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DIShGo

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Posts posted by DIShGo

  1. 4 hours ago, DonRocks said:

    If this is your perception, I'd propose that the father didn't change throughout the entire film, and it was the boy who had a "coming-of-age" experience. His father was a good person from start to finish - yes, there was a moment when he realized that "this is the way it must be for everybody" that may have been wrong, but was it really wrong?

    ***SPOILERS FOLLOW*** 

    Exactly, the father is a very good man from start to finish, and that is why he so desperately wants to find the bicycle so he can take care of his family. There comes a time when every child realizes that his or her parents aren't infallible. Bruno is young for this to be happening, but it is happening. Life's cruel twists have made his father so distraught that he slaps the boy, and doesn't even notice when Bruno is almost hit by a car. These events occur because the father is all consumed with finding the bicycle. That is what he has to do to save his family.

    You are right, there is a coming-of-age happening with the boy. At the restaurant, for example, the stress of the day is momentarily relieved. He and his father laugh and eat and enjoy each other's company. But the subject of money comes up, and shots of their meal are juxtaposed with the bowls of pasta being eaten by the wealthier family in the corner. Bruno's boyish expression of delight gives way to one of concern for his father. The father sees this, and tries to lighten the mood again. He wants to let Bruno be a little boy a while longer, but Bruno's perception of the world has changed that day.

    The injustices the father faces are felt more strongly by the viewer because Bruno is watching, too. Would the final scene have been nearly as powerful if Bruno had gotten onto the trolley, as his father instructed? 

    • Like 2
  2. I really thought I would like "Breathless" more than I did. Articles I read about this film stressed how important it is, calling it one of the most influential films of the French New Wave movement that changed the way modern movies are made.

    Having watched this film, I can appreciate these sentiments. I can see how this style of filmmaking would have been groundbreaking in 1960, and I understand how a film like this could influence future film directors for years to come. Having said that, I found the movie tedious to watch. I would never be interested in seeing it again.

    From a film appreciation stand-point, I am glad I saw it. The film has a quirky 1960s feel to it, and there are moments I enjoyed. Years from now, if I look back on this film, the thing I will remember best is beautiful Jean Seberg and her charming gamine style. I would love to find a copy of the striped dress she wears at the end of the film in a second-hand store somewhere (along with a pair of wrist-length white gloves).

    IMG_9671.JPG

  3. 1 hour ago, DonRocks said:

    DIShGo, DIShGo, DIShGo ...

    You view things from the viewpoint of a mother concerned about her son - that's exactly why you equate this with "The 400 Blows."

    I view this film from the viewpoint of the father, who has been totally hosed by life.

    It's funny what desperate situations will do to a man, even in front of his son.

    It is Bruno's reaction to his father that tells the story of how desperation is changing the man, more so than any action taken or word spoken by the father in the film. At first, Bruno looks at him adoringly, wanting to be just like him. As the film progresses, his look changes to hurt and confusion. He is seeing the chinks in his father's armor for the first time. The way he looks at his father in the pivotal scene near the end of the film is profound. So much is said about the father and his life's challenges, through Bruno's eyes, without a word of dialogue needed.

    I saw an interview with Enzo Staiola as an old man, saying that the director spotted him on the street and wanted him to play the part of Bruno. Thousands of boys auditioned, but the director was set on him. He said he thought it was something about a look in his eyes. I can see that.

    • Like 1
  4. 1 hour ago, DonRocks said:

    DIShGo, DIShGo, DIShGo ...

    You view things from the viewpoint of a mother concerned about her son - that's exactly why you equate this with "The 400 Blows."

    What, exactly, is "Italian Neorealism" in film, given that this film was from 1948, and the entire medium was only about thirty-years-old at the time? Was there a "Realism" movement that predated that "Neorealism" movement?

    Hmmm. I am sure being a mother concerned about my son colors how I view both films. Still, I see similarities that go beyond that. This article explores how the Italian neorealism movement influenced the new wave film movement in France. Both "Bicycle Thieves" and "The 400 Blows" are about the everyday lives of ordinary people facing terribly difficult, but not at all extraordinary, challenges. Both films have charming child actors who tug at your heartstrings without being sentimental. Both films are beautifully shot in black-and-white, turning everyday scenes of city life into works of art. Neither film has a "happy" ending, yet both films left me with a sense of hope. Both films also show a strong, and sometimes difficult bond, between father and son.

