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Topics - dave jenkins

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Off-Topic Discussion / DTL Encyclopedia
« on: May 23, 2023, 12:03:45 PM »
binoculars - A tool for seeing, essential for surveillance. Also a medium through which to film.

Busan - Large coastal metropolis where the first half of DTL takes place. The hero works there during the week and goes home to his wife on the weekends. In order to live with his wife full time, he takes the decision to leave and gets reassigned to Ipo, where the second half of the film occurs.

cellphone conversations - they add an extra layer of texture to the film's sound design.

chainmail glove - very handy when fighting a man with a knife. Hae-joon has one.

CHUNG Seo-kyung - co-writer of DTL. She has co-written all of Park's films since Lady Vengeance (2005).

cigarettes - The heroine smokes; the hero gave it up. Still, the activity allows them to bond.

crow feathers - The hero, on stakeout, discovers a crow that a stray cat (being fed by Soe-rae) has killed. The detective hides when Soe-rae approaches; she too finds the dead bird, and then buries it. Ever after, crow feathers turn up near Hae-joon (on his desk, as a bookmark, etc.)

Confucius - according to this ancient sage, some folks are mountain people, some people favor the sea. Throughout the film, sea and mountain images abound. It would seem that Hae-joon is associated with high places (he chases one suspect uphill; another he corners on a roof), and Song Soe-rae is a water being. But there is some ambiguity here, as Song Soe-rae also identifies with a Korean mountain (where she scatters the ash of her mother and grandfather). A striking image at the end of the film shows water from an incoming tide washing away a mound of sand.

cooking - Hae-joon is a good cook, and makes a point of preparing delicious, nutritious food for his women. His efforts are appreciated.

Decision to Leave - the title has obvious significance at the end of the film, but does it also somehow apply at other points in the story?

declaration of love - According to Song Soe-rae, Hae-joon once declared his love for her, but he doesn't remember having done so.

dress - In the second half of the film, Song Soe-rae wears a dress that some people think is blue, some think green, like the color of the ocean. Soe-rae finally burns it.

eyes - In a film that's so visually rich, it isn't unusual to focus attention on eyes. There is also of course a surveillance theme. Hae-joon is frequently shown putting drops in his eyes.

fentynal - Song Soe-rae's poison of choice.

Granny Hae-dong [Jung Young Sook] - Amusing senior who provides Jang Hae-joon with an important clue.

HONG San-o [Jeong Min PARK]- Murderer pursued by Jang Hae-joon. When cornered, he prefers to jump to his death rather than go back to prison. I guess he made his . . . decision to leave.

ice cream - Soe-rae's supper of choice.

Ipo - Korean riverside town where the sun never shines in the morning. Reported to be the inspiration for the song "Mist."

JANG Hae-joon [PARK Hae-il] - Homicide detective investigating the murder of Song Seo-rae's husband(s).

Jeong-ahn [LEE Jung-hyun] - Hae-joon's wife, who works at a nuclear reactor. After making her decision to leave she departs with a bag of pomegranate seeds and a turtle.

Ki Do-soo [Seung-mok YOO] - First husband of Song Seo-rae. He inscribed everything he owned with the initials "KDS." Jang begins to sympathize with Seo-rae when he discovers that those initials have been tattooed on her belly.

Martin Beck - The hero of a series of Swedish crime novels by the married writing team Maj Sjowall and Per Wahloo. There is a stack of these books in Jang Hae-joon's Busan apartment.

"Mist" - a song recorded by Yoon Jeong-hee in 1967, later covered by Song Chang-sik. For this film, the artists were brought together to perform the song as a duet, which plays under the final credits. Snippets from the original version of the song are heard twice in the film. The director has said the song was the inspiration for the film.
I walk alone
on this misty street
Sometime ago, you were so sweet
and your silhouette too
Oh, oh, oh . . .
Where did he go?

Mountains - Soe-rae's first husband dies falling off a mountain. We learn there is another mountain in Korea that holds a special significance for Soe-rae's family, and later Song Soe-rae goes there to spread the ashes of her grandfather and mother. Two violent confrontations occur on elevated structures. High places, in the film, are associated with death and violence. In archetypal thinking, mountains, because they are phallic, are associated with men.

nuclear reactor - Hae-joon's wife works at one. Such a place also provides the setting for a popular Korean TV show.

PARK Chan-wook - Director of DTL. His other films include Old Boy, Thirst, and The Handmaiden.

