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ol' eddy wrecks

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ol' eddy wrecks last won the day on January 13 2019

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  1. ol' eddy wrecks

    Rear Window

    Eddie Slovik. Not saying he wasn't guilty, just that he didn't deserve anything close to his sentence.
  2. Which Nosferatu? If you're going for the plague scenes, I think the Herzog/'79 one is more... striking. Though Murnau would be keeping in line with Sunrise a few a weeks ago. Criterion had a 70s sci-fi collection that went away back in February, but No Blade of Grass would fits in a weird way (especially if you factor in the economic apocalypse that seems to be happening). Warning - it's 70's apocalypse sci-fi... there's sexual violence towards women in it. More recently, It Comes at Night. And, um, Cabin Fever, if that's your this. if you get to the "I guess" phase. Though I guess you could get the remake with Mnuchin's wife and there therefore somehow make it topical. Cronenberg's Rabid (though I prefer his other stuff from this era more). I don't remember The Andromeda Strain beyond I think I channel flipped to the end/end credits about 30 years ago - and that it exists. It seems like there should be some good Black Death (besides Nosferatu) or TB movies (though the latter always seems to be the backdrop of someone who's dying. Often in westerns). ETA: There was also a small movie from the 00's that wasn't a virus, but played off of our fears of a dirty bomb at that time, and it revolved around people having to stay inside their houses so they wouldn't become... toxic. If I could remember the name of it... But it would feel appropriate for the current self-isolation situation going on. 2nd ETA - quick googling makes me think it's "Right at Your Door".
  3. ol' eddy wrecks


    So, in the not-so-passive aggressive comparison between the BFI critics poll and the AFI poll, Sunrise has been in the too 10 films for the past 20 years ( number 5 and the previously, number 7). I found a link of a fuller list of the 1992 that indicated it was number 11 that year (though the annotation on the wiki page contradicts that). Make of that what you will. (The BFI Director's Poll however, places it at 22, which is... lower, but not as substantially lower as the AFI). I still need to rewatch (this weekend, I'll probably stick with the non-Czech version on the blu-ray), but on first watch, I wasn't as taken by this as I was Man with a Movie* Camera or The Passion of Joan of Arc (though closer to the latter). Mentally, I always got stuck on the plot point that it's basically, "how do you say you're sorry (for planning to murder you)?" *: Man With a Movie Camera tried to have no intertitles and was consciously trying to push the visual artform. I'll probably appreciate the camera work more this time after having watched some of the documentary series, The History of Film: An Odyssey (I think I may have mentioned it on these forums before). It actually covers the shortcomings of movies with the introduction of sound (some of it alluded to in the podcast). In addition to getting stuck in sound boxes, they had issues syncing the sounds, (anyone whose had to fiddle with the av sync on their receiver will appreciate what a difference 30 Ms makes). Which meant they had to film their close ups and crowd shots at the same time. Which could result in what would be considered flawed compositions so the cameras wouldn't catch each other (the point of the episode was, film was no longer a visual medium, but had become an auditory medium). Which gets driven home better of you see the scenes (I think the series is still on Hulu). Of the silent era they covered that I haven't seen that I'm most curious in are the King Vidor (e.g. The Crowd - which has an office shot that would show up again in The Apartment) and von Stroheim (he later acted as the butler in Sunset Blvd) movies (e.g. Greed). Mainly because they were described as trying to present "a more real" world rather than the fantasy world of Hollywood.
  4. ol' eddy wrecks


    That's how I mostly remember it as well (from just a few years ago). Skimming most of the synopsis, it's still, "yeah, I mostly remember that part." I think the part that is crazy is when you say/transcribe (or even just watch it for the first time) what they need to reconcile over. Which I think is kind of misleading - unless I'm just not remembering something else about this movie (which some of the other responses makes me wonder if I am).
  5. ol' eddy wrecks


    So... Looking ahead to next week, who here has seen Sunrise: A Song of Two Humans? I have, once, a few years ago. I think Amy's, "it's crazy, you're going to love it!" to Paul feels a bit misleading to those who haven't. I have wondered how the main plot point is going to be received here.
  6. ol' eddy wrecks


    I don't think anyone said that it was. Just (historically), it was his breakout film. I think the podcast just simply didn't point out how old he and for how long he had already been directing when he finally broke-out.
  7. ol' eddy wrecks


    Slight disclaimer, I first watched this about 20 years ago, when I was about 20. My opinions of it then were fairly positive, I think. I revisited it a couple years ago while listening to another podcast also covered it. I couldn't help but wince at the main characters. That felt close enough ago, I didn't feel the need to revisit it for this episode.
  8. ol' eddy wrecks


    I might say more later, but along these lines of, "but what does the movie think of them?" - and something independent of it, that era sure seemed to have a number of general plot lines of, "stranger shows up in messed up environment. One where the powers in charge don't deserve what they have for one reason or another. They shake things up. Then they leave (possibly by death*). You see the effect they've left on others." In this case, I think it was Radar mimicking the whistle at the end. *: Usually refered to as a Jesus parable in these cases. I'm just thinking, there was Cool Hand Luke, One Flew Over the Cuckoo's Nest, and this (off the top of my head). There's probably a few others that I'm not thinking of. Imagining the time I can see why such an anti-establishment archetype seemed appealing to a lot of people. But I have to agree, with what's been said that whatever point it was trying to make didn't seem overly coherent - other than, "our military is fool of buffoons (particularly the leaders), so we should get out of Vietnam,"** and the comic style of people just talking over each other and so many people in a scene that would come to define Altman must have also been very radical. And if this was the only Altman film of that ilk made, that might make it worth consideration... but there are other, better Altman. **: Just a timeline of other related media I can think of that's broaching this subject (main notable difference they're more, looking back at WW2). Catch-22 (book): 1961 dr strangelove: 1964 Slaughterhouse-V (book): 1969 Catch-22 (movie): 1970 M*A*S*H: 1970 Sl.-V (movie): 1972
  9. ol' eddy wrecks

