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 Char's Cinematic Caravan 
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hey wig, membs?

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Tue Feb 25, 2014 12:52 pm
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yeah i was membsing in jade vine's thread too, but i dont think we watched Sieges just his first ones, great times :heart:


Tue Feb 25, 2014 1:13 pm
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<34

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Tue Feb 25, 2014 1:16 pm
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stop membsing and revive that thing <3

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Ce vieux rêve qui bouge | Guiraudie | 2001


Rewatching this only conforms its close affinity to Stranger By the Lake and reaffirms its position as my favorite of his films (along with the aforementioned Stranger). Both are set in these constrained specific locations that seem completely isolated/insulated from the rest of the world. The stranger in this film is a machinery expert brought in to dismantle this decaying factory. For a bunch of the film we just observe the daily rhythm of this factory that's closing down. The workers take siestas under sun umbrellas and generally shoot the breeze. And while the film never really accelerates in terms of its dramatic quotient, there's some mild ruffling of the routine once homoerotic desires become more palpable and so on. I would likely adore this film even if it was nothing but machines being taken down with no dialogue whatsoever but the conversation at the end is so utterly beautiful and perfect that the so-called plot makes me love it even more. Also those rusty red hues <33

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Wed Feb 26, 2014 4:50 am
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Artists and Models* | Tashlin | 1955


Remains my favorite Tashlin. Animation come to life with the most delightful cast and the funnest sketches and songs. Love the way the film establishes it's over-the-top sensibilities right off the bat but does it with this wonderfully moving song sequence that's less about dreams and more about dealing with economic hardship. And there's so much comedy to be mined simply by casting Maclaine as this awkward girl who barely gets noticed by Jerry Lewis. Cinematic Cotton candy <3

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Wed Feb 26, 2014 9:48 am
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According to Jerry, he and Hal Wallis saw Maclaine while she was filling in for Carol Haney on the Broadway production of The Pajama Game, and made her a star. According to Jerry...


Wed Feb 26, 2014 10:06 am
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flieger wrote:
According to Jerry, he and Hal Wallis saw Maclaine while she was filling in for Carol Haney on the Broadway production of The Pajama Game, and made her a star. According to Jerry...

oh wow : ) is this her cinematic debut then? regardless, she's SOOOOO great here <3 sexiest human.

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Wed Feb 26, 2014 10:08 am
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The Trouble with Harry was 1955 as well, so...

According to Jerry, he basically co-directed every Frank Tashlin film he starred in. According to Jerry...


Wed Feb 26, 2014 10:14 am
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I mean, discovering her isn't a great accomplishment. How does one fail to notice Shirley :D?

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Wed Feb 26, 2014 10:19 am
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sooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooogood

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Wed Feb 26, 2014 10:22 am
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That Guiraudie has a Rohmer-level spatial pleasure to its images. mmm

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Wed Feb 26, 2014 1:18 pm
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The best, thanks for the rec. Love how it celebrates fantasy and make-believe and points how it is all that. Also Dean's singing voice <3

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Wed Feb 26, 2014 6:37 pm
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Pretty sure ribs has told me a thousand times to watch that Tashlin.

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Thu Feb 27, 2014 3:11 pm
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That Tashlin is pretty fun, yeah. Definitely obvious that he had directed cartoons earlier in his career.

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Thu Feb 27, 2014 6:54 pm
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his cartoons are great

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Thu Feb 27, 2014 7:33 pm
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A Time to Love and a Time to Die | Sirk | 1958


Such a contrast from his other (American) films. Sirk replaces his usual vibrant landscapes for browns and greys and the idyllic suburban landscapes are replaced by war-torn ruins. And all of the social critique is much more upfront and blatant here and in what I consider somewhat rare, the central love story is totally devoid of irony or even criticism. When Elizabeth notices the cherry blossoms by the river or fiercely protects her little parsley plant, Sirk seems completely simpatico with her as she desperately fights to find color and signs of life amidst all the tragedy and darkness. And in this and many other ways, this feels the most personal of his films. The film makes war feel so utterly unattractive from all sides. Also, his angriest film probs. The only issue I have against the film revolves around the writing which is clunky and really lacking in subtlety but that stuff is easy enough to ignore for the most part. Lovely film.

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Tue Mar 04, 2014 12:28 pm
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Uh, need to see more Sirk.