    Between the two, I think "The 400 Blows" is the better film. There is certainly more to the story. But for a simple, beautiful tale about the human condition, "Bicycle Thieves" is near the top of my list.

    • Like 1
  5. 9 minutes ago, DonRocks said:

    This is one of the greatest cinematographic moments I've seen (this isn't a "spoiler," because people who haven't seen the film couldn't possibly have an idea of what it's about):

    Screenshot 2017-04-29 at 5.37.49 PM.png

    It's funny what desperate situations will do to a man, even in front of his son.

    Agreed. That scene was incredible for a number of reasons.

  6. Where on earth did you find this? Is this a feature length film? I think Paula Abdul is generally thought of as a better dancer than singer, but in a cheerleader,  backup dancer sort of way (she was a Laker Girl while in college). I think she hit the jackpot when she made a music video, heavily played on MTV, dancing and singing with a cartoon cat. In general, she comes across as a nice person. I don't wish her any ill will for allowing her handlers to make the most of what she has, but the singing in this clip is cringeworthy. 

  7. "Bicycle Thieves" is the simple story of a poor Italian man, his son and a stolen bicycle. It is one of the finest films I have ever seen. Considered by many to be a masterpiece of Italian neorealism, the movie is bleak, beautiful, sad, joyous, hopeful, moving and sublime.

    I was confused when I started searching for this film online, because it is also called "The Bicycle Thief." Both titles refer to the same film. They are merely different translations of the Italian title. "Bicycle Thieves" was adapted for the screen by Cesare Zavattini from a novel by Luigi Bartolini. At 69 years old, the film does not seem dated. It is a timeless tale that still feels fresh and relevant today.

    One of the earmarks of neorealism is the use of non-actors. Neither Lamberto Maggiorani , who plays the father, nor eight-year-old Enzo Staiola, who portrays his son, were trained actors. Both give magnificent, moving performances. Staiola is irresistible as the little man, trying as hard as he can to keep up with his father as they search the streets of Rome for the bicycle. He has the most expressive eyes, and is able to communicate a full range of emotions with a simple glance up at his father. I felt the deep bond between these two, and the scene where they share a well-earned meal of mozzarella sandwiches is one of the best moments I have seen captured on film.

    Shot in black-and-white, the film is lovely looking, with artistic images of the grittier side of Rome. The story is simple, yet compelling. I was completely caught up in the tale, and felt as if I was running alongside the pair, racing against time, trying to help them find the bicycle and a way out of their life of poverty.

    "Bicycle Thieves" reminded me a lot of the French film  "The 400 Blows,"  a movie that I adore. I highly recommend these two films. Watch them both. You won't regret it.

     

    • Like 1
  8. 15 hours ago, Dr. Delicious said:

    Santini's is in a former "Chicken Out", fwiw.

    Also, Dr. Harold "Hal" H. Saunders, 1930-2016 was one of the principal negotiators during the hostage crisis. Given his background, he had several amazing photos on his office wall, including some of him on the tarmac, arm in arm, with the newly freed hostages. He was also portrayed in the movie (Argo), albeit in a blink and you'll miss it scene.

    I enjoyed talking to Hal about the movie, going over what was dramatized and what was real. SPOILER ALERT. I'm afraid that the tense ending, when they got held up at the gate, and the plane was subsequently chased by the army (or whatever) was a dramatization. Turns out they had no issues boarding the plane and leaving the country.

    I have read that a lot of the events in this film have been dramatized to make the story more exciting to watch. I was a sophomore in high school during the hostage crisis. I was taking a creative writing class at the time, and we were required to keep a journal and write something in it every night. I still have that journal, and a good number of my entries are about the hostage crisis. I watched reports about it on the news every night, and it clearly was upsetting to me.

    Years later, I took my teenage daughter to the theater to see this film, and she found the story fascinating. She knew nothing about this part of American history. 

  9. 10 hours ago, pjnewman said:

    We were in the Hawaiian islands about a year ago and probably had poke a dozen times including for breakfast.  Pronounced po-Kay as the posted article states, never with rice and always tuna.

    When my children were very small, we went to Hawaii every winter and ate a lot of poke. Ahi was the most popular, but we also consumed a lot of tako. Both of my kids preferred tako. I was always the one who wanted to buy some tuna.

