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  1. I'm not sure what I think of the entire album yet, but "Tin Angel" is sublime. A return to narrative songwriting that manages to retain much of his late-period epigrammatic style and apply it to a sturdy, cohesive lyric that holds together beautifully. It's a wonderful song. Dark and mysterious and beautiful, with his ragged and broken voice suiting the sound and the atmosphere perfectly.
  2. Glenn Heath Jr. swoons over the film in Slant. The Slant piece raises a question I've had myself -- is there really much point in trying to write a review of a film like this a couple hours after seeing it for the first time?
  3. Peter Bradshaw gives it a rave.
  4. For one example, look at the scene in which Ethan and Martin hear the Cavalry in the distance. They then discover that the Cavalry has just massacred an entire Comanche village, and among those who were killed is the good-natured woman Martin accidentally married. This is an immensely ugly and disturbing scene, and one which parallels the earlier massacre of the Edwards house. This isn't a movie about the whites heroically avenging the crimes of the Indians, it's about the destructive relationship between the two races in general.
  5. It's not that one has to see 30 or 40 other films to "determine a hit or miss," but that Ford's complexities run much deeper than is at first apparent, and the more one is exposed to his world the more one understands the beauty and artistry of his filmmaking. He's an enormously complex artist, and the more you understand his cumulative body of work the more you can appreciate how each individual picture fits within it. My feelings about this are pretty much identical to Darren's, it would seem (and, for what it's worth, I also think Ford is the greatest of all filmmakers). And this holds t
  6. Titus

    Don't Look Now (1973)

    The link includes an update in which Sutherland denies both the rumor and Peter Bart's supposed presence during the shooting of the scene. And Roeg himself denied the rumor (somewhat forcefully, if I remember correctly) on the audio commentary of the UK DVD of the film.
  7. I don't think O BROTHER WHERE ART THOU was ever intended to be a "serious" film, but I can understand why you would find A SERIOUS MAN problematic. The humor in that film could be argued as intrusive in a film that is clearly trying to grapple with serious issues, but I think this is a basic philosophical underpinning of the Coens' work -- their injections of absurdity and humor is not used to produce relief in an otherwise somber film (ala Ford or someone like that), it's actually intertwined with the more serious qualities. Such as the scene in A SERIOUS MAN, for example, where Larry Gopni
  8. Since you haven't seen TRUE GRIT, I'll leave the specifics aside. But in its most basic general form -- that the Coens populate their movies with outlandish caricatures and baroque speech patterns even in non-comedies, and the result is really discordant and all-over-the map tonally -- the complaint does seem to me rather self-evident. One might like that description or see something in it or overlook it, but the bare-bones description hardly seems disputable. The Coens frequently heighten the idiosyncracies and quirks of their characters for satiric or comedic purposes, but rarely deal in
  9. If I may, I don't think that last word (and the idea in the whole clause) can ever be taken for granted with the Coens. Heh. Well, I must confess that I find the Coens' reputations as mere smart-asses, and their supposed inclinations towards condescension and smugness, to be greatly exaggerated -- and the accusations to be almost always poorly supported, as if the points are so self-evident that they don't require an actual argument or any evidence (this last point is not at all directed at you, however, it's just my general frustration at how frequently the Coens are shrugged off in som
  10. Indeed. In interviews they make nary a mention of the original, yet have spoken avidly about their enthusiasm for the novel and their intentions to try and do it justice. Matt Damon said that, when meeting the Coens for the first time regarding the film, the first thing they instructed him to do was read the book (rather than the screenplay). Fidelity to Portis' work seems to have been their primary concern, not to "demystify" the original or the classical Western in general (and given this is only the second time they have chosen to adapt a novel, their affection for the material would see
  11. Glenn Kenny compares the Coens to Murnau at the end of his rave.
  12. The Wrong Man isn't part of this Universal set, it's part of the Signature Collection from Warner Bros. -- a studio whose library TCM has complete access of. But yes, the Universals have been played on TCM, they just aren't shown at all regularly. I don't have any problem with your personal dislike of Marnie, Nick. I probably shouldn't have even made reference to it in my initial post, given the off-hand manner in which you made the original comment and the off-topic nature that the discussion could lead. It just struck me as strange that Marnie, of all his films, would be the Hitchco
  13. TCM actually doesn't play many of these all that often, I assume because they don't own the Universal library and have to pay some sort of a licensing fee to play any of them. If you check TCM's website, you'll find that none of the 14 titles is currently scheduled to air (the schedule extends into February, I believe). The films in the Warner Bros. set, on the other hand, get played all the time. And it's off-topic, but surely you could've come up with a better title to take a cheapshot at than Marnie -- even if you were limiting yourself to this set (I'd nominate Family Plot). I think
  14. Do the cuts that are on your cassettes sound different than the versions on Biograph? I've only ever heard two versions of "Lay Down Your Weary Tune" -- the (I believe) album outtake that's on Biograph, and a really beautiful, less jaunty and more low-key version he did for a Carnegie Hall concert in 1963. Perhaps your bootleg just used one of these versions? "Walls of Red Wing" has appeared on some bootlegs of the Witmarks before, but it turns out that the Witmark version doesn't actually exist (or doesn't circulate, anyway), and the version that was being included on Witmark releases was
  15. Some of the exact same recordings from this set have been released officially already (such as "When the Ship Comes In" and "The Times They Are A-Changing," both at the end of the BS vol.1), so any omissions would be strange. Are you sure "Percy's Song" and "Lay Down Your Weary Tune" were recorded as Witmark Demos? I believe the versions released on Biograph were outtakes from The Times They Are A-Changin, and I've got an old bootleg of the Witmark Demos that doesn't include either of them. Edit to add: Have you gotten the mono set yet, Andy? If so, what are your thoughts on it vs. the e
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