AlmostAGhost

I dunno, I guess. I do take it as us being dropped straight into this world. And while you can see it as characters telling us what will happen, we also have NO idea who Rufus T. Firefly is when they are saying these things. So it's not really that expository. If anything, calling him a 'progressive fearless leader' is a bit of a misdirect, not any actual exposition. Personally I'd have liked a fuller, stronger opening, something to set up why/how Teasdale is so adamant for him. (The love bit may have come later in the film, not sure.) But I take Conan's point, it's a strange and flippant intro, and in its own way, brave. But perhaps it simply relies on viewers knowing who Groucho and his persona are (perhaps that's fair, and everyone watching in 1933 did). I only mentioned the minute because I wanted to note: it's real quick, doesn't say much, and then they get straight to Marx Brothers lunacy.

There's no explanation of how or why Firefly was the choice. He's just chosen. I think that's what Conan meant, and the type of thing a studio note would probably fix nowadays. Also this opening scene where Teasdale demands him is one minute long, before it gets straight to his welcoming reception. It's not much of a plot device. I just rewatched and there's no mention of her loving him or anything. She only calls him a "progressive fearless leader" and then bam, swirling newspapers declaring him the leader.

Action Jackson Attacks has to be sequel name

He's not from LA?! I'm surprised, the movie is a poetic portrait of life in South Central. I need to watch this again now too

I'll have to think about that much more. But one example: Alice Doesn't Live Here Anymore is a pretty great movie about a single woman raising a kid and figuring out her dreams. It's directed by Martin Scorsese. It nowhere near has the reputation of Taxi Driver, or GoodFellas, or whatnot. It's pretty melodramatic, don't know if it should, but maybe it should? Why doesn't it? Another film I've always loved though I haven't seen in ages is Killer Of Sheep. That's a great one. Powerful.

Yea, that's true. I'm not willing to cut a list like this that much slack though, tbh. And, even if there isn't diverse directors --- it's also not diverse writers, lead characters, or points-of-view. I know opportunity was and is difficult but there are good movies about women at least. We're still not getting a very high number of those, even, though I'll have to look through for the numbers. How many of these 100 movies pass the Bechdel test?

Oh yea, I don't either. But it is the overriding question above everything, I think. Or at least, that's what I'm thinking about here in this form of cultural education.

Fits just fine to me

Yea sorry, 2% is not worth mentioning or significant. But yea. It’s not exactly all american either, I don’t think. but I have a sneaking suspicion this is why the AFI didn’t do another 10-year list yet. You can’t put out a list like that nowadays... imagine!

Well I think this, above anything, is the main thesis question of Unspooled. Maybe we should come back to it in 75 weeks. But I mean, on a micro level, Unspooled is about that week's movie and the discussion around it. But on a macro level, it becomes 'what is great? are these great just because people/the AFI say so, or because they truly are?" Is this an objective question, or purely subjective? Or both somehow? I think a lot of the angry comments ended up directed at Amy seem to be people offended that, maybe, some of these aren't so great, and they're upset at her willingness to question this. I mean, we all know this list is flawed at best -- it's only 100, it's only American, it's only white male directors. Regardless, that's how I approach these films. Slightly skeptical perhaps, but eager because I know they're popular or famous for some reason -- and what is that reason?

The Army Postal Service (APS), functions as a government-operated military mail system in India. https://en.wikipedia.org/wiki/Army_Postal_Service_(India)

I'd definitely appreciate a Rabbit (I'd prefer Friday) Though I certainly have other ways to look for things on the internet if needed.

I mean, extreme direction is just as valid a reason as using "Oscar winner" as some sort of judge of what's worthwhile... But yea, I agree - I don't know these backdrop stories, nor do I care at all. But I imagine there's some mythologizing here by the movie industry -- like "look what we go to to get you your entertainment, aren't we awesome!" And movie industry people -- AFI voters, critics, actor/comedian/podcast hosts included -- probably are way too quick to use it as 'proof'.

Sandy and J-Lo ain't got nothing on Vanity RIP 4eva <3<3

one thing i like doing, and i'll try to remember to share... but if you type the movie title into the twitter GIF search, you can get a sense of what moments stand out from the film in our cultural memory. (or at least... are entertainingly GIFable moments anyway.) here's what I found for The African Queen - there were way more than I expected. but it seems like people just really love the relationship between Hepburn and Bogart, the characters, as very little else in the film is represented this way - i didn't see anything about the adventure side of the movie really. (Cameron H's favorite moment) (of course) (haha) (?)

Dear Paul, Please have us watch every movie Vanity was ever in for HDTGM. (There's only like 10.) Thanks, President of the Vanity Fan Club

Sure sure, I'm not a screenwriter. I think the 'Good v. Evil' thing isn't always necessary though

Sure, I'm not against the impossible mission, just this one in particular threw me. There's lot of impossible trips they could have made, like what if they had to get her brother to a distant hospital or something. But maybe this was the only one that could end with them escaping a noose lol. Yea, I was thinking along those allegorical lines too. Obviously, she was a missionary. But it seemed like to me, their journey was undertaken with less faith that it would work out, but more because it was the right thing to do. In that way, the journey felt more existentialist (set your own purpose) or even agnostic (who knows what will happen?) to me. But then, in the end, it did work out and they were married and floating in a vast blue lake. So maybe it is much more religious in the end...

Yea and I liked Paul & Amy's point that it wasn't an unrealistically wide spectrum either, like you often get in a 'romantic' story. It was definitely my favorite aspect of the film, their growing connection and the realness Hepburn and Bogart brought to the characters and the journey. I could do without the war angle, though, that's the part that threw me out of whack a bit. I don't know, you're right about leeches and rapids and stuff, but zooming out, sinking a German boat in the middle of an African river seems entirely out of scale to me though, for these two people. I feel like there could have been a better reason for them to need to get down that river together.

I gotta say, I did like The African Queen, but I was somewhat confounded by it. I think Paul expressed that pretty well, and sort of was where my head is on it. But as I've watched your all's ratings on Letterboxd roll in for this movie, I was surprised at just how high they've been. Had you guys seen it before? Or was everyone just super charmed by it?

omg i won't spoil it, but the special guest for Duck Soup IS AMAZING!

Taylor, I think you need to call and leave a voicemail for Paul for this

So what you're saying is you are the type to wear striped pajamas?

i dunno but i was googling to see if maybe it was a reference to something that's been long-forgotten and turned up this, sadly unsold: https://entertainment.ha.com/itm/autographs/tom-ewell-pajamas-from-the-girl-can-t-help-it-1956-/a/1070-156.s