Re: Godard calls Dylan a Vietnik
Will Dockery
don freeman wrote:
> In Godard's 1966 movie, Masculin Feminin, there is a very interesting
> scene where the young lead character, played by Jean-Pierre Léaud, is
> told by his friend that he is reading an article on Bob Dylan. "Who is
> he," asks Léaud? His friend responds that Dylan is a Vietnik. What's
> that, asked Léaud. "It's an American word, a cross between Beatnik and
> Vietnam."
>
> Léaud then looks at the article, reading out, in English, Who are you,
> Meester Bob Dylan." He then proceeds to read what appears to be the
> lyrics of a song, equating old man Hitler, and old man Stalin with old
> man Johnson.
>
> Léaud then says that his girlfriend, a singer, had never mentioned Bob
> Dylan. His friend responds that Bob Dylan sells 10,000 records a day.
>
> What I find interesting about this scene in a 1966 movie, is that for
> the American and British audience, Dylan in '66 had abandoned protest
> songs, and had never mentioned the Vietnam war at all. Yet Godard
> portrays the '66 Dylan as the leading cultural protester.
>
> Godard's movies tend to be very surreal in a way that Dylan's songs from
> '66 were surreal. That is probably the true revolutionary aspect of
> Dylan that Godard recognizes. It's very interesting that Godard, in this
> movie, would then typecast Dylan as an anti Vietnam war protester.
One of my favorite films, been a long while since I last saw it. The
headline on the newspaper [in french, of course] was "What is art, Bob
Dylan?"... great scene.
--
"Wobble" by Will Dockery & Henry Conley:
<http://sohobarandgrill.com/phpBB2/viewtopic.php?t=225>
Autograph Of Zorro" {from *Shadowville Live*}:
http://www.kannibaal.nl/zorro.mp3
Will Dockery
don freeman wrote:
> > One of my favorite films, been a long while since I last saw it. The
> > headline on the newspaper [in french, of course] was "What is art, Bob
> > Dylan?"... great scene.
>
>
> The new Criterion version has a good essay about how people have
> remembered the film. There are also some very good interviews that come
> with the dvd.
Good to know these films are coming out on DVD. I managed to catch then
[coincidentally in the Street Legal era] in a dusty little moviehouse in
Atlanta, in late 1978.
The Godard I'd love to get a clear copy of is "Perriot Le Fou", which is
Belmondo and Karina running breathlessly through a full color visual right
out of a Blonde On Blonde song...
j r sherman
>
>The Godard I'd love to get a clear copy of is "Perriot Le Fou", which is
>Belmondo and Karina running breathlessly through a full color visual right
>out of a Blonde On Blonde song...
you don't know what that means, do you?
--
------------------------------------------------------------------
"Astral projection isn't just a theory ."
A. Real Dope
------------------------------------------------------------------
Will Dockery
> > The Godard I'd love to get a clear copy of is "Perriot Le Fou", which
> > is Belmondo and Karina running breathlessly through a full color visual
> > right out of a Blonde On Blonde song...
> >
>
> lists new and used copies for $80.
>
> I always liked Perriot Le Fou, but my favorite is Alphaville. Contempt
> was one of my favorites too, but maybe because I have a weakness for
> Brigitte Bardot.
>
> What a wonderful culture the French have where their sexiest movie star
> will willingly play a small role in a Godard movie like Masculin Feminim
> because she has such respect for Godard's artistry.
Yeah, Alphaville, Lemmy Caution tooling through "outer space" in an...
Oldsmobile Delta 88, iirc.
Citizen Kane
"Will Dockery" <will_d...@knology.net> wrote in message
news:27d3a$43542f94$18d62363$25...@KNOLOGY.NET...
>
> don freeman wrote:
> > > One of my favorite films, been a long while since I last saw it. The
> > > headline on the newspaper [in french, of course] was "What is art, Bob
> > > Dylan?"... great scene.
> >
> > Ah, I missed the headline. Must look again.
> >
> > The new Criterion version has a good essay about how people have
> > remembered the film. There are also some very good interviews that come
> > with the dvd.
>
> Good to know these films are coming out on DVD. I managed to catch then
> [coincidentally in the Street Legal era] in a dusty little moviehouse in
> Atlanta, in late 1978.
Let me guess...you were one of those assholes who sat with his feet up on
the chair in front of him, smoking a joint, and laughing at inappropriate
times at shit that no one else besides yourself found funny?
j r sherman
you give him far too much credit, Charles Foster. he didn't get ANY of it. he
just thinks he looks cool if he says he saw these movies.
actually, i highly doubt he ever saw any of the movies he claims he's seen. it's
all part of the pose, son. his fraud artist pose, which is the most important
thing to him. no, he wasn't one of those you describe in your post. he just
wishes he was.
Will Dockery
j r sherman wrote:
> > >"Will Dockery" wrote
> >> don freeman wrote:
> >> > > One of my favorite films, been a long while since I last saw it. The
> >> > > headline on the newspaper [in french, of course] was "What is art, Bob
> >> > > Dylan?"... great scene.
> >> >
> >> > Ah, I missed the headline. Must look again.
> >> >
> >> > The new Criterion version has a good essay about how people have
> >> > remembered the film. There are also some very good interviews that come
> >> > with the dvd.
> >>
> >> Good to know these films are coming out on DVD. I managed to catch then
> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
> >> Atlanta, in late 1978.
>
Another wager you'd lose /if/ you had the courage to wager.
j r sherman
says...
>
>
>j r sherman wrote:
>> > >"Will Dockery" wrote
>> >> don freeman wrote:
>> >> > > One of my favorite films, been a long while since I last saw it. The
>> >> > > headline on the newspaper [in french, of course] was "What is art, Bob
>> >> > > Dylan?"... great scene.
>> >> >
>> >> > Ah, I missed the headline. Must look again.
>> >> >
>> >> > The new Criterion version has a good essay about how people have
>> >> > remembered the film. There are also some very good interviews that come
>> >> > with the dvd.
>> >>
>> >> Good to know these films are coming out on DVD. I managed to catch then
>> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
>> >> Atlanta, in late 1978.
>>
>> actually, i highly doubt he ever saw any of the movies he claims he's seen.
>
>Another wager you'd lose /if/ you had the courage to wager.
then tell us all about how they present such "Blonde on Blonde" moments? heh,
you say this shit without clue one what they mean, because you don't know.
Will Dockery
j r sherman wrote:
> >> > >"Will Dockery" wrote
> >> >> don freeman wrote:
> >> >> > > One of my favorite films, been a long while since I last saw it. The
> >> >> > > headline on the newspaper [in french, of course] was "What is art, Bob
> >> >> > > Dylan?"... great scene.
> >> >> >
> >> >> > Ah, I missed the headline. Must look again.
> >> >> >
> >> >> > The new Criterion version has a good essay about how people have
> >> >> > remembered the film. There are also some very good interviews that come
> >> >> > with the dvd.
> >> >>
> >> >> Good to know these films are coming out on DVD. I managed to catch then
> >> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
> >> >> Atlanta, in late 1978.
> >>
> >> actually, i highly doubt he ever saw any of the movies he claims he's seen.
> >
> >Another wager you'd lose /if/ you had the courage to wager.
>
> then tell us all about how they present such "Blonde on Blonde" moments?
Sure, the "surrealist landscape" and plot/characters.
My favorite part of the film is where Godard explains: "Not blood,
red."
j r sherman
says...
>
>
>j r sherman wrote:
>> >> > >"Will Dockery" wrote
>> >> >> don freeman wrote:
>>>> >> > > One of my favorite films, been a long while since I last saw it. The
>>>> >> > > headline on the newspaper [in french, of course] was "What is art, Bob
>> >> >> > > Dylan?"... great scene.
>> >> >> >
>> >> >> > Ah, I missed the headline. Must look again.
>> >> >> >
>> >> >> > The new Criterion version has a good essay about how people have
>>>> >> > remembered the film. There are also some very good interviews that come
>> >> >> > with the dvd.
>> >> >>
>> >> >> Good to know these films are coming out on DVD. I managed to catch then
>>>> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
>> >> >> Atlanta, in late 1978.
>> >>
>>>> actually, i highly doubt he ever saw any of the movies he claims he's seen.
>> >
>> >Another wager you'd lose /if/ you had the courage to wager.
>>
>> then tell us all about how they present such "Blonde on Blonde" moments?
>
>Sure, the "surrealist landscape" and plot/characters.
how so? could you describe how the characters are surreal in a Blonde on Blonde
way?
>My favorite part of the film is where Godard explains: "Not blood,
>red."
how does that fit with the rest of the plot? do you even know?
no, you actually don't.
Will Dockery
j r sherman wrote:
> > >> >> > >"Will Dockery" wrote
> >> >> >> don freeman wrote:
> >>>> >> > > One of my favorite films, been a long while since I last saw it. The
> >>>> >> > > headline on the newspaper [in french, of course] was "What is art, Bob
> >> >> >> > > Dylan?"... great scene.
> >> >> >> >
> >> >> >> > Ah, I missed the headline. Must look again.
> >> >> >> >
> >> >> >> > The new Criterion version has a good essay about how people have
> >>>> >> > remembered the film. There are also some very good interviews that come
> >> >> >> > with the dvd.
> >> >> >>
> >> >> >> Good to know these films are coming out on DVD. I managed to catch then
> >>>> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
> >> >> >> Atlanta, in late 1978.
> >> >>
> >>>> actually, i highly doubt he ever saw any of the movies he claims he's seen.
> >> >
> >> >Another wager you'd lose /if/ you had the courage to wager.
> >>
> >> then tell us all about how they present such "Blonde on Blonde" moments?
> >
> >Sure, the "surrealist landscape" and plot/characters.
>
> how so? could you describe how the characters are surreal in a Blonde on Blonde
> way?
Yeah.
j r sherman
says...
>
>
>j r sherman wrote:
>> > >> >> > >"Will Dockery" wrote
>> >> >> >> don freeman wrote:
>>>>>> >> > > One of my favorite films, been a long while since I last saw it. The
>>>>>> >> > > headline on the newspaper [in french, of course] was "What is art,
>>Bob
>> >> >> >> > > Dylan?"... great scene.
