British Animation Classics Vol. 2, Part II

The Village (1993, Mark Baker)

Fun story with a fairly minimal drawing style. Small town is hateful and suspicious of each other until they have something to unite around: imprisoning and hanging their falsely-accused neighbor. After a rooftop fight, he manages to escape into the woods with his lover. I dig the decorative swarm of ants who end up complicating the plot. This won a pile of awards, also oscar-nominated against winner The Wrong Trousers.


His Comedy (1994, Paul Bush)

More an art piece than a short story – the poetic voiceover does nothing for me, and I couldn’t make out any sort of narrative. Maybe something religious or mythological? Ah, it’s all Dante quotes, as I should’ve known from the title. Cool looking, though – everything composed of wavy lines, with some parts (motion of bird flocks, fire, bombings) that appear rotoscoped. I liked Bush’s later, twitchy Episodes from the Life of Jekyll and Hyde.


Dreamland Express (1982, David Anderson)

Sleepwalker finds a train in the woods and takes it for a ride. All manner of wonderous imagery ensues. One of those animations that reminds you how limited and straightforward most animations are. Glad I didn’t skip this after realizing it’s by the same guy who made Deadsy. Won a Bafta (interesting thing that year: Burden of Dreams won an award; Fitzcarraldo was nominated but lost).

Lumière! chapters 1 & 2

Holy shit, the Lumière films have been remastered in HD and look incredible. I understand no spoken French, so played the music-only track on the blu-ray, though I’ll bet the narration is super interesting. Hope this comes out in the U.S. eventually.


Sortie d’usine III (1896)

Sortie d’usine II (1896)

Sortie d’usine (1895)

Three takes shown in reverse order (and with declining picture quality). There are dogs (the same dog?) in all three, and dudes who need help riding their bikes.


Débarquement du congrès de photographes à Lyon (1895)

The first self-reflexive movie? A photographer notices he’s being filmed, his own camera aiming towards our camera.


Repas de bébé (1895)

This baby would be 120 years old now.


Forgerons (1895)

Hammering and cranking – right as the film ends the anvil guy is being poured a drink. Can’t help but notice how clear the scene looks even with the fast hammer motion. I wonder what (approx) framerate this was shot at. Reportedly a remake of an Edison kinetoscope from 2.5 years earlier.


Arroseur et arrosé (1895)

Classic hose gag, ends in a spanking.


Partie d’écarté (1896)

While drinks are poured, cigars are smoked and cards are played, the waiter in the background is overreacting to the scenario, single-handedly inventing silent-film ham acting.


Arrivée d’un train à La Ciotat (1897)

It’s coming right at us!


Démolition d’un mur (1897)

I’d like a hand-cranked wall-demolisher. Everything was hand-cranked those days – construction equipment, cameras, fireplaces. Afterward this film is played in reverse, which is apparently a thing projectionists did to blow minds, a post-post-production effect.


Panorama de l’arrivée en gare de Perrache pris du train (1896)

Looking out the side of a train, with nice view of a horse-and-wagon bridge. “Panorama” apparently meant “moving camera”.


Arrivée d’un train à Perrache (1896)

Another train arrival (possibly the train we rode in the previous film). The behavior is what’s odd here. Bunch of uniformed mustache fellows waiting anxiously for the train to arrive, motioning at it, grabbing its handles seemingly in an effort to make it stop faster, then opening all the nice-looking cushioned side doors as a Napoleon-hatted man in the distance slowly paces.


Place des Cordeliers (1895)

Nice angle on a busy street. Horse-drawn double-decker bus!


Place Bellecour (1896)

Some of these are probably really special if you’re familiar with the corner today. Wonder if that hotel being built in the background is still standing. Unexciting until right at the end, a car reading “Absinthe Premier” appears on the right side. An advertisement like we put on tops of cabs and sides of buses, or – still my heart – an absinthe delivery truck??


