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 YTMN Presents a Remake Rematch Thread 
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Born at 7:36 am local time, in this city in the Hills of Arkansas, I have now been officially 65 years old for five minutes.

Happy My Birthday to you all!

(This greeting was introduce to me by my older son, who may well have invented it.)

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Fri Mar 31, 2017 9:42 pm
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And a Happy Jedi's Birthday to the rest of you!

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Fri Mar 31, 2017 11:30 pm
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Oh, and
Happy Roger's Birthday!

I met him on 24 March and learned that I was born on his 20th birthday.

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Fri Mar 31, 2017 11:32 pm
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Happy Birthday, Gort! (and Jedi!)

I didn't know you and Jedi shared a birthday! You're almost twins. :D

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Sat Apr 01, 2017 1:07 am
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Happy birthday, guys!

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Sat Apr 01, 2017 5:35 am
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Shieldmaiden wrote:
Happy Birthday, Gort! (and Jedi!)

I didn't know you and Jedi shared a birthday! You're almost twins. :D

We sure are. There's only a very small matter of roughly 32 years, and we would be. Almost.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 02, 2017 4:16 am
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Stu wrote:
Happy birthday, guys!

Thanks, Stu.

I was thinking about one of my pre-father experiences this morning while sorting clothes to do laundry. When my wife and I first bought a house, one of the neighbor families had a little boy. He was good friends with the couple who lived on the other side of our house, and he would often stop over to visit.

I came out one morning and found the little boy sitting on Jessica's front steps. "I'm waiting for Jessica to wake up," he told me. I gestured to the empty driveway at the back and suggested, "She might be gone. Her car isn't here." He looked back into the rear driveway and pronounced, "Well, I'll wait."

I then told him something that Jessica had told me the day before. "I hear you were five years old yesterday," I said to him as cheerfully as I could muster. He looked at me for a second before he said, "I'm still five today!" He was dead serious about this. "Of course, you are," I agreed. Then I turned him into a small human guinea pig for my running experiments on how kid's minds worked. I figured I should understand these things before becoming a father.

"So, how long do you plan on staying five?" I asked him. His little brows knit closer together. "I don't understand," he confessed. "If it's a really good year, you might like to stay five longer than just one year, right?" I could see wheels engaging at high speed inside his skull. Finally he asked with a mixture of disbelief and excitement, "Do they let you do that!?"

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 02, 2017 4:22 am
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A Comparison of Tom Brown's School Days (1940),Tom Brown's Schooldays (1951),Tom Brown's Schooldays (1971) & Tom Brown's Schooldays (2005)
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IMDb link 6.8/10 with 315 user votes -- RT-link Tomatometer not available/user rating 63% with 1,184 votes

Year: 1940 Director: Robert Stevenson -- Writer: Walter Ferris, Frank Cavett, Gene Towne, C. Graham Baker and Robert Stevenson -- Cast: Cedric Hardwicke, Freddie Bartholomew, Jimmy Lydon, Billy Halop, Polly Moran, Gale Storm, Barlowe Borland -- Length: 86 min. B&W/Mono

Robert Stevenson's 1940 film adaptation of the Thomas Hughes book, Tom Brown's School Days, is not a film about Tom Brown. Instead, it is about Dr. Thomas Arnold (1795-1842), headmaster of Rugby School from 1828 to 1842. During the last nine years of this time, Thomas Hughes was a student at the school, and he might have written the novel as a tribute to Dr. Arnold; it was published 15 years after the great headmaster's death. In the novel and the other three adaptations featured in this Rematch, Dr. Arnold is a major character, but he isn't the true center of the story.

The film is likable enough, if you cotton to mid-20th films, but there isn't a lot that will stick with you after the screen flashes The End. Now, none of these four films is a great film, as far as cinema history goes, but they are solid entertainment. The original story is good enough to have spawned five screen adaptations over the years, but Stevenson's version is the only one that tells this particular story.

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The production company (The Play's The Thing Productions) generated only three films, all released in 1940: Little Men, this one, and Swiss Family Robinson. Oddly enough, Jimmy Lydon stars in two of the films, while Freddy Bartholomew stars in two of them. They are paired only in Tom Brown's School Days.

Something about the film seems otherworldly, and in a way more pronounced than if it were simply a British-made historical film (which it is not). The strangeness may come from the simple fact that this film was made in a different time, when the US was a different place. The story as presented is the perennial Hollywood favorite of those times: bucolic country lad comes to the big city, is treated like a bumpkin (which he is) but ultimately puts the city slickers in their place by playing their game better than they do. Don't be deceived by the English accents (some actors don't even try that) and the apparent English setting. This is an American film, about the things that Americans liked to see on the screen in those days.

Here's a mostly spoiler-free synopsis: Rugby School needs a new headmaster to straighten things round up there, and school board member Squire Brown pays a visit to Dr. Thomas Arnold. At the time Arnold is conducting a school for 10 boys in his home, but his reputation has brought Brown to see him. He offers, and Arnold accepts the position as headmaster of Rugby, where he will have educational responsibility for 300 boys. Arnold's expulsion of seven students for lying to him ruffles many feathers. Brown pays a visit and asks Arnold some hard questions. To show his confidence in Dr. Arnold and his methods, Squire Brown sends his fourth-form son, Tom, to Rugby school.

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Tom arrives, naive and gullible. A boy named East takes him under his wing. Tom likes the place. Until the bully Flashman takes a dislike to the new boy (on the first day). But it is on the evening of that day that Arnold meets with sixth-former Brooke, and asks for his help in stopping all the bullying that is traditional at Rugby School. Flashman grows even more petulant, and takes it out on Tom Brown. Eventually, because "it's the only way to stop people like Flashman," Tom volunteers to fight him in a spontaneous bare-knuckles bout with "the usual rules." During this fight someone blurts out some information which Tom is later accused by all of School House of having "told" to Dr Arnold, which gets his friend East into a situation of expulsion. Will this rift between school chums get smoothed over?

The actual plot is slightly more complicated than that (due to what would be spoilers if I included them), but not much. It is stripped of everything that makes the book wonderful, and of the four movies, this one is the least like the novel.

Here are some aspects of the film and whether I like them or don't care for them. On balance, I like about as many things as I don't, and there are many more aspects about which I feel indifferent:

Like: The film is well-made. Well-photographed, the sound recording and mix are done with skill, the sets look authentic (but what would I know?). The filming locations are not listed at IMDb. The editing is straightforward, and easy to read. The film is not too long, at 86 minutes. Most of the actors do a better than passing job, but it has that slick Hollywood feel to it, as if someone winds a spring, releases a catch, and the film runs off like a wind-up mouse.

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Like: The humorous moments in the film. The slapstick sequences (which I will deride immediately below, by the way) are truly laughable and often clever. The surprise laughter factor of these scenes is on par with any Three Stooges or Laurel and Hardy outing.
Don't Like: Because the film is about Dr. Arnold, there are many characters and incidents left out. Now, this isn't because of time constraints. The other adaptations seem to find time to include them. They are left out to include a bunch of Americana. Yeah, that's right. In a film set in England, we get treated to all kinds of bucolic slapstick. It's quite funny, but it necessitates paring the rest of the story down to an easy-to-follow Hollywood formula.

Don't Like: In fact, the Ferris-Cavett-Towne-Baker-Stevenson script turns a complex story into a simplistic story about how Dr. Arnold broke the culture of bullying at Rugby with the help of the fourth-form boys in the year Tom Brown came there. Not only do they leave out more of the original story than is necessary (as shown by later productions), but they add details that fit in all too neatly. Squire Brown's recruitment of Dr. Arnold to the school, for example, didn't take place in the novel, much less in real life. I'll say again that this doesn't make it a bad film, but it isn't quite Tom Brown's School Days, either.

Like: Although Doctor Thomas Arnold is arguably the most famous and influential headmaster of Rugby School, he is not presented as a flawless individual in this film. There is a scene where, after confiscating a slingshot from a boy, he plays with it in his office. Things may not go well, here. And Arnold is played by Cedrick Hardwicke as a rather judgmental, though basically fair-minded man. At least he has qualms about his choices: expelling certain boys will make Rugby School's culture better for the boys who attend, but expelling a boy from the school is an onerous thing in his life that the student may never live down. And Arnold loses sleep over this conflict of goals.
Don't Like: Man, is this film filled with judgmental people! Nearly all of the speaking characters, apart from Tom, his father, and Dr. Arnold's wife are constantly berating and judging those around them. The worst are the bullies three, of course. At one point all of School House decides that Tom is a snitch ("He told. Who else could have?"). In the fuller versions of the novel that we will look at, that aspect is toned down, because all the juvenile characters are running around "being boys." That's 20th century code for "getting into trouble and making questionable choices."

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Don't Like: Dr. Arnold is quite preachy. The film nearly lapses into didacticism, but according to Thomas Hughes, the book was intended to be didactic rather than mere entertainment. So, perhaps the movie is simply in line with the author's original intentions? Maybe.

Don't Like: Overall, the film is too sanguine. Tom comes across as a nice guy at nearly all times. He is not mischievous the way the boy in the novel is, and the Tom Browns in the rest of the films are. He is also a bit too much of a bumpkin, here. At the same time, Billy Halop's interpretation of Flashman, the villain, is not quite beastly enough. The sugar level is too high for my tastes.
Like: Regardless of this, Tom doesn't come across as a goody two-shoes. He follows the "rule" of the school: "Don't tell tales." This is a rule among the boys. And he gets into a fist-fight with another student (by the rules, of course, not a mere brawl). This, of course, breaks a primary rule of the school itself.
Don't Like: This film presents a Tom Brown who is easily steered by rules and peer pressure. It is not the Tom Brown of the novel, who seems to run amuck, at least within his own skin. Watching the boy discover, and then learn to drive self-control is the most interesting part of the book. The 1940 Brown is already a follower of rules, both written and socially abstract, and it doesn't leave room for the most fun aspect of the novel to be on display.

Don't Like: The Stevenson film, by omitting Tom's errant behavior, makes him a flatter character. In fact, none of the characters have any dimension to them, besides Arnold. And he is merely a slightly embossed figure. This is not an error that the other three adaptations make. But, then, Tom isn't the central figure of this story. He is only a utensil to get us roasting in the greatness of Dr. Thomas Arnold.

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Don't Like: Too little rugby! Two of the four versions spend a lot more time on the football aspect of Tom's career at Rugby, one substitutes cricket. This film totally omits the climactic game where Tom helps make School House the champions for the year. The 1940 film only has Tom's first game at Rugby school, not his hero-making final effort. A "flaw" it shares with the 1971 television adaptation.


Thomas Hughes wrote a novel that is so wide-ranging and full of episodes that no film could ever include everything. There are many incidents that show Tom's character as both rangy and moral. He has a good core but his outward show is lacking in coherence for much of the book. He is never hateful, but he is cheeky with people, having no use for social class. Indeed, in the early parts of the story he is shown to hang out with village boys more than his peers, despite people warning his father that he should not, for it will steer the boy in the wrong direction. Instead, Tom gets his egalitarian attitude from being one of the guys, instead of holding himself above the rest. In the 1940 film there is no clear presentation of that aspect of the boy's character. As I've already written (10-20 times!) in this review, he tends to be a bit too good compared to his novellic counterpart.

Keep in mind that by making Doctor Arnold the headmaster of the fictionalized Rugby School, Hughes was drawing on a child's memories of the man. The Doctor in the novel is not the historical Thomas Arnold, and the things the headmaster thinks and says are concoctions of Thomas Hughes' imagination. But the Doctor plays a focal role in the novel, although it is not the central role.

It is through the patience of the Doctor that Tom's well-formed inner core becomes his driving force, in the book. But in this film the lad is already nearly there by the time he goes to Rugby School. We see nothing of the reformation of Tom Brown. I think this film is less interesting than the others simply because that shortcut is taken in the writing. What makes this 19th century kid so interesting is that he is not fixed into some social class. In the novel it's fun to see just how impertinent young Tom Brown will become with his peers and superiors at the next turn. He is more like the US cartoon character Dennis the Menace for most of the book. If he wants to "steal" a fish by dropping a line from the forbidden bank of the Avon, he does so, for example.

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Tom Brown's School Days is solid family fare for its day, which is, of course the conformist 1940s. These days it would be a made for television movie. In fact, it was released for TV broadcast in 1946, and the 1971 and 2005 adaptations were made for TV. I've written elsewhere about how some of the older films reviewed for these Rematches feel very much like early TV episodes. This is another movie that fits that mold. There is nothing objectionable about the film, but nothing of great cinematic value, either. If you like old movies, give it a watch, if you can find a copy. It's on Youtube. If you are an Amazon Prime subscriber you can watch it without any additional charge. And the region 1 DVD is cheap.


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Tom Brown's School Days on Amazon Prime Video, free to watch if you are a Prime subscriber.

Thomas_Arnold_by_Thomas_Phillips.jpg. From Wikipedia, the free encyclopedia.

Rugby School. From Wikipedia, the free encyclopedia. 'Rugby School was founded in 1567 as a provision in the will of Lawrence Sheriff, who had made his fortune supplying groceries to Queen Elizabeth I of England. Since Lawrence Sheriff lived in Rugby and the neighbouring Brownsover, the school was intended to be a free grammar school for the boys of those towns. Up to 1667, the school remained in comparative obscurity.'

Tom Brown's School Days. From Wikipedia, the free encyclopedia. 'The novel was originally published as being "by an Old Boy of Rugby", and much of it is based on the author's experiences. Tom Brown is largely based on the author's brother George Hughes. George Arthur, another of the book's main characters, is generally believed to be based on Arthur Penrhyn Stanley. The fictional Tom's life also resembles the author's, in that the culminating event of his school career was a cricket match. The novel also features Dr Thomas Arnold (1795–1842), who was the actual headmaster of Rugby School from 1828 to 1841.' and 'In the 1940 U.S. film, the role of Dr Thomas Arnold as a reform-minded educator was given greater prominence than in the novel.'

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 02, 2017 4:23 am
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Income taxes and property taxes filed and paid, and so forth.

Now time to get back to something I love more than paying taxes!

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Wed Apr 19, 2017 1:37 pm
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A Comparison of La Guerre des Boutons (1962), The War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)


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IMDb link 6.4/10 with 1,247 user votes -- RT-link Tomatometer not available/user rating 55% with 280 votes

Year: 2011 Director: Yann Samuell -- Writers: Louis Pergaud (novel), Yann Samuell (screenplay) -- Cast: Eric Elmosnino, Mathilde Seigner, Fred Testot, Alain Chabat, Vincent Bres, Salomé Lemire, Théo Bertrand, Tristan Vichard -- Length: 109 min. Color/Stereo

Yann Samuell's adaptation is clearly based on the 1962 film by Yves Robert. Louis Pergaud's novel is given credit at the beginning, but the film takes off with the Gibus brothers and couille molle and an eventual massed attack on Velrans by Langeverne, and vice versa. In the opening sequence there is a vast change from Robert's film: one of the "boys" turns out to be Lanterne, Big Tintin's sister, Marie. But, hang on. This is not really an enlargement of the slight expansion of Marie's role in the 1962 film, but an increased prominence of the girl's role, something that John Roberts kicked off in the 1994 re-remake!

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If you watch the films in chronological order from Robert, through Roberts and Samuell, you see that the second and third remakes each adapt the next earlier film. In one sense, the Irish film is a remake of Robert's French film, and Samuell's film is a remake of Roberts' 1994 movie. Each adds to the chain-updating with more modern technique, and by altering the relative prominence of characters. Tintin, who is a lieutenant of Lebrac in the novel, retains that position in the 1962 film and the 1994 version, but becomes Big Tintin, who is off at war in Algeria in the 2011 Samuell update. In other words, Pergaud's novel La guerre des boutons (1912) is still the impetus for this visual storytelling, but flexibility of presentation is a given in this series of remakes.

It's too bad we don't have any way to see La guerre des gosses (1936) to compare it with these others. I wonder what Yves Robert changed from that film, and what he retained. I'm certain he saw it before he made his 1962 movie. (Speculative certainty, I must add.)

Above all, and to a far greater extent than either the 1962 or 1994 films before it, Samuell's movie centers on the long-term feud between the villages as a dramatic character, just as much as it concentrates on the current crop of children who are characters learning to prolong that rivalry. The feud comes across as silly, which is what Pergaud seems to have intended. And this is mostly missing in the two prior cinematic retellings of the tale, one of which makes it seem that the quarrel began just this morning over the sale of tickets to a local raffle.

This film follows the prior two movies closely, with clever adjustments, right up until just before the end. And the ending is unlike any other manifestation of the story that I know of. But that's all right, because it's a Yann Samuell film based on the works of others, but not bereft of his influence.

