Good as she is in it (you know how I love Ida), I just think the scene tidies up everything far too quickly and neatly. The characters' lives so far are a constant struggle, then everything sorts itself out in the last five minutes. Raft's decision to leave the company is so swiftly made and unmade, and, to me, inadequately motivated in both cases, that it seems a completely arbitrary plot convenience. This is one of the few times in Walsh's films (that I've seen) that I wished he'd taken more time.davidhare wrote:(I'm somewhat surprised you find the end of They Drive by Night fizzling... I've always felt Ida's big courtroom scene is the real core of the movie and what follows must, of necessity, be a relatively formulaic wind-down.)
The Lists Project
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
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HerrSchreck
- Joined: Sun Sep 04, 2005 3:46 pm
I'm surprised that the a- to z pleasures of the THIEF OF has eluded you Z. Though I'm not much of a firm believer in the process of Talking Someone Into Film Enjoyment (thus commentaries fading in importance over the years), I'd think the joys of this Fairbanksian Masterpiece would be right out there on the serving bar (being as the film wears it's joys right there on it's sleeve) to your eyes in the way that it is re great sci fi like THE FORBIDDEN PLANET (with which THIEF shares a hell of a lot with... not scrolls of infinite depth, but Pure, Excellent Entertainment in it's purest form). Can't be beat on a sunday noon aft.
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
As a "'40s" film, I know that Germany Year Zero by Roberto Rossellini will have to be on my list. Sad that the (image) disc shows the print in such poor condition, and in an Italian dub.
Formally, the story concerns an ailing father and his three children, who are struggling to survive in Berlin in the time immediately following the end of the war. I am not sure, if it was the Italian dub, but the domestic scenes revealed the Italian sensibility that made the film, and to begin with this made it a little difficult for me to live into the story. However, in a way that is immaterial, because my real experience of the film was of the requiem for a great city (to spin a pun). It was with a strange inherent sense of grief and defeat that I sat and watched as Edmund (the youngest boy of the family) explored the ruins of the city in search of work, money and food. Maybe I was being hyper-sensitive to this aspect, but every other shot seemed to open or close a few moments sooner or later than it strictly had to in story terms, and what is seen in those moments are the mountains of rubble, the skeletons of archecture, the utter and near-total destruction of Berlin.
It was difficult for me not to think about Edmund and his siblings essentially being our parents (or grandparents). My mother visited Berlin in the early fifties, and her memory is of the ruins, but more so of the cripples (oddly we do not see any cripples in the film?) All the other deprivations of the citizens of Berlin that are documented in the film were to a lesser or greater extent universal at the time -- the extreme shortage of food, the peddling of things for money or food, the lack of clothes and shoes (at one point in the film it is debated whether a dead man should be buried wearing his ragged pajamas, and socks of wool), the shortage of work and the scavenging for (and even stealing of) such things as coal and potatoes. I have heard all these stories from my parents and grandparents, and my thoughts start to wander in the direction of how and where life took them, and I think about my own life and people younger than me, who do not have this direct link to this period in our recent history, and how so much today is taken for granted... I digress, suffice it to say that if you can, see this film
Formally, the story concerns an ailing father and his three children, who are struggling to survive in Berlin in the time immediately following the end of the war. I am not sure, if it was the Italian dub, but the domestic scenes revealed the Italian sensibility that made the film, and to begin with this made it a little difficult for me to live into the story. However, in a way that is immaterial, because my real experience of the film was of the requiem for a great city (to spin a pun). It was with a strange inherent sense of grief and defeat that I sat and watched as Edmund (the youngest boy of the family) explored the ruins of the city in search of work, money and food. Maybe I was being hyper-sensitive to this aspect, but every other shot seemed to open or close a few moments sooner or later than it strictly had to in story terms, and what is seen in those moments are the mountains of rubble, the skeletons of archecture, the utter and near-total destruction of Berlin.
