(14361,2379,3,1,0,'69.120.114.47',1208719380,1,0,1,1,1,1,'wpqx','Zombie Strippers (USA/2007)','The Grindhouse is alive and well. For those people who wondered if Tarantino and Rodriguez\'s double feature of last year would spawn a new wave of exploitative shlock, then Jay Lee has delivered on that promise. Zombie films essentially need about three things that we (collectively) have determined to be vital requirements. Number one is a given, the film needs gore. Zombies eat the flesh of the living so where would a zombie movie be without disgusting gore? Gore in the case of zombie films is defined by either visible brain tissue or guts and intestines being ripped out. Now next is something for the fellas and that\'s an ample amount of nudity which may or may not have anything whatsoever to do with the plot. Most of us can still remember the bizarre disrobing and tribal paint nudity of Hell of the Living Dead, and Return of the Living Dead set a still untouchable high water mark in this regard. Well this just seems like a bonus, after all the film is guaranteed to get an R rating at the least, so might as well load it with profanity and a little sex. Third is the trickiest to maneuver and consequentially the most important. This is story, plot, and all those things that seem so necessary for a film to be successful. After all we are familiar with zombie lore and all too often we have sat through another bad zombie movie because a promise to deliver on the first two ingredients led to a failure on the final. Not to say we can\'t be entertained occasionally by a gory flesh eating naked woman, but it makes the film so much better if there\'s a reason why we should care. \r\n\r\nJay Lee has largely heard our praise and has taken it completely upon himself to make his contribution to the world of the zombie film. Like Rodriguez and Tarantino he wrote, directed, and shot his own film. I\'ll say from a personal standpoint that this film sold me on the title alone, I mean seeing something like this on a marquee how could you not be curious to see it? So like Lee is taking a page from years past and casting a horror movie legend (Robert Englund) and make sure that his sex appeal is as good as he can get with Jenna Jameson. It seems funny that Jameson is undoubtedly the world\'s most famous porn star now, if not of all time, yet his is pretty much her major film debut, shows the long way that adult film has to go for mainstream acceptance still. Jameson over the years has gotten some unnecessary plastic surgery which makes her at first seem a little odd, but once she becomes a zombie, it seems to work perfectly. The rest of the cast is largely unknown cast primarily for looks rather than acting ability, but how else would you put together a film about zombie strippers? \r\n\r\nPlot wise we\'re pretty simple. In the not too distant future (roughly 4 or 5 years from now) the country is still at war, not just with Iraq and Afghanistan but nearly every other Middle East country as well as France, Canada, and my personal favorite Alaska. A fake newsreport fills us in on everything that\'s going on and if you pay attention to the top headlines flashing across you\'ll get a great deal more laughs. Lee is setting up our world which is a bit ridiculous but lets us know that well things might get out of hand here. In order to supply troops for these wars the US obviously needs fresh meat, and that\'s where the scientists come in. They have manufactured a drug to reanimate dead tissue where the only instinct will be survival therefore creating a group of soldiers who have no fear and can keep fighting. Of course the one unfortunate side effect is that they happen to crave human flesh, but nothing\'s perfect. Of course the x-chromosome responds more purely to the drug and therefore when women are bit or infected they take on the near super powers the drug was designed for, which of course lets us know why our friends at the strip club will be so entertaining. A group of special ops military come in, kill \'em all, and of course one of the blondes in the outfit gets her shirt ripped off, but again this is to be expected. The noob who already has gotten on our nerves gets bit and runs away when he realizes that his own soldiers are going to shoot him in the head rather than let him spread the disease. So he finds what looks like an abandoned building, which happens to be an illegal strip club, quite by chance. And well you can imagine how the rest goes. \r\n\r\nThe film is deliciously low brow and does not shy away from blatant criticism of the man currently and in the future still in the white house (which was purchased by Saudi\'s in the films opening). The Mexican janitor at the strip club named Paco is the brunt of all kinds of ridiculous jokes including at his end when he makes himself out to be a carbon copy of a Mexican bandit, and arguably the film\'s funniest joke. Englund is perfectly suited as a greedy but germophobic owner who wastes no time putting Paco in his place, usually for a laugh. His desire for money and morbid fear of his new cash cows certainly puts him in a curious position, he has his own reward towards the end. Several archetypes are thrown in their, the black action hero, the naive corn fed girl, the combat veterans, etc. It makes the film infinitely rewarding when the characters either fall into or break away from our established notions of what their place within the greater zombie lexicon holds. I can\'t give too much away but in a theater packed with about 12 people (six of which were me and my friends) we certainly gave loud ovations and were participating with it at every turn. I expected a film that was awfully entertaining, and I was rewarded, this is first class trash and I say that with every degree of praise. Definitely worth hunting out in your theater, but an absolute essential once the DVD comes out.','cf1e2795e50cc53b3524b5f45b79750f',0,'','CDSbZJPQ',1,0,'',0,0,0),(14362,2379,3,1,0,'69.120.114.47',1208749560,1,0,1,1,1,1,'arsaib4','Re: Zombie Strippers (USA/2007)','Will check it out. (\"High\" and \"low\" brow I don\'t mind, but the middle one makes me want to turn into a zombie, and not of the entertaining kind!) DVD release date is yet to be announced. \r\n\r\nHow does it compare to some of the other recent variations? 28 Days Later and Shaun of the Dead are probably the two I love the most.','3fbb618046a9ecda1d67004a1701f82f',0,'','6LlnRKS9',1,0,'',0,0,0),(14363,2379,3,1,0,'69.120.114.47',1208750160,1,0,1,1,1,1,'wpqx','Re: Zombie Strippers (USA/2007)','This film is pretty damn silly and certainly doesn\'t try to scare anyone.','a986f85456fdea99001be8dd6b914991',0,'','C5dHn7DG',1,0,'',0,0,0),(14364,2379,3,1,0,'69.120.114.47',1208764800,1,0,1,1,1,1,'arsaib4','Re: Zombie Strippers (USA/2007)','I see. \r\n\r\nBy the way, I think it\'s a 2008 release.','6663876dd302e034c947e5353f2ed762',0,'','1tUl23Tr',1,0,'',0,0,0),(14365,2379,3,1,0,'69.120.114.47',1208804520,1,0,1,1,1,1,'wpqx','Re: Zombie Strippers (USA/2007)','The film had a 2007 copyright at the credits, so that\'s why I put it.','7294510abe6d63d20a0cff58cd1e5f22',0,'','6MJwBaYZ',1,0,'',0,0,0),(14366,2380,3,1,0,'69.120.114.47',1208747100,1,0,1,1,1,1,'arsaib4','Japanese Cinema Classics','','d41d8cd98f00b204e9800998ecf8427e',0,'','YG9SZ3q0',1,0,'',0,0,0),(14367,2380,3,1,0,'69.120.114.47',1208747940,1,0,1,1,1,1,'arsaib4','Re: Japanese Cinema Classics','\r\n[OP: 03/20/08] \r\n\r\nA BLOODY SPEAR AT MT. FUJI (JAPAN / 1955) \r\n\r\n\r\n\r\nThe first film directed by renowned Japanese auteur Uchida Tomu (1898-1970) after nearly a decade-long and relatively controversial stay in Manchuria, A Bloody Spear at Mt. Fuji (Chiyari Fuji) is regarded as one of the best efforts of his two-phase career. Unlike most of Uchida\'s early, prewar work which reportedly concentrated on comedies and keiko-eiga (socially conscious, \"leftist\" films), it is ostensibly a jidai-geki (\"period drama\"), though one which proudly bears the traces of his former interests. \r\n\r\nMade under the guidance of such figures as Ozu Yasujiro and Shimizu Hiroshi, Uchida\'s long-time friends and associates, this tonally and thematically ambitious film begins as a variation of a road-movie as we witness a young and inexperienced samurai Kojurô (Kataoka Eijiro) making an important journey to Edo (Tokyo) along with his stoic lance-bearer Gonpachi (Kataoka Chiezô) and his loquacious personal servant Genta (Katô Daisuke). Uchida gradually introduces us to a number of other characters -- an itinerant musician, a blind masseur, a impoverished old man and his young daughter, etc. -- mostly commoners who\'re also traveling along Tokaido road, the busy thoroughfare of the Edo era. \r\n\r\nIn a fashion reminiscent of the recent work by Yamada Yôji (The Twilight Samurai [2002]), the film passes through an amalgam of shades and emotions that resolutely relate the plight of the underprivileged and dispossessed. Likewise, it climaxes with a violent, irrational confrontation. Uchida, who briefly served as an assistant to Mizoguchi Kenji early on in his career, shows a similar affinity for overhead crane-shots. The modernistic, jazz-inflected score by Kosugi Taichirô (Uchida\'s The Master Spearman [1960]), which reminds one of those found in Naruse Mikio\'s efforts, helps underline the film\'s progressive attitude. Somewhat paradoxically, however, Uchida ultimately (albeit solemnly) adheres to the traditional codes and values prevalent in applicable films of the genre.','5de2f01d95f2418f3227512bd4b41fb5',0,'','XGbg9LJS',1,0,'',0,0,0),(14368,2381,3,1,0,'69.120.114.47',1211095680,1,0,1,1,1,1,'hengcs','In Love We Trust (Zuo You) (China) (2008)','\r\n\r\nDirector: Wang Xiao Shuai \r\n\r\nCast: Liu Weiwei , Zhang Jiayi , Cheng Taisheng , Yu Nan \r\n\r\nThe film garnered the Best Screenplay at Berlin Film Festival 2008 \r\n\r\nMy thoughts \r\nThe film is powerful at depicting love and humanity, and by love, I mean a love bigger than romance. Despite a lot of subtleties, a lot is said as well. Knowing as little as possible about the film does help intensify the plot, as one does not know where it will go and how it will end. Hence, I shall just say that the film gets triggered off by the falling ill of a couple\'s daughter. It sets forth a series of issues which can be relational, philosophical, social, national or even cultural. What also helps make it a great film is the characterization of the 4 main protagonists (i.e., the 2 couples). One can literally empathize and feel for all of them, realizing how tough and complex their decisions are. At the end, who are we (the society) to judge? \r\n\r\nConclusion \r\nHighly Recommended.\r\nPS: The Chinese title \"zuo you\" translates to \"left right\". There are a few possibilities. My best guess is that it connotes the idiom \"zuo you wei nan\" (i.e., to be in a dilemma). It could also mean \"influence\" (as in who or what influences you). An appropriate and cryptic title indeed.','888a6c596f3e7f5db0ace6818c64c41c',0,'','eJPCQDba',1,0,'',0,0,0),(14369,2382,3,1,0,'69.120.114.47',1211279880,1,0,1,1,1,1,'wpqx','Red Belt (US/ 2008) - David Mamet','It might seem like David Mamet and martial arts would be a strange combination, but after watching Red Belt it seems like a perfect combination. Partially because you can sense that he wants to stretch. Who would have thought any character in a Mamet film, let alone the main one would actually be a rather quiet guy? It is a refreshing change of pace and offers an insight into at least one person who hasn\'t sold out. There is at least one group of people that still have some moral ethics. This code of ethics gets nearly everyone into trouble, but it is the simple refusal to take the easy way out that makes the film ultimately rewarding for the viewers as well as for many of the characters in the film. The fight scenes are shot with a gusto that is admirable, some fights even shown in longer wide shots to counteract the incomprehensible hand held fighting style that has been so prevalent in modern action films. Being a horrific failure as a filmmaker makes me all the more aware of someone doing things the right way, and I can\'t offer any complaints about Mamet\'s handling of this project. It looks good, the shots are great, the performances are fantastic pretty much across the board (the cop\'s wife didn\'t convince me), and the story although taking twists and turns I wasn\'t quite sure of eventually paid off. \r\n\r\nI\'d like to add more but it\'s late and I need my sleep. Feel free to add to this embarrassment of a review.','911fdfa66a0975fdf69604cd6d79e8d3',0,'','Ffe7QSJK',1,0,'',0,0,0),(14370,2383,3,1,0,'69.120.114.47',1211872560,1,0,1,1,1,1,'wpqx','Indiana Jones and the Kingdom of the Crystal Skull (2008 / USA)','In some cases it\'s best to let sleeping dogs lie. The Godfather III did little to enhance the legacy of the first two and well Halloween garnered about 6 sequels too many. Every so often though a pause in time can be a good thing. Stepping into familiar territory and although a little rusty quickly regains it\'s footing. Kingdom of the Crystal Skull is just as ridiculous and corny as the original three Indiana Jones films and every time something seems too far fetched just remember that it\'s right in line with the franchise. This film is enjoyable and only adds to the legacy of the first three. Was it necessary? Probably not, but does it entertain, certainly. \r\n\r\nIt may seem odd but I generally avoided most previews for the film so the story was relatively new and fresh to me. The chronology of the film is pretty consistent and our new enemies are good old fashioned reds. Cate Blanchett might seem quite out of character as a super villain, but within 5 seconds she\'s completely believable and that\'s probably just another testament to her extraordinary ability. A terrific supporting cast and some familiar faces populate it, and the old fashioned something old, something new, something borrowed formula is well on display here. Throughout are quirky winks to the audience that are perfectly in line with the world created back in 1981 with Raiders of the Lost Ark. Perhaps a little high on the CGI this time around but looking at some of the earlier film\'s effects (notably Temple of Doom) it is certainly a step up. Perhaps it resurrected a long dormant part of my childhood but this film delivered for me.','2423e2b180fd4a008d1228d4bd4d4f0d',0,'','TqeZKupr',1,0,'',0,0,0),(14371,2384,3,1,0,'69.120.114.47',1212724740,1,0,1,1,1,1,'wpqx','La Dolce Vita (1960 - Federico Fellini)','A reputation can precede a film. La Dolce Vita was one of the most salacious and controversial films of all time and watching it today you wonder if the film would even get a PG-13 rating. This isn\'t the opaque decadence that surrounded Fellini\'s more self absorbed later films but a purposeful and masterful decadence. There are moments that seem completely surreal but the entire story is grounded in a profound truth one that seems far more relevant today than in 1960. Has Fellini predicted the future of society with this picture or was this a subtle taunting of repressed middle class society and a glimpse at an unattainable life? Either case could be made and along the films 174 minutes there is a great deal of time to ponder and wonder about just what can go on. \r\n\r\nIt\'s hard on an initial viewing to see what all the fuss was about. Nothing really seems to happen. Marcello wanders around Rome\'s hot spots sometimes getting into things, sometimes almost getting into things, waking up in the sober dawn and then going out for another round once the sun goes down. No one learns anything, no one grows, life just progresses and without much consequence. The film isn\'t particularly non-linear, there is a clear progression and prior scenes build on each other, but first time around you may expect something to come of this. Will Marcello finally settle with Emma, can Maddalena redeem him, or is that innocent girl who wishes to be a typist his chance at salvation? We have a glimpse at each potential world but it is very telling that Marcello can\'t hear the words of the angel he had glimpsed earlier and walks away with a random woman away from the beach. His is a life of dissatisfaction and ambivalence. He wants to do something, but is a little too lazy to make a go of it. He would love to be in love but can\'t seem to commit for more than a night. Despite his occasional confessions he desires, but doesn\'t seem to love. The one time he seems like he might be able to honestly open up about his hollow lifestyle is to Maddalena when she seems like she\'s ready to end her similar hollow lifestyle. The telling reveal is that as he\'s pouring his heart out to her from another room she winds up being seduced by a man we\'ve never seen before who quite possibly Maddalena has never seen before. It might seem callous on her part when you first view it, but only moments later Marcello seduces the hostess with the two-toned hair, thus squelching any idea that he was sincere in his declaration. \r\n\r\nThrough most of his career Fellini was known for casting his actors not on their acting ability or prior resume, but based on how they looked. He would get a large number of head shots, and just pick out who he thought looked right for a part. This may account for some of the flat acting apparent in many of his films, but everyone has a look, and can be quite iconic. Second billed Anita Ekberg made a name for herself as the childlike obscure object of desire for Marcello. The American movie star who gets Marcello a punch in the face and he doesn\'t even get to sleep with her. Although Ekberg wasn\'t particularly well known in 1959 when cast seeing her come off the plane we have no trouble whatsoever believing she\'s a movie star. When in her hotel room for a press conference we are bombarded with the silliest and most frivolous questions proving that celebrity journalism has not changed much since. Although built like every bit the goddess Fellini makes an attempt to portray her as childlike. She has the attention span of a child, and wanders from one thing to the other. Frequently in silent films directors would give their actresses small dogs or kittens to help portray their innocence, and Fellini in turn does this for Ekberg who finds a small kitten which immediately captivates her. She wants Marcello to get milk for it, and when he returns she has forgotten the kitten and is playing in the fountain. It holds true to her childlike character that we don\'t see her making love with anyone, particularly Marcello. \r\n\r\nMarcello\'s dreams of a respectable life come crashing down with the films greatest tragedy. His friend and Steiner has been set up in two previous scenes as what Marcello could be, a deliberate character foil. A man who is something of a respectable writer, with a family, two adorable kids, and a nice place as opposed to Marcello\'s apartment which seems to be stalled between remodeling jobs, with nothing of any decoration. Steiner has encouraged him to pursue his writing and wants him to finish his novel, trying to get him away from the scandal sheets that comprise his living. Marcello is noticeably jealous of him and briefly sees a life that he might be able to have, although he can\'t picture having it with Emma. He is not interested in a maternal love and we can see why. His father was away for most of his childhood and he was at home with his mother who would cry day in day out. He knows what clinging maternal love is like and at this point in his life he wants no part of it. However he finds himself unable to break away from Emma. He hates the way she is dependent on him, yet despite one outburst can\'t seem to leave her. This might be back to his non-committal nature that he can\'t bring himself to follow through on anything, including ending a relationship. He still vaguely wants her around, and even after their big fight they wind up sleeping together. It is after this that he hears of Steiner\'s suicide and double homicide. Those two lovely children who woke up just to get an extra kiss from their father were killed. We never find out why, but Marcello can see with Steiner\'s blow up the death of his dream of settling down. \r\n\r\nI can\'t say enough about how extraordinary this film is. A pivotal turning point in world cinema and in the career of Fellini. For better or worse Fellini\'s film career was altered. He lost his innocence with this film and remained constantly aware of his own celebrity. To date no film has shown how lecherous the paparazzi can be, most notably when Steiner\'s wife returns to hear the news of her family. Not even tragedy to a non-celebrity is private in this scandal obsessed culture. Although I\'ve seen the film twice before this was the first time I saw it in it\'s original aspect ratio and the difference is staggering. The frame is populated from end to end, and only once do we really get a sense of open space and that is during the final beach sequence. Fellini was never a fan of keeping a static camera, and even if his characters don\'t move around much he never worries about moving things around. Their is a fluidity to the whole proceedings, but I did catch one discontinuous editing choice in the abandoned villa which I can\'t figure out why it would have been there. Every image is bustling with life except for the dawn scenes where the streets are mysteriously abandoned, much in the way Antonioni\'s streets were neglected at the end of L\'Eclisse. Although it seems like a city that never sleeps, at dawn there is only a sober realization that the party is over. Even at the end when a drunken Marcello is demanding that the party must never end he fails at orchestrating any lasting activity and all the guests get bored and eventually leave. In away Fellini was telling us that this party had to end as well, and we need to leave the theater to step out into the cold sober dawn of the outside world.','58cffa8a2a32cf980b25cb94d3273127',0,'','01rP6dtj',1,0,'',0,0,0),(14373,2386,3,1,0,'69.120.114.47',1214940360,1,0,1,1,1,1,'Sara','Ivan\'s Childhood - Tarkovsky','I have just watched Ivan\'s Childhood. As you all know, I am no reviewer, so I\'ll just give you a few of my thoughts. \r\n\r\nThis movie, in black and white, has some of the most poetic images I\'ve seen (and you know Tarkovsky does give us many, many moments of these poetic images in his films.) \r\n\r\nIt seems to me that the film is a contrast between a young boy\'s innocence with that of his being a scout in the war. The former is beautiful youth, happiness, nature. There is a scene where he \"flies\" over a landscape to join his mother (shades of Andrei Roublev) and his laughter is beautiful and rings true. \r\n\r\nContrast that with his trudging through a swamp filled with birch trees, covered in mud, as a young scout in the war. His parent\'s are now dead. \r\n\r\nThere are dreams - light and playful, and some I don\'t understand. Some of his dreams seem to take place in the war. There is one introduced by the dripping of water and shows Ivan and his mother looking into a well that is at first full of water and then the angle changes as he looks into an empty well. \r\n\r\nThere are images of an old windmill, a dead tree, a strange old man, and of dead soldiers hanging by their necks from a limb over the water. \r\n\r\nSomething about this young scout who seems to be almost in charge of some of the soldiers, reminds me of \"Empire of the Sun\" - though Tarkovsky\'s film is much darker. \r\n\r\nI am left not knowing a lot or understanding everything, but I am left with poetry and images and yes, sadness. The ending is bleak and the screen goes black, but I know I have been in the presence of an artist (Tarkovsky.) \r\n\r\nI hope you have seen this or that you will see it, and really review it here. By the way, the young Ivan in this film, is the bell ringer at the end of Andrei Roublev. \r\n\r\nSara','ad76b6093feaf323f9b6aa2f02dc40a0',0,'','BfYmW4AJ',1,0,'',0,0,0),(14374,2386,3,1,0,'69.120.114.47',1214968620,1,0,1,1,1,1,'wpqx','Re: Ivan\'s Childhood - Tarkovsky','I saw it several years ago pretty much in the same month I watched every Tarkovsky film. I remember liking it quite a bit and I believe it reminded me of Come and See.','0b17d413a189b29ad7b626fe34ca81a5',0,'','MX0FdtaH',1,0,'',0,0,0),(14375,2386,3,1,0,'69.120.114.47',1215042180,1,0,1,1,1,1,'Sara','Re: Ivan\'s Childhood - Tarkovsky','Yes, \"Come and See.\" A young boy just like Ivan. Lots of differences though. I don\'t remember any dream sequences. \r\n\r\nHowever I do remember how tragic this movie was, and how at the end the pain of the people marching on the path was somehow interlaced with the very beautiful, poignant music of Mozart\'s Lacrymosa from his Requiem. \r\n\r\nSara','ad47abfa9088f6d4fbb20b4c7983f270',0,'','t6k7rzj1',1,0,'',0,0,0),(14376,2387,3,1,0,'69.120.114.47',1215295860,1,0,1,1,1,1,'sfdavide','The Lower Depths','\r\n\r\nI loved this film. I liked the Renior version also but felt the darkness of this film made it more realistic. I think that if people are in this situation they will act more this way then like they did in the Renior film. The acting was fabulous including Toshiro Mifune, Koji Mitsui as the Gambler, Gonjiro Nakamura, the landlord and especially Kamatari Fujiwara as the actor and Bokuzen Hidari, \"Gramps\". I loved the way Kurosawa used stage actors mostly to film this play but they did not show they were stage actors. The scenery was wonderful and not many directors can film a movie and make it interesting with only two locations. I think this should be near the top of Kurosawa\'s other films. \r\n\r\nI hope I put this post in the right place.','c6f137c93e2381e9348b329a32ba834d',0,'','thox1nBJ',1,0,'',0,0,0),(14377,2387,3,1,0,'69.120.114.47',1215301500,1,0,1,1,1,1,'wpqx','Re: The Lower Depths','I loved how Renoir and Kurosawa were both able to make the story distinctively theirs and make it really fit their respective styles. There is a Kurosawa thread, not sure if you would have wanted it there, but perhaps you can specify in the title which version you\'d prefer the discussion to center around.','be2596d5f2f943bba29e9104ed2ff255',0,'','KNMhnmki',1,0,'',0,0,0),(14378,2387,3,1,0,'69.120.114.47',1215333540,1,0,1,1,1,1,'sfdavide','Re: The Lower Depths','I liked both but felt the Kurosawa version fit the story better','181de83367855c63a2285575e291dc94',0,'','bLW9Zok4',1,0,'',0,0,0),(14379,2387,3,1,0,'69.120.114.47',1215370080,1,0,1,1,1,1,'wpqx','Re: The Lower Depths','I suppose eventually I\'ll read the book one of these days but I\'ll have to take your word for it.','e85cb7d98efebe5b378181ecd11dfdfc',0,'','N4ev2Bwn',1,0,'',0,0,0),(14380,2387,3,1,0,'69.120.114.47',1222360140,1,0,1,1,1,1,'jcdavies','Re: The Lower Depths','I also liked the feel of an acting troupe working well together (as with Renoir). But mention must be made of my heroine Kyoko Kagawa. Still, there are other underrated Kurosawa films like The Idiot that are probably more deserving of greater renown.','933b7a80c49f6c787743f9fe17a154ba',0,'','duHN7r2Q',1,0,'',0,0,0),(14381,2387,3,1,0,'69.120.114.47',1222396800,1,0,1,1,1,1,'wpqx','Re: The Lower Depths','I agree the Idiot is probably a better Kurosawa film but it\'s hard to find any fault with Kurosawa\'s 50\'s output.','5d41302b558083bd44dc6306d9b609c0',0,'','nlKaNQR1',1,0,'',0,0,0),(14382,2388,3,1,0,'69.120.114.47',1215756960,1,0,1,1,1,1,'KL700','Which love story in your life,do you think would make a good French film ?','\r\n\r\nWhich real life love story (amongst any family members - relatives of yours \r\n\r\nand / or any current or former friends) do you think would make a good \r\n\r\nserious or humorous French film and please say why ?','b89052f21f3212ef2dd6832fba7a2ddf',0,'','PAg1ru9R',1,0,'',0,0,0),(14383,2389,3,1,0,'69.120.114.47',1215904800,1,0,1,1,1,1,'Sara','Pandora\'s Box ( O dear...)','I have spent this afternoon watching Pandora\'s Box ... because this is listed as one of Ebert\'s Greart Movies and because it is listed in Jay Carr\'s 100 best films. I am trying to see the best films. \r\n\r\nWell, I really tried to enjoy it. But I just did not. I thought how I would have loved watching a Hitchcock movie instead - of one of Fellini\'s or Bergman\'s. Or even if it has to be silent, Nosferatu or a Dreyer. \r\n\r\nNow I watched it on a great Criterian DVD with 2 good people giving commentary. (thank God for the commentary ...) \r\n\r\nThere are so many films that I love and enjoy. This was not one of them. In fact when it finally was over, I was GLAD. I was glad that I had seen one of the \"great films\" and I was glad I did not have to watch it again. \r\n\r\nI know I must have missed the point or something. \r\n\r\nYesterday I watched \"Bonnie and Clyde\" and had a great time. Tomorrow I hope to watch Bresson\'s Mouchette. \r\n\r\nTell me truthfully, did I really miss something that you all have loved? Is Pandora\'s Box high on your list of movies that you love? \r\n\r\nSara','1fae5f3c6da1605c46c3b006d8042dd4',0,'','4bVxAHzw',1,0,'',0,0,0),(14384,2389,3,1,0,'69.120.114.47',1215907260,1,0,1,1,1,1,'wpqx','Re: Pandora\'s Box ( O dear...)','I do not think it\'s \"100 greatest\" material, but I\'m a big fan of Pabst and Pandora\'s Box is certainly one of his best and considerably better than Diary of a Lost Girl. Sometimes those great films go over our heads and even a re-watch won\'t do it justice. I\'ve decided that I might give Vertigo a fourth chance in another week when it shows on 70mm but that\'s another film that clearly seems to be great to every one on earth besides me. \r\n\r\nAs for Pandora\'s itself I haven\'t seen it for about 8 years so all I can say is I liked it at the time.','d25df48a7e3681e66711eef907dad0b3',0,'','ljBhTQiC',1,0,'',0,0,0),(14385,2389,3,1,0,'69.120.114.47',1216110240,1,0,1,1,1,1,'arsaib4','Re: Pandora\'s Box ( O dear...)','Sara: Did you initially watch the film with one of the \"original\" audio-tracks or did you started listening to the commentary somewhere along the way?','4813713eaa41c79ae67bc626a9495038',0,'','zLDp4gE3',1,0,'',0,0,0),(14386,2389,3,1,0,'69.120.114.47',1216131240,1,0,1,1,1,1,'Sara','Re: Pandora\'s Box ( O dear...)','I watched the film with the commentary from the beginning. \r\n\r\nSara','7d743bbb4475a2c2fb97d30a114ca443',0,'','FJNYah3B',1,0,'',0,0,0),(14387,2389,3,1,0,'69.120.114.47',1216192080,1,0,1,1,1,1,'arsaib4','Re: Pandora\'s Box ( O dear...)','I see. So you must\'ve then already seen the film on an earlier occasion and wanted to give it another go with the commentary on Criterion\'s disc... \r\n\r\nAll right, I\'ll stop playing Agent Mulder for now and state for the record that I also don\'t believe it belongs on many \"Great Movies\" lists. Do I like it? Yes. But I probably prefer Pabst\'s Westfront 1918 and the recently released Secrets of a Soul, which I still need to discuss.','8f58ac9df764c7eaf2ac9e1ac83fb613',0,'','0MP35vg1',1,0,'',0,0,0),(14388,2389,3,1,0,'69.120.114.47',1216223580,1,0,1,1,1,1,'wpqx','Re: Pandora\'s Box ( O dear...)','I\'ve expressed my admiration for Westfront on numerous occasions, but am yet to pick up Secrets of a Soul and that seems a ringing endorsement. I think in the case of Pandora\'s Box, it\'s cult status is what largely carries the film and the extraordinary fascination that people have/had with Louise Brooks.','b5e159b7123de1e1eb03c3936b4d319c',0,'','2xufSaKQ',1,0,'',0,0,0),(14389,2389,3,1,0,'69.120.114.47',1216252320,1,0,1,1,1,1,'arsaib4','Re: Pandora\'s Box ( O dear...)','Perhaps, but I\'m sure you\'d agree that Pandora\'s status isn\'t totally unjustified. That said, I\'d certainly rather have a 2-disc Criterion (with commentary, et al) of Westfront, which lamentably only exists on VHS in this country, and even that happens to be OOP.','d464a671e285691e78cb4ed67d6e1964',0,'','6Buqp8kK',1,0,'',0,0,0),(14390,2389,3,1,0,'69.120.114.47',1216259520,1,0,1,1,1,1,'wpqx','Re: Pandora\'s Box ( O dear...)','True but then just as many people would be complaining the other way. I heard a rumor that a Westfront DVD was in the works. For now I\'m content with my VHS, which is ironically the same way I have Pandora\'s Box.','47f9817c65294029b5ff2ce99f383126',0,'','P1oY7xLk',1,0,'',0,0,0),(14391,2389,3,1,0,'69.120.114.47',1216936860,1,0,1,1,1,1,'tzarine','Re: Pandora\'s Box ( O dear...)','I don\'t love it, but I find Louise Brooks\' performance extremely watchable. \r\n\r\nConfession: I used to wear my hair like hers.','7b5d7cd5a0fca5c5964fb85dad9b3eab',0,'','quVy8YCQ',1,0,'',0,0,0),(14392,2389,3,1,0,'69.120.114.47',1222659000,1,0,1,1,1,1,'jcdavies','Re: Pandora\'s Box ( O dear...)','Well, along with De Niro in Raging Bull i think she gives the most remarkable performance in screen history. Her whole continuing cult mystique is basically down to that film','060fddeebe5910f952f5d9da90bd9ff0',0,'','Qh2CwKuV',1,0,'',0,0,0),(14393,2389,3,1,0,'69.120.114.47',1222693320,1,0,1,1,1,1,'Sara','Re: Pandora\'s Box ( O dear...)','jcdavies, thanks so much for your thoughts. If you think her performance was one of two best screen performances in history, I guess I must give it another try. \r\n\r\nI just about gave up on the film. \r\n\r\nWill try again. \r\n\r\nSara','2ef0fc4f9a986a1adbd14c482dd3849a',0,'','M9xZog25',1,0,'',0,0,0),(14394,2390,3,1,0,'69.120.114.47',1219515540,1,0,1,1,1,1,'bamboomedia1','where has everyone gone...','I finally found this forum again and I was wondering where everyone was posting. There hasn\'t been much activity here. Is there somewhere else I should be reading?','cd950f9e81e1bef57e0b2e916112351e',0,'','71XNairo',1,0,'',0,0,0),(14395,2390,3,1,0,'69.120.114.47',1219528800,1,0,1,1,1,1,'A','Re: where has everyone gone...','There have been some upheavals and problemd during the last two months, but most of us should be back in the future, posting regularly again. It will probably just need a few more weeks.','0cd2c31cf6cce395c9483700a210a6d4',0,'','QixTgK3d',1,0,'',0,0,0),(14396,2390,3,1,0,'69.120.114.47',1219679100,1,0,1,1,1,1,'wpqx','Re: where has everyone gone...','I largely gave up because I got sick of talking to myself. Anytime people want to contribute I\'m all for it.','5ea4204adec7b647c7b74ef005bc8039',0,'','j7PYfZri',1,0,'',0,0,0),(14397,2390,3,1,0,'69.120.114.47',1220331960,1,0,1,1,1,1,'hengcs','Re: where has everyone gone...','Hi bamboomedia1, \r\n\r\nwelcome back ... \r\n\r\nyup, there are a few things to sort out (see announcement section). \r\nFEEL FREE to voice your opinion, that is what a forum is about ... \r\n\r\nsome issues pertain to \r\n\r\n-- yuku sites need renewal fee and we are wondering is it worth it? \r\nif we were to migrate, what is a good alternative site ... \r\n\r\n-- time for a change of admin and moderators, ... \r\ni can still help maintain the aesthetics, but someone may want to look thru all posts ... etc \r\n\r\nrgds \r\nhengcs','bba8713670bcb0ede8f750df6b0bc001',0,'','h9iqnxuU',1,0,'',0,0,0),(14398,2391,3,1,0,'69.120.114.47',1224284340,1,0,1,1,1,1,'jcdavies','Tobacco Road (John Ford, 1941)','\r\n\r\nI\'ve been musing some nonsense on Tobacco Road while out with my dogs. What to make of it? And what does it make of you?\r\n\r\nIt\'s the doolally disrespectful brother of The Grapes of Wrath and kept in the closet. Over in England there\'s a posh potty distant cousin, Sir Henry at Rawlinson End. Is Gummo an inbred great nephew? Its setting is a hillbilly funny farm, and the poor farm\'s on the horizon. It lasts 84 minutes and at 20 that seems an eternity. Dudeboy\'s yeehaw shenanigans grate like hell. Dumb casting this- it\'s made for Daffy Duck. Ward Bond may pack a wallop but he\'s a witless whiner, and get this, Gene Tierney is a goofy gawky grubby girl who gambols through the grass . (Laura\'s a long way off.)\r\n\r\nBut wait. This rickety old banger, these shacks and yawshucks, are they subversive not stupid? It\'s now sidling up with a ramshackle charm. It bursts into hymns at the drop of a bonnet. Grizzly Charley Grapewin makes a mighty fine Jeeter; this crusty old couple will sure warm your cockles. They throw rocks at a car though she hardly knows why. Barmy it may be, but beautiful too. Ford\'s got his eye in and there\'s a pooch on the porch. Mid the ruins and wisteria, the leaves are now rustling, and there on the ivy a kind light is falling. It\'s turned tender and lovely, and over too soon.','d54b1d30323e37bee09bd2b9ad44abe3',0,'','1kMrmsRJ',1,0,'',0,0,0),(14399,2392,3,1,0,'69.120.114.47',1224941460,1,0,1,1,1,1,'justindeimen','Where in the World Is Osama Bin Laden? (2008)','\r\n\r\nWhen Albert Brooks tried to reconfigure a massive cultural chasm into chuckles in the meta-comic \"Looking for Comedy in the Muslim World\", he admitted markedly failure in finding common ground - Americans weren\'t ready to laugh, but more importantly, they weren\'t ready. This was way back in 2005 when the War on Terror still had that new car smell. Now, Morgan Spurlock of \"Super Size Me\" fame follows Brooks\' muddled footsteps into oblivion as he looks for cheap stunts in the Muslim world. Not for any sort of truth or insight, but vulgar shtick. To call this a documentary or even a docu-comedy would seem fallacious to the standings of both genres. \r\n\r\nSpurlock just isn\'t as interesting or humourous a personality as he assumes himself to be, which only serves to antagonise the idea of its premise being an odyssey into the treacherous abyss to find the world\'s most wanted man with only Spurlock as tour guide. He frames this sudden epiphany of a \"dangerous [post-9/11] world\" with his wife getting pregnant. It\'s a faux-earnest set-up - interspersed with ridiculous allusions to his impending fatherhood and his superfluous wife\'s presence in the film when it cuts away back home - that becomes increasingly embarrassing as the film wears on, especially when it starts to become an excuse for Spurlock\'s failures and insecurities over his ill-conceived mission. \r\n\r\nApproaching this staged existential quandary from a place of blissful ignorance towards the Muslim world, Spurlock feigns mock surprise at how different the Muslim population is compared to America\'s perception of it was - they aren\'t all violent terrorists! Cut to Spurlock\'s histrionic astonishment over that nugget of information. And just as how easily he made his mock-realisation that a constant stream of fast food led to a death wish seem almost a quaint discovery, Spurlock leads the audience to think that he\'s doing some bold investigative work here by superficially interviewing the hoi polloi of the Gaza Strip and so-called relatives of Osama Bin Laden in Egypt. He makes his unexpected ejection from an Orthodox Jewish neighbourhood in Israel become his glib counterpoint to the idea that Muslims aren\'t bad eggs, but that Middle Eastern religiosity is just plain screwy and insular. \r\n\r\nSpurlock frequently pollutes his geographical opportunity into pure performance. He makes a dog and pony show about the sociopolitical strife in the region when he obviously knows better. His rehearsed, pandered surprise at the world outside of Manhattan shows a man who doesn\'t think squat of his audience\'s own comprehensions on the Middle East since 9/11 and his film ends up becoming just as shallow as his phony-baloney egoist brand of \"documentaries\". \r\n\r\nAnd only Spurlock seems equipped to turn his cultural ignorance into cultural arrogance - completing his transformation into a boorish man-with-a-camera into a Michael Moore-ish buffoon oblivious to his own chicanery. He insincerely coheres his film into a single, predictably trivial idea that these Middle-Easterners are just like us - from their love of family to their ultimate pursuit of peace on their land. Except Spurlock doesn\'t really believe that. To him, they are like us but they aren\'t really. His entire self-centred view of the Middle East engenders the film as a wholly facetious work of manipulation and even more egregiously, is ultimately condescending to the very subjects Spurlock explicitly extols at the end of his film. \r\nPerhaps we get the real glimpse of Spurlock as a person when he deigns to ask a jocular Egyptian man whether he was about to blow up his car or when he dons distinctively Arabic garb and starts randomly assaulting Saudi Arabian women in the mall about Bin Laden\'s whereabouts. It is a particularly contemptible redneck hustle that only reveals Morgan Spurlock as the sort of Ugly American that his Middle Eastern interviewees denounce as the true cause of their cultural discordance. Who can blame them?','b95b8b8c9b1b1e0be6239181694b8a4f',0,'','qvQ4M1rc',1,0,'',0,0,0),(14400,2392,3,1,0,'69.120.114.47',1225084980,1,0,1,1,1,1,'hengcs','Re: Where in the World Is Osama Bin Laden? (2008)','so, i guess i shldnt spend $10 watching?! \r\nor shld i?!','2910e529f6336fe4e6fb8591320662e2',0,'','HzJGMdCX',1,0,'',0,0,0),(14401,2393,3,1,0,'69.120.114.47',1225086720,1,0,1,1,1,1,'hengcs','Gomorra (Italy) (2008)','I am eagerly anticipating this film ... \r\nAnyone has watched?','fb23bb8a5bd18b833c9b02f2526cfd30',0,'','y7WXLETq',1,0,'',0,0,0),(14402,2394,3,1,0,'69.120.114.47',1226396580,1,0,1,1,1,1,'hengcs','Gong Li is now officially a Singaporean','see news \r\nhttp://afp.google.com/art...dMDDHdSTyTbKqqDM4aeXQmipw','a8098ed0b1a26d3502930353a5709e10',0,'','Q8wgnDf5',1,0,'',0,0,0),(14403,2395,3,1,0,'69.120.114.47',1226410860,1,0,1,1,1,1,'hengcs','Yasukuni (2007) (Japan)','\r\n\r\na controversial film \r\n\r\ni have just watched it','2bfbff87c23ea418b6756f405e528d27',0,'','wVbnTfmH',1,0,'',0,0,0),(14404,2396,3,1,0,'69.120.114.47',1226490240,1,0,1,1,1,1,'hengcs','Chiko (2008) (Germany)','Hi \r\n\r\nI did watch this at the German Film Festival. \r\nGuess what, the director and actor were around. \r\nclick \r\nhttp://www.goethe.de/ins/sg/prj/f08/fgu/enindex.htm \r\n\r\nrgds \r\nhengcs','dada5e2b422bb035820aab7ad8551180',0,'','UZ8gMpVo',1,0,'',0,0,0),(14405,2396,3,1,0,'69.120.114.47',1233974340,1,0,1,1,1,1,'R6dw6C','Re: Chiko (2008) (Germany)','So, how did you like it? I find it interesting that the crew was present at the screening even in Singapore since the film didn\'t get too much attention over here which is a pity - rarely are there German films which flirt with this genre (Gangster movie) and the social content makes it \"hot stuff\" because the film practically is a very extreme, harsh take on the conflicts of turkish emigrants in Germany. I thought it was quite compelling due to its naturalistic staging, even though not a masterpiece or something of this class.','0200a0a51b0659e4b6c3f6333bc0515b',0,'','uhXUbfld',1,0,'',0,0,0),(14406,2396,3,1,0,'69.120.114.47',1236589620,1,0,1,1,1,1,'hengcs','Re: Chiko (2008) (Germany)','Hi \r\n\r\nSorry for the late reply. I was very busy ... \r\n\r\nI thought the acting was great even though the story might be a bit familiar. \r\n\r\nI can\'t believe the lead acted in Kebab Connection ... ha ha ha \r\nHe looked so diff in the movie and in real life ... \r\n\r\nrgds','cb480c26489311e7e5c9a3c69c76e907',0,'','LNkjDasB',1,0,'',0,0,0),(14407,2397,3,1,0,'69.120.114.47',1227441960,1,0,1,1,1,1,'hengcs','Cape No.7 (Hai Jiao Qi Hao) (Taiwan) (2008)','This is Taiwan\'s submission to Oscar 2009. \r\n\r\nIt has set a NEW box office record in Taiwan for local films \r\nIt is 2nd just behind Titanic in Taiwan \r\nSo, it has broken all other Chinese films (e.g., Lust Caution, Red Cliff, etc) \r\n\r\nTaipei box office \r\nclick \r\nhttp://cape7.pixnet.net/blog/post/21746004 \r\n1. Titanic $380 million \r\n2. Cape No.7 $230 million (as of 20 Nov) \r\n\r\nTaiwan\'s box offcie \r\nclick \r\nhttp://ent.sina.com.cn/m/...8-10-22/20122216993.shtml \r\nabout $400 million (as of 21 Oct, according to a China website) \r\nIn Oct, it was still behind Titanic and Jurassic Park \r\nNow, it is only 2nd to Titanic \r\n\r\nUnlike Hou Hsiao Hsien or Edward Yang, whose films are slightly slower in pace, and more contemplative in nature, this film is more accessible to the masses. It really speaks the heart of the \"common\" people. It is a film made about Taiwanese for Taiwanese ... IMHO, I think you have to understand the Taiwanese language (Hokkien) and history (e.g., btw Taiwan and Japan) to fully appreciate it. Fortunately, I do. Despite this claim, it has recently garnered the Best Narrative Film Award at 2008 Louis Vuitton Hawaii International Film Festival. * clap clap * \r\n\r\nThere are a number of things I really like ... \r\ne.g., \r\n-- the Japanese narration of the love letters * wow * \r\n-- the supporting cast, they really steal the show \r\n-- a lot of fantastic (or funny) lines ... \r\n-- the piano piece and the slow song ... \r\nBUT, there are things I am slightly reserved about (which I shall not mention here) \r\n\r\nIn sum, I would like to say ... go support the Asian movie industry ... \r\n\r\nIt is a film worth watching, esp. in these difficult times ... \r\n\r\nrgds \r\nhengcs','417c870fe8f85ab3c1d24a44cefc4cee',0,'','QG8tNSDb',1,0,'',0,0,0),(14413,2399,3,1,0,'69.120.114.47',1227724680,1,0,1,1,1,1,'hengcs','The Sky Crawlers (2008) (Japan)','Yup. \r\nI have just watched it. \r\n\r\nThe selling point: Oshii Mamoru is the director of Ghost in the Shell 1 & 2. \r\n\r\nThis film is definitely going to receive mixed reviews. \r\n\r\nThere are several things I like \r\n... a few scenes of subtlety \r\n... the really melancholic atmosphere \r\n... and the haunting soundtrack \r\n... and the philosophical take on life ... \r\n... and THE ENDING ... \r\n\r\nThen why is it \"trying\" (and I am not sure it will please the taste of average movie goers) \r\n... well, the pace is not fast, it is all about atmosphere (as most of the scenes look hazy, grey and grainy ...) and you dont really miss out much in terms of story ... you are not exactly propelled to know what