Here are some aspects of the film and whether I like them or don't care for them:

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Like: Because I am not familiar with all novels, I can't say how frequent it is that a rivalry between villages is the major character in a story. But that is true of Louis Pergaud's 1912 novel; the rivalry between Longeverne and Velrans is an incredibly ancient aspect of living in the two villages. It started half a millennium ago, apparently over a dead cow in the road, although no one remembers how it was born with any exactitude. The feud is now mythical, and spiritual. And alive of its own accord, it seems. This film opens with a manifestation of this non-corporeal character! We meet the brothers Gibus as they attack some boys from Velrans for no reason that we can see, aside from pre-teen impetuousness. Yet, it is the ancient rivalry that we are meeting as much as we are meeting Aztec and his gang, or the brothers from Longeverne.
Don't Like: Samuell plays on the continuing rivalry between adults of the two villages too heavily. In the novel and in the previous films, the adults are, well, adults about it and cooperate more than they clash. The rivalry is childish, and remains the baliwick of the kids. But in this film, the intense rivalry between the headmasters of the Longeverne school (Maitre Merlin) and the Velrans school (Maitre Labru, Aztec's father) goes back to when they were children. These two grown men engage in puffery and insults as much as the kids of the villages do. It is comedic, but for my tastes it is overdone. (Should we perhaps blame this on the international effects of the dumbing-down of dads in exported US and British TV sitcoms between the 1960s and now?) But it isn't only dads who go to fist city at one point in the film. The moms get in on the fisticuffs, too.
Like: Despite this, Samuell's 2011 remake uses the enduring quality of the inter-village antagonism as a mindless character to a greater extent than anyone telling the tale since Pergaud first wrote it down. This aspect of the film is unsettling and charming at the same time. It says something about culture, and how we must change the ways in which we look at life and at other people if we want to enact any real change in the world.

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Don't Like: Samuell's choice to update the story while leaving it set in 1960 (like Robert's film) creates some dissonance with history. There is a progression in the configuration of the Lebrac household from the novel through the three films that we can watch. In the novel, M. Lebrac is a farmer and a drunk, but he lives with his family. Robert uses this character for the most part in his film, but transforms him into a drunken fool of a character, transferring the strength to Mrs. Lebrac. By 1994, and in Ireland, Fergus' father denies paternity, has little to do with his son other than to beat him and order him about, and to disclaim parenthood of the boy. And in Yann Samuell's telling, Lebrac lives with his mother and two younger sisters. Dad has deserted.
Like: It is likely true that any of the depicted configurations of the Lebrac family would have existed at any period in history. Even more-so in France or Ireland than in the fledgling nation of the USA, because those nations have a much longer history than we do. The family structure that gets great play in the media these days is the single mother household, so as the form experienced by the main human character of the film, it is a point of identification, even if there were fewer such households in the US or France in the 1960s.

Like: For the major strokes of his film Yann Samuell retains the major strokes of Yves Robert's adaptation. Where he alters the story the most is in the relationships between the human characters who play out the movements of the main character: the ancient grudge. As I wrote above, he takes a cue from Robert and Roberts and expands the role of Tintin's sister. It would be a spoiler for me to talk about just how much he expands the role.

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Like: Samuell and his co-writers add a clever device to the dialogue that helps to confer a sense of how long this War of the Buttons has been going on. "Bo-Tiz-Ma-Caram-Gal-Gad-Truf-Snick-Bus-Ki-Cav..." is the secret code that the Longevernes chant to brace themselves for any adversity, and to remind themselves that they are a solid group. Midway through the story we learn that Master Merlin added one of them (Gal), when he was the Chief of the Longevernes army. Lebrac added "Cav" when he became the leader. This provides a connection that the boy has with his schoolmaster, and turns the tide slowly toward the denouement of the movie.

Like: As beautiful as the comedy in the prior films is, this one has so many more clever and chuckle-worthy moments. As cute as Tigibus is in the 1962 film, he is even more charming in this version. In this, as in other aspects, Samuell improves on the classic 1962 presentation of this story.

Like: This whole film is on a human scale (which you may recall I find the most charming aspect of any film that has such a scale), with the added twist that it's on a child-size human scale. This is carried out to a greater extent than even The War of the Buttons (1994). Yves Robert's film doesn't get in as close to the kids as John Roberts' does, but Samuell goes them two or three better.

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Like: Klaus Badelt wrote music for the movie that is fitting, even edgy at times, but it is sparse. Where no music is needed, there is no music. Where music helps tell the story, there is music. At one point we hear a bluegrass banjo cut that really goes well with chasing through the forest. Sometimes a few instrumental sounds are all we need to echo the sadness of a face onscreen.

Like: Speaking of chase scenes, this film has a delightful way of making the kid-powered, on-foot chase scenes come across as exciting as anything in the Fast and Furious series. Anything of it that I've seen, that is. The cutting is only part of the excitement. Those kids were asked to really run, and the Steadicam operators kept up with them through the woods. Or, perhaps they devised very long runs of dolly track. Whatever they did, it looks great and has a very big motion impact on the screen.

Don't Like: In a sad, sad bow to the dichotomous nature of morality for super hero/superspy movies, Aztec in this film turns out to be purely psycho-pathologically evil. He is not so in the novel. He is not so in the 1962 or 1994 films. But in this film he has a meltdown...when he shouldn't have. L'Aztec, who is just a zealous kid, like Lebrac, in the novel, is turned into a James Bond villain. He even monologues. Ugh. This is as disappointing to me as the change made in the Jack character between the 1963 Lord of the Flies where Jack is the Head Boy of the school, and the choir leader, and the 1990 remake, where Jack becomes a reprobate kid with a rap sheet.

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Don't Like: Zephirin, the town constable who patrols with his hound on a leash, represents a constant background threat to the world of the Longeverne boys in the novel. Neither the 1962 nor 1994 adaptations feature him at all. But Samuell decides to include him, although he appears in only two scenes. There is none of the tension that the character invokes in the novel, and it isn't clear who he is supposed to be. He is comic relief, as he is in the book, but the role is so small, I wonder why he was included at all.

Don't Like: Despite the fact that the ending of the film is very moving (both times I've seen it something got in my eye!), there is a portion of the end where all the kids in the school draw with colored chalk on the asphalt playground around where Lebrac is sitting. He doesn't move while they do this. And it just seems so...dumb.
Like: And then the touching ending happens and I blubber.

Don't Like: Samuell keeps his film mostly back this side of pure fantasy. As I've pointed out, the entire story beginning with Pergaud is a fantasy, but the Fete des boutons scene goes all Disney with things that the kids are supposed to have concocted for their party. It's similar to John Roberts' overkill on the castle battle scene in his movie, and the Yves Robert exaggeration for the same party scene in the 1962 film. But, honestly, Pergaud made the scene opulent in the novel. My complaint with Samuell's version of the scene is that up until that point almost everything in this version of the story was dialed back to plausible.

Like: The casting is really imaginative, and spot on. The faces among the boys and girls and men and women who play the roles are all interesting, and few are "perfect." These look like real people, and the roles are played with such naturalism that very few moments come off as "acting."

Like: The whisper of first-time romance between Lebrac and Marie in the novel and the 1962 film is ratcheted up in John Robert's 1994 Irish version. Yann Samuell ratchets again, and it doesn't hurt the movie at all. Nothing goes too far, it's all very tenuous, but it's still young love. For a viewer the actual age of the characters, this aspect might have the oddly sweet fearsome aspect that such scenes had for me when I was that age. They held the ambivalent promise of desired but still scary things that were in my future at that time.

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It's beginning to get a bit same-old same-old to write so many reviews of films that I can't find much fault with. Perhaps that's because I picked all the films this round. Some of these rematches and NQRRs include films that are among my favorites.

This one is worth a watch if you haven't seen it. Once again, if you can't stand movies with kids you should give it a miss. But if children on screen don't wear you down, the performances from the youngsters are really worth catching. In part this might be because Samuell didn't ask anyone to do a scene he or she could not pull off. However he did it, it works. And the performances of Eric Elmosnino as Longeverne schoolmaster Merlin, Mathilde Seigner as Lebrac's mother, and Fred Testot as Father Simon are beautiful to watch. Testot is excellent as a guy who is totally out of his league being a Catholic priest in such a place. He seems only seconds away from totally losing control at all times. Seigner plays a very tough Mom to chief Lebrac, at first resistant to Maitre Merlin's recognition of the boy's intellectual gifts. But things work out by the end of the movie.

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La Guerre des boutons the novel in French.

La Guerre des boutons (film, 2011). From French Wikipedia. There is apparently no English Wikipedia article about this film. 'Adapté du roman français éponyme de Louis Pergaud, c'est une comédie qui traite des thèmes de l'indépendance, de la solidarité, de l'enfance et du passage à l'âge adulte.' from Google translate: 'Adapted from the French eponymous novel by Louis Pergaud, it is a comedy that deals with the themes of independence, solidarity, childhood and transition to adulthood.' A pretty accurate translation for once!

Box-office France 2011. From French Wikipedia. '35 La Guerre des boutons Drapeau : France Yann Samuell 1 480 018 10 (fin)' Finished in 35th place in French box office for the year (the Barratier film finished at 31).

Yann Samuell. From Wikipedia, the free encyclopedia. 'Samuell was screenwriter and director of a 2011 adaptation of Louis Pergaud's popular novel, La guerre des boutons. This adaptation is set in the 1960s, with the Algerian War as a backdrop. It is produced by Marc du Pontavice.'

Yann Samuell. From French Wikipedia. 'Issu d’une famille de comédiens, Yann Samuell grandit entre les coulisses des théâtres et les plateaux de cinéma. Très jeune, il se décide à devenir réalisateur et pour ce faire prend des cours d'art dramatique afin de comprendre de l'intérieur le travail de direction d'acteurs.' Google translate: 'Coming from a family of actors, Yann Samuell grew up behind the scenes in theaters and film theaters. At a very young age, he decided to become a director and to do this takes drama courses to understand the work of directing actors from the inside.'

La Guerre des Boutons Date de sortie 14 septembre 2011 (1h 49min). (article is in French)

War of the Buttons [La guerre des boutons]. 'Rent SD $2.99/HDX $3.99' 'In the countryside of France, two groups of boys from the rural villages of Longeverne and Velran are in constant war against each other. Their war is a tradition that passes from father to son and without a motive but the rivalry between the peasants.'

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Wed Apr 19, 2017 1:37 pm
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It would be cool to finish one of the matches in the coming couple of weeks. I wonder if I can.

Another essay for Tom Brown is ready.

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Fri Apr 21, 2017 8:53 am
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A Comparison of Tom Brown's School Days (1940), Tom Brown's Schooldays (1951), Tom Brown's Schooldays (1971) & Tom Brown's Schooldays (2005)

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A Real School

It isn't uncommon for the names of schools in novels and movies to be fictional, but when Thomas Hughes wrote about a fictional boy and sent him to a boarding school, he selected the school he had attended as a boy to be the location, and the headmaster of that school to be a character. This isn't the only time an author has written fiction about a real place, or incidents from his own life, of course. The background here is interesting, though.

The school is celebrating its 450th year in 2017. The game invented there is played round the world. The modern school has an adjunct school in Thailand. They have a web store with merchandise. Wouldn't Tom Brown be amazed? They have an anniversary book: From Elizabeth to Elizabeth, because Rugby School was founded during the reign of EI and still exists while EII is on the throne.

The game of rugby rules football was invented in the town of Rugby, England, where the school was and is located. In fact, Rugby Rules Football was invented at The Rugby School! The game that Tom Brown plays is a version of Rugby Football. The website that confirmed that fact for me also points out that many schools in England have variations of rules for football. It seems to this Yank that Rugby Football is best-known, though. Still there are qualms about the origin story. There is no verifiable evidence that William Webb Ellis one day picked up the ball and ran with it. Nor that he caught the ball and ran with it. In fact, (from Wikipedia) 'Thomas Hughes (author of Tom Brown's Schooldays) was asked to comment on the game as played when he attended the school (1834–1842). He is quoted as saying "In my first year, 1834, running with the ball to get a try by touching down within goal was not absolutely forbidden, but a jury of Rugby boys of that day would almost certainly have found a verdict of 'justifiable homicide' if a boy had been killed in running in."'

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The William Webb Ellis incident is commemorated by a plaque at the school, although the incident has been discredited, for the most part, since 1895. The Wikipedia biographical article about him begins 'Reverend William Webb Ellis (24 November 1806 – 24 January 1872) was an English Anglican clergyman and the alleged inventor of rugby football whilst a pupil at Rugby School. According to legend, Webb Ellis picked up the ball and ran with it during a school football match in 1823, thus creating the rugby-style of play. Although the story has become firmly entrenched in the sport's folklore, it is not supported by substantive evidence, and is discounted by most rugby historians as an origin myth.' Still, the Rugby World Cup competition prize is called the William Webb Ellis Cup.

Other sports are pursued at Rugby School, of course.

Thomas Hughes included the most famous of Rugby School's headmasters, and the one he knew when he was there, as the headmaster in his book. Dr. Thomas Arnold was a real man. But he didn't found the school by any means. Three of the movies make it seem as if he was the one who started up Rugby School; instead, he was a reformer whose changes, partly in thanks to Thomas Hughes' book, no doubt, became the standards for British public schools. Arnold was the head of Rugby School from 1828 to 1842.

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According to the Wikipedia article (I wonder if students at Rugby are allowed to use Wikipedia as a source), there are 15 houses at the school. Thomas Hughes and his fictional counterpart, Tom Brown, was a member of School House, which was founded in 1750. The first ever Rugby School House is called Town House, founded, with the school itself, in 1567. Rugby school was 289 years old when Hughes published his famous book. Peter Green became its 38th Headmaster in 2014.

In the ancient times before 1975, only boys were admitted to Rugby School as students. Beginning that year girls could enter the sixth form. Since 1995, according to our sources, Rugby school has been fully co-educational, with 7 of the Houses set aside for female students. They have slots for 446 boys and 360 girls. If you are a day pupil your parents are out £20,094 per year. If you are a boarding student that goes up to £32,025. Consequently, the school has 100 full-time staff members, with an additional 9 part-timers. The students range in age from 11 to 18 years old, which, I assume, has always been true. Tom Brown was an 11-year old when he started at Rugby School.

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A closing note for my fellow US readers: in Britain, as I understand it, a "public" school has tuition, but it is open to students from any walk of life. As for the systems of "forms" and such, I don't really understand what I have read about that. I'm sure it's as simple as First, Second, Third grades and so forth, if you grow up with it, though.



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Rugby football. From Wikipedia, the free encyclopedia. "Rugby football is a type of football developed at Rugby School in Rugby, Warwickshire, one of many versions of football played at English public schools in the 19th century."

Rugby School. From Wikipedia, the free encyclopedia. 'Rugby School was founded in 1567 as a provision in the will of Lawrence Sheriff, who had made his fortune supplying groceries to Queen Elizabeth I of England. Since Lawrence Sheriff lived in Rugby and the neighbouring Brownsover, the school was intended to be a free grammar school for the boys of those towns. Up to 1667, the school remained in comparative obscurity.'

William Webb Ellis. From Wikipedia, the free encyclopedia. 'After leaving Rugby in 1826, he went to Brasenose College, Oxford, aged 20. He played cricket for his college, and for Oxford University against Cambridge University in a first-class match in 1827. He graduated with a BA in 1829 and received his MA in 1831. He entered the Church and became chaplain of St George's Chapel, Albemarle Street, London (closed c.1909), and then rector of St. Clement Danes in the Strand.'

Rugby, Warwickshire. From Wikipedia, the free encyclopedia. 'Rugby School was founded in 1567 with money left in the will of Lawrence Sheriff, a locally born grocer, who moved to London and earned his fortune. Rugby School was originally intended as a school for local boys, but over time became a mostly fee-paying private school. The Lawrence Sheriff School was eventually founded in the late 19th century to carry on Sheriff's original intentions.'

State-funded schools (England). From Wikipedia, the free encyclopedia. 'Since 1998, there have been six main types of maintained school in England:'

Public school (United Kingdom). From Wikipedia, the free encyclopedia. 'A public school in England and Wales is an older, student selective and expensive fee-paying independent secondary school which caters primarily for children aged between 11 or 13 and 18. The term "public" should not be misunderstood to mean that these are public sector schools: they are in fact private sector.'

Rugby School website.. Source of several modern photos of the school.

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Rugby School shop. I was hoping they might have a DVD of the 1916 silent film version of the story, but I didn't find one. I did find a 450th Anniversary mini rugby ball, with the advisory that it arrives deflated. Shame, we could have had our own diminutive cache of Rugby, England air, otherwise.

A load of old balls: The story of rugby union. From bbc.co.uk iWonder. 'So how exactly did rugby get to be the game it is today? From chaotic giant mauls with no referees to the dawn of the professional era, here are 20 landmark moments that helped shape one of the greatest games in the world.' Source of drawing of mid-1800's rugby game.

Form (education). From Wikipedia, the free encyclopedia. 'Schools do not follow a consistent pattern in naming forms.' Well, that explains only part of my confusion.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Fri Apr 21, 2017 8:53 am
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Has anyone bothered to watch any of the films from this round?

Jus' wonderin'.

