by ·Comments Off on A Tale of the Wind (1988, Joris Ivens & Marceline Loridan)

This was unexpectedly awesome. Between this, Regen and A Valparaiso, it’s time to consider adding Ivens to my list of favorite people. Sort of a Beaches of Joris, but less confessional to camera, shot more like an allegorical feature film starring himself. Always playful and never loaded with dialogue, with the occasional film reference, fable flashback or appearance by a prankster tiger-monkey.

Joris sets out to film the wind, goes to China. He trades a print of one of his films (“my first love story in 1930”) for a wind-creating mask. He sets up an array of microphones in the desert. He gets carried over mountains and enters political negotiations to film at a cultural landmark (the Terracotta Army), then gives up and recreates the landmark using models bought from street vendors.

At one point when he walks up to a massive Buddha statue which watches with a thousand eyes, closeups cutting from an eye to the camera lens, I thought strongly of Antonioni’s short Michelangelo Eye to Eye, also made by a director in his 90’s. But while Antonioni has always seemed associated with monuments, this was just a leisurely sidetrack for Ivens before returning to the matter of the wind, sixty years after he filmed the rain in Regen.

Senses of Cinema:

This is an unusually personal account of his lyrical rather than his political obsessions, largely directed by Marceline Loridan-Ivens, his wife and collaborator since the Vietnam films. … Joris Ivens died in 1989, only days after joining protesters against the Tiananmen Square massacre in Paris.

Mango Grove:

Ivens originally planned to use two crews; Ivens’s crew would film the wind, while Loridan’s crew would film Ivens’s crew filming the wind. Complications arose. Ivens was sick and, in a particularly serious incident, required on-the-scene surgery. … Thus the two crews became one. The Wind became Loridan’s film.

Speaking of Loridan, this also sounds good (from ivens.nl):

With La Petite Prairie aux Bouleaux, Marceline Loridan-Ivens made her feature film debut, at the age of 74. … She had agreed with Joris Ivens after A Tale of The Wind, their last project together in which documentary and fiction are mixed together, that she would make the tale of the fire. For a long time she dared not return to Birkenau, but finally she succeeded where Steven Spielberg and Roberto Benigni failed, she got permission to film on the premises of Birkenau. … It is a film about the pain and illusive character of the memory.

Rosenbaum:

The film is clearly addressed to the West and not to China … and the overall message is to listen to all that China has to say. … Both poetic essay and meditative fiction, A Tale of the Wind has certain affinities with movies as different as Jean Cocteau’s The Testament of Orpheus, Chris Marker’s Sans soleil, and Souleymane Cissé’s Brightness, but it is too proud to owe its vision to any source beyond Ivens’s own far-reaching experience and research. Part of the film’s inspired thesis appears to be that cinema and history, fantasy and documentary, have a lot to teach each other.

by ·Comments Off on Desire (1936, Frank Borzage)

Sharp looking romantic comedy. Dull engineer Gary Cooper (this opened one day before his Mr. Deeds Goes to Town, according to IMDB) meets glamorous jewel thief Marlene Dietrich. I’d only seen Dietrich’s later films – Rancho Notorious, Touch of Evil and the documentary Marlene – great to see her in her prime. Watched with Katy who liked the movie except for its bland title.

First non-silent Borzage movie I’ve seen. He had assistance from Lubitsch, but Borzage doesn’t seem to have taken to sound as readily as Lubitsch did. The dialogue scenes are very straightforward, airy with no background noise or music. The editing and camerawork is fine, but it seems like it’s lacking something, some energy. Maybe it’s Gary Cooper’s fault.

Cooper is an auto engineer, kicks off the movie with a bang by asking his boss (William Frawley, in both versions of The Lemon Drop Kid) for vacation time, then discussing marketing slogans. Good transition to Dietrich’s character, then we spend what feels like a half hour on her heist, which involves pitting a famous jeweler (Ernest Cossart of a couple Lubitsch movies) and a famous psychiatrist (Alan Mowbray, played a dullard in My Man Godfrey the same year) against each other then slipping away with a two million dollar pearl necklace. She meets up with Cooper again, slips the necklace into his pocket to evade customs, then steals his car, accidentally leaving him with the loot.

How Gary Cooper sees himself:

Things heat up when her partners in crime show up, Carlos (John Halliday, Hepburn’s dad in The Philadelphia Story) and Aunt Olga (Zeffie Tilbury, one of the few times she didn’t play a grandmother). But there’s never a sense of danger, even when Olga mentions her time in prison and Carlos pulls a gun, because we know that Dietrich can outsmart them both. And since she’s unaccountably fallen for Cooper to the point that she’s willing to throw away her riches and become a Detroit housewife with a criminal record, that’s just what happens. Actually I think Cooper beats up Carlos, but same difference.

Jeweler vs. Psychiatrist:

H. Dumont:

The film may be divided into two parts: the first funny, cynical, and airy, extremely ‘Lubitsch-like;’ the second tenderer, more cheerful, almost a little serious, unmistakable carrying Borzage’s mark. On one side style and irreverence, on the other, playful acting and delicacy.