>> >> >> >> >
>> >> >> >> > Ah, I missed the headline. Must look again.
>> >> >> >> >
>> >> >> >> > The new Criterion version has a good essay about how people have
>>>>>> >> > remembered the film. There are also some very good interviews that
>>come
>> >> >> >> > with the dvd.
>> >> >> >>
>>>> >> >> Good to know these films are coming out on DVD. I managed to catch then
>>>>>> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
>> >> >> >> Atlanta, in late 1978.
>> >> >>
>>>>>> actually, i highly doubt he ever saw any of the movies he claims he's seen.
>> >> >
>> >> >Another wager you'd lose /if/ you had the courage to wager.
>> >>
>> >> then tell us all about how they present such "Blonde on Blonde" moments?
>> >
>> >Sure, the "surrealist landscape" and plot/characters.
>>
>>how so? could you describe how the characters are surreal in a Blonde on Blonde
>> way?
>
>Yeah.
then why don't you?
Will Dockery
j r sherman wrote:
> >> > >> >> > >"Will Dockery" wrote
> >> >> >> >> don freeman wrote:
> >>>>>> >> > > One of my favorite films, been a long while since I last saw it. The
> >>>>>> >> > > headline on the newspaper [in french, of course] was "What is art,
> >>Bob
> >> >> >> >> > > Dylan?"... great scene.
> >> >> >> >> >
> >> >> >> >> > Ah, I missed the headline. Must look again.
> >> >> >> >> >
> >> >> >> >> > The new Criterion version has a good essay about how people have
> >>>>>> >> > remembered the film. There are also some very good interviews that
> >>come
> >> >> >> >> > with the dvd.
> >> >> >> >>
> >>>> >> >> Good to know these films are coming out on DVD. I managed to catch then
> >>>>>> >> [coincidentally in the Street Legal era] in a dusty little moviehouse in
> >> >> >> >> Atlanta, in late 1978.
> >> >> >>
> >>>>>> actually, i highly doubt he ever saw any of the movies he claims he's seen.
> >> >> >
> >> >> >Another wager you'd lose /if/ you had the courage to wager.
> >> >>
> >> >> then tell us all about how they present such "Blonde on Blonde" moments?
> >> >
> >> >Sure, the "surrealist landscape" and plot/characters.
> >>
> >>how so? could you describe how the characters are surreal in a Blonde on Blonde
> >> way?
> >
> >Yeah.
>
> then why don't you?
Why should I? I assume you're familar with both to know they were
travelling on a very similarly surreal landscape in 1966.
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000]: <http://tinyurl.com/7r7gj>
j r sherman
says...
because i would think you would like to substantiate your statement. i know for
a fact that you haven't got a single clue what most of your comments mean. you
just think you sound cool when you say them.
>I assume you're familar with both to know they were
>travelling on a very similarly surreal landscape in 1966.
but how was Godard's "surreal" landscape "Blonde on Blonde-like"? why is not
"Lewis Carroll-like?" or "Salvidor Dali-like?" or "Luis Buñuel-like?" "Marcel
Duchamp-like?"
and you don't know the answer to that question, because you really don't know
what you're talking about. you never do. you just say this meaningless shit not
because you're knowledgeable about what you say, but because you think it makes
you "look" cool. you're all about the pose, dockery. that's why everything you
produce is such shit.
Will Dockery
"j r sherman" wrote
>
> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
It was a film about cigartttes and sunglasses.
why is not
> "Lewis Carroll-like?"
No rabbits.
or "Salvidor Dali-like?"
No melting clocks.
or "Luis Buñuel-like?"
No people sitting and talking in black-and-white.
"Marcel
> Duchamp-like?"
No empty latrines.
Because the talisman was a leopardskin pillbox hat.
j r sherman
>
>
>"j r sherman" wrote
>>
>> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
>
>It was a film about cigartttes and sunglasses.
and Blonde on Blonde was an album just about cigarettes and sunglasses?
i told you you didn't know what you were talking about. and you proved my point
rather easily.
> why is not
>> "Lewis Carroll-like?"
>
>No rabbits.
and that's all you know about Lewis Carroll. i am always right.
> or "Salvidor Dali-like?"
>
>No melting clocks.
always. i am always right.
>or "Luis Buñuel-like?"
>
>No people sitting and talking in black-and-white.
yes, because Buñuel was the only film maker that ever shot in black and white
film and had people talking.
your ignorance knows no bounds, and i always seem to bring that out in you.
you never know what you're talking about.
Will Dockery
"j r sherman" wrote
> >"j r sherman" wrote
> >>
> >> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
> >
> >It was a film about cigartttes and sunglasses.
>
> and Blonde on Blonde was an album just about cigarettes and sunglasses?
No, Godard's film was... and about the people smoking them.
j r sherman
>
>
>"j r sherman" wrote
>> >"j r sherman" wrote
>> >>
>> >> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
>> >
>> >It was a film about cigartttes and sunglasses.
>>
>> and Blonde on Blonde was an album just about cigarettes and sunglasses?
>
>No, Godard's film was... and about the people smoking them.
and that's all you think the film is about? how hilarious. i knew you didn't
know what you were talking about. you never do. you just say this ignorant shit
without the first clue as to what you mean by it. thanks for proving my point,
poseur.
Will Dockery
j r sherman wrote:
> >> >Will Dockery wrote
> >> >>
> >> >> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
> >> >
> >> >It was a film about cigartttes and sunglasses.
> >>
> >> and Blonde on Blonde was an album just about cigarettes and sunglasses?
> >
> >No, Godard's film was... and about the people smoking them.
>
> and that's all you think the film is about?
No.
j r sherman
says...
>
>
>j r sherman wrote:
>> >> >Will Dockery wrote
>> >> >>
>> >> >> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
>> >> >
>> >> >It was a film about cigartttes and sunglasses.
>> >>
>> >> and Blonde on Blonde was an album just about cigarettes and sunglasses?
>> >
>> >No, Godard's film was... and about the people smoking them.
>>
>> and that's all you think the film is about?
>
>No.
ok, then let's go back to the question you seem unable to answer in any way; how
is Godard's surreal landscape of the film in question Blonde on Blonde-like? the
only thing you seem able to come up with is that is that the film has people who
are smoking and talking, but you are unable to make any connection what so over
to Dylan's album Blonde on Blonde. which only proves my point that you really
are cluess as to what you post here, and you only post these laughable comments
because you're a poseur.
Will Dockery
j r sherman wrote:
> >> >> >Will Dockery wrote
> >> >> >>
> >> >> >> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
> >> >> >
> >> >> >It was a film about cigartttes and sunglasses.
> >> >>
> >> >> and Blonde on Blonde was an album just about cigarettes and sunglasses?
> >> >
> >> >No, Godard's film was... and about the people smoking them.
> >>
> >> and that's all you think the film is about?
> >
> >No.
>
> ok, then let's go back to the question you seem unable to answer in any way; how
> is Godard's surreal landscape of the film in question Blonde on Blonde-like? the
> only thing you seem able to come up with is that is that the film has people who
> are smoking and talking, but you are unable to make any connection what so over
> to Dylan's album Blonde on Blonde. which only proves my point that you really
> are cluess as to what you post here, and you only post these laughable comments
> because you're a poseur.
The more I think on these great questions, the more Godard's film seems
actually closer to the earlier Dylan record Highway 61 Revisited.
Do you agree?
j r sherman
says...
>
>
>j r sherman wrote:
>> >> >> >Will Dockery wrote
>> >> >> >>
>> >> >> >> but how was Godard's "surreal" landscape "Blonde on Blonde-like"?
>> >> >> >
>> >> >> >It was a film about cigartttes and sunglasses.
>> >> >>
>> >> >> and Blonde on Blonde was an album just about cigarettes and sunglasses?
>> >> >
>> >> >No, Godard's film was... and about the people smoking them.
>> >>
>> >> and that's all you think the film is about?
>> >
>> >No.
>>
>>ok, then let's go back to the question you seem unable to answer in any way; how
>>is Godard's surreal landscape of the film in question Blonde on Blonde-like? the
>>only thing you seem able to come up with is that is that the film has people who
>>are smoking and talking, but you are unable to make any connection what so over
>> to Dylan's album Blonde on Blonde. which only proves my point that you really
>>are cluess as to what you post here, and you only post these laughable comments
>> because you're a poseur.
>
>The more I think on these great questions, the more Godard's film seems
>actually closer to the earlier Dylan record Highway 61 Revisited.
>
>Do you agree?
no. the film "Pierrot le fou" has nothing to do with Dylan's Highway 61. nothing
at all.
why don't you try to see if you can make some kind of (LOL) "connection" between
the two that we can all laugh at?
Will Dockery
Read my original statement, pal.
j r sherman
well, having seen Pierrot le fou relatively recently, there is nothing in the
film that suggests your statement makes any sense. nothing at all. you just say
these things because you're ignorant and desparately wish to sound relevant and
knowledgeable to the conversation. i've pretty much proven that.
i always do.
Will Dockery
You don't agree that "Pierrot Le Fou" takes place in a surreal
mid-1960s landscape?
j r sherman
says...
surreal? not especially. pretentious, obnoxious, directed in a sloppy an
indifferent fashion, sure. but it doesn't have anything at all to do with either
"Blonde on Blonde" or "Highway 61 Revisted." you just made those comments
because you believe, in error, as always, that by saying those things, you look
knowledgeable, when clearly you're not. you never are.
Will Dockery
I didn't say there was anything /directly/ to do with them, but that the
characters and landscape were similarly surreal. The above statement shows
what you made clear earlier, that you never were able to appreciate Godard's
masterpieces.
j r sherman
you've never been able to explain how Godard's films are masterpieces. you just
say that because of your limited knowledge of the subject. you make such
uninformed claims not because you're knowledgeable of the subject, but because
you think you sound "cool" when you make such claims. you haven't been able to
substantiate a single opinion you made in the whole time you've been posting in
usenet, because you don't know what you're talking about.
