Film most effective in making you feel you are somewhere else
S D
the completed tomb
calvin
> Land of the Pharaohs , both in the building of the pyramids and inside
> the completed tomb
Especially if you are Joan Collins after the tomb is sealed.
Bill Anderson
> Land of the Pharaohs , both in the building of the pyramids and inside
> the completed tomb
>
Master and Commander did a great job at this.
--
Bill Anderson
I am the Mighty Favog
moviePig
> S D wrote:
> > Land of the Pharaohs , both in the building of the pyramids and inside
> > the completed tomb
>
> Master and Commander did a great job at this.
Yes. Quoting myself: M&C (rather than its competition, which I now
forget) was easily the time-travel movie of its year.
Re the thread: When the much-hyped f/x fantasy LOTR:FOTR debuted
alongside the much-hyped f/x fantasy HARRY POTTER #1, the biggest
difference in their quality (imho) was that Jackson gave us the
visceral sense of journey to a novel environment... an aspect Columbus
had equal access to, but largely ignored.
--
- - - - - - - -
YOUR taste at work...
http://www.moviepig.com
tribune
> Land of the Pharaohs , both in the building of the pyramids and inside
> the completed tomb
"Aguirre, the Wrath of God"
http://www.youtube.com/watch?v=Vyx8mVp8p2o
calvin
Jackson said that even though he made changes to
the story, he tried to remain faithful to Tolkien's
physical description of Middle-earth (paraphrasing).
With a couple of exceptions, which didn't appear in
the first movie, I think he succeeded.
moviePig
'Faithful' is better, to be sure... but 'someplace different', so that
we feel it, suffices. We go to the movies to leave the movies.
Howard Brazee
<cri...@windstream.net> wrote:
>Jackson said that even though he made changes to
>the story, he tried to remain faithful to Tolkien's
>physical description of Middle-earth (paraphrasing).
>With a couple of exceptions, which didn't appear in
>the first movie, I think he succeeded.
One difficulty is that Tolkein could leave things out. The camera
though can show an isolated city with no obvious means for support.
And we can *see* the desert around it along with the lack of large
markets.
--
"In no part of the constitution is more wisdom to be found,
than in the clause which confides the question of war or peace
to the legislature, and not to the executive department."
- James Madison
moviePig
> On Tue, 24 Nov 2009 11:41:15 -0800 (PST), calvin
>
> <cri...@windstream.net> wrote:
> >Jackson said that even though he made changes to
> >the story, he tried to remain faithful to Tolkien's
> >physical description of Middle-earth (paraphrasing).
> >With a couple of exceptions, which didn't appear in
> >the first movie, I think he succeeded.
>
> One difficulty is that Tolkein could leave things out. The camera
> though can show an isolated city with no obvious means for support.
> And we can *see* the desert around it along with the lack of large
> markets.
Who needs economics when you've got wizards? (That's today's straight-
line...)
Flasherly
Any number of historical docudramas, those with the fortitude or luck
to hit upon outstanding lineaments featuring a combination dredged,
forgotten perspectives and lifestyles, extant issues can't seek out
and forthwith impugn. AWoG is excellent, but so is Polanski's Tess or
The Duelists;- respective to time and issues, moreso with AWoG,
because assays the travail to capture that extant romanticism
symbolized as appertaining to exploration at the boundaries of The
Flat Earth;- No less worthy for a scholar efforts to address if to
debunk Aguirre's intent to people a world of demigods from the seed of
his own seed, twice succeeded (sic, genetic insanity already practised
in the Court of Spain).
Norman Mailer's book, Ancient Evenings, is an excellent transposition
across time into the land of pharaohs. Written by a grain-counting
scribbler of an accountant, in a time of one-eyed literate accorded
acceded enlightened medium to transcribe, an account of shifting
perspectives variously indulged by privilege and noblesse
deification;- a bit wordy for voluminous tomes, Mailer's detailed
accounting of evisceration being an obsessively detailed description
of the preparation for afterlife;- whereas the Pharaoh's rights of
indulgence, divested of Judeochristian Divine Intervention, are apt to
pursue a course of sensuality, Mailer wouldn't largely expound as
indulge, by means any saner uncle of Caligula might better have
thought to instruct.
Differences, though, that should be apparently as obvious as your cite
of AWoG: One big lot to dole out in the Stuffing Dept. over a time
permitted rot in libraries dedicated to myth.
Halmyre
says...
> On Tue, 24 Nov 2009 11:41:15 -0800 (PST), calvin
> <cri...@windstream.net> wrote:
>
> >Jackson said that even though he made changes to
> >the story, he tried to remain faithful to Tolkien's
> >physical description of Middle-earth (paraphrasing).
