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Posts posted by Gina

  1. On 1/4/2016, 8:08:13, Ryan H. said:

    Rian Johnson said that his cinematic inspiration for his film came film Letter Never Sent and Twelve O'Clock High.

    I haven't seen either of them, so I don't know what to make of that.

    I've seen some of Twelve O'Clock High. There's a lot that goes on in it, but the part everyone seems to remember best is Gregory Peck as a pilot cracking under the strain of too many bombing missions. 

  2. 2 hours ago, Peter T Chattaway said:

    For what it's worth, in the novelization (and thus, perhaps, in at least one version of the screenplay), Snoke talks to Kylo about Vader's turn away from darkness (and how does *Snoke* know about that!?), and Snoke blames Vader's "sentiment" for the fall of the Empire. So when Kylo fights against the "light", he is explicitly fighting against giving in to "sentiment" the way his grandfather did.

    Interesting point. I wonder why they didn't keep it in the script. Maybe it was simply cut for time, but it seems rather important.

  3. It's hard for me to say which of the first two movies is better! They're both so good. (After that, I agree, the quality drops off.)


    One interesting thing about the second one is that you get such a mix of acting styles. There are Powell and Loy, who were masters of the screwball style. Then you have a supporting cast full of more melodramatic, stilted, old-fashioned actors, with two main exceptions. Jessie Ralph as Nora's aunt does the "grande dame" hilariously. And 28-year-old Jimmy Stewart, with a very natural style, acts almost everyone else right off the screen.


    The film becomes sort of a snapshot of a time when a lot of things in Hollywood were changing, and not just the Code. It's really fascinating to watch with that in mind.


    Barbara's piece — note the URL: "the-utter-embarrassing-mess-of-noah-and-why-everybody-is-lying-about-it" — has well over 13,000 shares.

    For anyone who didn't see the post earlier: that URL was her post's original title.



    Serious question: was there a time when Barbara actually engaged questions of art in film making, because as long as I've been reading Christian movie reviews, she's been getting increasingly extreme and nasty in her mentality of "I am the only person who knows anything about film making, and all who disagree with me are lying idiots who have sold their souls for popularity."



    I really think she did. The first time I can recall her doing the "HOW DARE YOU DISAGREE WITH ME!?" bit was back in 2006, with Bella. It wasn't just that she hated it, it was that she pretty much refused to acknowledge its right to exist at all, and thought everyone who disagreed with her was insane.


    I remember being startled by her attitude at the time, because I hadn't seen her write that way before. Or if she had, it was so subtly that I hadn't noticed.


    Sometime prior to that, I think, I had heard her give a lecture and thought it was very good.


    I felt awkward telling an unbelieving co-worker, in front of a fellow Christian in the office, how wowed I was by in the film. My believing friend has heard me challenge his dismissal of other films on moral grounds before -- or, if not challenge on those precise grounds, speak of why I liked certain films for other reasons. 




    I got comments from someone at my blog today who was clearly distressed by the film's spot on my top 10 list. She wrote:


    You're trying to say there's a deeper purpose here. Beneath all the obscenity and pornographic filth, we find the profound message that... America sucks/capitalism is evil? Maybe that's an oversimplification, but bear in mind that if Scorsese is par for the course in Hollywood, he's coming at this from a very leftist economic bias.



    You see how easy it is to write a movie off? Just find a political label you don't like and pin it on the filmmaker. Saves you the trouble of, you know, really considering the film.




    Or maybe she did consider the film and that was her conclusion? ;) A capsule description of a film isn't necessarily a label. No one called Christian's "obscene" a label.

  6. This is probably one of those dumb questions that everyone here already knows the answer to! :) But I don't know the answer, so I'll ask it: What are some good publications where a freelance writer could send essays about film and literature and so forth? I've looked at some online film journals and things like that, but I'm not finding much, maybe because I don't know the best places to look. 


    Any help would be much appreciated. I've done some pieces for The Atlantic and The Weekly Standard and other magazines, but things like that usually have to be timely or have some sort of hook. For instance, I just had a chance to write about Bob Fosse for the Standard because I was reviewing a new book about him. But if I want to write a long rambling essay about, say, why the casting of Jimmy Stewart in Vertigo really works for me, there's nothing timely to "hook" that to. The film isn't having a big anniversary or a new special release or anything. I'd like to just be able to explore some of my "hookless" ideas!


    (Already tried Christ and Pop Culture once or twice, but no dice.)

  7. I was watching The Untouchables with my dad last night. Never saw the whole film before, but I had seen the train station scene years ago -- we studied it in film class when I was in grad school. Interestingly, though I think the rest of the movie's great, I didn't feel like the train station scene held up. Too stagey and overdone. (Yes, I know, they were going for the Battleship Potemkin tribute and all, but still.) Compare the endless setup for the action, and then the unspooling of the action, to what Hitchcock did with the crop duster sequence in North by Northwest. Hitch made it all so much tighter and therefore so much more suspenseful.


    In the area of musicals, Summer Stock (Gene Kelly & Judy Garland) has held up for me; Royal Wedding (Fred Astaire & Jane Powell, dir. Stanley Donen) has not. The musical numbers are brilliant, but the film itself falls flat. More and more (and largely against popular opinion), I'm convinced that most of what was good in the famous Kelly/Donen collaboration came from Kelly.


    And a couple of films have actually improved for me over time. I would put His Girl Friday and The Lady Eve in this category. Not that I didn't think they were great to begin with, but now I think they're even greater than I thought. thumbsup.gif  )

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