Will Dockery
I've explained it many times, you're just unable to accept this fact.
You're just the jeering heckler as usual, with nothing else to offer.
j r sherman
actually, you have never once explain why Godard is such a great filmmaker. you
have posted lots of words from other people, but you have never once explained
why or how Godard is a great filmmaker. whereas i have explained several times,
in my own words, why i think the man is overrated as a filmmaker, several times.
that's because you don't know what you're talking about.
>You're just the jeering heckler as usual, with nothing else to offer.
not at all. i am merely asking you HOW "Pierrot le fou" is like a Bob Dylan
song, and you are unable, as usual, to answer. i have clearly stated that
there's nothing in the film that reminds me of a Bob Dylan song, and have asked
you to explain yourself and your comment, which you cannot, as usual. i enjoying
proving the fact that you are unable to communicate, and that you're nothing but
a pathetic poseur.
Will Dockery
So you're admitting your limited understanding of both Godard and
Dylan... no big deal, you're one of many.
j r sherman
says...
not in any way. since i am much more knowledgeable about both Godard and Dylan,
i am asking you to please explain how the film "Pierrot le fou" is like a Bob
Dylan song. what in the film says this? that people are smoking, and talking,
and the film was made in 1965? that's it? that's the only connection you can
make? following your comical illogic you could say all movies that were made in
1965 that had people smoking and talking could remind you of a Bob Dylan song.
WOW, dockery, WHAT insight!
this is why i know for a fact that you're a comical and pathetic poseur, because
you make these comments because you hope they make you sound knowledgeable and
sophisticated, and they don't. they just make you look like the pathetic loser
that you are.
Will Dockery
Very doubtful. Your comments clearly show otherwise.
j r sherman
how so? care to explain? you can't, but it's always funny when you do your bob
and weave. no, you're far too fat to "bob." let's say waddle and roll. that's
more accurate.
i have proven, more than a few times, your knowledge of almost all subjects is
laughableably shallow. want me to do it again, fatso?
Will Dockery
Now, you made the comment, so why don't /you/ explain?
You don't seem to know very much about either Godard or Dylan. If you did
you wouldn't be arguing.
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000/Fowler]: <http://tinyurl.com/7r7gj>
j r sherman
i have, a number of times in this thread alone. your laughable comment was a
meaningless one, as are most of the comments you make. you made the comment
because you think it makes you look knowledgeable, when clearly you are not.
i've proven that fact a number of times.
>You don't seem to know very much about either Godard or Dylan. If you did
>you wouldn't be arguing.
on the contrary, fatso, i know quite a bit about both figures. it's you who is
unable to explain your own comments. a fact i have proven a number of times.
there is no discernable connection between Godard's film "Pierrot le fou" and
Dylan's "Highway 61 Revisted" or "Blonde on Blonde." none what so ever. i have
asked you to make your case that there is a connection, and you have refused,
because you are unable to form enough thoughts in your sad little fat brain to
do so. i don't need any more evidence to prove that you don't know what you're
talking about, as usual.
Will Dockery
You've shown your complete ignorance on both Godard /and/ Dylan. That's all.
> >You don't seem to know very much about either Godard or Dylan. If you did
> >you wouldn't be arguing.
>
> on the contrary, fatso, i know quite a bit about both figures.
You don't seem to.
j r sherman
not in any way have you done so. i have merely shown you up to be an ignorant
poseur is all, and that has upset you. that's why you've attempted to move the
conversation completely away from the topic at hand, which is, how is Godard's
film "Pierrot le fou" connected, in any connected to Bob Dylan? you don't seem
able to even begin to try and answer that question. that's why i have rightfully
pointed out the fact that you are an ignorant poseur.
>> >You don't seem to know very much about either Godard or Dylan. If you did
>> >you wouldn't be arguing.
>>
>> on the contrary, fatso, i know quite a bit about both figures.
>
>You don't seem to.
how would you know? your knowledge of both Dylan and Godard is laughable
shallow. and you've proven that quite easily by the fact that you don't seem
able to answer my original question, about how Godard's film "Pierrot le fou" is
in any way connected with Bob Dylan. if you offer no explaination to your
statements, than it's pretty clear you don't know what you're talking about.
Will Dockery
Right, /you've/ shown your ignorance.
Not only do I know more about Dylan than you do, I know more about Phil
Ochs, David Blue, Rick Howe, Hell, any 1960s folkie you can name than
you.
And as far as Godard, it's obvious your perception of a French
film-maker is Jerry Lewis.
You've shown clearly that the only artist of any kind you have any
interest in is "Will Dockery", and you can't even get your facts
straight there.
You're nothing but a jeering little twit.
j r sherman
says...
no you don't, dockery. you've heard their names, but that's about it. your
knowledge on ANY subject is about as deep as a puddle of water on a kitchen
floor. this has been proven time and time again. christ, you don't even know who
Dave Von Ronk is. if you did, you certainly would have mentioned him in your
comical comment from above.
>And as far as Godard, it's obvious your perception of a French
>film-maker is Jerry Lewis.
actually, i prefer Jean Renior, who's films you've never seen, or Able Gance,
who's films you've not seen, or Alain Resnais, who's films you've never seen.
but these little facts concerning your lack of education on the subject have
also been proven, time and time again. why do you even get into discussions of
film with me, dockery? you don't know anything. every time you do you end up
looking like a pathetic fool. when you've finally read something from Wollen, or
Kitses, or Barthes or Sarris, then we might be able to have a discussion on the
art of film. until then, you're nothing but an ignorant poseur.
>You've shown clearly that the only artist of any kind you have any
>interest in is "Will Dockery", and you can't even get your facts
>straight there.
you're not an artist, dockery, and you insult all creative people everywhere
when you refer to yourself. you're an uneducated loser who has nothing else in
your pathetic life except delusions. i have proven that a number of times as
well.
>You're nothing but a jeering little twit.
how come you won't answer the question? could you describe how Godard's film
"Pierrot le fou" (a so-so film at best. they once did an excellent parody of it
in a Monty Python episode, from the first season, i think) reminds you of a Bob
Dylan album, like Highway 16 Revisted? what's the connection? care you able to
explain this at all? obviously you are unable to do so.
Will Dockery
Wanna bet, Sherman?
j r sherman
absolutely. on almost any subject i am so entirely more knowledgeable than you
are that if you had any shame at all you would kill yourself.
of course i have absolutely no knowledge or experience at being a pathetic and
delusional loser like you are, dockery. in that area i'm certain you're an
expert.
but how come you are ignoring the question? what's the connection between Dylan
and Godard's film "Pierrot le fou?" how come you keep dodging such and easy
question to answer? what's the connection? heh.
Will Dockery
"j r sherman" wrote
>
> but how come you are ignoring the question? what's the connection between
Dylan
> and Godard's film "Pierrot le fou?"
My original statement answers that question:
"The Godard I'd love to get a clear copy of is "Perriot Le Fou", which is
Belmondo and Karina running breathlessly through a full color visual right
out of a Blonde On Blonde song... "
j r sherman
>
>
>"j r sherman" wrote
>>
>> but how come you are ignoring the question? what's the connection between
>Dylan
>> and Godard's film "Pierrot le fou?"
>
>My original statement answers that question:
>
>"The Godard I'd love to get a clear copy of is "Perriot Le Fou", which is
>Belmondo and Karina running breathlessly through a full color visual right
>out of a Blonde On Blonde song... "
and i asked how was that visual like a Blonde on Blonde song, a question you
seem unable to answer in any way. this only proves my point that you say this
shit without really thinking about it, with little to no knowledge of the
subject you're referring to, all because you think it makes you knowledgeable,
when it doesn't, and you're not.
so once again, how is Belmondo and Karina running breathlessly through a full
color visual like something out of a Blonde on Blonde song? unless you can
explain what that means, your statement is utterly meaningless, like almost
everything you write.
Will Dockery
"j r sherman" wrote
> >Will Dockery wrote
> >>
> >> but how come you are ignoring the question? what's the connection
between
> >Dylan
> >> and Godard's film "Pierrot le fou?"
> >
> >My original statement answers that question:
> >
> >"The Godard I'd love to get a clear copy of is "Perriot Le Fou", which is
> >Belmondo and Karina running breathlessly through a full color visual
right
> >out of a Blonde On Blonde song... "
>
> and i asked how was that visual like a Blonde on Blonde song
And I answered with:
"...Sure, the "surrealist landscape" and plot/characters.
My favorite part of the film is where Godard explains: "Not blood,
red." .."
Since you obviously have no real interest or understanding of either,
perhaps you should stick to something you /know/, such as heckling "Will
Dockery"... which is of course your only reason to reply in this thread. As
usual, you have nothing to offer.
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000]: <http://tinyurl.com/7r7gj>
j r sherman
>
>
>"j r sherman" wrote
>> >Will Dockery wrote
>> >>
>> >> but how come you are ignoring the question? what's the connection
>between
>> >Dylan
>> >> and Godard's film "Pierrot le fou?"
>> >
>> >My original statement answers that question:
>> >
>> >"The Godard I'd love to get a clear copy of is "Perriot Le Fou", which is
>> >Belmondo and Karina running breathlessly through a full color visual
>right
>> >out of a Blonde On Blonde song... "
>>
>> and i asked how was that visual like a Blonde on Blonde song
>
>And I answered with:
>
>"...Sure, the "surrealist landscape" and plot/characters.
and how does this equate with Blonde on Blonde? what's the connection? i don't
see anything about "Perriot Le Fou" that even remotely says Blonde on Blonde.
more familar would be a more surrealistic environments of Buñuel, thought
certainly not as well done as Buñuel. but Buñuel is a really innovative
filmmaker, and Godard is not. you could even say that "Perriot Le Fou" reminds
one more of the b-picture film noir films of the 1940s and 50s, with a the usual
Godard pretentious bent.
but Blonde on Blonde? how hilarious. but since you don't know anything at all
about Buñuel, or the b-picture film noir works of the 1940s and 50s, the best
you could come up with was some meaningless blurb about Blonde on Blonde, as i
once again prove that you just say this comical shit, that doesn't mean
anything, because you hope you sound knowledgeable when you do.
