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 YTMN Presents a Remake Rematch Thread 
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A Comparison of Tarzan of the Apes (1918), Tarzan the Ape Man (1932)
and Greystoke (1983)

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IMDb link 7.2/10 with 5429 user votes -- RT-link Tomatometer 100%/user rating 68% with 967 votes

Year: 1932 -- Director: W.S. Van Dyke -- Writers: Cyril Hume, Ivor Novello -- Cast: Maureen O'Sullivan, Johnny Weissmuller, C. Aubrey Smith, Neil Hamilton, Ivory Williams, Ray Corrigan, Johnny Eck -- Length: 100 min. -- B&W/Mono -- budget: $652,675 (estimated). An oddly precise estimate.

With such small numbers of votes lodged at IMDb and RottenTomatoes I cannot assume that many people outside my generation have seen this film. Perhaps some of you have watched it in order to await this review. Ha ha. Let me put any delusions aside for a moment, and get down to writing about the Tarzan film that for a few decades was the Tarzan movie.

This film veers quite close to "so bad it's good" territory every once in a while. Somehow it remains entertaining, but the whole fabric is clearly something out of another time. That is part of what makes it so much fun to watch. Most of the time it is energetic. There are a few sequences where either 1) time is being filled with whatever was available, or 2) the stock jungle footage of wild animals was too expensive to not use every frame, and the pace draaags a bit. But only for a little while.

I have read that the contract between Edgar Rice Burroughs and MGM specified that the films would use the characters from the Tarzan books, but were prohibited from using any of ERB's plots! So Cyril Hume's adaptation and Ivor Novello's dialogue grew out of avoiding Burroughs' plots as much as it did anything else.

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Maureen O'Sullivan is an interesting choice for Jane Parker. She is beautiful and likeable. The part she plays is written so that her courageous core shows through her blubbering and shrieking, for the most part. It is puzzling what and who Jane is supposed to be. But this is a story about Jane Parker, not so much about Tarzan the Ape Man. He is a prop in her tale. The story is told from her point of view, not his. Our fictional journey begins with her arrival in Africa. The man (the central character of the early novels) is presented as a nearly dumb brute, clever, but unschooled in the ways of "civilized" man, and doesn't show up until a third of the way through the run time.

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Johnny Weissmuller is an equally interesting casting choice for Tarzan. The prior Tarzan was a rather bulky, beefy man. This actor is an Olympic medalist, and at 28 years old is still quite slender and muscular. The leanness provides some male glamour that matches what Maureen O'Sullivan brings to the role of Jane. He shows an incredible amount of skin, which is quite certainly in line with the descriptions of the character on the pages of Burroughs' books. After the Hayes Office became powerful, Tarzan's covering would become much more modest. But this is a pre-Code movie. It is clear how Jane's presence on the screen would affect straight boys, but imagine how same-sex-oriented boys would have felt about Weissmuller's loincloth (undoubtedly a 21st-century thing to wonder about a 1932 movie!). The film must have been an eye-opener for a lot of kids.

The villains are immoral, yet Jane is amoral, and so is Tarzan. But only in a British Empirical sense; he is moral within the context of his jungle world. For early 20th century youngsters seeing the movie, the racism and sexism would not be so visible, but the inverse moral code would seem quite admirable: The lives in the jungle are just as valuable as the lives of city-dwellers, whether those lives are animal or human. And any white-skinned Imperials who venture into the jungle with any other notions in their brains deserve to...die. An interesting point that was obviously possible to hold in 1932, but somehow my egoistical point of view wrongly assumes that such high-minded notions could only have come about since I was born. If that makes any sense.

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I was curious if Weissmuller's scanty attire led to bans anywhere in the US or worldwide. The only Google link to that film and the word "banned" is in an article about Nazi Germany banning the first sequel because it showed an Aryan person in brutal surroundings.

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

Like: The verve with which the story is told, the no holds barred sort of runaway train that the movie becomes. It is a frequent thing for late 20th and early 21st century films to go too far. But in mid-20th century films you don't get to see much of that. This film predates the Hayes Office and enforcement of the original Motion Picture Producers and Distributors of America censorship code. So it is free to become too violent and grotesque. To go too far.

Like: The editing overall. There are sequences (such as one where Cheetah is evading a leopard) in which the two opposing animals are never on the screen together. Yet the cutting of the footage builds suspense, and a sense of threat, while creating the illusion that they are chaser and chased. This is skillful editing of footage!

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Like: The intercutting between Weissmuller and his stunt double(s) is most often seamless. No screen credit is given for stunts, so the name of the stuntman(men) is difficult to trace. Because Weissmuller is nearly naked, his stunt actors had to be exactly his build, or it would be much more obvious than with the sometimes clumsy transitions between Robin's main actor and his stunt double in the 1943 Batman serial.

Like: Jane Parker doesn't realize that her beloved father is the co-villain alongside future Commissioner Gordon, Harry Holt (actor Neil Hamilton). Nor does she represent all that is good and kind and never violent. She expresses rather Imperial attitudes at the end of the film. But she quickly assumes Tarzan's image of the animals around him.
Don't Like: Sadly, Tarzan seems to retain Burroughs' racist attitudes toward the African natives (something that is all too apparent in the written stories).

Like: As ridiculous as some of the conceits in the film are, they are played in such a way that they don't come across as blatantly stupid. For example, Tarzan has apparently never seen a woman before. Or, maybe it is that he has never seen a Caucasian one. That isn't clear. But he is taken with Jane, and takes her as well. Imagine being a freshly adolescent boy in the audience (or a girl, too) who is just beginning to have that funny feeling toward other people. And, for most, that strangely repellent fascination for members of the opposite sex. They could relate, right!?

Like: You would expect (at least I would) that a 1932 film would show human life as much more valuable than animal life. You would also expect that a 1932 American film would show white lives as mattering more than black ones. In this film, We would be wrong about the first assumption, and sadly correct about the second one. The movie comes off as amoral on balance to 21st century eyes. I don't know whether amorality was a "thing" back in those days. I know it made an unnamed rush across the screens in the 1970s, but was quelled again by Star Wars. It is an interesting thing to see it here. Of course, when I was one fifth my age and saw this for the first time, I didn't notice at all. But it is quite obvious to my eyes at 64 years old.

Like: This is something that fetched me even as a pre-teen: there is a lot of "nature footage" in the movie. Even some odd anthropological stock footage. And this fed my nascent desire to learn about people and places that I couldn't go see for myself. I understand now that it's contrived and posed, but I still like it.

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Ambivalent about: Early on, the anthropological footage of the African tribal natives is interesting, and is presented with a modicum of respect, although this is also clearly a freakshow for the white audiences who would watch the movie in theaters. That last point adds a bit of squick to watching the clips presented as they are. Kind of another case of amorality, I think; but this time on the part of the filmmakers, rather than the fictional characters in the movie. Then again, there is a certain educational aspect to the footage of humans and animals from Africa. The prejudices of the viewers would be the same whether this was stock footage in a fictional film, or a documentary film that most Tarzan viewers would have avoided. I am unfairly judging all these people with the lens of 2016, you realize.

Like: Even while being treated in what modern eyes would categorize as a sexist way, Jane slowly comes to understand that Tarzan is not her subjugator, especially when he returns her to her party of English invaders. Cleverly, Tarzan and Jane kind of "use" each other. They also rescue each other! Way ahead of what I thought would be the attitudes of 1932.

Like: It is terrific fun to do a continuous MST3K-style riff on the movie as it progresses (and holds your attention).

Like: The moviemakers understood that Johnny Weissmuller was an Olympic-class swimmer, and an athletic star, not an acting star. So his role, although the titular character, is kept to a minimum. Tarzan becomes a nearly-mute jungle enigma. This movie could easily have been the Gymkata (1985) of its day. Instead, the concept was in understanding hands. Poor Kurt Thomas. Lucky Johnny W.

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Don't Like: The climactic scene has a cacophonous, supposedly diagetic soundtrack that goes on. And on. And on. For several minutes. In such an annoying way! It's as if the sound editor was afraid to let the tension flag, and in an attempt to keep the intensity going, loops and loops his loops. It gets very tiresome. And it becomes noticeable, which is almost always bad editing.

Don't Like: Jane's character seems to waver between strong woman and frightened debutante. This might have been interesting to those in the 1930s. Perhaps this was done so that the audience could self-righteously think, "Ah! not really so brave, eh, little girlie!?" Yet the sexism in the film is so often subverted that it is difficult to know whether the culture of the day is somehow oozing through the motions and words of the character and those around her.

Don't Like: Cultural robbery wasn't even a thing back then, insofar as categories go. If there was ivory around and white people could take it out of Africa, well that was entirely okay (with the white folks). The natives weren't putting it to any "good use."

Don't Like: Where does the dwarf tribe come from? There are a pair of lines tossed in by diologist Ivor Novello: "Are they pygmies?" "No. They're dwarves." Instructional for any viewers who don't know the difference. I mean, I admire someone's notion of giving dwarves screen roles, even if they are slathered in dark, full-body makeup, but remember this is the era of Freaks (1932) which paraded the unusual bodies of circus freakshow performers across the screen. And for precisely the same prurient interest in the audience that compelled people to drop their nickels and dimes in order to see such people live and in person. But, once again, this film gives with one hand and takes back with the other. At least the people were working. Even if they were playing twisted little jungle demons. I wonder how many of the dwarf-tribe players became Munchkins seven years later.

Don't Like: Gah! The ape suits. I guess the best they could do in the day?

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Don't Like: The racism has a certain finesse to it that reduces its impact. There is clearly disregard for black lives. Many of the African characters are not only red-shirts, but black men in red shirts! The white overlords tie themselves together when traveling along a cliff-side pathway, but rope is too expensive for the black porters to be afforded the same safeguard? The expected downside happens to both Jane and an unnamed porter. Guess who survives the slip.
Like: I think this kind of disregard for human life comes across as wicked and immoral in the film. Maybe I'm reading that into what I see. Maybe I'm invited to do so by the movie. Not sure.

Don't Like: Animals from continents other than Africa show up in the "African" jungle. But as a kid I didn't know, and neither did most of the adults watching.

Don't Like: Too much under-cranked film.


My inability to easily pick apart the racism and sexism and non-either aspects of this movie may simply be a signal that it cannot be judged by the 21st century values that we have now. Basically, Jane is subjected to sexism, but she rises beyond and above the opinions others have of her "frail" femininity. Her companions view Tarzan as a brute, unintelligent, not even capable of feeling emotions, but she believes otherwise. Honestly, I don't think the filmmakers were experimenting with an anti-sexism movie at all. They merely wanted to get Jane and Tarz together. The erotic quality of the film is not blatant, but it is there, no doubt.

Tarzan himself is a rather strange character in this story. Where he came from, other than the obviousness of two white parents, is never explored. The question is raised in one throwaway line, and then the idea is...thrown away. Whether he knows language is not clarified. He learns a few words of English, but not many. He speaks them with an American accent. But why? I recall that as a child I didn't question the lack of any explanation. I didn't even revel in the enigmatic nature of the jungle man's existence. He simply was, and I simply watched.

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It is difficult to recall precisely what I thought when I first saw the movie, because I honestly cannot remember whether it was shown on 1960s television. Its first sequel, Tarzan and His Mate (1934) was shown. I marveled at how little Maureen O'Sullivan is wearing in that film, so I recall it clearly.

I think the explanation for Tarzan's enigmatic past lies in the proscription placed on MGM when they were allowed to use characters but no plots from Burroughs' books. After all, ERB exhaustively details where Tarzan comes from in his initial novel. That was 20 years old and 20 years popular by the time the movie was made. So telling the same past would have been copying a plot (prohibited) and making up another source story would have been risking fanboy ire even before it had a name!

For the kids watching this film, Tarzan would have already existed. They would have read comics, and been familiar with where the jungle lord came from. For the adults, they might have seen the 1918 movie with Elmo Lincoln as Tarzan. It provides the background information for Tarzan's origin. There was no need for Hume and Novello to explore the past of a popular character who already "just was."


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Biography of Johnny Weissmuller. from geostan.ca. "Weissmuller often claimed that he did his own stunts. This was only partially true. It was inevitable that he should do all his own swimming. But the acrobatics of the MGM films were handled by Alfred and Tony Codona, circus aerialists. When Sol Lesser took over the production of the Tarzan films, he hired stuntmen to double for Johnny, but stated that after the stunt had been photographed, Johnny often repeated it just to prove to himself that he could do it. Again, this claim was probably made for publicity purposes. Johnny Sheffield denies it, adding that the Olympic athlete never had to prove anything to anyone. And considering the investment, it is doubtful that any producer would permit his star to do anything even remotely risky."

Tarzan and His Mate. From loftcinema.com. This is about a free showing of the second MGM Tarzan film, Tarzan and his Mate (1934): "The film banned in Nazi Germany by the National Socialist Party because it depicted Nordic man in brutal surroundings!"

Pre-Code. From DVD Beaver.com. "The Production Code was not created or enforced by federal, state or city governments. In fact, the Hollywood studios adopted the code in large part in the hopes of avoiding government censorship—preferring self-regulation to government regulation. Thus, adherence to the code was always mostly voluntary. In the mid-1950s, a few major producers began to openly challenge the Code. By the mid-1960s, Code enforcement had become virtually impossible. The Code was abandoned in 1967 and replaced, in 1968, with the MPAA film rating system."

Tarzan the Ape Man (1932 film). From Wikipedia, the free encyclopedia.

W. S. Van Dyke. From Wikipedia, the free encyclopedia. "In 1915, Van Dyke found work as an assistant director to D. W. Griffith on the film The Birth of a Nation. The following year, he was Griffith's assistant director on Intolerance. That same year he worked as an assistant director to James Young on Unprotected (1916), The Lash (1916), and the lost film Oliver Twist, in which he also played the role of Charles Dickens."

Cyril Hume. From Wikipedia, the free encyclopedia. "He wrote for 29 films between 1924 and 1966, including Tarzan the Ape Man (1932), Flying Down to Rio (1933), The Great Gatsby (1949), Tokyo Joe (1949) and Forbidden Planet (1956)."

Johnny Weissmuller. From Wikipedia, the free encyclopedia. "At age nine, young John Weissmüller contracted polio. At the suggestion of his doctor, he took up swimming to help battle the disease. After the family moved from western Pennsylvania to Chicago, he continued swimming and eventually earned a spot on the YMCA swim team."

Neil Hamilton (actor). From Wikipedia, the free encyclopedia. "Hamilton was signed by Paramount Pictures in the mid-1920s and became one of their leading men. He often appeared opposite star Bebe Daniels. In 1926, he played one of Ronald Colman's brothers in Paramount's original silent version of Beau Geste."

Maureen O'Sullivan. From Wikipedia, the free encyclopedia. "In 1932, she signed a contract with Metro-Goldwyn-Mayer. After several roles there and at other movie studios, she was chosen by Irving Thalberg to appear as Jane Parker in Tarzan the Ape Man, opposite co-star Johnny Weissmuller. She was one of the more popular ingenues at MGM throughout the 1930s and appeared in a number of other productions with various stars. In all, O'Sullivan played Jane in six features between 1932 and 1942."

Clyde De Vinna. From Wikipedia, the free encyclopedia. "De Vinna was cinematographer on over 120 film and television projects from 1916 through 1953. He graduated from the University of Arkansas and began his career began when he joined Inceville studios in 1915 as First Cameraman."

Tom Held. From Wikipedia, the free encyclopedia. "...an Austrian born American film editor. He was nominated for 2 Academy awards. Both were for Best Film Editing as well as both were during the 11th Academy Awards. His 2 nominated films were The Great Waltz and Test Pilot."

Harold Rosson (1895–1988). From IMDb. "Rosson also was hailed for his photography on The Wizard of Oz (1939), for which he received the first of his five Academy Award nominations. When Rosson shot "Oz," he had the aid of two cameramen lent to MGM by Technicolor,..."

Ben Lewis (1894–1970). From IMDb. "Long-standing MGM editor, under contract from 1924 to 1967."

Movie posters found under old linoleum sell for more than $200,000. From The History Blog. "The newspaper preserved, Dylan and his brother Bob went on to find a poster of Tarzan the Ape Man, the 1932 movie starring five-time Olympic gold medalist swimmer Johnny Weissmuller as Tarzan and Maureen O’Sullivan as Jane. They texted a photo of the poster to Robert. By the time he got back home and the linoleum was all gone, Bob and Dylan had found 16 more movie posters, all in excellent condition."

