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    The whole argument from significant form stands or falls by volume. If you allow C├ęzanne to represent a third dimension on his two-dimensional canvas, you must allow Landseer his gleam of loyalty in the spaniel's eye.

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  1. I would be sad about this, but it's undeniable that there are a lot of empty chairs and empty tables around here lately. I haven't been posting much either, though I'm not a very prolific forum poster at the best of times. (And, FWIW, I'm only just now resuming pre-pandemic movie habits - two nights ago I went to see In the Heights, and that was the first time I'd been to a theater since February 2020.) Mind you, I think it's still very possible that the forum could take off again - but for that to happen would probably require an infusion of new blood and a mostly new group of participants. It wouldn't be the old community back again in any case. A question about preserving the site: Is there an easy way to convert the board into a static site where old discussions could still be read? If so, the site could presumably be hosted at a much lower cost in time and money than an active forum. Perhaps InVision offers such a feature? It's worth noting that Wayback Machine has a feature for saving specific pages (the "Save Page Now" form), so this is a way to ensure any given thread will be available in the future.
  2. Posts like this one should at least have the links removed, if not deleted. We shouldn't allow the board to be used to drive search engine traffic to sites selling drugs.
  3. I have to admit I find this comparison baffling. I haven't yet seen the sequel, but nothing in Jeanette looks or feels anything like Monty Python to me. Despite the oddness of its blend of artistic styles, I'd say the way Jeanette handles its themes is consistently and, in fact, rather heavily and insistently serious. It's whimsical, but never farcical.
  4. I have my account settings configured to send me an email for every reply that gets posted in a thread I follow (which is mainly threads I've posted in). The emails have always contained the full text of the replies. Recently - probably since the Invision update? - the emails contain only the first couple lines of the post so I have to click through to the site to see the rest. The convenience of reading replies directly in my email was nice to have. I don't suppose it's possible to restore the old email behavior?
  5. Rushmore


    Chalamet is certainly capable of actual acting, so I assume it's Villeneuve's fault that he speaks every line here as if he's either drugged or just waking up from a deep sleep. Also most of the visual design looks pretty dull, though I can imagine the sandworm as shown here working well on the big screen. Overall, this trailer isn't exciting.
  6. Does that mean you couldn't stay for the credits without disrupting the exit procedure? That would bother me as an inveterate credits-watcher. Not that I could really blame the theaters for not worrying about this, since I'm literally the only person I know who insists on sitting through the credits every time.
  7. Rushmore

    John Ford

    I don't know Ford very well, but I recently saw and really liked The Long Gray Line, a biopic about Marty Maher, an Irish-born army officer who spent fifty years at West Point. The film turns on an interesting tonal shift that happens partway through. When Maher arrives at West Point as a young immigrant fresh off the boat, initially working as a waiter who breaks a lot of dishes, the film plays as a broad comedy with a lot of faith-and-begorrah Irish jokes and some outright slapstick. However, it eventually transitions, surprisingly smoothly, into a weightier drama with serious themes related to honor, patriotism, and teaching. It's very much carried by its stars, Tyrone Power and, just as importantly, Maureen O'Hara, who plays Maher's wife (and whose Irish accent is authentic, unlike Power's).
  8. Beautifully done, and some of the connections between films are unexpected and wonderful. Thanks for this. I think I can identify the majority of the clips, but I expect there are members here who can get them all.
  9. Coming late to this thread, I'm just starting to listen to Symphony No. 1 above. In the first notes of that clarinet solo, I had a moment of confusion while I thought was listening to the main title theme from The Godfather.
  10. I have kind of a guilty fondness for the novel, which I first read as a teenager some time in the decade before last (yikes). It's a very readable book despite its length and leisurely pace, sippable like a mint julep. Scarlett O'Hara is indeed one of the great unlikable protagonists of American fiction. She's selfish, ruthless, manipulative, narrow-minded and incurious, naive and then cynical, etc. What redeems her, as a character if not a person, is her grounding in the only thing she has left at the end of the book, "the red earth of Tara": home, family, tradition, but also the farm, the cotton and corn fields that provide the necessities of life. Conceptualizing Scarlett's old life as the earth is what suggests that its essentials, whatever external events take place, are everlasting. The South will never really die. What looked back then, to many readers, like a beautiful tribute to the old South, is now of course a damning indictment of it, because of what's not part of the picture: any notion of the evil of slavery. Good blacks, in the world of this book, don't even want freedom; they're loyal to their families (owners), who never mistreat or abuse them. It's kind of remarkable, actually, how the book acutely depicts some aspects of its society's mechanisms of control, as Ken points out, while lacking all self-awareness about this. FWIW, I work at an indie bookstore, and as soon as HBO announced it was temporarily withdrawing the film from streaming, we immediately sold out of copies of the book, which had been in stock for years. New copies also seem to be out of stock from the publisher. While I want the book to be available and do consider it worth (critically) reading, and some of this is the predictable effect of a book being for in the news for any reason, I can't help but see the irony in a book that's basically about ignoring racism flying off the shelves at this particular moment.
  11. Thanks for the reviews, both of you. This looks fascinatingly provocative. I'll look forward to seeing it as soon as I can do so for less than two times the cost of a theater ticket.
  12. I've been maintaining a spreadsheet with all the previous lists here. If you click twice on the 2006 column header, for example, you'll see all the films from 100 to 1 at the top.
  13. It makes me smile that Bergman and Malick are the two choices where everyone who voted had an opinion. (And, in my opinion, we made the right choice in both cases!)
  14. I'm hoping The Tree of Life wins out over A Hidden Life. I certainly have my personal bias here, since Tree of Life has been on my personal top 5 for years and I didn't really connect with A Hidden Life, and maybe it's just that when I saw Tree of Life at an impressionable age I was subconsciously ready for a rhapsodic Malick phase which is unrepeatable nine years later. It still seems to me that Tree of Life is a film of unfathomable depth and spiritual power, a film bursting with variety that can be explored endlessly and always remains surprising. A Hidden Life, beautiful as it is, seemed to exist in a space of lower dimensionality. I'm not sure I was surprised at any point or saw anything I haven't seen before. I don't like saying this about what I'm sure is a heartfelt tribute to a Catholic saint, but I felt like all the events were distant and ethereal, seen through a sort of spiritual haze, to the degree that it seems to show a narrower universe than Tree of Life, despite the relentlessly wide-angle cinematography. I have personal preferences about some of the other choices, but this is the one where I feel prepared to say that one film is really better and more profound than the other.
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