will happen next ... despite the many aircrafts fight ... but by the end, most audience will feel the tinge of melancholy ...','0d2dc287c8349dff0beb61a418855c87',0,'','NjkstBDl',1,0,'',0,0,0),(14414,2399,3,1,0,'69.120.114.47',1228551060,1,0,1,1,1,1,'hengcs','Re: The Sky Crawlers (2008) (Japan)','Oh, by the way, \r\ndo NOT miss the clip AFTER the trailer ...','5be3768a26147e4e5fc3ee4557597552',0,'','sU4Q9wSE',1,0,'',0,0,0),(14415,2400,3,1,0,'69.120.114.47',1227977880,1,0,1,1,1,1,'hengcs','Crossing (2008) (South Korea)','I have watched it recently ... \r\n\r\nSelling point \r\nThis is Korea\'s submission to Oscar 2009. \r\nI really want to write something ... do return ...','95c202d190f0a0fe7573840a33c9c364',0,'','4eFPc9df',1,0,'',0,0,0),(14416,2401,3,1,0,'69.120.114.47',1228909080,1,0,1,1,1,1,'hengcs','Ploning (2008) (Philippines)','yup, this is Philippines submission to Oscar 2009. \r\n\r\nOne of those films whereby patience pays off. \r\nThe first two third may just looks like a tribute to the simple life in Cuyo, Palawan. It also helps preserve the \"dying\" language of Cuyonon. \r\nThe last one third (i.e., what i like) finally pieces everything together. A well written script with meaning (abt humanity) and subtleties ... \r\n\r\nit can be quite touching at the end ... \r\n\r\nPS: there was a Q&A at the end with the director ...','e47ac6261469ca051faef07544ddceaa',0,'','aPjEFonw',1,0,'',0,0,0),(14417,2401,3,1,0,'69.120.114.47',1228914240,1,0,1,1,1,1,'hengcs','Re: Ploning (2008) (Philippines)','By the way, I have also watched Pisay, another Philippines film.','93be17e202d89c94b7b7887632632bb8',0,'','cZrK2MB7',1,0,'',0,0,0),(14418,2402,3,1,0,'69.120.114.47',1228914180,1,0,1,1,1,1,'hengcs','Ganglamedo (2008) (China)','\r\n\r\nThere are a few things nice about this film ... which I believe will gain film festival\'s interest ... \r\n(i) definitely the cinematography (of Tibet) ... wow ... \r\n(ii) definitely some of the sounds captured; i also like the amazing drum rhythms and sound track ... \r\n(iii) some of the lines (in Chinese) are rather lyrically written ... \r\n\r\nA very laudable effort to film in Tibet.','3fd2c21234cee6c7e8af86afaa6f43e3',0,'','gihE79bZ',1,0,'',0,0,0),(14419,2403,3,1,0,'69.120.114.47',1229931960,1,0,1,1,1,1,'hengcs','Ip Man (Ye Wen) (2008) (Hong Kong)','if you like Bruce Lee, \r\nand you wish to know who was his teacher ... \r\nthis is the story about the teacher BEFORE he went to Hong Kong ... and taught the martial arts of \"wing chun\" \r\n\r\nwell, Donnie Yen can fight ... \r\n\r\nquite a nice piece of work ...','6e7fc8e2790978bff5faa2a6e79b62f9',0,'','TLtFnKgB',1,0,'',0,0,0),(14420,2404,3,1,0,'69.120.114.47',1236589200,1,0,1,1,1,1,'hengcs','Departures (Okuribito) (Japan) (2008)','\r\n\r\n\r\nYes, this is the film that has won Oscar Best Foreign Film in 2009! \r\n\r\nhttp://www.departures-themovie.com/ \r\n\r\nDo I like it? \r\nYes, very much so ... and I think it deserves to win an Oscar ... \r\nHave I recommended the film to others ... yes, and to a lot of my friends ... \r\n\r\nIf only I have the time, I will write more ... but I guess you can easily find a lot of reviews out there. \r\nSo, I have decided to highlight only those things that are seldom mentioned by others. \r\n\r\n(1) Interestingly, the lead character is named Daigo. In kanji (chinese characters), it means \"big realization\". Maybe it was not intentional, maybe it was ... but I thought it really fits the various themes in the movie so well ... \r\n\r\n(2) While the themes of \"life and death\", \"kinship and friendship\" (btw parents/kids, btw husbands/wives, btw colleagues/friends/neighbours) are most explicit, I thought the film has transcended its main themes to cover so much more ... it has hinted at so many things that regardless of nationalities and cultures, we can all identify with ... indeed, there are subthemes (with not just 1 incident but often more than 1 if you were to think about it) of \"tradition vs modernization\", \"past vs present/future\", \"superstitions/culture vs religion\", \"job vs career\", \"ridicule vs respect\", \"choice vs choicelessness\", \"understanding vs misunderstanding\", etc ... \r\n\r\nIn sum, there is so much subtlety and so much food for thoughts ... so much humor and so much tears ... what I thought wonderful was ... it is going to wrench the hearts of mainstream audience, and at the same time win the accolades of critics ... \r\n\r\nConclusion \r\nHighly recommended','48d2e784d3573546963ebad689e5128c',0,'','YhzN5jr1',1,0,'',0,0,0),(14421,2405,3,1,0,'69.120.114.47',1236831180,1,0,1,1,1,1,'DonL','Filmmakers! Submit Your Film to ACEFEST with 25%-Off Entry Fees!','25%-OFF SUBMISSION FEES! Exclusive Offer Expires Wed, March 11 Want your film played in New York City? ACEFEST is one of the most anticipated annual film festivals on the industry calendar with countless patrons, members, distributors, journalists, industry professionals and fellow filmmakers from all over the world waiting eagerly to see what the 2009 program has to offer! As our Earlybird Deadline approaches March 11th, we are very excited to pass along to you an exclusive 25% discount on all entry fees! Simply click the link below to get started! SUBMIT YOUR FILM NOW http://www.acefest.com/submit/4909.php','def1303d432cc4c39cece128f5e027e5',0,'','g0fPtNne',1,0,'',0,0,0),(14422,2406,6,2,0,'69.120.114.47',1240186512,1,0,1,1,1,1,'','Sin Nombre - 2009, Mexico','[youtube:2w6z81lb]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/VTSi0pKjC5g&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/VTSi0pKjC5g&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:2w6z81lb]','5656d7021680ad5eb86943f4d1825a35',0,'AAQ=','2w6z81lb',1,0,'',0,0,0),(14423,2407,6,2,0,'69.120.114.47',1240187016,1,0,1,1,1,1,'','Afghan Star - 2009, Afghanistan','[youtube:fqtximm8]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/DentE2ydnMI&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/DentE2ydnMI&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:fqtximm8]','f977b26d56e26fc86b08f98153fb5933',0,'AAQ=','fqtximm8',1,0,'',0,0,0),(14424,2408,6,2,0,'69.120.114.47',1240187153,1,0,1,1,1,1,'','Bronson - 2009, UK','[youtube:3jc2zv8s]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/qLvVXYwVj-o&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/qLvVXYwVj-o&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3jc2zv8s]','bf163b08e5a819e814d9792325b402e6',0,'AAQ=','3jc2zv8s',1,0,'',0,0,0),(14459,2418,3,1,0,'69.120.114.47',1120465920,1,0,1,1,1,1,'arsaib4','Jiang Wen\'s DEVILS ON THE DOORSTEP (China)','Chinese cinema authority, Prof. Brnice Reynaud, stated in her review: \"If history is fair, Devils on the Doorstep will be counted among the classic artworks (many originating in the former Eastern bloc) denouncing, in a tragicomic way, the horrors war inflicts on ordinary people, taking its place alongside Jiri Menzels and Bohumil Hrabals Closely Watched Trains and Ismaid Kadares novellas.\" Thats high praise, no doubt about it, but after getting another opportunity to witness and absorb this masterwork, Im now beginning to realize how accurate she truly is. Perhaps, alongside Devils on the Doorstep (Guizi lai le), Oscar winner No Mans Land will also join a shortlist of anti-war parables, that with their tone and a non-confrontational approach, can be gratifying to watch, yet are deeply horrifying to mull over. But this film has fought a hell of a battle just to reach where it is today.\r\n\r\nDirected by Jiang Wen, Devils was officially made under the supervision of the Chinese officials in the late 90s. Jiang decided to send the film in at Cannes 2000 where he ended up winning the Grand Jury prize. However, the Chinese authorities banned the film before it was scheduled to open there; Jiang was more or less informed not to direct a film again (which he hasnt done but he refuses to work outside China), and now, just in the last couple of years, he has shown up as an actor in films like The Missing Gun and Warriors of Heaven and Earth. He was never given an official reason for the decision except that they didnt like the overall presentation of the Chinese peasants. Its obvious that they failed to recognize Jiangs message in Devils that war has a tendency to reduce human beings to lowest common denominators, no matter who they think they are.\r\n\r\nAdapted from a novella by Fengwei You, the film establishes its ironical tone from the opening shot. A Japanese naval band is seen marching across the desolate terrain of the northern seaside village of Rack Armour Terrace, stopping in to hand out candies to the children of the local Chinese peasants. This is done in a manner which presents them as father figures while the children\'s real fathers kneel to the ground. Villagers are barely able to grow enough grain for themselves and their occupiers, but try to maintain a somewhat peaceful condition, at least on the outside. The year is 1945 but no one in this remote area is aware of whats going on elsewhere. One night, one of the locals, Ma Dasan (brilliantly portrayed by Jiang himself), is interrupted during his @#%$-session with a local mistress as a mysterious stranger barges in with a gun and orders him to take care of two POWs: an angry and hateful Japanese soldier and a more tolerable Chinese translator once recruited by the Japanese.\r\n\r\nThis creates a huge dilemma for Ma Dasan and the rest of the villagers. The stranger had also informed Ma that they need to interrogate the men, and if they arent taken care of properly, he\'ll come back in a week and slaughter the whole village. Villagers do their part but no one shows up to collect them. Weeks turn into months and after some close encounters with the Japanese forces usually marching outside, they decide to finish them off. Ma continues to feel guilty about the situation and does his best to keep them alive against the will of others, but eventually gives in -- a surreally comic sequence follows in which a legendary executioner is borrowed from a neighboring village but things dont turn out as well as expected. Eventually, the captured Japanese soldier, who has been waiting to get killed by his \"enemy,\" starts to see the light of their kindness, and agrees to take them to his superiors so the villagers can get some benefits for all theyve done for him. What starts out as a gesture of kindness suddenly turns into a horrific mess, and in a matter of seconds, the true nature of the warring who have nothing to lose comes to the forefront.\r\n\r\nIts hard to imagine that an accomplished work like Devils is only the second film that Jiang has ever directed. It was shortened by about 20 minutes by the Western \"authorities\" (for aesthetical reasons) after a nearly 3-hour version played at Cannes, but the portrait of the \"devil\" he has painted hasnt lost its luster. DP Gu Changweis stark and shadowy B&W photography helps evoke the foreboding menace that Jiangs tale establishes. The film is at once a sprawling epic and an intimate character study. All this while various sequences carry a decadent yet blackly comic tone: one involves a tense stand-off which is suddenly interrupted by a Chinese donkey (or at least one owned by a peasant) as he starts humping a \"Japanese\" mare standing helplessly nearby; while in another, the captured Japanese soldier thinks he\'s hurling profanities at the villagers not knowing that his fellow has taught him to thank them, and when the villagers are surprised by his voice, the translator informs them that the \"Japanese sound the same whether theyre happy or angry.\"\r\n\r\nBrnice Reynaud also rightfully mentioned that its nearly impossible for a Western mind to be able to totally comprehend the scars left on the Chinese psyche by the war with Japan. And while Jiang doesnt exactly humanize the Japanese, he allows us to peek through their moral ambiguities (perhaps that was what pissed off the Chinese authorities). But at the end, as the devastating final shot switches the film to color, the absurdity of war and its aftereffects on everyone involved have never felt so vividly black and white.\r\n\r\n___________________\r\n\r\n*DEVILS ON THE DOORSTEP was released theatrically in the U.S. back in 2002 by Cowboy Pictures. The company didn\'t stay in business long enough to release it on home video. But a DVD was recently released by Home Vision. It is presented by director Steven Soderbergh, a good friend and admirer of Jiang Wen.\r\n\r\n*The film is NOT available anywhere else with subtitles.','5771890885b637ef02b57f14682ac55b',0,'','opw2nl8J',1,0,'',0,0,0),(14460,2418,3,1,0,'69.120.114.47',1120538640,1,0,1,1,1,1,'hengcs','Re: Jiang Wen\'s DEVILS ON THE DOORSTEP (China)','Hi,\r\nyou won\'t believe this ...\r\n\r\nWhen it was screened in San Francisco International Film Festival a few years back, I actually asked my friends to go along. The other 3 were -- a girl from China, a girl from Japan and a guy from France.\r\n\r\nAfter the movie, we do NOT know what to say ...','891a8c32ac211a8c2d121eed3a61b8a6',0,'','EKxZ9CyY',1,0,'',0,0,0),(14461,2418,3,1,0,'69.120.114.47',1122159540,1,0,1,1,1,1,'hengcs','Re: Jiang Wen\'s DEVILS ON THE DOORSTEP (China)','Initially, I read from various sources that \r\n-- it was a comedy with the events happening away from the warfront ... So, I presume it was not gruesome like most war movies and it would be okay for them to watch ... Frankly, after watching, I would not like to call it a comedy, esp. the ending scenes ... Even if it were a comedy, it was really a very very very dark one ...\r\n-- it was banned in China because the film humanized the Japanese ... So, I presume it would be okay for the Japanese to watch ... Again, the ending scenes were not exactly very humane ... they were very disturbing ... \r\n\r\nSo, \r\n-- the Japanese girl did not know what to say after that ... \r\n-- the Chinese girl also did not know what to say ...\r\n-- the guys did not know what to say either ...\r\nIn sum, none of us really wanted to talk about the film (nor the war), whether the film portrayed events correctly, or whether it was bias toward any nation, etc ...\r\n\r\nBack to the film, what is commendable ...\r\n-- it was definitely very thought provoking ... were people to blame? or simply \"war\" to blame?\r\n-- the initial take (apart from the ending) was really very unique and different, at least for a \"war\" movie ...\r\n-- the main cast was very good, and they looked \"real\" in their roles (not like actors) ...\r\n\r\nMy only qualm was ...\r\n-- I did NOT think the casting of David Wu (I had nothing against him) as Major Gao (in the end) was appropriate. As he had appeared in too many comical works and carried himself that way when he hosted various TV shows, his comic presence amidst the graveness of the ending scenes left me with a weird feeling ...\r\n\r\nPS: oh no ... For the US DVD, I hear that they have edited the original 162 min to 140 min ...','6e1cc608c3d060afaced7a3e78dbff70',0,'','VorsTSwj',1,0,'',0,0,0),(15616,2603,5,1,0,'82.21.177.171',1248490178,1,0,1,1,1,0,'khan','what films are these plz help i beg you','<!-- m --><a class=\"postlink\" href=\"http://www.masalaguru.com/2008/12/09/pakistan-bastardsgg/\">http://www.masalaguru.com/2008/12/09/pa ... astardsgg/</a><!-- m -->\n\n<!-- m --><a class=\"postlink\" href=\"http://www.masalaguru.com/2008/12/09/pakistan-bastardsjjjk/\">http://www.masalaguru.com/2008/12/09/pa ... tardsjjjk/</a><!-- m -->\n\nplease can someone tell me who the actress is or what films these scenes are from...\n<!-- e --><a href=\"mailto:anayat360@hotmail.com\">anayat360@hotmail.com</a><!-- e -->\nplz help','7248a2ad1845c97feb71e4c91b587d97',0,'','365ugv3f',1,0,'',0,0,0),(15617,2604,5,1,0,'69.243.150.235',1248531435,1,0,1,1,1,0,'Helpme remember','1990\'s foriegn film','The first foreign film I saw was broadcast on PBS &amp; I can\'t remember the name of it.  It was a cast of all women-maybe one guy in the whole film.  It was about a family of all sisters who one was getting married.  The setting was an old home with a huge courtyard in the middle-I think another sister committed suicide.  I can\'t remember much other than that.  I believe it was Spanish.','2be41e97b3dfc8403e8f4d3e90e7c1fd',0,'','66fufgrl',1,0,'',0,0,0),(15619,2604,5,2,0,'160.83.73.26',1248726027,1,0,1,1,1,1,'','Re: 1990\'s foriegn film','Hi there... not many clues here but would guess [imdb:1a9gtslv]Belle Epoque &#40;1992&#41;[/imdb:1a9gtslv] by Fernando Trueba.','e6d8e7b8023cf19a28dd22ce88c0d48d',0,'AAE=','1a9gtslv',1,0,'',0,0,0),(15600,2574,3,175,0,'121.247.192.249',1244718320,1,0,1,1,1,1,'','Re: Last movie seen','Last movie i saw was The Sixth Sense..','56636afa8cc1cb6a12d0560e2fd2c426',0,'','e6m3cgwk',1,0,'',0,0,0),(15657,2636,3,255,0,'69.120.114.47',1283910682,1,0,1,1,1,1,'','Torture scenes in Girl with Dragon Tattoo','I\'ve seen all the rave reviews, but almost everyone I\'ve spoken to has said that some scenes are &quot;way too much&quot;. I remember seeing &quot;Irreversible&quot; and wishing I hadn\'t. Do the scenes in TGWDT go beyond this? I\'m just not very fond of gratuitous violence.','5a54e3fa112110e6adc0fea3fc894e9e',0,'','3vg3mjqw',1,0,'',0,0,0),(14772,2470,3,1,0,'69.120.114.47',1130093580,1,0,1,1,1,1,'trevor826','Ab-normal Beauty (2004 - Hong Kong)','Sei Mong se Jun (2004) Ab-normal Beauty\r\n\r\nFilm Five (and the last for me) on the Tartan Asia extreme tour 2005. \r\n\r\nDirected by Oxide Pang Chun\r\n\r\nStarring Race Wong, Rosanne Wong, Anson Leung (One Night in Mongkok)\r\n\r\nThe Pang brothers are known for their flash and panache with their film directing and editing, they have also created a couple of really good films, Bangkok Dangerous and The Eye. Unfortunately their visual flair is often more impressive than the films they create, The Eye 2 and others, for once the styling works perfectly for the subject matter.\r\n\r\nJiney is an art student, a decent painter but an excellent photographer. She often attains the highest scores but is unhappy with her work until one day she takes photos at a car crash, she is sickened, repulsed but also fascinated, when she sees the results of her work she feels that at last she has found something to satisfy and stimulate her.\r\n\r\nShe starts taking more pictures at the moment of death, whether people or animals and becomes more than a little obsessed. All the time shes doing this shes being stalked by a male admirer from her class, despite the fact that she has told him shes a lesbian he continuously follows and films her. Her lover, Jas becomes distraught with Jineys obsessive behaviour and does her best to get her away from the subject of death. \r\n\r\nFor a while it works, Jiney appears to have realised how sick it was but she suddenly receives a video tape with what she assumes (and hopes) is a fake snuff movie. The video contains extremely violent scenes culminating in the death of the girl but both Jiney and Jas are convinced its just a fake thats been made by Jineys stalker. Its only when Jiney finds another snuff video outside her home that she takes it seriously, but what can or will she do?\r\n\r\nAs I said earlier, the main build up is ideal for the Pangs filming and editing techniques, as the main subject is art and photography. Everything runs along very well, the idea is interesting and the characters believable but..\r\n\r\nYes unfortunately once again there has to be a but! Once the snuff tape is received, the film changes tack and loses everything its carefully built up. You can maybe excuse the first one (although it is pretty gruesome) but when the second one appears, its just so bloody obvious where the film is going and youll be able to work out the rest of the story in about 5 seconds.\r\n\r\nWhy, why, why, why, why. What the hell were they thinking, the only thing Ill say is that it turns from a well developed character study to a more gruesome and even more predictable version of Saw . What the f*%k happened? If this was a Hollywood film I wouldnt have been surprised but!\r\n\r\nAnyway you get the point, with Audition it works because its constantly building towards it but it does not work in this film, its as though they couldnt decide where to take it so just decided to make it as brutal but predictable as possible, in my eyes its a film with a lot of promise but ultimately a failure, Im sure itll do really well in the US and UK.\r\n\r\nAnother little problem but this is nothing really, the two main characters, Jiney and Jas (the lesbian lovers) are real life sisters, although there are no scenes of a sexual nature it is a little odd.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 18.','e835bf06dbcf17070093338536a1c9e2',0,'','hJLxSkiN',1,0,'',0,0,0),(14773,2470,3,1,0,'69.120.114.47',1144094400,1,0,1,1,1,1,'trevor826','Re: Ab-normal Beauty (2004 - Hong Kong)','The R2 Pal dvd is now available from Tartan video.\r\n\r\nGood picture quality, excellent sound particulrly the DTS track and a few extras.\r\n\r\nA short behind the scenes doc which doesn\'t really say much except for Oxide Pang Chun explaining why he\'s such an accomplished director and writer, (certainly not on the evidence of this film) and explaining how his years of working in advertising have heightened his awareness in the use of colour?\r\n\r\nA bundle of deleted scenes segued together with no effort to explain where they would have appeared or why they were cut.\r\n\r\nAs to the film itself, my opinion hasn\'t changed, the first hour or so builds nicely as a character study with good editing that was very suitable considering the subject. After that it\'s just a crock, an absolute waste of all the previous work, I would love to hear any positive comments as to the direction the film takes but I\'d also be very, very surprised to hear any.\r\n\r\nCheers Trev.','3d30f9deb27f58874a41caf77ae6f071',0,'','pfAK9Wyc',1,0,'',0,0,0),(14804,2478,3,1,0,'69.120.114.47',1136270880,1,0,1,1,1,1,'hengcs','Initial D (Tou Wen Zi D) (2005) (Hong Kong)','\r\n\r\nDirector: Andrew Lau, Alan Mak\r\nCast: Jay Chou, Edison Chen, Shawn Yue, Anne Suzuki\r\n\r\nThe film was invited to Venice Film Festival 2005 out of competition ...\r\n\r\nIn the recent Golden Horse Awards, it also garnered the Best Supporting Actor and Best Newcomer awards.\r\n\r\nThe official website (in English)\r\nclick\r\n\r\nMy thoughts ...\r\n-- As this is a film based on a Japanese manga about car racing, the expectations have to be set right. Also, it is preferred that you watch in a cinema to create the \"sound effects\" of a good \"car race\" and a big screen to appreciate the cinematography ... After all, they filmed the entire movie in Japan at Mount Haruna (for the fictitious Mount Akina). But to be honest, I thought the initial car races weren\'t as exciting or speedy as the very last one which I thought was much more exciting ... hee hee ...\r\n-- In terms of story, \r\n(i) it is pretty faithful to the original manga, and you do have to recognize that the \"comical\" moments are rather Japanese in style ... \r\n(ii) I actually like the second half hour of the film better than the first ...\r\n(iii) in terms of acting, Jay Chou is the most controversial ... some fans do think he has carried the role very well, while others will argue that he cannot act ... but to sum all in Jay\'s own words, \"I am acting back myself\" (which he claims is rather similar to the character) ... so viewers, watch it and decide for yourself!\r\n\r\nConclusion:\r\nGiven that it has broken some box office hit in Asia, I do feel that it is watchable, though not a wow. If you go with no expectations, it is a nice teenage flick, but if you go with tons of expectations, you will think what is the hype all about ... \r\n\r\nIt targets mainly at those who like the original Japanese manga, or those who are simply \"in love\" with all the young male leads ... after all, they are the new generation in HK films ... hee hee','846aef400b70838b6f0d42d4313fcd23',0,'','swAgEfNc',1,0,'',0,0,0),(14849,2491,3,1,0,'69.120.114.47',1118271480,1,0,1,1,1,1,'howardschumann(d)','2046 (China/HK)','2046\r\n\r\nDirected by Wong Kar Wai (2004)\r\n\r\nIn 2046 by Hong Kong director Wong Kar Wai, a mysterious train brings travelers to the year 2046 where they can recapture lost memories because nothing ever changes. The narrator tells us that \"no one has ever come back from 2046, except me.\" Continuing with the theme of missed connections and ephemeral relationships begun in his earlier films, Wong\'s latest work is a meditation on the pain of loss and the inability to live in present time. The plot centers on Chow\'s relationships with women who occupy room 2046 in the hotel where he met Maggie Cheung in In the Mood for Love. He seduces the women, then abandons them, suppressing and denying his emotions or turning them into science fiction or erotic stories about whispering secrets. The film has a dreamlike quality and can be confusing with its non-linear structure but with the gorgeous cinematography, exquisite costumes, soft lighting, songs of Nat King Cole and opera extracts from Bellini\'s Norma, you may not even notice.\r\n\r\nTony Leung is Chow Wo Man, a playboy who writes stories for the local newspaper. Much of the action takes place in Hong Kong in the 1960s during a period of political unrest. Chow brings Lulu (Carina Lau), a drunken girl, home to sleep in room 2046 but she is not there when he returns in a few days, having been murdered by a jealous boyfriend. He is then forced to rent 2047 next door while 2046 is being cleaned up. The first affair is with Bai Ling (Ziyi Zhang), a dancer and call girl. He hears the sounds of lovemaking with each male client she brings to her room, then invites her to have a drink with him and presents himself as her new lover. Thinking she means more to him than a one-night stand, Bai Ling falls in love with him but is heartbroken when she discovers the truth and moves out. \r\n\r\nThe next occupant of the room is the hotel owners daughter, Wang Jen Wing (Faye Wong) who is passionately in love with a Japanese man, Takuya Kimura, over her father\'s objections. She suggests that Chow write a science fiction novel based on her life and he begins to write a novel called 2046 about a Japanese man who has an affair with an android in a futuristic Hong Kong. Chow also has a brief affair with a gambler in Singapore, Su Li Zhen (Gong Li), known as the Black Spider because she wears a mysterious black glove on her hand. He asks her to go to Hong Kong with him but she rejects his offer using the device of a card trick and both leave with regret. \r\n\r\nA feeling of sadness pervades all of these affairs and they have a strange similarity. Songs, stories, and relationships are repeated as if Chow is playing a tape recorder without a stop button. The characters may be in the mood for love but the experience seems to be beyond their grasp and they spend much energy living in their memories. Like other of Wong\'s characters, Chow is a \"blind mourner\", incapable of choice, condemned to living in a circular stream of remorse, regret, and stagnation. 2046 can get a little tiresome with its proliferation of damaged characters and over stylization, yet it is a sensual and richly elegant film that makes a powerful statement about the emotional disconnection of modern life.\r\n\r\nGRADE: A-','44c9ff86144f3415122d865d0cf73bc5',0,'','fkcjpzP2',1,0,'',0,0,0),(14850,2491,3,1,0,'69.120.114.47',1120857900,1,0,1,1,1,1,'hengcs','Re: 2046 (China/HK)','The official website is here ...\r\nwww.sonyclassics.com/2046/','94cd0f6b0364d7dc8dc3cbd3886caebb',0,'','FXdvSP9J',1,0,'',0,0,0),(14851,2491,3,1,0,'69.120.114.47',1123664640,1,0,1,1,1,1,'hengcs','Re: 2046 (China/HK)','If you are in US, it is screening now ...','687603ddc92175cefc9b43b2622c493e',0,'','j7doYr5P',1,0,'',0,0,0),(14852,2491,3,1,0,'69.120.114.47',1123705920,1,0,1,1,1,1,'kookook','Re: 2046 (China/HK)','The famous Hong Kong director, best known for his hit \"In the Mood for Love\", will have his latest work unveiled at an opening ceremony next month in Beijing, one week before its September 30th nationwide release. Tickets for the premiere of the romantic sci-fi movie are said to be going for 2,046 yuan or about 247 US dollars.\r\n\r\nCheap, isnt it ? \r\nwww.tias.com/cards/images/nengajo.jpg','33976919798da05c8ef5eb104c6e3ed2',0,'','sQfrd2ol',1,0,'',0,0,0),(14853,2491,3,1,0,'69.120.114.47',1124905980,1,0,1,1,1,1,'A','Re: 2046 (China/HK)','Ill just borrow the DVD if I want to see it.','a6ff0fd58ab9bd47ba0ff7450645414b',0,'','a1FJxzXo',1,0,'',0,0,0),(14854,2491,3,1,0,'69.120.114.47',1124908500,1,0,1,1,1,1,'trevor826','Re: 2046 (China/HK)','The famous Hong Kong director, best known for his hit \"In the Mood for Love\", will have his latest work unveiled at an opening ceremony next month in Beijing, one week before its September 30th nationwide release. Tickets for the premiere of the romantic sci-fi movie are said to be going for 2,046 yuan or about 247 US dollars.\r\n\r\nThis news was from 2,004, the film has done the rounds and has been available on DVD for quite a while now.\r\n\r\nCheers Trev.','c7f1002bbe64112eac8a223431207748',0,'','VNogASim',1,0,'',0,0,0),(14855,2491,3,1,0,'69.120.114.47',1125724680,1,0,1,1,1,1,'wpqx','Re: 2046 (China/HK)','Well procrastination might have paid off again. Seeing numerous DVD imports of this I decided to wait it out. I wanted to see this on the big screen for two reasons. One, it seemed like a BIG film. Two, I\'ve never seen a Wong film in a theater, and was unaware of when my next opportunity might be. A third reason arose but I only realized it during the opening of the film. If I saw this in the theater I would be forced to pay more attention to it than I could at home.\r\n\r\nLike most people sifting through this film I was a little baffled by the intro. Not to despair I figured I would let the story sort itself out. I knew many movies that started confusing as hell and wound up making perfect sense eventually. 2046 settled into some sort of order, but the list of unanswered questions for myself is still rather long. I can start with a basic question, what the hell was the returning from 2046 about, and what was all that crap about in the future, and when does the film really take place?\r\n\r\nMost of this doesn\'t matter though. The real thrust of the story is in the individual relationships. These encounters represent traditional Wong quite well. He even keeps his cast relatively similar to make it feel more familiar. Tony Leung I believe has been in every film of Wong\'s that I\'ve seen, so not surprised to see him here. I\'ll always look at him a little oddly because the first film of his I\'d seen was Happy Together, and this passionate lover was directing his attentions to the same sex. He does a remarkable job here. He let\'s us in just enough to grasp what he\'s feeling, but not enough to be completely satisfied. We don\'t really learn more about him than he knows. In this story he seems to be finding out about himself, but despite his appearance we do sense his emptiness.\r\n\r\nVisually it was amazing, but I\'ve come to expect that from this director. The ending and the whole android subplot made little sense to me. I found it comical when titles kept saying \"1 hour later\", \"10 hours later\", or \"100 hours later\". I\'m not sure if we were supposed to laugh, but I was reminded of Un Chien Andalou, when suddenly a title says \"16 Years Ago\" and the shot resumes. I believe the point was that time is irrelevant. Despite showing us four different Christmas Eve\'s, our character was the same, and it wouldn\'t have mattered if 1969 was 1966 or 1967. I guess the same could go for that future train ride where we never find out how long the trip takes. It doesn\'t matter where we\'re going, only matters what happens on the way there I suppose.','2ac99e8b00a1bc7bddc9947f6115c026',0,'','io3XSj5y',1,0,'',0,0,0),(15609,2574,3,130,0,'137.132.3.6',1245119743,1,0,1,1,1,1,'','Re: Last movie seen','A lot of films ... but across the last three months\n(in part becos Singapore just have had its Intl Film Fest, European Film Fest, Italian Film Fest, etc etc etc) ... can\'t rem all now ...\n\nbut a few that still stick\n\n(1) Seraphine (2009) (France) - lots of accolades\n\n(2) Nobody to Watch Over Me (2009) (Japan)\n\n(3) The Baader Meinhof Complex (2008) (Germany) - Oscar nominee\n\n(4) Rainbow Troops (2008) (Indonesia) - Oscar submission, box office record in Indonesia\n\n(5) Flame and Citron (2007) (Denmark) - a box office hit\n\n(6) The Girl by the Lake (2007) (Italy) - quite some awards\n\n(7) Time to Die (2007) (Poland) - \n\n(8) Magnus (2007) (Estonia) - a very very controversial film\n\nrgds','78f7de28156c35961586589886dc6010',0,'','2515z0yr',1,0,'',0,0,0),(14875,2503,3,1,0,'69.120.114.47',1115523960,1,0,1,1,1,1,'hengcs','Tea-Horse Road Series: Delamu (2004) (China)','Delamu \r\n\r\nThis is a documentary directed by Tian Zhuang Zhuang.\r\nHe garnered the Best Director Award in the First Chinese Film Directors\' Guild Awards in 2004.\r\nsee\r\np219.ezboard.com/fforeign...D=13.topic\r\n\r\nAlthough it has potential, I think it does not deliver (i.e., in my very humble opinion).\r\n\r\n(i) What is good? All the exterior scenes/landscape are very well shot ...\r\n-- BUT unfortunately, there are too few of these scenes ... \r\n-- The beginning and ending are especially cinematographic! \r\n-- Likewise, there is a capture of the renowned \"flying rocks and shifting sands\". However, it is not exploited further to depict its perilous nature ... \r\n\r\n(ii) The 6 or 7 interviewees have interesting/ insightful/ realistic/ depressing stories to tell.\r\n-- However, they appear random and not coherent, without an overall structure or framework to tell a compelling story. Initially, you think it will be able the route, ... but then you start wondering whether it is about Christianity in Delamu ... then you suspect it may be about something else ... then you think it is probably about the kids and education, then you are transferred back to religion and Tibet Buddhism ...\r\n-- In essence, it does not have a compelling story!\r\n\r\n(iii) In addition, it may help the audience if the director traces the route for the audience. Sometimes, you think you have started travelling with the people, but at the end of the documentary, you think you are still at the same location all along ... I believe at the end of the documentary, a lot of audience still do not know the route that these people travel ...\r\n\r\n(iv) There is not much depiction of historical or cultural relics, if you are hoping to see some ...\r\n\r\nConclusion:\r\nIn sum, there are a few good scenery and a few good interviews, but as a whole, it is not very compelling ...\r\n\r\nMy recommendation: \"The Silk Road\" \r\n\r\nIf you really want to watch a FANTASTIC documentary, I HIGHLY recommend \"The Silk Road\" (a collaborative effort by China and Japan in the 1980s). It comprises 30 episodes, with really good cinematography and art direction. Its sountrack is DEFINITELY SUPERB!!! The music by KITARO is MESMERIZING! \r\n\r\nAfter the 30 episodes, you will be impressed with the historical relics and cultural wealth of ancient days ... WOW ...','cc0f8ccb8725bd8c1e9002fc8bd44a23',0,'','5CFeRAsa',1,0,'',0,0,0),(14877,2505,3,1,0,'69.120.114.47',1104184500,1,0,1,1,1,1,'hengcs','Kung Fu (aka Kung Fu Hustle) (2004) (Hong Kong)','The official website (with English language) is here \r\nwww.kungfuhustle.com/\r\n\r\nEven the trailer has English commentary and subtitles! \r\n\r\nHas anyone watched?\r\n\r\nIn the mainland China, the three day record (Thur. - Sun.) is approximately 50 million yuans (US$ 6.04 million). In the city of Hong Kong, the revenue for the three day record (Thur. - Sat.) is roughly HK$ 15 million (US$ 1.93 million).\r\n\r\nMy guess\r\n-- If you like Shaolin Soccer, you will like this better.\r\n-- If you do NOT like Shaolin Soccer, you will NOT like this.\r\n-- If you like Stephen Chow\'s style (or kind of humor), you will like this movie. \r\n\r\nComments from a friend (NOT from me)\r\n-- hardly any plot; too exaggerated; special effects overdone. but what else to expect from a stephen chow\'s movie? people might like the stephen chowness, but nothing else.\r\n-- the only watchable kungfu scenes are those from the three guys (shi-er-lu tan tui; tie-xian quan; and e-lang-ba-guo gun).\r\n\r\nWill I watch? yup ... when it is available here or on DVD.','55abac3eccd4d5cc8a1b9250eb6991e6',0,'','4F3JPD72',1,0,'',0,0,0),(14878,2506,3,1,0,'69.120.114.47',1174930080,1,0,1,1,1,1,'howardschumann(d)','Zodiac','ZODIAC\r\nDirected by David Fincher (2007), 158 minutes\r\n\r\nBeginning in 1969 and continuing into the 70s, San Francisco papers were filled with stories about a mysterious serial killer who called himself the Zodiac. Taunting the police to discover his identity - letters, ciphers, puzzles, and clues filled the newspapers until the story became a daily media event. Based on two books, Zodiac and Zodiac Unmasked by Robert Graysmith, a former editorial cartoonist for the San Francisco Chronicle and on actual case files researched by the director, David Finchers Zodiac dramatizes the search for the identity of the killer, focusing more on the lives of the reporters and police officers who investigate the case than on the killings and their victims. The case has never been solved and no arrests have ever been made, in spite of there being 2500 suspects including one very plausible possibility discussed in the film.\r\n\r\nJake Gyllenhaal portrays Graysmith, an amateur detective who becomes interested in the case while working for the Chronicle. Though the killings stopped long ago, Graysmith continued to pursue leads long after the official investigation ceased. The world first heard about the Zodiac after two young people, Darlene Ferrin (Clara Hughes) and her friend Mike Mageau (Lee Norris) were shot in their parked car. Darlene was killed but Mike survived but was not asked to identify a suspect until many years later. Three weeks after the killing, a letter is received by the Chronicle that claims responsibility for the murder and an additional killing eight months prior. \r\n\r\nCalling himself the Zodiac, the letter includes a coded message that the killer claims will reveal his identity if decoded. The letter also says that unless the paper continues to print his letters, the killings will continue. Though his name is never revealed, the code is discovered by amateur sleuths to point to a 1932 film, The Most Dangerous Game, in which a killer enjoys hunting down and killing human victims. The Chronicle assigns their top crime reporter Paul Avery (Robert Downey Jr.) to cover the case. When cab driver Paul Stine is killed in San Francisco, two homicide detectives Inspector David Toschi (Mark Ruffalo) and his partner William Armstrong (Anthony Edwards) become involved and the focus of the film shifts to the police investigation. \r\n\r\nFincher, like an episode of Dragnet, gives us just the facts and lets us draw our own conclusions while describing conversations, procedures, interviews, and searches of public and private records in minute detail. As the Zodiac keeps upping the ante, he holds the media hostage, threatening to attack a school bus filled with children if the paper does not cooperate in feeding his desire for publicity. Soon the Zodiac demands that Melvin Belli (Brian Cox), a popular Bay Area attorney, talk to him on television and when the program takes place, there is some reference to the killers headaches but little comes of the conversation. Meanwhile Fincher details the growing strains that the investigation takes on the police and the reporters. \r\n\r\nAvery is taken off the case. Armstrong requests a transfer so that he can spend more time with his family, and Graysmith, who begins to investigate the case on his own, becomes so obsessed with finding the killer that his marriage to his wife Melanie (Chloe Sevigny) is put in jeopardy. Zodiac is an intelligent and involving film that holds our attention for the 158 minute running time but, perhaps because of the nature of the case, it is without key dramatic moments or even an overriding point of view, and is underplayed to the point that it doesnt fully convey the sense of fear and paranoia that gripped the Bay Area during that period. Yet Zodiac is as completely fascinating as All The Presidents Men in its roller coaster ride through tips, secret meetings, false leads, and hopes raised and then dashed. One only wishes that there could have been a Deep Throat to point investigators in the right direction. \r\n\r\nGRADE: B+','b2873ae56b207751d29a6777675d9dfd',0,'','ypgJGNv8',1,0,'',0,0,0),(14879,2506,3,1,0,'69.120.114.47',1198296900,1,0,1,1,1,1,'wpqx','Re: Zodiac','I\'m simultaneously surprised it took me this long to see the film, and amazed that no one else has commented on this thread. Few films I\'ve ever seen are so engrossing. This film pulls you in and keeps you there for the whole show. Fincher has turned down his theatrics in favor of a much more compact style. This certainly was one of the best films I\'ve seen of 2007, hope to get more on the subject later.','73e2ad26212a49682455f40a4c7a6571',0,'','aUw2TVBm',1,0,'',0,0,0),(14880,2506,3,1,0,'69.120.114.47',1198318380,1,0,1,1,1,1,'arsaib4','Re: Zodiac','Most of the previous comments on the film were in the David Fincher thread. And I\'m sure you recall that I felt the same way about Zodiac. The 2-Dics Special Edition, which features the Director\'s Cut, comes out on January 8.','12c1e2ccf62fe4b9615bcf76c539dd98',0,'','1lS7Jt93',1,0,'',0,0,0),(14881,2506,3,1,0,'69.120.114.47',1198378800,1,0,1,1,1,1,'wpqx','Re: Zodiac','I figured there\'d be an extras laden edition eventually. Just glad I finally got around to watching it.','538a443d5c5f81e8e917cd2c634bd6d6',0,'','1zuEXWSh',1,0,'',0,0,0),(14882,2506,3,1,0,'69.120.114.47',1200378840,1,0,1,1,1,1,'arsaib4','Re: Zodiac','\"The players in this business dont view this as being just about making money and getting a table at the Golden Globes. For everyone who truly cares, I think, theres a desire to be culturally important on some level. Its not like anybody involved with Zodiac went in saying, Dont you get it? Theres going to be 180,000 close-ups of different parts of this file. People are going to flock to it! Everybody knew what the issues were going to be, and in spite of that, they wanted to make the movie. The goal here was to make an interesting movie, and I do think that movies are... five years from now is more important than five months from now, in my humble opinion. Ill trade the opening weekend for a movie that can stand scrutiny five or ten years down the road\" (David Fincher).\r\n\r\nFoundas with Fincher (LA Weekly).','76f7030ed395baba729acc545ebb797b',0,'','4B8zUoSi',1,0,'',0,0,0),(14883,2506,3,1,0,'69.120.114.47',1200384480,1,0,1,1,1,1,'R6dw6C','Re: Zodiac','Thanks for posting this link, arsaib. I sympathize a lot with some of Fincher\'s statements (didn\'t know that he got his fingers on the Screenplay that way - it often is a bit curious if a director isn\'t interested to write something himself) but I\'m also still of the opinion that \"Zodiac\" is the only really outstanding work he delivered so far. It\'ll depend on his next film if I\'ll be ready to reconsider him as somebody else than one of Hollywood\'s wunderkinds of the 90ies which happened to make one exceptional film. It\'s not that I disliked \"Se7en\" or \"Fight Club\" (it is true with \"Panic Room\" though) but while watching \"Zodiac\" in the cinema (awfully dubbed, thanks to Warner) I thought \"Wow, is this really a David Fincher Film? Has he really grown up?\". Anyway, it\'s great that so many cineasted appreciate it after it bombed at the boxoffice (afaik).','965b8d1e073d502250d2ed7382446e95',0,'','LMlPp5KS',1,0,'',0,0,0),(14884,2506,3,1,0,'69.120.114.47',1200390060,1,0,1,1,1,1,'wpqx','Re: Zodiac','I didn\'t really know it bombed at the box office considering the people I know who saw it. I think that the reputation of Fincher\'s Se7en and Fight Club he does have a tendency to make memorable films that hold up a few years down the line.','311f45d633bc7df2dd374bc68389979c',0,'','XN0muVKx',1,0,'',0,0,0),(14885,2506,3,1,0,'69.120.114.47',1201057680,1,0,1,1,1,1,'R6dw6C','Re: Zodiac','Well, that\'s just what I heard and read about it and what was around some months ago. If it didn\'t bomb - Great! I\'d love to see more films like this one in today\'s Mainstream Cinema, films that don\'t care about the expectations of the big crowds. \r\nHopefully, Fincher won\'t return to old \"form\" with his next project - a budget of 150 000 000 always awakes bits of distrust.','d6ae2c1340af1c05c23951f61b2ba8a7',0,'','umrSEhFA',1,0,'',0,0,0),(14886,2506,3,1,0,'69.120.114.47',1201074120,1,0,1,1,1,1,'arsaib4','Re: Zodiac','\r\n\r\nBy most accounts, Zodiac\'s budget was around $70 million (Fincher delivered the film for less than what he asked for and received). Domestically, the film made about $33 million. I\'m not sure what qualifies as a bomb, but it was certainly a flop. Having said that, the film has made just about as much since appearing on home video. And it has garnered nearly $52 million outside of U.S. Of course, one also has to take in account the marketing and print costs that in most cases add up to more than the actual budget, but as the auteur stated, it\'s not always about the money!','6ef23cc7d5e5ed4854c416427055580c',0,'','eFfH9X0j',1,0,'',0,0,0),(15595,2590,5,1,0,'98.194.214.43',1243450052,1,0,1,1,1,0,'Ruth','Re: Greek films','If you find them, I am looking for a 1971 film about the life of Manto Mavrogenous.  Please email me at <!-- e --><a href=\"mailto:rgfowler@comcast.net\">rgfowler@comcast.net</a><!-- e --> if you find a source or learn anything that might be helpful.