>My favorite part of the film is where Godard explains: "Not blood,
>red." .."
wow, dockery, this has all the deep insight of a 10 year old who just played
Grand Theft Auto for the first time. even more hilarious.
>Since you obviously have no real interest or understanding of either,
>perhaps you should stick to something you /know/, such as heckling "Will
>Dockery"... which is of course your only reason to reply in this thread. As
>usual, you have nothing to offer.
heh, you must be endlessly willing to allow me to show you to be a really
pathetic moron. i must admit i enjoy doing so.
you're out of your depth, dockery, as always.
Will Dockery
j r sherman wrote:
> >> >Will Dockery wrote
> >> >>
> >> >> but how come you are ignoring the question? what's the connection
> >between
> >> >Dylan
> >> >> and Godard's film "Pierrot le fou?"
> >> >
> >> >My original statement answers that question:
> >> >
> >> >"The Godard I'd love to get a clear copy of is "Perriot Le Fou", which is
> >> >Belmondo and Karina running breathlessly through a full color visual
> >right
> >> >out of a Blonde On Blonde song... "
> >>
> >> and i asked how was that visual like a Blonde on Blonde song
> >
> >And I answered with:
> >
> >"...Sure, the "surrealist landscape" and plot/characters.
>
> and how does this equate with Blonde on Blonde? what's the connection? i don't
> see anything about "Perriot Le Fou" that even remotely says Blonde on Blonde.
> more familar would be a more surrealistic environments of Buñuel, thought
> certainly not as well done as Buñuel. but Buñuel is a really innovative
> filmmaker, and Godard is not. you could even say that "Perriot Le Fou" reminds
> one more of the b-picture film noir films of the 1940s and 50s, with a the usual
> Godard pretentious bent.
Sound like you'r confusing "Pirriot Le Fou" with "Brathless".
> but Blonde on Blonde? how hilarious. but since you don't know anything at all
> about Buñuel
I watched his "Exterminating Angel" in the same dusty little moviehouse
in Atlanta that I first caught "Perriot Le Fou" at... nice "Twilight
Zone" touches in that one.
j r sherman
says...
>
>
>j r sherman wrote:
>> >> >Will Dockery wrote
>> >> >>
>> >> >> but how come you are ignoring the question? what's the connection
>> >between
>> >> >Dylan
>> >> >> and Godard's film "Pierrot le fou?"
>> >> >
>> >> >My original statement answers that question:
>> >> >
>h is
>> >> >Belmondo and Karina running breathlessly through a full color visual
>> >right
>> >> >out of a Blonde On Blonde song... "
>> >>
>> >> and i asked how was that visual like a Blonde on Blonde song
>> >
>> >And I answered with:
>> >
>> >"...Sure, the "surrealist landscape" and plot/characters.
>>
>don't
>> see anything about "Perriot Le Fou" that even remotely says Blonde on Blo=
>nde.
>> more familar would be a more surrealistic environments of Bu=F1uel, thoug=
>ht
>> certainly not as well done as Bu=F1uel. but Bu=F1uel is a really innovati=
>ve
>> filmmaker, and Godard is not. you could even say that "Perriot Le Fou" re=
>minds
>> one more of the b-picture film noir films of the 1940s and 50s, with a th=
>e usual
>> Godard pretentious bent.
>
>Sound like you'r confusing "Pirriot Le Fou" with "Brathless".
Godard's visual style is always 3 to 5 years behind the last good movie he saw.
Breathless WAS a ripoff of the b-picture film noir's of the late 40s early 50s
with jump cuts and bad camera work. "Perriot Le Fou" still has some of those
images, but he stole more from Bunuel than anything else. if you look at Weekend
it's so Bunuel Luis should get royalties.
so, again, what's the connection between Blonde on Blonde, or Highway 61 and
"Perriot Le Fou"? care to elaborate? it doesn't appear that you can.
>> but Blonde on Blonde? how hilarious. but since you don't know anything at=
> all
>> about Bu=F1uel
>
>I watched his "Exterminating Angel" in the same dusty little moviehouse
>in Atlanta that I first caught "Perriot Le Fou" at... nice "Twilight
>Zone" touches in that one.
good for you.
when you're seen "That Obscure Object of Desire," "Nazarín," "A Woman Without
Love,"Susana," "The Discreet Charm of the Bourgeoisie," "Viridiana," "Simon of
the Desert" come talk to me.
Will Dockery
>
> Godard's visual style is always 3 to 5 years behind the last good movie he saw.
> Breathless WAS a ripoff of the b-picture film noir's of the late 40s early 50s
> with jump cuts and bad camera work. "Perriot Le Fou" still has some of those
> images, but he stole more from Bunuel than anything else. if you look at Weekend
> it's so Bunuel Luis should get royalties.
>
> so, again, what's the connection between Blonde on Blonde, or Highway 61 and
> "Perriot Le Fou"? care to elaborate? it doesn't appear that you can.
>
> >> but Blonde on Blonde? how hilarious. but since you don't know anything at=
> > all
> >> about Bu=F1uel
> >
> >I watched his "Exterminating Angel" in the same dusty little moviehouse
> >in Atlanta that I first caught "Perriot Le Fou" at... nice "Twilight
> >Zone" touches in that one.
>
> good for you.
>
> when you're seen "That Obscure Object of Desire," "Nazarín," "A Woman Without
> Love,"Susana," "The Discreet Charm of the Bourgeoisie," "Viridiana," "Simon of
> the Desert" come talk to me.
Not likely anytime soon since nothing like that ever makes it to
Shadowville. I even had to make a roadtrip to Atlanta to see Dylan's
last film, "Masked & Anonymous"... have you seen that yet?
<http://www.sonyclassics.com/masked/home.html>
BTW, I'm off shortly to meet Henry at SoHo, our new songs got us into
tonight's Songwriter night finals... wish me luck, eh?
Also check the new "Cloud 11" project, the members of which joined us
onstage last night with mandolin [Fowler] and an ancient 1960s /moog/
type synthesiser, the "theremin" [Gabe Holland] which adds a haunting
backbone to "Wobble":
<http://www.soundclick.com/bands/pageartist.cfm?bandID=410188>
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000/Fowler]: <http://tinyurl.com/7r7gj>
j r sherman
says...
>
>j r sherman wrote:
>> >> >> >Will Dockery wrote
>> >> >> >>
>> >> >> >> but how come you are ignoring the question? what's the connection
>> >> >between
>> >> >> >Dylan
>> >> >> >> and Godard's film "Pierrot le fou?"
>> >> >> >
>> >> >> >My original statement answers that question:
>> >> >> >
>hic=3D
>> >h is
>> >> >> >Belmondo and Karina running breathlessly through a full color visu=
>al
>> >> >right
>> >> >> >out of a Blonde On Blonde song... "
>> >> >>
>> >> >> and i asked how was that visual like a Blonde on Blonde song
>> >> >
>> >> >And I answered with:
>> >> >
>> >> >"...Sure, the "surrealist landscape" and plot/characters.
>> >>
> i =3D
>> >don't
>> >> see anything about "Perriot Le Fou" that even remotely says Blonde on =
>Blo=3D
>> >nde.
>> >> more familar would be a more surrealistic environments of Bu=3DF1uel, =
>thoug=3D
>> >ht
>> >> certainly not as well done as Bu=3DF1uel. but Bu=3DF1uel is a really i=
>nnovati=3D
>> >ve
>> >> filmmaker, and Godard is not. you could even say that "Perriot Le Fou"=
> re=3D
>> >minds
>> >> one more of the b-picture film noir films of the 1940s and 50s, with a=
> th=3D
>> >e usual
>> >> Godard pretentious bent.
>> >
>> >Sound like you're confusing "Pirriot Le Fou" with "Breathless".
>>
>e saw.
>> Breathless WAS a ripoff of the b-picture film noir's of the late 40s earl=
>y 50s
>> with jump cuts and bad camera work. "Perriot Le Fou" still has some of th=
>ose
>> images, but he stole more from Bunuel than anything else. if you look at =
>Weekend
>> it's so Bunuel Luis should get royalties.
>>
>and
>> "Perriot Le Fou"? care to elaborate? it doesn't appear that you can.
>>
> at=3D
>> > all
>> >> about Bu=3DF1uel
>> >
>> >I watched his "Exterminating Angel" in the same dusty little moviehouse
>> >in Atlanta that I first caught "Perriot Le Fou" at... nice "Twilight
>> >Zone" touches in that one.
>>
>> good for you.
>>
>ithout
>> Love,"Susana," "The Discreet Charm of the Bourgeoisie," "Viridiana," "Sim=
>on of
>> the Desert" come talk to me.
>
>Not likely anytime soon since nothing like that ever makes it to
>Shadowville. I even had to make a roadtrip to Atlanta to see Dylan's
>last film, "Masked & Anonymous"... have you seen that yet?
a number of times.
>BTW, I'm off shortly to meet Henry at SoHo, our new songs got us into
>tonight's Songwriter night finals... wish me luck, eh?
i guess this means you are unable to explain your comment about "Perriot Le Fou"
and Blonde on Blonde, are you?
Citizen Kane
"Will Dockery" <will_d...@knology.net> wrote in message
news:6d67a$435e804d$18d62363$11...@KNOLOGY.NET...
>
> "j r sherman" wrote
> > >Will Dockery wrote
> > >>
> > >> but how come you are ignoring the question? what's the connection
> between
> > >Dylan
> > >> and Godard's film "Pierrot le fou?"
> > >
> > >My original statement answers that question:
> > >
> > >"The Godard I'd love to get a clear copy of is "Perriot Le Fou", which
is
> > >Belmondo and Karina running breathlessly through a full color visual
> right
> > >out of a Blonde On Blonde song... "
> >
> > and i asked how was that visual like a Blonde on Blonde song
>
> And I answered with:
>
> "...Sure, the "surrealist landscape" and plot/characters.