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

trxbooks.com


Sat Jun 04, 2016 12:19 pm
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Deciding what to do for these posts is a bit fun and a bit daunting. I made the mistake of doing mental math and realizing that I have 90 Tech posts to do for these 10 Rematches.

Today's post is a review of the 2010 film Victim from the SKN NQRR.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

trxbooks.com


Sat Jun 11, 2016 9:06 pm
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Post Re: YTMN Presents a Remake Rematch Thread

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

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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.

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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.

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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.

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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.

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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.

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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.

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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.



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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).

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Jun 11, 2016 9:07 pm
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Post Re: YTMN Presents a Remake Rematch Thread

Needing some posts between the ones with graphics, I got to thinking about my experiment with reading the Louis Pergaud novel from 1912, The War of the Buttons, in French. I wanted to write a little bit about the experience because it has had its ups and downs.

Then I remembered that I started an essay a few months ago about that very topic. I broke it out and had it rewritten fairly quickly, but, damn, it was hard to find graphics for it!

I'm not sure the graphics I created actually make sense. But they exist mainly to break up the wall of text.

Anyway, if you're coming to this post there is a review above for the SKN NQRR that I posted this morning, and the essay from the BOU Remake Multimatch follows this graphics-density-reduction post. :D

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Jun 12, 2016 8:06 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)


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I Am a Fool Reading in a Foreign Tongue

This probably happened to you when you were in school: whatever your native language, the greatest stories from that language were trotted out for you to read. Now, I don't know if the idea that William Shakespeare is the greatest writer who ever lived, permeates any culture other than English-descended ones. I think probably not. But in our schools we heard about great writers in other tongues while being able to read only those who wrote in our language, or if we experienced writers from other nations with their own languages apart from English, it was via translation to English.

Isn't something lost? I've envied Beau his fine command of English, because that along with his native Spanish fluency allows him to enjoy Cervantes in Spanish, and Hemingway in English. I suspect he gets more out of reading Cervantes in the original language than I would get from reading even the finest translation of the book into English. Rouge can read both French and English, so she would not have had the problem I faced when I learned that there were two additional versions of Louis Pergaud's La Guerre des Boutons made for the screen and released in 2011. While searching through the web to learn more about that Rematch-enabling fact, I was happy to find out that the Irish film from 1994 was now re-issued and at last affordable on DVD. All I needed was all the films and the original novel!

As you know, if possible, I always read the original play, screenplay, novel or short story that inspired the films in this thread. But the 1968 English translation of Pergaud's book is now a rare edition, and the price for the only copy I could find offered on the internet increased from $136.00 to $235.00 during my few days of looking diligently to find one somewhere. (I suspect my own interest as the cause of the price increase, but I might be delusional.)

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Well, I can still ask for an inter-library loan and read it in English, but I decided to be bold (stupid) and adventurous (self-threatening) and buy the very inexpensive Kindle edition of the novel in French. Yeah! The fool sets out to read a story in a language he doesn't know! I am borne up in my pursuit of this folly by technology, and a life-long penchant for languages.

So, I also draw on the fact that as I have plied my brain with French-language films for 32 of the past 64 years, it has become standard experience for me to listen closely to the French language as I read the English subtitles; sometimes I am able to understand that what the French actors said is not what the translation says. In other words, I have picked up some understanding of spoken French from exposing myself to the sound, alongside English subtitles. Seepage is the only explanation I can offer.

I have never studied French formally, but I have studied German and Spanish formally, and I know English fairly well. English borrowed a lot from French. French and Spanish are Romance languages. In 1977, I read a scientific paper (biology) in Italian and (to my astonishment) understood most of it due to knowing a smattering of Spanish along with German and English and a smattering of Nederlands. Why that worked, I have no idea! The reason I know it did work, is because my boss paid an Italian speaker to translate the paper for us.

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So, what else do I have to do that is more important than trying to read Pergaud's novel, even if it's in French where I will be lucky to understand what's going on, and will surely miss the subtleties? Not only that, Pergaud wrote the dialogue and part of the narrative in colloquial French of WWI times, plus he rendered the local speech in dialect! It's similar to the situation a non-English speaker would face if trying to read Mark Twain's Tom Sawyer from the original 19th century version. Or, and this might be a better example, one of Charles Dickens' novels from the original text.

So far it has been fun to try reading a foreign language novel in a language that I have not actually studied. It is amazing to me how much of English was borrowed from French and still retains the same meanings, but it isn't amazing that there are many false-cognates, avertissement being one. Looks like "advertisement" but means "warning." I can understand that. Sometimes a warning in English is preceded by the word "Notice" which is another translation of the French word in question.

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This foolish undertaking is all aided by the fact that the meddling internet located me in the world, took pity on me and immediately also downloaded the Oxford-Hatchett French-English Dictionary to my Kindle, alongside the novel. So if I don't know a word, a touch later I can see examples of the meaning in English. (While putting this post together I found a Kindle book with 1000+ French phrases that is useful, and a "5-Day crash course" to learn basic French...so they are now on my Kindle device.)

Mais, there are a lot of words in Pergaud's novel that purposely aren't true French, which leaves the translation software as baffled as I am, and it merely repeats Pergaud's on-purpose misspelling, or dialectic rendering, or word that he had the speaker make up for lack of knowing the real word he wanted to say. The speaker that is, not Pergaud. These words will not be in my new French phrasebooks.

Naturally, I cannot use this touch and read translation technique when I peruse the graphic novelization that I bought, so it's often best to read it mostly by pictures, by knowledge of the films that I have seen, and by picking out some words or phrases and typing them into the translation program.

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So I struggle on with the original novel, moving very slowly, unsure whether I am comprehending anything of the French text. And after I misinterpret a paragraph or two, I can select all the text and fire up Google translate which gives me an often hilarious translation of the entire passage. Not surprisingly, that translation needs a bit of translation as well. But, it's close enough that I get a good idea what's happening or what's being said.

What I've learned is that I'm not missing as much of the subtle characteristics of literary text as I feared at first. The imagery is quite clear as long as my understanding or the translator can get close to the meaning. Idioms are no doubt accessible to me only via the translator. But Pergaud's text is very rich, and understandable, and would probably be a delight to a young French-speaking reader who could understand the subtleties that elude me. And the characters are crazy cool. After all, the boys from fictional Velrans and Longeverne talk like the real kids I grew up with, not the soapy-mouthed lads of Charles Dickens or Mark Twain. Hell, Pergaud's little bastards say "fuck" when they mean "fuck!"

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M. Pergaud died in WWI. But, Vive le roman français écrit par Pergaud! (thank you, Google translate)

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War of the Buttons The Book and the Movies. Hubpages. Source of some images.

La Guerre des Boutons. Source of some production photos.

Louis Pergaud, 1882-1915. Source of Pergaud portrait.

Second lieutenant Louis Pergaud (centre). Source of Pergaud in uniform.

Como Turbinar Seu Vocabulário Com A Leitura – 05 Dicas Ninjas!. Source of one image.

Ebook Versus Hard Copy from breartonbooks.com. Source of two photographs.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Jun 12, 2016 8:06 am
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Post Re: YTMN Presents a Remake Rematch Thread

It would be cool if by Sunday I could have a post up in each of these Rematches. There are three that still lack anything besides the basic Initial Post and Find It tech posts. About to put up a tech post for the one Das suggested.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Jun 18, 2016 3:02 am
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Not Quite a Remake Rematch of
The Tingler (1959), Night of the Creeps (1986) & Slither (2006)

Special Effects - the Creatures

Special effects in 1959 meant something different from special effects in 2006. The techniques were different. Indeed, the possibilities were different. Many of the people who built the effects for the 1986 and 2006 movies saw The Tingler when they were kids, and wanted to make the effects look more realistic. Over their careers in SFX, they found a way. Here are three people that I chose from the lists for each film. It is difficult to know whom to select. After all, between credits lists made in the same year there can be discrepancies in job titles for people doing the same task on different films. Over time the lack of a standard title for a specific job grows more influential. And even if job titles were standardized across the industry, no one can travel back to 1959 and get the title designers for The Tingler to comply with the new regs!

1959

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There is no name that I can find to associate with the creature model created for this film. Clarence Peet is the uncredited prop master, according to IMDb, but his name is not associated with the design or motivation of the prop during takes in my Google searches. So I think we can assume that someone, or several persons were involved in creating and operating this prop critter, but we will never know who they were. We can be fairly certain that Mr. Peet kept up with it and had it there when it was needed. But that's all! Clarence Peet has 9 art department screen credits at IMDb, but he got no screen credit until his last film, Guess Who's Coming to Dinner (1967). We can only assume that he had some alternate source of income during the 11 years he was working in films.

1986

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Whereas the third film in this NQRR has job titles that include the word "creature" there is no one in Fred Dekker's crew who seems to be the creature designer, or handler. Guided by a Goggle search and this, I selected Robert Kurtzman to profile for this movie. His title for this film is Makeup Effects Artist. It was the first time he had that title. Most of his 93 makeup department screen credits are for horror or science-fiction titles. He seems to have worked almost exclusively on feature film makeup effects, and one made-for-TV movie. But, then, you look under the tab that has his 47 special effects credits, and there are TV series in there, too. Still, nearly everything is feature films. In Night of the Creeps he also acted as the Beta Zombie. In the course of his continuing career he has five credits as director. I have heard of three of the five, but I haven't seen any of them. There are so many credited gigs for this man that I simply chose a bunch of posters for films on which he worked, and will leave it to you to research whatever you wish at IMDb. He has been active since he worked on the remake of Invaders from Mars (1986) and Night of the Creeps (1986). There are unreleased 2017 credits for his work at IMDb. He is the head of Robert Kurtzman's Creature Corps. See the link to his website, below.

2006

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By 2006 armies of people were working on special makeup effects, and combining makeup, models and CGI into the images we see on the screen. The number of people whose job title includes the word "prosthetics" is pretty big in this case. There are animatronics people, a sculptor, and creature effects people and puppeteers. So because I was interested in the critters, I selected Dan Rebert, creature effects designer/special makeup designer. Rebert's earliest work was released in 1991, involving two films: Highway to Hell (makeup effects technician) and Terminator 2: Judgment Day (art department: Stan Winston Studio). Since that year he has accumulated 29 credits in the makeup department, and 28 in special effects. Dan Rebert's jobs have had him working on sci-fi, horror, kids' films, actioners and comedies. Most of his work is for features, but more and more is for the effects-heavy television that is produced these days. You may be familiar with this selection of titles from his IMDb page: Uninvited (1993), Snakes on a Plane (2006), Red State (2011), Mad Men (2013), True Blood (2009-2014), Star Kid (1997), Species II (1998), Magnolia (1999), Eragon (2006), The Invasion (2007), Stargate: Atlantis (2004-2008). There is a link to his website below, and it has some very interesting photos and explanations.



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Clarence Peet. From IMDb.

Robert Kurtzman. From IMDb.

Creature Corps, Kurtzman's company. "Creature Corps is an award winning, full service special make-up, creature, character, and visual effects company"

Dan Rebert. From IMDb.

Creature Creator Dan Rebert Talks to io9 About Alien Influences and True Blood. From io9.

danrebertcreations.com. "Dan Rebert special make up, props and creature effects"

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Jun 18, 2016 3:03 am
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Post Re: YTMN Presents a Remake Rematch Thread

Among the first NQRRs that I thought of was a comparison of Bicycle Thieves (1948) & Beijing Bicycle (2001), because they are exactly different. In a very similar way. So the BIC Rematch gets the next post. It's an essay I wrote six months ago, and touched up today.

Upon first watching Beijing Bicycle whenever that was, before October 2002 for sure, I immediately thought of Bicycle Thieves. I wondered if Wang Xiaoshuai had seen Vittorio di Sica's masterpiece. But I never sat down and watched both films back-to-back. I will before I complete this Rematch, though.

Meanwhile, here's a little contemplation about how the films are alike, distilled into a few images and probably too many words. :D

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

trxbooks.com


Sun Jun 19, 2016 5:47 am
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Post Re: YTMN Presents a Remake Rematch Thread

Not Quite a Remake Rematch between
Bicycle Thieves (1948) & Beijing Bicycle (2001)


Image
Different Times, Different Lands, Same Basic Problem

Both these films deal with the plight of the working poor. At the same time, they both address the exploitation of workers by capitalist businesses, and examine the old adage that runs, in English, "Possession is nine points of the law."

They both use a bicycle as the crux of their polemics. This is an interesting choice, because in much of the world a bicycle is an adult's transportation, highly personalized as it may be. But in many Western cultures where automobiles have become the main mode of transportation, a bicycle is seen as a child's toy, or something that a Phitness Phreek uses in pursuit of a hobby. The thing is, some of those fitness folks actually use their bicycles as tools in an income-producing activity, rather than merely as a way to fitten up their bodies.

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Couriers in many cities ride bicycles for a living. People who put up advertising bills in some areas also still use bikes as transportation, because parking is easier, and you don't have to stop for gas nearly as often. And these people can easily relate to the plight of Ricci, and Guei, the two main characters of the films, when each loses his work machine to thieves. But the financial value of the bikes in question may be difficult for some to relate to. These machines are not only necessary to the work, they are expensive compared to the wealth of the protagonists.

Antonio Ricci's wife pawns the family's bedsheets so that they can get Antonio's bike out of hock. Guei is charged a bit each day for his bicycle, provided by his employer at Guei's ultimate expense. To relate this to the rest of us, let's suppose you took a new job that required you to have a computer for internet access, and your company provided the device, but charged you for it out of your income. For some of you, that may be a reality that I am unaware of. Let's say that this new job was technically intensive and you needed durability, so you were saddled with earning money to live on, plus payments on one of those $5,300.00 doozers that you can back over with a truck, and still open it and boot into the OS with no trouble or worries.

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Then, let's say that because the computer was so valuable, when you went into a location where you had to leave it at a checkstand, someone decided to permanently borrow it from you. When you came back to pick up the computer, it would be gone, and no one would know what happened to it.

You would be in the trap that Ricci and Guei suddenly find themselves facing: you need the job to pay for the machine that enables you to have the job, you need the machine to do the job. Without the computer you will be fired from the job...but you will still owe for the computer. That is the basic set-up for these stories. Except instead of a computer, these guys need a bicycle. A bicycle that is phenomenally expensive to either of the men.

Antonio Ricci has an added complication. He has to care for his family, a wife, baby and young son. Guei is fresh in from the country, staying with a relative, and by some measures still a kid himself. But Ricci is older, and a single father. Each needs the stolen bicycle to the same degree, but di Sica's inclusion of a child in a post-WWII scenario broadens the verisimilitude of his character's plight.

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Each plot, the characters who live in the plot of each film, and the interactions of the people around them are all specific to the time and the nation in which each film is set. And, in each case, no matter whether a bicycle is valuable or denigrated in the viewer's culture, both films are well-written, and have you identifying with Ricci or Guei in short order. You feel their loss, emptiness, desperation. Both films are wonderful in that way.

Decades passed between my first viewing of Bicycle Thieves (1948) and Beijing Bicycle (2001). I first saw Ricci's plight from the point of view of an older child, a high school boy. So I couldn't identify with him as a husband or father. Rather, I related to the character as if I were his child, and he were my father. I first saw Beijing Bicycle as a forty-something divorced father of two, and Guei seemed more to me like a kid I needed to take care of. The sympathy I had for each of these men depended on how I related to them, and that depended on where I was in my life. But in both cases, whether it was a child's concern for a father, or a father's concern for a child, I found a solid connection to the story through the protagonists.

That's why these two films presented themselves as an obvious pair for a Not-Quite a Remake Rematch! Now, of course, even Ricci is young enough to be a son of mine, and Guei a grandson. (Good grief!) So as I re-watch the films again for this Rematch, I'll pay special attention to any change in my point of connection, and report on that for you (as if you cared).

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wall covered with posters india. Google image search results

bicycle courier. Google image search results

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

trxbooks.com


Sun Jun 19, 2016 5:48 am
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People seem to keep reading, so I keep posting.

It took an extra couple of days for me to get to the last of the 10 Rematches that had nothing posted so far. But now, I'm posting something about the ghosts in the DRB NQRR.