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Fri Apr 21, 2017 8:58 am
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I had never heard of these. I might have to check these out.


Fri Apr 21, 2017 10:45 am
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Ace wrote:
I had never heard of these. I might have to check these out.

I certainly hope you get a chance to do so.

The photos you posted from your Asia trip kind of make me think of my older son. His hair is more orange than yours, but you have the same general shape of face, and build. I would never mistake you for him or him for you, but the resemblance is unnervingly close. I could tell you apart easily if you were twirling the lasso. He doesn't know how to do that, to my knowledge. But he can cook Vietnamese food from scratch. His girlfriend is Vietnamese, you see. She has taught him.

I have 7 of the remaining 8 posts necessary to wrap up the Rematch of the four La guerre des boutons films ready to post. I'm going to post them tonight, then work on the "Quotes" from three of the films (I've got 1994 covered) so I can have one more Round Four Rematch all done!

Here goes!

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Sun Apr 30, 2017 8:27 am
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A Comparison of La Guerre des Boutons (1962), The War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)

Soundtrack


-----1962-----

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José Berghmans died 1992; his birthdate seems unknown to the internet. This is the man whose music was marketed by Philips using a cover photo of Tigibus after the naked battle. Before La guerre des boutons (1962), Berghmans was the musical director for Stowaway in the Sky (1960). Then he composed the music for Yves Robert, which led to a career composing film scores that lasted for about twenty years. His last project was a television movie, L'ensorcelée (1981).

-----1994-----

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Rachel Portman has been written about in the tech posts for The Adventures of Pinocchio (1996) and A. I. Artificial Intelligence (2001). Her career as a film composer began with Privileged (1982). It continues today with American Selfies, which is in pre-production. Her latest release is A Dog's Purpose (2017). Portman was born December 11, 1960 in Haslemere, Surrey, England, UK. She received a 1997 Oscar for the music she composed for Emma (1996), but has received two nominations since. Her career as a composer is a bit unusual for the industry, although she is not the only woman who has made a career of writing film music. Portman has accumulated 98 composition credits in her long career. When she was 14 years into her career, I first heard of her and thought of her as something new. How condescending of me. By that time I had already seen a handful of her projects without noticing it. Later, with me still ignorant of her role in the projects, I would hear of another 20 titles for which she composed the music, and this includes five films that I watched. There is nothing about her music that shouts "a woman composed this!" Instead, it is simply very fitting, very emotionally gripping music.

-----2011s-----

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Klaus Badelt has 80 composer credits as of 2017. These, plus 27 soundtrack credits and 53 music department credits, some of which overlap from category to category. His name came to my attention when I loved the score for The Time Machine (2002), although that was his eighth composition credit. I have seen only three others of his projects over the years, although I have been aware of a dozen others. Badelt's music is struck with a sort of identifiable effect, although I cannot quantify it in words. When I hear his music I sometimes know it is his. At other times, I don't. He was asked to write additional music for Gladiator (2000), and that was likely the first of his compositions that I heard. He gets work from all over the world, and across nearly all film genres. He works on video games, and other non-cinema projects. All this began when he got the job to compose music for an episode of the Peter Strohm (1995) TV series. Three years later, Badelt composed the score for Der Eisbär (1998), an action comedy that features no actual polar bears. He has been considered for awards 13 times, and got four of them.

-----2011b-----

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Philippe Rombi's first feature film was Criminal Lovers (1999). In 2003 he worked on a film that got quite a bit of international attention, Swimming Pool, but it was one of three projects he released that year. Another was Christophe Barratier's debut film, Jeux d'enfants. L'Amant Double (2017) is his 48th composer credit in a continuing career.



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Composer Rachel Portman talks about her work in films, the 2016 M & S Christmas advert, and opera source of Rachel Portman portrait.

Klaus Badelt Soundtracks • Film. source of Klaus Badelt portrait.

Philippe Rombi Scoring Francois Ozon’s ‘Frantz’. source of Philippe Rombi portrait.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Sun Apr 30, 2017 8:29 am
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There will be a slew of tech posts (6) and one review (2011b).

I found a kind of assembly line technique for compiling the tech posts that seems less painful than my old technique. Still takes hours, though.

Another tech one coming up!

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:32 am
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A Comparison of La Guerre des Boutons (1962), War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)

At the Helm



None of the directors in this rematch are prolific. All the men are involved in other aspects of film creation besides direction. I have decided to let you do the research if you wish to know more about any of these men or their films or associates.

----1962----

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Yves Robert 1920-2002, was an actor, producer, writer and director. Among his films there are two that I know were remade as English-language films. Obviously, La Guerre des Boutons (1962) became War of the Buttons (1994). Also, The Tall Blond Man with One Black Shoe (1972) became The Man with One Red Shoe (1985). I have seen both English-language remakes, as well as the French film from 1962. Robert had an acting career that spanned the years from 1949 to 1999. He was a 33-time producer, and a director 23 times in his career. He moved beyond acting in 1954 into producing, writing and directing, and continued to work all angles until 2001. Yves Robert was an associate producer on Winged Migration (2001) a documentary that also appears in the producer listing for Christophe Barratier, director of La nouvelle guerre des boutons (2011), the second 2011 remake of Robert's 1962 film.

----1994---- photo

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John Roberts has directed only five feature films. This one was his second. His films focus on family issues. I have seen only War of the Buttons from his oeuvre. Roberts' feature film career began in 1992 with This Boy's Story. His most recent IMDb credit is as an uncredited performer in an episode of Bob's Burgers (2014).

----2011s---- photo

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Yann Samuell has six directorial credits for features, five of which he also wrote. The 2011 film is the only one of his works I have seen. His career as director/writer began with Love Me if You Dare (Jeux d'enfants, 2003). His most recent film is The Canterville Ghost (2016). Samuell got three noms and two awards for his 2003 directorial debut.

----2011b---- photo

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Christophe Barratier has 10 producer credits, has directed five films, and wrote the same five. There is only one overlap between his producing and directing credits. He produced one of the most beautiful and astonishing documentaries I have ever seen: Winged Migration (2001). Of his five writer/director projects, I have seen two, both are very good. The Chorus (2004) is an excellent film about a music teacher using uncommon tactics to harness the attention and energy of a school full of out-of-control boys. Barratier is involved in many areas of film creation as are many of his peers these days. He has six soundtrack credits earned between 2004 and 2011. His producer credits range back to Microcosmos (1999) and come forward to Team Spirit (2016), which also bears his latest writing and directorial credits. Barratier has been busy getting nominated 22 times for awards. Once for an Oscar. Eight nominations have resulted in metal trophies for him.



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Photo of John Roberts from Havana Film Festival NY.

Yann Samuell from alchetron. Source of Yann Samuell photo.

Christophe Barratier. From Wikipedia, the free encyclopedia. Source of Barratier phtot.

Yann Samuell. From Wikipedia, the free encyclopedia.

War of the Buttons (1994 film). From Wikipedia, the free encyclopedia. Wikipedia has no article specifically about the director.

Yves Robert. From Wikipedia, the free encyclopedia.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Sun Apr 30, 2017 8:34 am
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Post Re: YTMN Presents a Remake Rematch Thread

Now we slog into the territory of the kinds of people whose jobs don't make them particularly likely to have photos posted on the netz.

I still waste my time trying to find them, but I'm assembling a little collection of head and shoulders silhouettes to use. Found some new ones today. Haven't had to use one for a woman yet, though.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:37 am
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A Comparison of La Guerre des Boutons (1962), The War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)

SFX

To me, one of the most memorable lines in the film The Confirmation (2016) a recent adaptation of Bicycle Thieves (1948), is when the father asks his son, "Do you ever think about the people who made your jeans?" So that's the basic point about these tech posts, for the most part. People whose photos we cannot even find, because their jobs were obscure, have helped create something we enjoy. They are only names on credits to most of us, but to their friends and families, and their co-workers, they are real people. And they made the movies we watch. In real life Corrie co-founder Epistemophobia is one of those people. Or was. I guess he still is. We sort of know him. Mostly we know his cool avatars. He is very smart, and knows the real life struggles of getting computers to render CGI special effects frames. He has 35 visual effects credits listed on IMDb. In his new job he seems to have been promoted to pipeline developer. Sounds cool, Epi.

-----1962-----

Image

No one listed as Special Effects or Visual Effects! But someone undoubtedly worked on some kind of effects in the film; and we can't find out who it was. It disturbs me that as much as we know about writers, producers, directors, and actors, the people who allow the film to actually be made are often given a paycheck for their efforts, yet very little information to recognize them by gets out there. I know that I could not have done the job I did for 23 years without people to carry my grips and help set up and move the equipment. In retrospect I wish I had given them more recognition. But I never did any work where I was personally credited for my efforts, either!

-----1994-----

Image

Google Image Search failed to find any photos of these three men. A search for images of them only turns up posters from the films they have worked on. I'm not surprised.
Kevin Draycott, senior special effects technician. Draycott has worked on some notable film projects since Batman (1989) started his career in the industry. I am unsure what sort of special effects were needed for the Buttons film, but the term "Special effects" refers to all sorts of processes that don't necessarily include anything digital. Certainly would have been practical effects in 1994. Maybe the helicopter scenes near the end are models or something. Anyway, Draycott's list of 33 credits at IMDb contains 14 films or shows that I've seen, and I've heard of most of the others.
Peter Hutchinson, special effects supervisor. This man has 66 special effects gigs credited to him at IMDb. His father and brother are art directors, so the family is heavily invested in the industry. This Hutchinson began working on The Dirty Dozen (1967) and has continued working on notable films through 2012. I assume that Draycott worked for Hutchinson on War of the Buttons, but I can't be sure. Hutchinson worked on Greystoke: The Legend of Tarzan, Lord of the Apes (1984). Some other titles from his list: Straw Dogs (1971), Excalibur (1981), The Bride (1985), Erik the Viking (1989), Mr. Toad's Wild Ride (1996), Die Another Day (2002), Batman Begins (2005), Moon (2009) and Nine (2009). For some of these gigs he has a specific job, but he is most often "special effects supervisor."
Ger O'Donovan, special effects welder. The only IMDb credit for O'Donovan is this film. Consequently, the only thing we know about this man's entire life is that he had this welding job for a while. Without this one film credit, he'd be unknown to us, the way I am to most people in the world. That's why I picked him for this tech post

-----2011s-----

Image

Christophe Ballu, special effects assistant. This film was Ballu's first credit in special effects. Since the Samuell film, he has accumulated six credits in that area. After 2004, Ballu has worked on 25 projects, usually in the construction department. In fact, I saw his work somewhere in the film Holy Motors (2012) without realizing it. If I ever finally get around to seeing Micmacs (2009) I will see some more of his work. But, again, I will not recognize it as his work.
Jean-Christophe Bourgeois, special effects technician. This guy works a lot! Since he was a special effects tech on The Memory of a Killer (2003) he has collected 182 credits in that field. His latest will appear on Iron Sky: The Coming Race (2018).


-----2011b-----

Image

François Philippi, special effects supervisor. Even with 109 special effects credits and an additional art department list of 13 more credits, we can't find a photo of this man. But we have seen some of his work. He has been helping bring films to our screens since 1988, and we don't know who he is. But he worked on The Transporter (2002), which I have seen, and 107 other titles that I have not seen. Most often his credit is special effects supervisor, which means he knows enough to guide the work of technicians, who maybe hope to have his job on a set someday.

Notice that these people have an impressive list of titles, because they are working on "big" films, for the most recent practitioners. This is because special effects people are required in great numbers, to get modern CGI-heavy films from idea to the screen nearest you. More obscure titles don't have special effects crews that are as large. For the older guys on this little list it is difficult to find examples of what they have done. But for those working on the latest three films, we can find posters and still frames galore...just not any pictures of them doing their jobs. Of course, Stephen's job would have him interacting with a computer, basically.

My younger son is a game developer for Scopely Games, and watching him do his exciting-sounding job would probably be uninteresting, except when he is interacting with his team of coders and artists. And a lot of that is done via Skype and FaceTime, so...maybe not so exciting to watch, either.

As with films, it's the thing you see on the screen as you view or play, that matters.



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Stephen Smart IMDb.

generic male head shot. source.

Man Silhouette clip art. source.

Female Silhouette clip art. source.

hammer and nails image source. from Youtube.

Sick welder sues welding rod manufacturers. source of welder photograph.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:39 am
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Post Re: YTMN Presents a Remake Rematch Thread

More generally unsung unseen unheralded (except for a line of credit in the roll at the end) heroes of filmmaking. The ones who make the sets and in general the look of each film. Sure, they do this in consultation with the director, but it isn't the director who does the work. Know what I mean?

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:42 am
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Image

A Comparison of La Guerre des Boutons (1962), The War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)

Design Aspects

This is another category where I have trouble finding photos of anyone whose name I select. Yet, imagine going to see a play if there were no production designer! Even the bare-bones black-box theaters have designers for costumes and props, someone to plan where large props are set. Without the people we never see on the screen, there would be little point in having actors or actresses in front of the cameras. Location scouts have more influence on how a film looks than nearly anyone else on the crew list, but you don't find their photos on the internet. Casting directors have tremendous influence on who the director selects to play large and small roles. But you don't often find their photos, either.

-----1962-----

Image

Pierre-Louis Thévenet has credits as set decorator (6), art director (5), and production designer (13). I suspect he has been active in live theater alongside his 1959-2001 film career. The only image of him I could find is controlled by alamy.com, so I used a generic silhouette for him.

-----1994-----

Image

Jim Clay. I have seen 7 of the 40 films he has worked on. Clay started in television with two episodes of Q9 (1978), moved to tv movies and mini-series with Four Days in July (1984) and then to feature films on Queen of Hearts (1989). This is the man who made The Crying Game (1992), The Man Who Knew Too Little (1997), Captain Corelli's Mandolin (2001), About a Boy (2002), Children of Men (2006), The Brothers Bloom (2008), Closed Circuit (2013) look the way they do on your screen. He has done the same for Murder on the Orient Express (2017). He also designed No Country for Old Men (1981), a TV movie that I just now learned existed. Nah, it's not even related to the one you're thinking about. This one is set in Dublin in 1739.

-----2011s-----

Image

Pascal Bonnet. There was no production designer, so I chose the Production Manager. Bonnet has 28 credits from Nadia et les hippopotames (1999) to Pattaya (2016). I have not seen any but the 2011 film from his works, but I noticed as I explored the links on IMDb, that a number of them are or have been streaming on Netflix. Bonnet and his staff made Yann Samuell's film look very coherent and inviting.

-----2011b-----

Image

François Hamel. As with the other 2011 release, I picked the Production Manager. Since Aria (1987), Hamel has been production manager on 30 projects. He first worked with Christophe Barratier on Paris 36 (2008) and then on La nouvelle guerre des boutons (2011). The Barratier film is the only one of Hamel's projects I have seen. As of this post he has Les hommes de feu (2017) in post production, so I assume his work is done on that project.



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Pierre Louis Thévenet Stock Photos and Images (1). From the Alamy image website. I've read where a person's original photos posted to the web would turn up as having been usurped and DRM'd by alamy without the originator knowing it. So I never use their images. Besides, they want money, and I have no budget for the Remake Rematch posts.

Captain Corelli's Mandolin from ekoliniol.com. Source of Jim Clay photo

Pascal Bonnet photo from a linkedin profile, so it might not the the production designer's photo.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:48 am
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Post Re: YTMN Presents a Remake Rematch Thread

The forecast thundershowers were delayed about 4 hours, but they still hit the Hill of Arkansas a few minutes ago. There is still thunder in the distance, but it sounds like the rain has slacked off for now. It's supposed to go on all night.

I used to love to drag out my video gear when it was raining, and record some visuals. But what I loved most was the recorded sounds of rainfall!

Today I am content to post a few more doses of The War of the Buttons Remake Multimatch.

Wow! that thunderclap was very cinematic in an audio sense. You couldn't hear it, of course, but just imagine one that shakes the house and rattles the windows.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:54 am
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Image

A Comparison of La Guerre des Boutons (1962), The War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)

Behind the Lens


-----1962-----

Image

André Bac (1905-1989) got his first credit as cinematographer with L'assommoir (1933) and worked on a total of 80 titles in that capacity. Bac's last credit is for Les Misérables (1972), a television mini-series. Between 1954 and 1972 Bac divided his output between theatrical features and television films and series episodes. I am not certain that "he" and "him" fit entirely, as the list of alternate names at IMDb includes these: A. Bac | Bac | Jane Dee | Molly | Sofi | Susie | Ulyana | Vera. But I cannot find any images, nor does anyone use a pronoun when discussing Bac or...Bac's work.

-----1994-----

Image

Bruno de Keyzer shot A Sunday in the Country (1984) and was active through 2010. His last work at IMDb is The Princess of Montpensier released in that year. Apart from War of the Buttons I am unfamiliar with de Keyzer's work. Much of it was done in the French film industry, and I don't recognize the titles. I do like what he shot for John Roberts in 1994, though.

