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: Rate The Last Movie You Saw  ( 2736808 )
dave jenkins
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« #18255 : March 28, 2019, 04:40:52 AM »

A thought crossed my mind during all this discussions about Citizen Kane. Is it just me but it always seemed to me that Susan Alexander Kane operatic singing was just awful, and it's repeatedly awful over and over.
CJ, at the rehearsal at the Chicago Opera House, when Susan is practicing, the camera rises up through the rafters to reveal two workers high up. One turns to the other and holds his nose. There's nothing subtle about this signal.



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« #18256 : March 28, 2019, 04:52:51 AM »

The Quiller Memorandum (1966) - 8/10. Guinness, Segal, von Sydow, Senta Berger, playing spy games in Berlin. I can see why some people don't like this: it apes genre conventions without fulfilling them. But it's a mistake to see this as something that should be on a double bill with, say, Funeral in Berlin. The better pairing would be with Accident, from another Pinter script. The espionage tropes are really there to comment on modern male-female relationships. Granted, not everyone's cup of venom. The new restoration/transfer on the TT blu looks great.



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« #18257 : March 28, 2019, 06:42:25 AM »

A thought crossed my mind during all this discussions about Citizen Kane. Is it just me but it always seemed to me that Susan Alexander Kane operatic singing was just awful, and it's repeatedly awful over and over.

I thinking now that she was awful like Marguerite the French Film and the more recent Streep film about Florence Foster Jenkins, a New York heiress who dreamed of becoming an opera singer, despite having a terrible singing voice. It was Kane's newspapers and promotion and money that created a false fame.

Precisely the point.

Kane is  trying to force her to become an opera singer, even though she is terrible and she knows she is terrible and she wants nothing to do with it. But he likes to get his way and manipulate people, so he thinks he can force her to become a star.


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« #18258 : March 28, 2019, 06:48:21 AM »


Kane is  trying to force her to become an opera singer, even though she is terrible and she knows she is terrible and she wants nothing to do with it. But he likes to get his way and manipulate people, so he thinks he can force her to become a star.
And force the public to accept her as a star.



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« #18259 : March 28, 2019, 08:00:44 AM »

Precisely the point.

Kane is  trying to force her to become an opera singer, even though she is terrible and she knows she is terrible and she wants nothing to do with it. But he likes to get his way and manipulate people, so he thinks he can force her to become a star.

Also I had totally forgotten that she says HER MOTHER wanted her to become an opera singer.



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« #18260 : March 28, 2019, 08:18:58 AM »

And force the public to accept her as a star.


Right

He says the famous line elsewhere, That the people will think whatever he wants them to think


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« #18261 : March 28, 2019, 11:53:45 AM »

CJ, at the rehearsal at the Chicago Opera House, when Susan is practicing, the camera rises up through the rafters to reveal two workers high up. One turns to the other and holds his nose. There's nothing subtle about this signal.

You see, I haven't watched it in a while. I may have took it to mean they just didn't like opera in general. That just enforces it, thanks


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« #18262 : March 29, 2019, 02:23:17 AM »

The Quiller Memorandum (1966) - 8/10. Guinness, Segal, von Sydow, Senta Berger, playing spy games in Berlin. I can see why some people don't like this: it apes genre conventions without fulfilling them. But it's a mistake to see this as something that should be on a double bill with, say, Funeral in Berlin. The better pairing would be with Accident, from another Pinter script. The espionage tropes are really there to comment on modern male-female relationships. Granted, not everyone's cup of venom. The new restoration/transfer on the TT blu looks great.

The old UK blu-ray is pretty bad, good to hear there's a new restoration out there. I rated it 7/10, but I honestly can't remember much of it aside from feeling George Segal wasn't the right actor for the character.


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« #18263 : March 29, 2019, 04:48:52 AM »

Monsieur La Souris / Midnight in Paris (1942) - 6/10. Raimu is a homeless man in Paris (with nary a Nazi in sight!) who witnesses a murder--and then solves the whodunit. The plot isn't much, but Raimu gets a lot of good lines. Faintly amusing.



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« #18264 : March 29, 2019, 06:23:28 AM »

"Tomorrow the World" 1945
Interesting made during wartime film, with American scientist accepting his orphaned nephew from Germany.  It turns out that arrogant "superior" nephew (Skippy Homeier) is a fervent Hitler Youth, and scientist has jewish fiancee.  Of course nephew hates the fiancee and same with polish kid from the school who helps with the laundry while his mother works in a defense plant.  So yes, a propaganda film, and chilling in spots.

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« #18265 : March 29, 2019, 06:41:39 AM »

"Tomorrow the World" 1945
Interesting made during wartime film, with American scientist accepting his orphaned nephew from Germany.  It turns out that arrogant "superior" nephew (Skippy Homeier) is a fervent Hitler Youth,
Wow, wasn't it Skippy who was Nazi #2 in Trek's "Patterns of Force?" Talk about type casting!

« : March 29, 2019, 09:54:51 AM dave jenkins »


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« #18266 : March 30, 2019, 08:50:11 AM »

The Final Master (2015) - 2/10. What's with this hot mess? It's supposed to be about a guy who wants to start a Wing Chun martial arts school but must first get the approval of the other schools in town by fighting them. Except the story quickly veers away from this premise into something completely inscrutable. I'm sure the filmmakers understood the story they were telling--too bad they couldn't be bothered to share it with the audience. It would have been OK if we'd had some good looking fight scenes to watch (as in The Grandmaster) but the film is cut in such a way that you can never really enjoy what you're viewing. Well, actress Jia Song is easy on the eyes, but she's in other films--I'll watch those before I ever return to this turkey.



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« #18267 : March 31, 2019, 02:17:25 PM »

Wildlife (2018) - 10/10. In 1960, in a small Montana town, a 14-year old boy witnesses the dissolution of his parents' marriage. Beautifully filmed and wonderfully acted, the film accurately evokes that earlier era. Not really my kind of thing, but I cannot deny the art and craft built into this. First-time director Paul Dano makes some amazing choices. One scene, for example, has a character go to a job interview only to find there is no job to interview for. A want ad had been printed in error, and the secretary/receptionist is tired of turning away hopeful candidates so she isn't even bothering to get up from her desk anymore to talk to applicants. Her desk is in another room only visible to the applicant (standing at the front counter) through an open door. The scene plays out with one character at a counter talking through the open door to the secretary in the other room; we never see the secretary except through the door; she doesn't move and there are no close-ups of her. This is one example of many where inventive blocking and/or camera angles are used in place of the usual clichés. I didn't like the story--the kid takes forever to figure out his mom is cheating on his dad--but the technical excellence of this work will be drawing me back for multiple re-watches. Kudos to Dano and his wonderful cast and crew.



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« #18268 : March 31, 2019, 07:32:23 PM »

Wildlife (2018) - 10/10.

Not really my kind of thing, but I cannot deny the art and craft built into this.

are you saying it wasn't entertaining but is still art?  ;)


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« #18269 : April 01, 2019, 04:40:34 AM »

It was entertaining visually, not narratively.



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