It was difficult for me not to think about Edmund and his siblings essentially being our parents (or grandparents). My mother visited Berlin in the early fifties, and her memory is of the ruins, but more so of the cripples (oddly we do not see any cripples in the film?) All the other deprivations of the citizens of Berlin that are documented in the film were to a lesser or greater extent universal at the time -- the extreme shortage of food, the peddling of things for money or food, the lack of clothes and shoes (at one point in the film it is debated whether a dead man should be buried wearing his ragged pajamas, and socks of wool), the shortage of work and the scavenging for (and even stealing of) such things as coal and potatoes. I have heard all these stories from my parents and grandparents, and my thoughts start to wander in the direction of how and where life took them, and I think about my own life and people younger than me, who do not have this direct link to this period in our recent history, and how so much today is taken for granted... I digress, suffice it to say that if you can, see this film
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jonp72
- Joined: Fri Dec 15, 2006 2:44 pm
Gjon Mili, Jammin' The Blues
Kenneth Anger, Fireworks (NSFW)
Kenneth Anger, Puce Moment
Maya Deren, At Land
Maya Deren, Ritual in Transfigured Time
Alexander Hammid and Maya Deren, The Private Life of a Cat
Maya Deren, Meditation on Violence
Tex Avery, Bad Luck Blackie
Tex Avery, Red Hot Riding Rood
Georges Franju, Le Sang de Betes (French, no subtitles)
Norman McLaren, Fiddle de Dee
Norman McLaren, Hen Hop
Norman McLaren, Dots
Norman McLaren, Boogie Doodle
Norman McLaren, Begone Dull Care
Alexander Alexieff and Norman McLaren, Chants Populaires No. 5: En Passant
Len Lye, Swingin' The Lambeth Walk
And don't forget Tati's Ecole des Facteurs on the Criterion DVD for Mon Oncle!
Kenneth Anger, Fireworks (NSFW)
Kenneth Anger, Puce Moment
Maya Deren, At Land
Maya Deren, Ritual in Transfigured Time
Alexander Hammid and Maya Deren, The Private Life of a Cat
Maya Deren, Meditation on Violence
Tex Avery, Bad Luck Blackie
Tex Avery, Red Hot Riding Rood
Georges Franju, Le Sang de Betes (French, no subtitles)
Norman McLaren, Fiddle de Dee
Norman McLaren, Hen Hop
Norman McLaren, Dots
Norman McLaren, Boogie Doodle
Norman McLaren, Begone Dull Care
Alexander Alexieff and Norman McLaren, Chants Populaires No. 5: En Passant
Len Lye, Swingin' The Lambeth Walk
And don't forget Tati's Ecole des Facteurs on the Criterion DVD for Mon Oncle!
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jonp72
- Joined: Fri Dec 15, 2006 2:44 pm
I have really enjoyed this "project" if only because it has given me the opportunity to discover new cinematic enthusiasms and re-discover the old ones. I'm still sorting out my list, because there is still yet so much to see, but here are some current discoveries.
Re-discoveries:
Rope Seeing it again, I realized how the film is so much more than a formalist exercise. I especially loved how Rupert Cadell (Jimmy Stewart) unnerved Phillip (Farley Granger) by asking him probing questions while simultaneously manipulating Phillip's metronome. If you pay attention, you can hear Phillip's playing speed up and slow down in response to the metronome and Phillip's changing emotional state.
Jammin' The Blues I've ranked Begone Dull Care higher for jazz-influenced shorts from the 1940s, but I'm so glad I watched this again after almost taking it off my list. See some great jazz performers, many of whom never appeared in a feature again, but also be amazed at the number of music videos and Gap commercials that must have indirectly or directly swiped influences from this beautifully musical short.
Discoveries:
Fires Were Started (aka I Was A Fireman) This feature-length pseudodocumentary feature about British firemen in World War II hit me harder than Humphrey Jennings' Diary for Timothy or Listen to Britain. The cast is nonprofessional. The British accents are thick and occasionally impenetrable to me as a Yank, but the visual style is so clear, dramatic, and poignant it doesn't matter. In addition, the use of music juxtaposed against kitchen-sink working class realism reminded me of Terence Davies' Distant Voices, Still Lives. This film totally realizes the goal of the Italian neorealists in creating drama that is not created solely by genre conventions but proceeds "organically" out of people's everyday lives.
