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DannytheWall last won the day on October 19 2018

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  1. DannytheWall

    Snow White and The Seven Dwarfs

    I'm listening to the podcast tomorrow. Did they also bring up the fact that Snow is canonically 14-years old as well? If not, sorry for the mic drop! It's past midnight in my part of the world and I'm going to bed
  2. DannytheWall

    Snow White and The Seven Dwarfs

    Yup. That's why I said this movie is a hard sell for 2019 audiences. And it's not just for plot and character problems. Those things are just part of the aesthetic of the times, the same kind of aesthetic of color, light, editing, etc. So no fault for disliking it at all. I'm certainly arguing more because there are bits that I do like, and generally how much I like the medium itself. No fault to what started the conversation; I generally don't like discussions that JUST center on "should it List?" and would prefer to see it as an opportunity to talk about the films in general as they come up. Well, to be fair the dwarfs don't really have any agency, either. They come home from work and all this stuff's already done for them. They do a song, I guess? Then they come to Snow White's rescue (too late), and to fight the Queen, but nope, it's bad weather and gravity that does her in. They put Snow on a bier, I guess? The only one actually doing any agency things here is the Queen. Maybe she just needs a Maleficient-style makeover. After all, we don't actually see a body. Snow White 2: The Re-Appling
  3. DannytheWall

    Snow White and The Seven Dwarfs

    My reading of A. A. Ghost's post what less that it was meant to draw you into to watch more of the catalogue of movies, but it was representational of what the catalogue could offer. That being said, there's enough going on with Snow White in terms of technical achievements, story structure or tropes, and craft-like stuff like that which could certainly draw people into watching more of the same catalogue. Animation as a medium itself benefits from its legacy, and any number of animated films that still have an "ending" can draw people in to watch other films in the oeuvre. That's certainly happened to me as a little kid.
  4. DannytheWall

    Snow White and The Seven Dwarfs

    That's a very interesting idea! I'd love to dig into that "what's a stand-in" a bit more. Snow White might indeed be a contender. I do wonder how much, however, it presumes that it must have a princess in order to be something quintessential. Because if that's so, and I get to consider all of Disney's animated films to date, I might say that Beauty and the Beast would take that title. What's more interesting is to consider if we really need a princess to be a stand-in. After all, Disney's last animated film was Jungle Book in the late 60s, meaning there was only three Disney princess at all in that 30 year period -- Snow White, Cinderella, and Sleeping Beauty. The "mythos" of capital-D Disney was really part of the re-invention of the company in the late 80s with Michael Eisner and the so-called Disney Renaissance that banked heavily on what would be corporate synergy and branding and any number of other corporate buzzwords. Walt Disney himself would likely consider films like Fantastia, Dumbo, and Bambi as much more worthy of what should be contenders (in that he's often gone on record as these are his favorite films) for representational "stand ins," and I'll probably stick with those myself.
  5. DannytheWall

    Snow White and The Seven Dwarfs

  6. DannytheWall

    Snow White and The Seven Dwarfs

    I love animation, especially hand-drawn, so I'm happy that there's at least one for discussion in this list That said, I know Snow White out of all of them is a hard sell for audiences in 2019. Not the least of which is the dated style of acting with such a heavily rotoscoped performances by the human actors. It's probably my predilection, but the film only really comes alive with the relatively more freeform and cartoony dwarfs, which of course have all the personality and charm. As for the debate whether it's legacy should be a strong (if not sole) criteria for inclusion in the list, it's the same for any of the "old" movies. It was certainly a selling point for City Lights if it arguably set the standard for rom coms ever after. I think there's enough to make Snow White a worthy inclusion on its own merits, although certainly I can rattle off any number that would be more sophisticated technically as well as story wise. And I fully admit that rewatching this film makes me yearn to watch Enchanted
  7. DannytheWall

    The Graduate

    So much to add to what's being said, but always late to the game LOL Just to add to the "why him" and presumption of motives for Mrs Robinson, I'd offer something regarding recent psychological studies regarding predatory behavior. These find that perpetrators are driven less by sexual attraction and more by the power dynamics. That tracks in Mrs Robinson's case, fictional as it is, in that she is/has been trapped into her marriage (and really, the whole "old world" the film is indicting) and finding some semblance of control by manipulating and maintaining the relationship with Benjamin. (Tangent- at least once later calling him Benjy as a diminutive) The one time she can't control him starts as Benjamin demands a conversation, and that's the tipping point. In the last act, she tries the same tactics, with calling the police, the story of rape, etc., but Benjamin has overcome this. The theme of control defines Benjamin too, from the first shot of him on the belt, literally drifting through life at the pool, and then the (really terrible!) pursuit of Elaine. In fact, it's all about control. The only (?) reason that he wants Elaine is precisely *because* she is wrong, because she is the one thing that she's been told he *can't* have. All other aspects of his life don't seem to really be a choice, not even something like a career. The true choice is in not choosing, or better yet rejecting the false choices. I guess Elaine kind of does that too, at the end.
  8. DannytheWall