-----2011s-----

Image

Julien Hirsch photographed his first feature, The Annunciation of Marie (1991) when he was 27 years old. Since 1999 he has directed photography on 3-5 titles most years. As of 2017 Hirsch has amassed 58 cinematographer credits. In addition to Yann Samuell's 2011 adaptation of the Pergaud novel, I've seen a documentary called I Want to See (2008) from Hirsch's list of works.


-----2011b-----

Image

Jean Poisson started his cinematography career with a television short film, Méliès 88: Le topologue (1988), and worked exclusively in short films and videos until Wacko (1994). He returned to the short form until Ze Film (2005). Since 2008 Poisson has worked on feature length projects for TV and theater. Barratier's adaptation, La nouvelle guerre des boutons (2011) has been followed by a 2014 modern western comedy feature, Les Francis. The image I found of him (I hope it's him) shows him working with a special effects rig. Apparently many of his short films rely upon special photographic techniques!



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André Bac. From Wikipedia, the free encyclopedia. 'André Bac (1905–1989) was a French cinematographer.[1]' That's the entire article, except for a Selected Filmography.

Photo of De Keyser from the website of Julio César Cedillo Photography.

His Mother's Eyes. From mubi.com. Source of photo of Julien Hirsch.

slate [/|] board. From tumblr.com. Source of photo of Jean Poisson.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:55 am
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Okaaaaay! The film's in the can.

Now we need someone to take the visuals and audio and create a montage of little pieces to create the aspect of cinema that only it can accomplish. Cinema here being all forms of motion pictures, of course.

Time to celebrate those who edited these four films.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:59 am
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Image

A Comparison of La Guerre des Boutons (1962), The War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)

In the Cutting Room


-----1962-----

Image

Marie-Josèphe Yoyotte. This woman was partly responsible for getting me interested in French cinema. Her editorial career began with His Father's Portrait (1953), and six years later she edited Truffaut's Les quatre cents coups (The 400 Blows, 1959) which kindled my fascination with French films. Yoyotte was also Yves Robert's editor on the Buttons film he made in 1962. She assembled the elements for Police Python 357 (1976), a third film for the Rematch of The Big Clock (1948) and No Way Out (1987) from Round Three. A third film that I was unable to find an affordable copy of, by the way. I have heard of one film she edited that was released in 1980: The Party, and I saw Rat Race (1980) when HBO was a new thing. She edited Microcosmos (1996) which was produced by Christophe Barratier, (who would later direct La nouvelle guerre des boutons (2011)). I have seen this documentary film, as well as her project Winged Migration (2001). To date, Yoyotte's latest project is The Second Wind (2007). That is her 74th editor credit at IMDb. She was nominated for five Best Editing César Awards and won three.

-----1994-----

Image

David Freeman has 31 editor credits. The first feature film that Freeman cut was On the Wire (1990) followed by John Roberts' This Boy's Story (1992). War of the Buttons (1994) was his fourth feature film editing gig. Tom and Huck (1995), The Full Monty (1997), and The Borrowers (1997) were all high profile projects for him. Freeman was the editor for the reboot of Clash of the Titans (2010). His latest projects are Interlude in Prague (2017) and Show Dogs (2018).

-----2011s-----

Image

Sylvie Landra. If you had on your CV that for your feature film debut you were the editor for Léon: the professional (1994), you would be Sylvie Landra. Same would be true if you listed The Fifth Element (1997) as your fifth feature film editing job. You would also have to claim Catwoman (2004) and A Sound of Thunder (2005). As of Cezanne and I (2016) your list of credits would number 37 at IMDb. You would have been nominated for four César Awards since 1995. But, as also happens with most of your co-nominees, no award would come to you. Yet. But for you, there would be many years ahead. Still, you are not Sylvie Landra. (Unless you are the one person who is, in which case, thanks for reading this thread.)


-----2011b-----

Image

Anne-Sophie Bion. Active as a film editor since Zidane: A 21st Century Portrait (2006), Bion already has 11 nominations and one win for her work on The Artist (2011) the first of her 8 Editor credits in the field. Between 2006 and 2011, Bion garnered 19 editorial department credits. She was first assistant editor on Micmacs (2009). Her current jobs are Emperor, with no release date, which is in post-production, and Redoubtable (2017).
Yves Deschamps. La bande du Rex (1980) started this man's career as a film editor. I have seen two of his 57 credits: Les choristes (2004) and La nouvelle guerre des boutons (2011). His most recent work is from 2015.


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Films edited by Marie-Josèphe Yoyotte. from letterboxd.com

Films edited by David Freeman. from letterboxd.com

Films edited by Sylvie Landra. from letterboxd.com

Films edited by Anne-Sophie Bion. from letterboxd.com

Films edited by Yves Deschamps. from letterboxd.com

Marie-Josèphe Yoyotte. source of portrait.

David Freeman. IMDB was the source of the portrait of David Freeman.

The Quarry’s Sylvie Landra is Welcomed into ‘The Academy’. from LBBOnline. Source of Sylvie Landra portrait.

Anne-Sophie Bion from Comme au Cinéma. Source of portrait of Anne-Sophie Bion.

The Other Side of the Wind. from mubi.com. source of photo Yves Deschamps

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 8:59 am
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Post Re: YTMN Presents a Remake Rematch Thread

That takes care of 8 of the 9 tech posts for this Rematch. Quotes will take me a while. I may have to skim through the films in order to select the quotations. Or I might just cheat and rely on quotes websites to get me started.

I have the .srt files converted to .txt files and I can skim through all the subtitles for any of the films. Though that takes a while.

Then I might have to use the time cues and go look to see who's saying what! ha ha!

There is one more review to post, though. For the 2011 Barratier adaptation. It's the weakest of the four in my opinion, but not everyone agrees with me. And I sought out some other reviews to provide contrapuntal opinionation as I finished this one. Just to be fair. You know.

Been at this 12 hours as of 7:00 p.m. Arkansas time. And that doesn't count the many hours I put in on these posts earlier in the week, and last night.

It's usually a fun time for me, if I don't have chores hanging over my head while I try to squeeze in a little time for the Rematches.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Sun Apr 30, 2017 9:08 am
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Post Re: YTMN Presents a Remake Rematch Thread

A Comparison of La Guerre des Boutons (1962), The War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)

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IMDb link 6.1/10 with 1,653 user votes -- RT-link Tomatometer 26%/user rating 42% with 2,110 votes

Year: 2011 Director: Christophe Barratier -- Writers: Stéphane Keller (scenario), Christophe Barratier (scenario) -- Cast: Jean Texier, Clément Godefroy, Ilona Bachelier, Thomas Goldberg, Laetitia Casta, Guillaume Canet, Harold Werner -- Length: 100 min. Color/Stereo

Just as Yann Samuell's film has as its predecessors the 1936, 1962, and 1994 films, so does Barratier's. The two 2011 films were produced in parallel, and were first exhibited only a week apart in 2011. First 2011s, then 2011b. Apparently Samuell started his film first, so Barratier had to do something other than another straight (or slightly canted) remake. I can see why he would decide to press together the beloved Pergaud tale from the time of WWI, and the honored French Resistance of WWII. The Barratier film was slightly more successful at the 2011 French box-office than the Samuell version (Barratier 31st for the year, Samuell 35th).

Financially, it was a successful audience draw to squeeze the Pergaud story through a French Resistance filter. But artistically, it robs the original story of a lot. Yet, the producer Thomas Langmann was the producer of this film and The Artist, a very successful international offering from the same year. Yann Samuell ramped up the puppy love romance for his 2011 film, but Barratier added even further romantic threads alongside the political ones. Barratier injects a failed but not dead romance between new character Simone and the school master, Paul. It's almost as if he's saying, "There really isn't enough in Pergaud's story to hold a modern audience." Perhaps he's right.

Perhaps not.

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Camus, Lacrique, Tintin (who apparently doesn't exist in this film) and the other lieutenants that Pergaud created for his chief, Lebrac, take a severe demotion in this script, becoming even less important than they are in the 1962 and 1994 adaptations. All the focus shifts to Lebrac and the brothers Gibus. Marie is tossed aside for Violette, who gets all Marie's actions and motivations, plus an extra one just for this conflated plot.

Although it isn't necessary to do so, I want to point out that for the three French language films in this Rematch, I reviewed each one after my first full viewing of the piece. Therefore, my reactions to the film here are more like what you get when a journalist-reviewer is assigned to go see a new movie, sees it once, and responds to that initial viewing. How that changes things, I cannot say. What I write about all these movies is "honest" even when it isn't based on a first viewing.

In other posts in this Rematch thread I have written that adapters of books to the screen, and remakers of earlier adaptations are, and should be, free to exercise their own creative urges when remaking a film. I have never asserted that their instincts are always going to be...well, correct. Here are some aspects of the film and whether I like them or don't care for them:

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Like: The casting in this film is quite good. I think Samuell's team did a better job of casting overall, but his film is supposed to be a comedy. This one veers more toward coming-of-age drama. It's difficult to put Nazis in a film and make it a comedy. Hogan's Heroes (TV 1965-1971) never worked for me. As for Nouvelle Guerre, I was impressed by Thomas Goldberg's vague sneer that made him a perfectly cast kid villain in this film. Jean Texier made Lebrac a fitting counterpart to Goldberg's L'Aztec. Both are more serious than Aztec and Lebrac in the Samuell film. It seems entirely plausible that Goldberg may one day play a James Bond villain when he reaches middle age. And Ilona Bachelier shows respectable acting chops in her role as Violette. But this might be expected, since it's her ninth screen acting credit.

Like: The setting of this film is impressive. Auvergne, France has beautiful countryside, according to the testimony of Barratier's movie. To get the point across perhaps I should write beautiful. It is reminiscent of the Irish countryside that was the backdrop for the 1994 second remake. The view from Lebrac's secret place where he goes when he feels down, is especially gorgeous. I hope it's real, and not CGI.

Like: Overall, the visual aspect of Barratier's La nouvelle guerre des boutons is superb. The film gains a lot from the Auvergne locations, but the rest of the settings, whether pre-existing or contrived, are so gorgeous in color and texture that they invite the eye. When I say "gorgeous in color" I don't mean that there is a riot of color on the screen, but that those that appear are quite richly selected. And the sets are busy. They seem real, and lived in. Inviting.

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Like: Barratier treats us to the original kind of relationship that Lebrac has with his father in the novel. Tempestuous, angry, self-righteous on both sides.
Don't Like: aaand then...he transforms it into a 1950's US TV-show-style resolution of the relationship, prompted by visitors to the Lebrac house one evening when the kid couldn't sleep and took a peek through the balusters of the stairs.

Like: Young Jean Texier has a prominent scar on his left cheek. There are three things I like here: first, Barratier and staff didn't nix the boy because of this cosmetic "flaw" when deciding whether he should be Lebrac. Second, they did not contrive some throw away line to explain why Lebrac has this scar. And, third, they did not digitally remove the scar, or cover it up with makeup! The mark on the actor's face seems like the sort of thing his Lebrac would have as a course of living life the way he does, and it was wise of the filmmakers to leave all explanations up to the viewers' imaginations.

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Don't Like: I am what you might call a fan of WWII French or Dutch resistance movies, as well as resistance movies set in other countries that the Nazis occupied. Thus, I've seen all the possible escape stories for those being hunted by the nefarious political party. Needless to say, the plot points are all very standard and predictable in these tales. There is no harm in taking a popular French story and blending it with the stereotypical plot points of that genre of film. But it doesn't add anything to Pergaud's tale. This is kind of Pergaud's story, and kind of the Dutch film Secrets of War (2014). Did Barratier's movie inspire Secrets of War? Not likely since it was adapted from Jacques Vriens's story Oorlogsgeheimen (Secrets of War) (2007 book). Perhaps the box-office success of the Barratier film spurred development of the Vriens book for the screen?
Like: Since Barratier decided to merge the genre tales of escaping Nazi torture with Pergaud's little anti-war story, at least he did a fairly smooth job of merging the two. The Nazi threat is kept to a minimum, although it is always there. Nonetheless, it comes off as clumsy, since the merger is more like oil and water than a nice mousse, but it was my first full viewing. No matter how much you shake a bottle containing War of the Buttons and Secrets of War, they will eventually separate. At least the director kept the human story up front, and the political overlay in the background for most of the movie.

Don't Like: Whereas the three other remakes that we can watch these days are rather straightforward adaptations of Pergaud's novel plus a lot of tweaking for national setting or time frame, Barratier's film is more complex in terms of plot. Still all the add-ins are things you've seen in a billion and a half other Nazi-centric dramas, so at the same time it feels so familiar that ennui is liable to set in. And the addition of all these new plot complications necessitates the reduction in importance of several characters who were major in the book, and somewhat useful in the prior two films. It is widely known that popular songs and literature reintroduce the familiar, and that's why they are popular. I submit this effect for the reason that Barratier's film did better at the box office than Samuell's.

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A character named Brochard is added, a failed student at Paul's school, who has now become the strutting, wimpish Vichy representative of the Nazi party in rural Longeverne. Bacaille's dad is now the mayor, rather than a farmer, in cahoots with the occupiers, of course. As I mentioned above, there is no Marie and no Tintin in this film. Do those who are making Herge's comix into filmz own the rights to "Tintin?" Hell, that would be like someone being able to register "Tommy" as a trademark and keep any character in any future film from being named Tommy. Or Zelda. Or Link. At least Samuell's film has Big Tintin.

Apparently, many critics and viewers agree with me that Barratier's film is somewhat "off" because of the addition of Nazi lore to Pergaud's story of inter-village rivalry. But not all voices speak in agreement with my conclusion! Read some of the links below. True, the Tomatometer is amazingly low! But it is astounding that only 42% of viewer votes are favorable. That's a 13% deficit compared to the Yann Samuell film.

This is a mostly entertaining film. It is not Pergaud's La guerre des boutons. There is nothing wrong with attempting the experimental conflation of types that happens here, but it is obvious that it doesn't work entirely well. If you were to set out to watch the four films that have been made from the 1912 novel, I'm not sure where to suggest you fit this one into the schedule. If you watch in chronological order, the Barratier film may be a disappointment. Likely will be, in fact. If you start with it...you might not feel confident that you wish to move on to the others. Just keep in mind that this film is the oddball of the four.

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War of the Buttons (2011 film). From Wikipedia, the free encyclopedia. 'The story takes place in March 1944 in a small French village. The children from the neighbouring villages of Longeverne and Velrans have been waging this merciless war as long as anyone can remember: the buttons of all the little prisoners' clothes are removed so that they head home almost naked, vanquished and humiliated. Consequently, this conflict is known as the "War of the Buttons." The village that collects the most buttons will be declared the winner. Meanwhile, Violette, a young Jewish girl, has caught the eye of Lebrac, the chief of the Longeverne kids.'

War of the Buttons (La Nouvelle guerre des boutons): Film Review. From Hollywood Reporter. 4:39 PM PDT 9/21/2011 by Jordan Mintze. 'That said, subtlety has never been the filmmaker’s strongpoint, and though there’s a somber side to certain parts of the story, such aspects are ultimately glossed over in a formulaic, happy ending that seems a far cry from the actual tragedies of Nazi-occupied France. If anything, Barratier and his three co-writers (including Langmann himself) deserve credit for trying to take the source material somewhere different, even if the result feels like a conventional kids movie with adult themes scattered among all the rock-throwing and name-calling.'

La Nouvelle Guerre des Boutons. From Cinenews. A comment by bernard mardi 11 octobre à 11:44: 'Faire un film sur le gouvernement de Vichy ou sur la guerre des Boutons ? Voilà le dilemme qui traversait l’esprit de Christophe Barratier pendant son tournage. Il ne semble même pas l’avoir résolu et le résultat s’en trouve incohérent. Son remaniement de l'histoire ne prend pas.' via Google Translate 'Make a film about the government of Vichy or the war of the Buttons? This is the dilemma that crossed the mind of Christophe Barratier during his shooting. He does not even seem to have solved it and the result is incoherent. His reshuffle of history does not take.'
But fiscard lundi 31 octobre à 21:36 disagrees: 'Vraiment un film à voir car il se démarque justement de la création d'Yves Robert en n'étant justement pas un simple remake.
L'histaoire a été remodelée et j'ai trouvé la trame du film très convaincante.
Aussi, celui ou celle qui critique le réalisateur ne connait apparemment rien au 7ème art et je trouve que du contraire qu'un réalisateur qui sait faire d'un ancien film une réelle nouveauté a énormément de mérites d'autant plus qu'il a su nous arracher cette petite larme synonyme qu'il a su nous faire entrer dans son univers.
Aussi moi je le dis haut et fort bravo Monsieur Baratier et continuez' via Google Translate 'Really a film to see because it stands out precisely from the creation of Yves Robert by not being just a remake.
The story has been reshaped and I found the film very convincing.
Also, the person who criticizes the director apparently does not know anything about the 7th art and I find that on the contrary that a director who knows how to make an old film a real novelty has enormous merits all the more so that he knew We can tear out this little tear synonymous that it has known us to enter its universe.
Also I say it high and strong congratulations Mr. Baratier and continue'

La Nouvelle guerre des boutons. From allocine. In French, of course. 'La Nouvelle Guerre des Boutons n'est pas le remake du film éponyme réalisé en 1961 par Yves Robert. Le producteur Thomas Langmann a tenté d'en acheter les droits, du moins l'autorisation d'exploiter certains dialogues écrits par le cinéaste français. En vain. De ce fait, la réplique-culte de Petit Gibus ("Si j'avais su, j'aurais pas venu !") n'apparaîtra pas dans le film de Christophe Barratier.' via Google Translate 'The New War of the Buttons is not the remake of the eponymous film realized in 1961 by Yves Robert. The producer Thomas Langmann tried to buy the rights, at least authorization to exploit certain dialogues written by the French filmmaker. In vain. As a result, Petit Gibus's cult replica ("If I had known, I would not have come!") Will not appear in Christophe Barratier's film.' --- Ah. The novel was in public domain. Not the 1962 Yves Robert film! Yann Samuell must have gotten the rights to it ahead of Barratier.