  10. On 4/25/2017 at 4:12 PM, DonRocks said:

    *** SPOILER ALERT ***.

    Philip's line to Norah (Kay Johnson) summarizes all I've seen thus far: "Usually, there is one who loves, and one who is loved." That describes the terrible human condition known as "having a crush on someone"; it does *not* describe "love," although romantics would love to have you believe that it does; it doesn't. (*)

    Love, true love, is so much messier, and harder-to-define, than this primal impulse.This is a beautiful film. I fear you've implied it's a "niche" movie because the bar-of-quality in this forum has been set so high, but there is absolutely nothing short of "very, very good" in the 1934 version of "Of Human Bondage" (there were two more filmed later). And yes, it's very important if you're tracking the career of Bette Davis, but even if you aren't, it's a really good - if very old - film.

    I agree with your conclusion that Norah oversimplifies the concept of love and is, in fact, describing infatuation.

    As I have thought more about this film, and my assessment of it, I believe I was too dismissive. If Mildred was a little less awful and if Philip displayed a little more backbone, I might have been more emotionally invested in the outcome of their romance. But she was horrid and he was such a doormat. That was the hurdle I had trouble getting over.

    On 4/25/2017 at 4:12 PM, DonRocks said:

    To show the age of the films we're discussing, Emil Miller (Alan Hale), the man who wed Mildred Rodgers, died 67 years ago. This also shows just how new of an art form Film is - and we won't even go into Television, which was just getting its roots when Emil Miller passed away - if we were discussing Painting from 1950, it would be thought of as modern.

    This is a fascinating way to look at this. The film really doesn't feel that dated when you think about it this way.

    ***SPOILERS FOLLOW***

    By the way, no one ever wed Mildred Rogers. She told Philip she was marrying Emil when in fact, she was merely sleeping with him. The wedding of Emil and Mildred depicted on film took place only in Philip's imagination. Emil was married to someone else and tossed the pregnant Mildred back out onto the streets when he was finished with her. 

    • Like 1
  11. 3 hours ago, DonRocks said:

    Are you sure this is pre-code? The Hays Code took effect - albeit not for all films (refer to "The Thin Man") - in 1930, became strictly enforced in 1934, and the film begins with this panel (which is why I ask):

    Screenshot 2017-04-25 at 12.14.00 PM.png

    I originally included pre-code in my title for this post because "Of Human Bondage" is frequently referred to as that. The film seems to fall into a gray area. According to an article I read, the film was released on June 28, 1934, and the Hays code became strictly enforced on July 1, 1934. However, the movie didn't go into wide release until July 20th, so it was subject to the newly enforced code after all. The print held by the Library of Congress (used for the Blu-Ray release) shows the Code certificate at the start, which you posted above.

    I don't want to give too much of the film away for those who haven't seen it yet, but I can see elements of pre-code and post-code in this movie.

    ***SPOILERS FOLLOW***

    For example, paintings of nude French models are shown and discussed, and premarital sex and an out-of-wedlock birth occur, which implies pre-code. References to prostitution, however, stated outright in the book, are vaguely hinted at in the film, and a case of syphilis is changed to tuberculosis, which is more in line with post-code standards.

  12. 14 hours ago, DonRocks said:

    Poke is fast-becoming a trend (or fad, take your pick) in the Washington, DC area - DC has about 4-5 Poke-based restaurants that have either just opened, or are about to open.

    New York-based PokéWorks opened in Korean-heavy Annandale, VA (about ten miles southwest of DC) early in 2017, and is also opening in The Heights (as well as in Dallas this Summer).

    So, brace yourselves, Houston: Hawaii is coming to you, and don't be surprised to see a few more - mostly using the fast-casual / quick-serve format.

    You know what? I still don't know if "Poke" has an <<accent aigu>> over the "e" or not - seemingly 1/3 of the places online have it, and about 2/3 don't. I'm not even sure if it's pronounced "po-kay" or "poke"; I just know that when it's done right - *with fresh fish* (refer to sashimi), it is a monster dish. The problem, of course, being "fresh fish" - which doesn't seem to be much of a problem in Hawaii.

