Last Movie You Watched

[Karl Henning]

We watched it again last summer, and it was just as enjoyable as when I saw it on a Cinerama screen in 1965

I periodically mean to revisit this. It was the first movie I saw inside a movie theatre, the Rivoli in Rutherford, NJ. Haven't really seen it since.

[Belle]

"The Sound of Music".  I just love Austria anyway so watch the film more than I otherwise would.  My problem with it is Julie Andrews who, although a talented singer, was a cold actress - even clinical at times.  On the other hand the wonderful, gorgeous and sexy Chris Plummer.  This scene is absolutely stunning:

https://www.youtube.com/watch?v=dUFBOC6lQoo

[Iota]

My problem with it is Julie Andrews who, although a talented singer, was a cold actress - even clinical at times.

I've always found her very one dimensional and stiff when I've seen her in other things, which is partly why I felt so reluctant to return to TSoM, which I'd loved as a child. But I found she fitted the role perfectly, her unrelenting 'Britishness' and conventionality were totally in tune with the character, and it was her who generated much of the energy that made the film so buoyant imo. Like Arnie in the Terminator films (to jump to the other end of the film spectrum ..), her perceived shortcomings became virtues, making her ideal for the role.

This scene is absolutely stunning:

https://www.youtube.com/watch?v=dUFBOC6lQoo

Yes, I found that scene absolutely enchanting too.

[Belle]

The points you've made about Julie Andrew are valid, but I guess it's that starchy "Englishness" which didn't seem to fit.  For me!! 

I love Austria and have lived in Vienna but now I'm infirm and over 70 the spouse and myself won't be travelling again, so there's an emotional dimension to watching the The ländler!!

[Karl Henning]

I've always found her very one dimensional and stiff when I've seen her in other things ....

One almost wonders how Paul Newman's character feels any affection for her in Torn Curtain. (or, one understands how he could contemplate repatriation to East Germany.) Then too, Hitchcock's behavior towards his female leads trending towards creepy (and—yet more creepily—with Alma's complicity) cannot have helped. Andrews' stiffness also winds up something of an asset in Mary Poppins, since the title character is rather off-centre.

[Cato]

One almost wonders how Paul Newman's character feels any affection for her in Torn Curtain. (or, one understands how he could contemplate repatriation to East Germany.) Then too, Hitchcock's behavior towards his female leads trending towards creepy (and—yet more creepily—with Alma's complicity) cannot have helped. Andrews' stiffness also winds up something of an asset in Mary Poppins, since the title character is rather off-centre.

I know that Tippi Hedren had nothing good to say about him! 


Recently...



A two-part story from director Walter Hill: two cowboys, uncle and nephew, drive a herd of horses to market, but along the way, find themselves rescuing a group of kidnapped Chinese women, who were to be sold into an underground slave ring for miners in the West, c. 1900.

Excellent movie! 

[T. D.]

[Karl Henning]

I'm workin' with ya here!

[Madiel]

The Boy and the Heron (EDIT: Apparently this is not anything like the original Japanese title, why do this?)



I've seen quite a lot of the Miyazaki films, though it's quite a number of years ago. They are available for only a few weeks on SBS here so I thought I would go with the one I was certain I hadn't seen before.

And. Um...

Did I like it? Yes. Did it satisfy me? No. I feel like it has some things in common with Spirited Away, which is the Miyazaki film that everyone goes completely nuts about, but which was not one of my favourites. Child goes to a sort of spirit world, which means just about anything could happen. Things happen. Then it ends.

Supposedly there are all sorts of connections to Miyazaki's own life, not just the World War 2 setting but some of the other characters like the heron-man have real-life equivalents. But I'm watching it without being a fan steeped in Miyazaki lore. And it felt to me like the story didn't really land. For something that's supposed to be particularly personal, it didn't end up feeling all that meaningful to me. There's no doubt the whole thing is marvellous to look at, but in terms of emotional connection I think I got the most out of the first, "real world" part of it.

[Belle]

One almost wonders how Paul Newman's character feels any affection for her in Torn Curtain. (or, one understands how he could contemplate repatriation to East Germany.) Then too, Hitchcock's behavior towards his female leads trending towards creepy (and—yet more creepily—with Alma's complicity) cannot have helped. Andrews' stiffness also winds up something of an asset in Mary Poppins, since the title character is rather off-centre.

Very valid points here!  I guess "Hitch" had alienated stars too, so much so that he was left with Ms Andrews.  I did read a comprehensive biography by Patrick McGilligan on "Hitch".  By the time of "Torn Curtain" he had alienated himself from Bernard Herrmann (think of the scene in "Pretty Woman" where she returns to the clothes store with an arm full of purchases).."BIG mistake..BIG".