Secrets of War (2014) Oorlogsgeheimen (original title). IMDb. 'Summer 1943. Tuur and Lambert are best friends. The surrounding of their idyllic village has no secrets for the teenagers. From the farm of Lamberts dad to the marl caves in the woods - it's their world. But the war is closing in and is about to change their lives forever. Tuur's dad joined the resistance and even his big brother seems to be a part of it. Lambert's family on the other hand choose to obey the Germans. Then a new girl from the city shows up, befriending the boys but telling her secret to only one of them.'

Oorlogsgeheimen (Secrets of War) (2014). Tomatometer not available. Viewer rating 92% with 63 votes.

Secrets of War. From commonsense media. 'Parents need to know that this Dutch, English-subtitled film set during World War II depicts a child's-eye view of war. Most of the violence is implied as Nazi soldiers round up and arrest Resistance members and Jews.' and 'The movie has strong messages of courage and friendship.'

Secrets of War. From Atlanta Jewish Film Festival website. 'The boys’ relationship is particularly strained, however, with the arrival of Maartje (Pippa Allen), a dark-haired girl with a mysterious identity. As the boys compete for her attentions, jealousy and betrayal set in motion a series of high-stakes events that will alter the lives of all three youths.' and 'A bittersweet ode to innocence lost, SECRETS OF WAR is adapted from the best-selling young adult novel by Jacques Vriens.'

Jacques Vriens. From Wikipedia, the free encyclopedia. 'Vriens formerly worked as a schoolteacher and has written for the show Tien torens diep.'

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

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Sun Apr 30, 2017 9:10 am
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Post Re: YTMN Presents a Remake Rematch Thread

Ah! That's done.

Now I have to go link this all up to the initial post for the Multimatch. Very carefully. All that BB code can get confusing, as several of you know very well.

Jedi warned me that I would be handling a lot of BB code when I started this. And he was right. Very right.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 9:24 am
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Post Re: YTMN Presents a Remake Rematch Thread

Okay!

Linking went smoothly. Got the webarchives saved. Made a note that after I finished there had been 1694044 page views.

I bought the Blu-ray of an old film that I wrote about in the Amorphovivus essay post in the Rematch for The Blob, back in February 2014. The film is Caltiki, the Immortal Monster (originally Caltiki il mostro immortale, 1959). It is Mario Bava's baby, before he stepped out into his own directing career.

I have never seen the film ... well, I'll just stop there. The restored version in HD is so different from the Youtube post that I used for a couple of stills in the essay. I watched the film for the second time when preparing that essay in 2014. It was beyond my imagination that anyone would expend the time and resources to clean up the movie! I've finally heard the original Italian soundtrack. Riccardo Freda stepped aside after directing most of the dialogue scenes, and left Bava to complete the film. He has always said it was Bava's work.

There is a booklet, a second, DVD disc with the same materials. A lot of adjunct materials on the Blu. It's a cool little disc set. I happened to find it at bluray.com the day before it was to be released, so I "preordered" it from Amazon, and got it on Thursday.

Anything new, like the Godzilla in 2014, the one that was released last year, the 2017 Kong flick, and so forth, make me want to open up the old Rematches and add some new links and information. But I don't.

I might do that when Round Four is completed. There won't be a Round Five, except in my imagination, because I have a couple other threads I'd like to start.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun Apr 30, 2017 9:52 am
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Post Re: YTMN Presents a Remake Rematch Thread

YouTookMyName wrote:
Not Quite a Remake Rematch between Victim (2010) and The Skin I Live In (2011)

IMDb link 6.7 of 10 stars with 4,109 user votes -- RT-link no tomatometer score/67% approval with 368 users voting

Year: 2010 -- Director: Matt Eskandari & Michael A. Pierce -- Writers: Michael Hultquist, Robert Martinez --
Cast: Stephen Weigand, Bob Bancroft, Brendan Kelly, Jennifer Howie, Stacy Haiduk -- Length: 90 min. Color/Stereo -- estimated budget: $1,000,000

The 2010 film shares its title with a 1961 Dirk Bogarde film. They are otherwise totally unrelated. The IMDb page says that the run time for Victim is 90 minutes, but the only version I've been able to watch is that released in the Netherlands, which runs 74 minutes. Apparently 16 minutes of footage were inititally cut into the film that have not been released to Netflix or whomever made the Russian subtitled version I found on YouTube.

I first saw the film streaming on Netflix, November 24, 2013. I had seen The Skin I Live In on October 8, 2013. The notion of making a Not Quite a Remake Rematch between the two films was irresistible. But I could not find a copy of Victim to buy. I located a copy on YouTube that has Russian subtitles, and downloaded that, but my quest didn't end there. Eventually, I was able to record it from Netflix by purchasing PlayOn software. From that legal recording I was able to get stills for my Rematch. But, I still don't know what's in that missing 16 minutes. The film has been released in the US only as Video On Demand. An Australian DVD-R, burn-on-demand disc is available, but the price is much too high.

I won't try to convince you that Victim is a great film (clearly it isn't), or even a very good film, but it's also not a piece of crap. There are occasional moments of thoughtfulness. In fact, there is the ghost of a very brain-pleasing movie in Victim. But it seems that the writing/production team got afraid of being too thoughtful and always dumped out of whatever good thing they had going a little too soon. They turn to brutality and the resultant strong emotions in order to reach the audience. The writers may not have attempted to keep the audience off-kilter all the way through, but the shorter edit of the movie does just that. The Skin I Live In is a more gripping, prettier and more interesting film than Victim, although it does not lack brutality.

After viewing Victim a second and third time for this rematch, I can say that it is a better film the second time through. I think this is because much of what happens (remember my review of No Way Out?) makes more sense if you have an inkling of the motivations and identities of the two main characters, the young man and the plastic surgeon, Dr. Volk.

The movie, probably on purpose, has the ambience and feel of many low-budget horror films from across the years. The script is sparse and direct, although on first viewing it seems less coherent than it is when you know everything, and watch again. Overall it has some of the feel of the Dr. Phibes movies, but without the tongue-in-cheek aspects.


Most films that are known for their "surprise" twist endings, are much, much better as entertainment when you already know the twist, and that applies to Victim. The first time through you are unaware of the unreliable narrator operating. You are unaware of the relationships between characters.

But for this Rematch I will use spoiler tags and preserve the totally wimpy surprise twists of the two movies. If you get to see Victim, and certainly if you have seen or will see The Skin I Live In, watch each one a second time to really enjoy them. This pledge to preserve the limp surprises in each film severely limits what images I can show you in this review and the other one, of course.

Here are some aspects of the film and whether I like them or don't care for them:

Like: The story is streamlined, and if you had not seen The Skin I Live In it would surprise you with a few plot developments. The matching plot events had me thinking, "I wonder if this was made before or after Almodóvar's movie!?" In fact, the copyright date on the movie is 2007, although the release date is 2010.

Like: Although not superb, the acting is not bad. Stephen Weigand does a pretty good job of being totally baffled about his kidnapping, and his kidnappers, and their intentions for him. He does only slightly less well later in the story when his physical alterations are in progress. And Bob Bancroft is a pretty good mad scientist. I think his acting style playing this character is mainly what people think of when they say the acting is bad. He is playing a weird character and doing so, weirdly. Not necessarily as you would expect a movie mad scientist to behave, therefore, leaving you wondering what he's doing. He's kind of like Sheldon on Big Bang Theory, but forty years older, and ten times as evil.

Like: Weigand actually does a fair approximation of the physicality of a female when the transformation is complete. But I think a female voice is used to dub over his voice. Although, it could simply be a digital filter.


Like: This film is a good approximation of the tone and style of 1970s low-budget horror films. And, I must admit, the premise is very chilling--both for the event that triggers the transformative section of the tale, and the kind of transformation it is.

Like: This is a horror story with at least three monsters in it! They consort with one another, each outdoing the next. But the first monster we meet turns out to be outmatched by the other two.

Like: The film saves a surprise for the end, but that's not its cleverest part. The best aspect is that the title is ambiguous. Who is the "victim" of the title? There is more than one candidate.

Like: The film has a kind of European feel to it. Not everything is explained, ideas are left up to you to derive from clues. You likely won't be able to do that on the first viewing when the major pay-off is the series of "oh my gosh!" revelations. But when you watch again you will see that knowing the twists makes the film clearly much better-crafted than you are likely to see on the first viewing.

Like: Characters on balance, especially the main characters, are pretty clearly drawn. This is a horror film, said to be in the torture genre, whereas The Skin I Live In is more of a philosophical exercise and a puzzle movie. The shallow, flat characters in Victim perhaps fit the spartan story.


Don't Like: Heavy-handedness doesn't please me. I don't mind a film being assertive in some cases, but bludgeoning me with your script is not the way to win my heart. NOTE: the heavy-handedness I saw on first viewing utterly disappeared when I watched the film a second time. Perhaps the producers should have told us a bit more than they did.

Don't Like: The acting is in a style that was common in the 1950s, and into the 1960s. At least they don't drift into being lugubrious. And only certain characters are presented in this way. I suppose it's to establish them as being "out of time" and maybe out of place. But to many viewers it probably seems like bad acting.

Don't Like: Only one character undergoes any character transformation, with the rest being static throughout the film. If I am honest, this is also true of Mygale and The Skin I Live In. When the basic tenet of a story is as bizarre as that in the novel and these two films, maybe flat characters work better.

Don't Like: This film is deeply disturbing in a way that its counterpart in this NQRR is not. Perhaps it's the low budget. Perhaps it is the oppressive style of the story-telling. It is annoying that it is almost very good, or merely really good, but it doesn't quite make it to "good" on the whole, due to little slipups in the editing of this 74-minute cut. Oh, and did I mention the almost constant brutality?

Don't Like: The ending is quite abrupt. Rather, the resolution of the story after the final events comes too swiftly. By that I mean that it seems tacked on and deliberately too ambiguous. And it doesn't last long enough for you to ease out of the story. I used to wonder why the closing scenes of horror films often linger on for a bit. It's because you need time to adjust after seeing what has come before. The "elongated" closing scene allows you time for that. But this film just cuts to a mundane shot of a woman walking down a highway, and does nothing to help you ease out. Maybe you don't see that as the director's job?

Don't Like: There are some characters who appear in the film, have an apparently important role in the unfolding story, and then they seem to have been there for no purpose. One of them does manage to move the plot forward a bit by becoming a complication. But even that complication is not attended to as much as it should have been.

Don't Like: The film has no intrinsic humor. In fact, there aren't even any moments that are unintentionally humorous. This makes the weight of the film a bit too much, and too constant. Especially by the time you reach the final scenes. Perhaps there were some lighter moments in the removed 16 minutes? This kind of ploy is dangerous because it leads the audience to find their tension relief by either laughing at things that really aren't funny, or laughing at the film itself.

Don't Like: The intricacy of the plot, and the film's sparse style leaves you unable to "get it" on the first viewing. Since it comes off as a series of cheap shots and irrational scenes on that first viewing, you aren't likely to see it a second time. Which is too bad. The incoherence actually goes away if you know all the plot points. Maybe the missing 16 minutes of footage would remedy that incoherence, as well. Or maybe it would be even less tractable with the other footage included. How could we know?

Victim (2010) is a remake of a short film by the same director. Retribution (2008) is only 9 minutes long. It was written and directed by Eskandari. The short film merely hints at what we see in Victim. Some basic beats of the three main characters are present in the short film. Watching Retribution will totally spoil Victim, by the way.

There are so many parallels between the film Victim and the English language novel Tarantula (Mygale in the original French). I see no credit given to Thierry Jonquet on this little piece of cinema, but if the writers of Victim didn't read that novel before coming up with the film, then I have to give credit to both Jonquet and Eskandari for pulling the same keys out of the drawer when constructing their tales of intricate, protracted revenge.

Such a coincidence in storytelling is not unheard of. But it always seems suspect to some. And remember Nosferatu. A Conspiracy Theory: Perhaps Jonquet's publishers, not the team that produced the Almodóvar film, are responsible for suppressing distribution of this movie. I can't find any information about that. The blackout is nearly complete.

Also, there are substantial differences in the way the story is told, and the background aspects of the two stories, so that this one is not a direct copy of Mygale, but might seem too similar in theme to be accidental. It is kind of like taking a musical melody and varying a single note in each 8 bars. That legally makes it "new music" and not a copy of the original. The Hunger Games is a lot like Battle Royale, but only in its basic theme of kids being forced into killing kids. The stories are not the same. The characters are not the same, although with the similar overarching circumstances, storytelling kind of demands that certain aspects of both tales be very similar.

The same effect may be at work for Mygale, Victim and The Skin I Live In. But the two films in this Rematch are a great deal more alike than The Hunger Games and Battle Royale are.

retribution eskandari youtube. Google search results. The top result is Eskandari's post of his own short film, Retribution (2008). Be aware that it gives away the major plot points of Victim (2010).


Greetings, I am the original director of the film Victim, thank you so much for doing this. It was a real treat to come across. A very insightful breakdown and analysis of a low budget genre film, I think deserves a real second look. I was only 22 years old when I directed this film, so it has been quite some time since I've looked back at it. With its flaws and everything it still holds a special place for me.

To answer a few lingering questions, NO I had never read the Tarantula novel before making Victim nor have I to this day. A very strange case of coincidence. As to the missing 16 minutes of lost footage from Victim, they're sadly no longer in existence that I am aware of. There was an original cut of the film that had a few more scenes of psychological analysis, as well as flashbacks to a younger version of the Dr's daughter who we see was locked away for long periods in the same basement, as the main character in Victim. This is where she would write in her journal that we referenced back to a several times as a way to parallel the transformation of the Young Man back to his "Victim." After a sales screening at Cannes, the producers had the film edited down and resold to IFC as a much faster paced film. I did oversee this edit, but I always look back and imagine if this longer version would have given viewers a more nuanced and gradual portrait of transformation. Finally, I did not alter or change the voice of the Young Man in the film to appear higher pitched. The young actor did that himself as part of his performance to make himself sound more "feminine" I find that one of the stronger choices we made that paid off well. Thank you again for this!


Thu May 04, 2017 5:35 am
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Post Re: YTMN Presents a Remake Rematch Thread

Hearing directly from a director is unusual.

I appreciate that you took the time to read the post about your film, Matt E., and I especially appreciate the information you provided to answer some of my questions.

I figure that you are probably busy working on an upcoming 2017 release or trying to get one going for 2018, likely the announced film Vineyard, so I wouldn't expect a reply or (better yet) a conversation about your film. Although, either would be nice.

For anyone interested in how this man's career is progressing.

And I estimate that if you were 22 when you directed Victim, which would have been around 2006 or 2007, you should be 31 or 32 years old by now. Right in between the ages of my sons. Maybe I'll find time and a way to view a couple of your other feature releases once I finish this here thread. 12 Feet Deep seems more my style of film. Not really into swords and martial arts, which is what I expect Game of Assassins would be about.

Best of luck and good wishes for your career, sir.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun May 07, 2017 7:38 am
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*Big sigh*

I finally got the quotes tech post for Buttons ready. It seemed like I'd never get all the tyypos and bad formatting out of it. After a couple hours working on it I just gave up. Sorry for anything amiss that's left in there. Ha ha!

To me the most important thing is: a third Round Four Rematch is done! That's a Yay!

But I discovered that I inadvertently carried over some code from Round Three that causes the Back to Round Three link and image to show up at the bottom of many Round Four posts. Golly, I hope it's not all of them!

I'll have to go back through my webarchives and see how many and which ones I need to fix. I have the Round Four code ready to copy and paste, but it's still going to take Such A Long Time to do it all.

For all I know, the following post is the only one that sends you back to the correct broker post for Round Four.