>
> My favorite part of the film is where Godard explains: "Not blood,
> red." .."
>
> Since you obviously have no real interest or understanding of either,
> perhaps you should stick to something you /know/, such as heckling "Will
> Dockery"... which is of course your only reason to reply in this thread.
As
> usual, you have nothing to offer.
Do you ever shut the hell up?
Dennis M. Hammes
"You go to war with the liars you have,
not the liars you want." -- Stuart Leichter
--
-------(m+
~/:o)_|
I should prefer to get along without a duel;
I do not like to fight with dwarfs. -- W.A.Mozart
http://scrawlmark.org
Will Dockery
I already explained it.
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000]: <http://tinyurl.com/7r7gj>
j r sherman
says...
heh, no you haven't. you have not been able to explain in any way your laughable
comments. don't you ever get tired of looking like an ignorant and posing moron?
ever? and why do you always get yourself involved in discussions that are
entirely over your head.?
Will Dockery
So you liked it?
> >> >BTW, I'm off shortly to meet Henry at SoHo, our new songs got us into
> >> >tonight's Songwriter night finals... wish me luck, eh?
> >>
> >>i guess this means you are unable to explain your comment about "Perriot Le Fou"
> >> and Blonde on Blonde, are you?
> >
> >I already explained it.
>
> heh, no you haven't.
And I don't plan to. The film and the record both run through a
similarly surreal landscape.
j r sherman
says...
because you do not possess the intellectual capability and knowledge to do so.
you say the shit you say without a single clue what it means. you just think you
appear cool when you make such laughably ignorant comments. you're not part of
the discussion, dockery, you just the joke of the conversation.
>The film and the record both run through a similarly surreal landscape.
what an ignorant and know-nothing comment. what is similar between Godard's
"surreal" but often pretentious and lame coffee-house-art-student landscape and
the imagery of Dylan's Highway 61 and/or Blonde on Blonde? what makes them
similar landscapes of surreality?
you don't know how to answer such a question, because you don't know what you're
talking about.
but it's fun to watch you flop around like a dying fish on the beach when you
desparately try to look like you know something, when you don't. heh.
Will Dockery
Because my original statement stands as it is... the songs and the film
obviously share the same surreal landscape of the year 1966.
j r sherman
says...
obviously? the songs and the film obviously share the same "surreal" landscape
of the year 1966? well, since "Pirriot Le Fou" was made in 1964, and released in
1965, and Highway 61 Revisted was recorded in mid 1965, after the movie was
released, and Blonde on Blonde was made and released in 1966, how do these
completely unconnected creative endeavors obviously "share" the same surreal
landscape of 1966?
and what exactly "is" the surreal landscape of the year 1966? how was 1966
surreal? what made the year "surreal?" do you know?
the only thing that's "obvious," dockery, is that you're completely clueless
about what you're saying.
but this gets better the more you flop like a dying fish on the beach. heh.
Dennis M. Hammes
Bye-bye Mister Perrot Le Fou,
Drove my Chevy to N' AwlunZ, but the levee broke through,
Now us good ol' boys are doin' pizza and brew,
Singin' "This'll turn our brains into goo,"
Singin' "This'll turn our brains into goo."
Will Dockery
So you Googled "Pierrot Le Fou" and got the exact year... how about I
change it to "mid-1960s" and shoot down your uninformed whining once
again?
I saw the film in 1978 in Atlanta, you probably /never/ saw it at all,
from the sound of it, just looked it up and can toss a few dates
around.
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000/Fowler]: <http://tinyurl.com/7r7gj>
Will Dockery
Uncle Hammes sang:
>
> Bye-bye Mister Perrot Le Fou,
> Drove my Chevy to N' AwlunZ, but the levee broke through,
> Now us good ol' boys are doin' pizza and brew,
> Singin' "This'll turn our brains into goo,"
> Singin' "This'll turn our brains into goo."
In a karaoke mood tonight, eh?
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000/Fowler]: <http://tinyurl.com/7r7gj>
j r sherman
says...
i also looked at a book, dockery. it's made of paper, and it's got pages, and
there are letters and numbers on the pages, mostly letters though. and there's a
title on the front of it that says: "The Film Encyclopedia"
i have bunch of those things, those things they call books. how insane am i?
actually, poseur-ignorant, i saw "Pirriot Le Fou" on a double bill with
Kurosawa's "Throne of Blood," at the Pacific Film Archives a about 7 years ago.
thank god for Kurosawa, a real filmmaker. if it wasn't for him the evening would
have been a total waste.
>how about I
>change it to "mid-1960s" and shoot down your uninformed whining once
>again?
how about if you make me laugh and continue to prove my point at the same time?
i keep asking you where is the connection between Godard's "Pirriot Le Fou" and
Bob Dylan's two mid 60's albums, Blonde on Blonde and Highway 61 Revisted. and
you're only response is some lame-ass and meaningless comment, saying "they
share the same surreal landscape of the year 1966."
so i ask, with all innocence, as always, what is this surreal landscape you
speak of? could you define what the surreal landscape of 1966 is? what does it
look like? can you describe this mythical and magical surreal landscape in any
way?
obviously you can't.
at best you're saying there's a big connection between Godard and Dylan because
they both created something (obviously Dylan being the greater creator, of
course) at roughly the same time.
following your (laugh when ya say it) logic wouldn't Hermans Hermits, who were
also producing a ton of stuff in your mythical and magical surreal landscape of
1966 ALSO be connected to "Pirriot Le Fou?"
if you cannot define what you are saying, dockery, you remain exactly what i
have called you, many times; a poseur who spouts meaningless comments in
discussions he does not understand because he desparately wishes to look like he
knows something, when clearly he does not.
>I saw the film in 1978 in Atlanta, you probably /never/ saw it at all,
>from the sound of it, just looked it up and can toss a few dates
>around.
from all accounts you've presented in this here thread (and in countless other
threads) you don't seem to know much about Godard, filmmaking, or even Bob
Dylan.
it proves that you are what i call you, dockery, a shallow poseur who doesn't
know what he's talking about.
Will Dockery
j r sherman wrote:
>
> actually, poseur-ignorant, i saw "Pirriot Le Fou" on a double bill with
> Kurosawa's "Throne of Blood," at the Pacific Film Archives a about 7 years ago.
I saw "Pierott Le Fou" along with assorted other films at a dusty
little moviehouse over two decades ago.
> thank god for Kurosawa, a real filmmaker. if it wasn't for him the evening would
> have been a total waste.
That says it all: You find Godard a /total waste/, which is why you're
not a suitable person to discuss his work with.
--
The "Cloud 11" project:
<http://www.soundclick.com/bands/pageartist.cfm?bandID=410188>
Mirror Twins by Will Dockery: <http://tinyurl.com/7on5h>
Black Eagle Lady by Will Dockery & Henry Conley:
<http://tinyurl.com/bev5f
Will Dockery
gabriel wrote:
> The tagline for the movie was "the children of Marx and CocaCola" -
> it's not Godard who calls him a Vietnik, it's the character.
Godard often described the films as "poems" and "notes to himself",
they're moving paintings, image-poems.
> don freeman wrote:
> > In Godard's 1966 movie, Masculin Feminin, there is a very interesting
> > scene where the young lead character, played by Jean-Pierre Léaud, is
> > told by his friend that he is reading an article on Bob Dylan. "Who is
> > he," asks Léaud? His friend responds that Dylan is a Vietnik. What's
> > that, asked Léaud. "It's an American word, a cross between Beatnik and
> > Vietnam."
> >
> > Léaud then looks at the article, reading out, in English, Who are you,
> > Meester Bob Dylan." He then proceeds to read what appears to be the
> > lyrics of a song, equating old man Hitler, and old man Stalin with old
> > man Johnson.
> >
> > Léaud then says that his girlfriend, a singer, had never mentioned Bob
> > Dylan. His friend responds that Bob Dylan sells 10,000 records a day.
> >
> > What I find interesting about this scene in a 1966 movie, is that for
> > the American and British audience, Dylan in '66 had abandoned protest
> > songs, and had never mentioned the Vietnam war at all. Yet Godard
> > portrays the '66 Dylan as the leading cultural protester.
> >
> > Godard's movies tend to be very surreal in a way that Dylan's songs from
> > '66 were surreal. That is probably the true revolutionary aspect of
> > Dylan that Godard recognizes. It's very interesting that Godard, in this
> > movie, would then typecast Dylan as an anti Vietnam war protester.
j r sherman
says...
>
>
>j r sherman wrote:
>>
>> actually, poseur-ignorant, i saw "Pirriot Le Fou" on a double bill with
>>Kurosawa's "Throne of Blood," at the Pacific Film Archives a about 7 years ago.
>
>I saw "Pierott Le Fou" along with assorted other films at a dusty
>little moviehouse over two decades ago.
good for you, dockery. but you mentioned it was 1978 when you saw the film in
question. that's almost 30 years ago. and you've done so much damage to your
already geographically damaged brain in those almost three decades one can
hardly consider you knowledgeable about the film, or much of anything else.
>>thank god for Kurosawa, a real filmmaker. if it wasn't for him the evening would
>> have been a total waste.
>
>That says it all: You find Godard a /total waste/,
i did not say Godard was a total waste. i said it's a good thing Kurosawa's film
"Throne of Blood" was on the same bill as Godard's "Pirriot Le Fou", so the
evening wasn't a total waste.
if i had seen only "Pirriot Le Fou" that evening, than yes, that would have been
a total waste.
now if i had only seen, say, "Alphaville" that evening, that wouldn't have been
a total waste, it would have been somewhat of a waste, but not a total waste.
do you see the difference? i rather doubt it.
