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DannytheWall last won the day on October 19 2018

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  1. SEVEN pages of comments!?! And I still have no idea what Team Sanity and Team Fred really are
  2. Ah, I enjoyed the episode-- such passion on both sides of the aisle, LOL. Despite it being all over the place I think it was Paul who pointed out that this was essentially a modern day horror movie. YES yes YES. That was the vibe I got several times throughout the movie, in particular at the end of the movie with the creepiest girl ever. Get Jordan Peele on this remake! Like Us's dopplegangers, Fred is both autonomous and bound to his creator. It's a kind of monstrous take on a Tulpa. (Standard disclaimer-- i say "monster" for entertainment purposes of this post, as it springboards from actual Tibetan Buddhist religious practice.) A Tulpa is created from the thought-forms of an individual, but becomes its own being. If you want to get really mystical, modern-day occult stuff might label Fred as an Egregore, a kind of Tulpa born from a collective group consciousness, which maybe explains why Fred is born from Elizabeth but can interact with all kids' imaginary friends and can then "leap" to another girl. Freddy Krueger for kids, indeed! Forget Tom Cruise's Mummy! The Universal Dark Universe should have been launched with Drop Dead Fred!
  3. Although the only other non-Country Bear we see was working the car wash waving down customers after drying their car. So, hmmm. By the way, the Disney wiki lists the Country Bear Hall in Pendleton, Tennessee. Since Ted the Bear is crashing at Elton John's place, it could be any of his two homes that are in the US-- Atlanta or Los Angeles. The four-day time frame makes the LA home difficult to believe (in a movie of talking bears) so I'll assume it's Atlanta. Still weird that Beary can RUN HOME but take a bus to and from the Country Bear Hall. Anyway... My observation was about the all-signing diner, which obviously is just too trippy to put into words. But really, why did Beary freak out when the police arrived there? He didn't have any reason to think they were looking for him. I'm thinking there must have been some REALLY dark scenes in the director's cut that we're missing. The real movie I want to see was the animated version that features the Bears versus aliens bent on dominating the world through mind control. That sounds like a WAY better movie. And for how old are the Bears, there's not that many clues from their time as a band. They presumably formed before 1972 (the date of the Disneyland attraction), had Rolling Stone interviews in 1983 and broke up in 1991 according to the movie. The 1972 date makes sense if the movie takes place in 2002, but Christopher Walken says they ruined him 30 years ago, which would be earlier than '72, wouldn't it? In any event, according to bearlife.org, a bear's life span is about 20-30 years, so proportionately, these Country Bears are pushing 80 in human years. So just picture Mick Jagger or Paul McCartney instead of anthropormophic bears. Likewise, even tho Beary is in fourth grade, in bear-years, that's like 20 or something. Was the whole "protecting the grass" thing a Willie Nelson reference? If anyone like tabletop roleplaying games, check out Honey Heist, a one-page storytelling game. https://www.docdroid.net/KJzmn5k/honey-heist-by-grant-howitt.pdfwhich clearly points out that there should have been MORE hats on bears.
  4. DannytheWall


    Making my way slowly through the backlog. For some reason I always mix up the plotlines of Chinatown and On the Waterfront. Probably because I binged so much classic film when I was younger. Rewatching again this time and I was "oh, yeah!" several times. Which is weird because they are so different. As a person with an animated heart, I was hoping there would be a token mention of Who Framed Roger Rabbit, not only for the similar plot structure and its pseudo-real-world connections, but because the trolley company that is featured in Roger Rabbit is called "Cloverfield," an Easter Egg for the proposed title of the mythical third film of the Gittes trilogy after The Two Jakes. If Chinatown gets taken off the AFT list (unlikely!) maybe we can replace it with Roger Rabbit
  5. DannytheWall

    The Treasure of the Sierra Madre

    Paul mentioned something about how this film might work on the stage, and I totally had multiple thoughts along those lines when re-watching the film this time. As a drama teacher and amateur player, I've been more conscious of this lately. I can see so many ways to emphasize the themes, tension, etc by staging it. That being said, one of the reasons I place this movie so high on my personal AFI ranking is that the setting plays such a crucial role. It could have been pushed more, cinematically, perhaps, but there is a lot of specific attention given to personifying the mountain while also placing the camera in medium and close shots to lend intimacy to the characters. Ultimately, it would lose a lot if transferring to the stage, whereas some other films, like say Sophie's Choice, wouldn't have such a problem.
  6. DannytheWall

    The Treasure of the Sierra Madre

    Making my way through the movies/podcasts after a long break. (Not by choice, just Life. I don't know how all y'all have time to watch so many movies. It's impressive and I'm jealous ) The above comment is SO right, and I have to feel disappointed in the hosts as well. This film has long been one of my favorites, probably because when I was young I thought I stumbled onto some mysterious subtext like I was prophet with sudden epiphany, ready to grab others by the collar and shout with wild eyes "don't you get it?! It's NOT about the treasure at all!" It's about selfishness, not greed. About individualism versus community. Dobbs is so consumed by being an individual, and proudly so, that he can't even look others in the eye when asking for help. He slowly builds a community but is consumed and ultimately destroyed by protecting his Self. The key turning point is when Dobbs demands that the gold be split three ways. There is no turning back from that point, which creates the atmosphere of ever-growing existential dread. And it's community that "saves" our other heroes in the end. As problematic as it might be in our 2019 perspective, essentially the others give up on the gold and choose instead to find fulfillment in others. Hobson returns to a community of locals, and Bob "returns" to a farm and family. I guess what's doubly disappointing is that the theme of the dangers of individualism is very resonant for our political times these days. It's important not to miss such stuff in our art.
  7. 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
  8. 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
  9. 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.
  10. 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.
  11. DannytheWall

    Snow White and The Seven Dwarfs

  12. 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
  13. 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.
  14. 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.
  15. DannytheWall

    Best Of 2018: Blockbusters

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