*Big sigh*

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun May 07, 2017 7:43 am
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A Comparison of La Guerre des Boutons (1962), The War of the Buttons (1994),
La Guerre des Boutons (2011) and La Nouvelle Guerre des Boutons (2011)

Exchanges You Might Like

Finding no sources of English-language quotations from the French films, I was left to pull my own from subtitle .srt files. You can easily convert them to text, and I did so, finding that the srt's I located for the 1962, 1994 and 2011s films coincided perfectly with the films I watched. The 2011b film that Miramax released Stateside as War of the Buttons (2011) has been severely edited down from whatever version the srt file fits. The file has the full timecode pointers, so it runs with some video version of the movie, but the final subtitle ends its time on screen at 01:34:52,209. The Miramax release is only 1;29;10 in duration, including end credits, which last for approximately six minutes. This means a ten-minute longer French-language "Director's Cut" must exist somewhere that is available for purchase or download.

In all the three French films, the only French language insult used is couilles molles, "soft balls" in English. The 1962 subtitles use "soft balls" as the translation. The 2011s subtitles use "limp dicks", and the 2011b subtitles use "limp dicks" and "slap cocks" in one set of subtitles, while the Miramax subtitles choose "cowards" as the translation. The 1994 film uses the obscure English "toss pot" as the substitute for French couilles molles. The best information I got is that this is a mid-18th century expression that uses an alternate name for a chamber-pot to mean: a habitual drunkard. I can't explain that choice at all.

The bulk of each version's quotes have been put behind spoilers to shorten the post, in case you want to scroll by it, down to the next one.

Image

-----1962--------------------------------------------------------------------------
Intertitles before first scene:
THE WAR OF THE BUTTONS

WITH A BUNCH OF KIDS
(and their parents...)
-----------------------------
(The brothers Gibus run toward a farmer on his tractor in the field. They are waving small booklets as they run.)
Grangibus: Sir! Would you like to buy stamps to help people with tuberculosis? Help fight people with tuberculosis!
Tigibus: It's for cancer!
Farmer: You boys from Longeverne aren't very quick. The boys from Velrans already hit me for two books of stamps. And that was at least an hour ago.
Grangibus: Two? Why did you buy from them since you are from Longevernes?
Farmer: It's because the sick can't wait. (Starts tractor engine.) You don't mess around with sickness, you know? (Drives forward.) Watch out! ... Everything's fine as long as you're healthy. But when you're sick...You don't mess around with sickness. Everything's fine as long as you're healthy. But when your health goes, you can't mess around with sickness.
(Later, the brothers see a priest and a postman)
Tigibus: Which one do we attack?
Grangibus: The priest! He can't turn us down. Father!
Tigibus: Would you like some stamps?
Grangibus: It's for a good cause!
(Father waves the booklet he has already purchased.)
Tigibus: Darn it! He's already got some, too!
Grangibus: On top of that, he made us miss Nestor.
Tigibus: Let's run after him! He has to walk his bike uphill.
(Nestor rides his bike along the road and narrowly misses running into some saplings laid across the road. He falls off his bike. The Velrans boys run out from behind cover.)
Nestor: How dare you try selling me stamps? I'll show you what I think of that!
Grangibus: Hey, you jerks from Velrans! He's our mailman, not yours. We can forget about the priest, but Nestor belongs to us. You can't sell him stamps.
L'Aztec: Nestor? From Longeverne? He belongs to all of France.
Another boy: That's right! Nobody owns him.
L'Aztec: Go ahead, call us jerks again.
Tigibus: Jerks! Jerks!
Grangibus: Thieves! Mailman stealers!
L'Aztec: You people from Longeverne have soft balls!
Tigibus: What does that mean?
Another boy: Everyone from Longeverne has soft balls!
Velrans group: Beat it! Get lost, losers!
(They throw stones at the brothers, who run away.)
Grangibus: I'm gonna tell--I'm gonna tell Lebraque.
L'Aztec: Guys, the first bell's ringing!
(The brothers Gibus are now in town hurrying to school)
Tigibus: I thought he said "snowballs."
Longeverne boy: Hi, Gibus.
Grangibus: Hi.
Tigibus: I knew I shouldn't have went.

-----------------------------
(The Longeverne crew are in Velrans, and nighttime mischief is afoot. Dogs are barking. As they approach a door, the light comes on and a man steps out. The Longeverne gang runs to hide at the side of the street.)
Lebraque: (pulling Tigibus out of the crowd) You go first.
Tigibus: Who? Me?
Lebraque: He won't pay attention to a kid carrying a milk can. He'll go back inside.
Tigibus: What am I gonna tell him?
Lebraque: Nothing, just walk past him.
Grangibus: Are you a colonel or what? So, just follow the orders.
Tigibus: I knew I shouldn't have went.

-----------------------------
(Lebraque goes into his parents' house, and dips some soup, which he proceeds to drink from the lip of the shallow bowl.)
Mère Lebraque: Finally. Do you know what time it is?
Père Lebraque: Answer your mother.
Lebraque: Yes, I know what time it is.
Père Lebraque: Where have you been? Did you hear me? Button up your shirt and your jacket. (Lebraque closes his buttonless collar) Do you call that buttoned up? (His father grabs at his coat, tearing off the collar.)
Mère Lebraque: God, you always break things.
Père Lebraque: It just stayed in my hand.
Mère Lebraque: Just like the plate this morning.
Père Lebraque: I told you I didn't mean to do it. I don't know my strength.
Mère Lebraque: I spend my life fixing everything.
Lebraque: Hush now. Stop arguing. It was torn beforehand. And all my buttonholes are destroyed.
Mère Lebraque: Your buttonholes?
Lebraque: Anyhow, they were useless since I don't have buttons any more.
Père Lebraque: What the hell is this? How did you get into such a mess?
Lebraque: I won't talk.
Père Lebraque: You're gonna to tell me, you little rascal.
(The father slaps Lebraque's shoulder causing him to drop the soup bowl. The mother shrieks in disgust at another broken item.)
Lebraque: I know I deserve a beating so go ahead. Get it over with.
Père Lebraque: On top of it, he's asking for it! I can't believe this. (He swings a piece of fabric, causing the stool on which he was chopping wood to break.)
Mère Lebraque: My stool!
Père Lebraque: Now it's the stool.
Père Lebraque: Your shirt, your buttonholes and buttons and now the stool. Do you think we're the Rockefellers to be able to afford this?
(He jerks the boy to his feet and drags him toward the doorway.)
Père Lebraque: I'm gonna show you, you little good for nothing.
Mére Lebraque: No!
Père Lebraque: I'll teach you respect.
Lebraque: Mommy!
Pere Lebraque: Scoundrel.
Mére Lebraque: (Through the closed door) Control yourself, Eugene. Just tell him he'll go to school naked tomorrow as punishment. Control yourself, he's just a little boy. Just tell him we'll send him naked.
(Lebraque is having a funny thought in class the next morning, and cannot help laughing.)
-----------------------------
La Crique: Who are you gonna sell those to?
Bacaille: I know some pretty dumb people.

-----------------------------
(The gang is walking down a muddy road, Lebraque and Marie walk hand in hand. The other boys are yammering about what they can do now that they have a war chest of buttons.)
La Crique: The Velrans can show up today.
Grangibus: Even cut off our buttons.
Tigibus: And even put holes in our pants.
A boy: We don't care about your pants.
La Crique: Marie will fix them.
Another boy: She'll mend them.
Third boy: She'll brush off the dirt.
Fourth boy: She'll wash them.

-----------------------------
(While the Longevernes are celebrating in their fort, Tigibus is outside. He looks up and sees the Velrans gang coming with a tractor. Bacaille's father's tractor.)
Tigibus: The Velrans! The Velrans!
(L'Aztec drives the tractor straight for the fort.)
Bacaille: (to the approaching Velrans) Not me! Not me! Ask Laztec.
L'Aztec: Leave Macailler alone. [Macailler is the English name corresponding to Bacaille, apparently.]
(The kids are scurrying away from the oncoming farm machine.)
Lebraque: Lacrique, Big Gibus, follow Macailler! Laztec, don't! Don't! Not our fort!
(L'Aztec shift into reverse and backs away.)
Lebraque: Get our warchest, Camus.
Camus: I'm going in.
(Camus comes out and runs around the fort as L'Aztec drives toward it again, this time driving all the way through the hut.)
(Afterward, following a battle that must have taken place over the destruction of the fort, the boys are lined up in the broken building waiting for Marie to sew on buttons. Lebraque circles around looking at his comrades.)
Lebraque: Well, Marie. You've got your work cut out for you.
Tigibus: I knew I shouldn't have went!

-----------------------------
Bacaille, having confessed and having been flogged by the Longevernes, is running through he street in nothing but his nightshirt.)
Bacaille: Mommy!
Père Bacaille: That's my boy! (He catches up to his son.) Who did this to you?
Bacaille: Lebraque and his friends.
Père Bacaille: My god!
Bacaille: Mommy!
Mère Bacaille: My little Jesus, what happened?
Père Bacaille: It's that little hoodlum Lebraque again.

-----------------------------
(The Longeverne army has watched Tigibus be dragged away by Bacaille's father. They are hiding around the corner of a building.)
A boy: Here comes your father, Boulon.
Another boy: Go, we'll see what he says.
A third boy: We can't let him go alone.
Camus: Let's all go. Right, Lebraque?
Lebraque: I would if I knew they wouldn't send me to boarding school.
Camus: You too will have to go home.
Lebraque: They might calm down by tonight.
La Crique: Okay, but for us it's the sooner, the better.
Camus: Tell them, Lebraque.
Lebraque: He's right, guys. Go. I give the command over to Camus.
Camus: Form ranks and follow me.
(The boys and Marie follow Camus. Lebraque leaves town to hide in the woods.)



Image

-----1994-------------------------------------------------------------------------

Woman's Voice Narrating: In Ireland, I grew up in a tiny village by the sea. It was here that my best friend, a boy, was fighting with another boy, who lived in the next village. ... Sounds silly, but they were always fighting. Typical of boys.

-----------------------------
Big Con: Wanna buy some tickets for the draw? Ten-p a page, pound for a book.
Little Con: It`s for the hospital in Skibb. The master, he says you never know the moment.
Fisherman: That`s true enough, but you`re too late, son, the Carrickdowse boys have beaten you to it.
Tim: The Carrick boys, what are you buying off them for, when your own kids are stuck with them?
Fisherman: We`re loaded up with tickets, son, you can ask so much of a man and no more.

-----------------------------
(While Gorilla is dangling Little Con off the side of the bridge, Geronimo rides up and whistles)
Carrick Boy: Geronimo.
Gorilla: You lucky little maggot. Now clear off, tosspot, run off home to Mammy.
(All Carricks laugh and jeer. The Bally boys walk to school)
(Marie and Fergus arrive up the hill)
Marie: Too late.
Fergus: Yeah.
(As they walk across the bridge)
Little Con: Con?
Big Con: What?
Little Con: What does tosspot mean?
Big Con: I don`t know. Come on.
(In the school yard)
Riley: I know what a pot is.
Tim: We all know what a pot is, and toss.
Fishy: It`s not the words, it`s what they mean together that counts.

-----------------------------
(The Carrickdowse boys are marching to the fight)
Gorilla: Two, four, six, eight, who`s the pillocks that we hate?
All Carricks: Ballys, Ballys, Ballys!
Gorilla: Two, four, five, six, who`s the boys that`s got `em licked?
All Carricks: Carricks, Carricks, Carricks!
Gorilla: Two, four, six, eight, who`s the pillocks that we hate?
All Carricks: Ballys, Ballys, Ballys!
(All cheer)

-----------------------------
Fergus: It`s your brother.
Big Con: Look at the state of him.
Little Con: Oh!
Big Con: What`s up with you?
Little Con: There was loads of them, all big fellas. Where were you? I knew I should never have come.
Fergus: Where are the others?
Little Con: I don`t know. I`m going home.
(Little Con wails)
Big Con: Tell Mam you fell over, OK? Stop your yelling.

-----------------------------
(The Carricks have cut off Fergus' buttons, belt and shoe laces, and sliced his tie in half. Fergus leaves.)
Gorilla: Run off home to Mammy, tosspot!
Carrick kid: And your daddy, if you ever find out who he is.
(Fergus stops, turns slowly and points toward the Carrick Kid as he shouts.)
Fergus: Shut your mouth!
(Fergus turns and walks toward home)
Geronimo: (to the Carrick Kid) Lay off.
(Fergus arrives at his parents' house. He is eating soup in the kitchen. His father comes inside from cutting wood.)
Fergus' Dad: And where the hell have you been, huh? Out gallivantin` while l`m doin` your chores. Now, I warned you, boy, l`ll have you sent...
Fergus' Mom: Leave him eat. You can talk about gallivantin`.
Fergus' Dad: I`m workin`, sellin` horses, to buy the crust that he`s shovin` into his lazy gob.
Fergus' Mom: It`s real hard work at those horse fairs. Liftin` pints is fierce tirin`.
Fergus' Dad: You do a deal and you drink on it, that`s the way. If it was up to you, we`d be all eatin` hay, huh? (to Fergus) Where were you anyway, you little bastard? (He grabs Fergus' collar)
Fergus' Mom: Now look what you`ve done, you`ve ripped his bloody jacket!
Fergus' Dad: It wasn`t stitched properly.
Fergus' Mom: Properly stitched?! It was properly stitched until you grabbed him, you big ape!
Fergus' Dad: Don`t you shout at me!
Fergus' Mom: Now look what you`ve done!
Fergus: Shut up! I`ve got no buttons or nothing nowhere. No laces, no belt, so quit yelling, the pair of you. All my buttons are off and my tie`s ripped to shreds. And you`re not made of money, so give me a good whipping and get it over with.
Fergus' Dad: Who did this to you? You tell me or else.
Fergus: If I told you, l`d only get the same, so get it over with.
(Fergus' dad pushes the boy out the door.
Fergus' Mom: Go easy on him, that`ll do no good. Tell him we`ll send him to school naked, that`ll teach him.
(Seen only as a shadow cast on the house, Fergus groans as his father beats him with a belt)
(The next morning in school, Fergus can't help laughing at a funny thought that has come into his head.)

-----------------------------
(Little Con suggests they could bring a pictures of the elder Connors that they have at home. His brother says not to bring it.)
Big Con: This is our place, no adults.

-----------------------------
(The ballys are celebrating in their HQ)
Fergus: Quiet, everyone. Boffin will make the opening speech.
(Cheering)
Boffin: Now our battle`s won and oh, what fun to see the Carricks on the run,
on Murphy`s Dunes, Gleniff as well, and Bunduff too, it`s true to tell,
we sent them packing, back to hell.
(Cheering)

-----------------------------
Fergus: Can`t see. It`s blue. Who`s got a blue tractor?
Tim: Flamin` heck - Riley!
Fergus: What?
Tim: His dad bought a new one yesterday. Showed it to me daddy, proud as punch.
Pat:What colour was it?
Fergus: Blue, and Riley`s riding on the back of it.
(Geronimo, yelling, drives the tractor through the Ballydowse kids' HQ, destroying it.))

-----------------------------
(Fergus is hiding out in the hills. Geronimo walks up.)
Geronimo: I saw the smoke. I`m on the run too. They think I stole the tractor.
Fergus: I thought Riley gave you the keys.
Geronimo: He told them I made him do it.
Fergus: And they believed him. Typical. Do you want some?
Geronimo: Sorry about the house.
Geronimo: Forget it.... It was a great idea, the tractor, better than a horse.

-----------------------------
Geronimo: Why did we do it?
Fergus: What?
Geronimo: Why did we fight?
Fergus: For the hell of it. What else is there?



Image

-----2011s---------------------------------------------------------------------------
(Tigibus sees the boy who vanquished the Velrans walking toward the school.)
Tigibus: Who's that? Does he belong to our gang?
Grangibus: Relax! That's nobody.
Tigibus: He really showed them from Velrans what's what.
Grangibus: He's called Lanterne and he'll never belong to the gang! ~ Not a word to anyone!
Tigibus: The more you explain, the less I understand!
They run down to the school gates.

-----------------------------
Grangibus: They accused us of being limp dicks!
Lacrique: What? What's limp dicks?
Camus: Who said that?
Tigibus: The Velrans gang!
Bacaille: Isn't that something bad?
Others: Good question.
Camus: But why are you so offended?
Redheaded boy: I have a hint of what the first word means.
Bacaille: The second word is clear enough.
Tigibus: Let's ask Lebrac, to see what he makes of it. He's never there when you need him.
Camus: You don't talk about Lebrac like that, understand!?