> >With a couple of exceptions, which didn't appear in
> >the first movie, I think he succeeded.
>
> One difficulty is that Tolkein could leave things out. The camera
> though can show an isolated city with no obvious means for support.
> And we can *see* the desert around it along with the lack of large
> markets.
>
>
Well, apart from the Shire, the rest of Middle-Earth is (apparently) pretty
much a wasteland. Tolkien occasionally makes a throwaway reference to the
fact that food production goes on somewhere else, away from the main action -
even in Mordor. But it's suddenly struck me that Lorien and Rivendell are the
worst examples - where does their food come from? (Answers of "Soylent
Green" are not acceptable).
--
Halmyre
This is the most powerful sigfile in the world and will probably blow your
head clean off.
Mr. Mike
<billand...@yahoo.com> wrote:
>Master and Commander did a great job at this.
Master and Commander (specifically its DTS audio track) did a great
job blowing up one of my Energy surround speakers.
Other movies that have caused similar problems:
The Dream is Alive (space shuttle takes off)
Contact (especially at end when Jodie Foster goes into the capsule)
David Oberman
>Well, apart from the Shire, the rest of Middle-Earth is (apparently) pretty
>much a wasteland. Tolkien occasionally makes a throwaway reference to the
>fact that food production goes on somewhere else, away from the main action -
>even in Mordor. But it's suddenly struck me that Lorien and Rivendell are the
>worst examples - where does their food come from?
I bet elves eat forest herbs & other flora -- perhaps 'shrooms & root
vegetables. When you look at them, they appear to have protein
deficiencies.
____
It is not exactly that we learn from each other, for no one can
really learn anything except in and by himself; it seems better to
say that we learn because of each other, and, indeed, that if there
were no others, there could be no learning at all. In this there is
a mystery, for we know not how to account for the first beginning
of all learning.
-- Richard Mitchell, "Psyche Papers" Part III
nick
> the completed tomb
Fellini's Satyricon. Like Fellini said, science fiction projected
into the past. Like Scorsese said, a world where anyone could die at
any second.
Apocalypse Now. Maybe too familiar now but seeing it on its original
release. Apocalypse Now was a descent straight into a world you didn't
want to be in.
calvin
> Fellini's Satyricon. Like Fellini said, science fiction projected
> into the past. Like Scorsese said, a world where anyone could die at
> any second.
Emphatically, yes.
As a child there were many movies that would qualify,
but as one grows older they become rarer.
Flasherly
>
> into the past.
On that most serious note, I'd defer to a minor footnote -- Русский
ковчег.
RUSSIAN ARK: Sokurov's vision - featuring more than 2000 actors and
extras - was realised entirely 'in camera'. After months of careful
planning and choreographed rehearsals, the entire film was shot by
Tilman Büttner in a single day, in one recording, in a single
uninterrupted steadicam sequence. The ultimate 'directors cut', there
is no editing as the film unfolds in pure real time.
--
Hell is of this world and there are men who are unhappy escapees from
hell, escapees destined eternally to reenact their escape. -Antonin
Artaud
calvin
> RUSSIAN ARK: Sokurov's vision - featuring more than 2000 actors and
> extras - was realised entirely 'in camera'. After months of careful
> planning and choreographed rehearsals, the entire film was shot by
> Tilman Büttner in a single day, in one recording, in a single
> uninterrupted steadicam sequence. The ultimate 'directors cut', there
> is no editing as the film unfolds in pure real time.
As I recall there was not much rehearsal time in the Hermitage
itself.
The movie was recorded to disc rather than filmed, and there
was some tweaking of the image in the room where many
paintings and frames were stored.
David Oberman
>Apocalypse Now. Maybe too familiar now but seeing it on its original
>release. Apocalypse Now was a descent straight into a world you didn't
>want to be in.
Why was it called "Apocalypse Now"? Thematically, what is the message
of the title?
treadleson
> On Nov 24, 2:08 pm, tribune <callist...@rocketmail.com> wrote:
>
> > On Nov 24, 9:35 am, forn...@webtv.net (S D) wrote:
>
> > > Land of the Pharaohs , both in the building of the pyramids and inside
> > > the completed tomb
>
> > "Aguirre, the Wrath of God"http://www.youtube.com/watch?v=Vyx8mVp8p2o
>
> Any number of historical docudramas, those with the fortitude or luck
> to hit upon outstanding lineaments featuring a combination dredged,
> forgotten perspectives and lifestyles, extant issues can't seek out
> and forthwith impugn. AWoG is excellent, but so is Polanski's Tess or
> The Duelists;- respective to time and issues, moreso with AWoG,
> because assays the travail to capture that extant romanticism
> symbolized as appertaining to exploration at the boundaries of The
> Flat Earth;- No less worthy for a scholar efforts to address if to
> debunk Aguirre's intent to people a world of demigods from the seed of
> his own seed, twice succeeded (sic, genetic insanity already practised
> in the Court of Spain).