Spoiler tags are in place. You can read the revealed part of the essay and not learn jack shit about the movie. :D

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

trxbooks.com


Wed Jun 22, 2016 11:07 am
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Not Quite a Remake Rematch of
The Devil's Backbone (2001) and Dorm (2006)


Image
Charming Little Ghosts: Santi & Vichien

A pair of young actors, Sirachuch Chienthaworn and Junio Valverde are charged with bringing a pair of young ghosts to life in these films. Valverde is Santi in del Toro's El espinazo del diablo and in a film made five years later, Chienthaworn plays a similar character in Dek Hor. None of the images outside the spoiler tags are of the ghosts.

In both cases makeup and CGI play a role in getting the character across. Neither movie is solely a "horror film," so
the ghosts do not have to be totally creepy. But, thank goodness, they are.

Image

Both ghosts are hard to look at: Vichien is quite startling in the first view that Ton has of him as a dead spirit. Santi has a beautifully grotesque flow of blood from a head wound that continues to flow upward even when he is on the dry floor of a dormitory.

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The period in each film where Ton and Carlos are not yet privy to the ghosts' identities have very tense moments. And the directors don't totally ignore the annoying power of the jump shot. The boys are afraid of confronting these dead spirits, but they meet them, anyway, and befriend them.

For most of the movie Sirachuch Chienthaworn looks the way Vichien did on the day he drowned, before the drowning. In fact, Ton meets Vichien in this form before he ever learns that the dorm-mate he has befriended is actually a dead being. Junio Valverde as Santi, always looks the way the boy did after he was murdered and his body was pushed into the dirty pool. He even has constant floating detritus from the water floating around him, wherever he is! A truly grand effect.

In both cases, the ghosts turn into sympathetic characters. Their human, well living human, friends rally to relieve them of some or all of their torture in limbo between life and death. Vichien is freed from the nightly redux of his drowning. Santi drags down the man who, we assume, caused his head wound and tossed him into a dirty pool of water at the orphanage. Thus, Santi's death eventually causes the justifiable death of his killer.

And then, the movies end. In the case of Dek Hor there is one mystery solved, and also rectified. In the case of El espinazo del diablo the Spanish Civil War ends, and Carlos and buddies evict themselves from the bombed out orphanage to face life, while Santi drifts downward in his eternal pool of water toward (perhaps) actual death and release.
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The stories, of course, are about the living boys Ton and Carlos. But the little ghosts are also major characters, and their interactions with the protagonists drive the two stories.


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The Devil's Backbone. From Wikipedia, the free encyclopedia. "Bloody Disgusting ranked the film at number eighteen in their list of the 'Top 20 Horror Films of the Decade', with the article calling the film 'elegant and deeply-felt... it’s alternately a gut-wrenching portrait of childhood in a time of war and a skin-crawling, evocative nightmare.'[5]"

Dorm (film). From Wikipedia, the free encyclopedia. "It received praise from critics for the performances of the child actors and Chintara Sukapatana, as well as for its color-drained photography and the production design of the old boarding school."

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Wed Jun 22, 2016 11:08 am
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Seems that essays are easier to get ready these days. Reviews require watching a film, and tech posts require hours of internet research, image downloading, link placement and graphics production.

So, I decided to post the second essay in the Buttons Multimatch.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Sun Jun 26, 2016 3:22 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)


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A Week Apart

This is the first Rematch we've had where two of the remakes were released a mere week apart. The first 2011 film was released on 14 September 2011, and the other on 21 September 2011. The 1962 and 1994 films were set in their own release time. But the 2011 films are set in their own past. The first, La Guerre des Boutons is set in 1960, similar to the 1962 film. The other, La Nouvelle Guerre des Boutons is set even earlier, in World War Two, in Nazi-occupied France. It is perhaps the least like the original book, which came out in 1912, and is an examination of the way the world's adults were acting at the time.

The author, Louis Pergaud, was killed in the First World War at age 33. On a blog page with a biography of the author, the blog writer asks (according to Google translation) "Who has not read 'War of the Buttons'"? The novel recently went out of copyright in France, which led to two film productions being mounted at the same time. Several graphic novelizations poured forth as well. And there were new print versions, illustrated or not. Consider this sudden flurry a centennial celebration of the story.

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The first cinematic adaptation of the novel occurred roughly two dozen years after its publication: in 1936. Jacques Daroy and Eugene Deslaw directed La guerre des gosses (The War of the Children/Boys). A page on French Wikipedia has a partial list of the players in the film. The IMDb page has a link to a full cast list, but no one seems to have recently distributed a copy of the film. It was released in the US in 1938, according to IMDb. Gaumont has a web page with a single, tiny still photo from the production. Someone has posted a photo of a theatrical poster from the film. (There is a photographic exhibition of the 1915 work of Léon Gimpel which has been published under the same title, confusing the selecting of images from Google image search.) One intriguing page has a cell-phone shot of the screen at a showing that was done in 2011, but with no information on how to see the film. At least we know that one copy must exist. The web page headline touts it as a showing of the entire first version of the novel in film.

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The 1962 realization of the story by Yves Robert is much more widely known and widely available. The dual 2011 releases spurred both DVD and Blu-ray releases of the 1962 first remake.

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The 1994 Irish film was actually the first I saw, from a friend's boot-legged download of it. I had no idea that there was a novel or a French film behind this Irish production upon first seeing it. At the time of my first viewing, in the late 1990's, I was astounded at the story. It is full of comic bits that really hit, and also the hilarious scene where the Ballydowd boys decide to undertake their attack sans buttons (and everything else), easily driving the Carrickdowd boys onto a bridge where they can be doused. This, of course, is the second remake.

From IMDb I learned that there was an earlier French-language version, but it was unavailable. Ten years later, and planning my first Remake Rematches over at RottenTomatoes forums, I sought out DVDs to purchase; but there was no video disc version in current print for either film and the used ones were very expensive. Even VHS tapes were over $100 US. And I had no way to pull stills from them at that time, anyhow.

Over the years the Remake Rematches continued, and I'd liked to have compared the 1962 film (which I could not find) with the 1994 film. But there was no way. Finally, the 1962 French film appeared on YouTube (sans subtitles) but the 1994 film was still nowhere to be found in an affordable form.

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Thanks to the dual French releases in 2011, both the Irish film and the 1962 French film were re-issued. A French-language dubbed version of the Irish film appeared on YouTube as well!

With that two-at-once release and the attendant re-release of items that had been too expensive, this Multimatch became possible. But learning that two new versions came out in one year didn't blow me away as much as learning that the rush to production, as the centennial of the novel approached, meant that the two latest films premiered only 7 days apart!



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La Guerre des Gosses (Generals Without Buttons) (1936). From Rottentomatoes.com. "A popular and frequently filmed novel by Louis Pergaud was the source for La Guerre des Gosses (Kids' War). The story is predicated on a centuries-old feud between the villages of Longeverne and Velrans. The main bone of contention is the weather: the citizens of Longeverne pray for rain for their cabbage crop, while the residents of Velrans are equally fervent in their prayers for sunshine. The conflict trickles down to the children of each town, who ultimately stage a mock battle which serves to reconcile the two communities...at least temporarily. The most famous screen versions of La Guerre Des Gosses, both titled The War of the Buttons, were filmed in 1962 and 1994. ~ Hal Erickson, Rovi." No source for this film is given.

La Guerre des gosses. From French Wikipedia. "La Guerre des gosses est un film français de Jacques Daroy, sorti en 1937. C'est la première adaptation au cinéma du roman La Guerre des Boutons de Louis Pergaud." from Google translate: "The kids of War is a French film of Jacques Daroy , released in 1937. This is the first film adaptation of the novel The War of the Buttons of Louis Pergaud."

La guerre des gosses (1936). IMDb. The only trivia entry: "This film launched New York City television's first International Film Festival when it was telecast on 1 August 1939 on NBC's W2XBS; the festival continued with The Edge of the World (1937) on 3 August 1939, and concluded on 24 August 1939 with Abraham Lincoln (1930)."

La guerre des gosses. From Gaumont.fr. "Année de sortie : 1936 -- Durée : 87 mn -- De : Jacques Daroy -- Avec : Serge Grave, Lucien Callamand, Jean Murat". Google translate version of the page. "Synopsis -- Separated by an ancient hatred, two small villages of the South see their child population to engage in a war without thank you as the teacher of the first and second mayor are animated by a very different feeling. First film adaptation of the novel "War of the Buttons" Louis Pergaud."

1915 : la guerre des gosses. From Blog Histoire – Géo at Wordpress.com. Publié le 28 juillet 2014. This has nothing to do with the film, but with a photographic exhibition. From Google Translate: "Léon Gimpel, photographer featured L'Illustration, strolled in 1915 in the Sentier district in Paris and met kids hanging around street Greneta. He then had the idea of offering children to play in the war, for real, in front of his camera. Mothers readily agreed to make the costumes of the small German and French soldiers." and "He realized two series of photographs: one in autochrome, process invented by the Lumière brothers, whose Gimpel was very close, and another in black and white. But L'Illustration found not serious enough about to put it in its pages."

Louis Pergaud from http://foncinelebas.free.fr. "Louis Pergaud n'est pas de chez nous, mais les Longevernes ne sont pas loin."
Google translation of the page: "Who has not read "War of the Buttons"? in the 1890s, children Longeverne controlled by Lebrac and children Velrans, led by the Aztec, clash in epic battles to settle a matter of honor that is in reality a resurgence of an ancient dispute."

A Vence, projection exceptionnelle de la toute première "Guerre des Boutons". From francetv.info. Mis à jour le 10/12/2012 à 15H16, publié le 28/11/2011 à 18H04. Google translation of the page: In Vence, special screening of the first "War of the Buttons" -- "The War of the Kids", the first film adaptation of the book "The War of the Buttons" Louis Pergaud, was shot in the south of France in 1936. Jacques Daroy, the filmmaker chose his young actors among children the village. Mouloudji Aznavour and then made their first steps as actors." -- "The film 'The kids War' by Jacques Daroy was screened as part of the 17th film meetings of Vence, in the presence of certain actors of the time." This leads me to believe that the film might someday be distributed.

War of the Buttons (1962). IMDb. "La guerre des boutons (original title)"

War of the Buttons (1994). IMDb.

War of the Buttons (2011). IMDb. "La guerre des boutons (original title)"

War of the Buttons (2011). IMDb. "La nouvelle guerre des boutons (original title)"

La Guerre des boutons by Louis Pergaud. From archive.org. An audio book of the novel. This is a link to Ch 1-3. There is a link on the page to Chs. 4-5. "Livre audio gratuit enregistré par: Christophe Pour Audiocite.net Également disponible en Peer to peer." Audio book for chapters 1-5 of the novel.

Lectures en Français La guerre des boutons © CLE International, 1996. Louis Pergaud. From joseacontreras.net. A pdf in French.

La guerre des boutons de Louis Pergaud. ebooksgratuis.com. A pdf of Pergaud's entire novel in French.

War of the Buttons (novel). From Wikipedia, the free encyclopedia. "The War of the Buttons, a novel of my twelfth year (complete title) is a French novel written by Louis Pergaud, from the French region of Franche-Comté, and published in 1912. It describes the "war" between two gangs from rival villages, Longeverne and Velrans, in the countryside of Franche-Comté. The author got his inspiration from the village of Landresse, where he taught for two years."

La Guerre des boutons (roman). De Wikipédia, L'encyclopédie libre. "La Guerre des boutons, roman de ma douzième année (titre complet) est un roman français écrit par Louis Pergaud, écrivain franc-comtois, et publié en 1912. Il décrit la « guerre » que se livrent les bandes d'enfants de deux villages rivaux, Longeverne et Velrans, dans la campagne franc-comtoise de la fin du XIXe siècle. L'auteur s'est inspiré de la vie dans le village de Landresse, dans le département du Doubs, où il a enseigné deux ans."

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Sun Jun 26, 2016 3:22 am
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It looks like I might be able to get 2 posts mounted some weekends. Here's the second in a row where I've been able to do that.

The first essay for the NQRR with The Mayor of Hell, and two other films that are derived from it is ready and will be up in a minute.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Mon Jun 27, 2016 10:03 am
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Not Quite a Remake Rematch of
The Mayor of Hell (1933), Crime School (1938) and Hell's Kitchen (1939)


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The Dead End Kids

First there was the 1935 Sidney Kingsley Broadway play. Dead End. It was a hit. But it not only made itself famous, it made a group of young actors famous, and six of them somehow landed the same roles in the 1937 film adaptation of the play, as the East 53rd Place Gang. This meant that the kids got to star alongside Humphrey Bogart, who was not yet the name that he would become in 1941 after The Maltese Falcon rocketed him to world-wide stardom. But for a while their fame nearly eclipsed his. Certainly was the equal of it. The main difference was that he was famous for being Humphrey Bogart. These youngsters were famous for being one of "The Dead End Kids."

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Billy Halop, Bobby Jordan, Huntz Hall, Bernard Punsly, Gabriel Dell, and Leo Gorcey became The Dead End Kids. Some of them would play teenagers well into their 40s. Some of them would remain part of what was basically the same ensemble group during all that time, too. It was at least paying work for an actor. Easier than digging ditches or mining coal, for sure. Several of the Kids made it into Little Tough Guys, The East Side Kids, and The Bowery Boys after the original group dissolved.

Collectively they made a very large number of B-films. Sometimes they would appear in A-movies, but usually as a subset of the group. Often, individual team members would get solo roles in films, as well. For example, in 1940 Jimmy Lydon played Tom Brown and Dead-Ender Billy Hallop played Flashman in Tom Brown's School Days (featured in another Rematch in this Round).

They find their way into this Rematch because James Cagney and Frankie Darro made a fairly successful pre-code film in 1933.

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In 1933 James Cagney starred, and Frankie Darro co-starred in a prison movie set at a boy's reformatory, The Mayor of Hell. The title refers to Darro's character in the story, Jimmy, who lands in boy's prison because he is the leader of a gang of kids trying to survive on the streets of New York City. The film was well-received.

Five years later, a film similar to that film was made with the Dead End Kids and Humphrey Bogart. Oddly, or it seems odd to me, this film is so similar to The Mayor of Hell that it is nearly a remake, but is so different from that film that it is only a not-quite-a-remake. That difference makes this an NQRR rather than my standard type of Remake Rematch.

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Crime School came out in 1938, with Humphrey Bogart in the lead, and The Dead End Kids starring alongside him again as some of the inmates of the reform school. The story is somewhat different, the characters are much the same. Even plot points are shared with The Mayor of Hell. But it isn't quite the same story. Halop, Jordan, Hall, Punsly, Dell, and Gorcey are the major juvenile characters in Crime School, which was their first film after Dead End, although it was made for a different studio. Why is that? Because they misbehaved, and hacked off Samuel Goldwyn during production of Dead End, according to David Hayes and Brent Walker in The Films of The Bowery Boys(1984), as mentioned in Wikipedia. "During production, the boys ran wild around the studio, destroying property, including a truck that they crashed into a sound stage. Goldwyn chose not to use them again and sold their contract to Warner Brothers."

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The following year, a somewhat closer remake of The Mayor of Hell was released, this one with Ronald Reagan in the James Cagney part. It was entitled Hell's Kitchen. The boys in the school? The Dead End Kids again. The character names were changed, and the plot was closer to that of the 1933 film, but basically this young actors' ensemble reprised their roles from the film Crime School.

As for the quality of acting: most of the actors in the Dead End Kids ensemble don't seem to be acting. Maybe they are actually playing themselves, but they are also able to mimic emotions in the way that works well in film: it's all on the outside, but the outside lets you sense the inner emotion and thinking, and that's what you connect to. It was probably this capability that led to some of them having long film and television careers.



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Dead End Kids. From Wikipedia, the free encyclopedia. "In total the various teams that began life as 'The Dead End Kids' made 89 films and three serials for four different studios during their 21-year-long film career. The team was awarded a star on Hollywood's Walk of Fame that can be found at the corner of La Brea and Hollywood."

Leo Gorcey (1917–1969). IMDb.

Huntz Hall (1919–1999). IMDb.

Gabriel Dell (I) (1919–1988). IMDb.

Billy Halop (1920–1976). IMDb.

Bobby Jordan (I) (1923–1965). IMDb.

Bernard Punsly (1923–2004). IMDb.

"Beco Sem Saída" (1937). De O Cinema Antigo, sábado, 22 de agosto de 2015. "Ao ver Dead End, Goldwyn compreendeu que naquela peça havia material para fazer um filme que reunia dois elementos lucrativos: o realismo social de uma rua de Nova York e a denúncia da pobreza e da miséria como motor da delinquência juvenil." From Google translate: "Seeing [i] Dead End [/ i], Goldwyn realized that piece had material to make a film that brought together two profitable elements: the social realism of a New York street and the denunciation of poverty and misery as delinquency engine youth." Source of photo.