    Best of 2018: Listener’s Picks

    One of the best things about the Oscars is complaining about the Oscars. Looks like this year again will not disappoint.
  9. DannytheWall

    Best Of 2018: Blockbusters

    LOL That's not the impression I got from Amy's comments. (please note the smiley)
  10. DannytheWall

    Sunset Boulevard

    I could have sworn there was a Simpsons reference with Mr Teeny (Krusty the Clown's chip sidekick) in a funeral scene, but maybe that's just so likely that I can imagine it. But I knew I could count on this board to remember the Tiny Toons version. Someone beat me to it I think there was a Pinky & The Brain reference as well. And speaking of animation, don't forget Cats Don't Dance. This is really an overlooked gem that got caught up in a bit of a speculator bubble in the late 90s and not many people know of it. There's a lot of classic Hollywood there, and the butler has a Sunset Blvd relationship to the main villain, who's def a Baby Jane type ... https://www.youtube.com/watch?v=DdP3Itc6_Es
  11. DannytheWall

    Sunset Boulevard

    YES. Also, add in a healthy layer of meta in that the "movie-ness" of the dialogue is coming from people who work in the movies. They mention a bit of this in the podcast, but it's worth a highlight in my book as there's lines between text, subtext, and metatext are so intertwined. Also, disclosure: I've always liked Double Indemnity well enough, but think it's overrated and I don't want it crowding into any discussion of something that makes my Top 5. :)
  12. DannytheWall


    Hmm. About a quarter into the movie, I'm realizing my memories of this film are way off. Then I have to take way too long to realize I somehow blended it in my mind together with 2010's True Grit. Which reminds me, I really like True Grit far better than this.
  13. DannytheWall

    The Searchers

    This one broke me. Whereas I've been able to experience nearly 90% of this podcast by enjoying a re-watch before listening, this one was a completely new and unfamiliar film. Unfortunately, it just failed on every level to capture any interest of mine. For the first time in a long, long time, I couldn't make it through in one sitting. I found myself on the phone, then preferring to wander for some chores, then trying to rewind, then resorting to watching in small chunks, then just skipping to the last 10 minutes. I really appreciate listening to the podcast and coming to the boards afterwards, as it allowed me to understand other views, but it's just going to be an academic understanding, nothing personal. And I'm going to be a week behind everything thanks to the slog of Searchers. I didn't think any film would be at the bottom of my personal rankings below Swing Time, but congratulations "Suck-ers," you made it.
  14. DannytheWall

    In The Heat Of The Night

    Looking back over my personal ranking (I add each film after a rewatch but before i listen to the podcast) it's clear to myself why some films are at the top, and why some are at the bottom. That middle part gets really messy, and this film found its way into the middle. Interestingly, I couldn't find any place for it except next to Bonnie and Clyde. In The Heat gets the edge, however, from my personal reaction to the movie, and it was a very emotional viewing experience. That's all I want to say about that. Without that emotional resonance, however, I doubt I would have placed the film so high. While watching it, I wondered if it could have been the True Detective of its day. Well, the first season I mean. That also speaks to how cinematic our television series are these days. Having no Simpsons' reference? I took to TVtropes.org which usually has a section that lists any homages, etc. There weren't any, although they do name a whole trope They Call Me Mister Tibbs. They also had some interesting trivia that didn't come up in the podcast, although without any references cited I'm not sure how to vet the information. for example, the site claims Endicott was supposed to be a sympathetic character in the novel, but was changed for the sceenplay, and similarly in the novel Tibbs was a polite and non-confrontational character. Another tidbit was that Steiger didn't want to have to chew gum all the time, but grew to like the way it helped him act. Anyway, the TvTropes page is here https://tvtropes.org/pmwiki/pmwiki.php/Film/InTheHeatOfTheNight It also pointed out something I didn't notice at the time, the "Feet-first Introduction," where the audience doesn't see Tibbs fully until ten minutes into the film. I wonder if this is important thematically or just a dramatic choice by the director. And maybe it happened off screen, but I sure hope Tibbs called his mother.
  15. DannytheWall

    A Clockwork Orange

    Just because a film has ULTRAVIOLENCE in it, doesn't mean the film is "about" ULTRAVIOLENCE. (I like writing it in all caps every time. ULTRA!!) In this case it isn't, because ultraviolence doesn't *do* anything in the movie except being there for its own sake. It exists in the world at the beginning of the movie, is a feature of the world throughout, and still exists in him at the end. If everything is ULTRA then it's a fancy way of saying that nothing is, and if that's the comment that Kubrick is making it's way too meta and frankly kinda pointless to be expressed in that way. It might be a product of its times, it pushed boundaries as much as it could, and filmmakers and audiences today are capable of much more, making "Orange" unsatisfying by comparison. Take a look at the commentary that other movies "about" ULTRAVIOLENCE that are arguably more successful-- Oliver Stone's Natural Born Killers, Tarantino's Django Unchained, Robert Rodriquez' Sin City or even Game of Thrones...