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Rushmore

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About Rushmore

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    Angry at the sun for setting

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    http://simplegifs.com

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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. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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!)
  7. 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.
  8. Thanks for this. I'm coming down on the 2-films-per side for similar reasons, along with a growing feeling that changing course midstream is causing more confusion than it's worth.
  9. Rushmore

    Nightwish

    I love Nightwish, which has been my introduction to symphonic metal. (I came to it via Tuomas Holopainen's extraordinary concept album The Life and Times of Scrooge McDuck, which has a quite different sound despite some recognizable stylistic similarities.) I'm not entirely sure that I approach it wholly on the level of artistic appreciation - the effect of this kind of music on my feelings and nerves is such that I've been known to say, not really joking, that Nightwish is my favorite recreational drug. I agree that Endless Forms is their best album.
  10. I understand this and sympathize. The problem is that I'm really in two minds here, afraid to choose either option for fear of regretting it later. Some compelling arguments have been made on both sides.
  11. Interesting. It's missing too many essential A&F favorites for me to really prefer this list to the regular one (apparently Dreyer isn't too divisive around here, who knew?), but there are some choices here that would have been fascinatingly provocative. Admittedly, this list also has most of the choices that I thought were bad, including the only nominated film I outright hate.
  12. Please do post that. It would be interesting to see the candidates "sorted by controversial". I'm happy to see Blade Runner (returning from the 2004 list!) on there. It strengthens the list to have a sci-fi entry beyond the two obvious choices of Stalker and 2001. I'm disappointed by the absence of Carol and Moonlight. I hoped at least one of those would make the cut, though Carol at least always seemed like a long shot.
  13. How many directors are on the list in the two-per-director version?
  14. Rushmore

    Carol (2015)

    If you have a video or slide presentation or some way to present this breakdown without a ton of extra work for you, I'd love to see it! I also love the film and consider it my favorite LGBT-themed film of the last decade (edging out Moonlight and Weekend).
  15. 12 Years a Slave (2013)
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