G. Kenny:

What Borzage finally pulls out from his hat is not a repudiation of the Lubitsch ethos, and its devil-may-care quasi-amorality, but, arguably, a transcendence of it. In other words, it isn’t so much that Tom makes an “honest woman” out of Madeleine as he enables her to realize the good within herself.

by ·Comments Off on Certified Copy (2010, Abbas Kiarostami)

Juliette Binoche takes her impatient son to a reading by an author (opera singer William Shimell), though she doesn’t seem to like his book much. Then she goes out with the author, just a couple of strangers on a tour of historic Tuscany for a couple hours. A shop keeper talks to Binoche as if the author was her husband, and Binoche plays along and then – in a disturbing Lynchian shift – he is her husband. It’s a bit of playful make-believe between them at first, but it quickly turns real.

A perfect story for Kiarostami, who loves to blend fact with fiction. I’m glad that I read a little bit about this beforehand, had been told about the movie’s many “copies”, so I knew to look for them from the beginning – for instance, when Shimell first appears at the reading he tells the crowd a variation on the same lame joke that the man introducing him had just told. And there’s a breathtaking edit towards the end of the movie, a shot of the couple leaving a church, a copy of the shot preceding it. Funny that Kiarostami’s first feature outside his home country (was Tickets also shot in Italy?) is a copy of Hou Hsiao-hsien’s first foreign feature – a mixture of playful fantasy and domestic drama starring Binoche as a mother. Even though he’s making a marketable narrative film for the first time in a decade or so, Kiarostami still has some recognizable signature elements. The most comfortable conversation between our characters takes place in a moving car (below) and there are some good shots of trees, hills, roads, just enough to be recognizable if you’re looking for them, maybe even inserted slyly as a self-conscious trademark for the auteurists to hang onto.

Some of the writings online seem to think that the two were actually married, that the author may in fact be Binoche’s son’s father, and that it’s not as mysterious as all that… suppose I need to watch again.

New Yorker:

It’s … a tribute to the freedoms that Kiarostami considers essential yet also a warning to those who might consider political and social freedom to be a self-fulfilling and self-sufficient liberation. The film breathes the air of freedom from outer constraints … suggests a range of romantic and erotic options that can’t be depicted in Iran. Yet other constraints are at the core of the film—there’s the bond of marriage, which the couple may or may not have undertaken, and which a host of other newlywed couples seen in the village (famed for bringing good luck) hopefully choose. And there’s the bond of the self, the inescapable and apparently immutable force of character, which seems to compel the free-spirited, unconstrained man, out on a spree, to choose as a mistress the same woman as the one he was, or is, married to.

NY Times:

… such a conspicuous leap from neo-Realism to European modernism, it sometimes feels like a dry comic parody. As the movie goes along, it begins to deconstruct itself by posing as a cinematic homage, or copy, if you will, of European art films of the 1950s and ’60s, with contemporary echoes. Roberto Rossellini’s Journey to Italy, in which a couple played by George Sanders and Ingrid Bergman travel to Naples to sell a house, is the most obvious forerunner. Also alluded to are Michelangelo Antonioni’s Avventura, with its stark juxtapositions of ancient and modern images, and Alain Resnais’s elegant, memory-obsessed mind bender, Last Year at Marienbad. It has also been suggested that more recent antecedents like Wong Kar-wai’s In the Mood for Love and Richard Linklater’s Before Sunrise and Before Sunset are role models. In any case, Certified Copy virtually announces itself as a deliberate stylistic composite.

Watched again with Katy in September. She thought I was showing it as a comment on the state of our relationship, which doesn’t even make sense. Anyway, movies about couples fighting make Katy sad, so she didn’t enjoy it much. Second time through I was thinking about the two ellipses in the movie. The opening sequence during the author’s reading is real-time, as is the entire rest of the movie beginning when he visits her shop, and an unknown amount of time passes between those segments (probably no more than a few hours). Then there’s the character ellipsis, when suddenly they change from a couple who has just met into one who has been married fifteen years.

by ·Comments Off on Germany Year Zero (1948, Roberto Rossellini)

The end of the War Trilogy, and the one I’d seen once before in a mega-depressing Italian Neorealism night programmed by TCM, which included Ossessione and Umberto D.

No Fellini involvement this time, just R.R. in a foreign land with unknown actors. Being an Italian, foreign pictures were no problem – doesn’t matter what anybody is saying because they’ll be dubbed later. A fairly active and mobile camera for 1948, with plenty of exteriors of course, by D.P. Robert Juillard, who’d later shoot René Clément’s Forbidden Games. Big noisy music by brother Renzo.

Little Edmund is being pulled in all directions. He lives with his family, who board with a cranky other family. The elders complain that Edmund is made to go out and work for them, but they barely lift a finger to help – father is ill, brother is a nazi soldier in hiding, and sister dances with men at night for cigarettes. Edmund even picks up tasks for the landlords, who then bitch and moan if he doesn’t do them right. He’s not extremely street smart (Hitler Youth underprepared him for ruinous defeat), is taken advantage of wherever he goes. He falls in with a nazi (and very likely pedophile, extremely creepy, touchy dude who loves hanging out with boys) ex-schoolteacher who plants the idea in Edmund’s mind to poison his father and lessen the burden around the house. But doing this only makes Ed feel worse, and he throws himself off a building.

