Surreal films & directors
Wayney
directors?
Here's some of mine:
Un Chien Andalou (1928)
L'Age D'Or (1930)
Blood of a Poet (1930)
The Exterminating Angel (1962)
Fando & Lis (1967)
Week-End (1967)
El Topo (1971)
The Discreet Charm of the Bourgeoisie (1972)
La Cabina (1972)
The Holy Mountain (1973)
O Lucky Man! (1973)
Celine and Julie go Boating (1974)
The Phantom of Liberty (1974)
Eraserhead (1976)
Buffet Froid (1979)
The Falls (1980)
Possession (1981)
It Couldn't Happen Here (1987)
Drowning By Numbers (1988)
Santa Sangre (1989)
Motorama (1991)
Twin Peaks: Fire Walk With Me (1992)
Lost Highway (1996)
1. Luis Buñuel (obviously)
2. David Lynch
3. Alexandro jodorowsky
4. Peter Greenaway
5. Jean Cocteau
6. Andrzej Zulawski
Wayney.
Sven
Delicatessen (1991). It's dark, surreal and yet engaging. I haven't seen
many French films, so I can easily say it's my favourite French film, and
indeed it's in there as one of my top 10 films in general.
brandon...@my-deja.com
> Week-End (1967)
> La Cabina (1972)
> O Lucky Man! (1973)
> Celine and Julie go Boating (1974)
> Buffet Froid (1979)
> The Falls (1980)
> Possession (1981)
> It Couldn't Happen Here (1987)
> Motorama (1991)
> 6. Andrzej Zulawski
Sent via Deja.com http://www.deja.com/
Before you buy.
Wayney
>
> > Week-End (1967)
> > La Cabina (1972)
> > O Lucky Man! (1973)
> > Celine and Julie go Boating (1974)
> > Buffet Froid (1979)
> > The Falls (1980)
> > Possession (1981)
> > It Couldn't Happen Here (1987)
> > Motorama (1991)
> > 6. Andrzej Zulawski
Week-End (1967) Directed by Jean-Luc Godard.
Barbaric, savage and brilliant
This is a condemning and ravishing attack by Godard on man's obsessive
attraction to the motor vehicle and other material rewards. Godard had this
profound insight in 1967, and with the roads nowadays being saturated with
traffic and road rage, this film has some meaning, albeit exaggerated.
It tells the story of a surreal journey an obnoxious Paris couple take to
Normandy via car. There is a ten minute tracking shot, that is slow,
thorough and amazing. Some of the scenes are like after a war, with all the
burning vehicles and bodies strewn about the roads. Anger and hostility is
never far away in any scene of this film, patience has completely dissolved
and people are uncivilised. But it's also humourous, and has a surreal
Buñuel like feel
to it in parts. It is certainly one of the great films.
La Cabina (1972)
This short Spanish film directed by Antonio Mercero is one of those films
that you will never forget. The story is simple. A man (played by José Luis
López Vázquez) takes his young son to school. On the way home he sees a
telephone box with its door slighty ajar, as if it's a Venus fly trap,
waiting to snare its victims. He enters the booth and tries to make a call,
but he finds the
phone is out of order.
When the man entered, the door closed behind him, he tries to open it, he
cannot. He struggles inside and tries everything to get out. He shouts at
passers by, who glare at the poor man. They are helpless too. Then a fireman
gets a sledgehammer, and just has he attempts to hit the glass, a phone
company truck appears with four men in it, honking its horn as if to say
this man is ours, we have caught him.
They then put the phone box on the back of the truck with the man still
inside. They take him on a journey through the streets. While stopped at
traffic lights, the man looks at the side and sees another man trapped in a
phone box on the back of a truck, just like him. The journey reaches its
conclusion as the truck enters a huge underground factory complex. Inside
the building the terror is revealed, as rows and rows of phone boxs are
lined up,
each with a dead person inside, some have strangled themselves with the
phone cords. The man knows his fate is sealed, and panic sets in.
The end shot is of the phone company men cleaning the phone box and putting
it back in the same location and opening its door slighty ajar again. I
first watched this film when I was about eight years old and it's always
stayed with me. I wouldn't go into a phone box for a while afterwards, in
fear of being trapped inside.
O Lucky Man! (1973) Directed by Lindsay Anderson.