Quai de l’Archevêché (1896)

It must have been unusual that this street would be flooded, given the huge audience of people watching from the sidewalk as cars pass by. But maybe not, since there’s also a boat. Don’t these people have somewhere better to be? Ah, “floods of the Saône river during the first week of November, 1896” says IMDB.


Place du Pont (1897)

Camera glides beautifully down a trolley line, but Lumiere didn’t have great timing with this one, as we stop to allow a rubble truck to pass. I guess those are simply bus ads for alcohol after all, since here we’ve got “Dunoise liquor exquise” and “Alcool de menthe” (probably De Ricqlès). My new theory is that these are party buses full of college students, who hop from one to another when they want to try a different spirit.


Concours de boules (1896)

A pretty damned exciting game of boules with a big crowd of suit-wearers, who are apt to dash into the middle of the court right when someone’s about to throw.

Carol (2015, Todd Haynes)

I knew this was based on a Patricia Highsmith story, but when I saw the opening scene I thought “oh no, is this a remake of Brief Encounter?” Fortunately it goes in a different direction pretty quickly, and while Brief Encounter may have a perfect ending for the 1940’s, Carol has the perfect ending for right now.

Carol (Cate Blanchett) is the interesting rich lady who makes eyes at young department store cashier Therese (Rooney Mara) one Christmas shopping season, and eventually they’re in love, vacationing across the country, not realizing they’re being pursued by private investigators hired by Carol’s husband Kyle Chandler. Not much to say about the movie, plot-wise, since it’s all about perfectly chosen moments and a beautiful visual atmosphere.

F. Zaman in Reverse Shot:

It doesn’t engage with questions of why or how its protagonists are gay, or create simplistic dynamics between homophobic villains and damaged queer heroes. It lets the characters just be, as they are, a defiant act of passive resistance against the assumption that queerness needs to be justified – and that it is the primary quality of the queer person. Just as Haynes is reinvigorating the melodrama genre in films like Carol, Far from Heaven, and even Velvet Goldmine, he is also reframing history to include others — people of color, counterculture figures, queers — in a meaningful way. Carol is also full of visceral pleasures, capturing subjective but universal experiences, like the way the world seems to blur when that certain someone touches your wrist for first time.

The Movies Begin, discs 1 & 2

Shorts! I have discs and discs of shorts and rarely watch them. I’m awfully excited about the new blu-ray of avant-garde shorts from Flicker Alley, but how can I justify buying it when I’ve got a hundred shorts collections just sitting around unseen? Let’s watch some, shall we? And what better place to start than with a Kino collection called The Movies Begin?


The Great Train Robbery (1903, Edwin Porter)

Stunts, explosions, color, brutal murders, thievery, daring escapes – and dancing! Bandits rob the train of its lockbox loot and all its passengers of their wallets, then escape on horseback. Local bunch of ruffians is alerted to the crime and rides off to kill the perpetrators. All this in ten minutes – more economical than the Sean Connery remake.

One of the more famous shots (haha “shots”) in cinema:

Fire in a Burlesque Theater (1904)

Either this was ineptly framed or I’m seeing a cropped version, because there aren’t nearly enough burlesque dancers with smoke inhalation on display here.

Airy Fairy Lillian Tries On Her New Corsets (1905)

Hefty Jeffy helps her out… then faints. Was this a comedy?

Spoiler alert:

From Show Girl to Burlesque Queen (1903)

A woman removes her costume – but the good part is done behind a screen. The title was better than the feature, making this the A Pigeon Sat on a Branch Reflecting on Existence of its time.

Troubles of a Manager of a Burlesque Show (1904)

Troubles because the women are angry at the crappy clothes he expects them to wear, and they flee and throw things when he tries to molest them.

The Whole Dam Family and the Dam Dog (1905, Edwin Porter)

So many lost films in history, and this dam thing survives. Hilarious title for a movie without any jokes in it, making this The Ridiculous Six of its time.

The Golden Beetle (1907, Segundo de Chomón)

Ornate, hand-colored, dangerous-looking Meliesian disappearing act. I think a man tries throwing a golden beetle in the fire, and she torments him with showers of sparks before burning him to death. This is great.