-----------------------------
(Tigibus' induction into the gang)
Boys circling around Tigibus: BO-TIZ-MA-GAL-GAD-TRUFF-SNICK-BUS-KI-CAV.
Grangibus: Who are our enemies?
Tigibus: Ari...
Grangibus: Arithmetic, spinach and celery.
Tigibus: Spinach and celery, arithmetic, and chemistry. Being beaten by Dad and Mom...but above all, our enemies from Velrans!
Camus: What are your duties?
Tigibus: To preserve the honor of Longeverne...to march ahead in spite of all dangers. To lie to our parents...rather than let Lebrac down.
Bacaille: You are worthy to be admitted into our army. As the little brother of Grangibus, your name is now Tigibus.
Tigibus: Tigibus? But they already call me Tigibus. Wouldn't "Destroyer" or "Head Cruncher" be better?
Grangibus: Go greet the chief.
Tigibus: I don't like Tigibus. Well, then just Tigibus. (he walks toward Lebrac)

-----------------------------
(Tigibus is running while his bigger friends walk through the forest)
Tigibus: How can they notice nothing if we attack them?
Lebrac: They'll be suffering from limp dicks!
Tigibus: I thought we weren't limp dicks?
Lacrique: Yeah, exactly!
Tigibus: There's Lanterne.
(The boys toss sticks at her as she approaches)
Lebrac: Go away, we said!
Tigibus: You're not invited.
Camus: Girls can only sew.
Grangibus: Is she really a girl or boy?
Lacrique: Half boy, she is!
Lanterne: Probably a successful girl! Small vocabulary instruction:..."LIMP DICKS." Composed of "dick", a noun...a vulgar term for penis. And "limp", an adjective, meaning something without strength. Put the two words together, and you've got you. (She points at the boys as she continues.) A carrot-top, a priest's son...a large sheep...and finally, a limp dick! (she walks away toward Velrans) I'm not like that, but anyway, I have an advantage!
Lebrac: What?
Lanterne: I'll never have a limp dick, but yours needs a splint!
Lebrac: So what do you want to do in Velrans?
Lanterne: (over her shoulder) The sewing, of course! I'm just a girl!

-----------------------------
(The school master in Velrans, Labru, and his son, Aztec, burst into the classroom in Longeverne, in the middle of a lesson from Master Merlin)
Labru: Ah, this is how boys are educated in Longeverne? To write stupid things on doors...not to rise upon the entry of an adult?!
Merlin: Will it turn into Velrans, where you don't even knock?

-----------------------------
Tigibus: Hey, guys, wait for me.

-----------------------------
Lanterne: Hey...
Lebrac: Yeah?
Lanterne: All leaders add a word to the secret code.
Lebrac: Right.
Lanterne: And your word's CAV?
Lebrac: Yeah.
Lanterne: What do you mean by "CAV"?
Lebrac: It's from "Caviar". I've never actually eaten any, but it's so incredibly expensive that it simply has to be the best thing in the world.

-----------------------------
(Lebrac sees Tintin sitting on his parents' porch, next door to the Lebrac home, smoking. He climbs out his window and crosses to Tintin.)
Lebrac: I'm glad you're back! Since you gave me the office of the Chief, we've won 36 times against Velrans.
(Tintin is distracted)
Tintin: Do you remember Goat Cheese?
Lebrac: Goat Cheese, that shit. That was the biggest plague spot of Velrans!
Tintin: We met once at the front, in Algeria. We were being shot at from all directions. He was sprawled in the sun. "He choose the easy way," I said. Typical Velrans. So I crept closer. He lay still. Two meters away, lay his head. Just a mistake. There were some errors in the French artillery. Then I fainted. Then I went and threw up. And now they've given me one week of home leave. Now I'm here...at home...to celebrate! But he.... (Tintin looks up at Lebrac, offers him a drag of the cigarette) What do you say? Want a smoke?
(Lebrac nods "non")

-----------------------------
Lebrac: The other day you said that we could very well have a choice. And now?
Merlin: You're right. But you must know yourself, what you choose. I've made three decisions. To return to this village, in my position. And I decided on GAL.
Lebrac: GAL?
Merlin: Mmmh.
Lebrac: GAL?!
Merlin: Don't pretend you don't understand. Have you never wondered what GAL means? BO-TIZE-MA-CARAM-GAL-GAD-TRUFF-SNICK-BUS-KI-CAV...Mhm? (Realizing what his teacher has just told him, Lebrac smiles) "Galet". That means stone. I was unbeatable in skipping stones. I simply won all the time. That's the reason I then became chief.

-----------------------------
(After the naked battle the Longeverne boys are getting dressed, but Tigibus is shorter than the wheat in the field, and cannot see where he is.)
Tigibus (in the field alone): Wait for me!

-----------------------------
The Longevernes kids are celebrating at their cabin built on the old truck bed. Papiér Maché strides out and bangs on a metal tub.
Papiér Maché: (shouts) The celebration is over, you termites.
(An agricultural combine rolls forward behind him, moving toward the cabin. The kids run for cover. A Velrans boy is driving the machine, Aztec is riding beside him)
A Kid: He'll crush us.
Another Kid: That's Aztec!
(The Velrans bring Bacaille out, holding onto his arms)
Grangibus: (grabbing his little brother) Run, Tigibus!
A Kid: Yeah, move!
(Aztec leaps from the combine and runs for Lebrac. They struggle on the ground)
Papiér Maché: Crush these microbes!
(Lebrac wrestles Aztec and turns him onto his back on the ground below him. Lebrac draws back his fist to strike.)
Tigibus: Come on!
(Lebrac relents, and lowers his fist)
Lebrac: I'll give you your war. I've found something better.
(Lebrac stands and walks away. Seconds later Aztec picks up a piece of metal from the ground)
Aztec: (swinging the piece of metal): I'll do...you all!
Papiér Maché: He's crazy!

-----------------------------
Tigibus: And add a secret word.
New Chief: BO-TIZE-MA-CARAM-GAL-GAD-TRUFF-SNICK-BUS-KI-CAV...-WILL.
Tigibus: What is the Will?




Image

-----2011b---------------------------------------------------------------------------
Intertitle before first scene:
Inspired by true stories of the Resistance.

-----------------------------
(The Gibus brothers have discovered Velrans boys poaching rabbits inside the Longeverne borders.)
Grangibus: Hey, Aztec ... The boundary of Longverne is Chevillon.
L'Aztec: I am sure? Well, so what?
Grangibus: So those are our rabbits you are poaching. I just wanted to say.
Tigibus: Just look at him.
L'Aztec: Do you think that you two retards can stop us?
Grangibus: Say that again!
L'Aztec: You fucking limp dicks! Freaks, limp dicks.
(The Velrans push the brothers around, taunting them.)
Velrans Gang: Slap Cocks! Slap Cocks!
Grangibus: Come on, quick! (They walk away. But Grangibus turns.) We will tell Lebrac! You'll see!
Tigibus: Yes, we will tell Lebrac!
L'Aztec: Oh, no, not Lebrac! I'm scared!...Fuck off, limp dicks!
Velrans Gang: Slap Cocks! Fuck you! Freaks!
(A Velrans boy fires a slingshot, hitting Grangibus. Tigibus turns and makes the Nyaa nyaa taunt, and sticks out his tongue.)
L'Aztec: Get out!
Velrans Gang: Snot noses! Slap Cocks!
Tigibus: Does it hurt?
Grangibus: To be honest, yes. 'Slap Cock.' A worse insult does not exist.
Tigibus: Why?
Grangibus: Don't you know what a 'slap cock' is?
Tigibus: Of course, I know. It's sort of a ... 'stupid cow?'
Grangibus: No, a thousand times worse. It's a declaration of war.

-----------------------------
Tigibus: Who is that with Simone?
Grangibus: Miss Simone! Who is that?
Simone: My goddaughter. Her name is Violet. (to Violet) Come on.
Tigibus: She is visiting from the city.
Grangibus: From Clermont, I think.
Tigibus: Violet from Clermont.

-----------------------------
(The children are standing and singing to a photograph of Marshall Pétaine, the Vichy ruler of Nazi-occupied France)
Boys:Marshal, we are ready.
You gave us hope.
The nation will rise
Marshall, Marshall, we are ready ...
Paul: Take a seat.
Bacaille: Sir?
Paul: Yes, Bacaille?
Bacaille: Why do we sing only on Mondays?
Paul: Excesses are harmful to everyone. With all due respect, but singers you are not.
Lebrac: (about Bacaille) He thinks he's Tino Rossi.
Paul: What did you say Lebrac?
Lebrac: Nothing important.
Paul: I thought as much. But since you like to chat so much, Stand up please, go to the board.
Lebrac: No-no! Are you sure?
Paul: I'm still sane. Come on.
Bacaille: We're in for a good laugh!
Paul: Monsieur Lebrac ... Tell us about the Loire. ... I'm listening.
Lebrac: Well, it's a river. Well ... It is a stream. With water. Otherwise it would not be a river. But it is, of course ... is a river. It is not very far away. And, not too big. And, no, of course, very far away. It is not so small. There are many cities along it.
Paul: Forget about these fine details. Name some cities along the river.
Lebrac: Well, okay. Cities on the Loire ... on the river, as you say ... they are very different. Some are big. You can visit them. Others - are medium-sized ... and still others are small, as ours.
Paul: Particularly convincing. You know the way?
Lebrac: Yes sir.
(He turns into the corner and puts his hands behind his head.)

---------------------------
(The mayor comes into Simone's shop. Violet is seated at a table. She does not speak when the Mayor speaks to her. Simone keeps on answering his questions for the girl.)
Mayor Bacaille: Has she swallowed her tongue?
Simone: Violet is very shy.
Mayor Bacaille: Well, we certainly will not eat her. Don't forget to register her. That is the law.

-----------------------------
(Lebrac is listening to the radio while his father reads the paper.)
Radio Announcer: Here from London. Appeals to the French people. Listen to the instructions ...
Père Lebrac: Play it a little louder, for the Germans.
Lebrac: Yeah, Hitler was at the door eavesdropping.
Père Lebrac: To your room, I'm sick of seeing you for today! And do not laugh at me.
Lebrac: But you're funny.
Père Lebrac: Enjoy laughing. Soon you'll be in an apprenticeship!
Lebrac: My eyes have never seen such a coward!
(The father begins removing his belt. The boy heads up the stairs to his room.)
Père Lebrac: Now you asked for it!
Mère Lebrac: (Rushing over to stop her husband from following the boy to his room.) Stop it, Camille. You yourself were once like that.
Père Lebrac: But I respected my father!

-----------------------------
(At night, in Velrans, La Crique is painting on a wall while Lebrac supervises. Other boys keep watch, scattered along the street.)
Lebrac: No misspellings.
La Crique: Who do you think I am, an idiot?
(After we get a look at the other sentinels.)
Lebrac: Hurry up.
La Crique: I'm working as fast as I can.
Camus: Truck!
(A Nazi truck comes around a corner toward them.)
Camus: Hide!
Lebrac: (to La Crique) Please! Faster!
(Through the truck's windshield we see what La Crique has painted, just after the boys run away, as the headlights sweep across the wall:)
All Velrans Have Hairy Asses
(La Crique and Lebrac peer around the edge of the stairs where they have taken cover.)
La Crique: The krauts.
Lebrac: That was close. Very close.

-----------------------------
(Lebrac walks towarda Violet to talk to her, but he's uneasy.)
Lebrac: Hey ... You're new?
Violet: And you're Lebrac?
Lebrac: Uh ... Yes.
Violet: Uh, yes ... Are you not sure?
Lebrac: I'm sure.
(Some of the boys are watching his attempt to meet her.)
Bacaille: What do they say?
Camus: I do not know.
Violet: Please, stop following me.
Lebrac: I? Follow you?
Violet: Yes, you.
Lebrac: You're not my type at all.
Violet: Am I not pretty?
Lebrac: You're not bad. But you're not a blonde.
Violet: I heard about you.
Lebrac: You bet! Everyone knows me.
Violet: I know you're the class clown. And a poor student. I only fall for intellectual, smart guys Mister Levrac. (She purposely makes a pun on marriage.)
Lebrac: Lebrac!
Violet: Oh, it's the same thing.

-----------------------------
(Lebrac reads from a sheet of paper.)
Lebrac: Listen up, guys. 'After this blatant ... naked ... insolent ... attack ... we have no other choice but to play by their rules. The war will be ruthless. Blood and tears will flow We will suffer losses, but such is the price of victory, and PS ... and therefore ... (He hands the sheet of paper to La Crique.) Here I hate your speech! ... In short, War is declared. We kick ass like ass has never been kicked, that they will remember forever. I promise!
Bacaille: All this sounds real good, but you have no plan, do you?
Lebrac: So what? I listened very carefully in class about Napoleon, King of France.
La Crique: You mean Emperor.
Lebrac: It doesn't matter. He was a brilliant strategist. As he defeated the Prussians at Waterloo ...
Bacaille: Uh Huh, right... but what do we do?
Lebrac: I will explain my strategy in a quiet place.

-----------------------------
Tigibus: Until tomorrow, sir. Hey! Wait for me guys!

-----------------------------
(The boys are all on a tour of the Museum of the prefecture. A Tour Guide is explaining an ancient Greek warrior statue in the room. The helmeted statue is naked and holds only a sword and shield.)
Tour Guide: Pay attention to the beauty of the lines. Admire their purity. Here we see not only the talent of the artist, but also the superiority of the Aryan race in all its grandeur! The Aryan race, which, of course, is the greatest of all.
Paul: A controversial point of view.
Tour Guide: Strange idea, do you think so?
Paul: I teach children to respect differences between people and treat everyone equally. So I was raised.
Tour Guide: (Looking Paul up and down with derision) Here's a result of such an education. Your father ...
Paul: He was killed at Verdun. And that's good thing. He would not have tolerated your mediocrity.
(Directing the boys' attention to the giant statue.)
Tour Guide: Well, I recommend that you all participate in sports. Marvel at this, the handsome athlete.
Camus: (whispering to Lebrac) What a strange fellow!
Tour Guide: This picture, dear children, is an ideal worth imitating, some would say.

-----------------------------
(The Vichy thugs are pulling a man down the stairs of an office building. His glasses fall to the ground. Paul picks them up and takes them to him, but is blocked by a Vichy guard.)
Paul: Here, sir.
Guard: And what did you do?
Brochard: (Coming down the stairs of the building, sporting his Vichy uniform) Nothing, nothing, I know him.
Paul: Brochard ...
Brochard: I was a dunce, but now I'm doing okay, wouldn't you say? I once had to clean the school yard. Now I clean my country.
(More men come out with a woman and a girl, shoving them down the stairs.)
Vichy Guard: Down! Here!
Vichy Guard: Hold her!
Woman: Sarah! Sarah!
(Sarah escapes from the guards. Paul embraces the girl, comforting her.)
Paul: Don't cry.
Vichy Guard two: Aren't you going to shut up? In the car!
Woman: (from inside the car) Sarah! Sarah!
Paul: Why do you treat them so? What did they do wrong?
Brochard: What did they do? Ask yourself, why are we arresting Jews?
Paul: You should be ashamed.
Brochard: You are right. Family - is very important. (He pulls the girl away from Paul and another Vichy Guard forces her toward the car) Come on, my pretty. Mom's waiting for you.
Paul: Easy!
Brochard: You should stick to your math problems. Let us do the housecleaning.
(Brochard walks to the car, and then notices Bacaille standing in the crowd.) And, and you there? How is your father? Tell him, I'll come by tonight.
(Paul stands looking at the glasses in his hands, then up where the car was, and then turns to the crowd of children.)
Paul: Go and play, children.

-----------------------------
(Violet sees that Lebrac is standing in the street below, soaked by the rain.)
Violet: What are you doing?
Lebrac: Can I come up?
Violet: Do you know how to fly?
Lebrac: (eyeing the rock wall) Almost.
Violet: (Watching him climb) You're crazy!
(She offers him a hand as he leaps onto the floor of her room.)
Violet: It's like Errol Flynn in 'Robin Hood.' Have you seen that movie?
Lebrac: I've never been to the movies. This Errol Flynn - is he cute?
Violet: Yeah, I guess.
Lebrac: Yeah he is... just like me.
Violet: Wow what a braggart! I'll grab a towel.
Lebrac: What were you doing?
Violet: Writing in my diary.
Lebrac: Can I read it?
Violet: A diary is secret!
Lebrac: You girls are strange. "A diary is secret."
Violet: Well, it is.
Lebrac: So do you write about me?
Violet: Why would I?
Lebrac: I don't know ... I just thought you might.
(Lebrac picks up a magazine with an actress on the cover)
Violet: Yes, it's Mireille Balin. I like her. She has class. Before the war, every week I went with my parents to the 'Gaumont-Palace' in Paris.
(She realizes that she should not have said that.)
Lebrac: You're not from Rennes?
Violet: I've never been to Brittany.
Lebrac: Then why did you say that?
Violet: Don't you understand yet? I should wear a star.
Lebrac: A Star? Are you a Jew?
Violet: Females are referred to as Jewesses. And you're a fool.
Lebrac: I did not know those things.
Violet: Do you have any objections?
Lebrac: I don't know anything about it. I've never seen a Jew before. Well, the other day was the first time.
Simone: (from downstairs) Violet! It's time for dinner!
Violet: I'm coming. You have to go. It's a secret. If you betray me, we can never see each other again.
Lebrac: I won't say anything. They could torture me and I still wouldn't squeal! It's funny, My aunt is named Violet.
Violet: It's not my real name. My name is Miriam.
Simone: (from downstairs) Are you coming?
Violet: In a minute. Five seconds!
(Lebrac starts out the window)
Lebrac: Miriam ... sorry, Violet ... Can I tell my gang, that we're going together?
Violet: Well, the thing is, I'm already engaged.