Malcolm McDowell stars as coffee salesman Mick Travis in the second film in
the trilogy of films from Lindsay Anderson, following 1968's If, and
followed by Britannia Hospital in 1982. This film is a surreal journey
across England, where Travis stumbles into many weird & diverse situations.
The film is added more surreal flavour because some of the actors play
several roles. A very English surreal film.
Celine and Julie go Boating (1974) Directed by Jacques Rivette.
This is a marvellous offering from Jacques Rivette. It's a bit long at 192
minutes, but has a surreal childish charm running through it. A playful and
enjoyable tale of two women who become friends, and by eating magic candy,
discover a house where four ghostly characters (plus Celine & Julie) act out
another film. They sit there watching themsleves within the other story,
even changing into each other in a split second while talking to a man in
the other
story. It's a wonderfully surreal look at two women's friendship and playful
freedom.
Buffet Froid (1979) Directed by Bertrand Blier.
This is a superbly surreal black comedy from Bertrand Blier. It won a Cesar
award for the screenplay. Gerard Depardieu plays an unemployed guy named
Alphonse Tram, who may or may not have killed a stranger in the subway. He
lives with his wife in a strange and stylish, almost empty high-rise
apartment block. That is until she is killed by a misogynist murderer who is
afraid of the dark. He knocks on Alphonse's door and announces this to him
after her
death; Alphonse then immediately makes him a meal and chats amiably with
him.
The other main character is an odd police chief inspector (played by the
director's father). Alphonse tells him he could have knifed a man in the
subway, and later introduces him to his wife's murderer. The inspector
completely overlooks all this of course. The inspector tells the other two
men it's better to keep the murderers on the streets, that way they don't
contaminate the innocent in prison. Another scene has the three men
comforting the wife of a man they have just killed (on his instructions).
She is then
extremely ill in bed, and the trio call for a doctor. He arrives, and then
makes love to the stricken lady while the men watch. Afterwards he gives the
diagnosis, "It's just a minor viral infection."
The misogynist murderer is later seen searching for a woman alone to kill. A
man tells him there's a mature lady who lives next door to him. "How do you
know she's mature?", "Because she makes Jam.", he offers. The police
inspector later asks for around thirty officers to accompany him to a house
to arrest a violinist, just because he is allergic to them. It is all very
funny, surreal and refreshing. If you like the later films of Buñuel, you'll
like Buffet
Froid.
The Falls (1980) Directed by Peter Greenaway.
A Fantastic Frivolous Frolic.
Welcome to the highly personal paramount of Greenaway's work. His scathing
documentary on general English silliness. An elongated, meticulously
constructed piece of fabulous fantasy. A fantastic frivolous frolic.
The film chronicles the biographies of 92 selected victims of the Violent
Unknown Event, or VUE for short. A strange occurrence that has left people
speaking strange languages and experiencing bird related symptoms. All of
the victims surnames begin with the word FALL. The bios are described by
several narrators. Some of the bios are curt, others are fastidiously
described. They are always witty. Examples being a victim who continually
tells bird jokes, "Why do birds fly south for the winter? Because it's too
far for them to walk".
Others constantly drive in circles. Many of them have new talents, like
spitting long distances. Some of the bios reminded me of Monty Python
sketches, with the similar zest of absurd English humour. It is a challenge
to sit through it all in one go, and is probably best viewed on video in two
or three attempts. Not recommended for everyone, but if you want something
hilariously different look no further.
Possession (1981) Directed by Andrezj Zulawski.
This film is surreal, strange and absorbing. It was made in 1981 by Polish
director Andrzej Zulawski, and shot in Berlin. It's an enigmatic film that
needs several viewings to connect with it. It is laden with anger, anxiety
and hysteria. It was actually included on the DPP's list of 'Video Nasties'
in the UK in the early eighties.
The story involves a man named Mark (Sam Neill) who arrives home after being
away on his mysterious job (possibly a government secret agent) and is told
by his wife Anna (Isabelle Adjani) that she is having an affair with another
man named Heinrich (Heinz Bennent). The film then goes into a convoluted
mode of visceral frenzy. Isabelle Adjani gives an extremely powerful
performance as the crazed wife, (think of Harvey Keitel in Bad Lieutenant,
and then some more) in one scene in particular in a subway she is
irrationally wild.