Dead End (1937) By Toronto Film Society on July 18, 2015. Source of images.

Crime and Ganster Films from cine collage.net "Dead End (1937) ushered in a new strain of socially aware gangster pictures which wrestled with the question of how criminal behavior can be minimized in the United States." Source of image.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Mon Jun 27, 2016 10:04 am
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Thought I might get used to the full-box borders on those graphics for HEL...but I don't like it. I think I'll re-do them and post the adjusted ones soon.

Got the first essay ready to go in the SKN NQRR. It's about another film with a similar theme, and some time-travel to boot.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Thu Jun 30, 2016 1:00 pm
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Not Quite a Remake Rematch between
Victim (2010) and The Skin I Live In (2011)


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Unrequested Adjustments

Robert Heinlein published a short story in 1959 that features such a transition. The story's title "All You Zombies--" doesn't really tell you what the story is about. Because it isn't about zombies. The story was made into a feature in 2014 entitled Predestination. It is a marvelous labyrinth of plot elements that turn back on one another and themselves. Ethan Hawke plays The Barkeep, and Sarah Snook is The Unmarried Mother. And the rest of this essay needs to go behind spoiler tags.
Basically, edgy as they are in choice of subject, Victim and The Skin I Live In are not the only films that feature a transsexual alteration that wasn't requested by the recipient.

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"All You Zombies--" was made into two films that are amateur efforts that you can find on YouTube, and these are pretty much translations of the short story to the screen. But a 2014 Australian film, Predestination enlarges the story while keeping all of Heinlein's elements mostly intact, including much of the dialog from the story.

I thought the time-travel aspect was perhaps added for the film. No. Heinlein's main character is a time traveler. I thought the sex-change was added for the movie, because, you know--1959! But, no, that was an original feature of the short story.

Two characters turn out to be the same person, similar to The Skin I Live In. But the time-travel elements are attempts to befuddle us with sleight of hand and such. As for that part (time-travel), a billion low-budg films from the past 10 years have exploited the same thing. Head games. Wooo! didn't see that coming! Except, yes I did see it coming, because there are so many films using this. Kind of tired of them, now. Kind of proliferating like werewolves and vampires on celluloid. The differences (payoffs) are getting less and less with this genre. Hate to skip one, though, because it might be the next really really good twist on the trope.

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Predestination is a pretty well-made film. It has some slow parts, but that's because your brain is trying to engage with what is happening. And I think there may be a couple of places where they hit you with unreliable narratorness in order to keep you in the dark. Overall I liked it, thinking of it as one of the better units in this time-travel perpetual production machine, and (as I've already admitted) I was surprised when the time-travel and transsexual aspects were a part of Heinlein's original short story!
If you've seen both Victim, and The Skin I Live In, or one of them, you might enjoy Predestination. Even if, like me, you're pretty adept at seeing what's coming next (whether you try to or not) you will find with this film that what you saw coming isn't quite the way you had imagined it when it gets there! Pretty good, eh?

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Predestination (2014). IMDb

all you zombies heinlein youtube. Google search result.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Thu Jun 30, 2016 1:02 pm
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YouTookMyName wrote:
If you've seen both Victim, and The Skin I Live In, or one of them, you might enjoy Predestination. Even if, like me, you're pretty adept at seeing what's coming next (whether you try to or not) you will find with this film that what you saw coming isn't quite the way you had imagined it when it gets there! Pretty good, eh?
I saw this (Predestination) and, if I didn't see it coming, that's because "it" is preposterous. So, so, so ridiculous. Hahaha.

Looking forward to more Skin I Live In commentary, though. I like that one. :)

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Fri Jul 01, 2016 12:41 am
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Shieldmaiden wrote:
I saw this (Predestination) and, if I didn't see it coming, that's because "it" is preposterous. So, so, so ridiculous. Hahaha.

Looking forward to more Skin I Live In commentary, though. I like that one. :)
Even though it is preposterous it had me hooked!
Only because I wanted to figure out what the filmmakers had going on. I have to admit, though, the various rings of transformation and relationship would never work. Heinlein was apparently undaunted by this. And maybe that's why we had never heard of this story until the film came out.
So from your perspective it's just another one of the grinding, dumb time-travel tales with all those discordances, anomalies and so forth. Fair enough. I guess what's different about it is that the filmmakers ignore the anomalies and soldier on as if they don't exist. :D

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Fri Jul 01, 2016 7:46 am
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YouTookMyName wrote:
And maybe that's why we had never heard of this story until the film came out.
Haha, yeah.

I'm normally pretty forgiving of time-travel paradoxes, etc, but this was too much!

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Sat Jul 02, 2016 3:44 am
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Shieldmaiden wrote:
Haha, yeah.

I'm normally pretty forgiving of time-travel paradoxes, etc, but this was too much!

Perhaps because this goes waaay beyond what you could simply call a "paradox." Right? :D

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in progress: 59 to go
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HEL Mayor of Hell/Crime School/Hell's Kitchen DP Rv1 Es1
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SKN Victim/Skin I Live In Es1 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
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Sat Jul 02, 2016 4:06 am
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Haha. Exactly.

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Sat Jul 02, 2016 4:16 am
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One post is ready for the SKN NQRR, and another is ready except for graphics for the TNS NQRR. I might get both posted today. Not sure.

The second essay post (although it's Essay #1) for the SKN Rematch was difficult to select graphics for. To protect the whims of those who hate spoilers, I can't actually use the best imagery to reinforce the words. So I have to more or less lie with the pictures and show things that don't give any surprise plot points away. (sigh)

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in progress: 59 to go
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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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
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Sun Jul 03, 2016 12:14 am
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Not Quite a Remake Rematch between
Victim (2010) and The Skin I Live In (2011)


Image
Mygale

It's the title of a book. And the name for a type of spider, in France. When the book was published in an English translation in 2002 it was re-titled Tarantula. But the Mygale spider and the tarantula are not the same creature, or so says the all-knowing internet.

Richard LaFargue's teenage daughter, Vivienne, is raped by two boys. He catches one and begins to exact vengeance on him. The novel is primarily about detailing that vengeance. It is a book with quite a mean spirit.

Almodóvar's film is not strictly based on the plot of the book, Mygale. It shares many plot and character elements, and Mygale was clearly the impetus for development of the film. But Almodóvar made a film more inspired by than based on the novel. Most of the characters have names different from their print counterparts. Eve becomes Vera Cruz. Richard LaFargue becomes Robert Ledgard, and so forth. Vincent becomes Vicente, retaining the same name for once.

Thus, the novel and film are two tellings of the same basic story with character names changed, and a number of circumstances changed between the two. The novel actually has an important character who is not in the Almodóvar film at all. The film has sub-plots that are not in the book. For example, Ledgard's experimental artificial skin that is mentioned in the title.

If you want to know, here's a quote from the end of the book that wraps up a lot; the point that tells everything:
--It is four years since Richard Lafarge caught and imprisoned Vincent, one of the rapists. But this part of the story is the payoff, and it deals not with Vincent, but with whom Vincent has become. LaFargue doesn't know about Alex Barney participating in Vivienne's rape. Eve (formerly Vincent) knows that he doesn't know, but Alex cannot recognize her after kidnapping her and tying her up. Richard has freed Eve, and has Alex tied up, naked, in the basement where she was. This is Vincent/Eve thinking things through, remembering a certain event. Several excerpts:

pg 109 NOTE: flashbacks are in italics in the novel.
You feel dizzy, and then, little by little, you are assailed by violent shooting pains from farther down, from your lower belly. And Mygale laughs.

--Vicente's knees are in a gynecological brace with stirrups.

...you try to lift your head to see what is happening to you--and Mygale is still laughing.

"Hold on, little Vincent. Let me help you."

Mygale has picked up a mirror and, grasping you by the nape of the neck, he holds it between your legs. All you can see in the glass is a mass of bloody dressings, and two tubes hooked up to bottles.

"Soon, very soon, you'll see everything better." Mygale is apoplectic with laughter.

But you understand what he has done to you. First the injections, the developing breasts--and now this.


--Vincent screams while Mygale is gone. But Richard returns.

He came back at last. Leaned over you, still laughing. Would he never stop laughing?

He had brought a cake, a little cake with a candle on it. Just one.

"My dear Vincent, we are going to celebrate the first birthday of someone you are going to know very well: Eve."

He gestured toward your belly.

"There's nothing there anymore. I'll explain everything. But you are not Vincent anymore. You are Eve"


--Vincent/Eve is speechless.

page 110
You asked him what he had done to you. It was very simple, he told you. He proceeded to push the examining table into the other cellar room, the room where you had been imprisoned for so long.

"My dear girl, I'm afraid I was not able to take photographs of the surgery I have just performed on you. But since it is a very common procedure, I can explain it to you by means of a short film"

He started a projector,...


--Back in the current time, Eve shouts to Alex not to worry. She is going to kill Lafarge and free him. Alex doesn't know what is going on or how LaFargue's "wife" knows his name.
Image

As I wrote in the review for the 2010 film, the plot of the novel is also very similar to the plot of Victim, although that film is a similar idea but might not be derived from Jonquet's story. Thing is, we cannot know. There isn't a lot written about the 2010 film that is available on the internet. The screen credits don't mention Thierry Jonquet's story, although the book was published in the French language in 1995. The English language translation was first published in 2002. Matt Eskandari & Michael A. Pierce could well have read the French novel, or the English translation long before they created their low-budget film (copyrighted in 2007, by the way).

Obviously, Almodóvar did read the novel, and found it fetching enough to be the basis for one of his mind-challenging films. The book is darker than mere dark. There are a lot of people with alternate mindsets who crowd onto its pages. The film is less grisly than the novel, but it shows you more than the novel does. You can hide from some of the ideas while reading the words. Once those ideas are translated to images, you see them. Your eyes are mashed up against them. So Almodóvar omitted some of the more commonplace but more distressing plot developments. His replacements are only slightly less distressing, I'll admit.

The film ends quite short of where the novel ends. But in the film the graphic difference between prior times and now is more blatant. The novel is a nest of flashbacks and current narratives. They don't always appear in the same direction, either. At one point they merge, and that's the big "surprise" moment. It is offered ten pages from the end of the book. But it is not the last surprise twist.

The same surprise, the one behind the spoiler tags, appears earlier in the course of the film. The surprise is not the point of the movie, but for many of you it is the only reason for the film to exist, the only thing that you live for in the land of cinema. So I won't be able to discuss it.

I will simply tell you that both the novel and the Almodóvar film are vengeance narratives. And there is a certain emotional devastation to the line in the film, "Mama. It's me. Vicente."

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Mygalomorphae. From Wikipedia, the free encyclopedia.

Tarantula (novel). From Wikipedia, the free encyclopedia.

Thierry Jonquet. From Wikipedia, the free encyclopedia.

source of scalpel image

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Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Sun Jul 03, 2016 12:15 am
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Go to the grocery store...or finish the TNS essay post first?

Well, I really need to go to the store before it gets hot.

But, it's already hot.

Okay, finish the TNS post, then take a nap, then go to the grocery store.

Yeah. I like that plan. ;)

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in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Sun Jul 03, 2016 2:08 am
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Not Quite a Remake Rematch between
The Tingler (1959), Night of the Creeps (1986) and Slither (2006)


Image
Keep Your Mouth Shut!

The Tingler is a bit different from the other two movies in this NQRR. The titular creature is supposed to be a spinal parasite that is tiny, until you are rendered fearful, and your fear causes it to grow. So, in the mythology of the film it's always there. In an NQRR, of course, the similarities won't appear across the board, and in this case the other two infectious agents function in a different way. The slugs in Night of the Creeps and Slither crawl into people from the outside and take over. But Das is correct, they all three represent something that we really, really don't want to face: having another entity take command of our bodies.

What each entity turns its victim into is slightly different. The latter two films have more in common than either has with the 1959 film. The Tingler basically comes into its own when you become afraid, and if you can't relieve your fear by screaming, why, you die of fear. But it's really death by Tingler, right?

Image

The Creeps in Night thereof, enter you through your mouth. Icky enough right there, for most. After they are inside you, they attach to your nervous system and turn you into a raving, zombie-like killer, and also an incubator for dozens more creeps, each of which could infect another person, dog, cat, squirrel (they aren't vector-particular). The end of you comes when the creeps hatch out of your skull, chest or abdomen.

The slugs of Slither do much the same thing, but when you become a vector for the slither thingies you might be turned into a nest of little-uns, or into a strange creature that is no longer human (hee hee, lends itself to the initialization "NLH"). Several of these NLH critters can blend together to make a Blob-like, multi-headed creature. The film shows us one woman who becomes a nest, and a man who becomes the main part of one of the communal organisms. But all the slugs and communal creatures are part of a single hive mind. This film's grossness and cleverness must capture human minds effectively, because the film turns up on lists of favorite horror movies left and right.

Image

When they are outside the body, fire will destroy all three critters. They are dangerous for what they do when they are not outside the body!

In the 1950s there was this thing called "brainwashing" that the Commies were supposed to be able to do to Americans, turning you from an American into an NLA. And after you were no longer American, they could make you do anything they pleased. Assassinate politicians, poison water supplies. Oh, the cinematic possibilities were endless, and endlessly scary.

We've watched this fear being exploited in the various iterations of Invasion of the Body Snatchers. The replicas appear to be who they were before, although they aren't. But you have to wonder how much the Invasion movies influenced the ideas for the latter pair of these three creatures. In Night of the Creeps and Slither the victims don't look like themselves for long. And the way they behave is very different post-infection. This telegraphs that the person is no longer herself. Want to scare yourself with something real-life? Read about Toxoplasma gondii. There are several links below.

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So, the 1986 film and 2006 film kind of play off people's basic fear of being "taken over by" anything or anyone. The Tingler also takes you over, but what it tries to do is keep you afraid, and stifle your screams. After all, a scream makes it shrink back to microscopic size, and let you alone. Only if it can keep you from screaming can it feed on all your fear. Ironic that if it succeeds, it dies with you. But that's hardly a consolation. You're dead. Duh.

As for Creeps and the Slither slugs, the only way to get rid of them once you are infected, is to die. If they get in -- you lose. That means, the only defense is to do what your older sibling warned you to do when you discovered some smoking going on behind the garage. Keep your mouth shut. But in the case of the tingler, remember to open your mouth and screeeeaaaaammmm! Scream for your life!

Moralizers might see all three films as teaching: be careful what you [read][believe][do] because once you do some things, you can't get rid of the effects. Also, you might see the films as teaching that you can't avoid all the bad effects, and some of them will be your demise. Don't look at the subtle preachiness as you watch these films; just enjoy shivering when you think about something jumping into your mouth unwanted, or growing as a parasite at the base of your spine, waiting for you to get afraid. Very afraid.



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The Tingler. source of color Tingler image.

Night of the Creeps, Original Rubber Static "Slug" from yourprops.com.

RETROBAND. from uncletnuc.com. From 2013: "Retroband is a one man operation that is here to “make toys you wish they had growing up”..JACKPOT.. From the packaging to the toy itself, everything he does is custom made. His first release was a line of Creeps from Night of the Creeps, which sold out quickly."

15 Secrets of the Hollywood Creature Feature from mental_floss.com. "Todd Masters and crew discovered how well a material used in the sex novelty industry worked for making things like guts and body parts, they decided it would be perfect for the thousands of parasitic worms needed for the 2006 horror film Slither. When the production of the movie drained the global supply of this particular material, someone had crates of sex toys shipped in to be melted down."

Slither, "Hero Slug Puppet" from yourprops.com.

Alien Infection Slug Display from theproptank.com.

All The Weirdest Secrets You Never Knew About The Making Of Slither from Gizmodo.com Ryan Plummer 7/31/14 3:16pm. "When Kylie was escaping from the bathroom, after pulling the worm out of her mouth, she puts on a blue sweater. Gunn notes that they only had three of these sweaters, so when Kylie's mom vomits on her, it had to count."

MFF Reader Poll Results: What Are Your Favorite 21st Century Horror Films That Don’t Appear on “Best of” Lists from moviesfilmsandflix.com. August 24, 2015 by mhofmeyer. "6. Slither (2006)"


And, of course, this isn't totally fictional! Read below to really scare yourself.