\n\nThank you.\nRuth','e698d4f3cea7e83945b68c323b4e7d42',0,'','1bumgsvu',1,0,'',0,0,0),(15596,2574,3,1,0,'146.201.50.107',1244501021,1,0,1,1,1,0,'CinemaWarrior','Re: Last movie seen','Saw the omnibus flick &quot;Tokyo!&quot; a while back. Directed by Michel Gondry (Eternal Sunshine of the Spotless Mind), Leos Carax (Pola X) and Bong-joon-ho (The Host). \n\nPretty immersive film that apparently no-one has heard of. <!-- m --><a class=\"postlink\" href=\"http://bit.ly/Tokyothemovie\">http://bit.ly/Tokyothemovie</a><!-- m -->','2abc6c60ac819f03eeaffe4d98140947',0,'','1w7vjsu1',1,0,'',0,0,0),(15597,2574,3,130,0,'137.132.250.14',1244628824,1,0,1,1,1,1,'','Re: Last movie seen','[quote=&quot;CinemaWarrior&quot;:mq0q1bqm]Saw the omnibus flick &quot;Tokyo!&quot; a while back. Directed by Michel Gondry (Eternal Sunshine of the Spotless Mind), Leos Carax (Pola X) and Bong-joon-ho (The Host). \n\nPretty immersive film that apparently no-one has heard of. <!-- m --><a class=\"postlink\" href=\"http://bit.ly/Tokyothemovie\">http://bit.ly/Tokyothemovie</a><!-- m -->[/quote:mq0q1bqm]\n\ni watched it last year ...\nsuper weird film ...','a7ed810131bd06d1ca1de14f9b5f67eb',0,'gA==','mq0q1bqm',1,0,'',0,0,0),(15598,2596,6,2,0,'69.120.114.47',1244680276,1,0,1,1,1,1,'','Rudo y Cursi - 2009, Mexico','[youtube:23ps4joq]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/F5UgJEP-IRU&amp;hl=en&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/F5UgJEP-IRU&amp;hl=en&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:23ps4joq]','066b9af3ee38f5fdca04adef5d819612',0,'AAQ=','23ps4joq',1,0,'',0,0,0),(15599,2597,6,2,0,'69.120.114.47',1244680702,1,0,1,1,1,1,'','Summer Hours - 2008, France','[youtube:xvb7x95g]&lt;object width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/oXHMPOMv_FI&amp;hl=en&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/oXHMPOMv_FI&amp;hl=en&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:xvb7x95g]','c83a4a3d76c17fdd0d98e7270f7fdc28',0,'AAQ=','xvb7x95g',1,0,'',0,0,0),(15578,2584,5,1,0,'217.163.18.2',1241897918,1,0,1,1,1,0,'Desperate4Title','Also, does anyone know where to find...','Also, does anyone know where to find the movie Secrets of Love: Three Rakish Tales on DVD?','473228d2bb4661b5c796a76c8a2872d0',0,'','1ouwcwga',1,0,'',0,0,0),(15587,2590,5,1,0,'67.242.142.115',1242676016,1,0,1,1,1,0,'AnnaComnena','Greek films','[b]Does anyone know a good webiste to locate Greek films?   Not pulp comedies that are sold on some sites but the  more  artistic and enduring films...and there are quite a few.[/b <!-- s:) --><img src=\"{SMILIES_PATH}/icon_e_smile.gif\" alt=\":)\" title=\"Smile\" /><!-- s:) --> ]','969e161346a61f2e6348c3d6601ab4ad',0,'','354k86b7',1,0,'',0,0,0),(15588,2591,6,2,0,'69.120.114.47',1242737537,1,0,1,1,1,1,'','Antichrist (2009, Denmark) - Lars von Trier','[youtube:21pbjyor]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/LO-TNfPzh_k&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/LO-TNfPzh_k&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:21pbjyor]','29379dd229233a583a81a599e0c6ef83',0,'AAQ=','21pbjyor',1,0,'',0,0,0),(15589,2592,6,2,0,'69.120.114.47',1242738498,1,0,1,1,1,1,'','Don\'t Look Back (2009, France) - Belluci, Marceau','[youtube:3qts9qdg]&lt;object width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/Zb8-qrp2w98&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/Zb8-qrp2w98&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3qts9qdg]','5865cde1c1ab92cbc1444dff03bd2199',0,'AAQ=','3qts9qdg',1,0,'',0,0,0),(15590,2593,3,2,0,'69.120.114.47',1242777201,1,0,1,1,1,1,'','Cannes Film Festival Coverage','Here are some links to sites covering the Cannes Film Festival:\n\nThe Guardian\n[url:pfbyxn88]http&#58;//www&#46;guardian&#46;co&#46;uk/film/cannesfilmfestival[/url:pfbyxn88]\n\nThe New York Times\n[url:pfbyxn88]http&#58;//topics&#46;nytimes&#46;com/top/reference/timestopics/subjects/c/cannes_international_film_festival/index&#46;html[/url:pfbyxn88]\n\nCannes Journal - NY Times\n[url:pfbyxn88]http&#58;//www&#46;nytimes&#46;com/pages/movies/movieposts/[/url:pfbyxn88]\n\nIFC\n[url:pfbyxn88]http&#58;//www&#46;ifc&#46;com/mt/mt-search&#46;cgi?blog_id=113&amp;tag=Cannes%202009&amp;limit=100[/url:pfbyxn88]\n\nBBC\n[url:pfbyxn88]http&#58;//news&#46;bbc&#46;co&#46;uk/2/hi/in_depth/entertainment/2009/cannes_2009/default&#46;stm[/url:pfbyxn88]','1ab0def456b99bcf19546a6487c2363b',0,'EA==','pfbyxn88',1,0,'',0,0,0),(15592,2593,3,130,0,'137.132.250.9',1243304094,1,0,1,1,1,1,'','Re: Cannes Film Festival Coverage','The winners are\n\n—Palme d\'Or (Golden Palm): &quot;The White Ribbon,&quot; by Michael Haneke (Austria)\n\n—Grand Prize: &quot;A Prophet,&quot; by Jacques Audiard (France)\n\n—Jury Prize: &quot;Fish Tank,&quot; by Andrea Arnold (Britain) and &quot;Thirst,&quot; By Park Chan-wook (South Korea)\n\n—Special Prize: Alain Resnais\n\n—Best Director: Brillante Mendoza, &quot;Kinatay&quot; (The Philippines)\n\n—Best Actor: Christoph Waltz, &quot;Inglourious Basterds&quot; (United States)\n\n—Best Actress: Charlotte Gainsbourg, &quot;Antichrist&quot; (Denmark)\n\n—Best Screenplay: Feng Mei, &quot;Spring Fever&quot; (China)\n\n—Camera d\'Or (first-time director): &quot;Samson and Delilah,&quot; by Warwick Thornton (Australia)\n\n—Best short film: &quot;Arena,&quot; by Joao Salaviza (Portugal)','a8319d7cd38da248601a0ed9b2fd579b',0,'','yjvlobiw',1,0,'',0,0,0),(15581,2574,3,1,0,'69.120.114.47',1242135719,1,0,1,1,1,0,'markxx','Re: Last movie seen','Bob the flambeur','ce844db7c16330de784b75d501d97e69',0,'','2okegj0s',1,0,'',0,0,0),(15582,2585,5,2,0,'69.120.114.47',1242162674,1,0,1,1,1,1,'','Find rare foreign films on DVD','I\'m often asked about the availability of rare foreign films on DVD. Let\'s face it, only a small number of foreign films ever make it to DVD in the US (Region-1), and these tend to be the most popular/commercial films. So what if you\'re a true film buff and want to view obscure (and some not so obscure) titles by Wim Wenders, Nagisa Oshima, and others?  It turns out that it\'s not so difficult even with a small amount of money.\n\n1) Buy a region-free (aka multi-region) DVD player. We all know the story of how the film companies introduced region codes to protect their profits and frustrate people like you and me. The good news is the price of region-free DVD players has come down so much that it no longer matters. You can purchase a good one from one of the sites below for around $50. In addition to being region-free, make sure it will play PAL movies on an NTSC TV. This is critical for viewing movies from Europe. It will say this in the product description. Places to purchase region-free DVD players:\n\n[list:13p6n9m1]\n[url:13p6n9m1]http&#58;//www&#46;bhphotovideo&#46;com/[/url:13p6n9m1]\n[url:13p6n9m1]http&#58;//www&#46;jr&#46;com/[/url:13p6n9m1]\n[url:13p6n9m1]http&#58;//www&#46;amazon&#46;com/[/url:13p6n9m1]\n[/list:u:13p6n9m1]\n\n2) Go shopping! Now for the fun part. You\'ll find lots of great film titles on DVD at the following sites:\n\n[url=http&#58;//www&#46;amazon&#46;co&#46;uk/:13p6n9m1]Amazon.co.uk[/url:13p6n9m1] - has a large number of foreign films distributed in the UK, all with English subtitles. For example, you can get the Wim Wenders\' film ALICE IN THE CITIES.\n\n[url=http&#58;//www&#46;amazon&#46;co&#46;jp/:13p6n9m1]Amazon.co.jp[/url:13p6n9m1] - many Japanese films sold in Japan have English subtitles. For example, you can purchase the rare Itami Juzo film Minbo no Onna (Minbo).\n\n[url=http&#58;//www&#46;hkflix&#46;com/:13p6n9m1]HKFlix.com[/url:13p6n9m1] - if you\'re into Asian cinema, check out this site. They have a great selection of DVDs from Asia, many that require region-free DVD players. They also have Asian TV dramas.\n\n[url=http&#58;//www&#46;yesasia&#46;com/:13p6n9m1]YesAsia.com[/url:13p6n9m1] - another site where you can find Asian films, and even music and games.\n\n[url=http&#58;//www&#46;facetsmovies&#46;com/:13p6n9m1]FacetsMovies.com[/url:13p6n9m1] - this online rental service, brought to you by Facets.org, has an &quot;Imports&quot; section that features imported DVDs.\n\nKnow of any more places to find rare foreign films on DVD?  Post them below.','7f7699c6b344f7e6b801c15a5b51ee62',0,'EEA=','13p6n9m1',1,0,'',0,0,0),(15583,2586,6,2,0,'69.120.114.47',1242386946,1,0,1,1,1,1,'','Broken Embraces (2009, Spain) - Teaser Trailer','[youtube:3l8qpln1]&lt;object width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/-fXiuFG0soU&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/-fXiuFG0soU&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3l8qpln1]','de11271d4bdec032da3598e1b14ab7ac',0,'AAQ=','3l8qpln1',1,0,'',0,0,0),(15584,2587,6,2,0,'69.120.114.47',1242387372,1,0,1,1,1,1,'','Broken Embraces (2009, Spain) - Almodovar','[youtube:1opjda1s]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/bN0SlBE8yGQ&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/bN0SlBE8yGQ&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1opjda1s]','13b091845bf6127b910ef1e86683acb3',0,'AAQ=','1opjda1s',1,0,'',0,0,0),(15585,2588,6,2,0,'69.120.114.47',1242408218,1,0,1,1,1,1,'','Big Man Japan - 2007, Japan','[youtube:7d81yyz5]&lt;object width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/q-sSrSlPaHw&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/q-sSrSlPaHw&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:7d81yyz5]','2e20519b879b4a09274c2f5c7cb72bbf',0,'AAQ=','7d81yyz5',1,0,'',0,0,0),(15553,2574,3,2,0,'69.120.114.47',1240271832,1,0,1,1,1,1,'','Last movie seen','Dot the I (2003, UK) - a romance/thriller with Gael Garcia Bernal.  Saw online with Netflix, based on positive reviews.  I thought it was a waste of time... corny and contrived. It has a decent score on IMDB as well... I suspect Mr Bernal has something to do with that.','32f42850d8fe083017e07dfe0c25bf73',0,'','2fp5jx3c',1,0,'',0,0,0),(15555,2575,5,1,0,'91.125.158.183',1240429805,1,0,1,1,1,0,'Duncan','trying to find a french film','I\'m trying to find the name of a french film I saw years ago, the film is about a young musician who\'s traveling along the Northern cost of Brittany where he meets a girl who has a friend who lives in a light house. I can\'t remember much about the story of the film but they we\'re both planning on making a trip to the isle de quesant for a day trip.\n\nSorry to be so vague but I really want to track this film down.\n\nCan you help ?  <!-- s:| --><img src=\"{SMILIES_PATH}/icon_neutral.gif\" alt=\":|\" title=\"Neutral\" /><!-- s:| --> \n\nDuncan','4e1d3efb88415de51ee60fe5446ac3ce',0,'','mb7sbc7h',1,0,'',0,0,0),(15556,2576,5,134,0,'129.2.175.80',1240512914,1,0,1,1,1,1,'','Gangster Movie','Do you know the name of the gangster movie where this guy is being chased on foot and he changes his disguise about five times?  I\'m not sure if it was Chinese or Japanese.','12d47dff0462e9da27be1116c1be5444',0,'','lfb2ack2',1,0,'',0,0,0),(15561,2577,5,2,0,'69.120.114.47',1240786656,1,0,1,1,1,1,'','Moderators wanted!','Anyone interested in becoming a moderator for the site? Please send me a private message. (Just click on my name and click on &quot;Send private message&quot;.\n\nJason','a01a7a30b03eecbe02504ec2e0df6d95',0,'','ibl5lihy',1,0,'',0,0,0),(15565,1495,7,2,0,'69.120.114.47',1240876133,1,0,1,1,1,1,'','Re: Mexican Cinema Classics','[imdb:263x0jk3]Los Olvidados[/imdb:263x0jk3] (1950) is one of my all-time favorites, directed by Luis Bunuel when he was in exile from Spain. Imagine [imdb:263x0jk3]City of God[/imdb:263x0jk3] but set 50 years earlier in Mexico City. Just as powerful. It\'s a shame it\'s not available on DVD.','75412d5494f3c838da9826dc6248d56b',0,'AAE=','263x0jk3',1,0,'',0,0,0),(15566,2574,3,1,0,'69.120.114.47',1241120057,1,0,1,1,1,0,'cathyr','Re: Last movie seen','I saw Sunshine Cleaning with Amy Adams and Alan Arkin and really like it, although it doesn\'t seem to have gotten much attention. I saw it at a small arthouse theater.\n\nps. I also saw Rachel Getting Married and loved it as well. Anne Hathaway and Rosemary DeWitt were both great.','47c04b4bd45e06a31bd370cd850e76ee',0,'','1s69njys',1,0,'',0,0,0),(15567,2578,6,2,0,'69.120.114.47',1241133383,1,0,1,1,1,1,'','Paris 36 (Faubourg 36) - 2008, France','[youtube:2thbkj30]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/-kDRcRZfGXU&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/-kDRcRZfGXU&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:2thbkj30]','2d0e5a844b144a37f3bc383391202cf4',0,'AAQ=','2thbkj30',1,0,'',0,0,0),(15568,2579,6,2,0,'69.120.114.47',1241133808,1,0,1,1,1,1,'','Sugar - 2008, USA','[youtube:20vvshax]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/JFPo7XMWGMo&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/JFPo7XMWGMo&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:20vvshax]','e3499c108bae934dc9b4b25827f10253',0,'AAQ=','20vvshax',1,0,'',0,0,0),(15569,2580,6,2,0,'69.120.114.47',1241134001,1,0,1,1,1,1,'','Tokyo! - 2008, Japan','[youtube:juc7zqa2]&lt;object width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/8TUbDzB7m5U&amp;hl=en&amp;fs=1&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/8TUbDzB7m5U&amp;hl=en&amp;fs=1&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:juc7zqa2]','25f052149f65574711d2282635dc8d56',0,'AAQ=','juc7zqa2',1,0,'',0,0,0),(15586,2589,5,157,0,'75.7.229.108',1242518478,1,0,1,1,1,1,'','British or Aussie film---do you know it?','Saw film on Qantas flight 5 years ago....two men, best friends since childhood, share a secret of something bad from their childhood. They grow up, man gets married and the other friend gets very jealous.  There\'s a murder and no one knows who did it...surprise ending.  DOES ANYONE KNOW THE NAME OF THIS FILM?','29012b9bb13ebc6fa5175980c34aecc3',0,'','1umnm2fc',1,0,'',0,0,0),(15564,2574,3,2,0,'69.120.114.47',1240874263,1,0,1,1,1,1,'','Re: Last movie seen','Rachel Getting Married (2008) - directed by Jonathan Demme.  Good film.','1ab8703edb0fde698c337d9975f21a26',0,'','2uo0un2e',1,0,'',0,0,0),(15593,2595,6,2,0,'69.120.114.47',1243379764,1,0,1,1,1,1,'','The White Ribbon (2009, Germany) - Palme d\'Or Winner','[youtube:3fb62mii]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/YoUgzyUrHag&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/YoUgzyUrHag&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3fb62mii]','c6b9b75f04b4095a72cb9ec62ad62d90',0,'AAQ=','3fb62mii',1,0,'',0,0,0),(15577,2583,5,1,0,'217.163.18.2',1241897739,1,0,1,1,1,0,'Desperate4Title','Trying to find the name of this film!','I watched a movie a few times on Cinemax at night (it was either French or Italian).  It starred this older red headed woman.  She was this little boys stepmom.  In the scenes I remember the little boy of 12 or so drops a fork under the dining room table and while the parents chat he slowly works his way to looking up and even attempting to run his hand up the mom\'s skirt before she scolds him.  Later he walks in on her during a bubble bath and she has him stay and scrub her back, and front before he gets scared and jets.  The last scene I remember she goes to tuck him in and give him a kiss.  At the last possible second he turns towards her locks lips and frech kisses her before she struggles to pull away.  I have wanted to know the title of that film for a decade or more now.  Anyone have the slightest clue?  It is one of the few movies from my past I have always searched for without knowing what I am searching for.','7de0d4f71838205b51a49f5d09dd3ef6',0,'','2uryb7o8',1,0,'',0,0,0),(14982,2520,3,1,0,'69.120.114.47',1164965880,1,0,1,1,1,1,'wpqx','Borat (2006)','With all the debate running around on this film I\'m a little surprised no one on this site has made a thread on the picture, and I\'m unaware if anyone here has even seen the film yet. Well I saw it, because I\'m not the type to be ignorant when it comes to film. A friend and I went off to the ghetto theater (partly because its in the ghetto and partly because its the cheapest show in town and you\'re guaranteed to have at least two seats in every theater with garbage bags over them. Well in theater 10 we were literally the only ones in there, and I wondered if we were the only people in the entire theater.\r\n\r\nWell we\'re watching and a few laughs can be had early. A few quick cuts, surprised people and we\'re in for a good treat. Then they go to a bed and breakfast run by Jews. Anti-semitic humor is en vogue and this films basks in it. At first there is the \"Running of the Jew\" where a giant Jewish head complete with green skin and devil horns is raced. The later reprise of the gag is converted to Christianity, and instead they crucify a Jew and hit him with pitchforks. Anyways they\'re convinced the Jews have \"changed forms\" and turned into two cockroaches and in order to get out of their house Borat and his partner throw dollar bills at the roaches and run out of the house. Well this set it up for a good laugh.\r\n\r\nAfter this the duo decide to get protection against the Jews, and after being denied access to a gun, the two buy a Bear. Since Borat\'s car is a run down ice cream truck seeing the kids run up to the window of an ice cream truck only to have their bear growl out the window was priceless. I figured at this point the film was a winner. However when two grown men have a nude fight that runs into a business convention, well lets just say I thought I was going to have a heart attack.\r\n\r\nThe film ranges from the best of prank like reality shows with good old fashioned scripted gags. A film that looked immensely fun to make, and one that rarely lets up on genuine laughs. Perhaps my sense of humor is @#%$ up enough to truly get this, but I\'d be willing to sit through it again. Damn good show, and a damn fine piece of social commentary. Borat has gotten many American\'s to get their real politically incorrect feelings out there including congressmen bashing homosexuals, and rednecks admitting all Muslims look like terrorists. The film shows some of the worst sides of being an American, but you don\'t mind laughing at yourself. Still wonder what the Jewish take on the film would be.\r\n\r\nGrade A','1967d9e539d717ff3766528b738ac5a8',0,'','kVSLKTDc',1,0,'',0,0,0),(14983,2520,3,1,0,'69.120.114.47',1164968640,1,0,1,1,1,1,'justindeimen','Re: Borat (2006)','Have yet to watch this but I do know the type of humour and approach that this film takes. I did briefly discuss this with someone previously so bare with me as I paste some choice passages.\r\n\r\nI need to see distinction in my comedies. Some people such as myself have a weird reaction to mean-spirited humour and I can\'t find myself laughing wholeheartedly at making fun of ignoramuses, it creates something pretty damn hollow for me. Maybe it\'s that I just can\'t support at a guy who seems so morally superior (as he lies to everyone he meets no less) while lending audiences that very feeling of superiority which just seems so hypocriticial.\r\n\r\nFor the record, I think this keen mission to unroot the country\'s sordid aspects of racism and sexism is more of an afterthought to the comedians and team behind it rather than its purpose. This coming from a person that has seen his earlier works.','2d88d3284495617ad348059081179972',0,'','oG62LFqf',1,0,'',0,0,0),(14984,2520,3,1,0,'69.120.114.47',1166815140,1,0,1,1,1,1,'justindeimen','Re: Borat (2006)','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nBorat (Im tired just thinking about the entire title so lets just use the abbreviation) is a truly funny and utterly outrageous mockumentary that has rightfully made its star (Sacha Baron Cohen) a phenomenon. Cohen and comedy stalwart, Larry Charles are either the bravest souls on television or the most cavalier. It delivers more knockout punches in its opening act than most billed comedies have in their entire running time (sequels included). It starts out with a purposeful but not all that difficult premise of uprooting the wavering perception of the United States of Americas open policy and social cohesion in regards to race and religion. \r\n\r\nIt also prides itself on eliciting legitimate responses (well, mostly legitimate) from its subjects that range from unwise wizened Texans, college frat boys to Pentecostal churchgoers in an apparent effort to ridicule and I suppose to expose the hypocrisies of the American collective. But what starts out as a preceding imperative to satirise the extreme right-wingers and clenched up patrons of morality and decency slowly turns into a disappointing afterthought in the middle of its comic snuff that takes out any one caught in Borat Sagdiyevs maelstrom.\r\n\r\nPushing the boundaries and expounding on the then undisclosed aspects of the Borats life in Kazakhstan, the film starts off in a small village where he reveals himself to be a celebrity in his country, a proud brother of the third best whore in Kazakhstan and the unhappy husband of a growling ogre of a wife. He tells us of his impending journey to the U-S of A where hell bring back the cultural learnings of America for make benefit glorious nation of Kazakhstan by way of a documentary record. To aid him in his endeavours is Azamat (Ken Davitian), his overweight producer with one eye on the budget and the other on the roadmap. Taking a detour from the deeply cynical East Coast, they embark on an episodic road trip that leads them through the heart of the country from the Deep South to Los Angeles in the pursuit of romantic explosions. Even with a constant structure and a neatly stacked narrative, Borat most resembles a refined Jackass and Punkd hybrid especially in its outrageousness thats probably only equaled by the courage shown by its more than willing cast and crew that predictably risked physical harm. \r\n\r\nAnd not for nothing, but there is an ugly undercurrent of exploitation and an inflated sense of superiority in Borat that is probably easy to ignore amidst the barrage of laughter and its mask of being an equal opportunity offender. It works its charms by removing the audience from its subject, seducing them first by reassuring them that by laughing at the silly racists and homophobes and that they are actually laughing at their own insecurities. But are they really? \r\n\r\nThe real concern is that there is a lack of distinction being made between ignorance and truly odious opines. While its chilling to see a reasonably presentable man call for capital punishment in cases of homosexualism and disappointing to see the collegiate drunkenly ruing the end of slavery and sexism, its also as equally vile to see people that refuse to be drawn into Borats game be goaded into becoming caricatures for the camera especially when we arent privy to the elaborate falsehoods that were told before the release forms were signed. And what about those that that mean well and those who want to give Borat the benefit of the doubt due to his perceived naivet? Instead they get pushed to their breaking points in order to get the response that the crew wants.\r\n\r\nThose who now think that I have missed the point of this social exercise are wrong. I find the repulsive nature of prejudice off-putting as much as the next person, and respect Cohens abilities as Kaufman-esque comedian to the extent of backing him for any Best Actor awards regardless of the apparent novelty factor. But do I necessary have to approve or even cheer on someone who deceives his way into making a salient and frankly, hypocritical point about exposing the real truths while watching him dole out punishment via humiliation to the ignorant racists and the overly conservatives that Cohen does not approve?','06221b3d4aee586e0bc40b601a779498',0,'','bGLWcmFN',1,0,'',0,0,0),(14985,2520,3,1,0,'69.120.114.47',1167822840,1,0,1,1,1,1,'hengcs','Re: Borat (2006)','I have watched this too ...\r\nHmmm ... not everyone can see the \"hidden agenda\" ...\r\nat face value, the film can be rather offensive to many pple ...\r\nand to some who are not aware that the film is a mockumentary or whatever you call it, they may feel even more \"confused\" ...','f4abcf6e8b79ceea78ab3e1b87e330b5',0,'','Wugio3Rw',1,0,'',0,0,0),(14986,2520,3,1,0,'69.120.114.47',1168215060,1,0,1,1,1,1,'jcdavies','Re: Borat (2006)','Well, i\'ve not seen it but i\'ve heard quite a bit about it and the Kazakh reaction. Of course he was simply picking a virtually unknown country to test out reactions and stereotypes, but it\'s hardly surprising the Kazakhs didn\'t get the joke. They could use it as a positive opportunity for tourism rather than worry too much about their image. I\'ve looked up a bit on the country, and once did an April Fool spoof poll of Kazakh cineastes (that caught out quite a few) well before Cohen copied my idea. It\'s a big place but less glamorous than silk road neighbours like Uzbekistan (which now has a monstrous leader), with its legendary cities like Samarkand or rulers like Tamberlane. Still, i did get a Kazakh cd, Akku, by Raushan Orazbaeva, virtuosa of the magical shamanic kyl-kobyz instrument. And i see Welsh composer Karl Jenkins went over there a few years back, did a Kazakh-influenced piece.\r\n\r\nAnyway, Cohen is expert at eliciting unguarded natural reactions and showing up otherwise hidden prejudices in supposedly more advanced/civilised modern societies.','58d354acde2b6b8b870f7963a4dc14bb',0,'','8g15XAcf',1,0,'',0,0,0),(14987,2520,3,1,0,'69.120.114.47',1193138520,1,0,1,1,1,1,'wpqx','Re: Borat (2006)','I feel like I have experienced it all by watching all of the show that Borat originated on. Cohen\'s ability to play on inborn prejudices and getting people to say what they really feel is great. Borat is most likely his best character and this film is still hilarious a second time around. Its embarassing sometimes how homophobic and racist this country can be.','0e8b5fbec3c3e836b3dd6f5fc6eb672e',0,'','HdFVlhUx',1,0,'',0,0,0),(14989,2522,3,1,0,'69.120.114.47',1192096620,1,0,1,1,1,1,'A','Memento (USA / 2000)','\r\nMemento\r\n(Christopher Nolan / USA / 2000)\r\n\r\n\r\nAt the beginning we have two stories. One unfolds forward (at first photographed in black and white), the other backward. Two threads that will meet near the end of the whole. The main problem: not being able to forget the past because there is no present. All you have in the present, all your recent memories, relate to the past. So the past becomes the present you have to live in. A perpetual motion machine from which our protagonist tries to break free by creating a purposeful present state with an aim in the future. \r\n\r\nYou could call Memento a typical revenge movie, if it weren\'t for the inverted storyline and a protagonist with memory loss. As can be expected in such a case, the movie also plays a lot with the effects of paranoia, especially in the black and white segments which are at times reminiscent of films with a similarly obsessed character like Darren Aronofsky\'s Pi (1997). Overall, the narrative device works, because we know comparatively only as much as the protagonist. We can puzzle together more than he from his future, but at the same time we know less about his past. It\'s a clever idea, and our impression of what we know keeps constantly changing, accounting for another suspenseful thread besides the plot. Nevertheless here\'s the story as I understood it. \r\n\r\nOur main protagonist Leonard (Guy Pearce) has lost his short-time memory through a blow at his head, which happened while he was trying to save his wife from being raped. While his past remains purposefully blurry after this incident (did he accidentally kill his wife afterwards?, who was Sammy Jankis really?), it becomes clear that a cop named Teddy is using him for his own purposes (which are presumably primarily monetary), as a killer for some time already. During the same time period, Leonard, who only wants revenge for the death of his wife, tries to find and kill his wife\'s rapist. As this has probably already happened before the films\' main storyline, the mission Leonard is now really on is how to get rid of his recent past as a hired killer and find redemption. In the end he succeeds to construct a different reality for himself through the help of his illness and another woman whose fate become intertwined with his. So what initially destroyed him also helps him to find new meaning, and a new life. \r\n\r\nIf memories are a construction of your mind, you can maybe choose what to remember and what not. Or to put it more clearly, you can choose what you want to recall as well as how you want to recall it. Memories are a part of your present life and form it to a huge extent. And as Leonard says: \"You need something to believe in to go on living\". But what if you are chasing someone who doesn\'t exist, or merely the wrong person, without being aware of it? What is really at the heart of revenge? Who do you want to kill - the person you are looking for or the person you have become yourself ? Maybe you are already in the process of killing over and over again. And what\'s the purpose in that? Maybe you want to forget who you really are, who you were and what you did. To finally become somebody else. Memory loss offers positve and negative possibilities. And what is truth anyway? Isn\'t it also a construction of your mind, isn\'t truth what you believe it to be?\r\n\r\nThe short clips from his past with his wife, the part of his life which is important for him and gives relevance to the present, are shot in color. They reminded me of Terrence Malick\'s magical inserts of memories of past domestic (and romantic) lives, the soldiers are having during World War II in his masterpiece The Thin Red Line (1998) , because in Memento they are presented in a similarly fragmented way - something which might have become popular in independent films after the success of Danny Boyle\'s Trainspotting (1994) and can be witnessed in such recent debuts as Joachim von Trier\'s Reprise (2006) - and aim for a comparable emotional impact that is tied to the notion of loss and existential angst. The moments from his past one remembers or clings to in moments of horror, become in retrospect not only more beatiful and significant, but also serve as a (retroactive) foreboding to the events that will follow. Thus, a moment of love becomes also a moment of despair, each moment of innocence getting its significance partly through this circumstance. As a result, melancholia is born. If we can therefore deduct that each moment already contains the seed of its future, the Horror Joseph Conrad discovered in the Heart of Darkness and to which Marlon Brando is so tragically referring to in Apocalypse Now (1979), is inherent to every moment. But as the present naturally also carries the past, a bigger truth gets uncovered. Horror and beauty coexist all of the time. The awareness of this (something I\'d call life - or living/being/existing, as you wish) is what these kind of films have in common and what makes them relevant to us. And if we remember that tragedy and beauty is also at the core of Film Noir... \r\n\r\nSometimes movies keep telling the same old stories.','a9ab30bb68a0242f8c09413e1ac1e35a',0,'','YstcKBqd',1,0,'',0,0,0),(14994,2525,3,1,0,'69.120.114.47',1189765320,1,0,1,1,1,1,'justindeimen','Sicko (2007)','Review: \r\n\r\nCanadian filmmaker Debbie Melnyk acknowledges the awful truth with evident disgust when she calls Michael Moore a cultural icon of the left wing in her documentary, Manufacturing Dissent. Critics and political pundits argue that Michael Moore is an ideological con artist, a Machiavellian personification of the left wings stronghold on popular culture and a belligerent egoist. In Moores new documentary, he implicitly recognises this perception and relays his patented brand of awareness that regards bipartisan ineptitude and clout consolidation as a key factor (and indirectly endorsing Senator Obama for Democratic Nominee) that has lead to a corporate monopoly on healthcare in the United States. Possibly his most indicting claim in Sicko is not merely the ugly concept of state-sponsored economic discrimination but that of an insidious social line being drawn between politicians and the public. \r\n\r\nThen again, the film smugly arrives with self-created controversy stemming from his unauthorised and illegal jaunt to Cuba with chronically ill 9/11 volunteers to his strategically publicised feud with CNNs Medical Correspondent Dr. Sanjay Gupta, over disagreements in an independent report refuting Moores claims in the film. And its increasingly difficult to fault Moores gung-ho activism over an issue that directly affects the lives and well being of the many faces he presents on screen: from the man who had to choose between two of his severed fingers to the old woman who was literally dumped outside a less exclusive hospital by another healthcare facility by one of its staffers. \r\n\r\nPerhaps his most evasive manoeuvring to date, Moore frequently hides behind his choice of interviewees over the issues he accuses the venal system that red tape and corporate governance propagates, such as an interracial couple lamenting their loss on grounds of prejudice and homelessness resulting from the depredation of the elderly, to the larger picture of the insurance companies heinous valuation of human lives as nothing more than protecting its bottom line. This is Moores most infuriating and ambitious feature film as he draws back the stitches and prods the open wound of his countrys state of social welfare. \r\n\r\nThe horror stories come thick and fast with a gradual emphasis on the privatisation of welfare and the systematic disregard of moral outrage. And by not just elucidating the toxic idiosyncrasies of the status quo but by also rarifying fringe social problems that undermines the most basic human rights, the film routinely jumps from and relates individual anecdotes to national crises. Moore builds to an affected climax that explicitly chips away at the storied history of democracy and capitalism in the United States by cheerfully proclaiming that even socialist Cubas healthcare system, including the treatments offered to prisoners in Guantanamo Bay are superior to that available to unemployed 9/11 volunteers whose respiratory problems originated from the pollutants at the World Trade Centers ground zero. To his credit, Moores self-serving and elongated stunt at the end belies the truth of Sicko in that this is his most grounded film to date by largely avoiding the broad comedic schtick he has been prone to do. He manages an expressive connection to his audience (a staunchly pro-Moore one at that, to be sure) and to lays the groundwork for his most poignant images. He responds on a fundamentally emotional level and not the facetiously droll manner that he purports through the rest of his oeuvre. \r\n\r\nWhile Moores jackhammer touch to documentary filmmaking mirrors his simplistic notion of the political battlefield, its no surprise that the films more informative and furious moments arrive not from the filmmakers rampant postulations but from actual research and questions asked - \"Where did it all begin?\" the voiceover looms. Reaching back into 1971, Nixon hands over healthcare administration to the likes of Edgar Kaiser (whose Kaiser Permanente is now the largest health insurance company in the country) in an attempt for pockets of government to profit from its citizenry. \r\n\r\nOne of Moores favourite uses of fiction is his single-sided comparison of the United States to countries abroad, aside from Canada and the aforementioned Cuba, Moore jetsets to Europe France and England to be specific. Reacting as if he knew the answer, Moore insincerely talks to groups of middle-class expatriates who, over glasses of champagne and chic cuisine overbearingly regale us (and mostly the drooling Moore) of their good fortune in escaping from the United States tyranny for the good life. But its telling that Moore never truly addresses Frances turmoil surrounding its lower economic banlieues, which in its own way reflects the United States poorer neighbourhoods and social strata. \r\n\r\nUltimately, Moore uses the tools of the editor to break the rules of the journalist. After a couple of worldwide hits on his hands, its understandable that he does away with the hurdle of subversion by playing up his disregard for his detractors and the establishment that has allowed him to make his wealth and stroke his ego. Sicko has its fair shares of Moore-esque developments that are disgustingly shameless and reductive such as his overly amused faade at anonymously donating funds to the owner of an anti-Moore website whose wife needed treatment. The film in essence works best not as a polemicising rant against Moores opponents but as a persuasive reminder for Americans to exercise awareness over the noxious political entities gambling over life and death right in their country every day.','8910a2950d811e46fb46f595d434dae9',0,'','sC83LHTv',1,0,'',0,0,0),(15010,2530,3,1,0,'69.120.114.47',1124103720,1,0,1,1,1,1,'hengcs','The Aristocrats (2005)','Well, I will only say that my friend and I did not know what \"The Aristocrats\" joke was until we watched it ...\r\n\r\nWhat is good ...\r\n-- Frankly, I only like one scene, the \"pack of cards\" rendition of the joke ... hee hee ... \r\n\r\n-- And to some extent, the mime rendition of the joke ...\r\n-- And to some extent, the South Park rendition ...\r\n-- And if you insist, from a film critic\'s perspective (as opposed to a moviegoer), there might be some food for thoughts issue (despite the premise of a comedy) about how beliefs/tolerance/etc had evolved over the years, across different gender, across different ethnicity, etc ... but in my humble opinion, most average moviegoers wouldn\'t be bothered ... \r\n\r\nWhat is problematic ...\r\n-- Hmmm ... to watch the film, you have to be receptive ... you should not be offended by any kind of jokes ... some audience walked out half way ...\r\n-- As a matter of fact, the cast of comedians (in the film) laughed much more often than the audience (at least during my screening) ... \r\nThe main reason: the jokes became rather repetitive after a while (i.e., even with different versions by different comedians) ... \r\n-- Maybe some comedians or some jokes are more \"localized\"?! \r\ne.g., My friend and I did not understand why near the end, Gilbert Gottfried can solicit so much laughter during his TV filming, but not necessarily from the theater audience ...\r\n-- Hmmm ... some people may not like the idea of two comedians telling the joke to their own babies (even though their babies were too young to understand the joke) ... \r\n-- Finally, it might be good to provide the names of the comedians during the film as opposed to the end, esp. for audience who do not know who they are ... \r\n* pardon our ignorance * \r\n\r\nConclusion:\r\n-- You have to be prepared ... do not be offended ...\r\n-- Also, I wonder if Americans can appreciate the sense of humor/joke better than other nationalities ... in part because they know the comedians better\r\n\r\n** Despite NO rating, I definitely would NOT bring kids to the film ...','d983b636eb13aebc51d759c9d56a31c7',0,'','5YQJC6nG',1,0,'',0,0,0),(15011,2530,3,1,0,'69.120.114.47',1164942360,1,0,1,1,1,1,'wpqx','Re: The Aristocrats (2005)','Well sorry after so dreadfully long to bring this thread back, but I finally just watched the film. Now with any luck the film would have been side splitting hilarious, but I don\'t think enough of these comedians were able to sustain the material long enough to carry through. Some of the interpretations of the joke were quite good, I liked the South Park version, Sarah Silverman\'s, and Kevin Pollack\'s imitation of Christopher Walken telling the joke. The unabridged version of the joke (found on the special features of the DVD) is much better and the film\'s convoluted editing structure may make the film move briskly, but it sacrifices some of the humor. For whatever the cause, its great to see so many of these comedians together.','a4b662458865ed006678d1d0fae084de',0,'','JSmGitjT',1,0,'',0,0,0),(15012,2530,3,1,0,'69.120.114.47',1164951000,1,0,1,1,1,1,'arsaib4','Re: The Aristocrats (2005)','I also passed on The Aristocrats last year. I was intrigued by \"the joke\" but, I guess, not enough to go watch it. I waited for it to appear on DVD but then never got around to it.','b5ed8d3566b9aaa11fe5154621c1af22',0,'','TDj26vrc',1,0,'',0,0,0),(15013,2530,3,1,0,'69.120.114.47',1164964920,1,0,1,1,1,1,'wpqx','Re: The Aristocrats (2005)','The special features on the DVD are better than the film itself. Hearing the comics tell \"other\" jokes and listening to them run unabridged was to me an improvement, but a little overkill. For fans of stand up I\'d say hunt it out, but not exactly a film for the movie lover. Oh and word to the wise it helps not to watch the film with your mother.','68540d3d0f485e8a30fadd6adfc555b8',0,'','H1o3yYkt',1,0,'',0,0,0),(15014,2530,3,1,0,'69.120.114.47',1201161420,1,0,1,1,1,1,'sfdavide','Re: The Aristocrats (2005)','\r\nFor Paul Provenza and Penn Jillette to even think a film about a really bad joke would work was insane. Guess what, not only did it work but it may have been the funniest movie ever. I have laughed before at films, Harold and Maude, Some Like it Hot, etc, but never as hard or as much as I did for this film. I was laughing so hard that I had to watch it again because I missed what was being said in the next scene. The joke does not make any sense and is not funny. What is funny are the different ways comedians remember it and their reflections and retellings of it. The highlights are George Carlin and Gilbert Gottfried. I have never been a Gottfried fan but his telling of the joke at the Friars Roast of Hugh Hefner is classic. Carlin makes up his own version of the joke on the spot and even though very disgusting is very funny. Even the normally \"clean\" Paul Reiser has a graphic and hilarious retelling of the joke. I had trepidations about watching this film. A 90 minute movie about a joke, right. But after seeing it I am glad I did and will be recommending to all my friends.','b7a85d98c85031383d6a41162d0c9291',0,'','N0ShiqbE',1,0,'',0,0,0),(15015,2531,3,1,0,'69.120.114.47',1161773640,1,0,1,1,1,1,'justindeimen','Clerks 2 (2006)','Review:\r\n\r\nAlmost everyone is familiar with the indie sensation, Clerks that transformed Kevin Smith from a struggling new director into a cult hero amongst detached and world-weary young adults. If not theres always Chasing Amy, Mallrats, Dogma and Jersey Girl (which I believe even Smith wouldnt even want mentioning). No longer an unknown quantity, we pretty much know about his modus operandi in his movies. With a repeating menagerie of quirky slackers and his incredible knack for persuasive patois, its much like observing cinematic vaudevillians staging hijinks in everyday situations. \r\n\r\nIndeed, Smith still preaches the same iconoclastic ideals in his entire oeuvre as he did in his debut. Now he returns to his most beloved stomping ground in the View Askewniverse with his tried and trusted caboodle of key characters in Dante (Brian O\'Halloran), Randal Graves (Jeff Anderson), Jay and Silent Bob (Jason Mewes and Kevin Smith). He brings aboard veteran (in these circles at least) performer, Rosario Dawson as Becky, Dante and Randals boss at their new burger flipping jobs, and Smith also brings along a couple of new performers in Trevor Fehrman and Jennifer Schwalbach (Smiths wife), who are unfortunately the weakest links in this retrospective self-justification. Smiths stroll through his past brings back the laughs thats unseen in his later works, but leaves a lot of the heart behind in lieu of loftier ambitions.\r\n\r\nWhat Clerks II has going for it is its vintage, ubiquitously ribald humour being delivered and scripted by its master vulgarians who dont seem to have missed a beat even a decade on. Its pretty much a jazzed up (budget wise), more sophisticated jaunt with its manchilds through the tedium of minimum wage jobs, all in the space of a day. More elaborate gags, unconstricted by singular locales and a much more rounded soundtrack are welcome additions. Clerks II has substantially more plot than its predecessor, making the humour and characters much more significant in their presence, not just participants in episodic events staged about specific punchlines. This obviously offers a chance to craft a suitable bookend to the lives of these characters as well as possible openings for further ventures in the future. \r\n\r\nRandal takes the centre stage in this film, much like Dante did in Clerks. Hes possibly the best and most elevated character within the cartoon cutouts that the rest of his cadre appear to be. Hes the biggest manchild of them all but also the one who seems to be the most self-aware about his situation, keeping his insecurities hidden just long enough to belt out another diatribe to strangers about the changing world that is adamant on leaving him behind. Compare this to the uneven characterisation of Randals fellow burgershack colleague, Elias (Trevor Fehrman) whos a devout Christian, a Lord of the Rings and Transformers fanboy virgin that happens to believe the most inane lies told to him by his peers. Oh, and hes also a mamas boy.\r\n\r\nPerhaps the most unforgivable misstep for Smith would be his indecisiveness in actually settling on a message. 10 years ago, leaving it open was a great setpiece for the rest of Dante and Randals stunted lives. But how was he to know that hell be revisiting the Quick-Stop once more and now, conclusion is needed especially in the midst of potentially life-changing revelations.