The film is added more surreal flavour because Adjani plays two characters
in the film, the other being the couple's son's teacher. Heinz Bennent is
also in similar form as the creepy and odd Heinrich; he just looks like
Anthony Hopkins as Hannibal Lectar. Anna leaves Mark and moves into a large
vacuous apartment, where in one of the rooms she has sex with a strange
slimy
creature, whose purpose is to evolve and change into a doppelganger of Mark.
The ending is really weird. I don't want to say anything else about the film
except watch it, if you already haven't. If you liked Lost Highway, you'll
like Possession.
It Couldn't Happen Here (1987) Directed by Jack Bond.
This was Neil Tenant and Chris Lowe's first appearance in a film, which
includes most of their early hits in the soundtrack. These two eccentric
Englishmen have always been a distinctively artistic pair in their dress
sense and music, and are really 'out there'. They were friendly with
artistic director Derek Jarman, and have a surreal visual flair in their
music videos, as seen in the videos for Single and DJ Culture, amongst other
ones.
In this film they take a surreal journey across England, and encounter some
strange folks and situations along the way, with their music woven into
them. There are some striking scenes, including a man walking down the
street on fire, a car on fire travelling down a wet road, cows on railway
station platforms, men who look like Zebras, mysterious men who all dress
the same,
and some ghost-like dancers. It reminds me of Greenaway's Drowning by
Numbers, and was filmed not far from where that film was shot.
Motorama (1991) Directed by Barry Shills.
This is an entertaining surreal road movie about a ten year old kid named
Gus, who drives a red Ford Mustang across some fictional states with names
like Tristana, Essex, South Lyndon... in search of eight elusive Motorama
game cards from various gas stations. The film has a surreal feel to it
because a lot of the things are unusual; like the money for instance, which
is like blank paper with numbers on.
Most of the characters are nasty to Gus on his trip. They tattoo him, punch
him, but this doesn't stop the kid on his relentless quest. Some oddball
actors like David Lynch incumbent Jack Nance, Meat Loaf & Flea also make
appearences. Jack Nance plays a motel owner, who when he first meets Gus
tells him, "If you see any Squirrels, give them to me." An odd little gem of
a movie.
Andrezj Zulawski.
Andrzej Zulawski was born on the territory of then the USSR just before the
World War II. After all the horrors that his family had witnessed during the
war, he and his father moved to France, then to Czechoslovakia and
eventually to Poland. He studied film direction at IDHEC in Paris
(1957-1959) and philosophy at both Warsaw University (1961) and Université
de Paris (1962-1964).
First, he assisted the famous Polish director Andrzej Wajda during the
filming of Samson (1961), Popioly (1966) and the Warsaw episode of L'Amour à
Vingt Ans (1962). In 1967 Zulawski directed two short films, Piesn
triumfujacej milosci and Pavoncello, for the Polish TV. His feature debut
Trzecia Czesc Nocy (1971) as well as those previous films were co-scripted
by his father, poet Miroslaw
Zulawski. The picture was well received at the Venice film festival and
awarded as the best debut in its homeland, but had only limited release due
to the Polish censorship. Zulawski's next feature Diabel(1972) was simply
banned and not released until 1988. The same happened to his next Polish
project Na
Srebrnym Globie(1977). After he did about 80% of shooting, the authorities
ordered him to abandon the picture and to destroy all related materials.
Only in 1987 did he manage to complete the film from the spare footage,
using voice-over commentary for the missing parts.
Since the late '70s, Zulawski has lived and worked mostly in France, during
which time he developed a knack for showcasing his actresses' talents.
L'Important C'Est D'Aimer (1975) brought its star Romy Schneider a Cesar
(French Oscar) as did Possession (1981) to Isabelle Adjani. He then found
his muse in young actress Sophie Marceau who would star in four of his
films. In 1996 he briefly returned to Poland where he made Szamanka.
Being a maverick defying commercial mainstream, Zulawski enjoyed success
mostly with the European art-house audiences. His wild, imaginative and
controversial pictures received sixteen awards at various international film
festivals. He also wrote the novels Il était un verger, Lity bór (aka La
Forêt Fortresse), V oczach tygrysa and Ogród milosci.
When the shooting of 'Na srebrnym globie' (1977) was almost completed, the
Polish Ministry of Culture ordered to stop the filming and destroy all
related materials. The negative was saved, however, and during the
liberalization of the political regime in Poland in 1986-1987 Zulawski
returned to the country and managed to complete the film from the spared
material. This raw product was shown at the Cannes Film Festival but was
misjudged as a failed pre-Spielbergian attempt on superproduction.