Toxoplasma gondii. From Wikipedia, the free encyclopedia. "Once healthy humans are infected with Toxoplasma gondii, it may lead to altered behavioral differences like psychomotor performance and neurological disorders like depression and/or suicide and even schizophrenia. There are many instances where behavioural changes were reported in rodents with T. gondii. The changes seen were a reduction in their innate dislike of cats, which made it easier for cats to prey on the rodents."

Protozoa Could Be Controlling Your Brain from Scientific American. By Christof Koch on May 1, 2011 "Yet nothing approaches the perfidy of the one-celled organism Toxoplasma gondii, one of the most widespread of all parasitic protozoa. It takes over the brain of its host and makes it do things, even actions that will cause it to die, in the service of this nasty hitchhiker. It sounds like a cheesy Hollywood horror flick, except that it is for real."

How Your Cat Is Making You Crazy. from The Atlantic.com. Kathleen McAuliffe. March 2012 Issue. "Jaroslav Flegr is no kook. And yet, for years, he suspected his mind had been taken over by parasites that had invaded his brain. So the prolific biologist took his science-fiction hunch into the lab. What he’s now discovering will startle you."

Behavioral changes induced by Toxoplasma infection of rodents are highly specific to aversion of cat odors. Proc Natl Acad Sci U S A. 2007 Apr 10; 104(15): 6442–6447. Published online 2007 Apr 2. Ajai Vyas, Seon-Kyeong Kim, Nicholas Giacomini, John C. Boothroyd, and Robert M. Sapolsky. "The protozoan parasite Toxoplasma gondii blocks the innate aversion of rats for cat urine, instead producing an attraction to the pheromone; this may increase the likelihood of a cat predating a rat. This is thought to reflect adaptive, behavioral manipulation by Toxoplasma in that the parasite, although capable of infecting rats, reproduces sexually only in the gut of the cat."

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Sun Jul 03, 2016 2:09 am
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The review up next is for the SKN NQRR.

I have re-written and re-written it, and might edit it in the future. Some of my observations seem couched in language that seems perhaps a bit insensitive, although I don't mean it to. Can't find exactly the right words.

This is a disturbing film, in all its perfect artistry. That makes it difficult for me to write about, I guess.

Please, forgive me if I still don't have the words exactly right.

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in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
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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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Mon Jul 04, 2016 8:59 am
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Not Quite a Remake Rematch between
Victim (2010) and The Skin I Live In (2011)


Image

IMDb link 7.6 of 10 stars with 100,514 user votes-- RT-link 81% tomatometer/84% user rating with 26,395 votes

Year: 2011 -- Director: Pedro Almodóvar -- Writer: Pedro Almodóvar -- Cast: Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet, Blanca Suárez, Miguel Almodóvar, Susi Sánchez -- Length: 120 min. Color/Stereo -- estimated budget: $13,000,000

I am undoubtedly a fan of Pedro Almodóvar's films. Every one of them I have seen is crazy quirky, but I've liked them all. The Skin I Live In is no disappointment in the whazzat? department, either. Just when you think you've seen all the weird that Pedro will pile on this time, another moderate WTF moment either creeps onto the screen, or pops there all of a sudden.

This is another of the many films I have seen that is much much better when you watch it a second time, with knowledge of everything that will happen. No surprises remain, of course, but you are bathed in artistry of the finest kind. This film is just disjointed enough that you won't catch everything the first time through. Guaranteed.

I like it very much. I have to say that as a film it is a much superior experience to Victim. There is a great deal more subtlety in Almodóvar's tale than in the earlier film. In fact, although some aspects of the source novel are pretty cool, I like the version Almodóvar pieced together for his film better. Jonquet's more traditional plotting is replaced with Pedro Almodóvar's own special brand of off-kilter events. IMDb trivia asserts that "Pedro Almodóvar worked on the screenplay for almost a decade, and what initially was an adaptation ended up being more of a story inspired by Thierry Jonquet's novel."

Image

Simply because I think it's material to my understanding of the films in this NQRR: In late 2013 I first saw The Skin I Live In, and then more or less by accident ran across Victim streaming on Netflix about two months later. After I decided to make this comparison, I ordered a used copy of Thierry Jonquet's novel in the English translation, Tarantula. I have read the novel once, and skimmed it to refresh my memory. I have seen each of the films twice. It is no secret that I believe The Skin I Live In to be a much superior version of what is basically the same story.

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

Like: For a first time viewer with no idea what's happening, or how it came to be, there are several mild surprises in the plot of the film. None of them are exactly mind-blowing, though. The second time through, everything makes sense and the film is ten times as good. It is a movie that is constructed for repeat viewings.

Like: This is a real cringe-inducer for any man who has grown somewhat attached to his sexual apparatus. Which would be most of us. On the other hand, for transgender females I think this story would probably still be kind of cringe-inducing. It is certainly not a template for how a person would want the particulars surrounding her sexual reassignment surgery to go.

Like: This film uses an actress to play the transsexual version of Vicente. This makes the eventual revelation of what is going on easier for Almodóvar to hide. The novel hides this fact by simply not mentioning it. That's easy in print. But for the movie, having a man in makeup and a woman's clothing would have given this plot element away. Besides, Elena Anaya as Vera Cruz is nice to behold.
Like: The story is set in the future...2012. A year after the film's release.

Like: The backstories of some of the characters are briefly broached, and they are marvelously convoluted! Oh what a terrible tangled web it is.

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Like: The Alberto Iglesias music is wonderful. A multi-generic selection that often evokes classical chamber music, but with a video game simplicity that is stupendous. I don't think the music would fare as well without the imagery, though. The wedding scenes feature a marvelous jazz singer.

Like: One of the main characters gains freedom through treachery. It is difficult for me to write a character who behaves that way, because I would never do so myself. But Almodóvar writes morality tales filled with amoral people! And he's good at it.

Like: Vicente is always just a little too much "the victim" in this film. It is a thread of his character that we see from the beginning. Yet it becomes important for the denouement.

Like: There are all sorts of little parallels and counterpoints arranged throughout this script that are very, very clever. Not waved around, but there to spot if you are looking and thinking as the film runs along.

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Like: This is another film with no main characters who are "good" people. They all have subterfuge, hidden half-truths, unexpressed past flawed behaviors...just the kind of people Almodóvar loves to splash across the screen!
Don't Like: This is another film with no main characters who are "good" people. (sigh) I really can't find anything for the "Don't Like" category.

Don't Like: uhm, the closing titles rotate through the color wheel? Kind of weird? Still grasping at straws, here.

Don't Like: Wait! I think I got one. But.... I guess I struck out. No, no I didn't.
Vicente is is depicted as too close to possibly not really being guilty of the crime of rape, but Ledgard believes his own perceptions of it all. I mean, I saw it happen, and the boy seemed a little overeager, but she never said "stop!" Instead she shrieked, "No! No! No!" Oh, but the ambiguity is just supreme artistry. Right? Still, I'm free to not like any depiction of rape, however ambiguous it is made to be, or however clear. Found one! There is no such thing as a gentle rape.

Don't Like: Found another. Robert's vigilantism is not presented as heroic, and he doesn't get away with it. But nonetheless, he does what he does. And what he does includes, among other crimes, six years of false imprisonment. And during this imprisonment he subjects his prisoner to a non-consensual sexual reassignment regimen, more or less re-creating his wife from the young man who raped their daughter. Good Lord! Yet, Vicente/Vera's double murder, committed in order to escape is also not morally balanced by the forced transsexual conversion.
One of the pleasant aspects of watching the film for the first time is the befuddlement that you usually only experience in horror films. You won't believe what he does next. And that feeling happens several times!

The review of Victim includes a bit about how that story hits all the major beats from Thierry Jonquet's novel Mygale, which is credited as a source for the Almodóvar film, but not for Victim. The two films are incredibly similar in so many points. And the two films with this theme directed by Matt Eskandari predate The Skin I Live In, but not the Jonquet novel. That print story came out in French in 1995, and in English translation in 2002.

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But Almodóvar has removed a lot of the novel's main plot events and has replaced them with another story that is different, but still feels the same. For one thing, it is told for a world that is 16 years newer than Jonquet wrote for. The film has all the typical Hollywood comeuppances for everyone. There is injustice all over the place if this were real life, though. You'll understand what I mean when you watch. For literary purposes there is parity, balance, and so forth. But to act like these people in real life would be criminal on all sides.

In other words, the action of this film (as with many of Almodóvar's movies) is set outside the bounds of the Law. Yet he does not try to deceive us into believing that the people he shows us are acting lawfully...although they do act humanly. There is an overarching honor-code "eye for an eye" type of construction to the story. The film does not make it seem okay for anyone to do the things that they do in the movie. I think even a 13-year old would see that, even though 13-year olds are supposed to watch only with parental consent.
One of the most disorienting moments of my second viewing was during a sex scene when I realized that Robert Ledgard was in effect screwing the young man who had raped his daughter, and whose face he had reconfigured to resemble his ex-wife. Too ultimately freaky for my mind! In the novel Richard Lafargue places newspaper ads for sex, which he forces Eve to fulfill while he watches through one-way glass. Perhaps this is Thierry Jonquet's suggestion for a way to punish rapists? Change their sex to female and subject them to rape? Also too ultimately freaky for my mind.



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The Skin I Live In. From Wikipedia, the free encyclopedia.

Pedro Almodóvar. From Wikipedia, the free encyclopedia.

Antonio Banderas. From Wikipedia, the free encyclopedia.

Elena Anaya. From Wikipedia, the free encyclopedia.

Alberto Iglesias. From Wikipedia, the free encyclopedia.

José Luis Alcaine. From Wikipedia, the free encyclopedia.

José Salcedo. From Wikipedia, the free encyclopedia.

lapielquehabito.com

The Skin I Live In (2011) Trivia. IMDb.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Mon Jul 04, 2016 8:59 am
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My younger son is back in Mississippi to visit his mother, and he came over last weekend and stayed Friday through Monday with me. I've been working through one of the Tarzan essays. I have the text and graphics complete, but I still need to upload the images to PhotoBucket in order to be ready to post the essay.

I'm still reading La Guerre des Boutons in French. I'm actually gaining some speed now, but I sure can't claim to be making much greater speed. It's just that I can figure out most of what a paragraph says by asking my Kindle to define French words, and I've figured out a little grammar...so I have a pretty good idea what the translator will display when I ask for its help. I have managed to work through Libre 1, with 3 Chapters, and its wonderful glossary. I'm on Chapitre 4 at the moment. (Hmm. Safari corrects my French spellings to the English equivalents if I don't force it to stick with French!)

I'm having the most trouble understanding when verbs are reflexively used, so I sometimes identify the wrong actor in a sentence. That's pretty funny. And the experience really helps out with my English as a Second Language tutoring job.

It's fun to do, and I'm enjoying myself greatly.

I really need to pick another film to review in this thread.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Sat Jul 16, 2016 3:32 am
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A Comparison of Tarzan of the Apes (1918), Tarzan the Ape Man (1932)
and Greystoke (1983)


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The Authentic Tarzan

Johnny Weissmuller was only in a dozen Tarzan films. I know it seems like many more. Altogether, though, IMDb shows a list of 200 films with Tarzan in the title. I learned that from Wikipedia. I thought the number would be under 50! (It's worth pointing out that many titles in the list are TV show episodes.) As we asked in the Batman Rematch, we can pose the question for this Rematch: Who is the authentic cinematic Tarzan? Weissmueller?

It goes without saying that nearly all the 200 titles are much alike, even when you consider the broad range of Tarzan actors who are out there. The formula for Tarzan is the same from story to story, even in Burroughs' novels. One of the problems that developed, and spurred MGM to stop after making (only?) 6 Weissmuller Tarzan films was the sameness. But RKO $aw potential, and made 6 more Tarzan films with the actor. So one actor played Tarzan in 12 of over 200 titles. That's a pretty good record for one guy, but it's only about 4% of the movies. How did the other actors do?

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According to glorymiller's blog post "Actors Who Have Played Tarzan," eight actors have played Tarzan more than once in theatrical films. Three more have played Tarzan in television series. The rest are one-time kings of the jungle. As for the one-offs, there are five in Greystoke: the Legend of Tarzan, because one infant girl and three boys play the Lord of the Jungle as a child, and an adult plays the grown-up Tarzan. One young actor played Tarzan as a boy in 1918, then another played Tarzan's son, Jack/Korak as a boy in the 1921 serial, The Son of Tarzan. And there are 13 adults (so far) who played the king of the jungle only once. Miles O'Keefe in Tarzan the Ape Man (1981), which is better-known for Bo Derek as Jane Parker, is one of them.

The Tarzan character has appeared in theatrical films, serials, television series and made-for-TV movies. Tarzan has appeared in hand-drawn animated films and 3D CGI animated films. Apart from cavorting on the movie and TV screens in our lives, Tarzan can be found on the pages of books and e-reader screens, in comics and graphic novels.

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Until the current remake with Alexander Skarsgård as Tarzan, of all the movies, the 1999 Disney release was still top-billed in a Google search for "tarzan". But now, the new The Legend of Tarzan (2016) remake is at the top. Right now that film is showing in four Little Rock theaters, and five others within an hour's drive.

With so many Tarzans, how can anyone decide which one is the "authentic" Tarzan? MGM had made a deal with Burroughs that they would use the characters he invented, but none of his stories. So how could the MGM Tarzan be the real deal? For a long time, Weissmuller's jungle swinger was not the only one speaking in monosyllables or short, simple phrases (and ERB reportedly didn't care for that degradation of his speech). Virtually every other film Tarzan has been eloquent, as the original novel version is. But when searching for authenticity, try thinking of it this way: there are so many different versions of the character that there is bound to be one or more that you will like. For a while.

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I recall that the 1966-68 television series with Ron Ely drew charges of inauthenticity because Tarzan speaks plain English. There was no outrage against the series being set in Brazil, that I remember. The Larson and Fimmel TV series are beyond my experience, but Larson played Tarzan in 75 episodes!

Even the most recent incarnations of Tarzan seem to harken back to the prototype set by MGM in 1932. In fact, the maligned 3D animated film from Germany, Tarzan (2013) marketed with the tag line, "The Legend Lives," feels quite like the 1932 and subsequent Tarzan films. Perhaps those who dissed that movie are not familiar with the corpus of cinematic Tarzania. Perhaps they didn't like it being changed from basically the past to basically the future, and set in a modernistic world pushed a bit beyond what we have now. I can see areas that deserve some skepticism. Certainly the word "inauthentic" could be invoked to describe some of the changes (an enormous meteorite that is lost in the jungle, and then discovered, and found to be a power source. ???). But all in all, the film feels like Tarzan the Ape Man (1932) on balance.

Some time after I post this I will probably see the Skarsgård Tarzan, although if the truth is told, I have not seen most of the Tarzan motion pictures that have been released. So if I miss that one, it will be in multitudinous company. But I saw the 1981 film while it was in theaters, I took my boys to see the 1999 Tarzan, and I might see the latest while I am still working on this thread. Will I find it to be authentic? Would my opinion really matter? Do you find it to be "authentic Tarzan?"


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Tarzan from Wikipedia.com

Actors Who Have Played Tarzan by glorymiller on HubPages. "This site makes a listing (incomplete, I'm sure) of the numerous actors who have worn Tarzan's loincloth." The list is certainly longer than I would have come up with. I had not heard of some of these actors.

Tarzan, 1966-1968. IMDb.

The Legend of Tarzan (2016) review. From The Observer. Wendy Ide Sunday 10 July 2016 03:00 EDT. "Tarzan decides to reconnect with his roots. Feisty proto-feminist Jane refuses to be left behind."

The Liquid State From The Flapdoodle Files, Wednesday, August 26, 2015. Source of image. "The genius of Tarzan is that besides being one of the seminal superheroes of the 20th century, he personifies humanity's contradictory, complicated and ambivalent relationship with nature."

The Job Offers are Flattering… by Joey deVilla on April 17, 2011. Source of image. "After all, Tarzan doesn’t let go of the last vine until he’s got a firm grip on the next one, right?"

tarzan actors. Google image search result. Source of images.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Jul 16, 2016 9:44 am
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Very concerned about the attempted, and still in progress coup in Turkey. I was in an ESL chat session via Skype this afternoon with one student who lives in Ankara, and which ended just as the announcement of the coup was being made. We knew nothing of it at the time, and then I checked an hour later to see if my student in Tekirdağ, Turkey was going to be able to get a connection.