PARK Hae-il - The male star of DTL. He also played the principal suspect in Memories of Murder.

pomegranates - the red color suggests blood; in the scene where the detective and his wife cut open several in a large pile, the knife work puts us in mind of carnage.

repetition - a technique used throughout the film.

sand and surf - an image near the end of the film shows the incoming tide gradually wearing down a mound of sand.

Shima sushi - The meal shared by detective and suspect during their first interogation scene together.  "Shima" means island.

silhouette - After "solving" her case, Hae-joon is encouraged by Song Soe-rae to destroy the pictures of her taken when she was under his surveillance. He fights to keep one although it is difficult to see because it's so dark. He argues that her silhouette is pretty, and he retains it. Later, at the beach, digital trickery will produce Soe-rae's silhouette in the tide as it breaks on shore.

Slappy [SEO Hyun-woo] - a goon who likes to hit women but who also venerates his mother. His mom was swindled by Song Soe-rae's second husband and as a result her health began to fail. Slappy promises that if the old woman dies, he will kill the one responsible. This piece of information is not lost on Song Seo-rae.

sleep - The hero has trouble sleeping. The heroine, who trained as a nurse, helps him fall asleep twice, once in his Busan apartment, and once in Ipo as they ride together in the back of a police car.

SONG Seo-rae [TANG Wei] - The mysterious heroine of DTL. Did she kill her first husband? What about her second? Anyone else? Does she love the hero? Why did she make her decision to leave?

Songgwangsa Temple, Suncheon-si, Jeollanam-do, South Korea - Budhist temple visited by the hero and heroine while they are falling in love.

spoilers - this encylopedia is full of 'em.

TANG Wei - The star of DTL, an actress who first achieved international recognition for her performance in Lust, Caution.  Her other films include Late Autumn and Long Day's Journey Into Night. She's a real honey.

text messages - not merely a coneyer of information, now often an element of mise-en-scene, as it is here.

translations - Because Song Soe-rae is a Chinese immigrant, she often communicates in Mandarin. It is sometimes necessary to translate her language into Korean.

turtles - In Ipo, Hae-joon investigates the theft of the stock at a turtle farm.

TV - Clips from two Korean TV shows are shown, a historical drama and one about a nuclear reactor meltdown. Song Soe-rae takes her line  "Am I so wicked?" from the first.

Vertigo - There are some similarities between DTL and Hitchcock's film. PCW insists he did not have Vertigo in mind when he made his film, but acknowledges that they have points in common. I don't see the resemblance myself.

VFX - DTL is replete with them.

waves - the waves at the end of the film are anticipated by the wallpaper in Soe-rae's apartment; the same pattern is also on her notebook.

wedding bands - Song Soe-rae notices the detective's ring during their first encounter. When Soe-rae returns to work after her husband's death, the detectives, who are keeping her under surveillance, notice she is no longer wearing her wedding band.

Off-Topic Discussion / The Eight Mountains (2022)
« on: May 22, 2023, 05:05:21 PM »
The Eight Mountains (2022)

A film by Felix van Groeningen and Charlotte Vandermeersch, adapted from the novel by Paolo Cognetti.

He understood that I was not a casual walker, and discovering that I could even string together a few phrases in Nepalese, asked me why I was so interested in the Himalayas. I had a ready answer to that question: I told him that there was a mountain where I had grown up, and to which I was attached, and that it had fostered in me a desire to see the most beautiful mountains in the world.

"Ah," he said. "I understand. You are doing the tour of the eight mountains."

"The eight mountains?"

The man picked up a small stick and drew a circle with it on the ground. You could tell he was used to drawing it; he executed it perfectly. Then, inside the circle he drew a diameter, and then another perpendicular one bisecting the first, and then a third and fourth through the point of bisection, thus creating a wheel with eight spokes. I thought that if I had drawn that figure myself I would have started with a cross--that it was typical of an Asian to begin with a circle.

"Have you ever seen a drawing like this?" he asked.

"Yes," I replied. "In mandalas."

"That's right," he said. "We believe that at the center of the earth there is a tremendously high mountain, Sumeru. Around Sumeru there are eight mountains and eight seas. This is the world for us."

While he was speaking he drew outside of the wheel a small peak for each spoke, and then a little wave between one peak and the next. Eight mountains and eight seas. Finally, at the center of the wheel, he drew a crown which I thought might represent the summit of Sumeru. He assessed his work for a moment and shook his head, as if to say that this was a drawing that he had made a thousand times but that of late he had begun to lose his touch a little. Be that as it may, he pointed the stick to the center and concluded, "We ask: who has learned most, the one who has been to all eight mountains, or the one who has reached the summit of Sumeru?"