    My friend, who was born, raised and now lives on the island of Hawaii pronounces it po-kay. So that's what I have always called it. There is a fresh fish shop in the Ferry Building in San Francisco that carries "poke mix" from Hawaii with recipes printed on the back. There is no accent over the "e" on their packaging. It includes Hawaiian salt, ogo (seaweed) and chili pepper. They recommend adding sliced green onion as well. I usually buy a few of these packets and keep them on hand, and when I get the chance to buy some nice, fresh fish, I am poke ready.

  13. "Of Human Bondage" is widely regarded as the film that made Bette Davis a star. Because I have been watching the FX series "Feud: Bette and Joan," and the finale of that miniseries is tonight, I wanted to see a young Ms. Davis portray the crass Mildred Rogers.

    I cannot say that I liked this film very much, but I am glad I saw it.  If you have Amazon Prime, you can stream it online without any additional charges. To borrow one of Davis' lines from the movie, "I don't mind" it, but I wouldn't go out of my way to recommend it, either. However, if you are at all interested in film history or Bette Davis, you should watch this movie.

    "Of Human Bondage," is W. Somerset Maugham's story of the club-footed Philip Carey, a would-be artist and a wanna-be doctor who falls in love with the vulgar little waitress, Mildred Rogers, played by Davis. The film is based on the 1915 novel of same name, which the Modern Library ranked No. 66 on its list of the 100 best English-language novels of the 20th century.

    Mildred is one of the most unlikable characters I have seen on film. Carey is played by Leslie Howard, a popular actor in the 1930s, best known for his role as Ashley Wilkes in "Gone with the Wind." Carey is an uncharismatic and weak-willed leading man, who time and time again comes back for more abuse from the psychopathic Mildred.

    The bondage of which the film speaks is the way humans become attached to one another, even when that love is unrequited. A central theme is that in a romantic relationship, one person is doing most of the loving the while the other is simply reaping the benefits of being beloved.

    This is a topic that could have made for an interesting psychological drama, but the film falls short. The movie is slow paced and dated. Davis' acting makes the film, and often feels ahead of its time, but her performance is marred by her uneven cockney accent. I don't mind slow moving, melodramatic films. One review I read said the film is dull and slow because it was made in the early stages of "talkies," and the pacing is more like a silent movie. I am not sure I buy into this. Some of the best films I have seen were slow-paced, romantic and silent, including 1919's "Broken Blossoms," and "The Lodger," from 1927. What elevates these films above "Of Human Bondage" is the chemistry between the actors and the likability of the characters they portray.

    Still, I am happy I saw "Of Human Bondage" and witnessed Davis' bold, brash performance as cruel and manipulative Mildred. She did not receive an Academy Award nomination for her performance. So many people thought she deserved not only to be nominated but to win, they wrote in her name for Best Actress. As a result, despite not officially being on the ballot, Davis came in third.

    • Like 1
  14. 4 hours ago, DonRocks said:

    I won't be issuing any spoilers in this post, but I would urge any-and-all science-fiction fans to watch one of the greatest science-fiction films I've ever seen: "La Jetée" ("The Pier") - a 30-minute French short (translated into English) - the only place I found it was Amazon Prime (*), and it was $3.99 - yes, it hurt paying that for such a short film, but once I watched it, it was worth every penny.

    For me to say anything about the film would be to ruin it, other than this: It is an art film - absolutely for the art-house cinema folks - and is unlike anything else you've ever seen (with the possible exception of one modern movie which it directly influenced).

    It is disturbing, riveting, and sobering - if you're a science-fiction fan and *haven't* seen this, there's a gaping chasm in your repertoire.

    (*) At 15'40", there is a direct homage to Alfred Hitchcock's "Vertigo" - the influence Hitchcock had on the French New Wave simply cannot be overstated.

    I won't say anything to spoil this film for anyone, either. Just watch it! I do have to add, however, that I am NOT a science fiction fan, and I loved this film.

  15. 10 hours ago, DonRocks said:

    They have a few variations of this, one of which interleaves the two.

    Either way, it's seriously cringe-inducing. The show didn't specify it was the Andy Williams Show, did it? That show debuted in 1962 (the same year), and ran for ten years, so it was *material like this* that kept it going. <_<

    So bad, it's good. And it is quite the earworm.