Rosenbaum:

“This movie, filmed in Berlin in the summer of 1947,” [Rossellini] declared …, is “an objective and faithful portrait,” not “an accusation or even a defense of the German people.” Yet objectivity was clearly (and thankfully) the last thing Rossellini had in mind. Even the doom-ridden modernist score by his brother Renzo participates in the sense of unfolding disbelief and horror by suggesting some of the mood of science fiction. And the directive later in the preface to care about these Germans rather than call for any further retribution is actually more consistent with Rossellini’s aims than any “objective assessment” could be. This was a brave and principled stance for him to take at the time, and it still places Germany Year Zero well in advance of most films about war made even today.

That ending (Rossellini says the ending was the only part of this film that interested him) is so powerful that although it’s one of the all-time most depressing movie finales, I could watch it over and over. Ed allows himself to be more of a kid here, playing games that get increasingly war-like and suicidal – he pretends that a bit of metal is a gun, and his first instinct is to shoot himself with it. The final pan up to the ruined city skyline (one of many majestic shots of bombed-out Berlin) reminds me of that final skyline shot as the kids walk away from the murdered priest at the end of Rome Open City.

by ·Comments Off on Underworld (1927, Josef von Sternberg)

Mulligan (Fred Kohler of a couple other Sternberg features) is a mean-ass gangster who tries to make a poor drunk pick a tenner out of a spitoon. Funny, since earlier this week Katy and I watched Rio Bravo, in which the same thing happens. Like in Rio Bravo, the poor drunk turns out to be one of our heroes – the smart and loyal Rolls Royce (Clive Brook, an early Sherlock Holmes, also in The Four Feathers). Unlike Rio Bravo, the guy who saves him isn’t the sheriff but another gangster making a show of power: the giddy, reckless Bull Weed (George Bancroft, the marshall in Stagecoach) in front of his lady, pouty Feathers McCoy (Evelyn Brent, a cult member in The Seventh Victim, also in a couple of “anti-Mormon propaganda films”).

Bull and his Feathers:

pre-reform Rolls Royce:

Rolls joins Bull’s gang (which seems to consist of himself and some comedian (played by Larry Semon, formerly a hugely successful comic but on his way to an early grave when he appeared in this). Rolls is a big help, giving his boss valuable tactical advice, but he’s transparently falling in love with Feathers. The boss goes to prison, sentenced to death for shooting down Mulligan in his own flower shop. He escapes with vengeance on his mind, but ultimately decides to surrender himself and let Feathers and Rolls have each other.

It’d be a good, entertaining gangster movie from the story and acting alone. Ben Hecht, who wrote more great movies than I can list, won an oscar for this, although he hated the final product for deviating from his script. But the visual style is so splendid it puts the story to shame, and accompanied by the Alloy Orchestra on the Criterion DVD, it’s a piece of cinema heaven.

Sternberg wrote, with apparently typical contempt for his audience, ““I had provided the work with many an incident to placate the public, not ignoring the moss-covered themes of love and sacrifice.” But as G. O’Brien points out, “His high opinion of his own capabilities and his majestic sense of his poetic vocation might indeed seem like intolerable arrogance were they not so undeniably justified.”

Mulligan inside his flower shop:

…while outside…

Guy Maddin’s article on Sternberg and the films is, of course, wonderful to read, and it sounds from the quote like Sternberg’s own writings might be essential:

Once, wandering the shower rooms among the actors washing the day’s grime off themselves, von Sternberg heard a background player release “a formidable laugh, an inhuman laugh, enormous and savage, monstrous, a child’s laugh and a murderer’s laugh.” This gigglepuss was George Bancroft, and … von Sternberg rushed right into the shower stall and cast the naked, roaring gigantopithicus he found there as Bull Weed, the gangster-king of his new picture, Underworld.

by ·Comments Off on The Last Ten Minutes vol. 6

Netflix Streaming has got a bunch more movies I would never pay to rent, but which I might watch for free if I was sick or something. I’m sick today, so here goes.

Prince of Persia (2010, Mike Newell)
I see ropes and swords and Lord of the Rings fire-sculptures, and holy crap is that Ben Kingsley?? Donnie Darko has a fake british accent, and he just let his girlfriend fall into the pit of hell before unleashing a crazy amount of ‘splosions and triggering a muted montage of flashback snippets. Then Donnie, who long ago became less cool than his big sister Maggie Darko, discovers that the movie was just a dream he saw in the handle of his magic dagger. All I remember from the video game is that your little man had a more human-like gait than was usual for video games, and it was incredibly hard to avoid falling into pits. As I type this, Donnie is telling a beardy fellow to “listen to your heart.” So it’s safe to say the movie isn’t much like the game, except when the girl fell into that pit.