Off-Topic Discussion / Caligula: The Ultimate Cut (1980/2023)
« on: May 17, 2023, 04:37:10 AM »

Good news for families at Cannes who couldn't score tickets to "Indiana Jones and the Dial of Destiny" or "Elemental": Producer Thomas Negovan is bringing "Caligula" to Paris!

"Caligula: The Ultimate Cut" will make its debut at this year's Cannes Film Festival. The entirely new edit, created from scratch using over 90 hours of original camera negatives and audio recorded on-location, will feature copious never-before-seen footage featuring Helen Mirren, Malcolm McDowell and Peter O'Toole. This cut ? running 157 minutes ? will presumably hew closer to what the audience was supposed to see, and what the actors believed they were making, forty years ago.

Negovan will work in partnership with Kirkendoll Management, LLC and will offer this new cut of what was back in 1980 the most expensive independent film in history. The $17.5 million flick, self-financed by Penthouse founder Bob Guccione, was intended to be a "new kind of film," according to Guccione, combining art and sex.

Guccione took control of the project and junked the script, while attempting to create an edit that incorporated adult content shot after the mainstream actors completed filming their respective roles. Director Tinto Brass and writer Gore Vidal sued to have their names removed from the picture, while the composer and editor refused to take credit.

Variety called the picture a "moral holocaust," while the late Roger Ebert disparaged the movie as "sickening, worthless trash." However, it broke box office records and became synonymous with decadent spectacle, as the Guccione-driven edit became a kind of cinematic folk tale.

Malcolm McDowell stated in a 2007 Penthouse interview that he was "proud of the work I did in 'Caligula;' there's no question about that." He further noted in the magazine interview that "There's all the raunchy stuff, the blatant, modern-day porn that Bob introduced into the film after we'd finished shooting. That to me was an outrageous betrayal and quite unprecedented."

Helen Mirren called the movie "an irresistible mix of art and genitals" and enjoyed the experience of making the film, despite describing showing up to work as the equivalent to being sent down to Dante's Inferno. She also claimed she vomited immediately after meeting co-star Peter O'Toole in his all-too-convincing costume as the syphilitic Emperor Tiberius.

"The stories about 'what Caligula could have been' are legendary in film circles," says Negovan. "In this new edit honoring the original script, Malcolm McDowell's 'Caligula' starts as a frightened young man who eventually seizes power, but then finds himself in the inescapable pull of deviant behavior, progressively becoming unmoored from reality and ultimately coming to terms with himself in an existential sense."

Negovan went on to say that "All of these elements, this entire narrative arc of the character, are completely absent from the version of the movie the world has known for decades. Malcolm McDowell is a powerhouse actor at the top of his craft in this film, and I'm excited for the breathtaking performance he crafted all those years ago to move from the realm of myth onto the big screen."

Off-Topic Discussion / MI 7: Dead Reckoning (2023)
« on: May 09, 2023, 04:56:39 AM »

Off-Topic Discussion / 2022 Best Films
« on: January 06, 2023, 06:07:39 PM »
I couldn't find 10 feature films I liked this year, so you'll have to settle for my favorite nine. In descending order of preference:

The Batman
The Menu
Emily the Criminal

Off-Topic Discussion / Copenhagen Cowboy (2023)
« on: January 05, 2023, 09:51:50 AM »

Off-Topic Discussion / Arsene Lupin films
« on: December 27, 2022, 05:06:19 PM »
Kino in February are bringing out something they're calling The Arsene Lupin Collection.

This collection includes the following three films:

THE ADVENTURES OF ARS?NE LUPIN (1957) Color 103 Minutes 1.37:1
Lupin engages in a series of daring criminal schemes. His activities arouse the interest of Kaiser Wilhelm II of Germany, who offers Lupin a challenge: to steal a jewel of great value from a secret hiding place. Should Lupin accept the wager? Starring Robert Lamoureux, Liselotte Pulver and O.E. Hasse; directed by Jacques Becker (Casque d?or, Touchez pas au grisbi).

SIGNED, ARS?NE LUPIN (1959) B&W 99 Minutes 1.66:1
At the end of the Great War, Lupin resumes his mischievous lifestyle with zeal. The theft of three paintings committed by an adversary leads him to the mysterious treasure of the Golden Fleece. Starring Robert Lamoureux, Alida Valli and Jacques Dufilho; directed by Yves Robert (War of the Buttons, The Tall Blond Man with One Black Shoe).