  16. 2 hours ago, DonRocks said:

    I'd be curious to know if the scene in episode 1.3, "Mommie Dearest," that runs from 9'25" through 13'45" (in the restaurant) is true - if so, it is incredibly tragic, and I think this may be the moment when both actresses - Lange and Sarandon - really come into their own (I actually have no problem with Sarandon playing Davis, and I suspect as you get used to it, you'll come around as well). More importantly, I also think that, if this four-minute discussion actually occurred as portrayed, there is no way that the two - Davis and Crawford - could truly hate each other at a cellular level.

    I don't remember exactly what happened in that restaurant scene, but I have now watched all of the episodes that have aired, and there are a handful of moments when the pair seem more like allies than enemies. Is that the scene where they talk about their fathers? The series depicts them as two aging actresses facing nearly identical challenges, but the baggage from their pasts won't allow them to mend their fences. I find myself rooting for them to get along. What a powerful force they can be when they join together instead of tearing each other down.

    As for Sarandon, yes, she grew on me right away. I think she is perfectly cast as Davis. I saw her on a talk show where she discussed the role. She said the male-run studios of that era pitted women against one another, and they had to fight each other to advance their careers and succeed. Once women began participating in writing, directing and producing, that changed, she said, allowing women to join together instead of ripping each other apart. 

    Sarandon also said Davis approached her when she was a young actress, just starting her career, and asked if she would play her in a project. Sarandon said her agent declined, thinking the part wasn't suitable for her at that time.

    • Like 1
  17. 8 hours ago, MC Horoscope said:

    Two best actress nominees in a leading role (Bette Davis and Anne Baxter), two best actress nominees in a supporting role (Celeste Holm and Thelma Ritter), and the best supporting actor winner George Sanders!

    (Of course it always matters what year you did your show and who was your competition, but that's very impressive!)

    A point they frequently bring up in the FX Series "Feud: Bette and Joan," is that Bette was "robbed" of Best Actress honors that year because Anne Baxter pushed to be nominated in the Best Actress category rather than Supporting Actress." That feels like life imitating art, because that would be something Eve would do! 

    I also find it interesting that Anne Baxter was chosen for the role, in part, because she resembled Claudette Colbert, who was being seriously considered for the role of Margo. The idea was that Eve would gradually look more and more like her idol as the film progressed. I think that would have been a nice touch. But then we wouldn't have had Bette Davis uttering that unforgettable line, "Fasten your seatbelts: It's going to be a bumpy night." 

    On 4/16/2017 at 7:19 PM, DonRocks said:

    (*) This is such a great screen shot - remember my comment above about Marilyn Monroe. You can't really see Addison DeWitt (George Sanders), but it captures the essence of the three females *so well* (remember, Monroe wasn't famous yet, and she has a very minor role, but it still represents her in a picture-perfect way):

    Screenshot 2017-04-16 at 6.04.12 PM.png

    I find it fascinating that you included that screen shot of the three actresses with Addison DeWitt. I actually paused on that scene as well while watching the film because I thought it perfectly captured the personalities of the three women, as well as their "agendas" for Addison DeWitt.

    I am so glad I saw this film.

    • Like 2
  18. 12 hours ago, DonRocks said:

    Heck, yes it's worth watching! What's the "Kiss Me Deadly" reference? I watched the episode, but I must have missed it.

    ...

    Is "Feud" presenting a true story, in that the entire existence of "Whatever Happened to Baby Jane" is due to Joan Crawford having found the book in a library, and was it her who recruited Bette Davis? Or are there dramatic liberties being taken with this?

    If anyone out there reading this has been following along with the Films Forum, and has recently watched "Whatever Happened to Baby Jane" and "All About Eve," those two movies alone are more-than-sufficient to make watching the Pilot episode "must-see TV."

    I was mistaken. The "Kiss Me Deadly" reference was in the fourth episode, not the pilot. Having recently enjoyed so many films from this era, I am finding this series fun to watch. It is kind of like reading the X-Ray tidbits that appear alongside an old film you stream on Amazon. There have been several references to "All About Eve," for example, a film I just watched last night and thoroughly enjoyed.

    The wrangling that goes on between the directors, the producers, the studios and their stars in fascinating. I find that aspect more interesting than the catfight storyline. Really, the premise is more about the challenges aging actresses faced in that era than anything else.

    I also like that the Bette and Joan story is just one season. It feels like less of a time commitment, and the writers aren't tempted to drag out the storyline. As for how factual it is, there are several "Feud" fact checking pieces being written that address what is real and what has been enhanced for dramatic effect.

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