The Leopard Man I rewatched the other two Jacques Tourner/Val Lewton collaborations (Cat People, I Walked With a Zombie), but this was a revelation. (All three are in my Top 30 now.) At a concise 66 minutes, it tells the story of an Anglo woman who accidentally lets loose a wild leopard that her press agent gave her as a publicity stunt. The leopard starts attacking girls from the local Latino population (which raises some interesting issues of white guilt), or is it a serial killer with a taste for Latin women? You could say it's a serial killer thriller made before the movie industry knew such things existed, but done in the classy Val Lewton mode of psychological terror. In addition, the Lewton/Tourneur movies have some interesting but subtle obsession with ethnic Otherness and white Anglo-Saxon guilt, such as Irena's obsession with her old Serbian folk tales (Cat People), the West Indian slave trade (I Walked with a Zombie), or the conquest of indigenous Mexicans (The Leopard). The use of black and Latino actors in these three films is suprisingly respectful for the time too.
The Southerner Currently available throught VCI, this American Jean Renoir production might be the best legit 1940s DVD on a budget label. Although I love Gregg Toland's cinematography and John Carradine as "the Preacher," I have ranked the Grapes of Wrath lower than the Southerner on my list, because The Southerner surprisingly achieves a lot more with a lot less. A knife fight between a shirtless Zachary Scott and a rival neighboring farmer is a highlight. There's even an amazing post-Code moment of sensuality where the widow Mama Tucker (Blanche Yurka) is found laying down in a field with her unmarried but similarly aged "companion" (played by Percy "Pa Kettle" Kilbride) in the sunshine with beaming, blissful looks on both their faces. Mama Tucker gets remarried in practically the next scene. Aside from acknowledging that the libido or the need for intimacy doesn't die out after age 50, it was almost like watching a 30-second short entitled How Ma Kettle Got Her Groove Back.
Re-discoveries:
Rope Seeing it again, I realized how the film is so much more than a formalist exercise. I especially loved how Rupert Cadell (Jimmy Stewart) unnerved Phillip (Farley Granger) by asking him probing questions while simultaneously manipulating Phillip's metronome. If you pay attention, you can hear Phillip's playing speed up and slow down in response to the metronome and Phillip's changing emotional state.
Jammin' The Blues I've ranked Begone Dull Care higher for jazz-influenced shorts from the 1940s, but I'm so glad I watched this again after almost taking it off my list. See some great jazz performers, many of whom never appeared in a feature again, but also be amazed at the number of music videos and Gap commercials that must have indirectly or directly swiped influences from this beautifully musical short.
Discoveries:
Fires Were Started (aka I Was A Fireman) This feature-length pseudodocumentary feature about British firemen in World War II hit me harder than Humphrey Jennings' Diary for Timothy or Listen to Britain. The cast is nonprofessional. The British accents are thick and occasionally impenetrable to me as a Yank, but the visual style is so clear, dramatic, and poignant it doesn't matter. In addition, the use of music juxtaposed against kitchen-sink working class realism reminded me of Terence Davies' Distant Voices, Still Lives. This film totally realizes the goal of the Italian neorealists in creating drama that is not created solely by genre conventions but proceeds "organically" out of people's everyday lives.
The Leopard Man I rewatched the other two Jacques Tourner/Val Lewton collaborations (Cat People, I Walked With a Zombie), but this was a revelation. (All three are in my Top 30 now.) At a concise 66 minutes, it tells the story of an Anglo woman who accidentally lets loose a wild leopard that her press agent gave her as a publicity stunt. The leopard starts attacking girls from the local Latino population (which raises some interesting issues of white guilt), or is it a serial killer with a taste for Latin women? You could say it's a serial killer thriller made before the movie industry knew such things existed, but done in the classy Val Lewton mode of psychological terror. In addition, the Lewton/Tourneur movies have some interesting but subtle obsession with ethnic Otherness and white Anglo-Saxon guilt, such as Irena's obsession with her old Serbian folk tales (Cat People), the West Indian slave trade (I Walked with a Zombie), or the conquest of indigenous Mexicans (The Leopard). The use of black and Latino actors in these three films is suprisingly respectful for the time too.