ARS?NE LUPIN VS. ARS?NE LUPIN (1962) B&W 111 Minutes 2.35:1
Lupin is dead! And soon after he has been laid to rest, his two sons, Fran?ois and G?rard, decide to go into their father?s profession in order to rescue some gems for a gorgeous princess. Starring Jean-Claude Brialy, Jean-Pierre Cassel and Fran?oise Dorl?ac; directed by Edouard Molinaro (Back to the Wall, La Cage aux Folles).

I haven't seen the b&w films, but the color one is a winner. And who doesn't want to add another Becker title to their library?

Once Upon A Time In The West / OUATITW in 4K
« on: December 14, 2022, 05:41:32 PM »
I'm reading on another forum that OUATITW is available to stream in Dolby Vision 4K on Vudu. For those suitably equipped (not me), this must be a big deal.

Off-Topic Discussion / Sight & Sound Polls 2022
« on: December 01, 2022, 04:10:58 PM »
Jeanne Dielman is the new #1? As titoli would say, Yeah, sure.

This list is a little better:

Off-Topic Discussion / John Wick Chapter 4 (2023)
« on: November 11, 2022, 06:30:12 PM »

Hmmm, IMAX. I'll have to drink about that ....

Off-Topic Discussion / Cinema Speculation (Tarantino book)
« on: November 01, 2022, 12:32:22 PM »
QT reviews the classics. The classics being (in chronological order) Bullitt (1968), Dirty Harry (1971), Deliverance (1972), The Getaway (1972), The Outfit (1973), Sisters (1973), Daisy Miller (1974), Taxi Driver (1976), Rolling Thunder (1977), Paradise Alley (1978), Escape From Alcatraz (1979), Hardcore (1979), The Funhouse (1981).
Keeping the rules of Fair Use in mind, here's QT's (digest version) take on Bullitt:
Peter Yates' film doesn't quite have the same zeitgeist position it enjoyed through the last decades of the twentieth century. While a lot of people born since 2000 may have heard of it, and they probably have heard about its famous car chase, that doesn't mean they've seen it. I'm old enough to have actually seen Bullitt at the cinema when it came out. Which means I saw it at six. I don't remember the movie. I remember the car chase. And that's what most people usually remember about Bullitt. But they also remember how cool Steve McQueen was as Frank Bullitt, his cool clothes, his cool haircut, and his cool Ford Mustang. If they had a sense of the movie, they also might remember Lalo Schifrin's terrific jazzy score (the type of score Quincy Jones tried to do for years and always failed miserably at). The one thing they don't remember is the story. Bullitt does have a story. But it's not a memorable story, nor does it have anything to do with what you respond to in the movie.
You might think the lack of a memorable story would count against the film. QT explains why that ain't necessarily so.
We don't give a shit who killed the homosexual in The Detective, we don't care who killed the hooker in They Call Me Mr. Tibbs!, we don't give a fllying fuck what happens to Madigan's gun, and we know exactly who killed Peppard's wife in Pendulum, and we can't believe it takes the movie as long as it does to figure it out.

Yet since Yates cares so little about the crime story at the center of Bullitt, it suggests he knows we don't care either, and that suggests a bohemian hipness that was unusual in a Hollywood crime movie. A light Hitchcockian thriller could ultimately be laissez-faire about the McGuffin the film's characters chase one another over, but not a violent-bloody-cop-picture.

Hey, I think this Tarantino guy is on to something.

He's got a great observation on Taxi Driver at the end of that chapter, too:

Scorsese further clarified to Thompson his intentions in regard to the audience when he was making Taxi Driver: "The idea was to create a violent catharsis, so they'd find themselves saying, YES KILL, and then afterwards realize, OH MY GOD NO."

. . .

But . . . if the goal was "OH MY GOD NO," then show a movie about a man who spends the entire movie speaking about cleaning up the scum of the city, and demonstrate that it's black males he considers the scum of the city. Then at the climax he kills a bunch of black males because of their defilement of a young white girl and is turned into a hero by the very same city (i.e. white society).

That would have been viewed by audiences as OH MY GOD NO!

And that would have been The Searchers.

QT then follows up with a whole chapter called "Cinema Speculation: What if Brian De Palma Directed Taxi Driver Instead of Martin Scorsese?"

Gonna go read that one right now . . . .

