I wondered when you'd finally get around to mentioning her. Or the fact that this is a reunion of sorts for she and Keach after Fat City.

Ok about halfway through it, when Lou and his girlfriend Amy are out riding in the hills he tells her the last time he was out there was with his father. She replies that "you really must have loved him," past tense, so he's passed on.

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« Reply #17084 on: May 08, 2017, 08:03:55 AM »

DJ

Ok went through The Killer Inside Me completely. Only the final series of flashbacks, parts of which were previously revealed, get injected with a hallucination of the grown up Lou Ford replacing his mother's lover. It's right before the final denouement with Amy and the cops.

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