The Men Who Stare At Goats (2009, Grant Heslov)
“Larry’s dead,” are the first words I hear… guess I won’t be seeing Kevin Spacey. Still holding out hope for Stephen Root, though. Oh wait, there’s Spacey now, wtf. Directed by an actor who played “guy in big suit” in Bug. There’s an LSD prank then all the army base’s goats and prisoners are set free. I’m not detecting much comedy in this comedy, so I guess it got dark and turned into a drama halfway through. Jeff Bridges and George Clooney escape in a chopper, Ewan provides poignant, anti-corporate-media voiceover, and it ends on a dud of a joke. Glad I didn’t sit through the rest of this.

The Girl With The Dragon Tattoo (2009, Niels Oplev)
A pierced punk rock girl (a “rebellious computer hacker” according to the Netflix description) talking with her mama seems sad. Later, some blond woman is talking about being raped by her dad, cue spazzy flashback with bland music. Punk girl visits hospitalized boyfriend, drops off secret financial records, he writes an article causing a mogul to commit suicide, and punk girl steals a lot of money and escapes to a tropical paradise. Whole thing seems anticlimactic and unengaging. But I guess if The Da Vinci Code can be a huge success, so can this. Still, at least Da Vinci had a big ending (the codex is shattered! Amelie is Jesus’s daughter!) to justify all the dreary exposition. This one wasn’t even exciting enough for me to check out the last ten minutes of the sequels.

Vampire Girl vs. Frankenstein Girl (2009, Nishimura & Tomomatsu)
Dubbing!! The fakest CGI ever. Oh, this is one of those direct-to-video Japanese teen movies full of awful music where everyone wears school uniforms. It’s not even as good as Tokyo Gore Police (they share a director). “When you gave me that chocolate, I had no idea how you really felt about me” should not be one of the final lines of a movie with this title. Oh, and Vampire Girl decisively wins.

Factotum (2005, Bent Hamer)
Hooray, Lili Taylor! Long takes + poorly furnished rooms = gritty realism. Poor Charlie Bukowski is having money issues and lady issues. Matt Dillon gets life advice from “Old Black Man” (according to the credits) in the unemployment office, finally gets one of his stories published. I don’t find Dillon’s poetic voiceover very compelling. From the dude who made Kitchen Stories.

Ondine (2009, Neil Jordan)
She is telling fisherman Colin Farrell that she’s not a magical water creature, but just a girl who almost drowned while escaping from something or other. Uh oh, some fellows with pistols and strong accents. What is happening? Colin and the girl live, are getting married at the end. Jordan made a bunch of movies that always look somewhat intriguing but not quite essential.

The Day The Earth Stopped (2008, C. Thomas Howell)
If you start watching a movie ten minutes before the closing credits, the hero and villain are always in the middle of some revelatory exposition scene. All movies are the same. Should you really entrust the remake rights of The Day The Earth Stood Still to one of the teen actors from Red Dawn? Earth starts shaking (I’d hardly say it is standing still) and sepia-toned CGI versions of major world monuments (and a ferris wheel) are falling rapidly towards the camera. I was excited that Judd Nelson is in this, but I’d gotten him confused with Judge Reinhold – who is Judd Nelson? There is yelling and guns and terrible camerawork, then something really stupid happens and I guess the aliens don’t destroy Earth. Shame.

2012 (2009, Roland Emmerich)
Here’s a movie that isn’t afraid to let the world end, or to cast Oliver Platt! I don’t see world monuments crumbling, just a big Titanicky iceberg adventure (Roland must’ve had some ice left over from The Day After Tomorrow) with people yelling and swimming through tunnels to close or open portals and machinery. Oh, surviving mankind lives on arks now, and Africa turns out to be the future, or the home of the our civilization or something.

Salt (2010, Phillip Noyce)
Another movie with a third-billed Chiwetel Ejiofor, and more awful camerawork – only this time it’s awful in a big-budget extreme-cutting sense, not the give-an-idiot-a-camera awfulness of The Day The Earth Stopped. Ooh, the president is down. A. Jolie, handcuffed in FBI custody, still manages to kill Liev Schreiber, whoever he is. The backstory exposition comes a couple minutes late in this movie, then noble Chiwetel lets Jolie escape to kill again. From the writer of Equilibrium (and Ultraviolet, yuck) and director of Rabbit Proof Fence (and Sliver).

Red Dragon (2002, Brett Ratner)
Emily Watson is in a super intense burning-house scene, then a big fake explosion knocks down Ed Norton. This movie marked the end of my needing to see everything Norton was in (Keeping the Faith and The Score had already lowered expectations). Ed’s in the William Petersen role (WP’s on a cop show now). After he and Raiff Fiennes shoot each other to death, we see ol’ Hopkins (in the Brian Cox role) writing letters, and oh Ed isn’t dead actually, and it ends with a cheese-headed transition into an early scene from Silence of the Lambs. Doesn’t look bad, really, but as with all Ratner movies it is not to be taken seriously.

by ·1 Comment

Middle of R.R.’s war trilogy, six episodes about different wartime encounters with (mostly?) Americans. The movie’s subject is that “war is an epidemic that sweeps up everyone in its path,” sayeth the TV narrator. A pretty active and mobile camera, and big noisy music by brother Renzo. Fellini was co-writer and assistant director. A whole bunch of writers, including Alfred Hayes (later Clash By Night and Human Desire) who might account for the surprisingly not-bad English dialogue.

