Last Movie You Watched

[James]

Dawn of the Dead
1978 ‧ Thriller/Action ‧ 2h 7m

As hordes of zombies swarm over the U.S., the terrified populace tries everything in their power to escape the attack of the undead, but neither cities nor the countryside prove safe. In Pennsylvania, radio-station employee Stephen (David Emge) and his girlfriend, Francine (Gaylen Ross), escape in the station helicopter, accompanied by two renegade SWAT members, Roger and Pete. The group retreats to the haven of an enclosed shopping center to make what could be humanity's last stand.

[asin]B000UR9QIK[/asin]

[Cato]

I hope to see Dunkirk soon. Most of the reviews here in the UK are very positive but I've read a couple of very negative ones. There have been criticisms from France as the heroic French defence at Lille which helped allow the BEF to escape is hardly mentioned, if at all. Max Hastings the historian said that the French should make their own film about it. Most films about WW2 come from the USA. Usually they depict the USA winning the war on their own with the British getting in the way ( ). Even 'The a Great Escape' which, in reality featured no U.S. Escapees has Steve McQueen in his 1960 sweatshirt and motorbike. However, he is one of the best things in the film and it would not be nearly so enjoyable without him. Much of the financing of war films comes from the USA so it is totally understandable that their participation is highlighted for American audiences. Some annoyance here was caused by the movie about the capturing of the Enigma Code machine which showed it as a totally American operation whereas in fact it was a totally British operation. Therefore some of the critics here have said, of Dunkirk, that it's good to have an epic type war film which focuses almost exclusively on the British. Let me conclude by saying that I generally love American war movies - Saving Private Ryan, for example, (which ignores any British or Canadian contribution to D-Day) with its bleached out American flag blowing in the wind, maybe implying that the democratic and liberal values which we share are just about surviving and worth fighting for.


Also, the real hero of Dunkirk was Admiral Ramsay at Dover Castle who organised the whole evacuation and is, as far as I'm aware, not mentioned in the film. Also most of the troops were taken home in the Royal Navy ships - the film, understandably, has been accused of over-emphasising the role of the small boats. They were, however, essential for getting the troops off the beaches and out to the destroyers etc.

Many thanks for the comments!  Do you know the 1960's epic The Longest Day, about the D-Day invasion?  It does show the British, the French, and the German aspects of D-Day.

Agreed that very few war movies are meant to be documentaries, and so facts are ignored are or completely changed for whatever purpose, dramatic or otherwise, e.g. Steve McQueen doing his own stunts on the cross-country motorcycle.  Sure, why not?! 

[vandermolen]

Many thanks for the comments!  Do you know the 1960's epic The Longest Day, about the D-Day invasion?  It does show the British, the French, and the German aspects of D-Day.

Agreed that very few war movies are meant to be documentaries, and so facts are ignored are or completely changed for whatever purpose, dramatic or otherwise, e.g. Steve McQueen doing his own stunts on the cross-country motorcycle.  Sure, why not?! 

Always a pleasure Leo. 

Yes, I think my parents probably took me to see 'The Longest Day' at the cinema and I have the DVD here. Amongst much else it features a pre-Bond Sean Connery on the beach. It is, indeed, a very fine film, showing events from a number of different perspectives and has an air of authenticity about it. Likewise 'Tora,Tora,Tora' which shows Pearl Harbor from a Japanese and American perspective. It is an intelligent film unlike IMHO the daft 'Pear Harbor'. Having said all this I also like pure escapism like 'Where Eagle's Dare'.

One problem with movies which purport to show real events is that they can give a very distorted view which leads to a kind of 'factualisation of history'. Still, I learnt my lesson when, teaching a class about D-Day, - a visiting Canadian student of about 15 took me to task for not mentioning the important Canadian contribution. After that I always mentioned it.

[vandermolen]

Beauty and the Beast....





The original animation version was a big favourite of my daughter when she was growing up. She constantly watched it. It was interesting to see this version a number of years later.

Exactly the same situation here. 

[Jaakko Keskinen]

Oh, I really like that version of Jaggers - always washing his hands. Arguably the best film adaption of a Dickens book. The opening scenes on the marshes are especially impressive I think.

I think the reason I kind of dislike the actor is because to my mind he doesn't look anything like Jaggers I imagine him to look like when I read the book. I forget how he is described in the book, so the actor could be faithful to it for all I know - but I often make my own visual images about characters in my head even if they don't resemble the image they are actually given in the book itself.