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Tue Mar 04, 2014 4:26 pm
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Park Row | Fuller | 1952


What i lacks in subtlety perhaps, it more than makes up for in visual ingenuity and the like. All the lovely long takes and tracking shots and the gorgeous sets are just so immersive and mesmerizing that who even cares. That said, are all his films so overt in terms of their ideology and positions? This one feels particularly didactic but that also makes it feel truly personal etc. So it's not entirely a bad thing. I loved it regardless.

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There's Always Tomorrow | Sirk | 1956

Uffff this one's even better than A Time to Love. It's achingly romantic and rather reminiscent of All That Heaven Allows both thematically and compositions-wise but I find this one even more interesting perhaps because it's really MacMurray's character that the film is centered around and because of that it ends up being an examination of 50s masculinity and supposed family values and such and all of this is treated with so much tenderness and understanding. Stanwyck is such a babe omg.

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Glue | dos Santos | 2006

Wistful and evocative and filled with a sense of memory and nostalgia.. not even just happy memories necessarily but just a tender looking back at adolescence etc. A film filled with warmth in both the literal and figurative sense. Love the Super 8 images which work so beautifully given the material and the punk rock soundtrack and the relative absence of dialog. Lovely film really and thx to lixie for the rec <3.

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Fri Mar 14, 2014 12:31 pm
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charulata wrote:
There's Always Tomorrow | Sirk | 1956

Doesn't the daughter say something like: "Isn't that positively atomic?"

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Fri Mar 14, 2014 1:59 pm
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NEWSPAPERMAAAAAN

I do enjoy Park Row

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Fri Mar 14, 2014 2:14 pm
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doesn't fred macmurray answer the door wearing an apron?

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Fri Mar 14, 2014 3:05 pm
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charulata wrote:
What it lacks in subtlety perhaps, it more than makes up for in visual ingenuity and the like. All the lovely long takes and tracking shots and the gorgeous sets are just so immersive and mesmerizing that who even cares. That said, are all his films so overt in terms of their ideology and positions? This one feels particularly didactic but that also makes it feel truly personal etc. So it's not entirely a bad thing. I loved it regardless.

He does usually have that directness, but this is Fuller at his Fullest, both for good (mostly) and for bad (a little bit at least).

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Fri Mar 14, 2014 11:57 pm
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Didn't quite love Glue that much, but it does look nice.

http://www.imdb.com/name/nm1161987/ :heart:

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Sat Mar 15, 2014 6:40 am
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Glue | dos Santos | 2006
Wistful and evocative and filled with a sense of memory and nostalgia.. not even just happy memories necessarily but just a tender looking back at adolescence etc. A film filled with warmth in both the literal and figurative sense. Love the Super 8 images which work so beautifully given the material and the punk rock soundtrack and the relative absence of dialog. Lovely film really and thx to lixie for the rec <3.
Geez, I've been meaning to see that forever. Or, at least since I saw Unmade Beds. It looks and sounds lovely! Thanks for the reminder. :)

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Sat Mar 15, 2014 11:45 pm
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Le voyage en Occident | Tsai | 2014
I liked it ...it's sublimely beautiful compositions-wise throughout and I like that he's making these films that inspire engagement with the present... basic tenets of meditation etc. But maybe I need to rewatch it to really fall in love. I feel that about his shorter works in general. With something like Stray Dog, the contemplative moments are complemented by the rest of the feature wherein I've forged a connection with the characters which helps me generate an emotional response to those lingering scenes and this may well be a failing on my part, but with these shorts, I find myself more admiring than truly moved.

The Grand Budapest Hotel | Anderson | 2014
All the ridiculously high expectations met and then some more. Not only is it hilarious but the overt and wonderful comedic parts reveal so much sadness and darkness right beneath the surface... even more so to my mind than his other more dramatic (or less slapsticky) films. Death serves as a central motif and everyone just keeps having to pick themselves up, dust themselves off, spray on some nice perfume and move forward somehow. Is this Anderson's first film where everyone's an outsider + orphan? Looooved it more than I can explain and am going again next weekend.

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Mon Mar 24, 2014 1:07 am
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no

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Mon Mar 24, 2014 1:16 am
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which part? guessing all the. my very presence perhaps.

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Mon Mar 24, 2014 1:18 am
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charulata wrote:
my very presence perhaps.

well now that you mention it

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Mon Mar 24, 2014 1:32 am
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i think of you as the calvin to my lucy... which means, i ain't quitting hanging around and nagging you.