\r\n\r\n3 out of 5','6c139c27359a11a08087aee000ccbf7b',0,'','0zfDQcsY',1,0,'',0,0,0),(15016,2531,3,1,0,'69.120.114.47',1201399140,1,0,1,1,1,1,'wpqx','Re: Clerks 2 (2006)','I finally watched the film today, which seems fitting because every one of Smith\'s films I\'ve caught on DVD (and his DVD releases are without exception excellent). This was as entertaining as I would have hoped. Its hilarious pretty much start to finish, and although I cringed with the dance number it was pretty much the only misstep in the film. I wondered if Dante would have actually left and Smith would have let his slackers grow up after all these years. Even the predictable moments are enjoyable because its what we want to happen. A welcome return to form.','7f55fc6db48ba04da4146b32f671251a',0,'','hP6ZeMrE',1,0,'',0,0,0),(15032,2533,3,1,0,'69.120.114.47',1186093920,1,0,1,1,1,1,'wpqx','Silent Film Journal','I decided to rummage through the Last Movie thread and pull out the silent films I\'ve seen and post them here, so people who feel like discussing certain silent films feel free to do so. Likewise anyone who watches a silent film feel free to post at least a few random thoughts here. I\'ll try and make each post somewhat informative with whatever historical information I can find. I\'m feeling somewhat motivated, so I might just go through the entire Last Movie thread.','14542736aabf344abf4c5dfecaa18887',0,'','Pvw93fQb',1,0,'',0,0,0),(15033,2533,3,1,0,'69.120.114.47',1186094040,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Bells (1926) - James Young\r\n\r\nWell the silent film fest is continuing and nearly over. This film is perhaps best marketed today as one of the early appearances of Boris Karloff, whose role here is extremely small as a hypnotist. The film combines all the guilt you\'d expect in an Edgar Allen Poe story, but with an ending that doesn\'t seem to really fit. Gruesome at times, and heavily influenced by German cinema this film has aged somewhat well. As a period film a different era\'s morals can be employed and a great deal is said about superstition and witchcraft. Lionel Barrymore proves that he never actually was young, but delivers a good performance as the man who most profited by the gruesome death of a travelling Jewish merchant. I admired how his character, despite turning into the \"villain\" is actually by far the nicest guy in the story, which of course leads to the chilling notion that under the right or wrong depending on your beliefs circumstances anyone is capable of evil. The film is full of expressionistic touches and plenty of ghostly evidence make it one of the finer psychological horror films of its time.','a2617c829006fe38f2e357b93e4a2365',0,'','DYZwgBXK',1,0,'',0,0,0),(15034,2533,3,1,0,'69.120.114.47',1186094100,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Paris Qui Dort (1922) - Rene Clair\r\n\r\nRene Clair\'s first film might very well be his best. Although just over 20 minutes, I loved the concept of the picture. A scientist perfect a ray to make the whole city of Paris stop dead in its tracks. However a few people are not affected, and proceed to run through the \"ghost town\" of Paris, having champagne on top of the Eiffel Tower and visiting the hottest clubs where all the dancers aren\'t moving. The film would be copied in some form or another many times over, and it was echoed quite well in Cameron Crowe\'s Vanilla Sky introduction. I found it interesting though that on this particular Kino VHS release (I had seen it previously on the Criterion DVD for Under the Roofs of Paris) the score made it sound like it was some creepy science fiction/horror film and the doctor who created the ray was something of a monster. This was the American release, here named 3:25, and it was re-edited to highly contrast the fun and fancy free French original. Knowing the somewhat fantastic and surreal elements from Clair, this is a fine start as any to a subversive and always fascinating film career.','72d7ff3468bc8130e7997dba3b7ee128',0,'','X1ktCE20',1,0,'',0,0,0),(15035,2533,3,1,0,'69.120.114.47',1186094220,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Penalty (1920) - Wallace Worsley\r\n\r\nOne of the films that helped establish Lon Chaney\'s reputation as the man of a thousand faces, this yarn has Chaney playing an amputee criminal mastermind whose been plotting his whole life to get revenge on the doctor who unnecessarily cut off his legs. The film is none too terrifying and Chaney\'s harness to tie his legs behind him might seem like simple tools but the film goes along with a tradition of films where the misshapen, or deformed naturally were unbalanced mentally. Of course Chaney\'s cure is at once silly and ironic it does help to dispel that myth. Rather melodramatic stuff here and something to hunt out for fans only.','c8fb09c5813b65d56bc7f911057b62c9',0,'','Ck9HAhQ8',1,0,'',0,0,0),(15036,2533,3,1,0,'69.120.114.47',1186094340,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','It (1927) - Clarence Badger\r\n\r\nThe film that pretty much cemented Clara Bow\'s reputation, was actually another in a long string of successful films of hers. The film was actually fairly close to the life Bow would have had without acting. It is a charming romantic comedy that\'s charming primarily because of Bow who had one of the most incredible screen presences in all of film. Of greater interest is the documentary included on the Kino DVD called \"Clara Bow, Discovering the It Girl\". The doc is concise yet informative, and I learned quite a bit about her. Hell I though she made about one sound film and dropped off the face of the earth, but she actually made a successful transition to sound, and her heavy Brooklyn accent was nearly as bad as people had made it out to be. Now I\'m curious to see more of her films, considering how horribly ignorant I am of her work. It however will remain her most remembered and celebrated work. Modern evidence has linked Josef Von Sternberg to the project but received no screen credit. The film was made shortly before he would become Paramount\'s top dramatic director. It was released early in 1927 so was ineligible for Oscar contention, although I wonder if Bow would have been recognized, she failed to receive a nomination from that first year\'s best picture winner Wings.','ab12a096b0ba0fd396204423b48bf95f',0,'','WzNsk9gy',1,0,'',0,0,0),(15037,2533,3,1,0,'69.120.114.47',1186094400,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Phantom (1922) - F. W. Murnau\r\n\r\nWith a film title like Phantom, and a director like Murnau, who\'s three previous films all contained elements of the super natural, the title of this film might seem really misleading. Once I realized the film had nothing to do with Phantoms or spirits, you quickly had to reassess the picture. The film is more melodrama, and a little downbeat. However the picture despite being completely non-specific about time or place, the picture does comment on the economic situation of then present day Germany. The film is pretty much all about money, and the lack of it. Murnau disposes of most of the expressionistic touches of the film. However parts of the film use some tricks. The film is probably more closely related to impressionistic film. This is evident in the nightclub scene, where delirium is rendered with a very subjective scene. The film was thankfully unearthed and restored, perhaps not to its original glory, but far better than any previously available prints. Luckily at the same time a print of The Haunted Castle was unearthed, so I can only hope that film can come back.','c206f7783eaac67093ffe779d35dfce3',0,'','pCARM73S',1,0,'',0,0,0),(15038,2533,3,1,0,'69.120.114.47',1186094520,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Judex (1916-17) - Louis Feuillade\r\n\r\nThere aren\'t a lot of Feuillade serials on DVD, in fact there are about two available in the US, Fantomas was released on Region 2. Getting a chance to see this was certainly a treat. The film gets unfairly demoted next to Les Vampires, but that is unjust. The film feels like a film novel. In episode form the serial doesn\'t need to relate to a conclusion. Instead all you need is enough to contain thirty minutes or so, and this film works on that level, as roughly 13 mini-films each a narrative within itself with a loose end. Allowing for many rich characterizations, and a chance for many characters to be introduced and disappear without us really getting confused. The modern equivalent of a mini-series, I can\'t help but admire this work. Not to say if its better, but I feel I got more out of this than Les Vampires. Perhaps its because the characters in this film seemed more human, even if it\'s uncommon to have a secret labyrinth of tunnels, a pack of dogs that can lead you to a secret lair, and of course the means to enact diabolical revenge.','7413d2bdedea859fb7507956f3f12880',0,'','emqcCrR2',1,0,'',0,0,0),(15039,2533,3,1,0,'69.120.114.47',1186095000,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','My Best Girl (1927) - Sam Taylor\r\n\r\nMary Pickford\'s final silent film and the one most people consider to be the most similar to her real life. This is the film that paired her with future husband Charles \"Buddy\" Rogers. Pickford\'s performance is good here, and she has an opportunity to go all over the place as this film blends romance with comedy, slapstick, and of course melodrama. Worth a look, and certainly a highlight, but I was more impressed with her earlier performance in Stella Marris to go calling this her finest hour. It could be noted that the director, Sam Taylor came from Harold Lloyd which is where you can see a great deal of the timing in these slapstick moments may have come from.','397913d9c2fe761baf304a74c1de876b',0,'','XnsZbKel',1,0,'',0,0,0),(15040,2533,3,1,0,'69.120.114.47',1186095360,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Au Secours! (1923) - Abel Gance\r\n\r\nNow we\'re talking. Clocking in at a whopping 23 minutes, this gem is definitive French Impressionism. Gance the experimentalist makes this \"haunted house\" a ridiculous odyssey in false perspectives, rapid editing, subjective camera moves, and everything else he can find. A near perfect film if nothing else for its endless experimentation. Max Linder stars and also co-wrote the story.\r\n\r\nLa Folie du Docteur Tube (1916) - Abel Gance\r\n\r\nAlso included on the same Image DVD as the above two films, this one is considered by some to be the birth of avant-garde French cinema. Gance uses a mad scientist story to be able to distort everything. The film is short, and appears like it may have some missing footage, but for its format its worthwhile. Albert Dieudonne, who later played Napoleon stars.','e2cea6df09d033a954822353b7945da4',0,'','Jaulp3DG',1,0,'',0,0,0),(15041,2533,3,1,0,'69.120.114.47',1186095600,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Alibi (1929) - Ronald West\r\n\r\nWhile trying to find any films from the earliest years of the Oscars available, I uncovered this gem from the very much forgotten Ronald West. West was a unique auteur who worked in complete secrecy and shot only at night. His film is hyper stylized with numerous expressionist touches. His city skyline is painted, everything is at an angle, and there are shadows that could swallow a person whole. The morality of the film may be its most curious aspect though. Cops in this film torture people, frequently use gangster tactics, and are never honest. However the criminals shoot people in the back, faint at fake gunshots, and fall on their knees whenever their life is in danger. In West\'s world no one has any merit. He is not favoring one side over another, they\'re both horrible. An extremely pessimistic side to take, but a supremely interesting film. Highly recommended for fans of gangster films, expressionism or the curious toddler years where Hollywood learned to talk.\r\n\r\nThis film and Chester Morris were both nominated for Oscars in 1928/29, it lost in both races.','bc890c6cbf03b00dbe1082efab2d0c66',0,'','hm3yNkql',1,0,'',0,0,0),(15042,2533,3,1,0,'69.120.114.47',1186096320,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Aleita Queen of Mars (1924) - Yakov Protazanov\r\n\r\nAn extremely uncharacteristic Soviet film that seems much more out of UFA than Mosfilm. This early Soviet gem is a science fiction film mixed with a bit of socialist realism. It was a remarkably popular film at the time, and it boasts all the high end production values of numerous Hollywood productions of the time, most similarly DeMille\'s Ten Commandments. Protazanov handles his actors like silent actors meaning at moments you may want to laugh, but its to be expected in many films. This picture is known for its set pieces and design more than anything else, and its reputation is somewhat deserved. Although, like DeMille\'s film the major thrust of the story occurs in contemporary times and on this planet.','01f98e1abbe26a7221e18f4499ce8dee',0,'','2DkvntsU',1,0,'',0,0,0),(15043,2533,3,1,0,'69.120.114.47',1186098360,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','originally posted 1/10/06\r\n\r\nThe Phantom Chariot (1920) - Victor Sjostrom\r\n\r\nForgot I watched this for awhile. This is classic Swedish film, and I found it more accessible than Sjostrom\'s more praised Outlaw and His Wife. This had a supernatural element not present in the previous film, and this with all its double exposed shots is the more technically adventerous film. Sjostrom again stars in the film and his acting is as good as his direction here. Still not sure where all the \"as influential as Griffith crap came from.','5c4a9c890d24f0ad9803d63f55f33433',0,'','uBpQANrg',1,0,'',0,0,0),(15044,2533,3,1,0,'69.120.114.47',1186541100,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Warning Shadows (1923) - Arthur Robison\r\n\r\nI was glad to see this film for a rather simple reason. This was made a full year before The Last Laugh, and this film featured no intertitles. As many of you are aware I find Murnau\'s film dreadfully overrated and was glad that one of the film\'s claims to fame was preceded by this. Not to say Warning Shadows is remarkably better. The story isn\'t as easy to follow without titles, but for the German\'s obsessed with shadows this film is over indulgent. Of course it comes from a man that puts on shadow puppets and proceeds to make all kinds of concoctions behind a light. It is a great joy to watch some of these displays but parts of the film seem somewhat incomprehensible. Artificial as any film of the period and caring largely the same type of overacting, it is a curious piece of German cinema and one that although unsuccessful tried to tell a story without a single word.','0e495984531150f5a70a4b22c6580ac5',0,'','S6qcCeYP',1,0,'',0,0,0),(15045,2533,3,1,0,'69.120.114.47',1187048520,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Dura Lex/By the Law (1926) - Lev Kuleshov\r\n\r\nI\'m apprehensive to say I\'ve seen two Kuleshov films because I watched this with French subtitles. Visually the montage was built upon image association, but although Kuleshov may have been the founding father of the movement he was probably the least radical as a filmmaker. Dura Lex is shot comparatively without much flash. The location photography is excellent and the performances of the three leads make this better than most of the acting in such \"masses\" pictures frequently made during the period. The plot, which I couldn\'t follow particularly well is about a gold miner who attempts to murder his two partners after they don\'t split up their most recent haul. One survives and lives to capture their would be murderer. The keep him prisoner over the long Alaskan winter when they plan on turning him into the police. This proves too much and their prisoner demands to be hung. Somewhat brutal but compelling.','b0cd2ed156b2ae1c86717a869237e643',0,'','xChfs9Jq',1,0,'',0,0,0),(15046,2533,3,1,0,'69.120.114.47',1187050740,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Lonesome (1929) - Paul Fejos\r\n\r\nWhen people mention the artistry of late era silent film, no one seems to have any idea that this movie exists. Paul Fejos might not ring the same kinds of bells that Murnau or Vidor did, but there\'s something magical about this film that like Sunrise and The Crowd are at heart really simple stories. This one is a boy meets girl story, with both characters set up to be in nearly identical situations. They get up, go to work, work in a meaningless job, get invited out by their attached friends, decline, and wind up boarding the same bus to Coney Island where they meet and almost instantly fall in love only to be lost and separated later. You can feel for the characters in their daily plight, and can instantly feel the solitude that they share in their one bedroom apartments. Fejos has a great work montage as a the hands of clock are superimposed over people yakking on the phone to Mary\'s (Barbara Kent) switchboard operator. Jim Tryon, who plays Jim the factory worker here, and Kent are perfectly cast. They are barely if at all remembered today, but they represent a decent looking couple that doesn\'t come stuffed with movie star glamor and seem like real working class people. Their eventual discovery and rediscovery is one of the most joyous expressions of adoration I\'ve seen in a film. The Coney Island string of rides seems to have been taken directly from Clarence Badger\'s It, but with much different implications. I\'m sure someone will eventually restore this and we\'ll all be able to see what a worthwhile film it really is and further testament to the beauty of the late silent film.','6f161cb31aa4cdcd40f45d47b10b9bc3',0,'','xmJkW4lu',1,0,'',0,0,0),(15047,2533,3,1,0,'69.120.114.47',1187052780,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Last of the Mohicans (1920) - Clarence Brown and Maurice Tourneur)\r\n\r\nRemade several times, for many people this remains the finest adaptation of James Fennimore Cooper\'s novel of the same name. This version is somewhat literal and is compelling in its own right. Some of the plot threads may seem to be used and reused several times over. The film may be noted today as the first picture to give Clarence Brown directorial credit. He was Tourneur\'s assistant at the time and when Tourneur fell ill, Brown took over the project, and Tourneur insisted he get credit even giving him top billing. Future leading man Wallace Beery plays a villainous Indian, but most of the remaining cast is somewhat indistinguishable. The story is easy to follow, thanks in part to the remakes, and fans of the Michael Mann version might not be able to sit through this one which is comparably much less action packed, but certainly has some worthwhile sequences for its time.','7a098af026ab31e4c6a96eeedd868d10',0,'','cSlMB6L0',1,0,'',0,0,0),(15048,2533,3,1,0,'69.120.114.47',1187081880,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Blue Bird (1918) - Maurice Tourneur\r\n\r\nI hear very little about this film from most film cannons. My only guess is that the film\'s 2005 restoration was too recent for inclusion, and I\'m unaware of how impossible to find it was before then. The DVD boasts of a spectacular restoration, but in all honesty the film print is still in shambles. What can be salvaged has but several spots are in particularly bad shape. The film is imaginative if not occasionally overbearing. Based on a stage play that has all the makings of a timeless fable some children are awakened by a fairy who needs to find the magic bluebird of happiness. Suddenly the family pets as well as several inanimate objects take on human characteristics and everyone is off to a magical world where emotions and processes are people rather than things. I feel sometimes that the filmmakers are too impressed with what they are doing. The joy and happiness segment went on for far too long and the journey without resolution was a little disheartening. However certain sequences are fantastic and if you\'re a fan of primitive special effects this film will thrill you, and certainly it is worthwhile viewing it in the subjective eyes of someone from 1918. Of course the happiness is in your own home message can be well appropriated, but an overall delightful film, that could stand a little trimming.','132ed41be47f5b7e9e4764d22ef82c87',0,'','mDJp1Kg4',1,0,'',0,0,0),(15049,2533,3,1,0,'69.120.114.47',1187132340,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Cat and the Canary (1927) - Paul Leni\r\n\r\nHollywood then as now was concerned with being the best in the world, so this typically involved bringing foreign talent in when necessary. Paul Leni arrived in America to far less fanfare than Murnau in 1927. He was hired to direct a version of the famous stage play The Cat and the Canary, and of course it just happened to be a Universal picture. No other studio at the time was as concerned with scaring people, but Leni\'s film is a new kind of horror film. A film that mixes as many creepy and frightening moments with bits of pure slapstick. James Whale would perfect this combination in Bride of Frankenstein but here it still is relatively new. If the film seems predictable that\'s because it probably established every convention of the haunted house film. Oft-remade no other version has held up as well as the original, and at least from a commercial standpoint Leni appeared to be one of the more successful immigrant directors of the era.','e2c5a801209db2925581c361ad9a40b5',0,'','Amtc1BJp',1,0,'',0,0,0),(15050,2533,3,1,0,'69.120.114.47',1187573040,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Saga of Gosta Berling (1924) - Mauritz Stiller\r\n\r\nToday this epic Swedish film has Greta Garbo plastered all over its cover, but the truth is she\'s a supporting player, and one that doesn\'t show up for quite awhile into the film. The title character is played by then huge film star Lars Hanson, who like Garbo and Stiller was brought to Hollywood. The picture is epic and is roughly two features put together. In this story you have a quick framing device to explain Gosta\'s defrocked priest who happens to be an alcoholic. Much to his credit though he happens to be irresistible to nearly all women so his lowly standing in society makes him the enemy of many a parent. He finds refuge in the house of Ekeby where a group of 12 \"knights\" sit around drinking eating and occasionally providing a little entertainment for the major and more specifically his wife. A few families are entwined here and almost all of them seem to have a similar situation. The picture was actually released in two parts and was conceived as something of a Swedish Die Nibelungen, namely a massive production to symbolize all that was great in Swedish film. I must say that the film falls short of greatness, but has the tag of forced greatness and modern audiences might not be that entertained. For all its novelistic tendencies and epic character arcs it can be considered something triumphant, and the last picture Garbo and Stiller would make in Sweden.','e8f8a3eb9aa43e5cacf4fcfdf10974ad',0,'','2dVFHCm1',1,0,'',0,0,0),(15051,2533,3,1,0,'69.120.114.47',1187603520,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The White Hell of Piz Palu (1929) - Arnold Fanck and G. W. Pabst\r\n\r\nHard to believe it but there actually was such a genre known as the mountain film. Produced almost exclusively in Germany most are forgotten about now best known as the inspiration behind Guy Maddin\'s Careful. For those that remember Leni Reifenstahl as an innovative filmmaker of Nazi propaganda might be surprised what a small portion of her life that accounts for. Included among that everything is a career as a leading lady, and from what survives most sources cite The White Hell of Piz Palu as her best performance. The story is spectacular in its scope, full of avalanches, near death experiences, an exquisite nighttime torch rescue and countless bits of excitement. After all it does seem hard to stretch a people-trapped-in-a-mountain movie to 133 minutes, but filmmakers Fanck and Pabst do just that. I\'m not sure who directed what but considering Fanck was also one of the screenwriters my money was on him being the main creative force behind the picture. It is rewarding and entertaining still today. The picture was re-released as sound feature in 1935 but this is the only version in circulation.','2d7193cd314f9a8d8926d98396448b3b',0,'','NAkF5Qdm',1,0,'',0,0,0),(15052,2533,3,1,0,'69.120.114.47',1188276360,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Diary of a Lost Girl (1929) - G. W. Pabst\r\n\r\nEvery so often I have the urge to start off a review with the phrase \"God awful dreck\". This is one of those times. Diary of a Lost Girl was the second and FAR INFERIOR film that Pabst did with cult icon Louise Brooks. This picture is infuriating at nearly every turn. Of course in the land of ancient morals we do look at it in context, but with grotesque monstrous caricatures not a single character seems to have any spark of human characteristics. Nearly everyone winds up evil including those who think they\'re doing good. The film\'s one grand chance for redemption came in the obligatory \"Every thing\'s going to be fine now\" sequence which was dreadfully ruined by an act of unwarranted and undeserved generosity. Hard to begin where to complain with this. I don\'t want to slight the film itself as there were sequences that gave us much to admire, but the story is just so horribly bad. Rarely have I felt that a film should be remade, but this one most certainly should. I kept yelling at the screen to try and convince the characters to open their damn mouths but to no avail. Endlessly frustrating this film is rightfully eclipsed by the shadow of Pandora\'s Box a picture that\'s actually worthy of its reputation. Just plain bad melodramatic hogwash.','8bf9588b25fa75d7ffb6e70ca0739fc7',0,'','8SlQsfUM',1,0,'',0,0,0),(15053,2533,3,1,0,'69.120.114.47',1188382140,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Asphalt (1929) - Joe May\r\n\r\nOne of the last in the tradition of great German silents this film seemed to take all the atmosphere of expressionism and mixed it with the classic street film, and a little avant-garde ala Berlin: Symphony of a City for good measure. The film is in that heavy style mode that mixes a rather conventional story of the Berlin underworld and jealous lovers. The film does question some of the social excuses for crime in a way that contrasts with the typical \"victim\" mentality of criminals. The film looks spectacular on almost all accounts and like numerous German films of this period it is much more sexual than the tamer Hollywood films many of these directors would make. May too would join Hollywood where his American \"masterpiece\" would be The Invisible Man Returns, lets just say his best days were in Germany.','2c1495e486c6003c0b912d1702dfd6dd',0,'','eFwjYa8s',1,0,'',0,0,0),(15054,2533,3,1,0,'69.120.114.47',1190864340,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Street (1923) - Karl Grune\r\n\r\nLong on my list of films to see I picked this up at the local library in Springfield IL of all places (I\'m here for two days). Being a VHS from Video Yesteryear you know you\'re going to get a well meaning awful transfer. The foreward promised us that this was going to be shown at its correct frame rate, but the deterioration of the negative, not to mention the VHS tape itself was made in 1985 can\'t provide for much optical entertainment. What is important is the film, and this is a landmark in German film. This gave birth effectively to the street film which reached something of a perfection in Pabst\'s Joyless Street made two years later. Going along with the general trend in German film at that time Grune uses a very sparse amount of intertitles and relies on visual cues for most of the picture. The only downside is that this film\'s narrative isn\'t quite as self explanatory as we would like and its somewhat hard to follow what\'s going on. Some spectacular lighting and shadows, it certainly fits well within the parameters of the expressionst film.\r\n\r\nThe plot centers around a middle aged man who goes into something of a mid-life crisis and decides to leave his wife and kids to head into a life in the city. Believing this will break his monotony and enjoying the glamor of the streets he finds himself falling for a prostitute, then losing all his money to her pimps, and finally getting arrested for a murder they committed. Now there is something of a happy ending to all of this but the theme would be replayed again. The most famous film to follow a similar premise is surely The Blue Angel so this film might seem a great juxtaposition to that. Of course this film has no Marlene Dietrich and no Sternberg, but it is effective in what it does. I do long for a respectable Kino restoration of it, or god willing a theatrical re-release. Certainly an important film but as many of this period in German film the style does weigh a little heavier than the substance.','8cda02a2594d56d789c7c111dae1165e',0,'','9Hfgxad2',1,0,'',0,0,0),(15055,2533,3,1,0,'69.120.114.47',1191490620,1,0,1,1,1,1,'arsaib4','Re: Silent Film Journal','THE CAT AND THE CANARY (U.S. / 1927)\r\n\r\nF.W. Murnau wasnt the only German expressionist filmmaker to be imported by Hollywood in the mid-1920s, so was Paul Leni (Waxworks [1924]), who started his American career at Universal with the delightful silent horror-comedy The Cat and the Canary, a classic in every sense of the word. An adaptation of John Willards 1922 play of the same name, this trend-setting \"old dark house\" film requisitely unfolds in a foggy mansion, here belonging to a millionaire named Cyril West who in his final days vindictively leaves a will with a maturity date of twenty years. When the appropriate moment arrives one stormy night, several potential (and greedy) heirs amass inside the ghastly manor which is now also believed to be hosting the dead mans ghost. Needless to say, the events that follow unveil many surprises, both for us and, more unfortunately so, for the scheming visitors who are compelled to spend the night for selfish reasons. Featuring such silent-era stars as Laura La Plante (who reunited with Leni for 1929s The Last Warning) and Creighton Hale, The Cat and the Canary ostentates a variety of expressionist tendencies throughout its duration-- the prologue in particular is a highlight of visual ingenuity. To his credit, however, Leni doesnt allow his formalism to overshadow (no pun intended) the films compelling narrative arc and its modernist self-deprecating humor (perhaps its no surprise that the effort has been remade nearly half a dozen times). Leni, who started his film career as an art director, only made three more features for Universal (The Chinese Parrot [1927], The Man Who Laughs [1928], and the aforementioned Warning). Much like Murnau, his death was untimely: Leni died in Los Angeles in 1929 at the age of 44.','c52b5153eda57ea2eb88ffcf97318899',0,'','XYZhdqJB',1,0,'',0,0,0),(15056,2533,3,1,0,'69.120.114.47',1191491160,1,0,1,1,1,1,'arsaib4','Re: Silent Film Journal','Damn you, wpqx! For once I thought that I was in the clear when it comes to a Hollywood classic but apparently you\'ve already introduced the film above. Crap... now I regret not writing something more substantial to supplement your post. Anyway, let me know if it\'s better to start a thread for it elsewhere.','0ca869dd38080d85d29a1adb6c151da2',0,'','lnkNCtr6',1,0,'',0,0,0),(15057,2533,3,1,0,'69.120.114.47',1191552120,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','If you feel like adding to it go for it, unfortunately my memory is already getting foggy in regards to the film (at least the particulars).','1f05ccd7eedad48143f46af29c756006',0,'','duX32rgZ',1,0,'',0,0,0),(15058,2533,3,1,0,'69.120.114.47',1191561420,1,0,1,1,1,1,'arsaib4','Re: Silent Film Journal','If you haven\'t already, check out two other (and available) Leni gems: Waxworks and The Man Who Laughs.','fac5c199dfe50c87e0ed138058b0f151',0,'','eribKcmZ',1,0,'',0,0,0),(15059,2533,3,1,0,'69.120.114.47',1191723960,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','I\'ve seen Waxworks but not The Man Who Laughs.','e2f4fd2603ca45134b442994eb2fd506',0,'','PkwYfjHZ',1,0,'',0,0,0),(15060,2533,3,1,0,'69.120.114.47',1198764240,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Show People (1928) - King Vidor\r\n\r\nFollowing the motto of one for them one for me, King Vidor apparently made a film for Marion Davies. Davies the infamous mistress of William Randolph Hearst never got a great deal of love in the movies. A very well known figure in her day, who was more or less well known because Hearst\'s papers repeatedly printed her name and picture. After it became obvious she wasn\'t going to get the part she deserved, she produced her own film and in 1928 you couldn\'t get a better director to help you out than King Vidor, who had just made The Crowd. Davies is fantastic and a joy to behold. She gets a lot of room to stretch here and who knew Vidor would be so good at handling comedy? The film was one of a series of backstage Hollywood films that showed the good and bad side of things, frequently with a similar plot structure. Part of this film seems like a parody of What Price Hollywood, except for the fact that this was made four years previous. A host of well known stars make appearances in cameo roles, including Vidor himself who takes turns poking fun of himself as well. Damn shame there weren\'t more parts like this for Davies, she really was a funny lady.','bad612e64c37e63caa4ec08d8996e3fd',0,'','z4N0YTDr',1,0,'',0,0,0),(15061,2533,3,1,0,'69.120.114.47',1200521340,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Adventures of Prince Achmed (1926) - Lotte Reginer\r\n\r\nOnce again I\'m confronted with a film that I\'m surprised took me so long to see. The style of animation, which was just referred to as a silhouette movie was used to some degree in German films of the period, particularly Warning Shadows, but here it is the entire structure of the film. It is not hard to by into it, and the story has been told so many times that there isn\'t a great deal of difficulty in following along. I\'m not sure what if anything is missing in this film vs. the original theatrical release, but I\'ll take what I can get.','925a79620501117043fb57e51e044bf2',0,'','r1j02hlP',1,0,'',0,0,0),(15062,2533,3,1,0,'69.120.114.47',1200994140,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','White Shadows in the South Seas (1928) - W. S. Van Dyke \r\n\r\nWell from the sound of this it almost appears to be a Robert Flaherty project, and bears a great deal of similarity to Moana. So I wasn\'t too surprised to find that Flaherty was the original filmmaker for the project. However his time consuming process of making movies proved to wear down the patience of MGM so they replaced him with assistant director Van Dyke who was known for getting things done extremely fast. The film maintains a great deal of Flaherty\'s feel, and the cinematography is noticeably excellent and is visible even in a crappy, deteriorated VHS print. In fact the film won an Oscar in 1928/29 for its cinematography. The story itself is of a white man who comes to shore on an untouched south Sea island. He is revered as a \"white god\" and endears himself to the village winning over the chief\'s daughter and saving the chief\'s young son. He quickly comes to love his new home and tries to fight off a group of white men who sale up attempting to exploit the island. He winds up a martyr for his cause and is still unable to ward off the impending destruction. Made in 1928, the film has a few sound effects incorporated into the soundtrack and apparently there was even an attempt to shoot some talking scenes, most of which are not included. Van Dyke was quickly promoted in the MGM world and would be one of their most reliable directors in the 30\'s.','6ec3502a26ffa953ca83d984db393546',0,'','cg8lNXhA',1,0,'',0,0,0),(15063,2533,3,1,0,'69.120.114.47',1201249380,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Unknown (1927) - Tod Browning \r\n\r\nIt might seem odd to say this, but this might be the best Tod Browning film of them all (I\'m far from being an expert). In all Chaney and Browning made 10 films together (Dracula was to be the tenth) and for many modern audiences this holds up the best. Reading one review of the film however it makes a point that this film almost had to be a silent film. The plot would seem ridiculous in a sound film, but somehow our suspension of disbelief is much greater in silent film (after all we have to assume they really can speak). Chaney plays a murderer on the run who is with a carnival. He plays a man with no arms who does shooting and knife throwing tricks with the aid of a lovely assistant played by Joan Crawford. She has a repulsion to men touching her, which makes it seem almost too perfect for Chaney. The only catch is Chaney really does have arms. His competition comes from the resident strong man (who doesn\'t look that strong) who has a somewhat sincere love for Crawford. In order to protect himself Chaney persuades a doctor to amputate his arms. After his recovery he is a little surprised to find Crawford over her fear of being touched and in love with the strong man. Let\'s just say Chaney has some revenge in mind. \r\n\r\nHis performance her is exemplary. Often Chaney would be able to hide behind elaborate makeup jobs, but here his face is pretty much as is. A real life circus performer doubled Chaney\'s feet and would make something of a career for himself being billed as \"Lon Chaney\'s Legs\". Browning\'s love for the oddities of the circus world is perfectly on display here and its hard not to feel for Chaney. Crawford was still relatively new to acting and it wouldn\'t be until the next year\'s Our Dancing Daughters that she would solidify her star status. Included on the DVD is a recreation of the long lost London After Midnight, comprised of a new score and production stills. It helps convey the plot but it in no way should be accepted as a substitute for the real film. An additional documentary on Chaney is also included which is almost entirely praiseworthy but definitely informative.','eb7e14f3206e484e55232938519edc60',0,'','ZW0VsckM',1,0,'',0,0,0),(15064,2533,3,1,0,'69.120.114.47',1201249620,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','People on Sunday (1929) - Robert Siodmak & Edgar G. Ulmer \r\n\r\nConsidered a landmark of avant-garde cinema I can\'t honestly understand why. The film is a somewhat straight narrative showing a few Berlin people enjoying their day off, and juxtaposing that with their weekday lives. I\'ll admit a lot was lost on me because I wasn\'t able to see the BFI DVD, which left me with a bad transfer and French intertitles. The script was written by Billy Wilder, and nearly everyone involved in the making of the film went on to careers in Hollywood. The cinematography is largely excellent encompassing a few early wide angle compositions and almost entirely shot outdoors.','4c7f8f1b252284fb156c1d8f666e94bc',0,'','flpRMcNF',1,0,'',0,0,0),(15065,2533,3,1,0,'69.120.114.47',1201557780,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Italian Straw Hat (1927) - Rene Clair \r\n\r\nWell I said I\'d get to it, so I got to it. Not all of Clair\'s silent films are available but from this picture its clear to see him setting up what would become his trademark style in the early sound era. Clair works in the realm of farce and here he constructs his silly plot to be nothing more than an excuse for bizarre situations that rely on more and more complex misunderstandings. This is the type of comedy that became the staple for most sitcoms and Clair would have been right at home directing for TV. The story concerns a groom whose horse eats a woman\'s rare and expensive Italian straw hat while on the way to his wedding. Her military suitor is enraged and does everything he can to threaten the groom, so he has to find a replacement. Well it becomes quite costly and nearly impossible to find the hat and well much chaos ensues. Clair flourished best with this independent sound musical comedies and this film does feel like its missing that extra element.','ef24cb5b581febb8e823c85f2913c584',0,'','8csgwSMb',1,0,'',0,0,0),(15066,2533,3,1,0,'69.120.114.47',1201691220,1,0,1,1,1,1,'A','Re: Silent Film Journal','After arsaib\'s experience, I checked out the whole thread again, to see if you had already written something on the film I watxhed today, wpqx. (Un)fortunately, you haven\'t, so I\'ll add a few comments, though the film is in my opinion hardly worth mentioning. As a silent film enthusiast it was nevertheless something special for me. \r\n\r\nNomads of the Nord \r\n(David Hartford / USA / 1920) \r\nDVD, 78 minutes \r\n\r\nThe film Nomads of the North is listed at a running time of 109 minutes at imdb, but i saw it on DVD with a length of ca. 78. I\'m not sure where the information about the longer running-time stems from, but the film seemed already far too long in the version I saw. The direction is pretty uninspired, as the story trudges along to its uninspired end. Nanette Roland (silent moviestar Betty Blythe) is a little girl living in the wild woods somewhere around Montréal with her sick father. She has been waiting far too long for her fiancée Raoul (Lon Chaney) to return to her, and as she does have good looks, and there are other men around her, trouble naturally ensues. \r\n\r\nThis was my first Lon Chaney film, but it didn\'t have Chaney the way one would expect him to be, after reading about all of his spectacular roles in numerous horror films of the 20s. Nomads of the North is arespectable though often tedious old-school melodrama, based on the novel by the same name. Unfortunately, Chaney gives a completely lackluster performance, which many claim to be one of his worst. He has absolutely no screen presence (at least in my eyes), and seems completely uninspired. All of the other actors do a much better job, and youz have to ask yourself why he was chosen for the role of a bland hero, when he doesn\'t even have the \"necessary\" good looks. Worth mentioning is the formidable photography by Walter Griffin, showing the beautiful scenery in all its splendour (the whole film seems filmed on-location). The opening of the film, and the exposition of the plot is also done extremely well, introducing all the main players and their motifs in a captivating and convincing way. The mood and atmosphere that are established seem very fitting and could have made for a very fine film. Instead, everything that follows is rather stale, and the moment we are introduced to our happy-go-lucky hero, the inspirational streak present at the beginning seems to be lost completely. There are some interesting scenes in the rest of the film, but if you are familiar with narrative conventions in pre-code Hollywood cinema, you won\'t be surprised by many things. The ending is again done more convincingly , filmed during a real forest fire, where the twom main protagonists were reportedly injured. At least, unlike many modern productions, the film doesn\'t take itself too serious, and if you are a silent film enthusiast, you should watch the film at least for its first 20 minutes. Maybe if somebody as talented as Hitchcock had directed this, the movie could have turned out a real classic. As it is, everthing goes downhill from the moment Chaney appears on screen. He definitely is the weakest part of this production, and if you are merely renting the film for his sake, it\'s not worth it. Otherwise, you\'ll get to enjoy some old school-melodrama as well as beautiful views of the unspoiled nature around the Canadian border.','b76af13a84cf483107661d46ea9b65c2',0,'','eQun627Z',1,0,'',0,0,0),(15067,2533,3,1,0,'69.120.114.47',1201723260,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Don\'t let that sour yourself on Chaney he does have some much better work out there.','e3c2bfa7114647f105b3933b6add3a3b',0,'','96n5rc4y',1,0,'',0,0,0),(15068,2533,3,1,0,'69.120.114.47',1201769160,1,0,1,1,1,1,'A','Re: Silent Film Journal','Don\'t worry, I\'m well aware that Chaney has supposedly still some aces up the sleeve. I do have at least two more of his films at home, The Shock (1923), and The Unknown (1927). I believe, The Unknown is considered one of his best films, and it does also star a very young Joan Crawford, one of my favorite actresses.','5ad5b78f9487227291889dfeba187e51',0,'','brQsGdHn',1,0,'',0,0,0),(15069,2533,3,1,0,'69.120.114.47',1201772640,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','I reviewed The Unknown above and it was one of my favorite Chaney performances. I still might think Hunchback is a better film, but that\'s just me.','f068cd4582ee64e59591ec17aa19b311',0,'','i3PqMXhj',1,0,'',0,0,0),(15070,2533,3,1,0,'69.120.114.47',1202813400,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','City Girl (1930) - F. W. Murnau \r\n\r\nAmidst all the boxed sets and restorations going on it seems amazing that this Murnau film (one of only three surviving American films he made) appears to have been completely forgotten. The story was that the studio attempted to convert it midway in production into a sound film leaving much of it awkward and without Janet Gaynor the cast lost some of the luster present in Sunrise. The story has a similar simplistic tone to it but here the city girl is only suspected of being wicked but deep down is a good girl. The cinematography is great even though this transfer isn\'t fit to feed a cat. It does seem slightly repetitive at times and seems to lack the grander ideas of so many other Murnau films. I sincerely hope Fox or some company gets to work on this picture (along with Haunted Castle) because I barely feel as though I watched the film. The version I saw was also silent so I\'m not sure how much of the sound footage exists.','058f9ca651e865a931500ccc9e4a2692',0,'','WoEaugHF',1,0,'',0,0,0),(15071,2533,3,1,0,'69.120.114.47',1215571680,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','Hearts of the World (1918) - D. W. Griffith \r\n\r\nSorry this thread has been so dormant for such a long time, and it\'s not necessarily because I haven\'t seen any silent films. After essentially wrapping up TSPDT\'s top 1000 list, or rather what I can get, I retreated to a very old list of films to look for. Near the top of the list were a few Griffith features I had floating around. Hearts of the World was right up there and I had recorded it years ago on TCM but never watched it (a very familiar fate). I decided it\'d be easier to rent it rather than dig in my attic for the film and well I wish I would have done the extra work. The VHS which came from a no-name distributor was among the worst quality films I\'d ever seen. The soundtrack was comprised of a loud humming buzz throughout and not a note of musical accompaniment could be heard. The version is also apparently shortened from the original 152 minute run time, but I\'m unaware if the original version still exists uncut. That said Griffith\'s film is quite spectacular. One of a series of timely WWI films made while the action was still going on, Shoulder Arms, The Little American, and The Unbeliever are the other\'s off the top of my head. In fact Griffith originally came up with the film after visiting the UK to promote Intolerance. Some officials convinced Griffith to make a film that would help draw America into the war in their support. Some prints of the film (this one included) have a prologue featuring some documentary footage of the war and Griffith making the rounds with a few British officials as he sets out to make his movie. \r\n\r\nLike many films of the kind the Germans are typically horrible monsters that rape and pillage at will, but at the insistence reportedly of the first lady, Griffith trimmed much of this footage for the film\'s eventual release. War as an atrocious and senseless act was on display here and avoids a great deal of the flag waiving patriotism (not to say there isn\'t a little thrown in). It breaks up families, kills innocent people, etc. Remarkable on scale and the film apparently was so accurate in its battlefield depictions that much of the footage has been substituted for actual WWI films in future docs. Both Gish sisters deliver good performances, Dorothy making the most of her street singer and with a little more charm and resilience than perpetual damsel in distress Lillian. Taken after Birth of a Nation and Intolerance this might seem a step down, but to me it is very much in the same vein and is far from a significant drop in quality. Arguably the best silent film made about the great war.','d0c2f987e592e9047b35c4f0ea769a6c',0,'','4nSU2N10',1,0,'',0,0,0),(15072,2533,3,1,0,'69.120.114.47',1215653400,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Merry Widow (1925) - Erich Von Stroheim \r\n\r\nWith the exception of The Devil\'s Passkey (which by all accounts doesn\'t exist) I\'ve now seen every Stoheim film as a director. This was one of the rare films that was actually successful at the time. Odd to think of making an operetta as a silent film, but it worked for Lubitsch why not Stroheim. The film isn\'t nearly as carefree and light as Lubitsch\'s sound version, but it is enjoyable at parts. Stroheim\'s direction however I have issue with. His characters are all horribly rigid and laughable stereotypes. The choice of shots seems to be two fold. Long shot of a lot of people gallivanting about and then grinning face shots as a direct address. It made me easy and led me to hate nearly every single person in the film whether I was supposed to or not. The film is almost too simplistic in it\'s heroes and villains and the casting is ridiculous for everyone except for Gilbert. Didn\'t help that the low grade VHS was fuzzy and poor quality, but these things shouldn\'t detract too much from the film.','429d82eb018a3bd34720932fcf7d6aba',0,'','p9S0dknb',1,0,'',0,0,0),(15073,2533,3,1,0,'69.120.114.47',1215668940,1,0,1,1,1,1,'arsaib4','Re: Silent Film Journal','Since I liked the Lubitsch version I was considering tracking this one down, but perhaps I shouldn\'t pursue it too ardently. \r\n\r\nBy the way, was the VHS French hardsubbed?','1afec805a329ad8e68ef40b3f5aabcfa',0,'','1icBnSw0',1,0,'',0,0,0),(15074,2533,3,1,0,'69.120.114.47',1215733680,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','No, but it looked like a copy of a copy of a copy and the tape even had stop/play show up so I\'m not sure if Facets original copy was destroyed or they just got it from a very unreliable source. Ozu can use direct head on shots of characters, but here it\'s just annoying.','a5fe7d0c34a0704f4cbb60f36f6d3bd6',0,'','unLNpt9v',1,0,'',0,0,0),(15075,2533,3,1,0,'69.120.114.47',1215921180,1,0,1,1,1,1,'wpqx','Re: Silent Film Journal','The Haunted Castle/Schloss Vogelrod (1921) - F. W. Murnau \r\n\r\nWell after struggling to stay awake and follow the plot I read that apparently I might not be alone. No one seems to know of any complete print of this film, and the version that has generally circulated is somewhere around 56 minutes. For this reason I wasn\'t entirely sure what the hell was going on, who shot who, and what was exactly haunted. By all accounts this was considered a mere stepping stone for Nosferatu. In more ways than one I was reminded of that film, because the first time I had seen Nosferatu was on a bad VHS with no musical accompaniment, same goes for the Haunted Castle, which has not been easy to find even in abridged fashion. A rather complete restoration took place on Murnau\'s long forgotten Phantom, so maybe there is hope, and certainly the recent Metropolis discovery can give some people faith. This film, a bit like The Burning Soil is to be sought out only for obsessive Murnau completionists like myself, not among his very best work and it seems even in the 1920\'s that mistaken identities and haunted house movies were getting formulaic and predictable, enough so that Paul Leni would satirize the genre by 1929\'s Cat and the Canary. Sad again though that now with this film out of the way I can only dream of watching more Murnau, lord I wish there was more out there.','780f89f0850c4cbd5db5093475e5f38d',0,'','a7WTNUMy',1,0,'',0,0,0),(15076,2534,3,1,0,'69.120.114.47',1152513960,1,0,1,1,1,1,'wpqx','Avant-Garde Cinema','Thanks in part to Kino\'s Avant-Garde and Experimental Cinema of the 1920s and \'30s I have been seeing some rather interesting films. Kino had released a similar collection on VHS several years back which contained several of the films here, however that collection was around two hours, and this one is over six.