The Southerner Currently available throught VCI, this American Jean Renoir production might be the best legit 1940s DVD on a budget label. Although I love Gregg Toland's cinematography and John Carradine as "the Preacher," I have ranked the Grapes of Wrath lower than the Southerner on my list, because The Southerner surprisingly achieves a lot more with a lot less. A knife fight between a shirtless Zachary Scott and a rival neighboring farmer is a highlight. There's even an amazing post-Code moment of sensuality where the widow Mama Tucker (Blanche Yurka) is found laying down in a field with her unmarried but similarly aged "companion" (played by Percy "Pa Kettle" Kilbride) in the sunshine with beaming, blissful looks on both their faces. Mama Tucker gets remarried in practically the next scene. Aside from acknowledging that the libido or the need for intimacy doesn't die out after age 50, it was almost like watching a 30-second short entitled How Ma Kettle Got Her Groove Back.
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bufordsharkley
- Joined: Sat Nov 05, 2005 6:08 am
A few Bob Clampett masterpieces, for everyone's general consideration:
Book Revue (1946)
A Corny Concerto (1943)
Coal Black and de Sebben Dwarves (1943)
...Clampett was the only one of the Termite Terrace crew to consult with Stalling, and figure out the score before the animation even began, for optimal synchonicity. That really shows in these three, among the best ever made. (A pity that other masterpieces, "Buckaroo Bugs", "The Great Piggy Bank Robbery," among others, aren't currently available online.)
AND ALSO:
WWII filmmaking by WB animation:
Chuck Jones's Spies (1943), penned by Dr. Seuss.
Bob Clampett's Tokyo Woes (1945)-- superlative animation stylings by Scribner, here.
Book Revue (1946)
A Corny Concerto (1943)
Coal Black and de Sebben Dwarves (1943)
...Clampett was the only one of the Termite Terrace crew to consult with Stalling, and figure out the score before the animation even began, for optimal synchonicity. That really shows in these three, among the best ever made. (A pity that other masterpieces, "Buckaroo Bugs", "The Great Piggy Bank Robbery," among others, aren't currently available online.)
AND ALSO:
WWII filmmaking by WB animation:
Chuck Jones's Spies (1943), penned by Dr. Seuss.
Bob Clampett's Tokyo Woes (1945)-- superlative animation stylings by Scribner, here.
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
Tonight I managed to catch up with two great '40s classics that were both recently released in the UK in very nice editions: Letter From An Unknown Woman (Max Ophuls, 1948, Second Sight) and Odd Man Out (Carol Reed, 1947, Network). My expectations were great, and they were nothing if not exceeded. To put in words that zedz would use, if you have not seen these films, "treat yourself."
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
Ah, thank you. I had been very inefficiently dealing with this issue by getting those who voted for it to revise their lists. Duh!souvenir wrote:This might be unnecessary, but I thought I'd give a heads-up that Orpheus, which was on the first 1940s list, is now ineligible due to its IMDB year.
Also, for those who missed the memo, both parts of Ivan the Terrible can be voted for as a unit by virtue of the original rules of the competition (two-part films = a single entity), IMDB be damned.
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
Third Reminder: a week and a bit to go.
So far, six lists have been submitted, and although the inevitable 'blanding out' is evident in the rise of consensus favourites (for the first time, Citizen Kane has made it into the top ten), it's still looking interesting and volatile.
Number one by a mile is NOT an American film (and I imagine this is the most US-dominated list we've had, with 113 out of 168 nominated films being American), and the current top ten includes two other foreign language films (one by the same director as our present number one) and - stop the presses! - an experimental short film. I have my doubts that any of those latter three will still be there when the dust settles, but it's still heartening.
Most of the big names of the decade (e.g. Welles, Hitchcock, Ozu, Powell / Pressburger) have managed to attract at least one vote for all of their 1940s films, but the dark horse may yet prove to be Jacques Tourneur.
On a personal note, I'm very pleased to see so much love for Raoul Walsh, who's responsible for one of the three films currently at number 5 and has another one revving up just outside the top ten.
So far, six lists have been submitted, and although the inevitable 'blanding out' is evident in the rise of consensus favourites (for the first time, Citizen Kane has made it into the top ten), it's still looking interesting and volatile.
Number one by a mile is NOT an American film (and I imagine this is the most US-dominated list we've had, with 113 out of 168 nominated films being American), and the current top ten includes two other foreign language films (one by the same director as our present number one) and - stop the presses! - an experimental short film. I have my doubts that any of those latter three will still be there when the dust settles, but it's still heartening.
Most of the big names of the decade (e.g. Welles, Hitchcock, Ozu, Powell / Pressburger) have managed to attract at least one vote for all of their 1940s films, but the dark horse may yet prove to be Jacques Tourneur.