    Parasite (special episode)

    I will say, I think I'm probably amongst the more mild responses to Parasite, which was, "solidly made thriller with some nice social commentary. Well thought out. Out of what I did see this past year, it was definitely in the category of, 'glad I saw it/did not disappoint nor wanting it to be more - i.e. it was what it was, and did it very well.'" It wouldn't jump to my mind as possible best of the decade as it seemed a number of critics did when talking about it. I wasn't surprised it won BP (just because every movie seemed to have its detractors and Parasite did not), and mildly glad that it did. I don't have much emotion invested in the Oscar's, but it's nice that it finally awarded BP to a foreign language film, though like Justin Chang, I don't have much hope for this becoming a trend of the Academy looking more at international films (I see it more of a reflection as the voting demographic gradually shifting), just because, as he said, it managed to tick off all three checkboxes (Crouching Tiger, Hidden Dragon, also mentioned in the thread, did those, just a little too early for the Academy to go that way. So, I don't think it's non-replicable.). So, shrugs. /end of general thoughts on Parasite
  10. ol' eddy wrecks

    Parasite (special episode)

    Hey, You're back! I have not seen High and Low - I wouldn't describe my knowledge of Kurosawa as complete. But I did wonder about the boy's obsession with Native Americans and having him basically mimic how a lot of Americans have treated the issue up until... actually not that long ago. Tribute to old westerns? Is it the Park's family imitation of how they view America (which given how it's how Americans viewed their own mythology only a few decades ago is also an extra layer of commentary)? Is it just an allusion to other cinema that Bong likes? Reference to the Native American genocide? I don't really track down interviews with the director, but that is definitely something I'd be curious what the authorial intent was.
  11. ol' eddy wrecks

    Parasite (special episode)

    So, 1964 Oscars would be for 1963, looking it over on letterboxd, English language-wise, I'm seeing The Birds, Hud, The Haunting, and The Lord of the Flies (which, admittedly, I haven't seen). (ETA: so, yeah... I'm having a hard time finding anything there at least amongst what I've seen) Looking over other countries... holy crap: 8 1/2 (Fellini's, I'd say, best!) Contempt (Godard!) Winter Light (Bergman!) The Silence (Bergman!) The Leopard (Visconti!) The Big City (Satyajit Ray!) The Executioner (I can't remember who directed it, but it was pretty damn good!) Muriel, or the Time of Return (Resnais!) Youth of the Beast (Suzuki!) Now, I'm not the biggest on Bergman, and I didn't really get Visconti from the one movie I saw (The Leopard) and sure, Youth of the Beast isn't best picture type of quality, but it just really layers on this was a really rich year for foreign cinema. Fwiw, if I was to pick one from the list I'd suspect you'd like, I'd probably pick The Big City - but you're a little difficult to predict.
  12. ol' eddy wrecks

    Parasite (special episode)

    And in terms of foreign language films that should have won Oscars (barring competition), the BFI list is full of them (I checked for the year 8 1/2 was up for best foreign film - the US bp nominees..., I'll just say the US bp nominees don't come to mind as essential movie viewing (admittedly, the winner, Tom Jones, is a movie I had not heard of before looking up what won the year of 8 1/2). But related to that point, the BFI list is also full of English language films that "should have won, but didn't", so I feel that makes the initial question of "should have won" ambiguous as to what we're asking. I'm just falling back into the usual wormhole of what does "deserves recognition from recognizing body that it becomes clear I don't fully respect how/what it chooses to recognize."
  13. ol' eddy wrecks

    Parasite (special episode)

    I don't really follow these things too much and yet I still received the impression that a big reason why Roma didn't win was because of filmmakers, not just Hollywood, having very negative opinions of Netflix - the early availability on such also ironically seemed to be the reason why it was able to gain the word of mouth to be nominated in the first place. Looking at that list on wiki, of the recent nominees, Haeneke's Amour still stands out as the surprising nomination to me (since my general impression is the Academy wants fairly big movies).
  14. ol' eddy wrecks

    Parasite (special episode)

    Never seen The Sound of Music, so, un-opinionated on the poll. Wrt to the Oscars and foreign language films: https://en.m.wikipedia.org/wiki/List_of_foreign-language_films_nominated_for_Academy_Awards#Best_Picture I guess it's worth bringing up the list of movies that were nominated. I did check, Z is on the criterion channel (amongst a lot of other things, because, you know, movies exist). I don't really get the issue for some people with subtitles (much like some people unwilling to watch movies that are in black and white). And I will point out, it doesn't really make sense to say, "list of American films... and also any film a separate, local awards organization will recognize regardless of where it's from". However, wrt reading subtitles, one thing I have noticed for myself, if I sit too close to the screen, I'm not being able to keep the screen and text in my field of vision, and my eyes will have to pick which to focus on. So, assuming your not too near-sighted (or at least have glasses), consider sitting a little further back if you're having an issue not being able to follow what's happening on screen because you're reading subtitles.
  15. ol' eddy wrecks

    The Sound of Music

    Should have won is a weird question with the Oscars. I'm trying to think of foreign films that are period pieces about a quasi-famous historical figure that requires wearing a prosthetic, set in LA, that is about movie-making. But can't be too good.