Rough Sea at Dover (1895, Birt Acres)

Two shots of the rough sea. Were any other 1895 movies more than one shot long?

Come Along Do! (1898, RW Paul)

Supposedly the first film to feature action carried over from one shot to the next. But I watched it twice, and it appears to be only one shot. Is there an invisible Birdman-like cut in there somewhere? Or did I get the descriptions of the previous two films mixed up? Anyway, two drinkers on a bench outside some mysterious establishment with an “Art Section” and “Refreshments” opt for the art section.

Extraordinary Cab Accident (1903, RW Paul)

Cabs being horse-drawn at the time, a guy stumbles into the street, is trampled to death, then mysteriously recovers and runs off. I’ve seen guys transformed via editing into scarecrow dummies then thrown off trains in The Great Train Robbery, but this one does a good job transforming the dummy back into a guy.

A Chess Dispute (1903, RW Paul)

There is a violent dispute over a game of chess. Mostly this dispute is waged just under the camera’s view, thrown punches and bottles and clothing flying up into frame.

Buy Your Own Cherries (1904, RW Paul)

Awful brute man causes a drunken scene at a bar, then another at his home, then after a quick visit to church he’s wonderful and generous. Extra long at four minutes. Paul also produced the great The ? Motorist, which I had credited to director Walter Booth.

The Miller and the Sweep (1898, GA Smith)

Just a silly half-minute fight/chase in front of an operating windmill. But it’s a really nice shot of the windmill.

Let Me Dream Again (1900, GA Smith)

Happy couple at a party wake up as grumpy old couple in bed… so the movie’s title is the punchline. Smith invented the pull out-of-focus to indicate shift from dream to reality.

Sick Kitten (1903, GA Smith)

Kino says Smith invented the POV shot, and the idea of breaking a scene down into shots from different angles, which he does here. Kids dressed as grownups feed a kitty from a spoon. As is true today, cat films were incredibly popular back then, so this is a remake of his 1901 cat film which had worn out from overduplication.

The Kiss in the Tunnel (1899, GA Smith)

Train goes into tunnel, GA Smith and wife have a quick smooth, train back out of tunnel.

The Kiss in the Tunnel (1899, Bamforth & Co)

A remake! Two different people kiss in a different tunnel (the train shot from different angles than Smith used), in a cabin with worse production design.

A Daring Daylight Burglary (1903, Frank Mottershaw)

Action thriller with multiple shots and locations, reminiscent of The Great Train Robbery. Kino says some plot action in the silent doesn’t make sense because the showman was supposed to provide benshi narration during the screening.

A Desperate Poaching Affray (1903, William Haggar)

Men with guns chase men with nets. Oh damn wait, the poachers have guns too, and blast at least three of the pursuers. Poaching was deadly serious business. Just a big chase scene, really.

Attack on a China Mission (1901, James Williamson)

A man’s house is attacked, he defends with rifle, then more groups keep arriving and I’m not sure what side they’re on. Kino says it’s a reenactment of the Boxer Uprising, which must have been a confusing uprising. Kino says JW was famous for moving action across multiple shots, mainly during chase films, which sounds like what everyone was famous for in 1901.

An Interesting Story (1905, James Williamson)

Mustache man pours coffee in his hat, injures the maid, wrecks some children’s fun, and keeps running into things because he won’t put down his book (just like kids today with their cellular telephones). Satisfying conclusion as he gets run over by a steamroller, but some passing bicyclists inflate him, using the ol’ dummy-replacement trick last seen in Extraordinary Cab Accident.

Electrocuting an Elephant (1903, Thomas Edison & Edwin S. Porter)

Never forget, no matter what his achievements in human history, Thomas Edison once electrocuted an elephant for fun and profit.

