What was the last film you watched?

[Willie Oleson]

A PASSAGE TO INDIA (1984)



Or, in willie oleson language, JEWEL IN THE CROWN meets PICNIC AT HANGING ROCK.
The (roughly) first half of the film seduces and intrigues the viewer with the various characters and extraordinary lush scenery, the second part has the mystery followed by the trial followed by the aftermath.
In order to rate this film I feel I need to ask myself how I would experience the two and three quarter hours running time within the constraint of a cinema.
But then again, I also paused the previously watched 90 minutes film for the occasional trip to the kitchen or bathroom so I guess it doesn't matter.
And of course, everything looks and sounds even more impressive on the big cinema screen.

Because I interpreted the "passage" in Passage To India too literally, I was initially a bit disappointed that they didn't show the journey on the ship, and even the journey by train was over before it started.
Once they got there I was glad it happened this way because there are so many more interesting things to show.

I'm a sucker for colonial stories. All that glamour, misguided optimisim and superiority with its perfectly cultivated Ruling Class utopias built on top of extreme poverty, inequality and national turmoil.
Perhaps that idea of a "ticking timebomb" climaxed in the mysterious incident inside the cave. An exaggerated realisation of "not belonging". But it can also be watched as an experience that applies exclusively to the character of Adela Quested - indecisive about her feelings for fiancé magistrate Heaslop combined with a more than casual interest in Dr. Aziz.

As with PICNIC it is not revealed what happened in the cave, and I think that was the only way to make sense of Adela withdrawing the accusation. She lied, but perhaps that was easier than facing the reality of what really happened, imaginary or not.

The acting isn't always on a par with the film's technical brilliance, and especially the part written for the character played by Art Malik is way over-the-top. But that's a minor nuisance considering everything else that has been achieved. The scene with the monkeys in the abandoned temple is genuinely frightening.

One day I'm going to force myself to watch Doctor Zhivago. Not that I've never had the opportunity to do so, but its epic running time has always discouraged me.
I may as well add Lawrence Of Arabia to the list.
To quote Krystle Carrington from Dynasty's third cliffhanger: Oh my god!

 

[Willie Oleson]

FIVE EASY PIECES (1970)



The story of a man (Jack Nicholson, of course) who on the one hand considers himself a failure in the privileged life he was born in, but on the other hand superior to everybody else in the blue-collar life he's living.
I guess it's sort of a destructive kind of narcissism - "if I can't be the best then I'm going to be a nobody". As if that would fix anything.
Not surprisingly, he wants everybody else to feel as miserable as he does.

Karen Black is Rayette, Jack Nicholson's hick-waitress girlfriend, and I think she plays it too affected but since I know she can do better I'm sure there was a reason for it.
There are supporting characters who help to make the bleak story a little bit more colourful, and I really like the tongue in cheek social commentary.
Like the lesbian hitchhiker who thinks that moving to Alaska will help her to escape the filth of consumerism created by "man".
She hates the filth so much she doesn't even want to talk about it, and yet nobody can shut her up.

There's also an ex-sailor who works as the caretaker of Jack Nicholson's film father, Mr. Dupea. I'm probably reading too much into it but I think it's funny that a character who reminds me of Popeye is taking care of a person with "pea" in his name. Dupea. Du Pea. Van Der Pea.
Actually, most of the names are wonderfully weird. Elton, Stoney, Twinky, Partita, Palm Apodaca, Catherine Van Oost. I seriously wonder if it all refers to notes in a certain piano play.

The film ends with some redemption for Bobby Dupea, and the last bad thing he does is probably the best for everyone. It looks like he's moving to a very cold place, could it be Alaska?
I think Five Easy Pieces is sort of a satirical American arthouse film, and there's a lot in it that could have served as a template for Knots Landing.
I like it very much.

 

[Seaviewer]

Mosley (2019)
Animated film about sentient animals being used as beasts of burden.
Begins as a fairly heavy-handed allegory on slavery before veering into a Disneyesque quest adventure and ultimately a quasi-religious salvation story.

 

[Willie Oleson]

ON THE BEACH (1959)



Already knowing that this story was going to be a worst-case scenario, the end of human life, I was a little worried that the drama would be a) too on the nose and b) a massive downer to watch.
I was very surprised to see how enjoyable it was, despite or because the story's overpowering gloom.

But is it really about the Apocalypse?