\r\n\r\nStarting the set off are four films from Man Ray, the American born experimental filmmaker who made his mark in France as a leader in the Dada-ist movement. Le Reour a la Raison, Emak-Bakia, L\'etoile de Mer, and Les Mysteres du Chateau du de are all featured here in chronological order. They certainly set the pace for the set with their dreamlike narratives, superimosed images, and conflicting editing patterns. Although the films range from 2-20 minutes they all are in a very similar stylistic trend, dealing with shapes, patterns, and juxtaposed images.\r\n\r\nThe first American film on the set is The Life and Death of 9413 A Hollywood Extra, from Slavko Vorkapich and Robert Florey. Florey had a rather long career in Hollywood in various tasks including a screenwriter on the original Franknestein. Here they assign actors and actresses with their own numbers, including the bright eyed optimistic but ultimately doomed title character. The film is remarkable for its use of sets, as the ascension to heaven is done with small mechanical devices ina distorted perspective. A rather clever and well made satire and a much more logical narrative than one would typically associate with an experimental film, just a very lively presentation.\r\n\r\nAs I watch more I\'ll try and comment on them here.','2f07ac5fc2bcc3c5111389824267e970',0,'','EjHX0Ghb',1,0,'',0,0,0),(15077,2534,3,1,0,'69.120.114.47',1152515640,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Menilmontant (1926) - Dimitri Kirsanoff\r\n\r\nThis film is slightly longer than the others, but certainly not a feature. Kirsanoff\'s film is told very much in the Impressionist style characteristic of many French films of the era. The story is logical, and there are no real abstract themes, but through various tricks and devices the language of film is used to represent psychological states of his characters. The story for the sake of argument is about a poor man and woman who can\'t afford to feed themselves let alone their child. The ever popular dream sequence appears, and of course what dream sequence is complete without superimposed random nudity? That said this film is a treasure considering how very few Impressionist films ever have been released in the US, let alone on DVD, so for once you\'ll actually have a point of reference when the next film textbook starts talking about how important the movement was. Considering this occured simultaneously with the Soviet Avant-Garde movement its hard to say if the editing patterns here were influential there.','68777a6779280708c28659e6fcc20bea',0,'','EiZ6eDm8',1,0,'',0,0,0),(15078,2534,3,1,0,'69.120.114.47',1152517500,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','btw way to change the title of this subforum arsaib, maybe we\'ll get a little more love in here, because no one seems to watching much silent cinema and those of us that do can\'t seem to find much to say about it.','ee8f3b197b973784c67cbaf479849ea3',0,'','N9Ldg2TF',1,0,'',0,0,0),(15079,2534,3,1,0,'69.120.114.47',1152518880,1,0,1,1,1,1,'arsaib4','Re: Avant-Garde Cinema','No problem. I fall in the latter category, but now that we have a place to assemble our thoughts in, I\'ll certainly try to make a contribution from time-to-time.','b4d2cb26ff778574bd0bbb1eb6508871',0,'','twaF19B5',1,0,'',0,0,0),(15080,2534,3,1,0,'69.120.114.47',1152556620,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Two from Dimitri Kirsanoff, the aforementioned Menilmontant, and the later Brumes D\'Automne (1929). A more rhytmic film but very similar, and even featuring the same lead actress. A similar heavy empshasis on superimposition and dreamlike narrative structures. \r\n\r\nLot In Sodom (1933) is another prominent experimental US film co-directed by James Sibley Watson and Melville Webber. This one takes the decadence one would expect from the title and makes it a surreal sort of ballet, one instantly recalls the dance films of Maya Deren. Slightly longer than most of the films here, it is a profoundly evocative film set upon a heathen decadence. Lot in Sodom is one of the few films on the set to retain its original music.\r\n\r\nRhythmus 21 (1921) is the first Avant-Garde offering from Germany, and an interesting inclusion, because german films of the period were generally not associated with any of these movements. The film was directed by Hans Richter and features nothing but shapes, and blocks all animated and punctuated to a musical score. There is no narrative at all, but the formal structure of it certainly fits into many of the artistic trends in Europe of the era, particularly Cubism and Dadaism. Therefore I can\'t say I was surprised to find that Richter actually came from a painting background, and you guessed it Dada. Richter also made two other Rhytmus films one in 1923, and another in 1925, but since neither are available to me I cannot comment on them at all.\r\n\r\nAlso from Richter is the better known and more influential Vormittagsspuk (Ghosts Before Breakfast). Again Richter uses animation, but this time he comines it with live action and actual actors. The story might not be a clear one, but there is some general stream of events, contrary to the simple random assortment of shapes and blocks in Rhythmus. Actions repeat and Richter constantly intercuts a moving clock between most shots. Many of the actions are similar to magicians tricks apparently symbolizing the \"ghosts\" of the film. Like most avant-garde films this would probably benefit from about 12 repeated viewings, but for the first reation I\'ll just stick with obersvations.','b9c490be430b5e2f27877cf678414464',0,'','b8yGnixl',1,0,'',0,0,0),(15081,2534,3,1,0,'69.120.114.47',1152557520,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Anemic Cinema (1926) - Marcel Duchamp\r\n\r\nPainter and sculptor Duchamp makes a film consisted almost entirely of spirals. The films juxtaposition is rather simple. There is a neutral spiral or spirals, and then the next shot is of a stone wheel with dialogue written on it. There isn\'t a hell of a lot more to add ot it then that.\r\n\r\nBallet Mecanique (1924) - Fernand Leger\r\n\r\nBallet Mecanique is one of the few films on this set I know I saw several years ago. It is also one of the most written about films of the period. Leger got his start as a Cubist painter, although that is not the dominant style here. Leger does have a tendency to reverse images, showing things upside down and backwards. The editing is about the wildest of any of these avant-garde films. It fluctuates from unmoving shots, to several shots lasting no more than one frame long creating various contrasts between shapes. Leger uses his frame to manipulate space and show only what he\'s interested in. He\'ll isolate a mouth, or an eye, or hand and block off the rest of the shot. Like most of these films images and patterns repeat, and actions go on and on. As for the title, the film intercuts rhytmically with machine parts operating, in a style that would later be used to more symbolic effect in Dziga Vertov\'s Man With a Movie Camera.','f4f0d7e14aa96d9e5596a8adb34c3c64',0,'','moUTEv8F',1,0,'',0,0,0),(15082,2534,3,1,0,'69.120.114.47',1152600960,1,0,1,1,1,1,'arsaib4','Re: Avant-Garde Cinema','I\'m not sure how you\'d want to do it but I think we need an index for the films mentioned in these threads.','fd2602823870fd71f38399eba5359c00',0,'','31rgMjK2',1,0,'',0,0,0),(15083,2534,3,1,0,'69.120.114.47',1152602820,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Perhaps, there\'s a lot more to come. I\'ve actually watched a few more, but couldn\'t really put anything down about them.','ca6e5fdc5d847ae40fbaa517435733d5',0,'','iAwWZvUm',1,0,'',0,0,0),(15084,2534,3,1,0,'69.120.114.47',1152613920,1,0,1,1,1,1,'trevor826','Re: Avant-Garde Cinema','You could easily put an intro and index as the first post on this thread or have an index for the whole Silent / Avant-Garde Movie board where even shorter comments could be listed, the comments deserve to be read especially as there was so much interesting and truly inventive cinema during the earliest years of cinema.\r\n\r\nCheers Trev.\r\n\r\nPlease feel free to delete this post.','654b33d17fd8b976f1a5bacbf3e891e6',0,'','uCwUjXG2',1,0,'',0,0,0),(15085,2534,3,1,0,'69.120.114.47',1154301780,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Uberfall (1928) - Erno Metzer\r\n\r\nThis impressionistic film ironically came from Germany. It uses all the psychological tricks it can think of to tell the tale of one man\'s assault. Metzner plays with distorted perspectives, and in several shots shows the characters reflected in curved lamps and pianos, making their bodies and faces warped and distorted. Somewhat straight forward in its narrative, but the way its told makes it worth the watch.','26025fbbb9b56be0d6c662f722de0aae',0,'','GXvY9QA0',1,0,'',0,0,0),(15086,2534,3,1,0,'69.120.114.47',1156283580,1,0,1,1,1,1,'A','Re: Avant-Garde Cinema','\r\nVery interesting to see these rather unknown shorts discussed here. I came around reading this thread only now, as I simply didn\'t have enough time in the past weeks. I enjoyed reading your comments wpqx, and I\'d like to read more. Usually this is a neglected area, probably because of the simple reason that there weren\'t many feature films that dealt with similar ideas. To this day, short films continue to be ignored.\r\n\r\nBy chance I also stumbled upon some avant-garde films, two or three months ago when i was watching a lot of (mostly animated) silent shorts. It was a VHS with six early works of Hans Richter, and I also saw the two films you mention, Rhythmus 21 (1921) and Vormittagsspuk (1928) . Can\'t add much, as Richters films are very abstract, and he seems to be interested in transformation through movement. \r\nI must say that I enjoyed all of them, but didn\'t find them groundbreaking or remarkable. The exception could be Rhythmus 21, which was probably something new for its time, and which i incidentally also enjoyed the most.\r\n\r\nHmm, I recall that I have taped some experimental films from TV some months ago. Maybe I\'ll write something if i find them.\r\n\r\nBtw, Uberfall (1928) sounds very interesting. Could you write a bit more about it wpqx? Is the story told in real time, or do get several perspectives through \"timeshifts\". How long is the film? I haven\'t heard of Metzer before...','536097b016cbab515248e6be6b2fad39',0,'','6kme00Z4',1,0,'',0,0,0),(15087,2534,3,1,0,'69.120.114.47',1156533600,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','It\'s basically about an assualt, and told somewhat straightforward. I believe it is linear, but shot in distorting ways. Having watched nearly 30 of these films within a week, I can\'t say any particularly stand out now in hindsight, which is one of the reasons why I wanted to get some comments down here.','569828fc6bb1677b89f553e3a0e15603',0,'','mgHPzM1X',1,0,'',0,0,0),(15088,2534,3,1,0,'69.120.114.47',1197942420,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','I can\'t believe how useful this thread is. I know I watched all those films but don\'t remember next to anything about them, glad I wrote something down while they were still fresh. Has anyone seen the new Kino Avant-Garde set? I promise to check it out as soon as I wrap up these directors (which should be very soon).\r\n\r\nHold Me While I\'m Naked (1966) - George Kuchar\r\n\r\nI\'ve heard a lot about Kuchar\'s work, and in particular this film. Last night I finally watched it. Although the audio seemed to be recorded at top volume I blame the transfer rather than Kuchar. This fifteen minute gem is basically an allegory for sexual frustration as Kuchar (essentially playing himself) is trying to finish a film that happens to require a lot of nudity. In the process everyone but him seems to be getting laid and no women are willing to fill in the vacated spot in his film. Kuchar was known for creating a world completely off balance, and along with his brother they influenced a whole generation of experimental filmmakers. This film incorporates several framing tactics explored more in depth by Roger Vadim, and to contribute to our frustration and therefore identification with Kuchar nearly all shots of nudity are hidden behind stained glass or staged in a way that hides what we see. A few more of his films are available on ubuweb, so hopefully I\'ll get a chance to get acquainted with him a little more.','88053d56a9a0d778ae1420077c834275',0,'','914MHVty',1,0,'',0,0,0),(15089,2534,3,1,0,'69.120.114.47',1197942600,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Surfacing on the Thames (1970) - David Rimmer\r\n\r\nThe avant-garde movement of the late sixties got to be so large that various subgenres began to emerge. David Rimmer, along with contemporary Michael Snow were considered the leaders of the structuralist movement. Here the notion is of playing and experimenting with film itself, and they usually require manipulating the work of others. Rimmer took a ten second clip of two ships sailing past each other during WWII on the Thames and broke it down frame by frame. He photographed each individual frame for several seconds then dissolved it into the next frame, making a slow hypnotic movement where two ships seem to cross each other like the hands on a clock. The film is quite mesmerizing but if you\'re looking for great content, this film by its very nature might leave you empty.','8d7514751e684ef97e7c2fa5fd0c29ee',0,'','vAnCzoNe',1,0,'',0,0,0),(15090,2534,3,1,0,'69.120.114.47',1197956640,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Erection (1971) - John Lennon and Yoko Ono\r\n\r\nIt\'s really hard to call what Lennon did here directing, but well who knew the Beatle could make movies? Lennon heard of the construction in London of the International Hotel and decided to document it. With a time lapse camera he set up to take pictures of it throughout its construction. What occurs is a gradual (roughly 17 minutes) of the building from foundation to completed hotel. Now I\'m unaware of any hidden meaning behind the film, but if it was simply a means of testing out the equipment it certainly worked. I also applaud Lennon on the very ironic title for the film. The soundtrack was from one of those Lennon/Ono albums that no one ever listened to because its intolerable nonsense.','5d4f9f236f7bf13aecf317738879acae',0,'','MrAop7gE',1,0,'',0,0,0),(15091,2534,3,1,0,'69.120.114.47',1198388880,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Un Chant D\'Amour (1950) - Jean Ganet\r\n\r\nOne of the problems when watching avant-garde and experimental films is that most of them can be a little boring. They are non-narratives that deal with exposures, or cinematic puzzles. So when you get a chance to see a film of true poetic brilliance with even a faint hint of a story, it really seems a treat. Jean Ganet made only one film, infamous in its day, but that picture still holds up remarkably well. Gay or straight this film has to win you over, with so many images that will stay with you. To think of a love story developing between two inmates who are in separate cells, expressing their love through a long straw and shared cigarettes. Most of the films (all of it actually) notoriety came from the images of nude men engaging in some masturbation and a few acts of tastefully executed homosexual activity has made this a curious entry, but sex aside this film is well worth checking out.','fb394ed2bf97d8165ee8a1d3e90340e4',0,'','uPCjgHo2',1,0,'',0,0,0),(15092,2534,3,1,0,'69.120.114.47',1198389120,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Zorns Lemma (1970) - Hollis Frampton\r\n\r\nYeah, this is a bit of a head scratcher. I wonder sometimes if people make too much out of this. Frampton himself has offered interpretations that he wasn\'t even consciously aware of while filming. The picture has three main acts, a pictureless intro of narration, a very long segment of a 24 letter alphabet, and then finally a very long static shot of a couple walking their dog through a snow covered field while six different female voices recite another story. That is the essential structure but things do get somewhat interesting. During the alphabet letters are subtracted and replaced with images (fire, sea waves crashing, fields of wheat, etc) and as the segment progresses more and more letters are removed for these images creating something of a guessing game as to what the next letter shall be. Everything is regimented, a second of an image and a second of blackness, next letter, etc. It is easy to fall asleep for this segment though as no sound or dialogue overlaps here, and really who can sit through words representing the alphabet for 40 minutes? This is still the best known film of Frampton\'s and apparently is one that embodies most of his obsessions. He seemed intrigued by puzzles and forms, and this would suit that somewhat well.','961c14d2d49f0d8739fb7df532927d2a',0,'','YP2VCorB',1,0,'',0,0,0),(15093,2534,3,1,0,'69.120.114.47',1198389300,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','The Bridge (1927-28) - Joris Ivens\r\n\r\nThe work of Joris Ivens still remains relatively obscure and hard to find, but that is changing just a little. The Bridge was one of his earliest films, an abstract study of an iron bridge in Rotterdam. Ivens uses graceful dissolves a varying editing pace and a great deal of montage principles to construct the picture. Through the mechanical movements of the bridge, the raising and lowering, and eventual crossing by a train give the film something of a plotline, albeit in a very simplistic manner. It did however set to establish Ivens as not just an experimental figure but one of non-fiction, and one who undoubtedly was drawn to the outdoors and marvels of modern man.','9f96f15445f20b245836396066fcde20',0,'','WYJU0eMx',1,0,'',0,0,0),(15094,2534,3,1,0,'69.120.114.47',1198549380,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Soundings (1978) - Gary Hill\r\n\r\nBasically Gary hill photographed a speaker. He recorded his voice coming through the speaker, and then proceeded to do various things to the speaker to alter the sound. Punching holes in it, pouring water on it, moving it, and physically altering it, thus illustrating the relationship between sound and image and vice versa. The result is somewhat interesting, but no more so than a guitar player getting a new effect pedal and seeing what new sounds he can make from it.','4ce653485f848b162adbfe967516c80f',0,'','Ln91MBZy',1,0,'',0,0,0),(15095,2534,3,1,0,'69.120.114.47',1198550220,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Variations on a Cellophane Wrapper (1970) - David Rimmer\r\n\r\nMy second Rimmer film is even more impressive. He took an eight second shot of a female factory worker moving a piece of cellophane. Then things got interesting, first he changed the contrast, then start alternating with the negative image, finally adding some color, and eventually blocking out parts of the image until it went to total blackness. The sound provided by Don Druick helps make the film as it brilliantly compliments the abstract imagery. Luckily the film stays relatively short so there isn\'t a great deal of time to get too bored, and the variations are all delightful. Definitely feels a little like a kid playing with a whole new bunch of toys, but a minor symphony was composed of such tools by Rimmer, who I most certainly am on the lookout for more work from.','44460b723f0f49820f85f97350f08278',0,'','EfmNjaS3',1,0,'',0,0,0),(15096,2534,3,1,0,'69.120.114.47',1199115660,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Tom Tom the Piper\'s Son (1969) - Ken Jacobs\r\n\r\nWell finally got around to the legendary Ken Jacobs work. The \"plot\" if one can call it that is to show a 1905 film of the same name, then systematically deconstruct the film, playing it backwards, enlarged, slow motion, stills, etc. Then once the means of manipulation have worn out show the original film in tact again. The whole film disassembles the cinematographic image and keenly demonstrates just how many details we overlook in the average movie we watch. I\'ll admit that Jacobs could have easily trimmed the length of his film, and it probably could have benefited from a score of some kind. As an exercise in abstraction though it is pretty solid.','59e0129e6dcdf85480f34e8dfcb69600',0,'','xDqo00U1',1,0,'',0,0,0),(15097,2534,3,1,0,'69.120.114.47',1199444400,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Blonde Cobra (1963) - Ken Jacobs\r\n\r\nAh to be a fly on the wall when these guys got together. Ken Jacobs was handed two films one titled Blonde Venus and the other Cobra Woman. You\'ll notice early in the film there\'s a hand held title card that states it\'s a film by Bob Fleischner. Jack Smith appears as the lead if such a term is applicable here, and any doubt about Smith\'s sexuality would probably be answered here. He spends the film dressed as a baby, nun, and imitating his mother among other things. It\'s hard to suggest a plot to any of this, but formally it features a lot of narration on black screens and very old songs, some of which are commented upon. This does bare a resemblence to Smith\'s own work, and being unfamiliar with Fleischner I can\'t attest to what type of influence he may have had. Jacobs was known for his deconstructing of existing films, although he largely lets this material stand alone without making it too abstract.','0928f0aee3a4b0b195ee2a8bacc0604b',0,'','7jiM1nFJ',1,0,'',0,0,0),(15098,2534,3,1,0,'69.120.114.47',1200196500,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','Wavelength (1967) - Michael Snow\r\n\r\nI\'m not sure what I expected from this film. For awhile now I\'ve heard it often cited as one of the best experimental films of all time and a key defining film in the structuralist movement. Snow\'s film and largely all of his films are non-narrative. Here the film is set up as a slow continual zoom in a New York loft. The zoom is so gradual that it takes several minutes to realize that there even is a zoom. Along the way two women move a dresser, leave, come back listen to The Beatles \"Strawberry Fields Forever\" leave again, a man comes in and passes out on the floor, the women return and call an ambulance. This however is completely inconsequential although the film is so dry on its own that any hint of a narrative is met with anticipation. The dead man was played by well known experimental filmmaker Hollis Frampton. The manipulation of stock, exposures, and tinting recalls some of the work of David Rimmer. \r\n\r\nBack and Forth (1969) - Michael Snow\r\n\r\nWhat an apt title. This film is simply a pan back and forth across an empty classroom somewhere in Texas. Jump cuts show up and various characters enter and leave. A janitor comes to clean, a couple toss a ball back and forth, and eventually a group of people show up and make conversation. The pace of the pan changes throughout, starting slow, building speed, and slowing back down again. At the end though Snow begins to superimpose various aspects of the pan as well as a late tilt and with several of these going at once in varying speeds and directions the film will leave you feeling dizzy. Another exploration of the film medium and very aware of itself.','8fd58539f37b4cff9dd75ed56e0689e7',0,'','EPeio71S',1,0,'',0,0,0),(15099,2534,3,1,0,'69.120.114.47',1203849780,1,0,1,1,1,1,'wpqx','Re: Avant-Garde Cinema','La Region Centrale (1971) - Michael Snow \r\n\r\nHere\'s an idea for a movie: Let\'s get a camera that can be programmed with a computer to move in weird random ways, then lets put it out in the middle of nowhere in some Canadian wilderness, now lets have the thing run for 190 minutes. I really wonder sometimes just what experimental filmmakers are thinking. Snow\'s work primarily works because of its length. An experiment like Back and Forth is dizzying in an exhilarating way, the monotony of this film wears you down early. I\'d like to be one of those people who agrees that this is the culmination of Snow\'s early work, but its so damn long I was bored to tears, and then starting weeping because I realized I had another 140 minutes left.','af214d1f1c7f46097d4c08107f1d37e6',0,'','QA9zG0aJ',1,0,'',0,0,0),(15100,2535,3,1,0,'69.120.114.47',1186047000,1,0,1,1,1,1,'wpqx','Cecil B. DeMille','King of Kings (1927)\r\n\r\nWatching King of Kings you may at first be taken in by the spectacle. The beginning is shot in two strip Technicolor (as the Egypt sequences were in The Ten Commandments) and is filled with that decadent splendor present in so many DeMille films. Sin might be wrong, but isn\'t it tantalizing, with diamond encrusted breast plates and pet leopards? DeMille never seemed able to separate the circus promoter from the pious moralist in himself, and this film is ripe with that conflict. What strikes you next and throughout the film is that this picture was made by a believer. He was rumored to have held mass before every day\'s shooting, and you can\'t doubt it, in addition to making all his actors affirm their faith in Jesus. Perhaps the great publicity machine was rolling, but heaven\'s I\'ve come to believe everything I hear about this man and his films.\r\n\r\nDeMille had originally wanted to make a film about Noah\'s Ark, but found that Warner Bros. was already making a film on the subject, complete with a moder story to parallel the biblical action. Hearing that description you wonder if the project wasn\'t written for DeMille. So a writer suggested to DeMille not to beat around the bush but to just go ahead and tell the bible\'s biggest and best known story, that of Jesus Christ. In the process were grand opportunities for filming miracles, and of course the inevitable God\'s wrath which comprises the most spectacular sequence of the film. The subject suited him quite well and the success of this film encouraged him to return to the bible several times in the future. Luckily I would say DeMille avoids his modern day morality play by clearly making this a historical film. There are no parallels to the modern day with its reckless booze and loose women. Here it is good old fashioned religion, a traveling revival show, and DeMille was the fancy preacher coming through doing flips down the aisle and yelling for the congregation to \"testify\". Again I have no difficulty imagining DeMille as an Evangelist preacher and his films can sometimes come off as such.\r\n\r\nHis almost childlike enthusiasm in the project is what I believe makes the film so endearing today. Sure future biblical epics would be huge spectacles, and sure they would present a compelling case, but DeMille\'s film is that rare picture seems to come from a genuine believer. Sure there\'s nothing meek and modest about DeMille or his presentation, but H.B. Warner\'s Jesus appears like the Jesus of paintings and church crucifix\'s. This isn\'t the doubting Jesus of Scorsese or Pasolini, this is a Jesus who stands up straight with his jaw out and never losing a second to appear holy and noble. Perhaps some of a cartoon, and DeMille even seeks to illuminate him in white following his resurrection and into his ascension, saving his one bit of modern day folklore for a superimposition at the film\'s conclusion. After all DeMille couldn\'t resist letting you know that despite a timeless tale it is still relevant. I also had to admire that in the prologue (cut from the widespread US release) he says that these events happened some 19 centuries ago in Palestine. He isn\'t even remotely attempting to present a version or opinion, to DeMille this is fact and historical document and making a film on Jesus would be just the same as making one on Napoleon for historical accuracy. As a side note the famous Grauman\'s Chinese Theater opened its doors for the first time at the premiere of King of Kings, how very fitting.','cc4390e1a9fe60cf7b50684731e2f8b8',0,'','urJKWBwy',1,0,'',0,0,0),(15101,2535,3,1,0,'69.120.114.47',1187071800,1,0,1,1,1,1,'wpqx','Re: Cecil B. DeMille','Carmen (1915)\r\n\r\nIn 1915 two productions of Carmen were underway at the same time, and a third was finished by the end of the year. Cecil B. DeMille\'s production was started first, but William Fox wanted to compete with the project and brought in up and coming Raoul Walsh to direct a spare no expense adaptation. Walsh\'s version is believed to be lost, so people pretty much have to rely upon DeMille\'s as the definitive. It\'s a shame too because DeMille\'s Carmen is powerfully weak. Geraldine Farrar plays the title role and lord have mercy she\'s almost unwatchable. Farrar was brought to star in the film because she had played the role on the stage. So perhaps her singing chops could carry Bizet\'s opera, but her looks are so far from carrying this film its laughable today. Matter of fact I\'d say all but one woman (the overweight factory supervisor) are more attractive than her, and almost all of them are younger. So if you want your Carmen middle aged and hideously ugly then DeMille\'s adaptation might be right up your alley, for the rest of us, well at least the film would be made again, and again, and again, and well it\'ll probably be made a few dozen more times before everyone\'s through with it.\r\n\r\nThe film is relatively concise and incorporates segments of the opera in its soundtrack (as apparently its original screening did). The performances aren\'t bad but well they aren\'t good either being a rather theatrical adaptation of a staged opera. The highlight of the film (for me anyways) comes between Carmen and a much more attractive woman fighting at work. DeMille the circus entertainer runs wild here with the two clawing at each other relentlessly with clothes being torn and hell it\'ll certainly compete with any current \"professional\" female wrestlers. Don Jose (Wallace Reid) has a rather well staged sword fight that might seem long, but well people need action and that\'s what they get. The theatrical ending is somewhat banal and handled with far too much attention drawn to it. In fact most of this film is rather dismissable. Much more impressive is Charlie Chaplin\'s nearly shot for shot parody of it.','65e8c93c0f6fe52be8c81138835fbdae',0,'','UE03ZzTr',1,0,'',0,0,0),(15102,2535,3,1,0,'69.120.114.47',1187072700,1,0,1,1,1,1,'wpqx','Re: Cecil B. DeMille','The Cheat (1915)\r\n\r\nIt may be hard to think of it today, but in the early days of American feature films Cecil B. DeMille was considered on par with D. W. Griffith. He was a groundbreaking filmmaker who had as much comprehension of narrative cohesion as Griffith, but with a little more flash. The Cheat is one of his early features that will always stand out. Considered by many to be the film that \"made\" DeMille it has lost little if any of its power to entertain today. It is salacious, entertaining, fast paced, and positively enthralling start to finish. I would go so far as to call it DeMille\'s masterpiece and a picture that earns him inclusion into the silent film hall of fame (which even detractors of his sound films should grant him). The film also impressed critics of the time, and served to be an extremely influential film for decades. DeMille used very low key lighting and incorporated telling shadows throughout the picture, something that would be appropriated far more extensively by the German\'s several years later.\r\n\r\nFannie Ward plays Edith Hardy an irresponsible socialite who finds herself somewhat neglected by her husband. The husband (Jack Dean) is involved in a big investment deal that he hopes will solve all their financial problems and provide the type of life his wife deserves. That type of life is of course being able to spend several thousand dollars on evening dresses, underwear, and hats galore. Edith finds herself attracting the attentions of an oriental ivory man named Tori (Sessue Hayakawa). She thinks of him as something of a friend, a friend with a great deal of money. When Edith foolishly gambles money she was entrusted to hold from a charitable organization she needs $10,000 and quickly. Tori agrees to give her the money but he doesn\'t want to be repaid with a check, he wants Mrs. Hardy. Now for those watching the film you wouldn\'t be surprised at this request, what is surprising is Mrs. Ward\'s refusal. Throughout the film she was quite leading him on and with the neglect of her husband, one wouldn\'t be surprised for her to jump into bed with this charming and wealthy new suitor. Of course the fact that he happens to be oriental can easily explain her revulsion, but perhaps this woman truly is clueless.\r\n\r\nNow when she goes to return his money he doesn\'t accept it and demands to maker her his possession, going so far as to brand her which is surely one of the most shocking scenes of its day. DeMille spares no expense in their fight, tearing clothes, breaking through doors, shooting, branding, rape, he doesn\'t let us off the hook. The sensationalism pays off, and he lets another \"circus act\" appear later in the court room as a would be lynch mob starts charging up to the wounded Tori. When the court scene emerged I instantly recalled Judge Priest (mainly because I watched that film yesterday) but also because they both involve a woman\'s honor being kept secret even though it would save an innocent man from going to jail. Like that previous film though we can guess whether or not the truth will come out, but in this film the result is far more rewarding. DeMille sets us up for a huge payoff, and in the process examines shallow high society, adultery, the never ending pursuit of wealth, and of course a little bit of morality. This has got to be the finest film I\'ve yet to see from DeMille and melodramatic or not, I highly recommend it to everyone.\r\n\r\nGrade A','2a8551006b1cbbe8a88ab7c0a0e480f1',0,'','HvbgZsNV',1,0,'',0,0,0),(15103,2535,3,1,0,'69.120.114.47',1199447580,1,0,1,1,1,1,'wpqx','Re: Cecil B. DeMille','Joan the Woman (1916)\r\n\r\nThere are two things in silent film I\'ll probably never understand, one is Louise Dressler and the other is Geraldine Farrar. Farrar appeared in few films in her career and remains damn near the only opera star to make a name for herself in silent films. She played a horrible Carmen a year earlier, and here she is cast as an overweight and past her prime Joan. Now maybe I\'m just being a big meanie considering she wasn\'t all that old, but she never really seems fit for the role, certainly not the way we\'ve come to expect our Joan\'s to be. I suppose Falconetti ruined it for everyone. DeMille however takes her story and of course has to make a very loose modern correlation. This is the earliest film of his I know of that imposes this tactic. Being 1916, he makes the modern story that begins and ends the film about a British soldier in a trench who finds an old 15th century sword. We are led to suppose that this may have belonged to Joan, or at least one of her followers. He is told of a very dangerous mission that would mean martyrdom for himself and while thinking of it he falls asleep. There he is transported to Joan\'s time as DeMille would have it, a man whose in love with Joan. Only DeMille could make a love story out of Joan of Arc. That hogwash notwithstanding Griffith spared no expense and spent a whopping $300,000 on the plot (I know, but hell gas used to cost about a nickel at that time). The film is helped by some decent support, and look closely and you\'ll find a very young Ramon Navarro playing a starving peasant.','0d9789b3ec1ff1ca44f004fa746ca4ed',0,'','d9BZqz1P',1,0,'',0,0,0),(15104,2535,3,1,0,'69.120.114.47',1199581800,1,0,1,1,1,1,'wpqx','Re: Cecil B. DeMille','A Romance in the Redwoods (1917)\r\n\r\nIt has been somewhat forgotten in modern times, but Mary Pickford was the biggest movie star of her era. The only person even close to her was Chaplin, and their formation of United Artists was largely because the two became too expensive for other studios to afford. In 1917 Pickford was earning roughly $375,000 for each picture she made. This typically meant the rest of the film\'s budget would be very modest. So for those wondering why the great DeMille made a film consisting of roughly one major set and a few outdoor locales, this might help to explain it. By most accounts DeMille and Pickford didn\'t get along too well, which isn\'t too surprising considering how controlling each could be. However they apparently liked the results because they did make at least one more film together (The Little American, made the same year). What may seem curious about this film for Pickford fans is the fact that she plays someone roughly her own age. Pickford was about 25 when she made the picture and she plays a young woman who gets thrust into adulthood following the death of her mother.\r\n\r\nShe decides she\'s going to move out to California to be with her uncle, but before she arrives her uncle is killed by Indians. An outlaw comes across the dead uncle and assumes his clothes and identity. After a month long journey across the country, Pickford arrives to find her uncle\'s cabin lacks a few necessities. However after a rocky start her and the outlaw begin to bond, although her pleas to make him reform his ways go unheeded. It isn\'t until the police discover his identity and put a noose around his neck that he finally can reform. Little Mary winds up saving the day with a clever although hardly believable ruse. The film can be viewed as a lesser DeMille effort, churned out during his incredibly prolific early period. However Pickford makes the film worthwhile and its nice seeing her not pretend to be a 14 year old (ala Pollyanna).\r\n\r\n*The film is available on DVD courtesy of the 5 disc public domain \"Early Films of Cecil B. DeMille\" set. Although the prints might not be pristine, for the price it is a treasure.','00602a9a2ce8ecb78dbc85c239d5e15f',0,'','ZBx09vzL',1,0,'',0,0,0),(15105,2535,3,1,0,'69.120.114.47',1199583900,1,0,1,1,1,1,'wpqx','Re: Cecil B. DeMille','The Little American(1917)\r\n\r\nOk, did some fact checking. Pickford and DeMille made a grand total of two films together, and I watched them in the right order. The Little American is certainly a title more synonymous with Pickford, and the scale of the picture is much more to DeMille\'s sensibilities. The result is a film that seems grander and better suited to the dynamic duo. Unfortunately for modern audience there is an issue of context. The picture was made towards the later part of 1917, and America had ended its neutrality and entered into the war. As such this film is painfully racist towards Germans, or Prussians as they\'re referred to here. They rape and pillage without a second\'s thought, kill women and children for not being loyal enough, and invade the home of a neutral American. This extreme heavy handedness is at times hard to bear, but seen within its timeframe you can\'t expect much else, especially from a man like DeMille. Included in the much grander production is a recreation of the sinking of an unnamed ship (which is very obviously the Lusitania), and some very deliberate symbolism as a church is bombed leaving nothing standing but a giant crucifix. Enjoyable in its own right, and with the introduction of the German love interest for Pickford it has at least the aura of making it seem like not ALL Germans are evil.','13ecd75430defb00f8d60285bcaec378',0,'','Eed1WpkR',1,0,'',0,0,0),(15106,2536,3,1,0,'69.120.114.47',1159950060,1,0,1,1,1,1,'arsaib4','Silent / Short / Avant-Garde Cinema on DVD','\r\n\r\nAn intriguing collection of shorts and documentaries has recently appeared on a DVD from Alto-Media (Korea). It\'s being touted as a collection of first works (hence the title) from some of the major French filmmakers of the past and present.