Laurence
I would go see Vivre sa vie, because (although I don't know where you live) I'm assuming that you'll probably have more chances to see Tabu on the big screen. But, Tabu is such a tremendous film, and possibly the year's best. So, on the other hand, it might be more exciting to see that than something you have seen twice.
Other than Holy Motors, Tabu is my most anticipated of this festival. Def a priority over Cronenberg Jr.
Here's what I currently have tix for:
Amour
Holy Motors
Laurence Anyways
Kon-Tiki
Berberian Sound Studio
Pieta
Tabu
T E A M R I V E T T E
I'm thinking about seeing MAN WITH THE IRON FISTS tomorrow. Anybody seen that?
Movies recently reviewed by RRA:
Star Trek (2009)
Pain & Gain (2013)
Oblivion (2013)
Jurassic Park III (2001)
The Lost World: Jurassic Park (1997)
The New RRA: Less Spam, still 100% ruining AD.
"Beyond the Hills" - I'm sorry, but what were the Cannes jury thinking when they threw all those awards its way? I honestly think it's a very well made film, but a MAJOR step down from "4 Months..." that honestly ventured into borderline parody in the last hour. I mean, the nuns ; it may sound insensitive, but the execution of it was just ridiculous! And also, Cristina Flutur has no reason to share the Actress award with Cosmina Stratan; Stratan did all the heavy lifting and pulled it off while Flutur came off, for the most part, as a hokey sort of Glenn Close-Charlotte Gainsbourg-Jennifer Carpenter in "The Exorcism of Emily Rose" amalgamation.
FOR YOUR CONSIDERATION - INOCA 2012
God, 2 Days in New York is such an infinitely better film than 2 Days in Paris. I don't know if it's because the character Marion has grown up so much in the interim or what but I just adored it. It was a lot less cartoony than the original probably because of all the great little beats that came from the loss of Marion's mother. The cameo by was so painfully perfect. I would definitely be there if Delpy chose to revisit that character/world again.
Oh man what a night! Just met Marion Cotillard and Jacques Audiard. Also, if Marion doesn't get a nom for Rust and Bone I will have lost hope for humanity... a towering inferno of a performance from a resolute star. Saw Post Tenebras Lux too, a film Im still baffled and mystified over.
I really liked Post Tenebras Lux, too. I don't understand it, but man is it ever hypnotic and enigmatic!
Agreed. The luminating red really was jarring and yet bewitching.. especially the quick glance to Eleazar. Im still trying to piece the film together... were these alternate realities? Or ruminations on what could have been? So many purposefully unanswered questions! And Im pretty sure the soccer players were on the same field as the site
Last edited by Andersson H.; 11-06-2012 at 02:08 AM.
I think you're on the right track, here.Originally Posted by Andersson H.
Post Tenebras Lux is the only winner at Cannes this year I have yet to see.
I saw The Sessions tonight. I also just listened to Sasha's latest podcast. I pretty much have to opposite feeling towards Helen Hunt than Erik does. She is one of my favourite actor's and I think given the right material she can really shine. Like here she is really excellent. Her and Hawkes both give pretty great performances in a film that is fairly pedestrian. It's an actors showcase and not much more, the characters are well written, but plot-wise there is no real drama. And it is over scored, which is a shame because Beltrami is a strong composer.
You MET them? My jealousy knows no bounds at this exact moment. I saw her in the lobby at Grauman's when I was getting a Coke, but I didn't want to bother her or her entourage (not to mention I didn't feel like inciting any action from security).
Agreed wholeheartedly about "Rust & Bone." As I mentioned in the Actress thread, the "What have you done with ?!" scene should be a guaranteed second win right there.
FOR YOUR CONSIDERATION - INOCA 2012
Frank Simon's The Queen was an interesting watch. While it lacks the urgency, energy, polish, and focus of something like Paris is Burning (and is extremely poorly shot), it is fascinating to see what the drag pageantry culture was like before the Stonewall Riots. There are a few interesting discussions about politics and gender identity, as the queens prepare for the pageant. And, I was beside myself to see a young, beautiful Pepper LaBeija as one of the contestants (and first runner-up) in the pageant, and Crystal LaBeija as the third runner-up! Once Rachel Harlow is crowned the winning queen, it is hilarious to see Crystal storm out, and wait outside the stage door to read Harlow: shade hasn't changed all that much over the years.The final shot of Harlow staring at her crown, as she rides the subway, has some power: the moment of her pageant coronation is likely a fantasy and moment that she has fetishized for, and it is sad to see that her jubilation lasted for, literally, mere seconds.