>
> Norman Mailer's book, Ancient Evenings, is an excellent transposition
> across time into the land of pharaohs. Written by a grain-counting
> scribbler of an accountant, in a time of one-eyed literate accorded
> acceded enlightened medium to transcribe, an account of shifting
> perspectives variously indulged by privilege and noblesse
> deification;- a bit wordy for voluminous tomes,
....
> Mailer's detailed
> accounting of evisceration being an obsessively detailed description
> of the preparation for afterlife;-
I didn't read AncEve, but I was recently reading about Herodotus in
Eygpt and there was quite a bit about evisceration which mainly
consisted of filling the body with a specially formulated solution
that turned everything within to jelly and then basically popping the
cork and letting everything out. And it turns out that the treatments
ranged from the 5-star Deluxe plan to the no frills same day pick up
service. I'm yet to see it on the screen, though. But thinking of
those Lena Wertmuller scenes inside the meat-packing plants in Love
and Anarchy, I don't know why.
treadleson
> the completed tomb
Black Robe; The Inner Circle.
Flasherly
> nick <nickmacpherso...@AOL.com> wrote:
> >Apocalypse Now. Maybe too familiar now but seeing it on its original
> >release. Apocalypse Now was a descent straight into a world you didn't
> >want to be in.
>
> Why was it called "Apocalypse Now"? Thematically, what is the message
> of the title?
An apocalyptical extension into the descent of stylistic allusions
presented by a man who journeys to assume an advantageous stance over
native allowances, wherein he ultimately finds himself accountable,
for having taken upon a tribeswoman, engendering and adapted himself
dearly, only to exploit those about him by use of resources and
familiarity for European guiles of armory. Actualization, apparently,
is then set upon a consequent course that realization of his demeanor
be visibly presented, as to oneself and as to and of a like for all of
a kind, that so in returning home from his voyage, he addresses his
tale of formulary conduct as actions beneath civilized standards;-
herein relating and so to reveal, from the deepest depths of a rueful
soul, to at last incomprehensible gasp, in the tongue of apocalyptic
pronouncement: ". . . in a whisper at some image, at some vision—he
cried out twice, a cry that was no more than a breath—"The horror! The
horror!" – Joseph Conrad, Heart of Darkness
--
I research. It's my responsibility to find the research. It's my
responsibility to digest it and do the best that I can with it. But at
a certain point that responsibility will become an interpretation. -
Oliver Stone
David Oberman
>> Why was it called "Apocalypse Now"? Thematically, what is the message
>> of the title?
>
>An apocalyptical extension into the descent of stylistic allusions
>presented by a man who journeys to assume an advantageous stance over
>native allowances, wherein he ultimately finds himself accountable,
>for having taken upon a tribeswoman, engendering and adapted himself
>dearly, only to exploit those about him by use of resources and
>familiarity for European guiles of armory. Actualization, apparently,
>is then set upon a consequent course that realization of his demeanor
>be visibly presented, as to oneself and as to and of a like for all of
>a kind, that so in returning home from his voyage, he addresses his
>tale of formulary conduct as actions beneath civilized standards;-
>herein relating and so to reveal, from the deepest depths of a rueful
>soul, to at last incomprehensible gasp, in the tongue of apocalyptic
>pronouncement: ". . . in a whisper at some image, at some vision�he
>cried out twice, a cry that was no more than a breath�"The horror! The
>horror!" � Joseph Conrad, Heart of Darkness
Thanks for clarifying!
Howard Brazee
Howard Brazee
Although in Black Robe, I did get distracted a bit trying to see any
sign of modern life as he was canoeing up the lake (Champlain?).
nick
> >Apocalypse Now. Maybe too familiar now but seeing it on its original
> >release. Apocalypse Now was a descent straight into a world you didn't
> >want to be in.
>
> Why was it called "Apocalypse Now"? Thematically, what is the message
> of the title?
>
title. It also gave reporters some easy titles for articles on the
production: "Apocalypse When?" "Apocalypse Maybe Never?" after it
looked those delays might shuttle AN entirely. And then for the
reviews, "Apocalypse Wow!" for a rave or maybe if you didn't like it,
"Apocalypse Yawn".
Flasherly
>
> I didn't read AncEve, but I was recently reading about Herodotus in
> Eygpt and there was quite a bit about evisceration which mainly
> consisted of filling the body with a specially formulated solution
> that turned everything within to jelly and then basically popping the
> cork and letting everything out. And it turns out that the treatments
> ranged from the 5-star Deluxe plan to the no frills same day pick up
> service. I'm yet to see it on the screen, though. But thinking of
> those Lena Wertmuller scenes inside the meat-packing plants in Love
> and Anarchy, I don't know why.