Ava Gardner: If things were different, if she were alive, I'd do anything. Any mean trick I know to get him.

It sounds like the soap opera that couldn't be because it was cancelled before it began, but they filmed it anyway.
To me, it looks like a human drama that just happens to happen in apocalyptic times. The story could have been about different characters played by the other actors but that's not the case.
This is about them, wonderfully played by Gregory Peck, Ava Gardner, Fred Astaire and Anthony Perkins, and that's why the film is also its own raison d'être.
How often do you see Ava Gardner offering herself as a make-believe substitute for Gregory Peck's deceased story-wife? It happens here.

The story is a bit vague about the fallout (the novel isn't, apparently) which adds to the kooky soap opera vibe, like the vague goings-on in a faraway country that enable the Ewings and the Carringtons to do whatever the storyline requires, and to hell with the faraway country in question. After all, The Family is the only thing that matters.
To be fair, ON THE BEACH does make a lot of effort to paint the picture, and perhaps it is that bit of vagueness that allows the story to tackle some issues in a broader context, without coming across as a message or warning or accusation.
There is almost something forgiving in the way Fred Astaire describes mankind's never-ending quest for better technology even if that technology is a monster that's going to destroy us.
And I guess it is against our nature to not wanting to learn, to not wanting to do better. If we can create the perfect weapon then it's simply impossible not to do it.
"How I learned to stop worrying and love the bomb", or something like that.
There are no aliens coming, we ourselves will become the aliens. But Doctor Who already knew that.

Instead of the histrionics one would expect from a drama like this, the film seems to make a point about our perception of loss.
Most of us are familiar with grief, but in order to lose it you have to have it first. The pain one feels in those periods of grief only informs how good it used to be, and that's something to be very grateful for. The biggest loss in life is to never lose anything.

Every scene matters, there's never a dull of stilted moment in it and the film is not without humour either.
The main reason I watched this film is because I want to see more of Anthony Perkins' earlier films (he's such a natural scene-stealer), and considering the rest of the cast I expected ON THE BEACH to be a good one. It also turned out to be a brilliantly low-key and talkative disaster movie. I think I'll add it to The Collection.

 

[Billy Nolan]

"The Headsman" (2005)

The story of time-tested loyalty of two friends during Europe's 16th-century Inquisition. Orphans Martin and Georg bond as children, but walk very different paths as adults. Georg follows his calling to join the church, while Martin becomes an army captain. When fate places Martin in the role of executioner, he must choose between friendship and fundamentalist doctrine.

 

[James from London]

I've watched two whole films so far this week: Killers of the Flower Moon, which is absolutely stunning, and The Driver's Seat, which is absolutely mental.

 

[Willie Oleson]

ACE IN THE HOLE (1951)



I think I just watched not only Kirk Douglas' best film. not only Billy Wilder's best film. not only the best film-noir but also the best film of the 1950s.
Well, maybe after The Incredible Shrinking Man because that's the best American film ever made. And maybe after Roman Holiday because that was also really very good.
I knew the premise before I started watching the film and I expected some kind of satire in the style of Network - but only better timed, and I'm sure the story is making a point about the tam-tam shenanigans of the press - but what I got instead was an almost nauseatingly dark drama with Kirk Douglas as a tragic villain.

Also interesting to see what a "story goes viral" looked like in those days.
In addition to the ruthless newspaper man we have a crooked sheriff and also a cold-blooded blonde wife who makes the best of a horrific situation. An understated femme fatale, as it were.
The other reporters who don't get the scoop behave like jealous vultures.
Meanwhile, the victim and his old parents suffer in silence while pinning all their hopes on the dastardly reporter.
There are lots of interesting characters in small roles, it's a very vibrant film that perfectly captures the buzz and the consumerism derived from it.

Interestingly, the nicest characters are the people in the audience who are genuinely rooting for the man trapped in the cave, unaware of the theatre that's playing out in front of their very noses.

The Driver's Seat, which is absolutely mental

I must know what that means. The other one is already in my watch list but I'm waiting for the price to come down.

 

[James from London]

ACE IN THE HOLE (1951)

This is from an interview Michelle Phillips did with Art Swift, formerly of this parish, a long long time ago:

MP: (Laughs loudly) One line that I absolutely loved was one that I wrote and it was at my father’s funeral. I was wearing this Thierry Mugler suit, very tight at the waist, very Anne, and Paige says, “Mother, the least you can do is cry” and I said, “I don’t cry, it ruins my makeup.” (Laughs heartily) And I got that from a Kirk Douglas movie called Ace in the Hole. There was a great actress in that whose name I don’t remember who said at one point, “I don’t pray; it runs my stockings.” Do you remember who that was?