He had sent an email two minutes before I logged in, and told me that there had been a coup against the government an hour before, and he could not get a Skype connection at midnight his time.

I have several friends who I met here and in Turkey about whose welfare I am concerned. And I have a couple dozen friends and acquaintances here in the US whose families are caught up n the mess over there. It took me a while to get back to my 'puter and post the Tarzan essay, but there it is.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Jul 16, 2016 10:09 am
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Let's just say it's been a very busy three weeks since 9 July, and I have gotten only one post finished.

I'm trying to finish another one. Should probably aim at a tech post of some sort if I want to get a post up before August. They take a long time to find images online to use for the graphics, but there's not much to write, especially if I pick a 2-film rematch. Look up a bunch of facts, find some Wikipedia and google links, get images of posters and the men or women being written about if possible, and hammer it all together.

Simple.

But I've been tired a lot.

Oh, I've finally worked my way an episode a day through season 1 of The Man in the High Castle. I read the book many years ago, so I only have the vaguest recall of the plot in the novel. When I finished the Amazon streaming of the final episode I wiki'd the novel, and read the plot synopsis. There are many points listed that I honestly don't recall. Toward the end of the synopsis I read so much that I don't remember that I began to wonder if I had finished the book! I bought either a Nook or Kindle ebook. I'd kind of like to scan through it again, but I've got other things I want to do.

On the Rematch front, I continue to forge ahead on reading the French-language novel behind War of the Buttons. I can use the French to English dictionary to tell me the English for words I don't know (there are still a lot of those) and then make out what the passage says. There is an entire essay I will have to rewrite for the Rematch due to something that happens in the novel, that changes the reason behind something that happens in the films, which means what I've already written makes no sense to me, now!

But I still rely on the translator to confirm whether I've gotten close in my understanding of each passage. So, I've learned something about Kindles: if you use translation a lot, it does something to the OS, and you need to totally reboot the device to continue forging ahead. The translation software keeps telling me that it can't contact the server. It's annoying, and I haven't restarted the Kindle for 2 days while doing other things.

Such as upgrading the computer I'm using now from Win7 to Win10. So far no problems, and it's been 48 hours. I didn't have any major problems on the two laptops and the work PC that I upgraded from Win 8.1, either. But ya never know. I bellyached over whether to ditch 7 Pro and go to 10 Pro for -- well, ever since the free offer, and finally decided on the 28th to dive in. As I said, so far, so good.

If all goes as planned, I'll get something up to read about the Rematches, instead of this space-waster which is about me.

But I've been having a great time, and I hope you have all been doing even better than me. :up:

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Jul 31, 2016 1:27 am
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Not Quite a Remake Rematch of
The Devil's Backbone (2001) and Dorm (2006)

The Writers

--2001---------------

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Guillermo del Toro (written by). This man also directed the film. This is his seventh writer screen credit of 27. Del Toro sports 38 producer credits, and 18 credits as director. Among his writing credits are his first feature film, Cronos (1993), three Hellboy Films (2004)(2008)(announced), Pan's Labyrinth (2006), and the recent Hobbit trilogy (2012)(2013)(2014). He also has writer credit for video games based on certain of his film scripts. And he is the credited writer for an announced remake of Pinocchio. Don't forget Pacific Rim (2013) and its announced sequel. Del Toro is among the most widely-known modern Mexican filmmakers. He has been involved in almost every aspect of film production since working as an uncredited production assistant on El corazón de la noche (1984). This includes composing music, casting, and helping with the makeup effects (among other things). His love of cinema is unparalleled, although not everyone agrees that all his movies are unparalleled. Despite not being universally loved and approved of, his work has impressed his peers to the point that he has won 49 awards, and been nominated for 50 others. Among those awards is the 2002 Grand Prize of European Fantasy Film in Silver for El espinato del diablo (2001), one of 6 awards won and 7 additional nominations received by the 2001 movie.

Antonio Trashorras (written by). This film is Trashorras' earliest writing credit at IMDb. Since his involvement with The Devil's Backbone (2001) he has gone on to earn an additional 16 writing credits, has 7 director credits and 2 producer credits to his name. This rematch is turning out to be very difficult to find information for! I have determined that Trashorras and David Muñoz have worked as co-writers on at least two other films since 2001. Trashorras was born in Madrid, Spain in 1969.

David Muñoz (written by). Muñoz' first screen credit is also for writing The Devil's Backbone (2001), but he has a total of 20 writing credits as of mid-2016. He wrote the original story for The Totenwackers (2007) which he co-wrote for the screen with Antonio Trashorras. His work has been split between television and theatrical film writing. Muñoz was born in Madrid, Spain in 1968.

--2006---------------

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Vanridee Pongsittisak. The film Dek hor (2006) started this writer's career. He has since written three other screenplays, but also acted as producer for Phobia 2 (2009). Since that year his career has turned into that of a producer, with a total of 10 credits. As for awards, Pongsittisak was nominated with the entire writing crew for Best Screenplay for Dek hor (2006) by the Thailand National Film Association. He received another writing nomination for the screenplay for Khwaam jam sun... Tae rak chan yao, released in English-speaking countries as Best of Times (2009). No biographical information about this writer seems to be available on the internet, at least not in English. And there are apparently no photos of him.

Songyos Sugmakanan. Sugmakanan also directed Dorm. In 2002 he directed a short film entitled My Elephant. Dorm (Dek hor, "My School") is his third film, and second feature, but first credit as a writer. He has four writing credits and 8 directing credits, three of which are congruent. The internet has a bit more information about him than about his two co-writers. As you see, I was able to find a photo of this director/writer.

Chonlada Tiaosuwan. This person has only one writer credit, for this film. No biographical information is available at IMDb. A Google search for "Chonlada Tiaosuwan" turns up no further information about this person, and no pix. The one thing I know for sure, whether man or woman, this writer gets to work in one of the coolest-sounding languages on the earth.

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Film director Songyos Sugmakanan talks about remaking the phenomenally popular Korean series Coffee Prince. From Bangkok Post Published: 22/06/2012 at 12:00 AM. "‘Working on Coffee Prince’s 17 episodes compares to making eight movies,’ said top director, Songyos Sugmakanan." Source of photo.

Picture of Songyos Sugmakanan. From listal.com.

source of Del Toro image

source of Del Toro image

Callejón, la primera película de Antonio Trashorras. De seryactuar.blogspot.com.; Publicado 8th August 2010 por sofiasquitt. "Y no sólo eso, sino que también el guión de El espinazo del diablo junto con Guillermo del Toro y el de Lena con Gonzalo Tapia (su director); y muchos más trabajos que han tenido el suficiente éxito como para que se embarque en este nuevo proyecto." Source of Antonio Trashorras photo.

source of photo of David Muñoz

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Jul 31, 2016 10:09 am
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Not Quite a Remake Rematch of
The Devil's Backbone (2001) and Dorm (2006)


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Subtitles

This Rematch features two films where you must read subtitles in order to understand the dialog. And the same condition exists for the comparison of similar films about stolen bicycles, also in this thread. Well, that isn't necessarily true. You might be a native Spanish or Thai speaker (or Italian or Mandarin), or you may have learned these languages sufficiently to drop the subtitles and just listen, in which case English subtitles would simply clutter up the screen. So you would have the advantage of being able to watch without any subtitles.

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Not me. I can get less than half the Spanish, and probably not even that much reliably. As for Thai, it sounds beautiful to hear, but the sounds carry no meaning to my brain. Some people hate films with subtitles. Others would always prefer to hear the original sounds and read the meaning. But if you are like most people in the world, you don't speak either Spanish or Thai, and need your own alphabetic characters carefully arranged on the screen in order to interpret the plot. Neither of these films has an English dub.

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Years ago it came to me that I (and others like me) don't mind subtitles, prefer them in fact, because we read quickly. Those who don't read so quickly are left getting only a portion of the meaning, anyway. The lines of text flash up on the screen and are gone before some people can track all the symbols and have their brain interpret them into the sounds of language.

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When editing Have You Heard About the Ainu? (2015) in 2014 and 2015, I finally figured out why there are so many subtitles that don't reveal all of what the speakers on screen are saying: people read much more slowly than they hear. In fact, the director and I would often leave out English words that "should" have been in the title, just to give the viewer less to read. The subtitles tell the entire story of the piece, but they don't tell every word that was said in Japanese.

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Many modern opera performances feature proscenium-mounted surtitles on those LED bars that can carry messages. The example above shows bilingual surtitles. I usually read an English translation of a novel if I want to understand what's being written. And, maybe oddly, I prefer a subtitled Studio Ghibli film to one that has even the very best English dubbed track.

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Trying to read La Guerre des Boutons (1912 novel) in the original French (while never having studied French formally) is quite a challenge. I undertook it because it seemed like a very appropriate and whimsical thing to do for this hobby thread of mine. But a novel is all words. Deciphering the French text however well or poorly I can, does not distract from the pictures...which coalesce in my head based on my understanding (or mis-) of the text. Movie subtitles can distract a viewer from enjoying the photography.

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I don't have to tell you that cinema is an amazing art form. It involves all kinds of artistic and craftsy endeavors, and merges them all together. I am sure that stage productions involve many of these, as well: costume design and manufacture, lighting, music, sound design, building and decoration of sets, performance of lines and songs all are shared by stage and film dramas. But Cinema adds photography and editing of the images and sound to make a much more complex and dynamic final art form. On the stage everything that takes place has to actually take place somehow, and that's one of the fascinations of stage performances. Visual slight of hand based on mechanical set-pieces is a high art form in the theater. On film it is different. Fakery becomes an even higher art form, often driven to the point of looking almost real.

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The film can actually guide what you focus on or listen to. Stage productions cannot do that. When we sit in a live theater presentation, the director has little control over where we look. Lighting can restrict what we can see easily, but can't keep us from studying the lighting grid overhead, or faintly lit props that are not being used at the moment. A film director can control whether we see an entire desert with tiny figures on camelback in the medium distance, or the faces of two men in the desert as they speak.

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And if you have to read the subtitles, even if you read rapidly, your eye cannot process the words on the screen and the images behind the words at the same time. Thus, even a fast reader must view the film twice if he or she wants to enjoy both the words that carry the story, and all the images that carry the story. With video that is possible. You can watch twice, or ten times if you want to. But not if you see the film projected in a theater. You may have only one chance to view the movie. Now, I think it's worth the distraction of reading subtitles to see the film and hear it as it was originally conceived. But your ideas may differ.

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Why this weird essay about...subtitles? Because, of all the films in this Round Four of the Remake Rematch thread, out of the 27 films yet to be examined at this writing, nine of them are not in English. Ten of them have dialog that is in a language other than English. (For the record, the five cinematic presentations already discussed in this thread are all in English.) But the remaining movies are all films that are of interest from the standpoint of containing similar ideas and plots, or for being actual remakes of the same story. Three of these comparisons look at one film in English and compare it to films in another language (Spanish, French and Japanese). Two of the matchups look at only non-English films, and this one is one of those.

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Whatever your native language is (or native languages are) you may or may not have access to subtitles in your language(s) for all these films. I have sometimes watched non-English films without subtitles, before rewatching with the subtitles, simply to get the feel of the production, even if I don't understand what is being said. Most of the films in this Round are cinematic enough that you can grasp much of the story without understanding the words spoken. The emotions certainly come across in this Rematch, and the one about the bicycles. Still, there are important relationships that you won't be able to decipher without having some idea of what is being said. Subtitles for cinema were not necessary back in the era of silent films. Intertitles could easily be made in any language whatsoever. Modern subtitles and their complex emotional underpinnings from person to person, only became necessary when sound was added to film. Well, that period with sound films is about 83% of the history of cinema. Like it or not, since 1929 films have needed some technology to help viewers who don't understand the spoken language get some idea of what characters are saying.

And that technology is subtitles.

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[For the record, I have found many examples of films, mostly with Russian spoken language, where a second spoken track is added for translation, rather than words on the screen. This Russian version of Victim (2010) is like that. You will hear the original English-language soundtrack, but a Russian man is translating the spoken dialogue as the film plays. Whether this is done on the fly, or by reading a translated script, I can't tell. It is an interesting way to overcome the need for subtitles, but whereas subtitles kind of interfere a little with the image, this narration interferes close to 100% with the original soundtrack. This technique is similar to the translation technique often used on the radio by the BBC and NPR.]



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Subtitle (captioning). From Wikipedia, the free encyclopedia. "This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources." Despite the lack of citations, the article is quite long and thorough.

A SHORT TECHNICAL HISTORY OF SUBTITLES IN EUROPE by JAN IVARSSON. Updated 17.11.2004. "From the year 1927 on, with the invention of sound film, the audience could hear the actors, so the titles inserted between scenes disappeared and the problem assumed new dimensions. Of course, one could make several language versions, or have the film post-synchronized (dubbed) in another language. However, some film producers and distributors found this technique complex and expensive. / Why not use titles as before, inserting them in the picture? They thus became what we now call subtitles, and since this technique is comparatively cheap (subtitling only costs between a tenth and a twentieth of a dubbing), it became the preferred method in the smaller language areas, such as the Netherlands and the Scandinavian countries. "

The History of Silent Movies and Subtitles. Commercial webpage by Video Caption Corporation. "After the invention of film, exploring methods of communicating dialogue to the audience led to the use of title cards, or intertitles. First used in 1903's Uncle Tom's Cabin, intertitles made translating films for foreign audiences simple; all you'd have to do is replace those title cards with translations of the text in another language, put the new cards back in their same place in the film, and the film could then be enjoyed by viewers in other countries. This is the very first iteration of subtitles, as it is where the idea for subtitling came from. However, with the invention of sound on film in the 1920s, intertitles were no longer used, so foreign audiences could hear the dialogue, but unfortunately, they could not understand it."

Not all images with sources credited below were used in this essay:

Surtitles at the Opera. From houstonpublicmedia.org. Eric Skelly | Posted on July 15, 2008, 12:00 AM (Last Updated: August 8, 2015, 6:45 PM) "Eric Skelly explores the ways that opera companies have worked to circumvent the language barrier, as well as the history and technology behind one of their more useful tools, the surtitle." Source of image of surtitles.

The Rental Process. From surtitles.com/rental. "The Canadian Opera Company's Luisa Miller, 1997. Photo: Brian Campbell" Source of image of surtitles.

Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source. Image source.

film subtitles. Google image search result.

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
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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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Aug 06, 2016 10:37 am
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Well, I goofed up. Forgot the text-only post in-between the previous two posts to reduce the graphics load on the page.

So here's one spacer. :fresh:

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Aug 06, 2016 10:57 am
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And here's another pressure relief valve for this page.

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Sat Aug 06, 2016 10:58 am
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And another ;)

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Sat Aug 06, 2016 11:12 am
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tHanks for the assistance. The graphics pressure in here is quite high these days.

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sat Aug 06, 2016 11:17 am
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Haven't seen the Tarzan films, Victim or Devil's Backbone/Dorm...so while I do read your posts out of interest and enjoyment, I don't have too much to say otherwise. Hope things are well!

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Sat Aug 06, 2016 11:21 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)


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IMDb link 7.5/10 with 1,718 user votes -- RT-link Tomatometer not available/user rating 87% with 1,262 votes

Year: 1962 (restored 2011) Director: Yves Robert -- Writer: François Boyer -- Cast: André Treton, Michel Isella, François Lartigue, Martin Lartigue, Marie-Catherine Faburel, Pierre Trabaud, Pierre Tchernia -- Length: 90 min. B&W/Mono

This film won Prix Jean Vigo 1962, Feature Film. It was released in France on 18 April 1962, but didn't make it into U.S. theaters until 18 December 1963, almost two years later. I assume that there was an English dubbed version made. I find no evidence for that online. There is plenty of information about the subtitled release, though.

Yves Robert and François Boyer (only Boyer gets a screen mention) adapted Louis Pergaud's 1912 children's novel into a delightful 90-minute film. Nothing overwhelms the helter-skelter pacing, or the clear-as-glass tale that unfolds. Neither the photography, nor the music, nor the editing, nor the messages built into the tale. But it is not exactly the story of the novel. A truckload of cute is tossed in, not to the detriment of the story by any means. Martin Lartigue, who must have been all of six ans at the time, probably looks at his performance as Petit Gibus and says, "Damn, I was a cute kid!"