>which is why you're not a suitable person to discuss his work with.
i don't think so, dockery. it sounds like you are unable to discussion this
subject with me, since it's pretty obvious i know a lot more about this subject
than you do.
but shouldn't we get back to the topic at hand?
you posted in a earlier thread, when i asked you how is Godard's film "Pirriot
Le Fou" connected to Dylan's mid 60's albums Blonde on Blonde and Highway 61,
the following:
"the songs and the film obviously share the same surreal landscape of the year
1966."
so again i ask, with all innocence, as always, what is this surreal landscape
you speak of? could you define what the surreal landscape of 1966 is? what does
it look like? can you describe this mythical and magical surreal landscape in
any way?
obviously you can't.
at best you're saying there's a big connection between Godard and Dylan because
they both created something (obviously Dylan being the greater creator, of
course) at roughly the same time.
following your (laugh when ya say it) logic wouldn't Hermans Hermits, who were
also producing a ton of stuff in your mythical and magical surreal landscape of
1966 ALSO be connected to "Pirriot Le Fou?"
if you cannot define what you are saying, dockery, you remain exactly what i
have called you, many times; a poseur who spouts meaningless comments in
discussions he does not understand because he desparately wishes to look like he
knows something, when clearly he does not.
i think i've proven you to be exactly what i said you were/and/are.
Will Dockery
"j r sherman" wrote
> >Will Dockery wrote:
> >>
> >> actually, poseur-ignorant, i saw "Pirriot Le Fou" on a double bill with
> >>Kurosawa's "Throne of Blood," at the Pacific Film Archives a about 7
years ago.
> >
> >I saw "Pierott Le Fou" along with assorted other films at a dusty
> >little moviehouse over two decades ago.
>
> good for you, dockery. but you mentioned it was 1978 when you saw the film
in
> question. that's almost 30 years ago.
I wrote "over two decades ago", JRS.
>and you've done so much damage to your
> already geographically damaged brain in those almost three decades one can
> hardly consider you knowledgeable about the film, or much of anything
else.
>
> >>thank god for Kurosawa, a real filmmaker. if it wasn't for him the
evening would
> >> have been a total waste.
> >
> >That says it all: You find Godard a /total waste/,
>
> i did not say Godard was a total waste.
Seems to be what you just wrote... that you consider the masterpiece
"Pierrot Le Fou" a /total waste/.
gabriel wrote:
> The tagline for the movie was "the children of Marx and CocaCola" -
> it's not Godard who calls him a Vietnik, it's the character.
Godard often described the films as "poems" and "notes to himself",
they're moving paintings, image-poems.
> don freeman wrote:
> > In Godard's 1966 movie, Masculin Feminin, there is a very interesting
> > scene where the young lead character, played by Jean-Pierre L=E9aud, is
> > told by his friend that he is reading an article on Bob Dylan. "Who is
> > he," asks L=E9aud? His friend responds that Dylan is a Vietnik. What's
> > that, asked L=E9aud. "It's an American word, a cross between Beatnik and
> > Vietnam."
> >
> > L=E9aud then looks at the article, reading out, in English, Who are you,
> > Meester Bob Dylan." He then proceeds to read what appears to be the
> > lyrics of a song, equating old man Hitler, and old man Stalin with old
> > man Johnson.
> >
> > L=E9aud then says that his girlfriend, a singer, had never mentioned Bob
> > Dylan. His friend responds that Bob Dylan sells 10,000 records a day.
> >
> > What I find interesting about this scene in a 1966 movie, is that for
> > the American and British audience, Dylan in '66 had abandoned protest
> > songs, and had never mentioned the Vietnam war at all. Yet Godard
> > portrays the '66 Dylan as the leading cultural protester.
> >
> > Godard's movies tend to be very surreal in a way that Dylan's songs from
> > '66 were surreal. That is probably the true revolutionary aspect of
> > Dylan that Godard recognizes. It's very interesting that Godard, in this
> > movie, would then typecast Dylan as an anti Vietnam war protester.
--
The "Cloud 11" project:
<http://www.soundclick.com/bands/pageartist.cfm?bandID=3D410188>
Stuart Leichter
Dockery at will.d...@gmail.com wrote on 10/27/05 12:05 PM:
>
> j r sherman wrote:
>>
>> actually, poseur-ignorant, i saw "Pirriot Le Fou" on a double bill with
>> Kurosawa's "Throne of Blood," at the Pacific Film Archives a about 7 years
>> ago.
>
> I saw "Pierott Le Fou" along with assorted other films at a dusty
> little moviehouse over two decades ago.
>
>> thank god for Kurosawa, a real filmmaker. if it wasn't for him the evening
>> would
>> have been a total waste.
>
> That says it all: You find Godard a /total waste/, which is why you're
> not a suitable person to discuss his work with.
In Haskell Wexler's Medium Cool (1969), you can hear the TV announcer say
what the late movie will be, Godard's Contempt, with Bardot and Jack Palance
as a prize fighter -- Robert Forster's character, a TV cameraman, was an
amateur boxer and still works out. Medium Cool is set in Chicago, 1968, and,
of course, the late movie would start at 10:30 because the 11:00 news comes
on at 10 in Chicago. Forster's pad has that Belmondo poster. In the club,
you hear Zappa ("What's there to live for...") on the soundtrack instead of
the live band. "Are you, are you hung up?"
--
Stuart
j r sherman
>> The tagline for the movie was "the children of Marx and CocaCola" -
>> it's not Godard who calls him a Vietnik, it's the character.
>
>Godard often described the films as "poems" and "notes to himself",
>they're moving paintings, image-poems.
what's funny, as usual, is that your comment has absolutely nothing at all to do
with Gabriel's comment. don't you realize how much of a clueless moron you look
like when you make such meaningless comments?
j r sherman
>
>
>"j r sherman" wrote
>> >Will Dockery wrote:
>> >>
>> >> actually, poseur-ignorant, i saw "Pirriot Le Fou" on a double bill with
>> >>Kurosawa's "Throne of Blood," at the Pacific Film Archives a about 7
>years ago.
>> >
>> >I saw "Pierott Le Fou" along with assorted other films at a dusty
>> >little moviehouse over two decades ago.
>>
>> good for you, dockery. but you mentioned it was 1978 when you saw the film
>in
>> question. that's almost 30 years ago.
>
>I wrote "over two decades ago", JRS.
you can barely remember what you posted a couple of minutes ago. and you expect
me to believe that you have a clue about a movie you saw once almost 30 years
ago?
>>and you've done so much damage to your
>> already geographically damaged brain in those almost three decades one can
>> hardly consider you knowledgeable about the film, or much of anything
>else.
>>
>> >>thank god for Kurosawa, a real filmmaker. if it wasn't for him the
>evening would
>> >> have been a total waste.
>> >
>> >That says it all: You find Godard a /total waste/,
>>
>> i did not say Godard was a total waste.
>
>Seems to be what you just wrote... that you consider the masterpiece
>"Pierrot Le Fou" a /total waste/.
i don't think it's a very good movie. i don't think he's a very good filmmaker.
i have stated my reasons many times why i don't think he's a very good
filmmaker. when i have asked you why you thought he was a good filmmaker, all i
got was you cutting and pasting a bunch of comments from others. you have
produced nothing of your own opinions as to why you thought he was a good
filmmaker. so it's pretty obvious that my original comments were accurate. you
only think Godard is a good filmmaker, because you think you sound cool and
knowledgeable when you make such comments. you really don't understand why he's
good, you just heard that he was good, and want to sound like you know something
about the subject, when clearly you do not.
Will Dockery
>
> i don't think it's a very good movie. i don't think he's a very good filmmaker.
Which is why a conversation with you on Godard, and probably Dylan
also, is a waste of time. As is everything with you, actually...
nothing to offer, just filling space.
Will Dockery
j r sherman wrote:
> Will Dockery says...
> >gabriel wrote:
> >> The tagline for the movie was "the children of Marx and CocaCola" -
> >> it's not Godard who calls him a Vietnik, it's the character.
> >
> >Godard often described the films as "poems" and "notes to himself",
> >they're moving paintings, image-poems.
>
> what's funny
One of the things that makes Godard and "Pierott Le Fou" great is his
particular humor, which races across a landscape very similar to Hwy
61/B.O.B Dylan.
Karina's pillbox hat is the talisman.
--
Stuart Leichter
Dockery at will.d...@gmail.com wrote on 10/27/05 2:43 PM:
>
> j r sherman wrote:
>> Will Dockery says...
>>> gabriel wrote:
>>>> The tagline for the movie was "the children of Marx and CocaCola" -
>>>> it's not Godard who calls him a Vietnik, it's the character.
>>>
>>> Godard often described the films as "poems" and "notes to himself",
>>> they're moving paintings, image-poems.
>>
>> what's funny
>
> One of the things that makes Godard and "Pierott Le Fou" great is his
> particular humor, which races across a landscape very similar to Hwy
> 61/B.O.B Dylan.
>
> Karina's pillbox hat is the talisman.
>
In French the title is Pierrot le Fou. In English it's Pierrot le Fou.
You don't like when someone screws around with your name, or so you've said.
What did Godard ever do to you to make you treat him "[asterisk] in kind
[asterisk]"?
Will Dockery
Stuart Leichter wrote:
> >> Will Dockery says...
> >>> gabriel wrote:
> >>>> The tagline for the movie was "the children of Marx and CocaCola" -
> >>>> it's not Godard who calls him a Vietnik, it's the character.
> >>>
> >>> Godard often described the films as "poems" and "notes to himself",
> >>> they're moving paintings, image-poems.
> >>
> >> what's funny
> >
> > One of the things that makes Godard and "Pierott Le Fou" great is his
> > particular humor, which races across a landscape very similar to Hwy
> > 61/B.O.B Dylan.
> >
> > Karina's pillbox hat is the talisman.
>
> In French the title is Pierrot le Fou. In English it's Pierrot le Fou.
>
> You don't like when someone screws around with your name, or so you've said.
> What did Godard ever do to you to make you treat him "[asterisk] in kind
> [asterisk]"?
I learned to pronounce "Godard" at an early age. Tell Houstman there's
only one /d/ since the one on the end is pronounced "oh.".