Zulawski is married to actress Sophie Marceau.
Flimography.
Fidélité, La (2000)
... aka Fidelity (2000) (International: English title)
Szamanka (1996)
... aka Chamanka (1999) (Singapore: English title)
Note bleue, La (1991)
... aka Blue Note (1991)
Mes nuits sont plus belles que vos jours (1989)
... aka My Nights Are More Beautiful Than Your Days (1989)
Boris Godunov (1989)
... aka Boris Godounov (1989)
Diabel (1988/I)
... aka Devil, The (1988)
Na srebrnym globie (1987)
... aka Silver Globe, The (1987)
Amour braque, L' (1985)
Femme publique, La (1984)
... aka Public Woman, The (1984)
Possession (1981)
Important c'est d'aimer, L' (1975)
... aka Importante è amare, L' (1975) (Italy)
... aka Main Thing Is to Love, The (1975)
... aka Most Important Thing: Love, The (1975)
... aka Nachtblende (1975)
Trzecia czesc nocy (1971)
... aka Third Part of the Night, The (1971)
Pavoncello (1967) (TV)
Piesn triumfujacej milosci (1967) (TV)
Wayney.
Parry
>
> Tell me about these:
Some of my favorite movies are on this list so I’ll add my two bits.
> > Week-End (1967)
This is the most watchable of Godard’s early movies. It has lots of
crashed cars and a reading from “Maldoror.” Does anyone recall the
reputation Godard enjoyed in the 60’s and 70’s? I seem to recall a poll
of critics which voted him the greatest director of all time. His
stature has really plummeted, though I think his 80’s films are better
than the old ones. I don’t know the last time one of his movies was
released in North America.
> > La Cabina (1972)
> > O Lucky Man! (1973)
This is Lindsay Anderson’s epic anarchist ballad, which he made right
after his other best movie “If...” -- both starred Malcolm MacDowell.
About as good as movies get.
> > Celine and Julie go Boating (1974)
Jacques Rivette was one of the 60’s French new wave directors --
possibly the best director in the lot and probably the one closest to
the surrealist spirit. The first thing one notices about Rivette is his
use of duration: his films have “epic movie” running lengths, but
nothing “epic” ever happens; at some point the audience has to abandon
the expectation that big events are going to happen and just go with the
flow. These are the kind of pictures mass audiences go to see, but in
the 90’s he made a film about a painter in which Emmanuelle Béart spent
most of the movie naked -- suddenly he had an international hit, one
upside of which is that “Celine & Julie” was given a wide video release.
> > Buffet Froid (1979)
> > The Falls (1980)
This is Greenaway’s first feature. Cythera recently posted an
interesting link about it:
http://www.zen.co.uk/home/page/paul.m/oulipo.html
> > Possession (1981)
This is a horror film directed by Andrzej Zulawski, starring Isabelle
Adjani (sigh). I recall it being okay. The North American video release
is about 45 minutes shorter than the original feature, though, so maybe
the film’s effects were dissipated.
-- Parry
> > It Couldn't Happen Here (1987)
> > Motorama (1991)
> > 6. Andrzej Zulawski
>
> Sent via Deja.com http://www.deja.com/
> Before you buy.
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Parry
>
> What are the most surreal films you've seen? And who are the most surreal
> directors?
>
> Here's some of mine:
>
> Un Chien Andalou (1928)
> L'Age D'Or (1930)
> Blood of a Poet (1930)
> The Exterminating Angel (1962)
> Fando & Lis (1967)
> Week-End (1967)
> El Topo (1971)
> The Discreet Charm of the Bourgeoisie (1972)
> La Cabina (1972)
> The Holy Mountain (1973)
> O Lucky Man! (1973)
> Eraserhead (1976)
> The Falls (1980)
> It Couldn't Happen Here (1987)
> Santa Sangre (1989)
> Motorama (1991)
> Twin Peaks: Fire Walk With Me (1992)
> Lost Highway (1996)
I get zilch out of David Lynch. Why do his fans all seem to be in the
UK? Otherwise, thanks for the list. It’s given me a few titles to search
out (La Cabina, Buffet Froid, It Couldn't Happen Here, Motorama).
> 1. Luis Buñuel (obviously)
> 2. David Lynch
> 3. Alexandro jodorowsky
> 4. Peter Greenaway
> 5. Jean Cocteau
> 6. Andrzej Zulawski
There have been some surrealist directors other than Buñuel but good
luck trying to find their work. J.H. Matthews describes their movies in
“Surrealism & Film” -- most were shorts.