This is a rare situation for the Remake Rematch thread: the first time I ever watched the 1962 film was just before I wrote this review. Subsequent viewings to help me select quotations and the like will only enrich my admiration of this movie. You will find no entries related to the film in the "Don't Like" category below. And that is rare in this thread, as well.

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From the opening title that announces "With a bunch of kids...and their parents" you know that you'll be watching children most of the time, but that the elders will join the story at some point. They do, later in the film, and they act as badly as their sons. By the way, the children don't get screen credits for the roles they play! They carry the film, but they are treated as supernumeraries.

Here are some aspects of the film and why I like them:

Like: Black and white films used a different style of framing or lighting in order to separate objects within the frame. It's no wonder that the Academy Awards used to have a category for Best Photography - Black and White, and Best Photography - Color. André Bac shows his mastery of black and white composition and lighting all the way through this film. His choice of filters allows clouds to separate from the bright sky, and coaxes leaves to separate from the dense foliage of a forest. Naturally, Pierre-Louis Thévenet had a lot to do with how the film looks, as he designed items and selected colors for their tonal qualities in grayscale. And we should give credit to his assistant, Roger Joint, who no doubt had a great deal to do with the final look of the film.

Like: Without explicit in-film commentary by characters or any narrator, Yves Robert transforms Louis Pergaud's story (50 years old when Robert made the film) into something modern for the times. He also retains all the author's subtle commentary on war, national rivalries, international alliances and the like. Once again, these comments are not explicit, but they are very difficult to miss.

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Like: Despite the buffoonery, all the characters retain a quality of humanity. This is necessary to support the theme that I assume Robert added to the story as he adapted it for the screen: kids behave in the ways their parents behave. This goes for both good and bad behavior.

Like: The children are shown doubting that they should fight, but the main instance of this dements into name-calling and distrust almost as fast as it becomes a reluctant truce. In other words, the characters are sort of flat, but have moments of roundness that really make the film a major achievement.

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Like: Marie Tintin, the sister of Lebrac's lieutenant, Tintin, is a character in the novel, but her part is expanded in this adaptation. Otherwise everything done would be done by boys, which would leave no parts for girls. And there are few of those as it is. This inclusion of a more important female role persists in the three later adaptations, as well. The choices Robert made when creating this story have a great deal of influence on the content and presentation of the three subsequent films. That would make getting a look at the 1936 version even more interesting, to see what Jacques Daroy didn't think of, that Robert did! In other words, Yves Robert turned a classic of literature into a film classic that has equal influence across time.

Like: The children with speaking parts do such a grand job. That is, they come across as real kids, not kid actors reciting lines. Part of this has to do with the casting choices, part with direction, part with the sheer talent of these young actors and actresses to simply be themselves whenever the camera is rolling.

Like: The cuteness added by Yves Robert to a much more vicious original story isn't cloying. At least it isn't to me. You might find it disgusting. But remember, I'm the age to be a grandpa, although my sons aren't in any hurry to make me one. So youth itself is kind of cute to these aging eyes, and what I think of as cuteness you might find...uh, er...cloying.


Don't Like: Honestly, I didn't find anything to dislike in the first viewing.

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Pergaud's story is rougher than Yves Robert's movie. The kids are a bit tougher, meaner, less sympathetic. He wrote just before World War I, a conflict in which he died. Times changed in the 50 years following the publication of the novel. It became beloved, and Robert wanted to make the beloved tale into a film. The characters had become beloved as well, and it is difficult to make beloved characters as rough-edged as they are in the book without incurring the wrath of legions who claim you have despoiled their childhood (or whatever people said about stuff like that in 1962).

He took much from Pergaud, and changed what he thought needed to be changed. Thus, Robert adds a scene in which Tigibus gets drunk at the hands of the senior L'Aztec while Lebrac is scrawling his epithetical chalkmarks at the Velrans church. Little Con does the same thing in the 1994 remake while Angus is scrawling his insult. When Lebrac arrives home late, he has to face his father, who beats him in the novel. And his film father is a clumsy drunk who breaks everything, and does give him a beating for coming in late. It is his mother's plea that M. Lebrac not beat up his son for ruining his clothes, "He can go to school naked!" that gives the boy the idea for the naked battle. He doesn't actually go to school naked the next day, his mom mends his clothing, but her silly remark spawns his battle tactic. That tactic comes directly from the novel, and a variation of the battle is in all four films.

There are generational parallels in the film that may or may not exist in Pergaud's original story. I'm only at the end of the first book. There are three books in the novel. In the film a group of fathers go in search of fugitive young Lebrac, and on the way they not only decide to sit and have a sip, but when men from the other village come along they have a shouting match, before all six sit down and open a bottle of wine. That's six bottles of wine, by the way.

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Without stating it, Yves Robert is saying that the boys are merely acting like their forebears, who are probably acting like the current crop of kids' grandfathers did. That's stated explicitly in the original novel. This is a feud between Longeverne and Velrans that has gone on for generations. In Pergaud's novel, The War of the Buttons is merely the latest iteration of that longstanding feud. It is this generation's implementation of rivalry between neighboring villages. The film doesn't spell that out, though. There is also the implied point that when the boys grow to adulthood they will mostly become friends with those who are now their rivals. But that will take time, and won't be a completely successful process.

But the ending of the film holds out hope of that eventual camaraderie. L'Aztec and Lebrac are very happy to see one another when they learn that they have both been sent to boarding school in the aftermath of the recent war between the kids. Each thought he was the only participant to be sent into exile.

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War of the Buttons (1962 film). From Wikipedia, the free encyclopedia. 'The character Petit Gibus's line of dialogue - uttered in frustration - "si j'aurais su, j'aurais pas v'nu" ("if I woulda known, I wouldn'ta come"), with its incorrect grammar (the correct form should be: "si j'avais su, je ne serais pas venu") has become a familiar tagline in France (the line was not in the original novel).'

Yves Robert (1920–2002). IMDb. "He was an actor and producer, known for The Tall Blond Man with One Black Shoe (1972), My Father's Glory (1990) and My Mother's Castle (1990). He was married to Danièle Delorme. He died on May 10, 2002 in Paris, France."

Louis Pergaud (1882–1915). IMDb. "He was killed in action as second lieutenant with the 166th Infantry regiment, French Army, near Fresnes-en-Woevre, April 1915. His body was never recovered."

François Boyer (1920–2003). IMDb. "François Boyer was born in 1920 in Sézanne, Marne, France. He was a writer and actor, known for Forbidden Games (1952), People of No Importance (1956) and Le joueur (1958). He died on May 24, 2003 in Saint-Germain-en-Laye, Yvelines, France."

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Wed Aug 10, 2016 6:28 pm
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I've Discovered a Cool Way to Learn a New Language

The self-assigned task to read La guerre des boutons in the original French has been a happy travail from the beginning. As you know, I began with a very minimal knowledge of French. I have now completed Book One of the novel, and have begun Book Two. The undertaking has become one at which I now throw a great deal of technology.

I still use the Kindle version I downloaded, plus its Larousse-Hatchette French-English Dictionary, and the translation properties of the Kindle device.

But I found a website that has the entire novel in HTML form. Remember that the Pergaud novel went out of copyright in 2010. I can use that as the source for text to select and copy, then paste into Google translate set up for French on the input side, and English on the output side.

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As usual, the translation into English is rough and often inaccurate, but with a little mental translation it is possible to get what's written. And there are some features I've discovered in Translate that make the task more fun, as well as more accurate. If you hover the pointer over a word on the output side, it offers to give you different translations of the word! And if you double-click a word on the input side, Translate will select that word for individual synthetic pronunciation. If the dictionary has the word, then it will also offer definitions and synonyms, with examples, all in the source language! And it will read to you in a fairly good synth-voice whatever you put into the input box.

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I offer this in case someone else out there might like to read a novel in its original language, even if you aren't familiar with the language. Here's an episode that I use simply because it's where I am in reading. Lebrac has passed out 32 slips of paper asking (in his own distorted French, which Pergaud translates for the reader) if each boy in the class has some money. The aim is to be able to buy buttons so that those lost when someone is taken prisoner in the war, can be replaced, keeping the kids out of trouble with their parents. Lebrac then conducts a silent poll during class time.

The original French:

Ensuite, sur une grande feuille, il réinscrivit ses trente-deux noms et pendant que le maître interrogeait, lui aussi, du regard, demandait successivement à chacun de ses correspondants la réponse à sa question, pointant au fur et à mesure, d’une croix (+) ceux qui disaient oui, d’un trait horizontal (-) ceux qui disaient non. Puis il compta ses croix : il y en avait vingt-sept.

– Y a du bon ! pensa-t-il.


--- is translated by Google to:

Then, on a large sheet, it réinscrivit thirty-two names and as the master asked, too, look, called successively to each of its corresponding answer to his question, pointing to As, a cross (+) those who said yes, a horizontal line (-) those who said no. Then he counted his cross, there were twenty-seven.

- There's good! He thought.


A lot of that isn't correct English, and other parts really make no sense. So by comparing both I come up with an adjustment:

Then, on a large sheet, he rewrote the thirty-two names and as the master asked questions, he also looked around, appealing with eye contact successively to each classmate for his answer to the question, marking next to each name a cross (+) for those who indicated 'yes,' or a horizontal line (-) for those who said 'no.' Then he counted his crosses; there were twenty-seven.

- That's good! He thought.


For reading I don't go through that formal re-construction of the English, of course. Otherwise it would take me even longer to work through.

I don't think this technique would work if you were learning a language with a writing system that was vastly different from yours: for example, I couldn't learn Thai by reading a novel in the language, because the notation system is unrelated to English. I'd have the same problems with Arabic or Chinese, or Japanese. For those, I would have to learn to hear and speak the language, then learn how it's written, just as I did with English... a few years ago. :shifty:

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YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
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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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

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Sun Aug 14, 2016 2:42 am
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A Comparison of Bicycle Thieves (1948) & Beijing Bicycle (2001)
Behind the Lens

--1948---------------

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Carlo Montuori 1885-1968. This man's life overlapped with that of Jie Liu by 21 days. The lens cap was lifted from Liu's days on earth on February 14, 1968; the cap went onto Montuori's life-lens on March 4. On that day it would still be 25 years before Liu would earn his first cinematography screen credit. But Montuori had earned 158 of them. Montuori's only directorial credit was for his first short film Il cane riconoscente (1907). After this he must have decided he would rather concern himself with lighting and filming than with telling everyone else what to do. His last film was Gli incensurati (1961), released in the year he turned 76. He undertook the photography for Vittorio di Sica in 1948 to tell the story of Bicycle Thieves. He worked with di Sica on at least two other movies, The Gold of Naples (1954) and The Roof (1956), according to IMDb and wikiwand.com. Montuori won Best Cinematography for Ladri di biclette (1948) from the Italian Syndicate of Film Journalists. Montuori was involved in large-scale and international productions, including the film Ben Hur (1925) while he was still shooting cinema muto. Google Translate gives us this for a sentence from the wikiwand biographical page: "With Sole, one of the last Italian silent films, he collaborated closely with Blasetti in what was considered one of the first attempts of revival of cinema in Italy, after the crisis of the twenties." His much more prolific career as a shooter of images for cinema sonoro began with Nerone (1930). Montuori worked with Carlo Ludovico Bragaglia on a number of sound films from 1943 to 1949. Montuori's next-to-last gig behind the camera was the second feature by Lucio Fulci, I ragazzi del Juke-Box (1959), Fulci's first musical.

--2001---------------

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Jie Liu 1968- . At age 25 Liu was cinematographer on Dongchun de rizi (1993). He then shot Beijing Bicycle (2001) for the same director, and High Sky Summer (2002) before moving into directing and producing of films. As of 2016 Liu is directing his seventh feature, Hide and Seek (2016) which is still filming, according to IMDb. Jie Liu is currently known as a writer and director of films, rather than as a cinematographer. Liu's career has not been without acclaim from his peers, including a nomination for Best Cinematograhy for Beijing Bicycle.

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Carlo Montuori from wikiwand.com.

Carlo Montuori. From Wikipedia, the free encyclopedia. "After the war, Montuori 'had a major role in the figurative culture of first neo-realism', often collaborating with Luigi Zampa and winning a silver ribbon for best cinematography for his work in Vittorio De Sica's Bicycle Thieves. His son Mario was also a cinematographer."

Highlights of awarding ceremony of Shanghai Int'l Film Festival from ChinaDaily English. Source of Jie Liu photo.

Beijing Bicycle. From Wikipedia, the free encyclopedia.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Aug 21, 2016 1:45 am
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Post Re: YTMN Presents a Remake Rematch Thread

Woke up today with competing goals. Wanted to vacuum and wash my car. Wanted to get at least one RR post in the thread (maybe more). But laziness overcame me and I thought, Saturday. Only day to sleep in. So I unset the alarm on my clock and slept until 8 am. Probably too hot for vacuuming and washing, but I heaved myself to my feet and ate breakfast. Afterward, I decided to shower and skip the washing of the car. Just wash me, that was all. Then wash clothes. When I got done with the bath, I sorted laundry, and as I carried my first load out to the laundry room, I noticed that it was raining.

If I had cleaned out my car it might have started raining before I was done!

Serendipity. The definition of serendipity. :fresh:

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Aug 21, 2016 1:57 am
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Post Re: YTMN Presents a Remake Rematch Thread

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Not Quite a Remake Rematch of
Pinocchio (1996) & A.I. Artificial Intelligence (2001)

Behind the Lens

--1996---------------

Image

Juan Ruiz Anchía. For a decade after 1971 Anchía was the cinematographer for short films, and documentaries. But he landed the director of photography job on Reborn (1981). I thought the Pinocchio film was the only one of his works I've seen, but I have also seen The Stone Boy (1984), and The Jungle Book (1994). He is better known for Glengarry Glen Ross (1992) and House of Games (1987). His latest completed work is Phil Spector, (2013) a TV movie. His current project is in pre-production: A Book of Common Prayer directed by Campbell Scott from a Joan Didion novel. The titles of several others of his 73 cinematographer credits are familiar to me. Anchía is not without nominations and awards.

--2001---------------

Image

Janusz Kaminski worked with Stephen Spielberg on Schindler's List, and has become Spielberg's go-to cinematographer since then. Currently they are working on Ready Player One (2018). Kaminski's first DP credit was for Lady America (1986). He has directed photography on 41 projects to date, including the Disney The Adventures of Huck Finn (1993), Jerry Maguire (1996), The Terminal (2004), The Diving Bell and the Butterfly (2007). Kaminski runs in the circles that lead to 101 nominations and some 35 awards from them. These include Oscars for Saving Private Ryan (1998) and Schindler's List (1993). His work on The Diving Bell and the Butterfly (2007) also garnered nominations (including the Academy Awards) and some wins (although not an actual Oscar for that one).


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Juan Ruiz Anchía: 'Julia Roberts siempre está al lado del equipo, y Al Pacino, nunca'. From El Mundo. Source of Anchía photo.

Janusz Kaminski. Source of portrait of Kaminski.

Janusz Kaminski. From Wikipedia, the free encyclopedia. "Kaminski was first discovered by Steven Spielberg in 1991. After seeing the television film Wildflower, Spielberg hired Kaminski to shoot Class of '61, a television film in which Spielberg served as producer."

Juan Ruiz Anchía. From Wikipedia, the free encyclopedia. "Anchía attended the Escuela Official de Cinematografia in Madrid, graduating in 1972, followed by a graduate in the AFI Conservatory with a Master in Visual Arts as a Director of Photography in 1981. His AFI television movie, Miss Lonelyhearts (1983), won the Cannes Film Festival for Best Foreign Film."

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Aug 21, 2016 9:33 am
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Post Re: YTMN Presents a Remake Rematch Thread

Seems yours truly was in a mood to research cinematographers, today.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Aug 21, 2016 9:37 am
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Post Re: YTMN Presents a Remake Rematch Thread

Long ago when this thread passed what was to me the astounding number of 100,000 page views I began to wonder what drew the eyes of the few who apparently wanted to read everything in the thread. The bored, the curious, and, of course, there are some who admit that they enjoy my words and pictures.

Thank you.

Whoever you are, I thank you for bothering to look in here and maybe read some of what appears on these pages.

I expected to make today's pad post something like "Over the past week the total page views number for the thread has passed 990,000,..." etc. etc.

When I logged in to post another tech entry I noticed the counter was at 1,000,877 page views. So, the count drifted past a million views while I was asleep last night. Or, perhaps even this morning while I was doing laundry and composing what I'm about to enter.