Count that for Mailer's book at 709pp -- first seems he'd have to
probably start with cats or minor mummies: those ancient Egyptians
really did seem to enjoy wrapping up dead domesticated cats -- but,
I'd swear a quarter of the book dwells on the mummification process.
All very neat, tidy, and exacting -- focally, that would be kings and
Pharaohs, no slopsink or bathtubs jobs here -- also seems there's
symbolization accorded ancient conceptions surrounding the Valley of
the Dead, a meaning then to conjure and walk among the spirits, for
differences between a minor and major preparation, in the manor of
thoughts and constructs both by Gods and Pharaohs deification
concerned.
All told, though, it's all about Mailer and wresting a living out of
it. Looking at the NYT -- "It is, speaking bluntly, a disaster..."
couldn't be farther from an impression Mailer actually does makes.
Mailer's use of a "scribe" - what today might better connote an
accountant is fascinating. A caricature of man whom he invests with
simple, disciplined, and utterly consumed qualities, dedicated and
molded by the rigors of duty for nothing less capably to impart -- as
the closest thing to a historian for the times;- Robert Graves
immediately would have recognized the role.
Steven L.
I think Platoon did a better job of depicting what war, particularly the
Vietnam War, can really be like. You could really feel like you had
been there.
--
Steven L.
Email: sdli...@earthlinkNOSPAM.net
Remove the NOSPAM before replying to me.
Steven L.
> One can feel claustrophobic in Das Boot.
The problem with Das Boot was that the musical score, while excellent,
still constantly reminded you that you were watching a movie.
I've often wondered if Das Boot wouldn't have been better without any
musical score.
Flasherly
Tony Poe -- CIA operative and trainer for secret Laotian paramilitary
forces beyond operation war boarders, was a seasoned veteran of Iwo
Jima and the 5th Marine Div., and Korean insurgency tactics. AKA to
serve the Kuomintag Burmese forces with ordnance;- attempted a coup
against Sukarno, president of Indonesia (Year of Living Dangerously);-
as well assigned actively engage the Chinese Communist government
through Hui Muslims;- Tony personally felt he knew the 14th Dali Lami
well enough to claim a mutually beneficial companionship existed.
The government evidently did too, as an recipient of the military
Intelligence Star: Tony was assigned Hmong Laotians, respectfully,
clandestinely for engaging in behind-the-lines warfare standards
regarded notoriously savage, for psyops by the "agency";- Bags of ears
he sent the US embassy were no doubt as well regarded as the severed
heads he sent his enemies. Tony's impeccabilities, even in erring,
when soldering, only can be faulted when directly countermanding
orders by personally engaging the enemy when directed not to.
Eventually active service took its toll on Tony and he took upon
active side interests to soldering in the vocation of opium trade,
exposing several allied controlling interests, their involvement in
the command chain, for which, he was extracted, retired from duty and
granted another Intelligence Star.
Not doing much, or going anywhere in particular, Tony thought well
enough to stay on, in Asia with a Laotian, while fathering four
children over the next fifteen years. Reminiscently, he feels he meet
most life's contingencies in like kind. Neither Tony Poe nor Francis
Ford Coppola have much to claim, if anything, in common.
--
“If you want a happy ending, that depends, of course, on where you
stop your story.”
-Orson Welles
Anim8rFSK
for...@webtv.net (S D) wrote:
> Land of the Pharaohs , both in the building of the pyramids and inside
> the completed tomb
Good call.
John Carpenter's THE THING makes me feel cold; of course I've been known
to watch it on a cold winter night with the heat off. :)
--
Stargate Universe SGU: It puts the "U" in "SUCKS"!
It's the show 'Defiling Gravity' would be if DG had more regulars,
fewer abortions, worse writers, and no budget for lighting.
Remember, you can't spell "disgust" without SGU!
TBerk
> Land of the Pharaohs , both in the building of the pyramids and inside
> the completed tomb
'the Cell' http://www.imdb.com/title/tt0209958/ did a pretty good job
of transporting me into somebody's subconscious mind; esp the
'Scarlett King vs the Angel Avenger' played by Vincent D'Onofrio &
Jennifer Lopez, respectively.
By the time they've added the filigree to the sides of the screen
you've been on quite a ride already.
Along these same lines would be 'What Dreams May Come';
http://www.imdb.com/title/tt0120889/ .
Both of these films contain a lot of non-reality, so I suppose I might
better add something that doesn't take the viewer so far afield.
berk