Off-Topic Discussion / Carnegie Hall (1947)
« on: October 19, 2022, 05:19:42 AM »
Carnegie Hall (1947) - 7/10. A widow (Marsha Hunt) works as a cleaning woman in Carnegie Hall while raising a son who she hopes will grow up to be a great pianist. The son, though, would rather play jazz.  Edgar G. Ulmer directed this film.

Watched this for the first time and it's a very unusual film. What I heard is that Ulmer wanted to film performances at Carnegie Hall but couldn't get a feature out of it unless there was a story. So he found a story, which kind of works, but is the least interesting aspect of the film. Funnily enough, this came out in 1947, the same year as The Red Shoes. What was everybody smoking that year?

This is available on an out-of-print Kino DVD. Included on the disc is the written text Carnegie Hall: Its Music and its Teaching Possibilities - Detailed Program Notes compiled by the National Film Music Council 1947. Apparently, educators back in the day thought the movie had possibilities for the classroom. For our purposes, it now provides us with a detailed synopsis of the movie. Cue copious filching:

The Second Movement of Beethoven's Fifth Symphony is the first music heard . . . . It is played during the showing of the titles and is then replaced by the familiar sounds of the tuning up of an orchestra as the camera takes us into the hall . . . . Inside we hear "Tony Salerno" [Hans Yaray] rehearsing the Last Movement of Tchaikovsky's First Piano Concerto in B Flat Minor.

Nora (Marsha Hunt), a woman who works in the Hall cleaning, gets noticed by Tony. They have a first date.

Nora recalls her first visit in 1891, an orphan child just arrived from Ireland. Flashback: A concert is in progress celebrating the opening of Carnegie Hall. The orchestra is playing the Lenore No. 3 Overture by Beethoven.

Tschaikovsky is the guest conductor. He raises his baton and we hear a portion of the First Movement of his Piano Concerto in B Flat Minor.

Tschaikovsky himself couldn't do the scene (production limitations), so they had to use an actor, but for all the rest of the film the performers and conductors play themselves.

The story returns to the film's opening period, 1909. Tony takes Nora to a party where all the guests are musicians. Like all good musicians on their night off, they provide their own music.

They play part of the Second Movement of the Schumann Quintet in E Flat Major. They begin with the second theme. While the first theme is also heard as the movement continues, the former remains in the listener's memory as it is used in the background music of the subsequent scene where Tony carries Nora in bridal dress over their threshold.

Time passes. Young Tony arrives. His father is killed in a fall. Nora devotes her life to her son's musical education. A Carnegie Hall program tells us it is the Seasn of 1913-14. We hear the orchestra from within playing a brief excerpt from the Seond Movement of Beethoven's Fifth Symphony.

At home, young Tony is practicing the First Movement of Haydn's Sonata in F Major.

Tony next plays a portion of Mendelsshon's Spinning Song.

Then comes the first big musical treat, the Prelude to Die Meistersinger performed by the New York Philharmonic Orchestra under the baton of Bruno Walter.

The film continues to be a musical feast presenting, practically uninterrupted by the story, eight musical masterpieces. Part of the exquisite Rachmaninov Vocalises are heard as we are brought into the hall, after reading a billboard announcement that Lily Pons is to sing at Carnegie Hall. We are shown a program and learn she will also sing The Bell Song from Lakme by Delibes.

We pass through a dissolve to Ms. Pons in performance.

The Swan from the Carnival of Animals by Saint-Saens is next performed by Gregor Piatigorsky. This well known melody is glamorized by having an ensemble of harps relaces the usual piano accompaniment. It gives the young cellists [in the audience] an excellent opportunity to watch the fingering and bowing of this great artist and all of us a chance to hear and watch Piatigorsky play his famed Stradivari cello.

Not only do famous musicians appear in this film, famous instruments cameo as well! At the time the film was made, that cello was 250 years old.

Rise Stevens performs two operatic arias well suited to her vocal and dramatic talents. Like Miss Pons, she is accompanied by a concert orchestra conducted by Charles Previn, Director of Music at Radio City Music Hall. We first hear her as she is completing the introduction and starts the principal melody of Delila's famed song which finally seduces the powerful Samson in the second act of Saint-Saen's opera.

The Seguidilla from Act I of Carmen by Bizet follows.

The Fourth Movement of Beethoven's Fifth Symphony is introduced by a broadcast of the New York Philharmonic Symphony Orchestra under the direction of Artur Rodzinski. We are taken into the hall over the radio antennae as the orchestra is playing the last part of the Third Movement which goes directly into the Fourth.

The picturization is excellent with many interesting views of the orchestra in action and splendid opportunities for studying Rodzinski's conducting.