Buñuel is incomparable. I loved Jodorowsky’s stuff. I’m surprised you
didn’t include Jan Svankmeyer on the list. Arrabal directed some films,
which I haven’t seen.
Some other directors who, while not being surrealists, have a surrealist
pulse: Roman Polanski (“The Tenant” could be on your list), Werner
Herzog, Walerian Borowczyk, Michael Powell/Emeric Pressburger. Also
Klaus Kinki for his only film, “Paganini.”
Comedy -- early American like Buster Keaton (he should probably be on
the directors’ list), the Marx Bros. & W.C. Fields; also Monty Python
and even Jacques Tati. Horror -- a rich spring of striking imagery; I’m
particularly fond of Dario Argento (“Suspiria,” “Inferno,” “Terror at
the Opera”).
And, of course, “Titanic”!
Those are all the names my memory can cough up at the moment.
> Wayney.
Aren’t you the fellow who organized an internet discussion group on this
topic? How did that go? I suspect users on alt.cult-movies are familiar
with these films.
-- Parry
Christian Richard
brandon...@my-deja.com
I wrote:
> Tell me about these ...
Wayney wrote:
> Week-End (1967) Directed by Jean-Luc Godard ...
elag
>
> brandon...@my-deja.com wrote:
> >
> > Tell me about these:
>
> Some of my favorite movies are on this list so I’ll add my two bits.
>
> > > Week-End (1967)
> This is the most watchable of Godard’s early movies. It has lots of
> crashed cars and a reading from “Maldoror.” Does anyone recall the
> reputation Godard enjoyed in the 60’s and 70’s? I seem to recall a poll
> of critics which voted him the greatest director of all time.
The enfant terrible has outgrown his diapers and lost his button nose so
I suppose the critics moved on to fresh meat while Godard coasted along
the cinematic highway for awhile on sheer momentum.
His
> stature has really plummeted, though I think his 80’s films are better
> than the old ones.
Which, for example?
I don’t know the last time one of his movies was
> released in North America.
All of his new films are screened in NY eventually.
> > > Possession (1981)
> This is a horror film directed by Andrzej Zulawski, starring Isabelle
> Adjani (sigh). I recall it being okay. The North American video release
> is about 45 minutes shorter than the original feature, though, so maybe
> the film’s effects were dissipated.
Those accursed North Americans and their short attention...
elag
>
> In article <hnGw5.4205$ZN4.6...@news1.cableinet.net>,
> "Wayney" <way...@cableinet.co.uk> wrote:
> > What are the most surreal films you've seen? And who are the most
> > surreal directors?
>
> Last Year at Marienbad, directed by Alain Resnais. 1961. Screenplay
> by Alain Robbe-Grillet.
While we're at it, Resnais' "Hiroshima Mon Amour" is also a must-see.
brandon...@my-deja.com
I wrote:
> Tell me about these ...
Parry wrote:
> Some of my favorite movies are on this list so I’ll add my two bits.
brandon...@my-deja.com
> I get zilch out of David Lynch.
You're not the only one.
> It’s given me a few titles to search out (La Cabina, Buffet Froid, It
> Couldn't Happen Here, Motorama).
Why am I most curious about "Motorama."
> I’m particularly fond of Dario Argento(“Suspiria,” “Inferno,” “Terror
> at the Opera”).
I love Suspiria. I haven't seen "Terror at the Opera" yet.
Jean-Jacqu...@wanadoo.fr
>In article <hnGw5.4205$ZN4.6...@news1.cableinet.net>,
> "Wayney" <way...@cableinet.co.uk> wrote:
>> What are the most surreal films you've seen? And who are the most
>> surreal directors?
>
>I don't attempt to define this one:
>Last Year at Marienbad, directed by Alain Resnais. 1961. Screenplay
>by Alain Robbe-Grillet.
do not forget "une sombre afaire" a film written by jacques prevert,
directed by his brother and played by a lot of "octobre" members,
including queneau.