1.
A couple of misunderstandings. U.S. soldiers come to town, recruit a local girl to lead them over the mine-laced lava path. Joe stays in a building with her while the others go ahead. Nazis wander in as Joe is connecting with the girl despite their language barrier, shoot Joe then toss her off the cliff. When the Americans return, they assume the traitorous Italian girl killed their friend then ran off.

2.
Black American soldier hangs out with kid, drunkenly assaults a puppet show, gets his shoes stolen, later comes after the kid to reclaim his shoes but leaves empty-handed, shocked to realize that the kids live in rubble, their parents dead from the bombings. It’s practically a Germany Year Zero prequel.

3.
This and the previous episode give the impression that there were about 200 people in wartime Italy. Very easy to find someone you’re looking for in the streets, or to run into an old acquaintance. Kind of a cheesy episode, a soldier sleeping with some lowlife whore (Maria Michi, the drug-addled turncoat in Rome Open City), telling her dreamily about this perfect upright Italian girl he met before the war, wishing he could meet her again and marry her – of course they are the same girl. Interesting, the Allies shown as liberating heroes, then as witnesses to (or, more likely, causers of) Italy’s immediate post-liberation decline into poverty and desperation.

4.
Nurse Harriet Medin (later in Blood and Black Lace and The Horrible Dr. Hichcock) enlists headstrong dude named Massimo (Renzo Avanzo, later a co-writer of The Golden Coach) trying to get into zone the rebels (partisans) control, only for her to find out her man, now leader of the locals, died that morning. The most action-packed fighting scenes of the movie.

5.
This was a favorite. Three American chaplains visit a monastery, are welcomed happily until the monks find out one is a protestant and one a jew, then commence praying and fasting in hopes that the two can be saved.

6.
The most typically propagandistic of the episodes, showing Italian partisans, British and American soldiers helping each other and fighting together, while Nazis kill peaceful villagers then capture our heroes and murder them all. A downbeat, defeated finale, ending in death like the other two movies in the War Trilogy.

by ·Comments Off on Five Year Anniversary

It’s the five-year anniversary of the movie journal! Since that first short post on a Seijun Suzuki movie which Katy so hated, I’ve chalked up over 1100 features and over 800 shorts, many of which Katy has hated. She married me anyway.

In celebration of five years of movies, I’ve rescued a pile of must-see lists from my email archive. After all, the blog was started partly because of my obsession with movie lists, and it has happily coincided with them ever since (via the sortable list of entries and various other must-see lists posted every few months, all collected here). So these are project or theme-month lists left uncompleted, with titles I actually watched removed, and overlaps kept to a minimum.

–
Musicals Month

In October (and November) 2007, Katy and I watched a bunch of musicals. I even made a musicals-month soundtrack CD. There were some rocky selections – Katy walked out on Pennies From Heaven and declared that Red Garters was not a proper musical, but she got to pick Grease and Fiddler on the Roof. This looks like a list of my own leftover picks, with a few Katy-concession titles and a couple recommended by Joanna.

New York, New York
Hairspray
Tommy
Quadrophenia
Hallelujah
Performance
A Star Is Born
Topsy Turvy
On the Town
Funny Face
42nd Street
Top Hat
A Night at the Opera
I Love Melvin
Dangerous When Wet
Annie Get Your Gun
Bells Are Ringing
High Society
The Muppet Movie
Hello Dolly
Les Girls
Blackfly / The Cat Came Back
Rhapsody Rabbit
Dixieland Droopy

–
Documentary Month

From June 2008. One of the more successful theme months – we watched nine.

anything by Ross McElwee
The War Room
Lessons of Darkness (Herzog)
White Diamond (Herzog)
The Big One
The House Is Black
Forgotten Silver
The Power of Nightmares
Salesman (Maysles)
Sorrow and the Pity
Darwin’s Nightmare
The Devil and Daniel Johnston
My Kid Could Paint That
Taxi to the Dark Side
Nanook of the North
One Day in September
In the Shadow of the Moon
The Decline of Western Civilization (1981 punk)
The Filth and the Fury
No Direction Home
Thin Blue Line (Morris)
God’s Country (Malle)
Calcutta (Malle)

–
Documentary Month 2

This January Katy said she wanted to do another doc month, so I made this list of movies I’ve already got which we could watch, but then we ended up doing a political-films month instead, during which we only watched two movies (the three-part The Trap, and Standard Operating Procedure).

Bye Bye Africa
The Living Dead (Adam Curtis)
The Way of All Flesh (Adam Curtis)
Showman (Maysles)
Disgraced Monuments
Listen To Britain
Qallunaat!
Monitor: Elgar
Canal Zone (Wiseman)
High School (Wiseman)
Nollywood
VHS Kahloucha
Sisters In Law
The End of Suburbia
Gershwin
Kestrel’s Eye
Winged Migration
Antonio Gaudi
Symbiopsychotaxiplasm

–
2007 Movies

At the end of 2009 I thought I hadn’t seen enough 2009 movies to make any sort of best-of-year list, so I made a best-of-2006 list instead. At the end of 2010 I figured I’d do the same for 2007 movies and make it a tradition, but then decided that was boring and obsessive. This was my must-see list of ’07 movies to watch in ’10.