On a personal note, I'm very pleased to see so much love for Raoul Walsh, who's responsible for one of the three films currently at number 5 and has another one revving up just outside the top ten.
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marty
Letter From An Unknown Woman is a fantastic film and one of my favourites of all time. I have only seen a crummy VHS tape of it about five years ago so I am hankering for a DVD. Is the quality very good?Scharphedin2 wrote:Tonight I managed to catch up with two great '40s classics that were both recently released in the UK in very nice editions: Letter From An Unknown Woman (Max Ophuls, 1948, Second Sight) and Odd Man Out (Carol Reed, 1947, Network). My expectations were great, and they were nothing if not exceeded. To put in words that zedz would use, if you have not seen these films, "treat yourself."
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
...It is such a lovely film!marty wrote:Letter From An Unknown Woman is a fantastic film and one of my favourites of all time. I have only seen a crummy VHS tape of it about five years ago so I am hankering for a DVD. Is the quality very good?
Marty, If you know me a little through posting on this site, you will know that I am probably not the best to ask about the technical quality of DVDs; I honestly do not actually see most of the faults that people talk about, and I am extremely forgiving as well. Furthermore, I project my films to apx. 120", so I have been accustomed to a loss of some sharpness in image quality, but the size of the image to some extent gives my eyes the opportunity to wander around the frame in the manner of watching a film in a theatre, and I feel that there is a general greater impact by being presented with a larger image, even if it means some loss in the finer details of the image itself.
If it is any help, I have probably viewed something like 150 DVDs of films from the '40s in the last four months, and I would say the UK Second Sight disc is in the upper third of those image-wise. Yet, your best bet is probably to rely on DVD Beaver in this case, although if you are used to a VHS copy, this disc should be a very welcome upgrade.
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marty
Great, thanks. I just ordered my DVD of Letter from an Unknown Woman now from Amazon UK along with Madame De (7 pounds each!) and The Sorrow and the Pity and Celine and Julie Go Boating. Not exactly a laugh a minute but a good collection of titles.
In some strange coincidence, would you believe the very day I ordered the DVD of Letter of an Unknown Woman, I come home only to read the TV Guide and discover the very SAME film is playing tonight at 11.20pm! Unbelievable!!!
In some strange coincidence, would you believe the very day I ordered the DVD of Letter of an Unknown Woman, I come home only to read the TV Guide and discover the very SAME film is playing tonight at 11.20pm! Unbelievable!!!
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
Yes, let's, but it's not Meshes (which I too would have bet on to outperform any other experimental work of the decade). Tourneur is mostly Lewton (and there are other Lewtons doing very well indeed), but not exclusively Lewton.mikeohhh wrote:for the Val Lewton films, right? I figured those would get a big surge this go-around. Assuming the experimental short is Meshes of the Afternoon, let's keep it in the top ten!zedz wrote:the dark horse may yet prove to be Jacques Tourneur.
In past iterations, I think a list of all nominated titles was posted, so here goes. These are all the films nominated so far. About half have only had a single vote, so aren't (yet) eligible for the final list. Please forgive the lack of definite and indefinite articles!
All the King's Men
An Itinerant Actress
Anges du peche
Bad Luck Blackie
Bambi
Beauty and the Beast
Begone Dull Care
Best Years of Our Lives
Bicycle Thieves
Big Sleep
Black Narcissus
Blood of the Beasts
Bluebeard
Brief Encounter
Brothers and Sisters of the Toda Family
Brute Force
Canterbury Tale
Casablanca
Cat People
Caught
Children of Paradise
Christmas in July
Ciel est a vous
Citizen Kane
Colorado Territory
Corbeau
Corny Concerto
Criss Cross
Curse of the Cat People
Daisy Kenyon
Dames du Bois du Boulogne
Day of Wrath
Desert Fury
Detour
Devil and Daniel Webster
Devil's Mill
Double Indemnity
Double Life
Duel in the Sun
Dumbo
Fallen Angel
Fallen Idol
Fantasia
Fiddle-De-Dee
Film Exercises 2 & 3
Fires were Started
Fireworks
Fondly Remembered Face
Force of Evil
Foreign Correspondent
Fountainhead
Good News
Gran Calavera
Grapes of Wrath
Great Dictator
Hair-Raising Hare
Hangmen Also Die
Heaven Can Wait
Heiress
Hen in the Wind
High Sierra
His Girl Friday
Humoresque
I Know Where I'm Going!