Citizen Kane
"Will Dockery" <will.d...@gmail.com> wrote in message
news:1130440568.8...@f14g2000cwb.googlegroups.com...
>
> Stuart Leichter wrote:
> > >> Will Dockery says...
> > >>> gabriel wrote:
> > >>>> The tagline for the movie was "the children of Marx and CocaCola" -
> > >>>> it's not Godard who calls him a Vietnik, it's the character.
> > >>>
> > >>> Godard often described the films as "poems" and "notes to himself",
> > >>> they're moving paintings, image-poems.
> > >>
> > >> what's funny
> > >
> > > One of the things that makes Godard and "Pierott Le Fou" great is his
> > > particular humor, which races across a landscape very similar to Hwy
> > > 61/B.O.B Dylan.
> > >
> > > Karina's pillbox hat is the talisman.
> >
> > In French the title is Pierrot le Fou. In English it's Pierrot le Fou.
> >
> > You don't like when someone screws around with your name, or so you've
said.
> > What did Godard ever do to you to make you treat him "[asterisk] in kind
> > [asterisk]"?
>
> I learned to pronounce "Godard" at an early age.
Thirty-four is not considered an "early age," Will.
>Tell Houstman there's
> only one /d/ since the one on the end is pronounced "oh.".
>
Oh so you're a grammar and pronunciation expert now? I find both concepts
laughable as hell!
Stuart Leichter
Dockery at will.d...@gmail.com wrote on 10/27/05 3:16 PM:
>
> Stuart Leichter wrote:
>>>> Will Dockery says...
>>>>> gabriel wrote:
>>>>>> The tagline for the movie was "the children of Marx and CocaCola" -
>>>>>> it's not Godard who calls him a Vietnik, it's the character.
>>>>>
>>>>> Godard often described the films as "poems" and "notes to himself",
>>>>> they're moving paintings, image-poems.
>>>>
>>>> what's funny
>>>
>>> One of the things that makes Godard and "Pierott Le Fou" great is his
>>> particular humor, which races across a landscape very similar to Hwy
>>> 61/B.O.B Dylan.
>>>
>>> Karina's pillbox hat is the talisman.
>>
>> In French the title is Pierrot le Fou. In English it's Pierrot le Fou.
>>
>> You don't like when someone screws around with your name, or so you've said.
>> What did Godard ever do to you to make you treat him "[asterisk] in kind
>> [asterisk]"?
>
> I learned to pronounce "Godard" at an early age. Tell Houstman there's
> only one /d/ since the one on the end is pronounced "oh.".
Comment? (That's French for 'huh'?)
Goddard developed rocket science. I was referring to the way you write the
movie's title, the movie's name, what it's called.
Stuart Leichter
Dockery at will.d...@gmail.com wrote on 10/27/05 3:16 PM:
>
> Stuart Leichter wrote:
>>>> Will Dockery says...
>>>>> gabriel wrote:
>>>>>> The tagline for the movie was "the children of Marx and CocaCola" -
>>>>>> it's not Godard who calls him a Vietnik, it's the character.
>>>>>
>>>>> Godard often described the films as "poems" and "notes to himself",
>>>>> they're moving paintings, image-poems.
>>>>
>>>> what's funny
>>>
>>> One of the things that makes Godard and "Pierott Le Fou" great is his
>>> particular humor, which races across a landscape very similar to Hwy
>>> 61/B.O.B Dylan.
>>>
>>> Karina's pillbox hat is the talisman.
>>
>> In French the title is Pierrot le Fou. In English it's Pierrot le Fou.
>>
>> You don't like when someone screws around with your name, or so you've said.
>> What did Godard ever do to you to make you treat him "[asterisk] in kind
>> [asterisk]"?
>
> I learned to pronounce "Godard" at an early age. Tell Houstman there's
> only one /d/ since the one on the end is pronounced "oh.".
>
I just realized you're confusing Godard and Bardot.
Don't try to pronounce Gerard Depardieu if you don't have good health
coverage.
j r sherman
says...
>
>j r sherman wrote:
>>
>>i don't think it's a very good movie. i don't think he's a very good filmmaker.
>
>Which is why a conversation with you on Godard, and probably Dylan
>also, is a waste of time.
i would love to talk with you about Godard, but you're the one who's offered
absolutely nothing on the subject. i have more than once explained why i do not
think Godard is a very good filmmaker. you have offered nothing in rebuttal but
the posts from other people, and this laughable comment about surreal landscapes
and the year 1966. if you wish to discsuss Godard why don't you come up with
something intelligent on the topic instead of constantly trying to change the
subject because you don't know what you're talking about?
as for Dylan, are you sure you want to give me yet another chance to prove
you're nothing but an ignorant poseur who doesn't know what he's talking about?
j r sherman
says...
>
>
>j r sherman wrote:
>> Will Dockery says...
>> >gabriel wrote:
>> >> The tagline for the movie was "the children of Marx and CocaCola" -
>> >> it's not Godard who calls him a Vietnik, it's the character.
>> >
>> >Godard often described the films as "poems" and "notes to himself",
>> >they're moving paintings, image-poems.
>>
>> what's funny
>
>One of the things that makes Godard and "Pierott Le Fou" great is his
>particular humor, which races across a landscape very similar to Hwy
>61/B.O.B Dylan.
so you're saying that Godard's humor, whatever that is, races across a landscape
very similar to Hwy 61 Revisted and Blonde on Blonde.
ok. what's the landscape of Highway 61 and Blonde on Blonde? what exactly is
that landscape? i would love to hear you explain that one. because you seem to
be impling that Godard was somehow "aware" of Dylan's landscape even before
Dylan created such a "landscape." because as i'd explained earlier, Godard
probably shot the film in question in 1964, and Dylan didn't come out with
Highway 61 until like autumn 1965, and i think it almost an entire year later,
in 1966, came Blonde on Blonde.
Godard would have to be a psychic to race across a "landscape" that Dylan hadn't
even created yet.
>Karina's pillbox hat is the talisman.
so let's see. Dylan wrote a song called Leopard Skin Pill Box Hat, and Karina
wore a pill box hat in the Godard film, as did millions of other women all over
the world during that period of the 60s, and this is your mythical "connection"
between Godard's film and Dylan? ya know, even though Godard's film came out in
1965, and Dylan's song
that's it? so, if one follows you're (always laughable) logic there's this
mythical connection between millions of chicks who wore pill box hats in the
world during the middle part of the 1960s and Dylan?
and that's your connection between Godard's film and Dylan's albums?
you don't know what you're talking about, do you, dockery?
r j thurman
Will Dockery <will.d...@gmail.com> wrote
in article news:<1130438630.4...@g14g2000cwa.googlegroups.com>:
> j r sherman wrote:
>
> > Will Dockery says...
> >
> > > Godard often described the films as "poems" and "notes to
> > > himself", they're moving paintings, image-poems.
> >
> > what's funny
>
> One of the things that makes Godard and "Pierott Le Fou" great
> is his particular humor, which races across a landscape very
> similar to Hwy 61/B.O.B Dylan.
>
> Karina's pillbox hat is the talisman.
Wait a minute, Dock. Are you suggesting that because Karina
wore a pillbox hat, and because Dylan wrote and recorded a
song titled "Leopard-Skin Pill-Box Hat" around the same time,
there's somehow a connection between Dylan and "Pierott le Fou"?
That strains credibility a bit, don't-cha think?
After all, Dylan also released a song titled "Can You Please
Crawl Out Your Window." And around that same time, the film
"Alfie" was also released -- which contained shots of windows
in numerous scenes. Does that mean there's a connection
between Dylan and "Alfie"?
Son, I think logic just took a giant leap off a Minneapolis
bridge...if you catch my drift.
---
See Will Dockery and j r sherman at The Net Poets Photo Gallery!
ALL your favorite on-line poets in one convenient location.
http://clitin.com/NetPoets
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Dennis M. Hammes
Worse than I thot: Godard and Godot.
Good thing we're not waiting for Dockery to acquire a language...
>
> Don't try to pronounce Gerard Depardieu if you don't have good health
> coverage.
>
--
-------(m+
~/:o)_|
If a pome falls in the middle of a newsfroup and
Tommy can't read it, does it still say, "Iamb"?
http://scrawlmark.org
Dennis M. Hammes
Dyleaun was rebelling against the false promises (esp. sexueaul) of
Camelot ("Kam-e-LOH") promulgated by Bardot ("Bar-DOH") and
Jackie-Eau ("Jackie-O"), the latter of whom popularised the infamous
pillbox ("pill-BOH") hat.
Godard ("Go-DOH"), being a furriner, obviously copied Dyleaun, the
American and therefore more avant-garden artisteu, in a song written
originally for the piccoleau.
This statement is faux.
(Actually, that statement was free, /this/ statement is faux.)
Will Dockery
j r sherman wrote:
>
> that's it? so, if one follows you're (always laughable) logic
Do you mean /your/?
Citizen_Kane
"Will Dockery" <will.d...@gmail.com> wrote in message
news:1130483896....@g14g2000cwa.googlegroups.com...
>
> j r sherman wrote:
> >
> > that's it? so, if one follows you're (always laughable) logic
>
> Do you mean /your/?
>
Grammatical lames coming from someone as stupid as you make the irony so
think one requires an eggbeater just to move through it, Dockery.
Will Dockery
> > > Will Dockery says...
> > >
> > > > Godard often described the films as "poems" and "notes to
> > > > himself", they're moving paintings, image-poems.
> > >
> > > what's funny
> >
> > One of the things that makes Godard and "Pierott Le Fou" great
> > is his particular humor, which races across a landscape very
> > similar to Hwy 61/B.O.B Dylan.
> >
> > Karina's pillbox hat is the talisman.
>
> Wait a minute, Dock. Are you suggesting that because Karina
> wore a pillbox hat, and because Dylan wrote and recorded a
> song titled "Leopard-Skin Pill-Box Hat" around the same time,
> there's somehow a connection between Dylan and "Pierott le Fou"?
I wrote that "Pierott Le Fou" and Dylan's work cover a similarly
surrealistic landscape. That connection has always been obvious... even
Dylan himself has said so in interviews.