The Mourning Forest
Silent Light
Control
Aleksandra
The Last Mistress
Breath
Beaufort
Secret of the Grain
L’Aimée
Christopher Columbus, The Enigma
Go Go Tales
You, The Living
Assassination of Jesse James by the Coward Robert Ford
Gone Baby Gone
Trapped in the Closet
Aqua Teen Hunger Force Movie
Dr. Plonk
Nightwatching
In the City of Sylvia

–
2005 Movies

Apparently I’d had the same idea in 2008, to watch a bunch of movies I’d missed from three years before. Looks like a list of stuff I thought I’d like, stuff I thought I’d hate, and critical favorites.

Piano Tuner of Earthquakes
The Sun
The Wild Blue Yonder
Sileni
The Bow
The Constant Gardener
Brick
Alone in the Dark / Bloodrayne
Manderlay
Looking for Comedy in the Muslim World
La Moustache
Junebug
Me and You and Everyone We Know
Three Burials of Melquiades Estrada
Thank You For Smoking
The Baxter
Don’t Come Knocking
Fearless Freaks

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1930’s Month (August 2008)

Between Trouble In Paradise and Rules of the Game, Katy and I watched seven 1930’s movies, and I watched one more when she wasn’t around. These are the others I tried getting her to watch, along with my brief descriptions. I hardly ever give descriptions… must have been trying especially hard that summer.

Enthusiasm (groundbreaking russian experimental drama)
Gabriel Over The White House (angel-as-president drama)
Daybreak (french romantic tragedy, dir. of children of paradise)
Land Without Bread (bunuel’s mountain documentary)
L’Idee (30-min pioneering animated film)
À Nous la liberté (french left-wing satirical comedy)
Movie Crazy (harold lloyd wants to be in the movies)
Man’s Castle (pre-code spencer tracy romance)
The Milky Way (harold lloyd talkie, milkman becomes a boxing star)
Edge of the World (ahead-of-its-time british drama, scenic, tragic)
Grand Illusion (french war drama often voted a top-ten-ever film)
The Blue Angel (the musical that made marlene dietrich a star)
Boudu Saved From Drowning (renoir comedy w one of my fave french actors)
Sylvia Scarlett (cukor/grant/hepburn romantic comedy!)
Story of the Late Chrysanthemums (some kinda japanese masterpiece)
Threepenny Opera (musical from director of pandora’s box)
Scarface (howard hawks’ original gangster drama)

–
Christmas Movies

Christmas Movie Week comes every December – this is the 2010 list, in descending order by how much I thought Katy would enjoy watching them.

The Bells of St. Mary’s
Comfort and Joy
I’ll Be Seeing You
Nestor, The Long-Eared Christmas Donkey
A Midwinter’s Tale
Christmas Holiday
‘Til We Meet Again
Bad Santa
Jesus of Montreal
In Search of a Midnight Kiss
Blackadder’s Christmas Carol
A Tale of Winter
The Ref
Frozen River
‘R Xmas
A Midnight Clear

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Westerns Month (Dec. 2010)

A very enjoyable six-movie theme month with Katy. And eighteen left on the list I made, so we only got to a quarter of it, which still seems an unusually high ratio. Other lists I make (things to fix around the house, albums to buy, restaurants to try) are just as unrealistic and unrealized as my way-too-long movie lists. Westerns are tough because all their titles sound the same to me.

Big Sky
Duel in the Sun
Annie Get Your Gun
The Gunfighter
Wagon Master
The Lusty Men
Silver Lode
Wichita
Man of the West
Man Who Shot Liberty Valance
Fort Apache
Red River
Bend of the River
The Far Country
The Misfits
Ride the High Country

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Late Films (Dec. 2010)

For the Shadowplay Late Films Blogathon I watched a week’s worth of final or near-final films by writers, directors and in one case, actors. These are others that I considered:

Lang: The Thousand Eyes of Dr. Mabuse
Franju: Shadowman
Chaplin: A King In New York
Nick Ray: Lightning Over Water
Walerian Borowczyk
Demy: Trois places pour le 26 or Varda’s Demy double-feature
Corman: Frankenstein Unbound
Jarman: Blue
John Hubley: The Cosmic Eye
Lubitsch: Cluny Brown, That Lady In Ermine
Melville: Un Flic
Oshima: Taboo
Satyajit Ray: The Visitor, Branches of the Tree
Sturges: Beautiful Blonde From Bashful Bend, The French are a Funny Race
Borzage: The Big Fisherman
Borzage/Ulmer: Journey Beneath the Desert/Siren of Atlantis
Jerry Lewis: Hardly Working, Cracking Up

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Russian Movies

Just last month I decided I need to see all the silent Russian masterpieces, and a bunch more Russian movies for that matter. I only watched one feature and a short. Anyway, I’ll get to it later.