I Walked with a Zombie
It's a Wonderful Life
Ivan the Terrible I & II
Jammin' the Blues
Jasper and the Watermelons
Jour de fete
Killers
Kind Hearts and Coronets
Kiss of Death
Lady Eve
Lady from Shanghai
L'Amore
Late Spring
Laura
Leave Her to Heaven
Leopard Man
Letter from an Unknown Woman
Life and Death of Colonel Blimp
Little Red Rural Hood
Little Women
Louisiana Story
Loyal 47 Ronin
Lumiere d'Ete
Lured
Macbeth
Magnificent Ambersons
Man Hunt
Matter of Life and Death
Meet Me in St Louis
Meshes of the Afternoon
Mildred Pierce
Ministry of Fear
Miracle of Morgan's Creek
Monsieur Verdoux
Mortal Storm
Motion Painting No 1
My Darling Clementine
Nightmare Alley
No Regrets for My Youth
Notorious
Now, Voyager
Oliver Twist
Ornamental Hairpin
Ossessione
Out of the Past
Out-Foxed
Pacific 231
Palm Beach Story
Pattes Blanches
Phantom Lady
Philadelphia Story
Pinocchio
Pirate
Prison
Puce Moment
Pursued
Raw Deal
Razor's Edge
Rebecca
Reckless Moment
Record of a Tenement Gentleman
Red Hot Riding Hood
Red Shoes
Remorques
Ritual in Transfigured Time
Rome, Open City
Rope
Scarlet Street
Set-Up
Seventh Victim
Shadow of a Doubt
Shanghai Gesture
She Wore a Yellow Ribbon
Shoeshine
Shop around the Corner
Silence de la Mer
Somewhere in the Night
Song Lantern
Southerner
Spellbound
Spring Awakens
Spring in a Small Town
Stage Fright
Stranger
Stray Dog
Sullivan's Travels
Suspicion
Swinging the Lambeth Walk
Tempestaire
Terra trema
There Was a Father
They Live by Night
Thief of Baghdad
Thieves' Highway
Third Man
Time in the Sun
T-Men
To Be or Not To Be
To Have and Have Not
Under Capricorn
White Heat
Window
Window Cleaners
Woman on the Beach
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
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jonp72
- Joined: Fri Dec 15, 2006 2:44 pm
The Second Sight DVD of Letter from an Unknown Woman is great with some great extras too. I would also like to put in a good word for the other Hollywood films Max Ophuls did in the 1940s, namely The Reckless Moment and Caught (both 1949). Unfortunately, I haven't been able to track down a copy of his swashbuckler, The Exile, but Andrew Sarris ranked it as the second-best film of 1947 after Chaplin's Monseiur Verdoux. By the way, the Second Sight DVD of the Reckless Moment is visually excellent and features commentary from Todd Haynes. (If only Todd Haynes would do his own version of the Reckless Moment with Julianne Moore as his muse...) My copy of Caught is on VHS, though, so I can't vouch for its legit release on a French DVD.Letter From An Unknown Woman is a fantastic film and one of my favourites of all time. I have only seen a crummy VHS tape of it about five years ago so I am hankering for a DVD. Is the quality very good?
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
There has been a recent (so-so) remake of Reckless Moment with Tilda Swinton, who it a pretty good substitute for Julianne, but the director was no Todd Haynes.jonp72 wrote:By the way, the Second Sight DVD of the Reckless Moment is visually excellent and features commentary from Todd Haynes. (If only Todd Haynes would do his own version of the Reckless Moment with Julianne Moore as his muse...)
One more vote received, yielding an interesting auteurist result, with the top ten du jour including two films apiece by four directors, all of whom were mentioned by name in my previous post about the then top ten, but only one of which I would have predicted to be performing so strongly at this stage. The remaining two places are occupied by the odd couple of John Ford and Carl Dreyer. Our previous front-running experimental film has dropped to an unlucky 13 (boo!), but Meshes of the Afternoon has picked up another vote (yay!)
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souvenir
- Joined: Wed Nov 03, 2004 4:20 pm