\r\n\r\nHere\'s the list of 8 films included on the disc:\r\n\r\nL\'AMOUR EXISTE \r\n(MOURICE PIALAT/1961/19 min/Black & White) \r\n\r\nLE CHANT DU STYRENE \r\nALAIN RESNAIS/Documentary/1957/14min/Color\r\n\r\nCHARLOTTE ET SON JULES \r\nJEAN-LUC GODARD/Comedy/1958/13min/Black & White\r\n\r\nLE COUP DU BERGER \r\nJACQUES RIVETTE/Comedy/1957/27min/Black & White\r\n\r\nHISTOIRE D\'EAU \r\nFRANCOIS TRUFFAUT & JEAN-LUC GODARD/Comedy/1958/ 12min/Black & White\r\n\r\nLE LABORATOIRE DE L\'ANGOISSE \r\nPATRICE LECONTE/Comedy/1971/11min/ Color\r\n\r\nLES SURMENES\r\nJACQUES DONIOL-VALCROZE/Comedy/1957/19min/Black & White\r\n\r\n24 HEURES DE LA VIE D\'UN CLOWN \r\nJEAN-PIERRE MELVILLE/Documentary/1946/18min/Black & White\r\n\r\n__________________________\r\n\r\n*The English/Korean subtitled NTSC/Region-3 DVD is available from several East-Asian retailers.','4267af8e3c2ba55cc49ed065d3fd4cec',0,'','G8TakKgn',1,0,'',0,0,0),(15107,2536,3,1,0,'69.120.114.47',1160393100,1,0,1,1,1,1,'trevor826','Re: Silent / Short / Avant-Garde Cinema on DVD','Are you planning on purchasing the dvd? It does sound very interesting.\r\n\r\nCheers Trev.','34937491841a58e9bf88afb978be7fd7',0,'','jiCv0mLN',1,0,'',0,0,0),(15108,2536,3,1,0,'69.120.114.47',1160465640,1,0,1,1,1,1,'arsaib4','Re: Silent / Short / Avant-Garde Cinema on DVD','I actually do have this disc. I bought it mostly for the Pialat\'s short which is very good and very rare. As you\'d agree, it\'s difficult to find the time to go through short films but I\'ll try to cover them soon in some capacity.','ecc20035c37802f409a32ae35aca125c',0,'','vYpC4nbB',1,0,'',0,0,0),(15109,2536,3,1,0,'69.120.114.47',1167042360,1,0,1,1,1,1,'arsaib4','Re: Silent / Short / Avant-Garde Cinema on DVD','\r\n\r\nJean-Luc Godard & Anne-Marie Miville: Four Short Films includes:\r\n\r\nJe vous Salue, Sarajevo \r\n2 min/1993\r\n\r\nThe Old Place\r\n46 min/1998\r\n\r\nDe l\'Origine du XXIe Sicle\r\n16 min/2000\r\n\r\nLibert et Patrie\r\n21 min/2002\r\n\r\n_______________________\r\n\r\n*The English/German subtitled DVD (Region-0/NTSC) was released by one of JLG\'s favorite distributors, ECM. It\'s reportedly accompanied by a 120-page hardcover book, which includes various pertinent essays and the text of the narration by JLG and Miville (again, English friendly).','f99d98a810311f6e816e1b6205718b49',0,'','UnYlDKuh',1,0,'',0,0,0),(15110,2536,3,1,0,'69.120.114.47',1167521520,1,0,1,1,1,1,'A','Re: Silent / Short / Avant-Garde Cinema on DVD','This set is aavailable in Germany, but so far I didn`t want to pay the high price. If somebody gets to see any of the films in the set, I`d appreciate some comments.','76f0ce771393cc159544e22e4f4fc964',0,'','VH8GezFd',1,0,'',0,0,0),(15111,2536,3,1,0,'69.120.114.47',1179543960,1,0,1,1,1,1,'arsaib4','Re: Silent / Short / Avant-Garde Cinema on DVD','\r\n\r\nGeography of the Body\r\nWillard Maas / U.S. / 1943 / 7 mins.\r\n\r\nThe Mechanics of Love\r\nWillard Maas-Ben Moore / U.S. / 1955 / 5 mins.\r\n\r\nVisual Variations on Noguchi\r\nMarie Menken / U.S. / 1945 / 4 mins.\r\n\r\nThe Potted Psalm\r\nSidney Peterson-James Broughton / U.S. / 1946 / 18 mins.\r\n\r\nThe Cage\r\nSidney Peterson / U.S. / 1947 / 28 mins.\r\n\r\nHouse of Cards\r\nJoseph Vogel / U.S. / 1947 / 16 mins.\r\n\r\nChristmas, U.S.A.\r\nGregory J. Markopoulos / U.S. / 1949 / 13 mins.\r\n\r\nAdventures of Jimmy\r\nJames Broughton / U.S. / 1950 / 10 mins.\r\n\r\nInterim\r\nStan Brakhage / U.S. / 1952 / 24 mins.\r\n\r\nUnglassed Windows Cast a Terrible Reflection\r\nStan Brakhage / U.S. / 1953 / 29 mins.\r\n\r\nThe Way to Shadow Garden\r\nStan Brakhage / U.S. / 1954 / 11 mins.\r\n\r\nThe Extraordinary Child\r\nStan Brakhage / U.S. / 1954 / 13 mins.\r\n\r\nRebus-Film No. 1\r\nPaul Leni / U.S. / 1928 / 15 mins.\r\n\r\nThe Fall of the House of Usher\r\nJames Watson-Melville Webber / U.S. / 1928 / 12 mins.\r\n\r\nPacific 231\r\nJean Mitry / France / 1949 / 10 mins.\r\n\r\nArriere Saison\r\nDimitri Kisanoff / France / 1950 / 15 mins.\r\n\r\nTraite de bave et d\'eternite (Venom and Eternity)\r\nJean Isidore Isou / France / 1951 / 111 mins.\r\n\r\n_______________________\r\n\r\n*This 2 disc-set by Kino International (U.S.) will be released on July 24th.','881089eefce213f8ff57b6a6ead70628',0,'','deW2ZtVH',1,0,'',0,0,0),(15112,2536,3,1,0,'69.120.114.47',1181678280,1,0,1,1,1,1,'A','Re: Silent / Short / Avant-Garde Cinema on DVD','Looks very interesting. \r\nDo you know if this is part of a series Kino is working on (The 2 in the right corner of the DVD could indicate this)?\r\n\r\nGood to find a film by Markopoulos there. I saw a film Mekas made as a tribute to him after his death. It\'s been a while since I\'ve seen it, but I haven\'t forgotten to remember to get my hands on some of Markopoulos work. He seems to have been a rather marginal figure of the New York avant-garde though (or am I wrong?).','e29ee3b93e51103145f53678fec91f72',0,'','cfFlU1vP',1,0,'',0,0,0),(15113,2536,3,1,0,'69.120.114.47',1182117660,1,0,1,1,1,1,'arsaib4','Re: Silent / Short / Avant-Garde Cinema on DVD','Since his death in 1992, Markopoulos\'s partner Robert Beavers has made some of his work visible again, in part to collect funds for the screenings of the monumental Eniaios, and for the galleries that have preserved their work. The duo left the U.S. in 1967, and Markopoulos subsequently removed his work from distribution.\r\n\r\nYes, this is the second set. The proper info for the first is as follows:\r\n\r\nDisc 1 \r\n\r\nLe Retour la raison \r\n(Man Ray, France, 1923, 2 min.) \r\n\r\nEmak-Bakia \r\n(Man Ray, France, 1926, 16 min.) \r\n\r\nL\'toile de mer \r\n(Man Ray, France, 1928, 15.5 min.) \r\n\r\nLes Mystres du chteau du D \r\n(Man Ray, France, 1929, 20 min.) \r\n\r\nThe Life and Death of 9413, a Hollywood Extra \r\n(Slavko Vorkapich, Robert Florey, U.S., 1928, 13 min.) \r\n\r\nMnilmontant \r\n(Dimitri Kirsanoff, France, 1926, 37 min.) \r\n\r\nBrumes d\'automne \r\n(Dimitri Kirsanoff, France, 1928, 12 min.) \r\n\r\nLot in Sodom \r\n(James Sibley Watson, Melville Webber, U.S., 1933, 27 min.) \r\n\r\nRhythmus 21 \r\n(Hans Richter, Germany, 1921, 3 min.) \r\n\r\nVormittagsspuk (Ghosts Before Breakfast) \r\n(Hans Richter, Germany, 1928, 9 min.) \r\n\r\nAnmic cinma \r\n(Marcel Duchamp, France, 1926, 6.5 min.) \r\n\r\nBallet mcanique \r\n(Fernand Lger, France, 1924, 11 min.) \r\n\r\nSymphonie diagonale \r\n(Viking Eggeling, France, 1924, 7 min.) \r\n\r\nLe Vampire \r\n(Jean Painlev, France, 1939, 8.5 min.) \r\n\r\nThe Hearts of Age \r\n(Orson Welles, William Vance, U.S., 1934, 8 min.) \r\n\r\nDisc 2 \r\n\r\nberfall \r\n(Ern Metzner, Germany, 1928, 22 min.) \r\n\r\nLa glace trois faces \r\n(Jean Epstein, France, 1927, 33 min.) \r\n\r\nLe Tempestaire \r\n(Jean Epstein, France, 1947, 22.5 min.) \r\n\r\nRomance sentimentale \r\n(Sergei Eisenstein, Grigori V. Alexandrov, France, 1930, 20 min.) \r\n\r\nAutumn Fire \r\n(Herman G. Weinberg, U.S., 1931, 15 min.) \r\n\r\nManhatta \r\n(Paul Strand, Charles Sheeler, U.S., 1921, 10 min.) \r\n\r\nLa Coquille et le clergyman \r\n(Germaine Dulac, France, 1926, 31.5 min.) \r\n\r\nRegen (Rain) \r\n(Joris Ivens, the Netherlands, 1929, 14 min.) \r\n\r\nH2O \r\n(Ralph Steiner, U.S., 1929, 12 min.) \r\n\r\nEven -- As You and I \r\n(Roger Barlow, Harry Hay, LeRoy Robbins, U.S., 1937, 12 min.)\r\n\r\n*Includes film notes by film critic/historian Elliot Stein, English subtitle options on selected films, newly composed scores by Sue Harshe, Larry Marrotta, Paul Mercer, and Donald Sosin, and more.','6c488cfd58f90398011cc8b9d2ee65d4',0,'','NvnBSGz6',1,0,'',0,0,0),(15114,2536,3,1,0,'69.120.114.47',1182137040,1,0,1,1,1,1,'A','Re: Silent / Short / Avant-Garde Cinema on DVD','Ah, I think I\'ve read somewhere on the net about this epic film by Markopoulos (if I\'m not mixing it up with something). Keep us posted if more info pops up. \r\nAnd thanks for the listing. These two sets look yummy','634f2db6cefd559533254a373422fca5',0,'','dTDCzh3o',1,0,'',0,0,0),(15115,2536,3,1,0,'69.120.114.47',1182157680,1,0,1,1,1,1,'arsaib4','Re: Silent / Short / Avant-Garde Cinema on DVD','The Village Voice\'s Nathan Lee, who\'s also gay, has written about Markopoulos on a couple of occasions. Not sure if the articles are available online.','358a1ac59ba888dfee73aa389065d4f3',0,'','vC4mfwPH',1,0,'',0,0,0),(15116,2536,3,1,0,'69.120.114.47',1184033400,1,0,1,1,1,1,'arsaib4','Re: Silent / Short / Avant-Garde Cinema on DVD','\r\n\r\nLINK (pdf)\r\n\r\nNFPF ANNOUNCES LINE-UP FOR TREASURES III 4-DVD BOX SET\r\n48 FILMS NEVER BEFORE SEEN ON VIDEO DEBUT THIS FALL \r\n\r\nSan Francisco, CA (July 9, 2007)Cecil B. De Mille\'s sensational reformatory expos, The Godless Girl; Redskin in two-color Technicolor; Lois Weber\'s anti-abortion drama Where Are My Children?; The Soul of Youth by William Desmond Taylor; and dozens of rare newsreels, cartoons, serials, documentaries, and charitable appeals are showcased in the National Film Preservation Foundation upcoming four-DVD box set, Treasures III: Social Issues in American Film, 1900-1934. Slated for release by Image Entertainment on October 16, Treasures III (retail price $89.99) introduces to DVD 48 films from the decades when virtually no issue was too controversial to bring to the screen. \r\n\r\n\"In film\'s first decades, activists from every political stripe used movies to advance their agenda,\" said Martin Scorsese, who serves on the NFPF Board of Directors. \"These films are an important and fascinating glimpse of history. They changed America and still inspire today.\" \r\n\r\nProhibition, birth control, unions, TB, atheism, the vote for women, worker safety, organized crime, loan sharking, race relations, juvenile justice, homelessness, police corruption, immigrationthese issues and more are brought to life in the new 12-1/4 hour set. In addition to the four features, the line up includes the first Mafia movie, a 1913 traffic safety film, management\'s version of the Triangle Shirtwaist fire, temperance and suffragette spoofs, A Call for Help from Sing Sing!, an action-packed Hazards of Helen episode, a patriotic \"striptease cartoon for war bonds, the earliest surviving union film, and a medley of prohibition newsreels kicked off by Capital Stirred by Biggest Hooch Raid. \r\n\r\nThe motion pictures are drawn from the preservation work of the nation\'s foremost early film archives: George Eastman House, the Library of Congress, the Museum of Modern Art, the National Archives, and the UCLA Film & Television Archive. None of the works has been available before in high-quality video. \r\n\r\nTreasures III is playable worldwide and has many special features for DVD audiences: \r\n\r\nNewly recorded music contributed by more than 65 musicians and composers \r\nAudio commentary by 20 experts \r\n200-page illustrated book with essays about the films and music \r\nMore than 600 interactive screens \r\n4 postcards from the films \r\n\r\nThe third in the award-winning Treasures series, the new set reunites the curatorial and technical team from the NFPF\'s earlier DVD anthologies. The project is made possible through the generous support of the National Endowment for the Humanities and the National Film Preservation Board of the Library of Congress. Net proceeds will support further film preservation. \r\n\r\nProgram 1: The City Reformed\r\n\r\nThe Black Hand (1906, 11 min.) \r\nEarliest surviving Mafia film.\r\nHow They Rob Men in Chicago (1900, 25 sec.) \r\nPolice corruption Chicago-style.\r\nThe Voice of the Violin (1909, 16 min.) \r\nA terrorist plot is foiled by the power of music.\r\nThe Usurer\'s Grip (1912, 15 min.) \r\nMelodrama arguing for consumer credit co-operatives.\r\nFrom the Submerged (1912, 11 min.) \r\nDrama about homelessness and \"slumming parties \r\nHope A Red Cross Seal Story (1912, 14 min.) \r\nA small town mobilizes to fight TB\r\nThe Cost of Carelessness (1913, 13 min.) \r\nTraffic safety film for Brooklyn school children.\r\nLights and Shadows in a City of a Million (1920, 7 min.) \r\nCharitable plea for the Detroit Community Fund.\r\n6,000,000 American ChildrenAre Not in School (1922, 2 min.) \r\nNewsreel story inspired by census data.\r\nThe Soul of Youth (1920, 80 min.), with excerpts from Saved by the Juvenile Court (1913, 4 min.)\r\nWilliam Desmond Taylor\'s feature about an orphan reclaimed through the juvenile court of Judge Ben Lindsey with excerpts from the political campaign film Saved by the Juvenile Court (1913. 4 min.)\r\nA Call for Help from Sing Sing! (1934, 3 min.) \r\nWarden Lawes speaks out for wayward teens.\r\n\r\nProgram 2: New Women\r\n\r\nThe Kansas Saloon Smashers (1901, 1 min.) \r\nCarrie Nation swings her axe.\r\nWhy Mr. Nation Wants a Divorce (1901, 2 min.) \r\nRole-reversal temperance spoof.\r\nTrial Marriages (1907, 12 min.) \r\nMale fantasy inspired by a feminist\'s proposal.\r\nManhattan Trade School for Girls (1911, 16 min.) \r\nProfile of the celebrated progressive school for impoverished girls.\r\nThe Strong Arm Squad of the Future (ca. 1912, 1 min.) \r\nAnti-suffragette cartoon.\r\nA Lively Affair (ca. 1912, 7 min.) \r\nComedy with poker-playing women and child-rearing men. \r\nA Suffragette in Spite of Himself (1912, 8 min.) \r\nBoys\' prank results in an unwitting crusader.\r\nOn to Washington (1913, 80 sec.) \r\nNews coverage of the historic suffragette march.\r\nHazards of Helen: Episode 13 (1915, 13 min.) \r\nHelen thwarts robbers and overcomes workplace discrimination.\r\nWhere Are My Children? (1916, 65 min.) \r\nProvocative anti-abortion drama by Lois Weber.\r\nThe Courage of the Commonplace (1913, 13 min.) \r\nA young farm woman dreams of a better life.\r\nPoor Mrs. Jones! (1926, 46 min.) \r\nWhy wives should stay on the farm. \r\nOffers Herself as Bride for $10,000 (1931, 2 min.) \r\nNovel approach to surviving the Depression.\r\n\r\nProgram 3: Toil and Tyranny\r\n\r\nUncle Sam and the Bolsheviki-I.W.W. Rat (ca. 1919, 40 sec.)\r\nAnti-union cartoon from the Ford Motor Company.\r\nThe Crime of Carelessness (1912, 14 min.), \r\nManagement\'s version of the Triangle Factory fire.\r\nWho Pays?, Episode 12 (1915, 35 min.) \r\nA lumberyard strike brings deadly consequences.\r\nSurviving reel from Labor\'s Reward (1925, 13 min.)\r\nThe American Federation of Labor\'s argument for \"buying union.\r\nListen to Some Words of Wisdom (1930, 2 min.) \r\nWhy personal thrift feeds the Depression.\r\nThe Godless Girl (1928, 128 min.)\r\nCecil B. DeMille\'s sensational expos of juvenile reformatories.\r\n\r\nProgram 4: Americans in the Making\r\n\r\nEmigrants Landing at Ellis Island (1903, 2 min.) \r\nActuality footage from July 9, 1903.\r\nAn American in the Making (1913, 15 min)\r\nU.S. Steel film promoting immigration and industrial safety.\r\nRamona: A Story of the White Man\'s Injustice to the Indian (1910, 16 min.) \r\nHelen Hunt Jackson\'s classic about racial conflict in early California, retold by D.W. Griffith and starring Mary Pickford. \r\nRedskin (1929, 82 min.) \r\nRacial tolerance epic, shot in 2-color Technicolor at Acoma Pueblo and Canyon de Chelly.\r\nThe United Snakes of America (ca. 1917, 80 sec.)\r\nWorld War I cartoon assailing homefront dissenters.\r\nUncle Sam Donates for Liberty Bonds (1918, 75 sec.) \r\n\' Patriotic \"striptease cartoon.\r\n100% American (1918, 14 min.)\r\nMary Pickford buys war bonds and supports the troops.\r\nBud\'s Recruit (1918, 26 min.) \r\nBrothers learn to serve their country in King Vidor\'s earliest surviving film.\r\nThe Reawakening (1919, 10 min.)\r\nDocumentary about helping disabled veterans to build new lives.\r\nEight Prohibition Newsreels (192333, 13 min.)\r\nFrom Capital Stirred by Biggest Hooch Raid to Repeal Brings Wet Flood! \r\n\r\nThe National Film Preservation Foundation, the nonprofit organization created by the U.S. Congress to help save America\'s film heritage, is the charitable affiliate of the National Film Preservation Board of the Library of Congress. Since starting operations in 1997, the NFPF has helped save more than 1,100 films at archives, libraries and museums across 41 states, Puerto Rico, and the District of Columbia.','f7f1281145a6f66e807a190773ea4269',0,'','pulJ7Y0V',1,0,'',0,0,0),(15117,2536,3,1,0,'69.120.114.47',1184097660,1,0,1,1,1,1,'wpqx','Re: Silent / Short / Avant-Garde Cinema on DVD','Always curious about this @#%$ on dvd.','7cb45951706c54ef77835fdb7bb0d6ad',0,'','5yaE9ewr',1,0,'',0,0,0),(15118,2536,3,1,0,'69.120.114.47',1197968100,1,0,1,1,1,1,'arsaib4','Re: Silent / Short / Avant-Garde Cinema on DVD','wpqx on the abovementioned ECM shorts.','0bad081ff027477a96976fdc8355f6d3',0,'','lJGiQun6',1,0,'',0,0,0),(15119,2537,3,1,0,'69.120.114.47',1197786120,1,0,1,1,1,1,'wpqx','Great Avant-Garde Resource','This is a site called Ubuweb. Not sure if anyone has heard of it, and if you have, shame on you for not sharing it with us. Lots of streaming videos of experimental films.\r\n\r\nwww.ubu.com/','492963ec8864189247a52160626ef868',0,'','tAyfMk2J',1,0,'',0,0,0),(15120,2537,3,1,0,'69.120.114.47',1197793020,1,0,1,1,1,1,'arsaib4','Re: Great Avant-Garde Resource','I believe Madhuban initially brought it up here in Trevor\'s Short Films thread. But I\'m glad you mentioned it again.','ec9daa155c8a0f53ead9627ed9c2ff1e',0,'','Tw9dkfXs',1,0,'',0,0,0),(15121,2537,3,1,0,'69.120.114.47',1197857280,1,0,1,1,1,1,'wpqx','Re: Great Avant-Garde Resource','Well no one told me about it that I know of, but I was browsing last night and I can see myself spending many hours there. I was referred to it by a friend when we started talking about Godard\'s Vertov group.','84927e32af4ee837e472e83f5b03adea',0,'','68Duq1N9',1,0,'',0,0,0),(15122,2538,3,1,0,'69.120.114.47',1187778960,1,0,1,1,1,1,'arsaib4','Jean Renoir: Silents','.','5058f1af8388633f609cadb75a75dc9d',0,'','ivjV0w6W',1,0,'',0,0,0),(15123,2538,3,1,0,'69.120.114.47',1187835840,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','WHIRLPOOL OF FATE (France / 1925)\r\n\r\n\r\n\r\nIn 2005, Whirlpool of Fate (La Fille de l\'eau) -- Jean Renoirs first solo directorial effort (besides being involved as a producer, actor and screenwriter in the earlier Une vie sans joie [1924], Renoir also reportedly \"interfered\" with director Albert Dieudonn) -- was \"restored by the French Film Library and Canal Studio from a 35mm copy on safety base film. This constituent established by Henri Langlois, had English subtitles; the original French subtitles could not be recovered. Therefore, the restoration consisted of translating and adapting the English text in order to create new subtitles, and then digitizing the copy to produce the image.\" (Rather ironic -- and, Im sure, frustrating for some Renoirphiles -- because, until recently, the DVD editions of the film only featured French intertitles.) \r\n\r\nForetellingly so, as far as one of the key motifs of the masters oeuvre is considered, Whirlpool of Fate begins with the shot of a body of water -- a canal, in which we witness a ferry gradually moving towards us. After introducing the protagonist, Gudule (Catherine Hessling, Renoirs wife and collaborator until 1930), the film takes us atop the vessel where we find Gudules father and her boorish uncle (Pierre Lestringuez, who wrote the screenplays for a number of Renoirs early films). It isnt long that the now-orphaned Gudule is seen on the run after her foolishly extravagant uncle tries to take advantage of her. Consisting of more sudden twists than a Mexican telenovela, the poor young girl\'s dramatic life reaches a nadir one rainy evening in the forest, but shes rescued by the well-meaning, and long-admiring, son of a local landlord. Will Gudule now live happily ever after?\r\n\r\nWhirlpool of Fate contains a couple of key instances in which Renoirs early experimental tendencies come to fruition. One is the aforementioned attempted rape scene where the image of the highly intoxicated uncle is distorted via a variety of negative-related effects; and the illusory result is heightened and punctuated by the use of rapid montage. Even more important is the metaphysical, and surreal, dream sequence (which is similar to that of Renoirs latter The Little Match Girl [1928]). Here, the filmmaker practically unleashes all the available components of his formal and stylistic apparatus: variable frame rates, superimposition, multiple exposures, acute angles, intense contrasts of light, etc. \r\n\r\nHaving said that, and while Renoir also manages to coax some poetry out of the thoroughly natural settings, this 72-minute silent -- considerably longer than Match Girl and the subversively experimental (or experimentally subversive) Charleston Parade (1927), but shorter than Nana (1926), arguably the best of Renoir\'s silents -- isn\'t as accomplished as some of the other films of the time-period.','6098a6c95ab54f4303d487a82b5f8bba',0,'','re63EQwz',1,0,'',0,0,0),(15124,2538,3,1,0,'69.120.114.47',1187836260,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','DVD info is available here. Whirlpool of Fate is featured on Disc 1 alongside Nana. This set is one of the best bargains of the year.','456d47af295a44b453c2cf76ea12b035',0,'','As0LPg6n',1,0,'',0,0,0),(15125,2538,3,1,0,'69.120.114.47',1188181680,1,0,1,1,1,1,'A','Re: Jean Renoir: Silents','I still have fond memories of watching this film at the BFI in London in 2002. I believe it was my first Renoir, and though I was a bit bored by the meandering storyline I still remember being impressed with some \"naturalist\" sequences (as well as the excellent improvised live piano music ). The beginning of the film with the ferry and the river is still etched intro my memory. What a beautiful sequence. When I saw Grmillon\'s Maldone (1927) I was reminded of moments like this. \r\nIf I remember correctly, this film was more of an excuse to film his wife rather than telling any coherent story \r\nI would love to see it again, even though it does seem to be a minor film. \r\n\r\nThanks for the link. I had completely forgotten about this set!\r\nRight now I\'m trying to order it from Amazon.com','9e1399f7f8383bfe5772b63656a81be8',0,'','s7eMWdRa',1,0,'',0,0,0),(15126,2538,3,1,0,'69.120.114.47',1188185280,1,0,1,1,1,1,'A','Re: Jean Renoir: Silents','Unfortunately I don\'t have a credit card anymore, so can\'t order from Amazon. Anyone know any other options?','27c8b28f911350e700e3b8094011458a',0,'','9Plroizg',1,0,'',0,0,0),(15127,2538,3,1,0,'69.120.114.47',1188195360,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','That means that you probably don\'t have a PayPal account either. It will be difficult ordering from overseas without a CC. You could try deepdiscount.com to see if they offer another option. But isn\'t there a retailer in Germany, online or otherwise, which offers import DVDs?','2df83fbce5f3c85197d218223aaf4d0c',0,'','vRtD4QCi',1,0,'',0,0,0),(15128,2538,3,1,0,'69.120.114.47',1188264120,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','xploitedcinema.com also accepts payments via personal check and money order, and they have the set ($24.95).','70641637baeeb4ac5ec479d4f310641f',0,'','gA1QozPl',1,0,'',0,0,0),(15129,2538,3,1,0,'69.120.114.47',1188985320,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','NANA (France-Ger / 1926)\r\n\r\n\r\n\r\nInfluenced by the work of Erich von Stroheim (Foolish Wives [1922], in particular), Nana, perhaps the most engaging and technically sound of Jean Renoirs silents, is based on mile Zola\'s classic 1880 novel of the same name. Unlike Whirlpool of Fate (1925), which Renoir shot on-location in the countryside, Nana primarily unfolds on artfully and lavishly designed sets, the first of which in seen in the films opening moments as the titular stage actress (Catherine Hessling) with no singing or acting talent wins over the audience, bourgeois men in particular, with her calculatingly voluptuous performance. She soon manages to become the toast of Paris, but a minor scandal breaks out in the theatrical community. In order to keep her highly envious standing, Nana persuades the most influential of her bevy of admirers, Count Muffat (Werner Krauss, The Cabinet of Dr. Caligari [1920]; Nana was mostly shot in Berlin due to financial reasons), to have her cast in the troupes follow-up play. While she succeeds in her goal, the play turns out to be a disaster, relegating her to a role which perhaps suited her all along, that of a courtesan. Even though Renoir has marked Nana, which he primarily self-financed, as the true beginning of his career, it was a commercial failure, and caused the French master to sell off some of the work of his leading impressionist painter father, Pierre-Auguste. At 130 minutes the film feels a tad long, especially with the ever-grating Hessling who is unable to humanize the character at significant moments, but it does manage to provide a key early look at a couple of Renoir\'s thematic and formal concerns. Nana\'s beautifully tinted print was preserved earlier this decade by the Cineteca del Comune di Bologna and the Cinmathque Suisse, Lausanne.','e23e1df0a4db2557b6a80140698ab008',0,'','KacChwzg',1,0,'',0,0,0),(15130,2538,3,1,0,'69.120.114.47',1189360320,1,0,1,1,1,1,'A','Re: Jean Renoir: Silents','Thanks for the help. I managed to order the set via Paypal on YesAsia. \r\nLooking forward to the films (though I don\'t know when I\'ll have time to watch any of them ). On a side note, a cinema in Stuttgart is showing renoir\'s Toni (1934) as a subtitled print in early October. I\'ll definitely try to see that','3fb25441889f2990887e9db93f701187',0,'','JRwEeDcN',1,0,'',0,0,0),(15131,2538,3,1,0,'69.120.114.47',1191269460,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','Began Renoir on my director list, so naturally started with Whirlpool of Fate. Agreed for the most part with arsaib\'s comments. Melodramatic to a slightly embarrassing extent but with a few trademark impressionist moments that made the picture worthwhile. Stylistically it is radically separated from the films Renoir would earn his reputation on in the 30\'s, but well worth a watch, especially considering how little we get to see from 1920\'s French cinema.','fd82fd6030d6f8f5f6c00f14dbc43f0a',0,'','9ZwHqRWe',1,0,'',0,0,0),(15132,2538,3,1,0,'69.120.114.47',1191301620,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','Glad you watched it. Thanks for the comments. Now I think you\'ll be pleasantly surprised by Renoir\'s level of accomplishment in Nana.','d4a94396a15ba019224fb51d7441292e',0,'','6WyaVMQX',1,0,'',0,0,0),(15133,2538,3,1,0,'69.120.114.47',1191302520,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','God only knows when I\'ll get to it, between school, community service, and Cubs playoffs I don\'t plan on having a life for the next month.','ab1c9536b0cf3905b5ad45f3d7527646',0,'','hAFzbKUc',1,0,'',0,0,0),(15134,2538,3,1,0,'69.120.114.47',1191724200,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','Did get to watch Nana and was disappointed by it. I missed the more loosely experimental style of Whirlpool of Fate which seemed a little more connected to Renoir\'s body of work. Nana was a bit long and seemed like one of many Greta Garbo vehicles and I didn\'t buy the title character.','e57fd1c7028abfd4cb02febeee911952',0,'','yE01jSua',1,0,'',0,0,0),(15135,2538,3,1,0,'69.120.114.47',1191740880,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','I think Nana is at least as formally innovative and is more sophisticated in its approach than the other silents. It\'s also \"richer\" in terms of character (Hessling\'s performance, notwithstanding), and offers the key theme of life\'s theatricality which Renoir often went back to. Having said that, as you can see I had similar issues with the work.','3e5e934ad428f5ddb6f216d45997b843',0,'','cBmaE5d3',1,0,'',0,0,0),(15136,2538,3,1,0,'69.120.114.47',1191741180,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','Funny you mention its theatricality. This came across like a very theatrical film, and the huge sets made me think I was sitting in the balcony of a theater watching a play. Tonight I watched Charleston and The Little Matchgirl which certainly were interesting. I believe I had seen Charleston as part of some avant-garde program but that one was highly amusing. Renoir seemed to be making films in a very classicalist sense. Nana comes across as a stale Porter adaptation, and these two films, particularly Charleston seems straight out of Mellies. Interesting films in their own right and I can\'t help but admire anything remotely surreal.','d48eeba0376bf9153c8a4908fbaebe75',0,'','wKFQM0Zp',1,0,'',0,0,0),(15137,2538,3,1,0,'69.120.114.47',1191834240,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','Moved on to Tire-au-flanc which I discovered contained German subtitles so I was hopelessly lost. I attempted to read both French and German titles in the hope that between the two languages I could figure it out. Of course I can\'t find much of a plot synopsis here (this will change when I consult my Renoir book) so I barely feel like I saw the film. Renoir\'s sense of humor was coming through a bit in this film and Michel Simon is a delight as usual. I also noticed that in addition to not being able to understand the intertitles there happened to be a shitload of them. Anyways I just hope the next film I can read.','8e3b46fd5541c8bf81ee92ed37d6679d',0,'','DJ0fsMV4',1,0,'',0,0,0),(15138,2538,3,1,0,'69.120.114.47',1191996300,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','I haven\'t yet seen that 1928 effort. Did you import the 3-disc French set? It appears that The Sad Sack is also available on DVD in Spain.','23ca584c3dc8a232c7b7b52c35290f24',0,'','ViGdK4FE',1,0,'',0,0,0),(15139,2538,3,1,0,'69.120.114.47',1192142760,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','No this was a VHS at Facets. I watched Tournament which I believe was his final silent film. Not that great but anticipated some future efforts notably Le Marsailles. In other Renoir news I moved on to Madame Bovary and Toni, but that would be a whole new thread that I don\'t have time to make.','5e3340cebf3c0ccd93833e05b38753e1',0,'','RZ4gBosp',1,0,'',0,0,0),(15140,2538,3,1,0,'69.120.114.47',1192259580,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','In that case Tire au flanc must\'ve been a PAL-to-NTSC conversion. I believe it was the first collaboration between Renoir and Simon. Tournament exists on VHS but isn\'t readily available, at least if you don\'t live in a major U.S. market.','22b34f2468a31b8df8c4003f29a7b79b',0,'','qCyLxdKu',1,0,'',0,0,0),(15141,2538,3,1,0,'69.120.114.47',1192321920,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','A seems to have the upper hand on all of us with that retro, I did pick up a PAL DVD of Swamp Water but that\'s next to watch.','ed561e2163a6a6bd723cb236bebaed77',0,'','UwL7xnCi',1,0,'',0,0,0),(15142,2538,3,1,0,'69.120.114.47',1194726000,1,0,1,1,1,1,'R6dw6C','Re: Jean Renoir: Silents','Due to a decent retrospective (16 Films plus two documentaries by Jacques Rivette and Jean Eustache) of Renoir\'s work here in Nuremberg, I had the chance to see six of his films (I was very busy and missed the rest ) screened from English / German subtitled 35/16mm Prints. The silents shown were \"Fille de l\'eau / Whirlpool of Fate\", \"Nana\" and \"Petite marchande d\'allumettes / The little Match girl\".\r\n\r\nFirst of all, I have to confess that I still have a little problem to get into silent films, though I\'ve never had a real discouraging experience - the only one probably was \"The Nurtull Gang\" by Per Lindberg so far. So those three films by Renoir managed to enrich my cinematic horizon a lot, I suppose. About \"Whirlpool of Fate\", I mostly agree with both of you, though I felt sympathy especially for the afore criticised melodramatic attitude - imo, the film is some kind of tragic fairy tale (a poor girl loses her family, travelling with gipsies and finally gets to know the man of her dreams - that\'s one of oldest fairy tales ever, at least in Europe), and the over-the-top exploitation of the conflicts Gudule (Catherine Hessling) is involved in, reminded me of some German post-WWII romantic films (you asked for Olaf Mller\'s choice in the \"Sight and Sound\"Hidden-Gem-List, arsaib? \"Monpti\" has quite a lot in common with this one and it is a masterpiece!) and of Douglas Sirk (another great director I\'m discovering at the moment). And it was one of Renoir\'s first films, of course. That shall not be forgotten. But I liked it a lot nevertheless (8/10).\r\n\r\nThe second film was \"Nana\", which was all right but not a great effort at all. It was shining through that this was a highly ambitious project for Renoir, but I think the film, though worth the experience - especially because of Catherine Hessling\'s gorgeous, unbelievable performance, Werner Krauss and a beautiful new print - is a failure. A condign failure,yet. Even A (as he complains very often about films being too short ) thought it was too long and needed too much time to tell about few things, and so did I. Overall, I didn\'t really know what to think about it. But Catherine Hessling\'s acting was SO extremely intoxicant (maybe it was an overwhelming effect? ), that I decided to watch it again in the future. (6-7/10)\r\n\r\nThe third and last film, \"The little Match Girl\" was probably my personal favourite of the retrospective. In opposition to the other 4 Films (except \"The human Beast\") it gave more space to me as a viewer, and not only due to its experimental, surreal style. While the other films all suffered from too strong storylines and precise narration, this one had all formal and narrative qualities recquired by its story, and so it gave me much joy, both intellectually and emotionally. As my mother always read out of Hans-Christian Andersen\'s short stories for me when I was a child, it was fascinating to watch those childhood memories turning into a strong, rich and adult film. (9/10)','152d291074d9239c4c35fe6dd26a4be6',0,'','nlJkx7Ab',1,0,'',0,0,0),(15143,2538,3,1,0,'69.120.114.47',1194866640,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','Very nice post, R6dw6C. It must\'ve been a pleasure to attend such a comprehensive retro. I\'d certainly like to get to those documentaries some day. \r\n\r\nI haven\'t come across a better film critic than Mr. Mller. I try to get to every film he recommends, and so Kutner\'s Monpti is certainly high on my list of films to see. Now I\'m glad to hear that you liked it too. I hope it becomes available with English subtitles. \r\n\r\nGood points re: Whirlpool of Fate and The Little Match Girl. I guess I\'m in the minority when it comes to Nana even though I had the nearly opposite reaction to Hessling\'s performance. In any case, life imitated art to some degree a few years later because Mrs. Renoir wasn\'t casted in La Chienne, which is said to be one of the reasons why their marriage dissolved.','6c7af792539d0415dba31aa2ea4644e0',0,'','ta8L6cdF',1,0,'',0,0,0),(15144,2538,3,1,0,'69.120.114.47',1194879120,1,0,1,1,1,1,'R6dw6C','Re: Jean Renoir: Silents','Yes, but probably I would have appreciated it more if it would not have been my first encounter with Renoir. Thus I felt a bit lost sometimes. And I missed both documentaries myself, so there is no need to be jealous (and they were shown in the original french version without subtitles - Je ne comprends pas...). But A\'s encouragement helped a lot. Fortunately, he ordered the 3-Disc-Set by Lions Gate you and wpqx recommended to him. \r\n\r\nHe\'s also raving about Olaf Mller a lot - I never heard of him before but it seems that I simply have to check out some of his work in the future - and it\'s intriguing that he likes \"Monpti\" that much . It was a huge success at the time of its release but never became a real cult classic and was always flogged by critics who called it \"Kitsch\", \"Clich\" or naive. That\'s all nonsense if you ask me. The film itself has both a very emotional, aspirative and dreamlike - though modern - side (I wonder if Paul Verhoeven saw it before he made \"Turkish Delight\"), and a hidden face showing some abstract social criticism. And of course it has a very young, sweet and stunning Romy Schneider. When I saw it the first time on television 6 years ago, I cried almost one hour because of the tragic ending. When I saw it a second time it became even better (though I didn\'t cry this time). I\'m hoping for all of you that Criterion, Wellspring, Kino or another similar company will pick it up one day. It absolutely deserves a release, as it is one of the most important and ambitious \"commercial\" German films of the 50ies (I\'m almost jealous - most people outside of Austria and Germany hardly know how terrible and plain German cinema was during the 50ies). It\'s availabe on DVD over here, but as usual, without English subtitles. Hopefully it\'ll be mine very soon.\r\n\r\nAnd about Catherine Hessling... So it seems that she really had some bits of the jealous \"bitch\" she played in \"Nana\" in her. I know that she didn\'t really overact but it is absolutely over the top nevertheless. Some moments made me open my eyes wide saying to myself: \"Oh my god, I\'ve never seen anything quite like that, how hysterical, incredible, more impressive than any special effect!\". Almost a female Klaus Kinski and sort of a strongly spiced preview of Vivien Leigh\'s awful (though much more reserved) performance in \"Gone with the Wind\". \r\n\r\nNow i\'ll try to complete my own retrospective and watch \"The Great Illusion\" soon.','3818c78b057c7be043b8cc7d87c6c4dc',0,'','1TtqPMu5',1,0,'',0,0,0),(15145,2538,3,1,0,'69.120.114.47',1194929040,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','Just wait till you watch her in Charleston Parade!','987c0ffcc24fa56185504ca220a735ca',0,'','H6tNCgnq',1,0,'',0,0,0),(15146,2538,3,1,0,'69.120.114.47',1195531380,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','besmirching the good name of Vivian Leigh in GWTW?','a88e5aa40574c6c5d16990276f24e5be',0,'','xVdk84X7',1,0,'',0,0,0),(15147,2538,3,1,0,'69.120.114.47',1195561440,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','R6dw6C notified me that he\'s currently busy and will be back asap.','c875236673df980f9f1de6a39b155ecf',0,'','puBmsnvY',1,0,'',0,0,0),(15148,2538,3,1,0,'69.120.114.47',1195644660,1,0,1,1,1,1,'A','Re: Jean Renoir: Silents','Now that R6dw6C mentioned it, I have to say that it strongly resembles Leighs performance. But unlike him I enjoyed it a lot. Gone with the Wind (1939) is a \"camp\" classic after all. \r\n\r\nUnlike wpqx and Matalo Matango, I only saw two silents by Renoir at the cinema. Unfortunately I had too many other commitments, so I watched only a handful of Renoir movies, some of which were presented in incredibly bad copies (La rgle du jeu (1939) was a \"lowlight\" in this regard). But I caught at least the one-and-a-half hour long \"talkumentary\" of Renoir and Michel Simon that was filmed by Jacques Rivette (and edited by Jean Eustache!) for French TV in the 60s. Somehow it never got screened there, but the print survived until it was dug out in the 90s and presented to the public. Although I was a bit tired, I witnessed an interesting (and subtitled) screening. \r\n\r\nLa fille de l\'eau (Whirlpool of Fate / 1925) was actually a rewatch, as I had already seen the film at the BFI in London five years ago. What had stayed with me was a wonderfully improvised piano score by the gifted musician who at that accompanied the silent films at the institute and some beautiful imagery that had managed to stay with me over the years (the impressionist opening shot and the sequence at the river, Catherine Hessling as an apprentice at her first theft, as well as most of the dream sequence). What had also remained was the shock of watching such an improvised and meandering movie, which seemed to have barely a plot at that time. My second screening in October showed me that the film actually had a plot - and maybe too much of it. What impressed me most this time was again the rural setting, the landscapes and the impressionist atmosphere Renoir created in certain moments. I would have wished there was much more of it, and Renoir would have completely forsaken the interesting if unsurprising story. The famous dream sequence wasn\'t as interesting as I remembered, but I found out that I had completely forgotten the best moments it contains. As arsaib astutely points out: Quote:the filmmaker practically unleashes all the available components of his formal and stylistic apparatus: variable frame rates, superimposition, multiple exposures, acute angles, intense contrasts of light, etc.At the beginning of the dream we see Catherine Hessling\'s \"spirit\" wandering around, not noticing her uncle watching her, who seems glued to a tree (a sexually charged image that could have come right out of Bunuel\'s Un chien andalou, made a few years later - it can be seen on the previous page of this thread on the image arsaib uploaded for his review). When she does notice him we see her fleeing in a couple of unrelated slow-motion studies, her robe and her hair flying behind her. These gorgeous images alone (that lasted less than a minute) would have been worth seeing the film for, and for me they were clearly the highlight. I couldn\'t believe my eyes, and was simply incredibly happy to be able to witness them (again) in a theater. They must have definitely been an inspiration for Jean Epstein, who used similar and even more accomplished scenes in his version of Poe\'s La chute de la maison Usher (The Fall of the House of Usher / 1928 ). The famous rest of Renoir\'s dream-sequence was subsequently merely interesting. Nevertheless the ride through the sky became so well-known that it already got copied various times during the silent era. An interesting variation appears only one year later in William A. Wellman\'s underappreciated small comedic gem The Boob (1926), where George K. Arthur flies above the sky in a car instead of a horse. I also saw a print with re-translated French intertitles as arsaib mentioned in his review which were subtitled with a German text. It will be interesting to see the film again with English subtitles and without a piano score. This time, I found the musical accompaniment rather uninspiring, and i think I might like the movie more when I watch it \"silent\". Thanks to the Lionsgate 3-Disc Set I\'ll be able to do just that. \r\n\r\nNana (1926) was in my opinion more interesting and a huge step forward for Renoir. Here I have to agree with arsaib, that some important traits of his later films can already be observed, and I also think it is a better and more interesting film than \"Whirlpool of Fate\". Renoir\'s artistic genius is clearly on display in many scenes of the film, and his direction of actors is incredible. I have rarely seen a better silent performance by an actor in a silent film than Werner Krauss\' portrayal of the tormented Count Muffat. But the clear highlight of the film was Catherine Hessling. Her performance was simply breathtaking. Incredibly intoxicating, as R6dw6C rightfully put it, and there can be added many more expressions of joy and wonder. Definitely the best female performance I have witnessed from the silent era, it is one for the ages. Whenever Hessling is on the screen she almost sets it on fire. I wished she had been in the film every second of it, because she is the focus and essence of the whole enterprise and the movie loses its balance when she isn\'t there. The first half is one of the best in Renoir\'s catalogue, taking advantage of the stark and theatrical settings, and displaying a mastery in choregraphy as he arranges his actors beautifully in a space he defines through the use of a beautiful deep focus photography, accomplished lightning and very effective editing. The long static takes that are reminiscent of 19th century cinema were a joy to behold, and the beautifully restored image of the tinted print probably helped in my appreciation of this narrative device. Unfortunately Renoir starts to lose it when the focus shifts from Nana to the other characters in the second half, and the film feels more and more unnecessarily dragged out, as we await the expected conclusion (I see we all agree that the film is too long). It seems that Renoir doesn\'t always know what to do with the story and his characters once he has established his theme and technique. And as the movie progresses, he isn\'t able to combine the two diverging acting style\'s of Hessling and Krauss, who seem to drift more and more away from each other when the script clearly tries to unite them, into a satisfying whole. A task which Renoir would master in his later work, when he directed similarly gifted actors like Michel Simon, Jean Gabin or Erich von Stroheim. I find it very interesting, that we have kind of two differing opinions on the board. While arsaib and wpqx obviously weren\'t particularly fond of Hessling\'s performance (to put it mildly ) me and R6dw6C thought it extraordinarily good. Maybe we could start a discussion about different acting styles on the bases of this. I think we all agree that Werner Krauss\' acting (which I\'d call internal and naturalist, as opposed to the expressive and manierist of Hessling) was extremely impressive. The critic who introduced Nana to the audience at the cinema in Nuremberg warned us of Hessling\'s poor performance, and from numerous books and texts I\'ve read on the subject, it seems that the film wasn\'t a (financial) success partly due to the audience not liking it. Most of the film critics I\'ve read also seem to agree on this issue. Btw, have you seen the restored print like the rest of us wpqx?