Our Hospitality (1923, Buster Keaton)

We managed to watch this despite obstacles (DVD gone missing, Amazon’s lies about runtime). Keaton’s second feature, a vast improvement over his first. Keaton takes a train to brutal, rural America to claim his family estate, which turns out to be a crumbling shack. So instead he focuses on the hot girl who rode the train out west with him (played by Keaton’s wife), but her dad (familiar heavy Joe Roberts) and two brothers are out to kill him because of a century-old family feud.

After a flashback open where Keaton’s dad and Joe Roberts’ brother kill each other, the first half of the movie is mostly the ride out west on a ridiculous wood-fired train said to be based on an actual vehicle. Second half is Keaton, having been invited over by the girl, unable to leave since the men won’t shoot him while he’s a guest in their home. He finally escapes dressed as a woman, then after a mountaintop chase culminating in one of the best stunts in movie history – Keaton swinging on a rope to catch the girl coming over a waterfall – they marry, ending the feud. Watched with Katy as history lesson after the first Story of Film episode, though we mostly forgot to analyze editing and obsess over the 180 degree rule.

Deseret (1995, James Benning)

I’ve finally watched a James Benning movie. I knew I’d either love it, or not get it, which would be frustrating since I have about 15 Benning movies on my must-see list based on critic recommendations. Whew, loved it. Felt like Profit Motive and the Whispering Wind meets Hollis Frampton. I noticed he was cutting the picture on every new spoken sentence, but later I discovered it gets more Framptony yet: there’s one literal/relevant shot per segment, the long between-segment shots get gradually shorter, movie switches to color when Utah becomes a state and there are precisely as many b/w frames as color.

All spoken text is from historical New York Times articles, which don’t seem overly fond of Utah or the Mormons, so it’s interesting to get a history lesson told by a suspicious narrator – from early reports on Brigham Young, U.S. military expeditions to quell the Mormon rebellion, fights against polygamy, the cross-country railroad, and the Mountain Meadows massacre, in which Mormon militia killed 100+ non-Mormon settlers. Things get somewhat less extreme once statehood is achieved – standouts include the U.S. army’s nerve gas tests killing thousands of sheep and Robert Smithson’s great Spiral Jetty.

Amazing quote from 1880s: “Mormonism is a good deal as slavery seemed once to those of the north who had never seen, but only read one-sided unreliable representations of it: not half as bad when you come to see it.”

Rosenbaum: “Benning’s eye for evocative beauty is as sharp as ever, and his complex invitation to the viewer to create a narrative space between his separate elements keeps this 1995 film continually fascinating.”

Snowpiercer (2013, Bong Joon-ho)

“I know what people taste like. I know that babies taste best.”

My hopes were too high for Bong’s English-language debut – I found it talky and clunky and obvious. Good ending, though. Revolution within class-stratified humanity-protecting perpetual-motion train is led by Steve “Captain America” Rogers. He’s backed by wise old train architect John Hurt, loyal-to-the-death Jamie Bell, pissed-off mom Octavia Spencer and tech whiz Kang-ho Song. After dealing with company mouthpiece Tilda Swinton through various levels, final confrontation with engineer Ed Harris, who claims to have planned the revolution and wants the Captain to replace him at head of the train. Meanwhile it’s rumored that the frozen Earth has been warming, and might sustain human life again, which will be tested after Song’s daughter Ah-sung Ko (the monster-abducted girl of The Host) is the only one of these people who survives a train crash.

Things: the workers in back are fed “protein blocks” which turn out to be gelatinized cockroach. The two Koreans are addicted to a drug called chrono which doubles as an explosive. Harris claims John Hurt was secretly working with him (for the good of the train/humanity, of course). A cool bit near the end looks like 2001: A Space Odyssey.

