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About Rushmore

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    Angry at the sun for setting

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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. 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.
  2. 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.
  3. 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?
  4. 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.
  5. 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.
  6. 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
  7. 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.
  8. 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.
  9. 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 co
  10. 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.
  11. 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.
  12. 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!)
  13. 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 t
  14. 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.
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