\r\n\r\nIn the end, I\'d say that \"Whirlpool of Fate\" feels like the work of a talented director, while Nana already shows the signs of a master. Unfortunately Renoir hasn\'t realized yet that he is best when he observes people in their environment, and least interesting when he tries to fulfill the expectations of a narrative feature. When Renoir tries to tell us something he is not better than the rest (I\'m not very fond of La rgle du jeu), but if he merely observes he is able to reach the stage of a genius. Renoir\'s gentle gaze makes us literally feel every emotion of the characters he is so devoted to, and the trembling of an eyebrow becomes as important as any other movement, as he bridges the inner and outer reality of his characters and makes us excperience this constant shifting. And when he sets the camera into motion he is one of the best. His slow tracking shots which can be found in many of his films are not only some of the best in film history, but express best his humanity and humility as a person and filmmaker. For it is in them that the transcendence Renoir always aims for exposes its potential. What he has taught the viewers, filmmakers and theorists who admired him was the awareness of life.','e9d637c79f50290f62d515494a6c1f6b',0,'','ky9E8hmx',1,0,'',0,0,0),(15149,2538,3,1,0,'69.120.114.47',1195685520,1,0,1,1,1,1,'wpqx','Re: Jean Renoir: Silents','If you are fond of Hessling, then you must certainly continue on with The Little Matchgirl and Charleston which I think are head and shoulders above Whirlpool and Nana. The print I saw of all of these films were the DVD release here in the states and it was the restored print. Renoir\'s early films were largely unsuccessful. One of the reasons for the diminished scale of Renoir\'s next couple of films was the failure of Nana, largely financed from Renoir\'s own pocket and the selling of his father\'s paintings. I find it odd that the very thing you commend in Nana (the 1890\'s style camera work) is exactly what I found so distancing in the picture.\r\n\r\nI imagine all of us can at least agree that the man\'s best work was done over the next decade.','1d0d72f20398829c2c3622d6fe42c95a',0,'','i96aszmq',1,0,'',0,0,0),(15150,2538,3,1,0,'69.120.114.47',1195966260,1,0,1,1,1,1,'arsaib4','Re: Jean Renoir: Silents','That Cinastes de notre temps episode(s) by Rivette must\'ve been great. Excerpts are available with a couple of the Criterion DVDs but I haven\'t yet seen them.\r\n\r\n\"When she does notice him we see her fleeing in a couple of unrelated slow-motion studies, her robe and her hair flying behind her. These gorgeous images alone (that lasted less than a minute) would have been worth seeing the film for, and for me they were clearly the highlight.\"\r\n\r\nMe, too. I\'d love to see the film again, and hopefully in a theatrical setting. Good point re: Buuel.\r\n\r\nI\'m glad to have some support for Nana, even though the stylization of one Andre Heuchling remains a point of contention.','abae3d957493cb08460a409d25756ff0',0,'','vicwz0P1',1,0,'',0,0,0),(15151,2538,3,1,0,'69.120.114.47',1196069520,1,0,1,1,1,1,'A','Re: Jean Renoir: Silents','As far as I know, there were three episodes or programmes produced by Cinastes de notre temps on Renoir at that time, although I don\'t know in how many Rivette was involved (or credited as a director). Would be interesting to find out. \r\n\r\nYes, the first Mme. Renoir remains a point of division.','a98e66c805df49fa4116e6cfe4face21',0,'','VFvGdlc3',1,0,'',0,0,0),(15152,2538,3,1,0,'69.120.114.47',1196636100,1,0,1,1,1,1,'R6dw6C','Re: Jean Renoir: Silents','@ wpqx:\r\n\r\nI have to confess that my first and - up to now - last view on \"Gone with the wind\" lasts 5 years back (I was 14 years old!), my reception changed almost 100 percent since then. Maybe I\'ll like it much better the next time, I feel that it could be quite similar to Douglas Sirk\'s Hollywood films from the 50ies. \r\n\r\n@ wpqx & arsaib:\r\n\r\nThanks for the recommendation, I\'ll look out for \"Charleston Parade\", not only because of Catherine Hessling (I already appreciate Renoir\'s style of filmmaking though I think that the quality of his films is quite variable - what I\'ve seen of THE RULES OF THE GAME seemed quite uninteresting to me - and his silents are more intriguing, though \"THE HUMAN BEAST\" turned out to be the best and richest of the 6 Films I\'ve seen - I liked \"The little Match girl\" better nevertheless because it was more pure cinema than anything else I noticed within this retrospective).','66fb8e8ed835270a90d467d7105b4743',0,'','KMAgREnW',1,0,'',0,0,0),(15153,2539,3,1,0,'69.120.114.47',1185865560,1,0,1,1,1,1,'wpqx','Douglas Fairbanks aka Elton Thomas','The Mark of Zorro (1920) - Fred Niblo\r\n\r\nWell this film answers two questions. The first is what did Fred Niblo ever do besides Ben-Hur? The second is when did Douglas Fairbanks become an action hero? Fairbanks, who was already an independent producer with his own studio was best known for making comedies. Not the being chased by cops/pie in the face kind, but more of a situational kind. The wildly energetic Fairbanks wanted to try revamping his image, and it paid off to an enormous extent. So much so that for the remainder of his career, and his legacy thereafter he was a swashbuckling action star, and arguably the first great action hero in film. The Mark of Zorro was the first adaptation of the series of articles from Johnston McCulley called The Curse of Capistrano. Somehow The Mark of Zorro has a better ring to it, makes it sound less like a horror film.\r\n\r\nFairbanks realizing that having his own production company and top billing he downplayed his auteurish tendencies. In the cast of characters Fairbanks is the last name in the credits. Fairbanks also wrote the screenplay under his oft used alias Elton Thomas. Fairbanks would pen nearly all of his classic adventure films including Robin Hood and Thief of Baghdad. As if that weren\'t enough Fairbanks gives himself something of a dual role playing the rather namby pamby Don Diego as well as the ultra confident and self assured Zorro. Always doing his own stunts Fairbanks would participate in numerous sword fights throughout the film, but as was typical of the era (then and now) films were set up to be topped at a later date, so the death defying antics of Thief of Baghdad weren\'t present here. It seems fitting that Fairbanks would make The Three Musketeers and Robin Hood his next two projects considering they too deal with vigilante justice in the best sense of the word. These three films can serve as a bit of a trilogy for vigilante period pictures, but this is the one that can lay claim to starting the trend. Although not much good has ever come from the Zorro franchise Fairbanks makes a strong case for himself as the first true action hero here.','cd88f004be5ffd632222860069a6a86c',0,'','wU0blzmv',1,0,'',0,0,0),(15154,2539,3,1,0,'69.120.114.47',1185874680,1,0,1,1,1,1,'wpqx','Re: Douglas Fairbanks aka Elton Thomas','Robin Hood (1922) - Allan Dwan\r\n\r\nBigger, longer, better? Fairbanks found that in the two short years since The Mark of Zorro that he had cornered a market on historical action spectacle. To commemorate this he actually put his name in the title of this film, copy written as Douglas Fairbanks in Robin Hood. Now commonly referred to as Robin Hood (at least on video) the film has existed in a variety of prints and variations. Some have tinting some don\'t, some are projected at correct speeds, others slowed down to 24 fps. The VHS and subsequent DVD release by Kino are believed to be the correct length, tint, and projection speed or so I believe. The film is a mighty 120 minutes, and a great deal of that time is spent admiring the ginormous sets constructed for the film. Fairbanks and then wife Mary Pickford purchased a former studio and proceeded to reconstruct a 12th Century England. Sad to think that sets of this size would be computer generated today, but there was a time when damn it people actually constructed this. Fairbanks not to be outdone by his surroundings steps up his acrobatics and practically flies through the film leaping and landing all over the place, but always with a spare minute to kick some game to the lovely Maid Marian (Enid Bennett). In the days before \"special effects\" there was actually a credited Trick Photographer (Paul Eagler). Much larger in scale than all of Fairbanks\' previous efforts, this would even seem small when compared to his Thief of Baghdad. Although not the first adaptation of the Robin Hood legend, this along with the Curtiz version in 1938 have remained the best remembered.','0704e2d064a260d7345cc5e780691dd6',0,'','KBHCXF7x',1,0,'',0,0,0),(15155,2539,3,1,0,'69.120.114.47',1187048100,1,0,1,1,1,1,'wpqx','Re: Douglas Fairbanks aka Elton Thomas','Mr. Robinson Crusoe (1932) - Edward Sutherland\r\n\r\nDouglas Fairbanks didn\'t do much with sound, and some people who see this film wouldn\'t bother to change their opinions. I for one admire the film. Fairbanks, who was responsible for the screen story, again under the name Elton Thomas, plays a city man who makes a bet he can live the life of Riley on a deserted island with nothing but a tooth brush. When his dog jumps overboard to join him, he throws the tooth brush back. Unlike most desert island films where the newly arrived would have some problems adapting at the start, Fairbanks seems to be absolutely perfect here. His boy scout training comes in real handy. Along with his dog they quickly find food, water, and start building a shelter.\r\n\r\nThe film is a monument to American imperialism. Within a month\'s time Fairbanks has proven himself smarter and better than the people who have been natives of these islands for centuries. He uses animals as his slaves, even having hot water, building a penthouse, and through some unexplainable way building a radio, even though there\'d be no reception several hundred miles from land. The story would be boring with just Fairbanks proving that he\'s a superman genius so of course the conflict of a woman forced into a marriage on a nearby island is thrown in. She escapes and well who would of guessed it she winds up in Fairbanks arms and he has to fight off a horde of natives who just so happen to be cannibals. His slaves/animals help him out and he gets away just as his friends are arriving back from their hunting in Africa to shoot some natives and hail the white man with his remarkable intelligence and great weapons. A lot of this is hard to swallow, but Fairbanks charisma helps make it bearable.','a9b6ca90d1a76883e2bf8b20dd945e0c',0,'','NJnfgGEC',1,0,'',0,0,0),(15156,2539,3,1,0,'69.120.114.47',1196070900,1,0,1,1,1,1,'A','Re: Douglas Fairbanks aka Elton Thomas','The Three Musketeers (1921) - Fred Niblo\r\n\r\nAs part of our program to screen at least one silent film every to months at our cinema, we showed a copy of Douglas Fairbanks\' The Three Musketeers (1921) this month (the one before that had been my favourite Lubitsch, Die Bergkatze from 1920). Like The Mark of Zorro one year earlier this one was also directed by Fred Niblo, who I finally seem to find some interest in. \r\n\r\nAfter reading wpqx\'s comments on the subsequent Fairbanks production Robin Hood (1922), which I haven\'t yet seen myself, I have to believe The Three Musketeers was made and conceived in the same way. Huge and eloborate sets which must have cost a fortune, combined with some action scenes in a running time of 119 minutes that must have seemed epic for a supposed action film at those times. Unfortunately the 16mm print we received must have been one of the worst prints (if not THE worst) I had ever set my eyes on. The set-design was almost impossible to glimpse in its beauty, and the characters were often mere shadows who couldn\'t be recognized by there faces in certain scenes, but only out of the context of the film. The print was also missing some footage (unfortunately most of it action-related), but it wasn\'t only because of that one absolutely had to be familiar with the storyline of Dumas\' novel to follow the plot. I find \"The Three Musketeers\" to be among the very best of literature ever produced, and so far all attempts I\'ve seen who tried to adapt it for the screen (and there were quite many) have failed miserably in this aspect. It\'s not so much that the novel doesn\'t lend itself to adaptation. the problem is that you cannot compress a work of hundreds of pages into a movie of two or three hours. One would probably need at least ten of those to do the complexity of the material justice. Nevertheless I\'ve found most versions of the novel so far very entertaining, and I always try to see an additional one if I find an opportunity to do so. Fairbanks\' version was very entertaining (if I am allowed to draw such a conclusion after seeing such a horrible print), and judging by the reactions of the rather huge audience most of them would have agreed with me. Fairbanks portraits the flamboyant D\'Artagnan with much gusto, and I absolutely have to see the film again to properly enjoy the incredible sets and the seemingly impressive cinematography. As far as entertainment value goes, this is one of Fairbanks\' best entries. The direction by Fred Niblo seemed (as usual) a bit lacking though, having the most problems with a proper pace for the storyline and a constant rhythm which is never achieved. Some moments are incredibly (and unncecessarily) dragged out, while much of the fun is presented in too short a time-span.','79f55fd917a82ac5de9eccc66bf519b8',0,'','4EwsLaTr',1,0,'',0,0,0),(15157,2539,3,1,0,'69.120.114.47',1196075100,1,0,1,1,1,1,'wpqx','Re: Douglas Fairbanks aka Elton Thomas','I am still a fan of the Richard Lester version. You may want to hunt down the DVD Kino put out of The Three Musketeers, the print is infinitely better and was color tinted. I\'m just glad someone is watching Fairbanks besides me.','5318fd054b8efa2559aef86b96f00fed',0,'','9p4gjadk',1,0,'',0,0,0),(15158,2539,3,1,0,'69.120.114.47',1201689240,1,0,1,1,1,1,'A','Re: Douglas Fairbanks aka Elton Thomas','I do own the Kino DVD, and I was considering a rewatch this morning, but I decided for a Lon Chaney film instead. \r\nI do love Fairbanks btw., and I always enjoy his movies, although I still haven\'t seen a film of his that would impress me.','07b0bbb7b39ab3f07dc2fa09e26ea5cc',0,'','ihj7k0yM',1,0,'',0,0,0),(15159,2540,3,1,0,'69.120.114.47',1173188100,1,0,1,1,1,1,'arsaib4','Jacques Feyder','CRAINQUEBILLE (France / 1922)\r\n\r\n\r\n\r\nOnce praised by D. W. Griffith as \"beautiful, compelling, bold!,\" Crainquebille is now regarded as one of the key French films of the silent era. Directed by Belgian-born French filmmaker Jacques Feyder (1885-1948), it helped paved the way for the poetic-realist tradition which dominated Gallic cinema during the 1930s. While Feyders most famous effort, Carnival in Flanders, transpired during that decade (1935 to be exact), his career came to fruition in the early 20s, with such films as Queen of Atlantis (1920), Crainquebille, and Faces of Children (1925). (Feyder then moved to Hollywood for a few years, where he made two films with the popular Greta Garbo: The Kiss [1929] and Anna Christie [1931], the German-language version.)\r\n\r\nAdapted from a novel by Anatole France, Crainquebille opens with documentary-style realism as we watch various merchants traveling with their carts through Parisian neighborhoods in the early hours of a morning. (At this point, a few of the films secondary characters are introduced, accompanied by Feyders pungent social criticism.) After establishing the milieu with an astonishing overhead shot of the central wholesale marketplace of Les Halles, the filmmaker introduces us to Jrme Crainquebille (Maurice de Fraudy), an old pushcart peddler making his way across the congested streets, selling produce. Hes shown as a kind, generous and modest individual, with many loyal customers. One day, while waiting for a payment, Crainquebille becomes involved in a minor argument with a gendarme, and gets wrongly accused of insulting him. A farce of a trial later, he is jailed, where the life turns out to be pretty good, at least better than his outside reality. And that worsens once he is released. The stigma of being in prison follows him everywhere, eventually becoming the root cause of his downward spiral.\r\n\r\nFeyder was said to have been influenced by German Expressionism. At one point during the trial sequence, Crainquebille hallucinates the statue of Marianne, the French national symbol for Liberty and Justice, looking down on him, literally and metaphorically. Also, his accuser is seen by him as a towering giant, while the lone individual who comes to his defense appears as a diminutive figure. Later on, a nightmarish experience allows for sharp contrasts in colors and personalities. (Part of the credit certainly goes to the great cinematographer Lonce-Henri Burel, who also did magnificent work in Faces of Children.) Crainquebille is a remarkable and deeply moving effort featuring a timeless quality which transcends its social and artistic relevance.\r\n\r\n_______________________\r\n\r\n*CRAINQUEBILLE premiered in NYC in 1923 and was named among the year\'s best by The Times. It is now available on DVD in the U.S. (Image/HomeVision).\r\n_______________________','790d7603d71f26924a6e61b4d8ea281c',0,'','HfTLpv2r',1,0,'',0,0,0),(15160,2540,3,1,0,'69.120.114.47',1173188340,1,0,1,1,1,1,'wpqx','Re: Jacques Feyder','I got a chance to see Faces of Children, and wasn\'t overly impressed, plan on seeing the other two films of his recently released. Likewise wasn\'t overly impressed with the Garbo efforts.','05e6b9c6ad9f10b15c65cc7b67bcd75f',0,'','7v8R2KJa',1,0,'',0,0,0),(15161,2540,3,1,0,'69.120.114.47',1173243480,1,0,1,1,1,1,'arsaib4','Re: Jacques Feyder','I liked Faces, perhaps even more than Crainquebille. Formally, it\'s quite an accomplished effort. I also prefer Feyder\'s French films.','572e303a3d1a5503e36f08f5c6527b12',0,'','FZ95iufm',1,0,'',0,0,0),(15162,2540,3,1,0,'69.120.114.47',1181677320,1,0,1,1,1,1,'A','Re: Jacques Feyder','Haven\'t seen anything by Dreyer yet, though I still have a German filmmagazine from 2002 where some of his films are reviewed in the context of french impressionist works of the 20s. Accompanying the text are some magnificently reproduced stills. Thanks to your review I think I\'m going to take a look at them again \r\nFortunately I have Feyder\'s La kermesse hroque (1935) from BFI, and his Carmen (1926) on Video. \r\nI could have watched his version of Anna Christie at the cinema last year. If I\'d only known that it was directed by him ...\r\n\"Faces of Children\" (1925) has been released in a very good DVD-edition here in Germany.','c5fae9c10712e6b7c4b4fd0322633395',0,'','2tLuyCgd',1,0,'',0,0,0),(15163,2540,3,1,0,'69.120.114.47',1181723400,1,0,1,1,1,1,'arsaib4','Re: Jacques Feyder','I hope you do. For those in the U.S., Faces of Children will play on TCM on June 17th (12:00 AM ET). I\'d love to see La Kermesse hroque/Carnival in Flanders but only if it\'s the full-version. Let me know if that\'s the case with the BFI.','66f1566f534aaf6761a615b231f6b331',0,'','Jqf1Kem4',1,0,'',0,0,0),(15164,2540,3,1,0,'69.120.114.47',1181742480,1,0,1,1,1,1,'A','Re: Jacques Feyder','What do you mean by full version? I didn\'t find any info on imdb about different versions.','4ada7e29d02b4f207a37405bc1dfb872',0,'','ECLb3P8Y',1,0,'',0,0,0),(15165,2540,3,1,0,'69.120.114.47',1181783520,1,0,1,1,1,1,'wpqx','Re: Jacques Feyder','Same here, I wasn\'t aware of a cut version.','4a58eddcc8df7e7f3970b4d37d4cc6fb',0,'','unYdfpsL',1,0,'',0,0,0),(15166,2540,3,1,0,'69.120.114.47',1181789340,1,0,1,1,1,1,'arsaib4','Re: Jacques Feyder','I\'ve read that the BFI disc is about 15-20 minutes longer than the vhs available here.','ffb9e3a7cb9055e3c37865333189cc59',0,'','JQtYgpAB',1,0,'',0,0,0),(15167,2540,3,1,0,'69.120.114.47',1181791200,1,0,1,1,1,1,'A','Re: Jacques Feyder','I\'ll check it out, and report the exact running time back to you.','aa5c17e488d7faa44795e239017c0e46',0,'','TE9GQPuM',1,0,'',0,0,0),(15168,2540,3,1,0,'69.120.114.47',1181859660,1,0,1,1,1,1,'wpqx','Re: Jacques Feyder','Hopefully I\'ll be able to find that DVD then.','e05504b6bfeb5f915d9f75898193904e',0,'','jZQWpPtk',1,0,'',0,0,0),(15169,2540,3,1,0,'69.120.114.47',1182250560,1,0,1,1,1,1,'arsaib4','Re: Jacques Feyder','FACES OF CHILDREN (France-Swi / 1925)\r\n\r\n\r\n\r\nThe opening moments of Jacques Feyders Faces of Children (Visages denfants), which is set in a remote village in the mountainous Haut-Valais region of Switzerland, comprise of a funeral procession. We learn that the mayors wife and the mother of two has just passed away. While the 4-year-old Pierrette is too young to comprehend the loss, the 11-year-old Jean is deeply affected and is simply unable to come to terms with it. He even attempts to keep her mothers memory alive by communicating with her portrait. In the meantime, for the sake of the house and to have someone look after Pierrette, their father Pierre decides to remarry. Considering the delicacy of the situation, Pierre asks the local priest to break the news to his sensitive young son. Upon being briefed of the matter, Jean is perplexed. But any goodwill intentions dissipate rather quickly once he comes across his acerbic stepsister. Things go from bad to worse when Jean notices that the stepmother is wearing his dead mothers broach. At this point Jeans true feelings come to the forefront, allowing him to invent coarse and cruel ways to hurt the new members of his family.\r\n\r\nBoth subtle and operatic, Faces of Children is one of the most formally accomplished silents Ive seen so far. Feyders penchant for detail becomes apparent in the opening sequence as the casket gets descended downstairs. The remarkable subsequent overhead shots of the landscape and the streets with the people spilling out to watch are just as effective and affecting. And Feyder outdoes himself with a Gance-like montage at the graveyard. (The films primary cinematographer is Lonce-Henri Burel, who went on to work with Bresson.) Jean is played by Jean Forest, whom the filmmaker earlier introduced in Crainquebille (1922). His portrayal of a conflicted young boy is authentic and moving. While Feyder and Franoise Rosay, the writing and real-life partners, often employ Jeans point-of-view, they are sympathetic towards everyone whos become part of this predicament. The new music by Antonio Coppola also adds to the proceedings. Its hard to imagine that a lyrical and poetic effort like Faces of Children was once believed to be lost. Recently, the film has also been restored to its original color tinting by the Netherlands Filmmuseum (Amsterdam) in collaboration with the Cinmathque Franaise (Paris), Cinmathque Royale (Brussels), and Gosfilmofond (Moscow).','c1875d158d24a1e0055894d7b1500604',0,'','k9UGzrB6',1,0,'',0,0,0),(15170,2540,3,1,0,'69.120.114.47',1190576580,1,0,1,1,1,1,'A','Re: Jacques Feyder','I now finally have the German DVD of \"Faces of Children\", but I\'m still unable to locate the BFI La kermesse hroque...\r\nIt must be somewhere, though. I\'ll report back if I watch any Feyder (and find the missing DVD so I can check the running time).\r\n\r\nOn the back of the German edition is a quote from Jean Mitry which goes something like this: \"If I had to pick one film from the whole French filmproduction of the 20s I would definitely choose Faces of Children\".','8bb7f5a58c85b029bd904125aa1b2ae9',0,'','LwRzZp06',1,0,'',0,0,0),(15171,2540,3,1,0,'69.120.114.47',1190584500,1,0,1,1,1,1,'arsaib4','Re: Jacques Feyder','Perhaps a bit of a hyperbole, but it obviously shows how passionate Mitry was regarding this film. Yes, please report back after watching the DVD. Me and wpqx earlier posted about the wonderful U.S. set devoted to the French filmmaker here.','5eae55ae3585102aaf59f0fd74b49597',0,'','p5lVLB4F',1,0,'',0,0,0),(15172,2540,3,1,0,'69.120.114.47',1194932220,1,0,1,1,1,1,'A','Re: Jacques Feyder','While tidying up my room, I finally found the BFI Disc for Jacques Feyder\'s La kermesse hroique (1935). \r\n\r\nThe running time is 109 minutes. Don\'t know about the VHS you mention, but I hope this helps.','328cd71709e7da991ea901883297f353',0,'','gz9s1MKx',1,0,'',0,0,0),(15173,2540,3,1,0,'69.120.114.47',1195023780,1,0,1,1,1,1,'arsaib4','Re: Jacques Feyder','DVDBeaver also lists it at 109. The VHS I\'m aware of is about 95 minutes.','4500c5747b7c8ee12a6e8e6a67aa5c99',0,'','xwFgJQGB',1,0,'',0,0,0),(15188,2542,3,1,0,'69.120.114.47',1185602760,1,0,1,1,1,1,'wpqx','Edison: The Inventor of the Movies (KINO)','Well I\'ve finished approximately 110 of the 140 films in this four disc collection, and yes I feel like something of a minor expert in very primitive film. Edison\'s place amongst the inventors of cinema is debatable. The beauty about film is that there is no inventor, or even an originating country. The art for bears some similarities to baseball in that no one is really sure who had the idea first. The truth is many people in different places were working on similar inventions to make the movies come together. Everyone borrowed/stole from each other, and Edison was one of the craftiest to play this game. He tried to get nearly all of his inventions patented so that everyone who ever made a movie would have to pay him royalties. \r\n\r\nEdison had next to nothing to do with the actual making of movies. Much of the technology that went into making movies was created and made by people in his laboratory, and Edison was there primarily to take credit for the discovery. W. L. Dickson was considered the first movie director, and he spent his time making most of the original Edison films in the first American studio \"The Black Mariah\". Dickson is also credited as being the first film theorist, writing on the aesthetics and future of cinema as early as 1894. As a director though its hard to look at his work in the same way as other silent directors. He seemed more of a photographer, and in the early days of cinema they did view it as moving pictures. \r\n\r\nAround the turn of the century Edison had a new go to guy in the form of Edwin S. Porter. Porter was immensely interested in cinematic experiments, and was arguably the first American filmmaker to use superimpositions, double exposures, rear projection, animation, and models. As always with early film numerous things were happening simultaneously throughout the world so its really hard to say who did what first, but none would argue that America\'s first \"blockbuster\" was Porter\'s The Great Train Robbery. Almost immediately after the release of this film, Porter became the Edison company\'s lone director, and had a hand in making nearly every film the company released. In this regard Porter was America\'s first auteur and star director. However his reign at the top would not last long, as Edison rival Biograph would rise to great prominence in 1908 behind D. W. Griffith.\r\n\r\nThis set tracks the evolution of cinema for roughly the medium\'s first 30 years. From photographic tests and films meant to be viewed through a Kinetoscope, to short narratives, one reelers, and finishing with a feature film. This is the evolution of American cinema, and this set is invaluable as a record of turn of the century America, and film evolution. Most of the films on the first two discs are forgettable or nearly impossible to rate. After all how can you aesthetically judge a film lasting 15 seconds? However some of the one reelers are certainly worth the price of admission. For my money arguable the first American masterpiece is Porter\'s film The White Caps (1905), a rather gripping film about vigilante justice. The White Caps were a real group who were active in parts of Illinois, Indiana, and Kentucky. Their outfits and method of taking the law into their own hands certainly recalls the KKK, but this group had no concern for race, and handed out \"justice\" equally. In this film the group tracks down a wife beater and proceeds to tar and feather him. Certainly one of the earliest films I was able to find that made you enthralled in the characters story and provoked a strong emotion of some kind. As for the rest of the films most show curiosity and unique little tidbits, with a fair share of mediocre films.\r\n\r\n. . . More to come when the set is finished.','bbdff54c48fff3ce60e6b42fdeccc008',0,'','rUvWTLN9',1,0,'',0,0,0),(15189,2542,3,1,0,'69.120.114.47',1185755700,1,0,1,1,1,1,'wpqx','Re: Edison: The Inventor of the Movies (KINO)','Well the set has been finished. We move on from the Porter dominated shorts to see his style gradually fade in the popular opinion polls. Almost simultaneously with Griffith rise came Porter\'s demise, and ironically Griffith appears as an extra in Porter\'s Cupid\'s Arrow short. Had Griffith not been pointed out I would have never recognized him. Edison however not that interested in the actual content of his film as much as he was concerned with selling his Kinetoscope and providing material for it let the quality of his product generally wane. Of the several feature length films produced by the Edison company only one is included on the set, 1918\'s The Unbeliever, which was actually the last film the company ever produced. The film is notable as a timely World War I film, but much of the combat is ill informed and much more classical and theatrical. I had to voice my displeasure as the Marines who were outnumbered 2 to 1 retreated, when in WWI the Marines earned their nickname Devil Dogs from the Germans after numerous victories being far outnumbered. However you can\'t expect too much accuracy as the fight was still raging. The film is best remembered today for Erich Von Stroheim\'s performance as an extremely cold blooded German commander who has no ill feelings about killing old women and children. This helped earn Stroheim the reputation of \"The Man You Love to Hate\" and within a year he would make his feature film directing debut, and well the rest is history so to speak.','c0c0c4bdc7c62c4c9497ec0c5a5251d8',0,'','EiQ6XaxR',1,0,'',0,0,0),(15190,2543,3,1,0,'69.120.114.47',1181549820,1,0,1,1,1,1,'arsaib4','Short Docs / Featurettes','\"WHITHER THE SHORT DOC? IN THE RISING TIDE OF NONFICTION FEATURES, IT IS EASY TO FORGET THAT DOCUMENTARY\'S HISTORICAL CANON IS COMPLETELY DOMINATED BY SHORTS AND SO CALLED \'FEATURETTES\' (LONGER THAN 34 MINUTES BUT LESS THAN AN HOUR). LEAVING ASIDE FULL-LENGTH CLASSICS BY FLAHERTY, VERTOV, AND RIEFENSTAHL, UNTIL THE SEVENTIES THE VAST MAJORITY OF AESTHETICALLY OR POLITICALLY SIGNIFICANT DOCS REQUIRED LESS SCREEN TIME THAN A TV SITCOM. OFTEN SHOWN IN NONTHEATRICAL SETTINGS -- CLUBS, UNION HALLS, GOVERNMENT-SPONSORED EVENTS -- OR SANDWICHED BETWEEN MORE FRIVOLOUS FARE IN COMMERCIAL MOVIEHOUSES, FILMS OF ACTUALITY FORGED A SEPARATE LANGUAGE IMMUNE TO THE SWEEPING DRAMATIC ARCS AND CHARACTER DEVELOPMENT OF FICTION FILMS\" (Paul Arthur, Film Comment).','5bd347c76052fd1e22f8b64135773f59',0,'','Dgv6XqmM',1,0,'',0,0,0),(15191,2543,3,1,0,'69.120.114.47',1182421800,1,0,1,1,1,1,'arsaib4','Re: Short Docs / Featurettes','INDOCTRINATION (W. Germany/1987)\r\n\r\nCommissioned for a television series called \"Ziele,\" Harun Farocki\'s Indoctrination (Die Schulung) is an unassuming 44-minute documentary which recaps a five-day seminar involving a group of management executives who learn how to sell themselves better. Employing a \"neutral,\" Wiseman-like approach the filmmaker ably captures the key moments when the students are taught intricate skills of communication (or, as some might say, manipulation). The smart, surreptitious instructor handles the proceedings in a most fascinating manner (his retorts are particularly provocative). Issues of race and class surface tangentially, but the primary draw here is a glimpse behind the psychology of power at the ground level.','e9ce8ac286829319ebb05310cbccacf0',0,'','VDhaknW2',1,0,'',0,0,0),(15192,2543,3,1,0,'69.120.114.47',1182762720,1,0,1,1,1,1,'arsaib4','Re: Short Docs / Featurettes','THE MIGRANT WORKERS OF SHANGHAI (Germany-Den/2005)\r\n\r\nShot without an official permit from the Chinese authorities, The Migrant Workers of Shanghai depicts a few of the millions of peasant workers who\'ve descended upon the country\'s largest city in search for better employment opportunities. No matter how educated they are, manual labor is the best they can hope for in most cases. Compared to their Shanghai-based counterparts, they usually make less than half for doing the same work. Until recently, the children of the migrant workers weren\'t allowed to be schooled in the city (the situation is still far from ideal). Most dream about starting their own business one day -- thanks to the booming economy, the sky is the limit for the select few who succeed. This 52-minute documentary from Christian Schidlowski is just as honest and unflinching as many of the films from Sixth Generation Chinese filmmakers.','7fd009c5a203dc8139a9fb02dcc24758',0,'','UtEClKgJ',1,0,'',0,0,0),(15193,2543,3,1,0,'69.120.114.47',1182762780,1,0,1,1,1,1,'arsaib4','Re: Short Docs / Featurettes','A DAY TO REMEMBER (China/2005)\r\n\r\n\"Do you know what day is today?\" This deceptively simple question is posed by videomaker Liu Wei to primarily Peking University students in A Day to Remember (Wangque de yitian), which was shot on June 4th, 2005. While most in the west don\'t know that the sixteenth anniversary of a major event in recent Chinese history took place on that date, they are most likely familiar with the incident itself: \"Tiananmen Square,\" in which a large number of people -- mostly young students who were critical of CCP\'s policies and dared to protest -- were killed by the military. Liu\'s query goes unanswered: a few choose not to reply; others casually walk away from the camera. This 13-minute video goes a long way to show that the more things have changed, the more they have remained the same.','a55626c4349bd55705dee3af978b4df9',0,'','eELGa8Nm',1,0,'',0,0,0),(15194,2543,3,1,0,'69.120.114.47',1183970520,1,0,1,1,1,1,'arsaib4','Re: Short Docs / Featurettes','CHAVEZ: ON THE WAY TO SUCCESS? (France/2006)\r\n\r\nOne of Washington\'s biggest nightmares, Venezuelan president Hugo Chvez and his Bolivarian ideologies may not transform the face of Latin America anytime soon but, as this nearly hour-long documentary from Maryse Mano indicates, the grassroots effects have been mostly positive so far. (Chvez... cojones... OIL). While the country has come a long way since the violent Caracas-based protests of 1989, a large segment of the population still lives below poverty level. Chvez\'s administration is not only making progress towards legitimizing those who reside in the barrios, but is also attempting to establish education and health care centers for the poor. Elsewhere, land reforms are essential and the state-owned television stations are keeping everyone up-to-date. However, this is one side of the story because, as most reports suggest, the opposition, which has already been defeated on a couple of occasions, doesn\'t have much say in matters, political or otherwise.','133f079db625f9a28649194d27a36ebd',0,'','lz5a9mfJ',1,0,'',0,0,0),(15195,2544,3,1,0,'69.120.114.47',1174991160,1,0,1,1,1,1,'arsaib4','Abbas Kiarostami\'s Five (Iran-Fra-Jap / 2003)','*A 2007 U.S. Release*\r\n\r\n\r\n***possible spoilers***\r\n\r\nDescribed by Abbas Kiarostami as an experimental work which coalesces elements of poetry, photography and cinema, Five (aka Five Dedicated to Ozu), one of his latest efforts, is comprised of five sublime and poetic shots of nature. The Ozu-like low-angle long shots are primarily single and stationary. \r\n\r\nThe surprisingly tense opening one observes a piece of driftwood on the beach which, as Kiarostami has contemplated, feels lonely and now wants to return to where it came from. The waves do their best to fulfill its desire, eventually taking a part of it with them. Kiarostamis single take benefits from a fortuitous occurrence as the lost piece of wood reappears on the screen for a few seconds near the end of the segment before being engulfed by the roiling ocean. This reminded me a little of one of Tsais slow pans in What Time is it There? (2001), which became enriched from the happenstance of an aquarium fish eating the cockroach at exactly the right moment in time. Needless to say, both filmmakers wouldnt have had it any other way.\r\n\r\nThe stationary second and the fourth shots are somewhat similar: the former features people passing by on a seafront boardwalk; the latter has a large group of ducks tottering alongside the beach, first in one direction and in then the other (Kiarostami wants us to focus on the individual traits of the ducks). The third, however, harks back to what the filmmaker has stated on numerous occasions regarding the role of the director. According to him, he simply planned on capturing the sunrise with this take, but eventually ended up with something quite extraordinary. After setting up his camera, Kiarostami fell asleep, later discovering that a family of dogs is firmly in view near the shore, and is behaving in a unique fashion. The image ultimately gets consumed by the brightening light.\r\n\r\nArguably the most remarkable and ambitious is the final \"take\" which has the filmmaker pointing his camera on a pond at night with the moon reflecting in it through the clouds. In order to precisely capture what he wanted, Kiarostami visited the location for several months and took nearly two dozen shots, which were later blended seamlessly. The nature-related sounds heard during this segment were also processed during post-production, but that doesnt diminish his accomplishment (though Kiarostami himself might disagree with that). The eerie, perpetual darkness, not to mention the questions regarding the nature of perceived reality, will remind some viewers of his 1997 masterpiece, Taste of Cherry.\r\n\r\nThis economical, contemplative effort was conceived and produced on the Northern Iranian shores of the Caspian sea while the Iranian master was scripting Crimson Gold (2003) for his good friend and colleague Jafar Panahi. Much like a few of the other films Kiarostami has made this decade -- ABC Africa (2001), Ten (2002), 10 on Ten (2004) -- Five was shot on DV. As you mightve inferred by now, it doesnt have a traditional literary narrative, but Kiarostami wants the viewers to cooperate in order to mine the abstract and arbitrary one which could exist (each shot does contain a progressive element). And If that means dozing off during the film, then so be it. \r\n\r\nGrade: N/A\r\n_________________________\r\n\r\n*FIVE was part of the full-scale Kiarostami retrospective which took place at The Museum of Modern Art and P.S.1 Contemporary Art Center in NYC. The retro is scheduled to travel to other important N. American cities and venues.\r\n\r\n*FIVE was also shown as a media installation -- \"projected in a continuous and synchronized loop onto five separate partitions dividing the gallery space, with the audio component of each screen blending slightly together.\" Kiarostami approves a non-theatrical/non-home video screening of the film only if it\'s shown exactly the way described above. \r\n\r\n*The film played at the 2004 Cannes Film Festival (out-of-competition). A few sources, including MoMA\'s catalogue, indicate that this was the film\'s world premiere. Others mark it as a 2003 one.\r\n\r\n*It will be available on DVD in the U.S. on July 24th (Kino International). About Five (2005), a nearly hour-long making-of-featurette, is scheduled to be included as an extra. The French DVD from MK2 has already been released with the same content.\r\n________________________\r\n[Edit]DVD info','e836d2f29da73e43409e37dac9c13568',0,'','x2p87ceZ',1,0,'',0,0,0),(15196,2544,3,1,0,'69.120.114.47',1181677920,1,0,1,1,1,1,'A','Re: Abbas Kiarostami\'s Five (Iran-Fra-Jap / 2003)','At the time this film was shown at Cannes i was very curious about it. I remember it got some negative press (don\'t know if I should call them reviews...), and that Kiarostami was loosing it. What a presumptuous statement. Even if one doen\'s like his last couple of films, imo this is like saying Kubrick or Tarkovski had lost it during their careers \r\n\r\nThe way you describe the film, it sounds very intriguing and I\'m glad it got released on DVD, as I wouldn\'t have thought this possible. Usually anything that tends to be avant-garde or experimental is neglected.\r\nThanks for giving it proper attention arsaib. \r\n\r\nDid you see it as part of the retrospective or do you own the French DVD?','fc6b965f5a363e69bde467b6c61de39e',0,'','Rb8T2Lo4',1,0,'',0,0,0),(15197,2544,3,1,0,'69.120.114.47',1181699340,1,0,1,1,1,1,'arsaib4','Re: Abbas Kiarostami\'s Five (Iran-Fra-Jap / 2003)','Yes, you\'re right, the less-than-insightful reviews from Cannes weren\'t very supportive. Five is the kind of work which willfully gets compared to Snow\'s seminal Wavelength, and when it doesn\'t quite measure up, it is thrown aside for being pretentious.\r\n\r\nThanks for your comments. I\'m glad that the film is being released in the U.S. I initially watched it at the retro, but after being informed that it only truly comes into perspective if seen alongside About Five I decided to borrow the French DVD from a friend as well, and that certainly helped. I hope you get the chance to watch it in the near future.','df982236c5900d42fb13641217b595a7',0,'','ynG9DoKz',1,0,'',0,0,0),(15198,2544,3,1,0,'69.120.114.47',1181703780,1,0,1,1,1,1,'A','Re: Abbas Kiarostami\'s Five (Iran-Fra-Jap / 2003)','Yes, I\'d like to see it soon (if my wallet alows it ). You watched the documentary About Five?\r\nDoes Kiarostami explain the reason why he filmed certein things, how he came up with the ideas, etc. \r\nIt\'s good if you think it helps the understanding of the movie. Usually such supplements get thrown in and aren\'t very useful.','1d3eed95b668470a68d9908c75a5cb8d',0,'','xGg9pYJb',1,0,'',0,0,0),(15199,2544,3,1,0,'69.120.114.47',1181875440,1,0,1,1,1,1,'arsaib4','Re: Abbas Kiarostami\'s Five (Iran-Fra-Jap / 2003)','Yes, About Five is a very relaxed, self-reflexive work. An experimental effort like Five certainly benefits from it. During the documentary, Kiarostami also answers a few pertinent questions posed earlier to him by Geoff Andrew. I\'ve already instituted some of the answers in my post. The Iranian master certainly appreciates the simplicity of Ozu\'s mise-en-scne.','fea24b6f5ceddc6f1b3446af8a57b4a9',0,'','2eTH3qf9',1,0,'',0,0,0),(15200,2545,3,1,0,'69.120.114.47',1171823100,1,0,1,1,1,1,'jcdavies','Oskar Fischinger + others','Brilliant experimental animator.\r\n\r\nOskar Fischinger: Composition in Blue (1935)\r\n\r\nwww.youtube.com/watch?v=UNmu2h_lfY4\r\n\r\nhis Motion Painting is a favourite of Stan Brakhage. Len Lye and Norman McLaren did similarly themed colourful abstract animation, and it follows on from Symphonie Diagonale (Eggeling, 1924) and all the avant-garde experiments in the 20\'s, including by painters like Lger (Ballet Mcanique)','705227ec825b40567638fd5b8dae62b1',0,'','ndB9hYEP',1,0,'',0,0,0),(15201,2545,3,1,0,'69.120.114.47',1173641160,1,0,1,1,1,1,'madhuban','Re: Oskar Fischinger + others','Saw Motion Painting No 1 a couple of days ago. Absolutely loved it!\r\n\r\nHave been lucky to see a package of experimental films and want to write about them in more detail once I can manage some time.\r\n\r\nHope everyone is fine!\r\n\r\nCheers,\r\n\r\nM','74a619773e821a03c930a6cef93dc569',0,'','XbGptmNj',1,0,'',0,0,0),(15202,2545,3,1,0,'69.120.114.47',1181677440,1,0,1,1,1,1,'A','Re: Oskar Fischinger + others','I know I have some of his work on an old Videotape somewhere. If I could only find it...\r\nDo you happen to know if he also made some black & white films? In my mind I often confuse his stuff with some films by Hans Richter...','963c67fd867d88b48f3466cce5d09c6d',0,'','zK2pXy8i',1,0,'',0,0,0),(15203,2546,3,1,0,'69.120.114.47',1165275720,1,0,1,1,1,1,'A','Review-a-thon #3','Sorry to be a bit late, but this has become something of a rule since the first installement of our review-a-thon sessions. \r\nThe latest change in the topic was that it should feature silent film that were made during the transition to the sound-period, but if anyone had already decided on an (earlier) french film this is of course also acceptable.\r\n\r\nLet me do the beginning with a review of a recently restored copy of a film that has been believed to be lost. Luckily some silent films still resurface these days, and there are also some institutions that try to restore them. This particular film I was able to tape from TV. But enough talking, here\'s the review you\'ve probably all been waiting for (and I\'m ashamed to note that it\'s my first completed review in more than a month ).