>
>> Here's some of mine:
>>
>> Un Chien Andalou (1928)
>> L'Age D'Or (1930)
>> Blood of a Poet (1930)
>> The Exterminating Angel (1962)
>> Fando & Lis (1967)
>> Week-End (1967)
>> El Topo (1971)
>> The Discreet Charm of the Bourgeoisie (1972)
>> La Cabina (1972)
>> The Holy Mountain (1973)
>> O Lucky Man! (1973)
>> Celine and Julie go Boating (1974)
>> The Phantom of Liberty (1974)
>> Eraserhead (1976)
>> Buffet Froid (1979)
>> The Falls (1980)
>> Possession (1981)
>> It Couldn't Happen Here (1987)
>> Drowning By Numbers (1988)
>> Santa Sangre (1989)
>> Motorama (1991)
>> Twin Peaks: Fire Walk With Me (1992)
>> Lost Highway (1996)
>>
>> 1. Luis Buñuel (obviously)
>> 2. David Lynch
>> 3. Alexandro jodorowsky
>> 4. Peter Greenaway
>> 5. Jean Cocteau
>> 6. Andrzej Zulawski
>>
>> Wayney.
>>
>>
>
>
>Sent via Deja.com http://www.deja.com/
>Before you buy.
--
UBU
tout l'art du politique est de faire croire.
Nicolas Machiavel.
elag
>
> On Sun, 17 Sep 2000 07:21:06 GMT, cythera <cyt...@my-deja.com> wrote:
>
> >In article <hnGw5.4205$ZN4.6...@news1.cableinet.net>,
> > "Wayney" <way...@cableinet.co.uk> wrote:
> >> What are the most surreal films you've seen? And who are the most
> >> surreal directors?
> >
> >I don't attempt to define this one:
> >Last Year at Marienbad, directed by Alain Resnais. 1961. Screenplay
> >by Alain Robbe-Grillet.
>
> do not forget "une sombre afaire" a film written by jacques prevert,
> directed by his brother and played by a lot of "octobre" members,
> including queneau.
I can't find this film. Could there be an alternate title?
Jean-Jacqu...@wanadoo.fr
>Jean-Jacqu...@wanadoo.fr wrote:
>> do not forget "une sombre afaire" a film written by jacques prevert,
>> directed by his brother and played by a lot of "octobre" members,
>> including queneau.
>
>
>I can't find this film. Could there be an alternate title?
I don't think so, of course in french affaire and not afaire, but...
it is a black and white film, circa 1.935/40 ...
If you want more details, I have to check in py documents when I will
be back home.
el...@concentric.net
Jean-Jacq...@UBUwanadoo.fr wrote:
> On 17 Sep 2000 20:31:57 GMT, elag <el...@concentric.net> wrote:
>
> >Jean-Jacqu...@wanadoo.fr wrote:
>
> >> do not forget "une sombre afaire" a film written by jacques
prevert,
> >> directed by his brother and played by a lot of "octobre" members,
> >> including queneau.
> >
> >
> >I can't find this film. Could there be an alternate title?
>
> I don't think so, of course in french affaire and not afaire, but...
>
> it is a black and white film, circa 1.935/40 ...
>
> If you want more details, I have to check in py documents when I will
> be back home.
I was wondering if it could be:
"L'Affaire est dans le sac" (1932)
which is the closest I could find.
Parry
>
> Parry wrote:
> > > > Week-End (1967)
> > This is the most watchable of Godard’s early movies. It has lots of
> > crashed cars and a reading from “Maldoror.” Does anyone recall the
> > reputation Godard enjoyed in the 60’s and 70’s? I seem to recall a poll
> > of critics which voted him the greatest director of all time.
>
> The enfant terrible has outgrown his diapers and lost his button nose so
> I suppose the critics moved on to fresh meat while Godard coasted along
> the cinematic highway for awhile on sheer momentum.
>
> His
> > stature has really plummeted, though I think his 80’s films are better
> > than the old ones.
>
> Which, for example?
Firstly, “Sauve qui peut la vie / Slow Motion” and “Prénom Carmen,”
which to me seem more sensuous and free wheeling than the old Godard,
without losing any of the intelligence. “King Lear” is a mad mess
(bankrolled by Cannon for some reason). From this period I’ve also seen
“Détective” and “Hail Mary,” both of which I enjoyed. The last 60's one
I tried to watch I couldn't finish. [I misspoke in my post though. I
haven't seen all the 60's so I can't say "Weekend" is *the* most
watchable. Time to fire my usenet post proofreader.]
> I don’t know the last time one of his movies was
> > released in North America.
>
> All of his new films are screened in NY eventually.