[vandermolen]

I think the reason I kind of dislike the actor is because to my mind he doesn't look anything like Jaggers I imagine him to look like when I read the book. I forget how he is described in the book, so the actor could be faithful to it for all I know - but I often make my own visual images about characters in my head even if they don't resemble the image they are actually given in the book itself.

An interesting point. He was rather 'over the top' but I rather liked his performance and the way in which he reasons with Pip about his decision to save the young Estella.

[Ken B]

Always a pleasure Leo. 

Yes, I think my parents probably took me to see 'The Longest Day' at the cinema and I have the DVD here. Amongst much else it features a pre-Bond Sean Connery on the beach. It is, indeed, a very fine film, showing events from a number of different perspectives and has an air of authenticity about it. Likewise 'Tora,Tora,Tora' which shows Pearl Harbor from a Japanese and American perspective. It is an intelligent film unlike IMHO the daft 'Pear Harbor'. Having said all this I also like pure escapism like 'Where Eagle's Dare'.

One problem with movies which purport to show real events is that they can give a very distorted view which leads to a kind of 'factualisation of history'. Still, I learnt my lesson when, teaching a class about D-Day, - a visiting Canadian student of about 15 took me to task for not mentioning the important Canadian contribution. After that I always mentioned it.

Great post.

Just be thankful you didn't teach WWI and not mention Vimy Ridge. He'd still be talking. 

For those not in the know, there were 5 beaches assaulted on D-Day. Two were bloodbaths, Omaha and Juno. Juno was the Canadian Beach. Canada had a bit less than 10% of the US population. But Vimy Ridge is the battle in Canadian history.

Those looking for really grim can google Newfoundland Somme. It was not part of Canada at that time.

[Todd]

Dunkirk.  It didn't end up being as good as the critical praise more than hinted at.  The focus on the experience of the soldiers was well done, and the beach scenes were well done, but some things didn't work for me.  The alternating timelines became tiresome and detracted from the narrative.  A couple sub-plots, if that's what they were, really didn't add anything.  And Hans Zimmer's score became oppressive at times, with the ticking device not all that effective.  Tom Hardy appears to have had a good gig here, as he probably could have shot all his scenes in one or two days in a soundstage, except for his last scene.  All that written, Nolan dives right into the action and keeps tension high throughout, which is helped by not showing the enemy even once.  The film is not really an acting showcase, except for the plotline with Mark Rylance and Cillian Murphy, and there it's mostly Rylance who delivers.  Very good overall, but not Nolan's best, and not necessarily a great war film, either.  I'll watch again on the small screen to see if there are details missed on the big screen.

[Bogey]

Love the movie! I fear we are at odds viz. the score 


To try to explain a bit better:

The music did not bother me (i.e., I did not feel otherwise than that it belonged) when I first watched the two movies, which would have been while I was at Wooster, the time of their initial release.  The source of my recent problem, as it were, is that I am finally watching the series itself, and the show's atmosphere is very well enhanced by Alexander Courage's score;  in contrast, Horner served up (understand that I am in something of the position of a hostile witness ) what strikes me as boilerplate space-swashbuckling music.

The discussion is apt to veer towards ethics when the subject is Horner's work  but neither are we in the position to disentangle the composer's role and choices, from the demands of the production ("Give us something just like Star Wars...")  There is a well-loved tune in Star Wars (itself related interestingly to a Leitmotiv from The Ring) which Horner manages to echo in The Wrath of Khan, and, why yes, he brings it back at a key dramatic moment in The Search for Spock.

Mind you, while the springboard here has been my expression a degree of disappointment at the artistic effect of the character of Horner's score, I am not (presently ) concerned with the ethics angle.  The broader question of reference/appropriation has been uppermost in my mind as I continue (at last) work on White Nights—though to be sure, all the material is my own—as I find use in these later scenes for material already exposed.

Was not ignoring this post, my friend.  I threw the score in my car and am listening to it in parts during travels at less than warp speed.  So far, the score, standing alone, holds up nicely for me.  There is a nod, IMO, to Goldsmith's score for Star Trek: The Motion-less Picture which is a decent bridge without just lifting his main theme.  However, I enjoy Horner's main theme here.  It's Star Treky enough (which I want), but original enough.  The attack music is over the top and the theme is more reserved.  If I rated them though, it would not be at the top.  Here would be my faves:

Any Courage renditions (this clip even has the animated series theme which is not Courage). This theme has to now be part of my DNA.  Probably the first music I remember ever humming as a kid. 
https://www.youtube.com/watch?v=9IyJ3uoDMsg

And the pilot,though the fading bugs me
https://www.youtube.com/watch?v=1eH7cjAYPOk

Goldsmith's: Glad to hear the TNG opening lifting it

Giacchino: Love his theme and how he channels the original Courage theme

then would come Horner's Wrath work....though I recall enjoying the Deep Space 9 music quite a bit. 