[Madiel]

Ponyo



I think I've probably seen this one before, but I'm not absolutely certain. Either way, it's a particularly 'cute' Miyazaki film, centred on a 5-year-old child. And even though the world floods, none of it is really dark. Though the storm sequence is pretty spectacular.

In some ways I like this better because the story feels like it wraps up.

[Belle]

I absolutely love the Coen Brothers.  Not all their films interest me but most of them do.  My fave of all theirs is this one (and, of course, "The Big Lebowski"):  The Man Who Wasn't There.  Exquisite chiaroscuro cinematography from Roger Deakins (a great cinematographer, BTW!!!).  The film has some weak sequences in the second half.  Without those short-comings the film could be considered a masterpiece.

https://www.youtube.com/watch?v=vo7MIRkJ9Wg

[Cato]

Testing

[Cato]

Testing

For some reason, I cannot place my comment here about Alfred Hitchcock and Bernard Herrmannm, in response to @Belle.

I am not using any unusual punctuation and have no links to anything.

Bold Type obviously works:  Italics work.  I deleted a few hyphens and two asterisks.

Any ideas?

[Cato]

For some reason, I cannot place my comment here about Alfred Hitchcock and Bernard Herrmann.

I am not using any unusual punctuation and have no links to anything.

Bold Type obviously works:  Italics work.  I deleted a few hyphens and two asterisks.

Any ideas?

Universal and Hitchcock attributed the failure of Marnie to its lack of a "hit song" * to attract teenagers.

Herrmann's view was that Torn Curtain would not be for teenagers anyway.

When Herrmann produced a score for Torn Curtain with 10 flutes and NO hit song, that ended their collaboration permanently.

*It is difficult to say when that "hit-song" necessity for non-musical movies arose: perhaps with Henry Mancini's Moon River heard in Breakfast at Tiffany's (?).

[Cato]

Okay, the above had to be added together about 5 words at a time and previewed.

Otherwise...FORBIDDEN appeared!

[Belle]

Universal and Hitchcock attributed the failure of Marnie to its lack of a "hit song" * to attract teenagers.

Herrmann's view was that Torn Curtain would not be for teenagers anyway.

When Herrmann produced a score for Torn Curtain with 10 flutes and NO hit song, that ended their collaboration permanently.

Yes, Cato, that is correct about Marnie but above all Hitchcock under-appreciated the role of Herrmann's music in the success of his films.  Those comments he made were ridiculous and indicative of a man slowly losing the plot. Sadly.  Herrmann went on to create spectaculars score for "Fahrenheit 451" and "Taxi Driver", but died before the latter was released.  Herrmann was a man who made many enemies, probably because of his own insecurities - but he knew, loved and admired Charles Ives so he was an early exponent of that composer's work.  Bernard Herrmann knew what he was talking about!!  (See the book by Steven Smith).

May I say what a pleasure it is 'talking' to folks who love and appreciate good film!!!

I don't know why my reply ended up in this envelope!!

[Cato]

Universal and Hitchcock attributed the failure of Marnie to its lack of a "hit song" * to attract teenagers.

Herrmann's view was that Torn Curtain would not be for teenagers anyway.

When Herrmann produced a score for Torn Curtain with 10 flutes and NO hit song, that ended their collaboration permanently.

Yes, Cato, that is correct about Marnie but above all Hitchcock under-appreciated the role of Herrmann's music in the success of his films.  Those comments he made were ridiculous and indicative of a man slowly losing the plot. Sadly.  Herrmann went on to create spectaculars score for "Fahrenheit 451" and "Taxi Driver", but died before the latter was released.  Herrmann was a man who made many enemies, probably because of his own insecurities - but he knew, loved and admired Charles Ives so he was an early exponent of that composer's work.  Bernard Herrmann knew what he was talking about!!  (See the book by Steven Smith).

May I say what a pleasure it is 'talking' to folks who love and appreciate good film!!!


I don't know why my reply ended up in this envelope!!

You are quite welcome!

Make sure your cursor for typing the comment is not inside the "quote box,"

Yes, Herrmann was a great supporter of Charles Ives.

Let me recommend Bernard Herrmann's two scores for Brian De Palma in the 1970's: Sisters and Obsession.

[Karl Henning]

Testing

Success!

[Cato]

Success!

Yes, so far!  What caused the glitch...?

Interesting coincidence: we have just had trouble with an Internet picture frame...it suddenly refused to connect to the Internet, looping endlessly with "Trying to Connect," and unplugging it for minutes or even all day did not stop it from looping, when it was turned back on.