AS: (Laughing) I don’t, but I’ll look it up.

MP: I remember I was at dinner sitting next to Kirk Douglas and he had just converted to Judaism and everyone was talking about religion. They were talking about Catholicism and “I was raised a Baptist” and then they asked me what I was. I replied, (in Southern accent) “I don’t pray; it runs my stockings.” And Kirk remembered it! Here is this obscure line and he knew it.

Knots Landing Online - The Michelle Phillips Interview, Part One

I must know what that means.

The trailer gives a good indication of what's in store:

 

[Seaviewer]

, wonderfully played by Gregory Peck, Ava Gardner, Fred Astaire and Anthony Perkins,

On the Beach was filmed in my hometown of Melbourne. There's a wonderful albeit apocryphal quote attributed to Ava Gardner which is alternately derided and lauded that Melbourne was a good place to make a film about the end of the world.

 

[Willie Oleson]

CRUISING (1980)



CRUISING succeeds where DRESSED TO KILL fails, despite the lack of detective mystery since there's no limited number of suspects. Even when the killer is caught it still feels a bit random since we know almost nothing about the many supporting characters except for Al Pacino's neighbour Ted Bailey.
But sometimes it is precisely the absolute unknown - except for the idea that "something is happening" - that makes it a mystery. In addition, the film's protagonist enters a world he knows nothing about.
Technically speaking, the film was released in 1980 but the filming itself happened in the seventies decade, and what this film does so well is to capture the mystery of the elusive year 1980, a year that is a time capsule and a mini-decade of itself.

The greatest odditiy is the moment when Al Pacino's character Steve Burns takes on the assignment of undercover cop because it may as well be a scene between director Friedkin and actor Pacino.
I once read that Pacino wasn't too eager to commit himself to DOG DAY AFTERNOON so soon after finishing THE GODFATHER II, and that one of the reasons he did it anyway was the fact (or rumour) that Dustin Hoffman was also considered for the role.
I'm not suggesting a kind of jealousy, but more like a fear of "missing out" on a potentially great project.
Richard Gere was Friedkin's first choice for the role of Detective Steve Burns and I'm not going to comment on that since we'll never know what that would have done for the film.
All I know is that CRUISING is Al Pacino because the ambiguities are perfectly in balance. The undercover job affects him but it's open to interpretation, although I understand that it may have been dissatisfactory to viewers who wanted a more clear insight into psyche of character Steve Burns.
The urban tribal ritual of disco dancing - see, there's nothing he won't do for a film - is really all I needed to know about his state of mind. It's almost like an exorcism of the things that shaped his life as he knew it.

Since I was already aware of the film's (then) controversy it kinda looked the way I expected it to be, nevertheless I was a little surprised by the generous amount of pretty skin. The big black cop in jockstrap and cowboy hat, seemingly coming out of nowhere, looked very "David Lynch".
The deleted scenes which no longer exist would have been a fabulous DVD special feature.
It is now my second favourite Pacino film but I haven't seen SERPICO yet.

This is from an interview Michelle Phillips did with Art Swift

You really have a gift for remembering the minutiae. Incidentally, we're still waiting for a detailed timeline of Gordon Hamilton's company (and how it changed from one thing to another without explanation).

The trailer gives a good indication of what's in store

Ah yes, the most interesting things can happen when an American actor wanders into wonders of European cinema.
It reminds me of Mel Ferrer in the Italian "The Exorcist" copycat THE ANTICHRIST (1974).

I'm sure it has a cult following and as a matter of fact it was recently released on Studiocanal's Cult Classics label (which I like to think of as a sub-label of the Vintage Classics).
Either way, I'm going to hunt down that Elizabeth Taylor film. Thanks for the suggestion!

 

[James from London]

CRUISING succeeds where DRESSED TO KILL fails, despite the lack of detective mystery since there's no limited number of suspects. Even when the killer is caught it still feels a bit random since we know almost nothing about the many supporting characters except for Al Pacino's neighbour Ted Bailey.
But sometimes it is precisely the absolute unknown - except for the idea that "something is happening" - that makes it a mystery. In addition, the film's protagonist enters a world he knows nothing about.
Technically speaking, the film was released in 1980 but the filming itself happened in the seventies decade, and what this film does so well is to capture the mystery of the elusive year 1980, a year that is a time capsule and a mini-decade of itself.