It's stunning. With 2145 posts that averages to 466 page views per post. I guess I can quit joking that Genie and Hank are doing all the reading. Genie's right. It's mostly lurkers. There are four or five lurkers who are bumping up the view count as well. :)

Thanks, readers. Thanks, lurkers.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Aug 28, 2016 2:27 am
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Image

Not Quite a Remake Rematch of
Battle Royale (2000) & The Hunger Games (2012)

The Writers

--2000---------------

Image

Koushun Takami (novel). This man's fame has come entirely from his novel, and two films and a TV series based on it. But he is still richer and more influential than I will ever be.

Kenta Fukasaku (screenplay). Kinji Fukasaku, this writer's father, directed the film Battle Royal (2000). Since that film was not completed when the director died, his son took over and finished the film. He also wrote and directed a sequel three years later. Fukasaku has directed several films since, but none has been as influential as Battle Royale (2000). He has only three writing credits for Battle Royale (2000) and Battle Royale II (2003) sequel, and five episodes of the Blade (2011) TV series. I can't vouch for the film, but his longest title is We Can't Change the World. But, We Wanna Build a School in Cambodia (2011).

--2012---------------

Image

Gary Ross (screenplay) has twelve screen credits that say writer, but he also has six as director, and six as producer. Among his writing credits are several films that garnered a lot of attention: Big (1988), Pleasantville (1998), Seabiscuit (2003), The Tale of Despereaux (2008), and The Hunger Games (2012). Ross has won awards and gotten nominated, one of his wins was for writing The Flintstones (1995), but he shares the Razzie with 27 other writers! Pleasantville and Seabiscuit got more nominations, and more pleasant ones. At this time he is writing and directing Ocean's Eight (2017) which is still in pre-production. It is probably worth noting that he directed The Hunger Games (2012).
Suzanne Collins (novel & screenplay) was a TV and film writer who launched a series of kid's books (The Underland Chronicles) and then wrote the Hunger Games trilogy which was made into films. Her writing credits for the screen begin with Clarissa Explains It All (1993) as a staff writer. She has some TV movie writing credits, and wrote two screenplays in 2012 (one other besides The Hunger Games). The rest of her work has been for the Hunger Games films through 2015. She also acted as producer on the four Hunger Games movies.
Billy Ray (screenplay) has 16 screenwriting credits at IMDb. These range from the co-creator and writer credit for the television show The Bobby and Larry Show (1990) to the TV series The Last Tycoon (2016). He wrote and created 21 episodes of Earth 2 (1994-1995), wrote the film Hart's War (2002), and worked on The Hunger Games (2012) and Captain Phillips (2013), among his credits. His work has attracted attention from the awards bullpens.


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Koushun Takami. From Wikipedia, the free encyclopedia. "Battle Royale was completed after Takami left the news company. It was rejected in the final round of the 1997 literary competition Japan Grand Prix Horror Novel, due to its controversial content depicting Junior High School children forced to kill one another. When finally published in April 1999, it went on to become a bestseller, and only a year later was made into both a manga and a feature film."

Suzanne Collins. From Wikipedia, the free encyclopedia. "As the daughter of a military officer, she and her family were constantly moving. She spent her childhood in the eastern United States. Collins graduated from the Alabama School of Fine Arts in Birmingham in 1980 as a Theater Arts major. She completed her Bachelor of Arts degree from Indiana University in 1985 with a double major in theater and telecommunications. In 1989, Collins earned her M.F.A. in dramatic writing from the New York University Tisch School of the Arts."

Kenta Fukasaku. From Wikipedia, the free encyclopedia. "He made his writing debut in the popular Japanese cult film Battle Royale, which his father directed. He wrote the screenplay to the sequel, Battle Royale II: Requiem, and took over directing when his father died of cancer."

Gary Ross. From Wikipedia, the free encyclopedia. "In 1998, he wrote and directed Pleasantville, and in 2003, he wrote, directed and produced Seabiscuit, based on Seabiscuit: An American Legend by Laura Hillenbrand. The film earned seven Academy Award nominations."

Billy Ray (screenwriter). From Wikipedia, the free encyclopedia. "Starting in 2003 he began to direct as well as write; his first film was Shattered Glass, inspired by the true story of Stephen Glass, a journalist who fabricated a majority of his stories. He was nominated for the Most Promising Filmmaker by the Chicago Film Critics Association and an Independent Spirit Award for Best Screenplay for his work on this film."

Leonardo DiCaprio’s Atlanta Olympics Bombing Movie Gets a Writer. Slash Film. image source for Billy Ray.

Hunger Games Director Gary Ross on Jennifer Lawrence’s Powerful Acting: “It’s Like Looking into a Blast Furnace” from VF Hollywood.com. by Krista Smith November 11, 2011 12:30 pm. Source of Gary Ross image.

Suzanne Collins Biography. From thehungergamers.com. Source of Suzanne Collins image.

Kenta Fukasaku (Director). From Eigapedia. Source of Kenta Fukasaku image.

Koushun Takami – Battle Royale | Review Published on April 27, 2016 by danecobain in SocialBookShelves.com. Source of Koushun Takami image.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

trxbooks.com


Sun Aug 28, 2016 2:28 am
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Post Re: YTMN Presents a Remake Rematch Thread

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Not Quite a Remake Rematch of
Pinocchio (1996) & A.I. Artificial Intelligence (2001)

Soundtrack

--1996---------------

Image

The musical accreditation for this movie is so complicated that the only way to understand it is to read the 4 pages of liner notes from the CD. So consider that this post has incomplete information.
David Goldsmith is known as a musical theater lyricist. He wrote some of the words for the song "Luigi's Welcome" in the Pinocchio film. This film contains his only screen credit as Composer.
Lee Holdridge composed the music for "Luigi's Welcome" and "Il Colosso" (with Brian May) But he has 20 soundtrack credits at IMDb, and 220 composer credits! A lot of his work is for television movies, but, hey, they need music, too.
Rachel Portman is credited as composer on this film. She wrote the incidental music. Music is emotion, distilled into sounds, and film composers use that either to try to guide how you feel as you watch, or to reflect what is happening on the screen. Portman is in the small crew of composers whose music actually will connect with me so strongly that I feel moved by the mathematically abstract beauty of the melody and arrangements. I found dozens of film credits that I've heard of for which she wrote the score, but only 10 entries in her IMDb list for titles I've seen that she composed for. One of them, obviously is The Adventures of Pinocchio (1996), but another is War of the Buttons (1994), both in this Round of the Rematch Thread. In fact, it was the 1994 film that introduced me to her as a cinema composer. Portman was born in 1960 and is still working. Over the course of her musical career that began with Privileged (1982), she has garnered 16 soundtrack credits, 39 music department credits and 97 composer credits. She has won 8 awards (one Oscar) and has 18 additional nominations.
Craig Taubman wrote the words and music for "All for One" which was then arranged by him, Rachel Portman, Spencer Proffer, and David Kates.
Brian May a member of the rock band Queen, and an Astrophysics Ph.D. holder (since 2008), was the lyricist for the scene that takes place in the puppet theater. He wrote the words and music for "What Are We Made Of" and "Il Collosso" (with Holdridge) and performed on the tracks.
Stevie Wonder composed and performed three of the musical pieces in the movie: "Kiss Lonely Goodbye", "Hold Onto Your Dreams" and "Pinocchio's Evolution." His music has been popular with music editors. IMDb lists 437 soundtrack credits, including the songs for Pinocchio. He has four composer credits, and four music department credits (where this film also falls). His earliest soundtrack credit is for "Happy Street" in Muscle Beach Party (1964) when he was 14 years old. And he has won awards, which shows that people in the industry pay attention to him.

--2001---------------

Image

As complicated as the music is for the other film, it is straightforward for A.I.
John Williams started composing music for television in 1956 for Playhouse 90. He wrote his first feature film score for Daddy-O (1958). Williams is still working, and has 143 composer credits to date (some of which are announced gigs for films to be released over the next three years). As of the date of this post, his latest score is for The BFG (2016). His score for Star Wars (1977) (now subtitled Episode 4: A New Hope) transformed film music composition from synthesizers back to the realm of the orchestra. All for the better, IMO. Honestly, I never noticed the man until 1977, although he had been working as the composer for (let me count, here) 16 movies and TV shows that I had watched by that time. He was doing well, but Star Wars changed his career at the same time that he changed movie music. There is no need for me to make the sort of list of well-known examples of his work that I usually do for tech posts in this thread, because it is hard to be a film-lover and not know about John Williams' music. And to close, if I count the shows and films I've seen during my lifetime that Williams composed the music for, it comes to 60 out of the IMDb list of 143. So not even nearly half his work has crossed my ears. He is quite possibly the most successful composer represented in this entire thread, so far. His awards numbers are embarrassing: 117 wins and 222 nominations. If we look at his other screen credits, IMDb lists 187 credits for music department, and 309 credits for soundtrack, in addition to the 143 credits already mentioned. And from all this he has certainly garnered more than a couple of dimes to rub together.
Barbara Bonney did the vocal solos for "Stored Memories" and "Monica's Theme", "Where Dreams Are Born," and "The Search for the Blue Fairy."
Cynthia Weil wrote the lyrics to the song "For Always"
Lara Fabian sang "For Always" both as a solo, and as a duet with Josh Groban under the closing credits.

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Films and their music can come to represent certain events in our personal lives. This movie came out when my father was dying from lung cancer. The song "For Always" hit me pretty hard on first viewing, and I spent all my tears that night over my dad's situation. It is not possible for me to separate my circumstance when I first watched the film and heard its music, from my reactions to both the movie and its musical tracks. I am writing these words in the same room in which his life finally passed out of my father. But I watched the film in Memphis, TN, where I lived then, 167 miles away from him and Mom in 2001.


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Rachel Portman. From Wikipedia, the free encyclopedia. "Her other works include a children's opera, The Little Prince (which was later adapted for television) and Little House on the Prairie, a musical based upon the Laura Ingalls Wilder books Little House on the Prairie (2008). Portman was commissioned to write a piece of choral music for the BBC Proms series in August 2007."

John Williams. From Wikipedia, the free encyclopedia. "John Towner Williams (born February 7, 1932) is an American composer, conductor, and pianist. With a career spanning over six decades he has composed some of the most popular and recognizable film scores in cinematic history, to many of the highest-grossing films of all-time, including Jaws, the Star Wars series, Superman, E.T. the Extra-Terrestrial, the Indiana Jones series, Jurassic Park, Schindler's List, and the first three Harry Potter films."

Lee Holdridge. From Wikipedia, the free encyclopedia. "While living in Costa Rica, at age ten, he studied the violin with Hugo Mariani, who was at the time the conductor of the National Symphony Orchestra of Costa Rica. He then moved to Boston, where he finished high school and studied composition with Henry Lasker."

David Goldsmith (lyricist). From Wikipedia, the free encyclopedia. "David Goldsmith (September 3, 1962, Cincinnati) is an American theatre and film music lyricist."

Craig Taubman. From Wikipedia, the free encyclopedia. "Taubman's career initially launched with his popularity as a children's recording artist in the early 1990s, during which he was prominently seen on the Disney Channel performing songs like "You Need a Haircut, You Really Need a Haircut" and concerts like "Rock'n Toontown" at Disneyland. In recent years, he has branched out into recording and performing more adult-oriented music, most of it Jewish in nature, although he continues to record and perform for children."

Brian May & Sissel - Il Colosso from Youtube

Brian May & Sissel - What Are We Made Of? from Youtube

The Adventures of Pinocchio - All For One from Youtube

The Adventures of Pinocchio/ Rachel Portman Soundtrack from Youtube

Kiss Lonely Good-Bye (The Adventures Of Pinocchio/Soundtrack Orchestral Version Without Harmonica) from Youtube

Kiss Lonely Good-bye (The Adventures Of Pinocchio/Soundtrack Version) from Youtube

Dr Brian May - Visiting Researcher. Staff webpages of the Imperial College London. Brian May is also an astrophysicist, Ph.D. holder. "Brian May completed most of his PhD in Astrophysics in Jim Ring's group at Imperial College in 1970-4. Previously he had completed his degree in Physics at Imperial."

brian may astronomy Google Image search results.

Brian May. From Wikipedia, the free encyclopedia. "In 2005, a Planet Rock poll saw May voted the 7th greatest guitarist of all time. He was ranked at No. 26 on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time". In 2012, May was ranked the 2nd greatest guitarist of all time by a Guitar World magazine readers poll." "He was a "science team collaborator" with NASA's New Horizons Pluto mission. He is also a co-founder of the awareness campaign, Asteroid Day. Asteroid 52665 Brianmay was named after him."

Music In Film...Rachel Portman from hubpages.com. by Genna East. Updated on July 6, 2015. Source of Rachel Portman image.

John Williams: 15 facts about the great composer. From classicfm.com. Source of young John Williams photo.

Do musicians think John Williams is a great composer, or just a popular one?. From quora.com. Source of older John Williams photo.

Brian May Kicks Ass. From pinterest. Source of Brian May photo.

The Creative Team Behind A-5678. From a-5678.com. Source of David Goldsmith photo. Only one I could find.

Past Performers. From B'nai Tikvah.org. Source of Craig Taubman photo.

Opera. From leeholdridge.com/opera. Source of Lee Holdridge photo.

Happy Birthday, Stevie Wonder!. From wogl.cbslocal.com. Source of Stevie Wonder image.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Sep 18, 2016 8:44 am
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Post Re: YTMN Presents a Remake Rematch Thread

I was afraid my two or three readers might fear that I had died. Nope, just been reading Pergaud's novel in French, and learning how to drive DAZ Studio 4.9. That second thing is not related to the Rematch thread at all.

Friday the 9th, my 5 or 6 year old Epson printer crapped out on me just after I completed scanning and printing some pix for my older nephew to take to his wedding (the 10th). So I went to buy a new printer, and brought home an HP Envy 5665 which is performing pretty well. I like the scanner component even better; superior colorimetry, I think. It prints photos as well as the Epson did. Uses ink faster, though.

The trouble with HP and Microsoft is that they write software that "helps" you so much, that you have to constantly turn off the crap that's getting in your way. Ha ha!

So far, nothing like that with the new printer-scanner-microwave oven-portable toilet-field capable surveillance device that I purchased. I think it does all those things. They're always adding new capabilities to what used to be a mere printer or a mere scanner. Maybe it just scans and prints and copies. I don't think it has a phone on it. But it can double as a card reader for SDHC cards.

On Monday the 12th, both my UPS batteries went south, and I had to go buy another pair of those! The second one took out mid-render...after slightly more than 2 hours of rendering time had elapsed.

I looked around my room to see what else was old and might quit. The HDD in my desktop computer came to mind, because it's been running most of the time since May 2010. I've never had anything but a couple of 1984 Mac drives last longer than 5 years. So I ordered a hybrid drive, 2 TB in capacity, and installed that on Thursday night and Friday morning.

These drives are touted as much faster than standard HDDs, because they have an 8 GB cache. I thought, "Yeah, I'll believe it when it happens."

I believe it, now. It isn't as fast as the SSD in my Asus laptop, but it's a lot faster than it used to be.

And today, I did laundry, played with Daz Studio, and managed to squeeze out a tech post for the thread. Also worked in a quick trip to the grocery store and pharmacy this afternoon.

Back to Daz and PowerPoint just for the fun of it.

Later, my dear readers.

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Sep 18, 2016 9:22 am
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Post Re: YTMN Presents a Remake Rematch Thread

Let's end this here page!

_________________
YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Latest 23 July 2017. Thread COMPLETE 25 May 14 (2d time!)
Round Four complete: BTM Batman -- BCH On the Beach -- BOU La Guerre des Boutons

in progress: 59 to go
BIC Bicycle Thieves/Beijing Bicycle Es1, 4 Rv1 2 DP
BRH Battle Royale/Hunger Games Es1 3 4 Sc Rv1 2
BRN Tom Brown's Schooldays Es 1 2 3 4 Sc Di DP SFX Mu De Rv1 2
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 2 3 Di Rv1 2
TNS Tingler/Creeps/Slither Rv1 Rv2 Rv3 Es1 3 Sc SFX De Di Mu
TZN Tarzan of the Apes/Tarzan the Ape Man/Greystoke Sc Di DP SFX De Mu Rv1 2 3 Es1 2 3 4 5 7

The Future Unreels

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Sun Sep 18, 2016 9:24 am
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