For many, the high point of this picture will be the playing of Artur Rubinstein. Here we have no wandering cameras. There is no need for them, for Mr. Rubinstein's playing is the essence of action and drama. It is a visualization of piano playing in the grand manner. His prodigious technique is exemplified throughout, particularly in the difficult passages for the left hand in the Chopin Polonaise. The quick flash of his small eyes gives us glimpses of the working of his mind, the mind that makes his masterly musicianship possible. On the other hand his poetic temperament is mirrored in the melodic passages as the camera shifts from the keyboard and allows us to look directly in his face.

Nora has been promoted to an office position and Tony has grown to young manhood. At his piano in their new apartment in Carnegie Hall Tony (now William Prince)  is heard jazzing Chopin's Waltz in C# Minor Op. 64 No. 2. In horror Nora reprimands him . . . To please her, Tony plays Chopin's Nocturne (posthumous).

This scene sets forth the conflict that will dominate the rest of the picture: whether, to please mom, Tony should stay the course for his Carnegie Hall classical debut, or whether to seek personel fulfillment by striking out on his own as a jazzer.

Tony, while accompanying Jan Peerce in Carnegie Chamber Hall, meets Ruth (big band singer Martha O'Driscoll) who is there for an audition [which we miss]. Peerce sings O Sole Mio by diCapua.

Meanwhile, Tony drinks Ruth up with his eyes. Hey, Mom never told me about women!

Tony takes Ruth to the studio of Ezio Pinza. The famous basso is having difficulty in completing his costume for Don Giovanni. Surrounded by ladies, he entertains them by singing a portion of the lament "Il Lacerto Spirito." Qucily changing the mood, he sings the rollicking song "Finch' Han Dal Vino," Act I Scene IV of Mozart's Don Giovanni.

An interesting bit of comedy is introduced here. Tony needs money to take Ruth out and wants to touch Pinza for it. He scribbles a plea on the sheet music and asks the man to check a passage. Pinza reads the note and wordlessly indicates he's always ready to help a couple of lovers out. While singing he moves about the room searching for a five dollar bill. He finds it in a woman's purse and then surreptitiously passes it to Tony, hiding the action with the expressive gestures he uses as he sings. It's pretty funny.

With Pinza's rich vibrant voice still ringing in our ears, the story takes us to the night club where Ruth is singing. We hear Vaughn Monroe sing "Beware My Heart" in the crooning baritone in vogue for such music [then].
Ruth introduces Mr. Monroe to Tony, and learning Tony is a pianist, invites him to sit in with his orchestra. Monroe is so impressed with Tony's playing that he invites him to join the band for an upcoming tour. Tony says yes, but what will mom think?!!!!!

We return to Carnegie Hall to hear a glorious performance of a major portion of the First Movement of Tchaikovsky's Violin Concerto in D Major, performed by Jascha Heifetz, with Fritz Reiner conducting.

After the performance, Heifetz finds Nora backstage and congratulates her on the work she is doing to encourage new musicians. Nora demures. "It's not me," she says, "It's Carnegie Hall." "Nora," says Heifetz, referring to her lifetime commitment to the place,"you ARE Carnagie Hall." This should have cued the Twilight Zone theme, but Nora just smiles.

The last conductor, Leopold Stokowski, is no stranger to moviegoers. Here Stokowski is, as usual, a combination of showman and artist. The camera dramatizes his hair and focuses particularly on the expressiveness of his hands. Carnegie Hall offers a fascinating study of hands: the dramatic demanding hands of Rodzinski, the sureness and agility of Piatigorsky's left hand, the strong muscular hands of Rubinstein, the facile flexible fingers of Heifetz and the weaving emotional hands of Stowkowski. Students will be interested in observing his conducting of the final measures of the Second Movement of Tchaikovsky's Fifth Symphony. There is no definite beat or release; instead a contour of curves which gradually fade the music beyond our hearing.

At the end a young American composer appears on the podium to conduct his own composition, "57th Street Rhapsody," featuring Harry James on trumpet, a bit of sub-Gershwin. Can you guess who that putative young composer is?

This is definitely not a film for Groggy. Drink, OTOH, might like it.

Off-Topic Discussion / Decision to Leave (2022)
« on: September 28, 2022, 02:28:42 PM »

Opens stateside next month!

Off-Topic Discussion / J-L G R I P
« on: September 13, 2022, 04:36:06 AM »
He made a couple of films that mean a lot to me. He also made tons of crap. Fair enough.

And he made it to 91. Good for him.

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