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Mon Mar 24, 2014 1:37 am
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The Immigrant | Gray | 2014

Loooooved and cried and everything. Reminded me of Rossellini of all things but especially towards the end, it felt more Dostoevsky-influenced than Rossellini. But yeah, Christian themes are so front and center here (love the way her head-dress resembles a crown of thorns) and that ending is simply the most sublime and glorious thing ever probs. So much controlled anger in this film. Gorgeousness.

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Tue Mar 25, 2014 8:25 am
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Niiiiiiiiiiiiice. This and Snowpiercer tonight and tomorrow yay

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Tue Mar 25, 2014 8:40 am
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Fist wrote:
Niiiiiiiiiiiiice. This and Snowpiercer tonight and tomorrow yay

missuboth and y, Snowpiercer for me tonight or latest, trow.

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Tue Mar 25, 2014 8:43 am
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Also got some Carné vibes from the trailer, confirm/deny?


Tue Mar 25, 2014 9:00 am
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The Immigrant | Gray | 2014

Loooooved and cried and everything. Reminded me of Rossellini of all things but especially towards the end, it felt more Dostoevsky-influenced than Rossellini. But yeah, Christian themes are so front and center here (love the way her head-dress resembles a crown of thorns) and that ending is simply the most sublime and glorious thing ever probs. So much controlled anger in this film. Gorgeousness.

i cried hard :oops:

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Tue Mar 25, 2014 9:36 am
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undinum wrote:
Also got some Carné vibes from the trailer, confirm/deny?

I've only seen Le jour se leve by him sadly :( So I'm not a good judge of that at all.

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Tue Mar 25, 2014 10:05 am
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Carné is, like, my biggest non-Ozu influence

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Tue Mar 25, 2014 11:05 am
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Was strangely unmoved by The Immigrant. I teared up at the Opera singer though.

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Tue Mar 25, 2014 11:12 am
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Trip wrote:
Was strangely unmoved by The Immigrant. I teared up at the Opera singer though.

That opera singer scene was so moving.
Not even the ending sequence though.. the exchange between Cotillard and Phoenix? I felt her situation all too palpably throughout even when i didn't necessarily buy into Cotillard or Phoenix's performance etc.

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Tue Mar 25, 2014 11:28 am
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Just to clarify, I didn't have a problem with the performances or anything at all. I just wasn't blown away or anything

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Tue Mar 25, 2014 11:29 am
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huh thought you loved it? :?

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Tue Mar 25, 2014 11:32 am
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Me? or twips?

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Tue Mar 25, 2014 11:33 am
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Oh I loved the movie. I just meant to clarify that it wasn't cotillard or phoenix's performances that clinched it for me. They were both perfectly fine but Cotillard didn't work for me in parts. That said, the story and direction were enough to get me past that and responding emotionally etc.

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Tue Mar 25, 2014 11:34 am
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i thought she was incredible, just with her face alone. phoenix as well

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Tue Mar 25, 2014 11:35 am
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There's so much suspicion and ambiguity even by the end. I'm not sure, need to watch 17 more times.

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Tue Mar 25, 2014 11:39 am
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yes! i need you to love this trip!!

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Tue Mar 25, 2014 11:41 am
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She's remarkable. By far her best perf (not seen Edith). And Phoenix, so glad to see him not play some common shifty asshole. It's totally a Phoenix role.

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Tue Mar 25, 2014 11:41 am
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Trip wrote:
There's so much suspicion and ambiguity even by the end. I'm not sure, need to watch 17 more times.

Fair enough. Watched it twice now. And want to watch it again already.
As of now, I do buy that she feels a genuine sympathy towards him at the end though.. despite everything..

Also, loved all the mirrors and reflections and doubling and contrasting two characters in the same frame etc.. so good.

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Tue Mar 25, 2014 11:48 am
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Her feelings are obviously mixed, they're conflicted and complicated. She sympathizes, but also still feels resentment. It's an emotionally powerful and complex moment, a real moment that's like life, and all the strange ways we can feel about each other.

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Tue Mar 25, 2014 11:51 am
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I agree.. Duality is all over the film with some characters embodying purity over corruption and vice versa..

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"Life affirming doesn’t mean good things happen." - James Gray


Tue Mar 25, 2014 11:55 am
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Post Re: Char's Cinematic Caravan

I don't think the end itself is ambiguous, as emotionally complicated as it is. For many, his confession is a release after so much suspicion, and her act of forgiveness moves them. I felt I was admiring all this like a curiosity. Something beautiful, but foreign. So it is with Bresson.

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Tue Mar 25, 2014 11:56 am
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