The greatest odditiy is the moment when Al Pacino's character Steve Burns takes on the assignment of undercover cop because it may as well be a scene between director Friedkin and actor Pacino.
I once read that Pacino wasn't too eager to commit himself to DOG DAY AFTERNOON so soon after finishing THE GODFATHER II, and that one of the reasons he did it anyway was the fact (or rumour) that Dustin Hoffman was also considered for the role.
I'm not suggesting a kind of jealousy, but more like a fear of "missing out" on a potentially great project.
Richard Gere was Friedkin's first choice for the role of Detective Steve Burns and I'm not going to comment on that since we'll never know what that would have done for the film.
All I know is that CRUISING is Al Pacino because the ambiguities are perfectly in balance. The undercover job affects him but it's open to interpretation, although I understand that it may have been dissatisfactory to viewers who wanted a more clear insight into psyche of character Steve Burns.
The urban tribal ritual of disco dancing - see, there's nothing he won't do for a film - is really all I needed to know about his state of mind. It's almost like an exorcism of the things that shaped his life as he knew it.

Since I was already aware of the film's (then) controversy it kinda looked the way I expected it to be, nevertheless I was a little surprised by the generous amount of pretty skin. The big black cop in jockstrap and cowboy hat, seemingly coming out of nowhere, looked very "David Lynch".
The deleted scenes which no longer exist would have been a fabulous DVD special feature.
It is now my second favourite Pacino film but I haven't seen SERPICO yet.

Fascinating.

You really have a gift for remembering the minutiae. Incidentally, we're still waiting for a detailed timeline of Gordon Hamilton's company (and how it changed from one thing to another without explanation).

Ha ha!

Ah yes, the most interesting things can happen when an American actor wanders into wonders of European cinema.

Ooh yes - that could be a mini-genre of its own. Burt Lancaster in The Leopard is another one that springs to mind.

It reminds me of Mel Ferrer in the Italian "The Exorcist" copycat THE ANTICHRIST (1974).

Oh. My. God. We're definitely not at Lorimar anymore,

I'm going to hunt down that Elizabeth Taylor film.

It's on YouTube, but the quality isn't the greatest. The ratio's a bit off so everything looks kind of stretched. Still watchable though.

 

[Angela Channing]

I've watched two whole films so far this week: Killers of the Flower Moon, which is absolutely stunning

I agree with your opinion of Killers of The Flower Moon. The film was probably a bit too long but my word, what a compelling story and beautifully acted, directed and shot.

 

[Willie Oleson]

Burt Lancaster in The Leopard is another one that springs to mind

Funnily enough, I watched the German film THE AMERICAN FRIEND (1977) starring Dennis Hopper, before watching CRUISING.
I dozed off twice and then when I had to rewind it for the second time I couldn't even remember the last scenes I had it watched; consequently, I couldn't be bothered anymore.
Apart from being lethally boring - not what one would expect from a Tom Ripley story - the combination of English and German language annoyed me from the very beginning.

Oh. My. God. We're definitely not at Lorimar anymore,

Not even Melissa in her last seasons in Falcon Crest?

the quality isn't the greatest

To put it mildly



JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES



It's not so long ago that this film came to my attention. Several online sources list it as one of the "best films of all time" and even though there were others I had never heard of before, it was JEANNE DIELMAN that piqued my curiosity. That feeling became stronger after watching some clips on youtube.

There's a lot you could say about this film and (apparently) a lot has been said about it. Perhaps that itself warrants the inclusion in those "best of" lists.
Understandably, lots of people hate it, and an IMDB reviewer says it lacks proper editing. I guess he/she doesn't understand that that would completely undermine the purpose of this experimental film. There's nothing extravagant about its 3 hours and 20 minutes running time when the filmmaker wants to show the endless mundanity in the life of Jeanne Dielman.

I loved it for different reasons. It's so mesmerizing that I couldn't look away even if I wanted to, and simply the very idea that her routine would be disrupted by anything or anyone creates sufficient tension. And that's exactly what happens in the second half of the film when little irregularities start creeping in, kinda like an upgraded Stepford wife who starts to show minor malfunctions.