And in disclosure of my geekness, I do own and enjoy this beauty:

[Karl Henning]

Cheers, Bill!  And promise me you will never operate your landcraft at warp speed 

[Bogey]

Cheers, Bill!  And promise me you will never operate your landcraft at warp speed 

It's a Honda Fit....at best, Galileo 7 Shuttlecraft handling and speed.

[Cato]

Always a pleasure Leo. 

One problem with movies which purport to show real events is that they can give a very distorted view which leads to a kind of 'factualisation of history'. Still, I learnt my lesson when, teaching a class about D-Day, - a visiting Canadian student of about 15 took me to task for not mentioning the important Canadian contribution. After that I always mentioned it.

Many thanks again!  Your story reminds me of a certain German exchange student some years ago: I had an exchange program with a Catholic Gymnasium, and so about 8 or 9 visitors were in my German III and IV classes for 10 days every year.

I believe I was playing part of the Gurrelieder (my students had translated the text) during the Germans' visit.  One of them came up to me after class (apparently as a representative    ) and announced in English:

"We are not liking such music."

To which I responded: "O Schade, aber...Heino  Schallplatten habe ich nicht!"  0:)   (Too bad, but ... I don't have any Heino records!)

For those who do not know of Heino...

[Karl Henning]

Oh, one more thing ...

Saavik is female, yes? Why does Spock address her as "Mr. Saavik"? As an authority convention?

Okay, I watched "Balance of Terror" as part of my Trek-binge yesterday, and a female member of the crew is addressed as Mister.  I consider my question answered.

[Bogey]

Okay, I watched "Balance of Terror" as part of my Trek-binge yesterday, and a female member of the crew is addressed as Mister.  I consider my question answered.

Loved that episode.  I watched The Doomsday Machine two nights ago.  Another favorite.  Was blown away as a kid when I saw another Starship on screen.

[Karl Henning]

Loved that episode.  I watched The Doomsday Machine two nights ago.  Another favorite.  Was blown away as a kid when I saw another Starship on screen.

Perhaps unusually late, but I have become a genuine fan.  "Balance of Terror" may be the most perfect script of the episodes I have yet watched.  I still have "notes" on practically every episode I watch, but I am a sympathetic audience now.

[drogulus]

     What's Fact and What's Fiction in Dunkirk

     There are spoilers here.

[vandermolen]

Great post.

Just be thankful you didn't teach WWI and not mention Vimy Ridge. He'd still be talking. 

For those not in the know, there were 5 beaches assaulted on D-Day. Two were bloodbaths, Omaha and Juno. Juno was the Canadian Beach. Canada had a bit less than 10% of the US population. But Vimy Ridge is the battle in Canadian history.

Those looking for really grim can google Newfoundland Somme. It was not part of Canada at that time.

Thank you! She was a she actually. 
Actually I took a school trip to Vimy Ridge in 2014 - great experience but the Canadian girl had returned home by then.

[vandermolen]

Many thanks again!  Your story reminds me of a certain German exchange student some years ago: I had an exchange program with a Catholic Gymnasium, and so about 8 or 9 visitors were in my German III and IV classes for 10 days every year.

I believe I was playing part of the Gurrelieder (my students had translated the text) during the Germans' visit.  One of them came up to me after class (apparently as a representative    ) and announced in English:

"We are not liking such music."

To which I responded: "O Schade, aber...Heino  Schallplatten habe ich nicht!"  0:)   (Too bad, but ... I don't have any Heino records!)

For those who do not know of Heino...

Excellent Leo! LOL.
Odd that your visiting children didn't appreciate Schoenberg! 
Jeffrey

[Cato]

Excellent Leo! LOL.
Odd that your visiting children didn't appreciate Schoenberg! 
Jeffrey

For the Germans, it just was not "cool" to admit that the music in Gurrelieder was ECHT PRIMA!!!   

     What's Fact and What's Fiction in Dunkirk

     There are spoilers here.

Thanks for the link!

Concerning an earlier comment about John Williams and his score for Brian DePalma's The Fury :

https://www.youtube.com/v/KqCOYkNO_nw

Great stuff!