Will Dockery
"j r sherman" wrote
> >> Will Dockery wrote
> >> >gabriel wrote:
> >> >> The tagline for the movie was "the children of Marx and CocaCola" -
> >> >> it's not Godard who calls him a Vietnik, it's the character.
> >> >
> >> >Godard often described the films as "poems" and "notes to himself",
> >> >they're moving paintings, image-poems.
> >>
> >> what's funny
> >
> >One of the things that makes Godard and "Pierott Le Fou" great is his
> >particular humor, which races across a landscape very similar to Hwy
> >61/B.O.B Dylan.
>
> so you're saying that Godard's humor, whatever that is, races across a
landscape
> very similar to Hwy 61 Revisted and Blonde on Blonde.
Yes.
Will Dockery
"Dennis M. Hammes" wrote
>
> Worse than I thot: Godard and Godot.
> Good thing we're not waiting for Dockery to acquire a language...
One thing I always enjoyed about watching the films was with the subtitles
they're like comic books.
j r sherman
and they all conspired to kill Kennedy, an IRISHMAN!
it all makes sense now.
dockery hates the Irish.
is my theory any more ridiculous than any of his?
love and kisses,
j r sherman
p.s i liked the little verse you posted earlier in this thread. most amusing!
you are on a roll!
j r sherman
says...
>
>r j thurman wrote:
>> > > Will Dockery says...
>> > >
>> > > > Godard often described the films as "poems" and "notes to
>> > > > himself", they're moving paintings, image-poems.
>> > >
>> > > what's funny
>> >
>> > One of the things that makes Godard and "Pierott Le Fou" great
>> > is his particular humor, which races across a landscape very
>> > similar to Hwy 61/B.O.B Dylan.
>> >
>> > Karina's pillbox hat is the talisman.
>>
>> Wait a minute, Dock. Are you suggesting that because Karina
>> wore a pillbox hat, and because Dylan wrote and recorded a
>> song titled "Leopard-Skin Pill-Box Hat" around the same time,
>> there's somehow a connection between Dylan and "Pierott le Fou"?
>
>I wrote that "Pierott Le Fou" and Dylan's work cover a similarly
>surrealistic landscape. That connection has always been obvious... even
>Dylan himself has said so in interviews.
what interviews, dockey? can you name them? what are your sources?
j r sherman
says...
>
>
>j r sherman wrote:
>>
>> that's it? so, if one follows you're (always laughable) logic
>
>Do you mean /your/?
i must take this to mean you are unable to explain what your comments mean,
right, dockery? you have been asked a number of times to explain your laughable
"surreal landscape of 1966", and you seem completely unable to form even the
most simple of explanations to that comment. once again you find yourself in a
discussion you don't understand. clearly you don't know much about Dylan, and
practically nothing about Godard, and absolutely nothing about the history and
art of filmmaking. but i appreciate that you keep proving my point with each
post you make.
j r sherman
>
>
>"j r sherman" wrote
>> >> Will Dockery wrote
>> >> >gabriel wrote:
>> >> >> The tagline for the movie was "the children of Marx and CocaCola" -
>> >> >> it's not Godard who calls him a Vietnik, it's the character.
>> >> >
>> >> >Godard often described the films as "poems" and "notes to himself",
>> >> >they're moving paintings, image-poems.
>> >>
>> >> what's funny
>> >
>> >One of the things that makes Godard and "Pierott Le Fou" great is his
>> >particular humor, which races across a landscape very similar to Hwy
>> >61/B.O.B Dylan.
>>
>> so you're saying that Godard's humor, whatever that is, races across a
>landscape
>> very similar to Hwy 61 Revisted and Blonde on Blonde.
>
>Yes.
ok. what's the landscape of Highway 61 and Blonde on Blonde? what exactly is
that landscape? i would love to hear you explain that one. because you seem to
be impling that Godard was somehow "aware" of Dylan's landscape even before
Dylan created such a "landscape." because as i'd explained earlier, Godard
probably shot the film in question in 1964, and Dylan didn't come out with
Highway 61 until like autumn 1965, and i think it almost an entire year later,
in 1966, came Blonde on Blonde.
Godard would have to be a psychic to race across a "landscape" that Dylan hadn't
even created yet.
not that you are able to, but how about explaining your rather curious, and
hilariously ignorant, comment again?
j r sherman
>
>
>"Dennis M. Hammes" wrote
>>
>> Worse than I thot: Godard and Godot.
>> Good thing we're not waiting for Dockery to acquire a language...
>
>One thing I always enjoyed about watching the films was with the subtitles
>they're like comic books.
here's just one example, of so many, as to why people laugh at you and think
you're a clueless moron.
note to dockery: trying to connect create endeavors that you don't understand to
comic books does not make you look cool, and CERTAINLY doesn't make you look
knowledgeable on the subject.
Citizen_Kane
"Will Dockery" <will_d...@knology.net> wrote in message
news:8e31b$43622678$18d62363$18...@KNOLOGY.NET...
>
> "Dennis M. Hammes" wrote
> >
> > Worse than I thot: Godard and Godot.
> > Good thing we're not waiting for Dockery to acquire a language...
>
> One thing I always enjoyed about watching the films was with the subtitles
> they're like comic books.
>
With your piss poor reading skills, you must have had to watch them more
than once.
Citizen_Kane
"j r sherman" <jr...@earthlink.net> wrote in message
news:djtfq...@drn.newsguy.com...
Yes. Why would Dockery hate the Irish? They are, after all, compulsive
drinkers.
Will Dockery
"j r sherman" wrote
>
> it all makes sense now.
>
> dockery hates the Irish.
Just a little bit.
Will Dockery
"j r sherman" wrote
> >> > > Will Dockery says...
> >> > >
> >> > > > Godard often described the films as "poems" and "notes to
> >> > > > himself", they're moving paintings, image-poems.
> >> > >
> >> > > what's funny
> >> >
> >> > One of the things that makes Godard and "Pierott Le Fou" great
> >> > is his particular humor, which races across a landscape very
> >> > similar to Hwy 61/B.O.B Dylan.
> >> >
> >> > Karina's pillbox hat is the talisman.
> >>
> >> Wait a minute, Dock. Are you suggesting that because Karina
> >> wore a pillbox hat, and because Dylan wrote and recorded a
> >> song titled "Leopard-Skin Pill-Box Hat" around the same time,
> >> there's somehow a connection between Dylan and "Pierott le Fou"?
> >
> >I wrote that "Pierott Le Fou" and Dylan's work cover a similarly
> >surrealistic landscape. That connection has always been obvious... even
> >Dylan himself has said so in interviews.
>
> what interviews, dockey? can you name them? what are your sources?
Yeah, Dylan's Playboy and Rolling Stone interviews from early 1978, while he
was promoting his film Renaldo & Clara and his record Street Legal, which I
still have copies of.
And for the Godard quotes, I have the book right here:
Godard On Godard
Translation And Commentary By Tom Milne
Viking Press, 1972
One of the interviews is "Let's Talk About Pierott" [from Cahiers du Cinema
#171, October 1965] and another is a long piece by Godard called "Pierrot My
Friend" [also from CdC #171].
I can excerpt from it when I return sometime after midnight tonight,
perhaps.
j r sherman
>
>
>"j r sherman" wrote
>> >> > > Will Dockery says...
>> >> > >
>> >> > > > Godard often described the films as "poems" and "notes to
>> >> > > > himself", they're moving paintings, image-poems.
>> >> > >
>> >> > > what's funny
>> >> >
>> >> > One of the things that makes Godard and "Pierott Le Fou" great
>> >> > is his particular humor, which races across a landscape very
>> >> > similar to Hwy 61/B.O.B Dylan.
>> >> >
>> >> > Karina's pillbox hat is the talisman.
>> >>
>> >> Wait a minute, Dock. Are you suggesting that because Karina
>> >> wore a pillbox hat, and because Dylan wrote and recorded a
>> >> song titled "Leopard-Skin Pill-Box Hat" around the same time,
>> >> there's somehow a connection between Dylan and "Pierott le Fou"?
>> >
>> >I wrote that "Pierott Le Fou" and Dylan's work cover a similarly
>> >surrealistic landscape. That connection has always been obvious... even
>> >Dylan himself has said so in interviews.
>>
>> what interviews, dockey? can you name them? what are your sources?
>
>Yeah, Dylan's Playboy and Rolling Stone interviews from early 1978, while he
>was promoting his film Renaldo & Clara and his record Street Legal, which I
>still have copies of.
i've read both interviews, dockery, and i don't remember anything he said about
Godard in the Rolling Stone interview with Johnathon Cott, Rolling Stone
interview.
as for the Playboy interview, here's a link to that one:
http://www.southerncrossreview.org/41/dylan.htm
and Godard's not mentioned once in that one. not once. Bunuel is mentioned, but
Godard is not.
you're lying, dockery, and you don't know what you're talking about. as usual.
why do you constantly enjoy making yourself look like a moron?
Will Dockery
Wrong, Sherman. I haven't read either in a long while but he definitely
mentioned "Breathless" as an influence.
j r sherman
says...
wrong, dockery. there's nothing in the Playboy interview about Godard, or
Breathless. and as soon as i find the Jon Cott Rolling Stone interview, i'll
prove you wrong there as well.
it's just another example of you talking out of the other side of your
enormously fat ass concerning subjects you don't know anything about.
why can you never learn to shut up when you're so far behind it's embarrassing?
you still haven't found any connection between Godard and Dylan and you're too
fucking stupid to find one.
Will Dockery
Be sure to come back then, JRS, because you /will/ lose this one.
Keep in mind that the Cott interview in RS was in /two parts/.
--
"But, truly, I have wept too much! The Dawns are heartbreaking. Every
moon is atrocious and every sun bitter." -Arthur Rimbaud
Citizen_Kane
>
> "j r sherman" wrote
> >
> > it all makes sense now.
> >
> > dockery hates the Irish.
>
> Just a little bit.
>
Racist bastard.