There's no point in denying that I got a lot of pleasure from watching the elaborate manual work needed to get things done, the way it was in those days.
Putting money in the bank could be very time-consuming, not to mention the ridiculous amount of paperwork. It was one of the scenes that made me laugh out loud, not because it looked silly but because I know that's how it was done.
And saving on electricity by switching the lights on and off, emphasized in this film by characters constantly walking in and out of rooms.

Is it a feminist or anti-feminist film? Widow Jeanne Dielman doesn't want to remarry because she likes her independence (which could also be a make-believe excuse for feeling lonely) and yet she has to rely on men in order to make life a little more comfortable - if not for herself then at least for her son.
Son Sylvain, such a lovely name, gets some interesting dialogue except that he recites it in a bizarre an monotonous way. But it's obvious that's how it was meant to be delivered.

Even if I didn't like this film I would still appreciate it for its uniqueness, although some parts reminded me of Judi Dench's role in FOUR IN THE MORNING (1965).
I was tempted to watch the second disc with the special easter eggs but I was afraid they were going to explain the film so I decided not to do it.
Maybe later.

 

[Seaviewer]

This Is Spinal Tap (1984)
Described as a mock rock documentary, or mock rockumentary, or simply a mockumentary.
Catching up with another so-called classic that I've never seen before.
I don't think I've been missing much. I'd put in the "more clever than funny" category.

 

[Willie Oleson]

BARBARIAN (2022)



Since I don't expect a lot from modern horror movies anymore I figured I could kill 10 minutes before going to bed and then remove it from my watchlist. When I browse prime I usually add everything spontaneously, only to remove it later before or during the play.
However-the-pever, I instantly noticed something different about this horror film. Characters have normal conversations and the actors play them very well, was this really going to be a horror film?
Now that I've seen it I think it's the best "classic" horror film of the last...10...15? years. It's like "American Horror Story - THE MOVIE", but without the camp and silliness.
When it's funny it really is funny because of the situation, not because they're doing funny.
BARBARIAN is gory, suspenseful and twisty, and the title can be read...no. stop. No more. You must know absolutely nothing about it, no trailers, nothing.
What a surprise, what a gem.

 

[Seaviewer]

Seberg (2019)
Based on the life of the actress Jean Seberg, who it seems was surveilled and harassed by the FBI after she became involved the Black civil rights movement in the 60s.
I really only know her from the film Paint Your Wagon, so scenes of her rehearsing for that were of special interest.
Kristen Stewart is very good, and Vince Vaughn is appropriately despicable as a callous FBI agent.

 

[Biggie]

The Bodyguard. 1993.

After doing his bit to fight the futile war on man's and that getting mash-up, him that, Wolf Dancer is hired to protect the Queen Of The Night from a flasher and a dude planning to gun hole her at the Oscars with million's man's and that watching.

This was quite an enjoyable movie overall, with a first rate soundtrack. Costner and Huston delivered reasonable performances and the supporting cast stepped up and did their bit. The plot seemed a bit silly, as the shooter would have been better off finding some high vantage point around her home and with a hype rifle with scope put enough holes in her back. But otherwise a fairly decent movie.

The star of the show... our man that only done and gone defiled Whitney.

 

[Karin]

Priscilla (2023)
It was okay but I liked the mini tv-series version from 1988 that had Priscilla do her own voice over better.

Despite using music that really fits with the time this new version is a product of it's time that view Elvis & Priscilla's relationship from a modern POV.

Also the actors cast doesn't reflect the actual age gap as they are just one year apart.

 

[Willie Oleson]

SARABAND FOR DEAD LOVERS (1948)



A very, very beautiful film about romance, drama and intrigue in the House of Hanover at the end of the 17th century.
It is old-fashioned, mostly in speech, but the way the characters are portrayed leaves very little to the imagination.
With its filming technique so picturesque perhaps it could be seen as a pre-Barry Lyndon.

 

[Seaviewer]

Queen of Hearts (2019)
Award-winning Danish film about a successful lawyer who risks her marriage and career when she seduces her underage stepson.
It's unclear why it's called Queen of Hearts when there's no apparent romance involved. She seems to act from simple lust. There are repeated quotes made from Alice in Wonderland so perhaps we're supposed to infer that she's fallen down a metaphorical rabbit hole, but if the gender roles were reversed, I doubt that a male protagonist would have been treated so sympathetically.