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<blockquote data-quote="Willie Oleson" data-source="post: 386575" data-attributes="member: 8"><p>Funnily enough, I watched the German film THE AMERICAN FRIEND (1977) starring Dennis Hopper, <em>before</em> watching CRUISING.</p><p>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.</p><p>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.</p><p></p><p>Not even Melissa in her last seasons in Falcon Crest?</p><p></p><p>To put it mildly <img src="http://yoursmiles.org/ssmile/fun/s0208.gif" class="smilie" loading="lazy" alt=":lol:" title="lol :lol:" data-shortname=":lol:" /></p><p></p><p></p><p></p><p>JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES</p><p></p><p>[ATTACH=full]50690[/ATTACH]</p><p></p><p>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.</p><p></p><p>There's a lot you could say about this film and (apparently) a lot <em>has </em> been said about it. Perhaps that itself warrants the inclusion in those "best of" lists.</p><p>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.</p><p></p><p>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.</p><p></p><p>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.</p><p>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.</p><p>And saving on electricity by switching the lights on and off, emphasized in this film by characters constantly walking in and out of rooms.</p><p></p><p>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.</p><p>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.</p><p></p><p>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).</p><p>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.</p><p>Maybe later.</p></blockquote><p></p>
[QUOTE="Willie Oleson, post: 386575, member: 8"] Funnily enough, I watched the German film THE AMERICAN FRIEND (1977) starring Dennis Hopper, [I]before[/I] 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. Not even Melissa in her last seasons in Falcon Crest? To put it mildly :lol: JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES [ATTACH type="full"]50690[/ATTACH] 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 [I]has [/I] 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. [/QUOTE]
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