Recently I discovered that Mosfilm has restored Andrei Tarkovsky's Stalker, and that it is now available via the Criterion Collection:

https://www.criterion.com/films/28150-stalker

A rave review from the Wall Street Journal:

'Don't hope for flying saucers. That would be too interesting," a jaded writer tells a glamorous woman in one of many strange and beautiful scenes in Andrei Tarkovsky's "Stalker" (1979). There are no flying saucers in the great Russian director's haunting tale of a journey into the depths of a postapocalyptic landscape, but it offers visual splendor, as well as mysteries, portents and miracles.

Mosfilm recently carried out digital restorations of "Solaris" (1972) and "Stalker," Tarkovsky's two majestic adaptations of science-fiction novels. The Criterion Collection has just released "Stalker" on DVD and Blu-ray, and it is also currently screening in New York and select cities in the U.S. A profound exploration of spiritual desolation and the power of love in a damaged world, it's a film whose poetic vision seems more valuable than ever.

The story unfolds in the aftermath of some disaster, a meteorite or an alien invasion. Troops were sent in but never returned. A forbidden Zone was established but failed to keep out adventurers, called stalkers. A holy fool, the film's idealistic Stalker ( Aleksandr Kaidanovsky )—who has a sick daughter, called Monkey ( Natasha Abramova ), and a loving wife ( Alisa Freindlikh )—continues to smuggle the unhappy or curious into the Zone, despite having been imprisoned and tortured.

Inside the Zone, which he describes as a "very complex maze of traps," the Stalker claims there is a Room where one's deepest desires are fulfilled. This time, he accompanies two men of art and science, the Writer ( Anatoly Solonitsyn ) and the Professor ( Nikolai Grinko ), whose lack of belief in the possibilities of the Room grieves him. At times Tarkovsky suggested that the Stalker conjured up the Zone from his own imagination.

Is the Zone life or death? Perhaps both. In any case, it is zealously guarded. Before entering, the travelers navigate a misty labyrinth of muddy alleys and barbed-wire fences—a grimly magical space that at times echoes Cocteau's "Orpheus" (1950)—fleeing helmeted policemen on motorcycles. Eventually, they escape deep into the Zone, a world that is like and unlike our own. As Geoff Dyer, author of the book "Zona," notes in an interview recorded for the Criterion release, while the film resists easy allegorical interpretations, it's impossible not to think of the gulag, and of how the Zone anticipated Chernobyl.

"Stalker" is loosely based on the novel "Roadside Picnic" by Arkady and Boris Strugatsky, who worked on the screenplay. The production was fraught with difficulties, from an earthquake that necessitated a change in location to thousands of feet of ruined footage. Much of the film was shot under harrowing conditions at a desolate site in Estonia.

"Stalker" often shifts between dreamlike color and glowing sepia. The film's charged images include drowned detritus—such as syringes, coins and a depiction of St. John the Baptist from the Ghent Altarpiece—and lush underwater grasses like human hair. Glass objects float in a flooded interior space and there is a sudden shower of shimmering rain.

A mysterious black dog also appears in the Zone, like a figure from a hieroglyph. Back in the outside world, this benign spirit is still with the travelers, as if having guided them out of the underworld, and in a painterly sequence it follows the Stalker's family home through a ravaged, snow-dusted landscape. When the dog laps milk from a bowl, it seems as miraculous as the apparently supernatural event in the final scene.

The hypnotic electronic score, by Eduard Artemyev —who also worked on Tarkovsky's "Solaris" and "The Mirror" (1975)—combines Eastern and Western musical influences. In "Solaris," an adaptation of a Stanislaw Lem novel, a psychologist and cosmonaut, Kris Kelvin, travels to a space station by a planet with a sentient ocean, where he confronts his conscience. In one of the most exquisite scenes, Kelvin levitates while embracing his resurrected dead wife in the space station's library, a room filled with books, musical instruments and paintings by Pieter Bruegel the Elder.

Despite the poignant humanity of "Solaris," Tarkovsky expressed dissatisfaction that the science-fiction aspect wasn't more muted. Both films are powerful interior journeys, but in "Stalker" dreams are pursued on Earth. As Mark Le Fanu writes in an essay for Criterion, the dialogue is "magnificently ambivalent: witty and fantastical beyond measure."

"Stalker" was the last film Tarkovsky made in the Soviet Union. In 1984, while in Italy, he announced that he would not return. When he died of cancer in 1986 at age 54, he had completed a small but towering body of work. In his book "Sculpting in Time," published the year of his death, he wrote, "In Stalker I make some sort of complete statement: namely that human love alone is—miraculously—proof against the blunt assertion that there is no hope for the world."

See:

https://www.wsj.com/articles/love-in-a-damaged-world-1500656676#livefyre-toggle-SB10991613259963344133404583261911060813492

[Drasko]