-----------------------------
(Lebrac takes Violet to a hill with a beautiful, wide vista.)
Lebrac: This is my favorite place around here. When things are bad, I come here.
Violet: I can see why. It is beautiful here. Strange, isn't it?
Lebrac: What is?
Violet: If it wasn't for this war, we'd never have met.

-----------------------------
(The Longeverne gang has the Velrans gang surrounded.)
Lebrac: Aztec, we can avoid bloodshed, if you surrender.
L'Aztec: If you've got the balls, I say we have a duel. Like men. Just you and me.
Lebrac: Just the two of us?
L'Aztec: Only us two.
Lebrac: All right. Let's do it.
(They fight as the gangs cheer them on. Then Lebrac has L'Aztec pinned to the ground with his pike across the boy's throat.)
Lebrac: I think you've learned your lesson. Never trespass on our land again!
L'Aztec: Let's go.

-----------------------------
(M. Lebrac is at Simone's shop looking for Lebrac.)
Père Lebrac: I know that he likes you. Where is he? I'm looking for him.
Violet: What do you want with him?
Père Lebrac: That is my business. If you know something you have to tell me.
(Lebrac comes running up the street toward Simone's shop.) Check it out. I've been looking for you for several hours!
Lebrac: The militia is coming here! We must hide Violet!

-----------------------------
(Violet and Lebrac run out the back door of the shop. L'Aztec is standing in the alley with his knife and his knowing grin.)
L'Aztec: You may need help? Against the militia? (Lebrac hesitates) I'm not doing this for you, I'm doing it for her sake.
Lebrac: Come on. Let's go.





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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
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Sun May 07, 2017 7:44 am
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Post Re: YTMN Presents a Remake Rematch Thread

Getting to the end of that one took 366 days. There are "ONLY' 93 posts left until Round Four is complete!

Either PhotoBucket or The Corrie is causing a lot of lag this afternoon.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

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Sun May 07, 2017 8:10 am
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Post Re: YTMN Presents a Remake Rematch Thread

It didn't take as long as I feared to change the Back to Round Three links and images to

Image

But I still have to remember to change all the unpublished code for the 93 remaining posts to the Round Four link and pic!

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

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Sun May 07, 2017 10:49 am
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Post Re: YTMN Presents a Remake Rematch Thread

YouTookMyName wrote:
Either PhotoBucket or The Corrie is causing a lot of lag this afternoon.
Photobucket's been giving me a lot of headaches lately.

Btw, I'm hugely jealous of your director sighting. Is that a first for the forum?

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Thu May 11, 2017 3:33 am
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I'm hugely jealous of the conversations you get to have in the Voyage. Are we even? :)

The director sighting may be a first for the Corrie, maybe not. I don't follow enough threads to have any idea about that. It's a first for me, for sure!

Most of the time Photobucket works pretty smoothly, but every once in a while....

And I've noticed that if I have Notepad++ and the Windows version of Safari open at the same time, their resource use must randomly overlap, and the menus in the programs begin to flash rapidly. This can happen especially if I also have Firefox open and I'm logged into the Corrie as Gort. And that causes Photobucket to go on the fritz, too. So I shut everything down, open only Safari, and I'm fine.

I use Safari because I can save functional webarchives of the pages as I go, and no other browser lets me save functional, off-line capable archives of a webpage. For example, to save anything fully readable later from Firefox, I have to make sure I've opened all the spoiler tags. Otherwise, they are mere graphics in the saved html file. Useless. Still, Apple stopped updating Safari for Windows. I should probably save webarchives only from my Mac, but I haven't taught myself how to do posting from the Mac. I'm so used to using Windows for that.

Of all the browsers I use to post, Comodo Dragon seems to work the smoothest with my Photobucket embeds. And it also works the smoothest when I upload to Photobucket. It's kind of weird that one particular browser might be the best for putting up these posts. Another will save them well. Another is most comfortable for reading the Corrie. Weird.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

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Thu May 11, 2017 9:37 am
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Post Re: YTMN Presents a Remake Rematch Thread

Not Quite a Remake Rematch between
Battle Royale (2000) and The Hunger Games (2012)


Image
Films Like These

There is a different essay that generally looks at the phenomenon of 'dangerous games,' but this essay seeks to enumerate a few films that have the same basic theme as Battle Royale and The Hunger Games. The two Lord of the Flies adaptations (1963, 1990), verge onto the territory of kids killing kids, but they don't make this into a contest, and the killings are certainly not mandatory. The Death Race films (1975, 2008, 2017) actually pit driver contestants against one another and against the public in what amounts to government-sponsored kill-fests. And The Condemned is basically a smaller scale (10 contestants), adult-based take on the murder contest that we see in the base films for this NQRR, without the government approval. The difference between the contestants in Lord of the Flies, Battle Royale and The Hunger Games compared to those in Death Race and The Condemned, is that those in the latter categories are adults. In Death Race (2008) and The Condemned (2007) the contestants are convicts coerced/enticed to take part in the hope that one victor will receive a full parole as a reward for winning.

Image

Lord of the Flies (Rematch) is an ad hoc battle to the death, not sponsored by anyone. Only two boys die in the story, and a third is hunted by Piggy's killers. The motivation in the novel and both films is simply unfettered, bloodthirsty human nature. According to William Golding, this is human nature at its most base, yet also at its purest. I'm not able to agree with him. I believe that if we were not at the root of it all much more altruistic than we are murderous, there would be no humans today. That some humans might be like Golding's island-imprisoned kids, I can agree. But it isn't basic human nature, pandemic to all individuals. In this tale, the kids wind up on the island because of a plane crash. They have no adults to guide their behavior, and return to their wild state. This leads to killing of two of the gentler boys. Also, Lord of the Flies is not a televised "event," as are the others.

Image

Roger Corman's 1975 Death Race 2000 and its Roger Corman successor, Death Race 2050 (2017) are loosely based on an Ib Melchior short story about a coast to coast race where drivers score points by running over pedestrians and killing them. In the 2008 remake, or prequel, depending on whom you ask, the contestants are vying for release from prison, which only one can win. It is titled simply Death Race. We have seen a Rematch of the 1975 and 2008 films. Netflix produced a Corman sequel, that is actually more a remake of Death Race 2000, and released it to streaming early this year. The drivers are professionals who make their living by running people down and killing them in an annual government-mandated pageant, broadcast nation-wide.

Image

The Condemned (2007) is a humorless satire on the proclivity of showmen to think anything is legitimate television if it draws an audience. Convicts on death row around the world are purchased by Ian Breckel, a movie and television producer, who wants 10 men to fight to the death; and people will pay to watch. It is a "bad action picture" from the get-go, but might be enjoyable for a single viewing if you don't basically hate films of that type. I write about it in this essay because the basic aspects of Battle Royale and The Hunger Games are here: a televised contest of murder, one winner allowed, someone else more or less coercing the participants to compete. Breckel's scheme is illegal, of course, while Battle Royale and The Hunger Games are mandated by law in their fictional nations. The stars of The Condemned are WWE wrestlers. The Wikipedia article includes this statement: 'V.A. Musetto of the New York Post gave the film zero stars out of four, describing it as a "sickeningly violent and inane movie" and complaining that it is a bad rip-off of Battle Royale and The Most Dangerous Game.'

In all the contest films, those responsible for the mandatory bloodbath are given their comeuppance, except in Battle Royale, where the end is not shown, merely implied for the future, and contingent on a lot of luck. The two Lord of the Flies films are not contest films at all, and have a different tone.

Image

Of the contest films, Battle Royale is the bloodiest, with dozens of deaths. But all the films were considered "out there" at the time of release. They depict casual killing, and often show it in greater detail than audiences might expect. Battle Royale slays a total of 40 persons, all but one a middle-schooler. The Hunger Games slays 22 kids. The Death Race films bump off at least a dozen apiece (I didn't count). The Condemned doesn't quite make it to 9 deaths. At least not among the 10 contestants.

I don't know what it is about modern culture that allows the creation of such films and expects there to be no social effect from them. As a writer pointed out on top of that question, at the same time, the culture believes in the power of advertising. What gives? I can't say, and I've watched all these movies, so maybe I'm part of the problem. Thing is, before I can watch them, someone has to make them, and by the time I see them they already exist. For me to not watch would not stop anyone else from seeing the films, anymore than for me to thoroughly disapprove of their production would stop anyone from making them. So,....



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Death Race 2050. From Wikipedia, the free encyclopedia.

Death Race 2000. From Wikipedia, the free encyclopedia.

Death Race (film). From Wikipedia, the free encyclopedia.

The Hunger Games (film). From Wikipedia, the free encyclopedia.

Battle Royale (film). From Wikipedia, the free encyclopedia.

The Condemned. From Wikipedia, the free encyclopedia.

Lord of the Flies (1963 film). From Wikipedia, the free encyclopedia.

Lord of the Flies (1990 film). From Wikipedia, the free encyclopedia.

The Condemned (2007). 100 films in a year blogspot. Posted on June 13, 2010. 'Something that amuses me is how many reviews call this “a brainless action movie” and make assertions like “the dialogue only serves to get from one action scene to the next”. Now, I’m not going to argue that The Condemned is actually some essayistic polemic on the evils of the media or modern violence-obsessed culture, but it has more to think about than the majority of action movies — meaning it’s neither brainless nor devoid of importance between action scenes.'

The Condemned Posters source of three posters with one image shared.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun May 21, 2017 12:32 pm
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Post Re: YTMN Presents a Remake Rematch Thread

I posted earlier that I had found a quicker way to do the laborious technical crew posts. I worked my way through all 61 remaining tech posts and got the IMDb page links in there, so that I can go back and look at the page while writing the mini filmography-bio for each selected person. I have all the tech posts written for BRN and for TZN, but they need graphics.

I decided to go ahead with a bloodbath NQRR essay. All the essays for BRH are written, but the remaining two need graphics.

Having arranged my work schedule so that I have Fridays off from both of my go-to jobs, and can do an hour of work here, then play at my hobbies, has helped me get enough time to move forward on this thread.

Sadly, there is no quick way to do the quotes post. :( It requires practically re-watching each film in order to select the lines that I want to use. A lot of these are old or obscure, and no one's bothered posting any quotable lines. :( :(

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Sun May 21, 2017 12:47 pm
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Post Re: YTMN Presents a Remake Rematch Thread

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A Comparison of Tarzan of the Apes (1918), Tarzan the Ape Man (1932) & Greystoke the Legend of Tarzan (1983)
At the Helm

The 1918 film presents a problem: many of the jobs that would later be credited in the cast and crew rolls on motion pictures, didn't get any notice in 1918. Thus, we don't know much about the technical crew of the film; there is less information than we have for the 1932 and 1983 movies. The same effect repeats between 1932 and 1983, of course. In the case of the 1918 film I couldn't even locate the normal amount of information about the man who directed the film. Directors are usually easy to research!

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-- 1918 --------------------
Scott Sidney (1874–1928) was an actor, and a director of films. Oddly, on the day I first researched this, and the second, IMDb appeared to have no filmography for the man. Even Wikipedia has limited information, with 9 selected titles. The BFI page for Scott Sidney does better with a list of 22 films that he directed. For the 1918 Tarzan movie it claims scenario credit for Sidney. If this is true, it means that IMDb has incomplete writer information for the film.

But on another day the filmography loaded at IMDb and I saw that there is a list of 120 titles that Scott Sidney directed. Now, that's better.

The data base reports that "At the time of his death he was preparing to direct The Rocket Bus (1929)," which he wrote. Lest your imagination conjure an early sci-fi film, the synopsis reads: "Busmen find a magic carpet and save a girl's father from the caliph." The titles of the films listed at BFI sound terribly colloquial; among them: Little Miss Fixer (1917), Beans for Two (1918), Madame Behave (1924), The Wrong Mr. Wright (1927). Must be comedies. These titles seem flirty and make you want to see the picture, even though they probably would turn out to be false advertising. Apart from the Tarzan film, the only other one I've heard of is a photoplay that Scott Sidney directed based on an 1892 stage play, Charley's Aunt (1924), and it's the title I've heard of, not the 1924 film. In fact, this play has been made into 35 films over the years! Scott Sidney's version wasn't the first, either, but it was the first feature-length film of the play.

IMDb now lets me report to you that Sidney's first directorial credit was a short film, Narcotic Spectre (1917), and his last was No Control (1927). He managed to crowd all those films into the last ten years of his life. Sidney directed the first Tarzan film and co-directed the first Tarzan serial film (the third title featuring the character) The Adventures of Tarzan (1921). The Nervous Wreck was Sidney's 117th directorial effort, and although Scott Sidney is known for that as one of his most lasting films, it has another point that makes it interesting to 21st century readers. The star of the film is Harrison Ford, who plays Henry Williams. Now, the trivia page for Ford fills us in this way: 'Has a star on Hollywood's Walk of Fame, which many people thought belonged to the other Harrison Ford, until Ford finally received his own star in 1993.'

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-- 1932 --------------------
The 1932 film was directed by W. S. Van Dyke (1889–1943), whose 91 directorial credits range from The Land of Long Shadows (1917) to Journey for Margaret (1942). In 1937 he changed his credit line to "W.S. Van Dyke II" and in 1941 added "Major" ahead of all that. Nine of the listed directorial stints are marked as "uncredited" on IMDb. IMDb insists that alongside the Tarzan film from 1932, he is best known for three Thin Man films: The Thin Man (1934), After the Thin Man (1936) and Another Thin Man (1939). Between 1933 and 1936 he was the producer of 8 films, uncredited on five of them. The Prizefighter and the Lady (1933) is the only one I've heard of. Van Dyke also has 15 writing credits between 1915 and 1928. He was known as "One-take Woody," after his first name, Woodbridge, and his penchant for shooting as efficiently as possible. He must have been beloved by studio bosses! But Van Dyke only lived to age 53.

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-- 1983 --------------------
Hugh Hudson directed A... is for Apple (1963), a short film that must have gotten some attention. Following two other short films, Hudson was hired to direct Irresistible (1971). He has only 18 director credits at IMDb, but for one he got an Oscar nomination in 1982. That was for Chariots of Fire (1981), which won a special mention prize at Cannes in the year of its release. This is a historical based drama centering on two 1924 British Olympians, Harold Abrahams and Eric Liddell. The film is not entirely factual, giving other runners' accomplishments to either Abrahams or Liddell, but it is an inspiring film, so got a lot of attention. Hudson has continued to direct documentary films, as well as dramatic theatrical pieces. He also has six producer credits, one of which is for Greystoke. His most recent opus is Finding Altamira (2016), a film with a bit of controversy surrounding it. Hudson participated in an experimental film I saw once: Lumière and Company (1995). He was one of 40 internationally known directors asked to make short films with the original Lumière Brothers' Cinematographe. IMDb reports that the rules were "(1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes." I do not have any recollection of much of the film. Only that I saw it. Likely, it was on PBS. Oh, and I have seen Chariots of Fire (1981) as well. On HBO in the year of its release. Oh, but it was pan-and-scan, so I actually haven't "seen" it. But I've heard all the dialogue.





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Scott Sidney. From Wikipedia, the free encyclopedia. 'Scott Sidney (1872 – 20 July 1928), born Harry Wilbur Siggins, was an American film director. He directed 117 films between 1913 and 1927. He died in London, England, United Kingdom.' And that's the entire text of the article. There is also a list of nine of Sidney's films.

W. S. Van Dyke. From Wikipedia, the free encyclopedia. 'Woodbridge Strong Van Dyke II was born on March 21, 1889 in San Diego, California. His father was a Superior Court judge who died the day his son was born. His mother, Laura Winston, returned to her former acting career. As a child actor, Van Dyke appeared with his mother on the vaudeville circuit with traveling stock companies. They traveled up and down the coast and into the Middle West. When he was five years old, they appeared at the old San Francisco Grand Opera House in Blind Girl.'

Hugh Hudson. From Wikipedia, the free encyclopedia. 'Hudson had rejected numerous feature film offers before Chariots of Fire's success. His next production was Greystoke - The Legend of Tarzan, Lord of the Apes (1984) which received four Oscar nominations, and was Ralph Richardson's last screen performance, for which he was nominated in the 1984 Oscars as Best Supporting Actor. It was a success at the box office and with critics.'

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 21 May 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress:
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 DP
BRH Battle Royale/Hunger Games Es1 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 Sc Mu Rv1
DRB Devil's Backbone/Dorm Es1 2 Rv1 2 Sc
HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
PAI Pinocchio/A. I. Es2 Rv1 DP Mu
SKN Victim/Skin I Live In Es1 3 Dir Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Es1 SFX
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Scr Dir Rv1 2 3 Es1 2 3

The Future Unreels

trxbooks.com


Mon May 22, 2017 11:07 am
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