Starewicz 1912 Cameraman’s Revenge :13
Bauer 1914 Child of the Big City :37
Bauer 1915 After Death :46
Protazanov 1924 Aelita 1:51
Eisenstein 1925 Potemkin
Vertov 1926 A Sixth Part of the World 1:14
Vertov 1926 Man with the Movie Camera
Kuleshov 1926 Dura Lex 1:18
Eisenstein 1927 October
Dovzhenko 1929 Arsenal
Dovzhenko 1930 Earth
Vertov 1931 Enthusiasm
Dovzhenko 1932 Ivan
Kuleshov 1933 The Great Consoler
Pudovkin 1933 Deserter
Medvedkin 1938 New Moscow 1:16
Eisenstein 1945 Ivan the Terrible
Kalatozov 1959 Letter Never Sent 1:32
1967 Viy, Spirit of Evil 1:12
Protazanov 1969 The Queen of Spades 1:03
Tarkovsky 1975 Mirror 1:48
Sokurov 1979 Sonata For Hitler :43
Parajanov 1984 Legend of Suram Fortress 1:28
Klimov 1985 Come and See 1:13
Sokurov 1988 Days of Eclipse 1:06
Muratova 1990 Asthenic Syndrome
Petrov 1992 The Cow :10
Mikhalkov 1994 Burnt by the Sun 2:15
Sokurov 1994 Whispering Pages 1:17
Petrov 1999 Old Man and the Sea :20
Iosseliani 1999 Adieu Plancher 1:52
Fokin 2002 Metamorphosis 1:24
Muratova 2004 The Tuner 2:35
Sokurov 2007 Aleksandra 1:31
Zvyagintsev 2007 The Banishment 2:30

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SHOCKtober 2010

Going along with my plan to watch some of the “best films of the decade“, I thought for SHOCKtober last year I’d confine myself to horror movies from 2000-2010. But I didn’t end up doing that at all. So here’s the list I’d planned to use:

Taxidermia
Fear(s) of the Dark
In My Skin
The Orphanage
Inside
Wendigo
The Last Winter
Mother of Tears
Mysterious Skin
The End of Suburbia / Darwin’s Nightmare
Demons (Mario O’Hara)
Memories of Murder (bong)
Anatomy of Hell
They Came Back
K Kurosawa: Seance, Bright Future, Doppelganger
The Devil’s Backbone
Irreversible
Twentynine Palms
13 Tzamedi
Deanimated
Demon Pond
Vital

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SHOCKtober 2009

Told myself I’d watch stuff that I’d bought and rented, but of course that never happens – I just rent new ones. I think this is a mash of lists from 2007-2009.

Dr. Caligari 80min
Organ 104min
Vampyres 88min
The Baby’s Room (2006) 76min
Crawlspace 80min
To Sir With Love (2006) 93min
The Old Dark House 72min
Death Bed (1977) 78min
2000 Maniacs 84min
Mansion of Madness
Midori 49min anime
Atrocity Exhibition 102min
Haxan Witchcraft 76min
Rubber’s Lover 91min
Cthulhu
Fear Itself episodes
Possession by zulawski
Tideland
The Woods (2006)
Wizard of Gore
Sheitan
The Hunger
Necronomicon (1993)
Curse of Frankenstein 1957
The Mummy 1959
Strange Circus
Season of the Witch

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Shorts Month

November 2009 was Shorts Month, when I watched so many shorts that I’m still kind of sick of them. Here are some (not counting the ones that ended up on the auteur list) I’d intended to watch that month before I took a less focused approach and just devoured all the ones on my laptop.

Philips-Radio (Joris Ivens)
Un Chant D’Amour
more Chaplin
Borzage: Nugget Jim / Pilgrim
Free Cinema DVDs
Entr’acte (René Clair)
La Villa Santo-Sospir (by Cocteau)
Paris du par (anthology)
Godard/Mieville DVD
Greenaway: 26 Bathrooms, Fear of Drowning, Writing on Water
Herzog: Great Ecstasy of Woodcarver Steiner, Unprecedented Defence of Deutschkreuz, Nobody Wants to Play with Me, Handicapped Future
Hubleys: The Hat, Moonbird, Whither Weather
Kiarostami: Breaktime, The Chorus
Rohmer: Changing Landscapes
Ken Russell: From Spain to Streatham, London Moods, Shelagh Delaney’s Salford, Prokofiev, Variations on a Mechanical Theme, Antonio Gaudí
various by Terayama Shuji

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TCM Essentials Month (Feb. 2011)

This was short-lived because Katy didn’t have much time to waste on movies, but we’ll come back to it. She missed having cable, so I looked up lists of Turner Classic’s “essentials”, then after each movie we’d read their online article explaining why it was so essential.