M. Sicinski:

Snowpiercer’s mental motor, its driving intelligence, is its obviousness, which allows the film to be misperceived as something silly. .. Bong, however, seems to understand something many others don’t, both about broad entertainment and the state of successful political action. Big action demands broad strokes; nuances emerge later. In fact, this is to a large degree the political subtext of Snowpiercer itself. .. it doesn’t matter who’s running the train. Bong is not telling us anything we don’t already know, but Snowpiercer’s power is precisely in its capacity to boldly visualize this shared awareness: the futility of liberal revolt, the buffoonery of our betters, the hidden human kindling that is always the tiger in our tank. .. Bong shows us that there’s only one track, and so you can’t flip the switch. You can only light the fuse, and embrace the inevitable destruction as the last picture show.

Brief Encounter (1944, David Lean)

Errand-running housewife Celia Johnson (lovestruck daughter in The Holly and the Ivy) is helped out by Trevor Howard (deposed captain in Mutiny on the Bounty). They get to talking, and eventually it’s a weekly appointment, then outings to movies and the park, a gradual love affair. Both are married, and they finally break it off when he’s offered a job in Africa. After a messy parting at the train station where they first met, interrupted by a shrill acquaintance, Celia returns home to her boring life at home. Her husband: “You’ve been a long way away… thank you for coming back to me.” Katy doesn’t approve of affairs, didn’t find it too romantic.

A. Turner:

Billy Wilder found Alec’s friend, who loans the flat, so interesting that he made an entire film about just such a character: The Apartment. … Brief Encounter is also the principal link between the small-scale films of Lean’s early career with the widescreen epics of his final phase. The Bridge on the River Kwai, Lawrence of Arabia, Ryan’s Daughter, and A Passage to India each have central characters who are prone to a dreamy romanticism which borders on hysteria and hallucination. … Condemning Laura to a life of conformity and emotional suppression, Lean sets his own course towards the far horizon, where the English go out in the midday sun. Brief Encounter is not only Lean’s finest statement on the suffocating world into which he was born; it is also his train ticket out.

K. Brownlow:

But after [a flop preview], the film opened more widely, and a miracle happened. The public embraced it, people went to see it again and again, and it broke box-office records. In New York, it ran for eight months, and Johnson was not only voted best actress by the New York critics, she was nominated for an Oscar. David became the first director of a British film since Korda to be nominated, and he, Neame, and Havelock-Allan were also nominated for the screenplay.

Unstoppable (2010, Tony Scott)

Runaway train movie. Surprisingly there’s no evil plan by a criminal mastermind to steal the train for terroristic purposes, just an incredibly dumb move by Ethan “It’s Not a Schooner” Suplee that sets a train with explosive cargo at full throttle with no driver or brakes.

Suplee, typecast as an idiot:

The final of around 20 features Tony Scott made. I saw a string of his 90’s movies: The Last Boy Scout, True Romance, Crimson Tide, Enemy of the State, then tried to avoid him, but after his death Mubi cranked the level of their Scott-appreciation posts to unavoidable levels (see: my rant at the top of Death Race) so I reluctantly rented this for a memorial screening. Verdict: he’s very good at putting together a high-energy sweeping-camera-movements action scene with lots of blur-motion without sacrificing clarity – a rare and valuable skill. But it’s impossible to watch his particular brand of straightfaced action after seeing Hot Fuzz, which perfectly parodies this sort of thing. And despite the skill behind the camera and two top-notch lead actors, it’s pretty slight for a big action film: the nearly-real-time, based-on-true-events story of a veteran and a rookie train operator who manage to stop a runaway train.

Also there are lots of helicopters:

Denzel Washington and Chris Pine are earnest characters who we want to succeed (yay!), watched closely (via TV news coverage) by Denzel’s daughters and Chris’s estranged wife. Their manager Rosario Dawson and a helpful inspector (Kevin Corrigan, Jerry Rubin in Steal This Movie) and a truck-drivin’ dude named Ned are risking lives or careers trying to help stop the disaster (yay!) while some corporate boss (Kevin Dunn, Shia’s shameful dad in the Transformers movies) tries to minimize financial risk to the train company (boo!) and Schooner Suplee (boo!) prays his blunder won’t kill thousands of people.

From the writer of the fourth Die Hard and the Total Recall remake.