That’s odd. I wonder if New York gets many of the movies before Northern
Ontario. Just the idea that Godard produced a “Histoires du cinéma” has
me intrigued. Have you caught any of these movies?
-- Parry
> > > > Possession (1981)
> > This is a horror film directed by Andrzej Zulawski, starring Isabelle
> > Adjani (sigh). I recall it being okay. The North American video release
> > is about 45 minutes shorter than the original feature, though, so maybe
> > the film’s effects were dissipated.
>
> Those accursed North Americans and their short attention...
Parry
>
> In article <8q33id$3av$1...@nnrp1.deja.com>,
> brandon...@my-deja.com wrote:
> > parry wrote:
> >> I get zilch out of David Lynch.
>
> > You're not the only one.
>
>
> >> It’s given me a few titles to search out (La Cabina, Buffet Froid,
> >> It Couldn't Happen Here, Motorama).
>
> > Why am I most curious about "Motorama."
That’s the one that most caught my attention too. Great plot-line.
Another director fitting to Wayney’s list: Georges Franju (“Eyes Without
a Face”)
> >> I’m particularly fond of Dario Argento (“Suspiria,” “Inferno,”
> >>“Terror at the Opera”).
>
> > I love Suspiria.
>
> Me too. There's that one line in particular that always makes me
> jump out of my skin.
>
> > I haven't seen "Terror at the Opera" yet.
>
> I've never heard of it or "Inferno".
“Suspiria” and “Inferno” were both parts of the uncompleted Three
Mothers trilogy -- the wicked step-mothers who rule the world with
Sorrow, Tears and Darkness from their mansions scattered across the
globe. Naturally, you may not have noticed Argento’s movies have a plot.
“Terror at the Opera” is less hallucinatory but still beautiful. Try to
rent an uncensored version.
-- Parry
> I mentioned a movie to Parry some months ago. It's called "Caltiki,
> the Immortal Monster" (1959). Mario Bava, an early influence on
> Argento, co-directed, co-wrote, and co-produced. I haven't seen the
> thing since I was about six years old but from what I recall, it was
> good fun.
> I've finally found where to purchase "Caltiki" ($14.99); and these
> people might have some other obscure goodies, for anyone that's
> interested:
>
> MarsNeedsVideos & Collectibles
> P.O. Box 1116
> Woodstock, GA 30189
>
> cythera.
>
> Sent via Deja.com http://www.deja.com/
> Before you buy.
brandon...@my-deja.com
> “Suspiria” and “Inferno” were both parts of the uncompleted Three
> Mothers trilogy -- the wicked step-mothers who rule the world with
> Sorrow, Tears and Darkness from their mansions scattered across the
> globe. Naturally, you may not have noticed Argento’s movies have a
> plot.
I've seen both of these and, wouldn't you know it, I can't tell them
apart from his other plots. I still love to watch them though. He seems
obsessed with certain details. Certain houses. Certain women. Certain
colors. Certain psuedo-Hitchcock methods of "mystery" which are really
just cheesy.
Deep Red, and Creepers. I liked those. I also actually liked Trauma. Go
figure.
Did you ever see Demons (1986, he co-wrote it)? That was so horrible
that I actually enjoyed it. One of my friends said it was like a 13-
year-olds heroic comic book fantasy: slaughtering zombies with a
chainsaw (or was it a sword?) while riding a motorcycle, and a bimbo on
the backseat.
el...@concentric.net
I thought Hail Mary was very interesting though a bit overlong. I
appreciate the rigorousness of Godard's technique. I consider films
like these to be more "essays" or "treatises" than "entertainment".
The last 60's
one
> I tried to watch I couldn't finish. [I misspoke in my post though. I
> haven't seen all the 60's so I can't say "Weekend" is *the* most
> watchable. Time to fire my usenet post proofreader.]
Try "Une Femme est Une Femme" (A Woman Is a Woman)... this may be his
most "watchable". What I like about it is that it's a "casual" musical.
> > I don’t know the last time one of his movies was
> > > released in North America.
> >
> > All of his new films are screened in NY eventually.
>
> That’s odd. I wonder if New York gets many of the movies before
Northern
> Ontario. Just the idea that Godard produced a “Histoires du cinéma”
has
> me intrigued. Have you caught any of these movies?
They were shown at Anthology Film Archives, but (alas) I didn't have
time to catch them.
Jean-Jacqu...@wanadoo.fr
It is, sorry.