A Face in the Crowd
A Place in the Sun
A Star is Born (’54)
An Affair to Remember
An American in Paris
Ben-Hur
Black Orpheus
Bonnie and Clyde (’67)
Brief Encounter
Doctor Zhivago (1965)
Duck Soup
Fort Apache
Gaslight
Gilda
Grand Illusion
Gunga Din
I Am a Fugitive from a Chain Gang
Imitation of Life
Invasion of the Body Snatchers
Jezebel
Kind Hearts and Coronets
Lawrence of Arabia (’67)
Leave Her to Heaven (’46)
Lolita
Mr. Smith Goes to Washington
Notorious
Now, Voyager
Out of the Past
Paper Moon
Paths of Glory
Psycho
Rebecca
Ride the High Country
Saboteur
Seven Samurai
Some Came Running
Stalag 17
Strangers on a Train (’51)
Sweet Smell of Success
The Bad and the Beautiful
The Big Sleep
The Four Feathers
The Grapes of Wrath
The Great Escape
The Hustler
The Letter
The Maltese Falcon
The Manchurian Candidate
The Merry Widow
The Misfits
The Mouse that Roared
The Quiet Man
The Sea Hawk (’40)
The Snake Pit (’48)
The Treasure of the Sierra Madre
They Were Expendable
To Kill A Mockingbird (1962)
Tom Jones
Tootsie (1982)
White Heat
Winchester ’73
Witness for the Prosecution
Wuthering Heights

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Bonus List: Criterion Laserdiscs

I found a list of movies Criterion released before the DVD era, made note of the 80-ish I’ve never seen. I have an ongoing urge to watch everything the company puts out (as do many cinephile/collectors, I’m sure), but between their main label and Eclipse, I’ll never actually catch up to the point that I need to worry myself over these. It’s still an interesting group of films, though.

High Noon
Sabotage
Secret Agent
Young and Innocent
The Asphalt Jungle
Scaramouche (george sidney)
Show Boat (whale)
Forbidden Planet
Zulu
Darling (john schlesinger)
West Side Story
Shampoo
Miracle in Milan (de sica)
Burn! (gillo pontecorvo)
The Lacemaker (claude goretta)
King of Hearts (philippe de broca)
Silverado
Last Tango in Paris
Dr. No
From Russia with Love
Goldfinger
Bad Day at Black Rock
Lady for a Day (capra)
Carnal Knowledge (mike nichols)
Blackmail
The Prince of Tides
Jason and the Argonauts
A River Runs Through It
Damage (malle)
City of Hope (sayles)
Confidentially Yours
Edward II (jarman)
The Bridge on the River Kwai
Get Out Your Handkerchiefs (bertrand blier)
Evergreen (victor saville)
Polyester
Salt of the Earth (berbert biberman)
Bodies, Rest & Motion (michael steinberg)
Menace II Society
Two English Girls
The Prince of Tides
Woman Next Door
Dersu Uzala
Three Cases of Murder (david eady)
Once Were Warriors (lee tamahori)
The Atomic Cafe
Why Has Bodhi-Dharma Left for the East?
Waltz of the Torreadors (john guillermin)
El Cid (anthony mann)
Diva
The Entertainer (tony richardson)
Swept Away (lina wertmuller)
The Return of Martin Guerre (daniel vigne)
Sweet Sweetback’s Baadasssss Song
Montenegro (makavejev)
A Personal Journey with Martin Scorsese Through American Movies
Supercop
Olympia I and II
Pink Flamingos
Five Corners (tony bill)
Godzilla, King of the Monsters!
Godzilla vs. Mothra
Godzilla vs. Monster Zero
Godzilla’s Revenge
Terror of Mechagodzilla
Sonatine
Switchblade Sisters

by ·Comments Off on Around a Small Mountain (2009, Jacques Rivette)

A tiny film for Rivette, near the end of his career, with his old collaborators. Centers around two people – Jane Birkin (not as great as she was in La Belle Noiseuse) and Sergio Castellitto (greater than he was in Va Savoir) – who meet at a tiny circus, near the end of its life.

From the commentary: “One of the things that attracts Vittorio to the circus troupe is his sense that they have no director. He sees an opportunity, a possible role for himself.”

The first scene is magic: Jane is broken down on the road en route to re-joining the circus after many years away (due to the on-stage death of her boyfriend) when non-circus-performer Sergio, acting more like he belongs in the circus than anybody, stops and fixes her car, with no dialogue at all. After that, Sergio remains somewhat magical, but Jane’s story becomes something more scripted and typically movie-like than usually found in a Rivette film. Apparently it’s all full of interesting metaphors, and after reading Sam’s comments I’m sure I should give it another shot, but it didn’t strike me as hard as Don’t Touch the Axe, or practically any of his others, for that matter. It’s not like I understood his intentions in making Joan the Maid or the symbolic meaning behind Va Savoir, but I loved them nonetheless, and this one lacked that immediate power. It was, however, his funniest movie since Le Pont du Nord (not counting Up, Down, Fragile, which I haven’t seen), and that’s more than I can say for Rohmer’s final film, to which Sam admiringly compared this.

Anyway, I enjoyed the movie, just not as much as I expected to. Some great non-naturalistic lighting, some good awkward stage scenes (a bizarre clown bit that revolves around broken dishes), and my second favorite moment after the wordless open, Jane Birkin walking the tightrope, first towards the camera with the tightrope at bottom of frame, so we can see she’s truly performing the stunt, then it pans up slightly as she turns around, so she walks back with the rope itself out of the shot, the titular mountain (the French title is roughly 36 views of Saint Loup Peak) in the distance.