Stanley Donen's Funny Face was rather a disappointment for me. It began so strong, with really funny moments (the Diana Vreeland-esque character was great), but it lost steam, thus, losing my involvement. For me, it's a huge failure as a star vehicle, because the moment where it begins to lose its momentum is when we are introduced to Audrey Hepburn's character, in the bookstore. The Audrey Hepburn/Fred Astaire romance was creepy, and unconvincing: the age difference is, I think, misogynistic, because it takes for granted that of course an older man would feel attraction to a young, pretty girl, but continues the trend in Hollywood movies that denies the female counterpart to ever act so shallow. The dance/song sequences are long, and empty, and drag the film's pace. There's hardly any conflict, and so little character development. Audrey Hepburn's singing is a mixed thing for me: it is musically flawed, but at the same time, it seemed charming to me, and very much an extension of her, but I wonder if that is because I love her so much as a human, that I'm willing to accept it. The "pink" sequence is really great, and contains all of the energy that the rest of the film lacks. Love the photgraph of Maggie where he edits out the rest of her face, leaving only her features, as an option for a magazine cover mock-up, though! Because of Singin' in the Rain's obvious brilliance, I was expecting a bit more from this.
No, kid! Although I kind of understand you, I was disappointed too the first time, but probably because my expectations were so high.
True, the central conflict and drama is absolutely thin and silly, but I already got past that after watching so many musicals… it’s like they did the conflicts silly on purpose so to dwell on the songs and dances. And true, the Hepburn-Astaire couple worked only mildly because of his old looks, but I don’t think there’s anything misogynistic in it, it’s simply that there were only two men who could successfully lead a musical based on dances (not just in songs) and Donen had somewhat fallen out of friendship with Gene Kelly, if I’m not mistaken (after relative failure of the underrated “It’s Always Fair Weather” in 1955). So, it could only be Fred, and no movie would get greenlit in 1957 just on old Fred Astaire, so they needed a current star that knew how to dance. The other options were Caron or Charisse who were equally young.
But getting past dance, it’s hard to find a musical with musical numbers so visually gorgeous (it’s my 1957 winner for best cinematography). Many numbers are simply visual set-pieces, tour-de-forces: a dance inside a processing room all under a red light with a white spotlight. A jazzy, modern dance inside a grungy joint under just blue, green and red lights and lots of smoke. The visual orgy of Think Pink. The wonders of Paris in Vistavision and lots of split screen in “Bonjour Paris” (I think the moments the screen splits are absolutely magical). The photo session through Paris and its vibrant color (not a musical number but treated as such). Audrey’s “How Long Has This Been Going On” in a completely brown-and-black library with the splash of color of a bright green-orange hat. What if the thread tying these numbers together is so thin? On their own they’re all jawdropping. It looses a bit of steam by the end, though, and of the last three numbers I only really like the simple but charming “On How To Be Lovely”. Plus, all songs are Gershwin’s, so, just enjoy!
Last edited by McTeague; 11-08-2012 at 03:59 AM.
It's Always Fair Weather gets major points from me just for the roller-skate dance sequence. It's one of Kelly's most sublime moments and one of the best dance numbers in film history.
Yes.
I actually agree with most of all this. And, with a few days in between, it has improved in my memory. I'll totally agree with you on the greatness of its cinematography and colour palette, and I was lucky to see this in a gorgeous (if digital) projection. I think that the film would have even less energy if I saw it on a small screen for the first time. The split screens in "Bonjour, Paris" were the only parts of that screen where I cracked a smile. "How Long Has this Been Going On?" was the highlight of Hepburn's performance, for me. That's where her breathy, slow tempo works to the most charm. I loved the staging and lighting of the "Basal Metabolism" sequence, even if I hated Audrey's dancing. "He Loves and She Loves" and "S Wonderful were disasters", although, I loved the film's final image of Astaire and Hepburn floating away on a raft.
LOL, kinda. The Vaseline in the lens, paired with soft focus, paired with swans on a lake, paired with a wedding dress, paired with lots of artificial white flowers was simply way too much, I know. But there are some tracking shots there quite impressive, and Gershwin’s music is still great, to the point that the scene has some appealing atmosphere despite all the corny things.
In Base Metabolism, did you hate the choreography or Hepburn’s actual performing of it? I think the problem is more the choreography, but of course it’s a parody of modern dance, not supposed to be truly great modern dance. And I think Hepburn performs it wonderfully, and is completely game for the silly movements.
Good point: I hated the choreography. I thought she was actually pretty funny, though, especially in the first few seconds of the song, where I was wondering, "WTF is happening?'
City of Life and Death was completely devastating. I can't remember the last time a film affected me the way this one did.
Recently watched films:
The Friends of Eddie Coyle - ****
The Proposition - ****1/2
Dirty Rotten Scoundrels - ****1/2
O Brother, Where Art Thou? - ***1/2
How to Die in Oregon - ****
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