Parry
>
> parry wrote:
> > “Suspiria” and “Inferno” were both parts of the uncompleted Three
> > Mothers trilogy -- the wicked step-mothers who rule the world with
> > Sorrow, Tears and Darkness from their mansions scattered across the
> > globe. Naturally, you may not have noticed Argento’s movies have a
> > plot.
>
> I've seen both of these and, wouldn't you know it, I can't tell them
> apart from his other plots. I still love to watch them though. He seems
> obsessed with certain details. Certain houses. Certain women. Certain
> colors. Certain psuedo-Hitchcock methods of "mystery" which are really
> just cheesy.
>
> Deep Red, and Creepers. I liked those. I also actually liked Trauma. Go
> figure.
So did I. Poor Argento's better than no Argento.
> Did you ever see Demons (1986, he co-wrote it)? That was so horrible
> that I actually enjoyed it. One of my friends said it was like a 13-
> year-olds heroic comic book fantasy: slaughtering zombies with a
> chainsaw (or was it a sword?) while riding a motorcycle, and a bimbo on
> the backseat.
Yeah, “Demons” is a lot of fun. It was a huge hit in Italy; hence,
“Demons 2.” Incidentally, they were directed by Lamberto Bava, son of
Mario. If you’re a gorehound, I’d recommend another Argento protégé,
Michele Soavi. His “The Church” is pretty much “Demons” set in a church.
“The Sect” (or “The Devil’s Daughter”) is a better film; it doesn’t
resemble “Demons” but was released on video in the US as “Demons 4.”
Best of all is “Cemetery Man” (“Dellamorte Dellamore”). And that’s been
marketed as “Demons ‘95” for no good reason.
-- Parry
brandon...@my-deja.com
> And there's "Vertigo"; I don't know how to define it.
Define it as the greatest film ever made, or simply as "Brandon's
favorite."
brandon...@my-deja.com
> cythera wrote:
> Do you have a favorite scene? Mine would have to be Scotty's dream.
Yes, that would probably be it. I also liked the conclusion, when
Scottie's dragging Judy up the church tower, and talking crazy.
I didn't see that movie until I was in college---for a class on
psychoanalysis and art. Before it I had never really payed much
attention to movies, or Hitchcock. It changed my life. I went out the
next day and ordered it from a local videostore. I watched it everyday
for about three weeks.
I also love the opening with Kim Novak's face. The first scene on the
rooftops. Midge and Scotty talking about women's underwear. When Gavin
Elster says, "someone dead." The music is haunting. I could go on and
on.
And what is it with Coit Tower anyway? That thing appears everwhere.
When I stayed in SF I stayed in a hostel near Coit Tower. I'm reading
Ianthe Brautigan's "You Can't Catch Death" and she talks about her
father and Coit Tower, and then the damn thing shows up in that movie!
Nik would tell me that it was placed there by my imaginary gods, and
that its true that its really there, but that its also true that its
not there.
HA! HA! HA! HO! HO! HO!
Anyway ...
Parry
> [...]
> > “Suspiria” and “Inferno” were both parts of the uncompleted Three
> > Mothers trilogy -- the wicked step-mothers who rule the world with
> > Sorrow, Tears and Darkness from their mansions scattered across the
> > globe. Naturally, you may not have noticed Argento’s movies have a
> > beautiful. Try to rent an uncensored version.
>
>
> I wonder how easy it will be to find in San Francisco? You would
> think in such a well-known city that the more unusual videos could be
> easily rented, and the books easily borrowed, but I'm not having such
> luck.
These Argento titles should be easy enough to find. I can rent them and
I live in a town about the size of a squirrel’s stool. Look for a store
that has a large back-stock (not counting stores like Blockbuster which
favour censored versions of movies) or one that specializes in “cult” or
horror videos. All sorts of little treasures are tucked away in these
places.
Jean-Jacqu...@wanadoo.fr
>On Sun, 17 Sep 2000 07:21:06 GMT,
I UBU king of poland and Navarre wrote in My majesty:
>
>do not forget "une sombre afaire" a film written by jacques prevert,
>directed by his brother and played by a lot of "octobre" members,
>including queneau.
cythera:
>
>Thank you. I'm not familiar with this film and will seek it out.
>
>cythera.
sorry it is not "une sombre affaire" but "l'affaire est dans le sac".
I sent to trap my film advisor.