\r\n\r\n\r\nMonte Cristo\r\n(Henri Fescourt / France / 1929)\r\n\r\n\r\n\r\nAlexandre Dumas tale The Count of Monte Cristo first appeared in France in the middle of the 19th century. Published in a newspaper (something that was common practice for many writers in the 19th century, including Dostoevski), it was instantly a huge success and hasnt gone out of print ever since. Considered a popular novel at the time of its writing it has come to be regarded as one of the best novels of the 19th century, as well as being included in many canons of world literature. \r\nIn the 20th century there have been numerous adaptations of this novel for the cinematic medium, though none of them have received any special attention outside of the time of their making. Although I have only seen a few of the many film versions - imdb lists over 50 titles associated with the novel, the earliest from 1908 I assume that the lack of critical interest is connected to the modest qualities of the films themselves. The (mostly commercial) decision of condensing the plot of a novel that is over 1000 pages long in its printed format into a movie with a running time of only a few hours, along with a cinematic tradition which regards film as a mere illustration of a written text, has lead to many problems in the history of adaptations of Dumas work for the screen. Unfortunately Henri Fescourts Monte Cristo (1929) is no exception.\r\n\r\nFollowing mostly the adventures of Edmond Dantes, the film is split into two parts with an overall running time of approximately four hours. While it remains mostly faithful to the written text, the film often falls into the trap of following it too closely without adding much of its own, although there are some moments and tableaus which enrich the story and add a fresh perspective to it. On the other hand, the producers have decided to leave out some of the underplots of the original novel, focusing plot-wise on the important events, which results in a rather dull retelling of the well known story. But the shortcomings of the film cant be found in its faithfulness to the text, or the reinvention of certain moments. As can be expected, the problem lies in the presentation of these events. \r\nAs a silent film, most of the attraction naturally lies in the visual presentation. Being one of the last European big-budget productions during the advent of sound, the film affords the luxury of employing four cameramen, one of them having already worked on a serial of the same story in the 1910s. Alongside impressive shots of nature on the island of Monte Cristo and of ships at sea, the talented crew also hasnt any problems when it comes to the characters interactions. Large crowds of people are rendered as successfully as intimate moments between tow lovers. There is even a remarkable sequence involving a murder, clearly inspired by the expressionist film, which also displays some fine editing. But while the visual poetics of the camera are in certain moments used to a staggering effect, the direction lacks the energy and imagination needed to sustain our interest throughout the entire film. Transferring such a visually imaginative writer like Dumas to the screen is a huge task, and Fescourts direction is lacking the courage to be original. What we get instead is a rather lifeless distillation of the novels narrative chord. If I return for example to the sequence depicting the murder of a public servant, the clumsy direction doesnt match the cinematography and the editing. The timing feels somehow wrong when Fescourt tries to achieve some suspense in it, dragging out certain moments far too long. This lack of a successful rhythmic structure for the film can be felt in many scenes. A lot of times things happen too fast, with scenes being cut short, while in other moments we are stuck on events and treated to numerous different positionings of the camera that serve no apparent purpose. \r\nA lot of the money probably also went into the interesting set pieces, and Boris Bilinsky who can be credited as being responsible for the look of the film did a very good job. The chosen locations are presented in a way that gives the viewer an authentic feeling of seeing early 19th century France come to life, stimulating his imagination in various ways. The costumes are also remarkable and add further life to the characters - something Bilinsky also managed successfully in Alexandre Volkoffs Casanova (1927). \r\nTh cast assembled for this film is of varying quality. The most interesting for me was Lil Dagover who is probably familiar to most viewers because of her role in Robert Wienes Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari / 1920). She often plays with a restraint that wasnt common in silent cinema and she is able to express a lot through her eyes. Some of the supporting actors are noteworthy, mainly Henri Debain in the role of Carderousse and Robert Mrin as his stepson, while others are carrying more or less the same expression on their face throughout the film (e.g. Gaston Modot who plays Fernand de Mortcerf, one of Dantes enemies). The bad thing is that Jean Angelo who is playing our hero Edmond Dantes and is clearly too old for the role in the first part of the film, tends to the latter. In my opinion, he has the charisma and acting abilities of a piece of wood, and the only reason I can imagine for him being chosen (besides his popularity and subsequent box-office appeal, which I will simply assume here) is the fact that he fits perfectly into the description of what we may call an honest and innocent french everyman. But while Dumas novel begins with this rather dull inscription, after the internment at the Chateau dIf his character goes through a transformation which will not only lead him to his outward freedom, but will turn him into a cynical and disillusioned individual after the discovery of the change in the personality of his former lover Mercedes and the life she has turned to. Jean Angelo isnt able to display much of this on screen.\r\n\r\nDumas leaves the inattentive reader with an optimistic ending, in which Edmond turns his back to Marseille and its people after he has had his revenge, to travel the seas forevermore with his newly found Arabic love. But despite the skillful description of Edmonds disentanglement from his past and the disclosure of a new perspective through his acceptance of the present - something which complements and counteracts the revenge plot - another reading of the farewell letter and the sudden departure reveals the heros virtual death - the noble humanistic instructions as the last words of a dying martyr. Through his death he redeems the other characters from their debt and their guilt. But isnt this noblesse of character something which in its literally treatment verges on absurdity, and seems to mock the humanist ideals it has been promoting? Edmond Dantes, turned into some kind of Socrates after his revenge has been completed? What world is this, in which the only decent person (and the one who has gone through most of the suffering) has to sacrifice himself for the sake of others to fullfil an ideal of the enlightenment? Whatever the case might be, the novel isnt able to resolve the inherent conflict in every human person between the forces of nature and the forces of his spirit (if I might put it this way), and it remains for the reader to decide if Dantes is all too human or the precursor of an idea which would culminate at the end of thentury in the creation of the Ubermensch in the writings of Nietzsche.\r\n\r\nThe complexities of these modulations can be seen only rudimentary in the film, and only in the way that they are inherent in the portrayed dynamics. This means they are present rather by accident than on purpose, and it is questionable if anybody noticed cared about it at the time of its first screening. The ending in the movie seemed to me to be a happy one, with the ambiguities from the book put aside. This isnt a bad thing per se, but Fescourt executes it without much interest, having most of the important characters assembled in a room while Mercds reads Dants farewell letter to them. Clearly more important were the production values which can be appreciated immediately.\r\n\r\nAlthough made in 1929, Monte Cristo isnt a swan song for the silent film era. Occupying a place in the long history of adaptations of the novel, it doesnt stand out and will probably remain only of historical interest as an example of the French film industries last silent large-scale production.','bc725d0e81e991ae8f89a54b94ca31da',0,'','2WXgYzeu',1,0,'',0,0,0),(15204,2546,3,1,0,'69.120.114.47',1165351980,1,0,1,1,1,1,'A','Re: Review-a-thon #3','wpqx has written a piece on a silent film by Ernst Lubitsch.\r\n\r\nHere\'s the link','599324d6d3a1df604b4add3b5c270001',0,'','6zC7ko08',1,0,'',0,0,0),(15205,2546,3,1,0,'69.120.114.47',1165366800,1,0,1,1,1,1,'wpqx','Re: Review-a-thon #3','Gracias, with any luck I\'ll be able to get one more film closer to the era in question.','eb55b52982172c33908790d0585ba0e6',0,'','YZ31qxFc',1,0,'',0,0,0),(15206,2546,3,1,0,'69.120.114.47',1165457100,1,0,1,1,1,1,'wpqx','Re: Review-a-thon #3','Well I watched Arsenal finally and what I feared happened. I can\'t come up with anything to really say about the film. Of the four silent Soviet films I\'ve had a chance to see the past several weeks this is by far the best of them, but well that doesn\'t always equate with elloquence in analysis. The style is great, and employs nearly every tactic familiar with the montage movement. The story deals more with the Ukranian part of the revolution, of course beginning with that ludicrously unpopular war. I don\'t know if I\'ll be able to revisit the film, but I\'ll say the film was damn good.','1291ccfb6f63220cd136e4d12ad72e16',0,'','npHsJZ9d',1,0,'',0,0,0),(15207,2546,3,1,0,'69.120.114.47',1165519980,1,0,1,1,1,1,'A','Re: Review-a-thon #3','Don\'t worry, I also couldn\'t come up with anything when i saw it, though it had left quite an impression on me. From the three films by Dovzhenko I\'ve seen, this is my favorite.','5b1c97312c9a9c8cd0fe05d4ec1df01a',0,'','mCJ1ejVK',1,0,'',0,0,0),(15208,2546,3,1,0,'69.120.114.47',1165529340,1,0,1,1,1,1,'wpqx','Re: Review-a-thon #3','Even though I hardly remember it (plot wise) I still think I enjoyed Zvenigora more.','bdd6ac0859e3c29633e0f91198f97494',0,'','LN2p69fl',1,0,'',0,0,0),(15209,2546,3,1,0,'69.120.114.47',1165876560,1,0,1,1,1,1,'A','Re: Review-a-thon #3','I actually didn\'t like it much, though it was very inventive. The whole story (plot-wise) didn\'t do anything for me. \r\nI don\'t remember much of it either, but I\'ll certainly watch it again if I get the opportunity.','f52b91f4e1f6c4889f413d6a24645994',0,'','xeUmuJav',1,0,'',0,0,0),(15210,2546,3,1,0,'69.120.114.47',1166564820,1,0,1,1,1,1,'A','Re: Review-a-thon #3','So, what\'s with the others? \r\nNo time, no inspiration?','89a4ab99177654fb00a0b63acada7ec5',0,'','1DxwvPZo',1,0,'',0,0,0),(15211,2546,3,1,0,'69.120.114.47',1166602260,1,0,1,1,1,1,'arsaib4','Re: Review-a-thon #3','No time.','2d59935488ba257277216244343613cc',0,'','mAfwEyPd',1,0,'',0,0,0),(15212,2546,3,1,0,'69.120.114.47',1166606520,1,0,1,1,1,1,'madhuban','Re: Review-a-thon #3','I haven\'t been able to access a DVD of any film from that era \r\n\r\nM','c77c59903752d9f77ef80196c5cdcddd',0,'','XbzqQ2w5',1,0,'',0,0,0),(15213,2546,3,1,0,'69.120.114.47',1166636460,1,0,1,1,1,1,'A','Re: Review-a-thon #3','Feel free to contribute whenever you find the time, or an interesting film.','c62bf8342699f0a2c6bb4a95a3e622e7',0,'','1zos8iHu',1,0,'',0,0,0),(15214,2546,3,1,0,'69.120.114.47',1166708760,1,0,1,1,1,1,'trevor826','Re: Review-a-thon #3','I\'ve lost track of all this, what exactly is the assignment this time? I do have the Fantomas collection now and was thinking of using that in some way.\r\n\r\nOui or Non?\r\n\r\nCheers Trev.','93924b8e1e03c635bf179f463a5cec9e',0,'','0vSudeJR',1,0,'',0,0,0),(15215,2546,3,1,0,'69.120.114.47',1167337020,1,0,1,1,1,1,'A','Re: Review-a-thon #3','Here is the link to the original thread. \r\nAs there is currently so little interest in the project, I don`t think I really care about sticking to the rules anymore.\r\nThe Fantomas collection would be just fine with me, and you can do a seperate thread on it. I`ll post the link here.','54e7eccc9f8e8b891081aa991fbd3b1b',0,'','HqJtbVSi',1,0,'',0,0,0),(15216,2546,3,1,0,'69.120.114.47',1175046000,1,0,1,1,1,1,'arsaib4','Re: Review-a-thon #3','I believe my review of Crainquebille (1922) qualifies for Review-a-thon #3. It\'s funny how things work out.\r\n\r\nI\'ll be announcing #4 very soon.','fa605e88f4cf2aca18cc32888290d673',0,'','pYJGRLt0',1,0,'',0,0,0),(15217,2546,3,1,0,'69.120.114.47',1175831700,1,0,1,1,1,1,'A','Re: Review-a-thon #3','Ah, that\'s good to see. I always though I was the only one on the board, who remembers old duties and resurrects lost and forgotten threads most of the time  \r\n\r\nIt certainly counts, and I\'m looking forward to #4','d0bb66e024e85770cc002272018bc2b4',0,'','C0ed7Lp2',1,0,'',0,0,0),(15218,2547,3,1,0,'69.120.114.47',1153699080,1,0,1,1,1,1,'trevor826','Short films - Index+','Short Films Introduction and Index \r\n\r\nRanging from just a few minutes to 40+ (AMPAS rule, see below) shorts cover a huge range of subjects and are often the training ground for directors. Their popularity has risen to the point where there are short film festivals and are sometimes shown before the main feature on the art-house circuit.\r\n\r\nThere are several dvd collections available, purely made up of short films, they are also often included as extra features on dvds. The intention of this thread is to index all the shorts already listed on the site plus to detail many more including (wherever possible) links where the films can be viewed. \r\n\r\nPlease feel free to contribute to this thread.\r\n\r\nAnimation & Comedy \r\n\r\nDrama & Romance \r\n\r\nDocumentary, Experimental & Extreme','16efaf2e7cc34dbeb0614b8f745c3494',0,'','KEjFDmHB',1,0,'',0,0,0),(15219,2547,3,1,0,'69.120.114.47',1155394980,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Animation & Comedy','3a120ce853191414b132db64ce58d0b9',0,'','WqN531mD',1,0,'',0,0,0),(15220,2547,3,1,0,'69.120.114.47',1155395040,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Drama & Romance','f74dc8d88793b71836936b300a6266c5',0,'','BansYxQV',1,0,'',0,0,0),(15221,2547,3,1,0,'69.120.114.47',1155395100,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Documentary, Experimental & Extreme \r\n\r\nDestricted (2006) (UK / USA)\r\n\r\nDuck and Cover (1951) (USA) \r\n\r\nFeet Of Song (1988) (UK)\r\n\r\nThe Great Ecstasy of the Sculptor Steiner (1975) (Germany)\r\n\r\nHow Much Wood Would a Woodchuck Chuck (1977) (Germany)\r\n\r\nLa Soufriere (1977) (Germany)','0edd3eb7cf011351e1376c99ea48499b',0,'','Ee5wuCxY',1,0,'',0,0,0),(15222,2547,3,1,0,'69.120.114.47',1155395160,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Originally posted by A.\r\n\r\nHi Trevor. \r\nGreat attempt, which will get much support I hope. \r\nSome remarks:\r\nIf I\'m not mistaken a film is considered as a \"short\" up to 40 (or 50?) minutes. 60+ is already a feature.\r\n\r\nI remember that we have the australian short Harvie Krumpet covered, as well as my review of the 5 minute film Feet of Song from the UK. Also wpqx has listed some of the films by Les Blank, shorts by Kubrick, there is also my review of Les Mistons, and some others i don\'t recall at the moment.\r\nHope this helps a bit.','8c5cacbd8e2a1ff7eb81099c100a3c6a',0,'','3HLUrEFn',1,0,'',0,0,0),(15223,2547,3,1,0,'69.120.114.47',1155395220,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Thanks A, as far as length is concerned 40 mins is the AMPAS rule and I\'d quite happily stick with that. I will go through as much of the site as possible to pick out the shorts, I was a little annoyed to finf one of the best sources has vanished, Filmfour used to have around 250 short films on site but since the channel has gone free to air, the shorts have vanished.\r\n\r\nI\'ll write up on the first two Cinema 16 dvd\'s, hopefully arsaib4 can fill us in on the third volume.\r\n\r\nDeciding on index categories has proved harder than I thought but we\'ll get there in the end.\r\n\r\nCheers Trev.','2c144a32dee648509f969e7b5edf9741',0,'','fbu7l8Rp',1,0,'',0,0,0),(15224,2547,3,1,0,'69.120.114.47',1155395340,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Originally posted by A.\r\n\r\nThanks again for all the work and energy you are putting into this, and I\'m looking forward to your accomplishments. \r\nAnd I\'m sure I\'m not the only one.','c6c338e953a69298cb1ed7715c2a52b8',0,'','NX8UvCAB',1,0,'',0,0,0),(15225,2547,3,1,0,'69.120.114.47',1159242480,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Coming very soon in this space - Destricted, a compilation of short films by seven directors including Larry Clark, Gasper Noe and Marina Abramovic. The subject, their views on the fine line between sex and pornography.\r\n\r\nWell we may as well start with a bang! \r\n\r\nCheers Trev.','dc098ace8da2465ed59e21c1aa53062c',0,'','GYfRBJyb',1,0,'',0,0,0),(15226,2547,3,1,0,'69.120.114.47',1159245960,1,0,1,1,1,1,'A','Re: Short films - Index+','Hey, this film is on my \"privileged\" to see-list! \r\nCan\'t wait for the review, as I didn\'t know a DVD already existed.\r\nI guess you\'ll review all of the films?','16544d47b312f1b6610673e4ab19aaac',0,'','QtkwcHbq',1,0,'',0,0,0),(15227,2547,3,1,0,'69.120.114.47',1159417080,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Destricted (2006) (UK / USA) \r\n\r\nA series of seven short films giving the directors views on sex and pornography. Without a doubt the strongest film to have been released outside of licenced sex shops in the UK but is it an exercise in exploitation, is it art or does it just end up as unimaginative and boring?\r\n\r\nMarina Abramovic - Balkan Erotic Epic (13 mins approx)\r\n\r\nA light hearted look at sexuality in Balkan folklore, a mix of live action and animation provides advice on a number of subjects including how to ensure your husband will never stray, how to ward off the \'evil eye\' and how to guarantee a good harvest. All quite silly and amusing making it probably the most accessable film of the collection. Unpretentious compared with several of the other pieces yet quite artistic in its own way.\r\n\r\nMarco Brambilla - Sync (2 mins approx)\r\n\r\nA fast and frenetic drum beat plays over this very short episode, a sex scene is played out but this isn\'t a single scene, frames from many pornographic and feature films have been synced to produce one continuously moving montage. One thing it does prove is how remarkably similar these films are, the faces continually change as do the bodies but the frames match up pretty well with only the change in the backgrounds standing out.\r\n\r\nIt\'s all very frantic and pretty much over as soon as it\'s started, the way the frames have been synced turns it into a form of surreal animation, it probably took a very long time to make but doesn\'t appear to actually have a point unless it\'s to show how unimaginative porn films are. \r\n\r\nMatthew Barney - Hoist (15 mins approx) \r\n\r\nProbably best known for the \"Cremaster Cycle\", this is the first film that struck me as truly pretentious, it\'s also the first (of a few) that features masturbation (if that\'s what you can call it with the shaft of a 50 ton truck). It\'s also the first (again of a few) that features that favourite of the porn industry, the ubiquitous money shot. Is it art? Is it porn? If it\'s supposed to epitomize the union of man and machine then it\'s way behind the times as Tetsuo did it far better a long time ago.\r\n\r\nI\'d be very pleased if someone could offer a subjective opinion on what Matthew Barney was trying to say with this film.\r\n\r\nLarry Clark - Impaled (38 mins approx)\r\n\r\nA bland documentary approach is taken for Larry Clark\'s effort within this collection, several youngish guys are questioned about their knowledge of porn films plus their own sexual experiences. Once one has been selected for the shoot he is left to pick his partner through having short interviews with several porn actresses. The choice having been made, they\'re straight down to it, an extremely bland, by the numbers porno shoot, blow job, intercourse in as many positions as possible including the one thing the young guy wanted to do most, finished by another blow job and of course, the money shot. This is probably the most explicit of the films but it is so un-erotic, so painfully unsexy and in that way says more about the porn industry than any of the other films.\r\n\r\nAlthough the majority of the film is taken up with the interview stages I couldn\'t help but think that the results were predertimed, it\'s also quite alarming that almost all of the guys claimed to have seen their first porn films at pretty young ages usually found in their parents bedroom\'s. They also give the impression of being influenced in their own sex lives by what they\'ve seen in these films, pretty damn sad in my humble opinion. More disturbing though is the fact that the majority of the girls said that they had gotten into the industry because they were living in a state of poverty and in some cases had young children to raise.\r\n\r\nLarry Clark has taken an honest approach for his film and if nothing else, this is one plus point. \r\n\r\nRichard Prince - House Call (12 mins approx)\r\n\r\nThis just looks like a typical porn film from the 70\'s or at least how I imagine one would look, the sort of basic fantasy scenario, doctor and patient that is/was one of the staple plots for this type of film. Apparently though film was made specifically for this collection then degraded to resemble a well worn vintage video minus the soundtrack but with some form of equally degraded music running over it.\r\n\r\nTypical man/ woman scenario, predictable routine, given a muted look but extremely explicit, rounding off (as usual) with \'the money shot\'. I must admit I am fascinated as to why porn directors and/or their audiences feel it is so vital to see the seminal fluids being ejaculated but then again I don\'t understand how the porn industry is so vast, do people have huge collections of these films?\r\n\r\nGaspar No - We F#%$ Alone (23 mins approx)\r\n\r\nAnother film taking a different angle on masturbation and of course playing on the name of one of the directors earlier films \"I Stand Alone\". Two people, one male one female in seperate locations pleasure themselves, the only connection is that they are each watching the same porn film. Meanwhile, throughout the film the screen flashes in a vomit inducing stroboscopic style. \r\n\r\nIt only takes seconds to realise what the director is saying, for different reasons people take care of their own satisfaction, that\'s it in a nut shell\r\n\r\nUnfortunately it\'s all wrapped in layers of heavy handed cliche upon cliche, the girl seems fairly attractive, her room is neat and tidy, she lays on her bed in a relaxed state, a large teddy bear acts as her comfort, providing something to cuddle up to. The porn film plays but the impression is that it is there as accompianment rather than as the stimulation, a lot of the time she appears to be completely enwrapped in herself and her thoughts. Why is she alone? the obvious answer is through choice, she\'s more than happy just to be exactly where she is.\r\n\r\nThe guy takes up the majority of the film, he is the total opposite of the girl, I don\'t think many would regard him as in any way appealing. His room is filthy and very messy, he starts off in a fairly relaxed posture but for him the porn film is his total stimulation, he starts enacting what he see\'s on screen with a tatty blow up doll, almost as though he was the porn actor. As he copulates with the doll he rams a handgun into its mouth, as though he\'s enacting a rape. Why is he alone? Well I couldn\'t imagine him in any form of relationship at all.\r\n\r\nAs the film comes to its climax, the guy does the same, the one glaring thing then is that the facial expression of the porn actress looks very much like the gaping vacant expression of the blow up doll. \r\n\r\nWhy the huge difference between the way the male and female are depicted, it\'s just all a bit too much, and that damn strobing effect only makes things worse!\r\n\r\nSam Taylor-Wood - Death Valley (7 mins approx)\r\n\r\nYet another pretentious episode, again featuring male masturbation. Filmed (I assume) in the actual Death Valley, a lone guy masturbates, and that\'s pretty much it! I\'ve tried to figure it out but could only come up with an extremely tenuous link between Death Valley, masturbation and \'La Petite Mort\'. Well I did say it was tenuous didn\'t I.\r\n\r\nAlso why so much male masturbation? I know we\'re supposed to be obsessed with our penises but a little more imagination and artistic integrity could have made a heck of a difference.\r\n\r\nMy verdict\r\n\r\nAll in all not exactly an inspiring collection but then again the actual topic of porn is not exactly the most inspirational theme. If they had included one or two more female directors things may have been more diverse and interesting, I\'d like to think so anyway. \r\n\r\nAs you may have guessed I wasn\'t exactly bowled over by this collection so I\'d like to list a few films close to this subject that I would recommend.\r\n\r\nFor a humorous look at the Euro porn industry in the 70\'s - Torremolinos 73.\r\n\r\nThe excellent The Wayward Cloud which looks at the porn industry with dispassion and a touch of farce.\r\n\r\nMaybe a little too shocking for some and certainly considered pornographic by a few but based on a true tragic story and full of passion and eroticism (especially compared to the coldness of the meat wagon known as the porn industry), Nagisa Oshima\'s 1976 classic \"Ai No Corrida\", \"In the Realm of the Senses\".\r\n\r\nThere are many other films out there that broach on the subject, some serious, some amusing thankfully none as explicitly banal as this collection. All Destricted has done is to re-affirm my opinion of the porn film industry.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 18, I just hope this doesn\'t open the floodgates as it did with so called sex education videos a few years ago.\r\n\r\nR2 dvd released by Revolver, nothing in the way of extras which is actually quite a shame, some short interviews with the directors may have made a big difference to the overall package.','e4ceeb2cf3326b13475f0adede2684fc',0,'','JScPeyxY',1,0,'',0,0,0),(15228,2547,3,1,0,'69.120.114.47',1160511240,1,0,1,1,1,1,'A','Re: Short films - Index+','Hmm, after having read your comments, this doesn\'t sound very interesting anymore. I assumed there would be more reflection on pornographic imagery and our society, but you don\'t make it seem like that. Yes, maybe one or two more female directors would have made a difference...\r\nMaybe I\'ll watch it if i stumble over it.','dd685cc219e2f3823e65a1854de172c7',0,'','jf3Tyhtp',1,0,'',0,0,0),(15229,2547,3,1,0,'69.120.114.47',1160820600,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Try and make the effort if you have the opportunity A, we could be in complete disagreement which would certainly add a little interest. \r\n\r\nCheers Trev.','b346f5d4fcb80fabd383f9d4e0ae88ff',0,'','J9v8phiD',1,0,'',0,0,0),(15230,2547,3,1,0,'69.120.114.47',1163606280,1,0,1,1,1,1,'madhuban','Re: Short films - Index+','I\'m sure most of you know this site, www.ubuweb.com What made me think of it is Trevor\'s classification, especially the section on animation. Those of you who aren\'t familiar with Ladislaw Starewicz, please download The Cameraman\'s Revenge . If you have been regaled by Walt Disney, try Starewicz from the 1910s!!! Astounding is the word \r\n\r\nAnd, don\'t forget Joris Ivens\' Rain.\r\n\r\nM','6ece03bfe1380527a593ee90a32d8efb',0,'','o47eUtb8',1,0,'',0,0,0),(15231,2547,3,1,0,'69.120.114.47',1163649180,1,0,1,1,1,1,'arsaib4','Re: Short films - Index+','Rain is available here on DVD but I haven\'t gotten to it yet. However, I have seen Ivens\' The Spanish Earth which he eventually made in collaboration with Hemingway, and I was quite impressed by its essayistic nature. I\'d love to see more from him.','2c07db5f52a810cafb2f2899a1aea506',0,'','TpJs4mkq',1,0,'',0,0,0),(15232,2547,3,1,0,'69.120.114.47',1163649780,1,0,1,1,1,1,'wpqx','Re: Short films - Index+','I saw Rain, and I may have made some comments about it here. I watched so many silent avant-garde films I can\'t honestly remember much about it. I\'ve been curious to see The Spanish Earth for awhile, I imagine its better than that year\'s overblown and offensive The Good Earth.','2033d407bf0d63598537eb4797647614',0,'','k7ysqjtW',1,0,'',0,0,0),(15233,2547,3,1,0,'69.120.114.47',1166708520,1,0,1,1,1,1,'trevor826','Re: Short films - Index+','Madhuban, thanks for the link, terrific site. I think you should also post it on the \"Do We Click\" links board as well.\r\n\r\nCheers Trev.','538ae96049b9d21e1f7016fecbeb88a9',0,'','6FUuPLlY',1,0,'',0,0,0),(15234,2548,3,1,0,'69.120.114.47',1164674640,1,0,1,1,1,1,'wpqx','So This is Paris? (1926) - Ernst Lubitsch','working wit ha formula can be wonderful. A pull-no-punches template that allows you to cleverly re-workd and restate your themes. Ernst Lubitsch came to America with a ready made system. High class infidelity with a lot of wit and European flavor. So This is Paris is one of the most formulaic of all Lubtisch films. At first it almost appears identical to The Marriage Circle or Lady Windermere\'s Fan, but in this case I\'d say the forumla was perfected. As if those previous two were warm ups for what would come next.\r\n\r\nFrom the opening shot of the rehearsing play to the loving conclusion, Lubitsch is playing with our sensibilities. The intertitles are almost completely all verbal irony. My favorite of these being Dr. Giraud\'s line \"Just let me lie in peace.\" Monty Blue plays the Dr., and at first he seems rather ill iquipped for the role. A fat face caked in layers of monster like Al Jolson makeup, he is neither the charming lethario that Andre Beranger comes across as, or a man of particular note. However towards the films conclusion, he shines brightly drunk off his ass during the Artists Ball. Beranger plays his would be rival, and he\'s played expertly as something of a homosexual womanizer. Sure he\'s a dancer, but amidst his pursuit of Mrs. Giraud we can\'t help but notice how flamboyantly gay he comes across on screen. Lubitsch for his part sets this up early, considering he is in the opening shot of the film, along with his wife (Lilyan Tashman). During their rehearsal he is required to pick up his wife, and has to put her down claiming she\'s too heavy (guaranteed for a laugh). Georgette responds by picking him up and tossing him on the bed. With this Lubitsch has shown us three things. One, Maurice is a little dainty. Two, Georgette clearly wears the pants in this relationship. Three, this film is going to be hilarious. Georgette is so flagrantly unfaithful that you know you have to be in the hands of Lubitsch.\r\n\r\nAs one would expect from a Lubitsch production, the film is very well executed. However, there are minor inconsistencies that pop up, such as when the blinds are down and suddenly open without being raised, or Mrs. Giraud finished her book despite their clearly being another 34 pages or so remaining. Likewise there is a gap in the film. Maurice agrees to come back to Mrs. Giraud to return her husband\'s cane (which he claims to have broken over Maurice during their fight), we see a shot of him walking across the street with cane in hand to go up to see her. This takes place during Dr. Giraud\'s meeting with Georgette at Cafe Moreau. However the next time we see Maurice going over, he again has the cane in his hand, and no reference is made of the supposed former visit. This betrays slightly the clever shot that leads our imagination to suspect the double infidelity. \r\n\r\nI also can\'t quite figure out Mrs. Giraud. Sure she seems faithful and loving to her husband, but after the opening where she sees the shirtless Maurice through the window still dressed as an Arabian Prince we figure we\'re being set up early for her filandering. During his first visit, Maurice doest most of the seducing, and you suspect despite her nervousness, that she is more than ample to receive his attention. Yet when Dr. Giraud is at the Artist\'s Ball (where he\'s supposed to be in jail) Maurice comes over and is rebuked by Mrs. Giraud repeatedly. It sets up a great deal of comedy when the police come to arrest the doctor, and at the risk of scandal, Maurice (who was lying in the Dr.\'s bed) has to reluctantly assume the identity. This sets up the last inconsistent flaw in the film, as he gets note left on his wife\'s bed saying he\'ll be in a sanitorium for the next three days. It gets a laugh but it makes no sense how he got it.\r\n\r\nHowever this difference in Mrs. Giraud, is what makes the film succeed. Despite having a forumlaic template, the film is far from predictable. I tried calling all the shots early, and found myself disastrously confused as none of my preditions came to fruition. It keeps you guessing, and none of your predictions come out quite right. This helps the film succeed by being genuinely surprising. Overall I\'d call it a resounding success as a picture, and its humor, wit, charm, and unpredictable nature are so good that I\'m willing to forgive any and all flaws in consistency. Based on the films short run time, I\'m not positive if the surviving print is entirely complete, which if the film was cut (as was often done) then that could easily forgive some of the gaps in the picture. However I\'d call this a triumph and would view it as the best of the silent films I\'ve seen Lubitsch make.\r\n\r\nGrade A\r\n\r\n*So This is Paris is unavailable on DVD. My print came from a VHS copy of the film I checked out of the Harold Washington Library.','5c9ce9c6ce02970b8fc5b35cef2fc3bd',0,'','Y143z8cr',1,0,'',0,0,0),(15235,2548,3,1,0,'69.120.114.47',1165405020,1,0,1,1,1,1,'arsaib4','Re: So This is Paris? (1926) - Ernst Lubitsch','Have you delved into the \"Lubitsch in Berlin\" (The Oyster Princess, I Don\'t Want to Be a Man, Sumurun, Anna Boleyn, The Wildcat) box set yet?','c44a1ef874c731e976b61ce445c2cf8f',0,'','qUJFj8eb',1,0,'',0,0,0),(15236,2548,3,1,0,'69.120.114.47',1165410840,1,0,1,1,1,1,'wpqx','Re: So This is Paris? (1926) - Ernst Lubitsch','No, Passion/Madame Du Barry is still the only one of his German films I\'ve seen. The box set is fairly new (like the DVD of Murnau\'s Phantom) so I\'ll eventually get it, and knowing me that means I\'ll probably watch the thing in another several months.','df1b5800d3931d72804858a288c1f223',0,'','gKoYCSZX',1,0,'',0,0,0),(15237,2548,3,1,0,'69.120.114.47',1166564820,1,0,1,1,1,1,'A','Re: So This is Paris? (1926) - Ernst Lubitsch','Funny thing that I hadn\'t heard of this Lubitsch pic before. Hope it comes out on DVD sometime, and maybe restored (I\'d say it\'s quite possible that some scenes are missing).\r\nI have the restored \"Sumurun\" and \"The Wildcat\" on Video. Both are worth watching, and Lubitsch himself is supposed to have said that of his German productions, he liked \"The Wildcat\" the most. Can\'t blame him as it\'s my favorite Lubitsch I\'ve seen. But I desperately need to revisit it.','2c26fee9f14f0c49c1755856718c4e51',0,'','nuWHA6P2',1,0,'',0,0,0),(15238,2548,3,1,0,'69.120.114.47',1166569440,1,0,1,1,1,1,'wpqx','Re: So This is Paris? (1926) - Ernst Lubitsch','I hope to pick up the Lubitsch in Berlin set that recently came out, and hopefully I\'ll have a more authoritative opinion of his German work. I have ceased to expect any of his films to come out, because no one seems to be in any hurry with his early films.','a8cf0f19fc90574d303fda34a95b34c6',0,'','Kxdv3eH9',1,0,'',0,0,0),(15239,2548,3,1,0,'69.120.114.47',1166636460,1,0,1,1,1,1,'A','Re: So This is Paris? (1926) - Ernst Lubitsch','But there has been lots of restoration work in the last ten years, concerning early Lubitsch, and a lot has been released (Sumurun is also a restoration for example). \r\nBtw. did you know that Lubitsch\'s \"When I Was Dead\"v from 1916 was discovered in the Slovenian Film Archive in the 90s? I saw it at the cinema in Germany a couple of years ago, and the copy was ina pretty good shape, considering its age.','c6026470e94cb533b70cc61980c1c142',0,'','fxm6HBhU',1,0,'',0,0,0),(15240,2548,3,1,0,'69.120.114.47',1166690460,1,0,1,1,1,1,'wpqx','Re: So This is Paris? (1926) - Ernst Lubitsch','Was unaware of it.','6ea30c57d9631e3415f7fa8c3fc0a4b9',0,'','z6GyKNiP',1,0,'',0,0,0),(15241,2549,3,1,0,'69.120.114.47',1117933560,1,0,1,1,1,1,'wpqx','Top 10 Foreign Silent Films','Trying to keep this site foreign (for now). Plus I\'ve rehashed a silent film list several times, and would like to just rate the ones made outside of the US.\r\n\r\n1. Napoleon (1927) - Abel Gance\r\n2. The Man With a Movie Camera (1929) - Dziga Vertov\r\n3. The Passion of Joan of Arc (1928) - Carl Theodor Dreyer \r\n4. Variety (1925) - E. A. Dupont\r\n5. Metropolis (1927) - Fritz Lang\r\n6. The General Line (1929) - Sergei Eisenstein\r\n7. Battleship Potemkin (1925) - Sergei Eisenstein\r\n8. Faust (1926) - F. W. Murnau \r\n9. Die Nibelungen (1924) - Fritz Lang\r\n10. Zvenigora (1928) - Alexander Dovzhenko\r\n\r\nWell by my list only about two countries made foreign films in the silent era, but hey Germany and the USSR dominated, what can I say?','3930ea138bcc871ba8107b9b643afcc3',0,'','MY9xrCUX',1,0,'',0,0,0),(15242,2549,3,1,0,'69.120.114.47',1131319440,1,0,1,1,1,1,'Sara','Re: Top 10 Foreign Silent Films','I only have 7 for now that I really liked. (I did not include US or UK films)\r\n\r\nNosferatu- Murnau\r\nUn Chien Andalou - Bunuel/Dali\r\nFaust - Murnau\r\nMan with the Movie Camera - Vortov\r\nMetropolis - Lang\r\nPassion of Joan of Arc - Dreyer\r\nThe Cabinet of Dr. Caligari - Wiene\r\n\r\nSara \r\n(I need to watch the Battleship Potemkin again because the first time I saw it, it was not one of my favorites...)\r\nI also saw the Chess Player (Bernard) and Bed and Sofa (Room) neither of which I could rave about.','f7468d616fc0652405143d121097fc60',0,'','Q84VvfZy',1,0,'',0,0,0),(15243,2549,3,1,0,'69.120.114.47',1135731840,1,0,1,1,1,1,'Johndav','Re: Top 10 Foreign Silent Films','1.Metropolis (Lang)\r\n2.Battleship Potemkin (Eisenstein)\r\n3.Man with a Movie Camera (Vertov)\r\n4.Nosferatu (Murnau)\r\n5.Spies (Lang)\r\n6.The Chess Player (Bernard)\r\n7.The Passion of Joan of Arc (Dreyer)\r\n8.Vampires (Feuillade)\r\n9.People on Sunday (Siodmak, Ulmer)\r\n10= Pandora\'s Box (Pabst)\r\nStrike (Eisenstein)\r\nArsenal (Dovzhenko)\r\nGirl with a Hatbox (Barnet)\r\nNapoleon (Gance)','d78e0278145eb6a17e7deb0ec6282083',0,'','vtud6i4L',1,0,'',0,0,0),(15244,2549,3,1,0,'69.120.114.47',1156286160,1,0,1,1,1,1,'A','Re: Top 10 Foreign Silent Films','Hmm, I could list The best ten foreign silent films I\'ve seen, but it wouldn\'t be appropriate, as I haven\'t seen ten that would deserve to be in such a listing. I know I am in the minority here, but I don\'t regard several films high enough which many claim to be masterpieces (e.g. Battleship Potemkin, Metropolis, Nosferatu, The last Laugh, Arsenal, to name but a few). And I\'m not able to judge some other, rather unknown films which I\'ve seen too long ago, but which i liked very much at that time. Sadly, with such movies one can only HOPE for an opportunity to see them again... \r\nIt\'s a shame that there are still far too little silent films out on DVD.\r\n\r\nInstead I will offer a general Top Ten consisting of my favorite silents which I would urge anyone to watch. I promise to kick out the english-\"language\" ones, when I see more foreign masterpieces.\r\n\r\n1. City Lights (Charles Chaplin / USA / 1931)\r\n2. un chien andalou An Andalusian Dog (Salvador Dali, Luis Bunuel / France / 1928) \r\n3. The Wind (Victor Sjostrom / USA / 1928) \r\n4. The Gold Rush (Charles Chaplin / USA / 1925)\r\n5. Intolerance: Love\'s Struggle Through the Ages (David Wark Griffith / USA / 1916)\r\n6. Shoulder Arms (Charles Chaplin / USA / 1918) \r\n7. Die Bergkatze The Wildcat (Ernst Lubitsch / Germany / 1921)\r\n8. Das Kabinett des Doktor Caligari The Cabinet of Dr. Caligari (Robert Wiene / Germany / 1920) \r\n9. Our Hospitality (Buster Keaton, John G. Blystone / USA / 1923)\r\n10. Greed (Erich von Stroheim / USA / 1924)','d609085944598a7686698483668e2734',0,'','nvthSeyR',1,0,'',0,0,0),(15245,2549,3,1,0,'69.120.114.47',1156533420,1,0,1,1,1,1,'wpqx','Re: Top 10 Foreign Silent Films','Funny, because I thought I was too Americanized in my list making. Unfortunately some silent films have had too many decades to get stale and pretentious. At their core however there are some really great films out there, and I think Metropolis is one of them, even if it seems too overanalyzed and played out today. Potemkin works separated from film academia, I think its problem is its overinflated reputation. Have you seen any of Sjostrom\'s Swedish films A? Not saying any of them are better than The Wind, but its certainly a place worth investigating.','1229101f04f87092ad61ab6e80e1ea4d',0,'','CgQHeFZr',1,0,'',0,0,0),(15246,2549,3,1,0,'69.120.114.47',1156612440,1,0,1,1,1,1,'A','Re: Top 10 Foreign Silent Films','I like Metropolis very much, and it has moments of cinematic greatness and astonishing beauty in it. But for me, as a whole, it isn\'t a masterpiece. Potemkin is another matter.\r\nHaven\'t seen anything else by Sjostrom besides The Wind. It was difficult enough finding even one of his films here in Germany...','57e51fe5142f210944da3d40dde9083c',0,'','zXwVhylC',1,0,'',0,0,0),(15247,2549,3,1,0,'69.120.114.47',1156620000,1,0,1,1,1,1,'wpqx','Re: Top 10 Foreign Silent Films','I have two more of his American films on VHS somewhere (He Who Gets Slapped and The Scarlet Letter), but haven\'t been able to see either. As for his Swedish films I\'ve only seen The Outlaw and His Wife and Phantom Chariot, unless of course I\'m forgetting something obvious. It sucks so many of his films are lost/impossible to find, because I keep reading (Bordwell mostly) people claiming that he is just as important to the development of cinema as Griffith. That\'s a bold claim and I\'d like more evidence to support it.\r\n\r\nHave you seen Old and New/The General Line from Eisenstein? I find it a better film than Potemkin, and far less praised. I recently picked up Bordwell\'s book on Eisenstein and I must say the man is rather well informed.','f18914a10435368736bb20d71ac7e908',0,'','o1F6N2kC',1,0,'',0,0,0),(15248,2549,3,1,0,'69.120.114.47',1156627740,1,0,1,1,1,1,'A','Re: Top 10 Foreign Silent Films','I aslo remember reading a lot on the importance of Sjstrm\'s early work, and some beautiful still images from his films are still in my mind. But damn, I simply don\'t have enough money to spend it on blind-buy imports. Hope this will change in the future, but the last couple of years haven\'t brought a money-fountain, as my wallet usually rather resembles a dry well. \r\n\r\nAs far as Eisenstein is concerned I\'m quite \"illiterate\". Though I\'ve read some of his early writings (quite interesting), besides Potemkin, I\'ve only seen Alexander Nevsky (1936). Not much from his contemporaries either. Entuziazm (1930) by Vertov, Dezertir (1933) by Pudovkin, and Zvenigora (192 , Arsenal (1929) and Zemlya (1930) by Dovzhenko, which I was all extremely lucky to encounter. Judging on these sparse examples of early soviet filmmaking, all I can say for sure is that these four were remarkable filmmakers who seemed interested mostly in the technical possibilities of the filmic image (and later the sound). That\'s all extremely interesting to me, but unfortunately the propaganda and their differing ideologies (and \"manifestos\") often stood in the way. I know that form and ideology couldn\'t be seperated for them and I just can\'t disregard that. It\'s like watching Riefenstahl\'s Triumph of the Will... kind of unhealthy trying to seperate the aesthetics from the ideology. \r\n\r\nFor example Dovzhenko\'s films have some of the most ravishing visuals I\'ve ever come to encounter on film. They can compare imo with anything that was ever put on film, and i was completely awestruck when I saw them for the first time. Nevertheless in come the unnecessary \"storytelling\" and the propaganda, and everything becomes some mumbo-jumbo, when you know that it\'s not the Bolsheviki or some ideology that will bring freedom to the people. What I criticize about Dovzhenko\'s effort is mostly the opposite from what I\'ve read from most mainstream-critics. it\'s the fact that he does try to tell a somewhat coherent story, instead of trusting the images to tell of the true nature of life. Imagine Malick trying to combine his films with a praise of the american way-of-life. \r\n\r\nSadly, the best essays I\'ve read on Dovzhenko\'s films (or on other early soviet productions) ignore these aspects. \r\nThus soviet filmmakers who made films of comparable truth and beauty, but with a more personal \"ideology\", like Tarkovski or Paradjanov rank imo far above any of these. \r\nOn the other hand, the theoretical writing by Eisenstein and Vertov, as limited by ideology as it often is, is imo much more interesting than anything Tarkovski has ever put on paper.','8831c95d2af5acf81b15f0c4997e9f05',0,'','fPrDytob',1,0,'',0,0,0),(15249,2550,3,1,0,'69.120.114.47',1154252160,1,0,1,1,1,1,'wpqx','Erotikon (1920) - Mauritz Stiller','This Lubitsch-esque Swedish classic served as my Swedish introduction to Mauritz Stiller, considered one of the era\'s most prominent and important directors. Stiller, like Sjostrom eventually got the call for Hollywood, where his career didn\'t exactly prove fruitful. He did make the rather predictable Garbo melodrama The Temptress in Hollywood, but it is for his Swedish films he is most remembered. Of course most of these films are forever lost, but the few remaining offer up some glimpse of the talent on display here. \r\n\r\nErotikon is a delicately structured tale of infidelity among the upper class and remains as lighthearted and immoral as the best Lubitsch films do. It centers around a couple who each seem to be having trouble keeping their marriage vows. The husband of the two is an entomologist who sets up the plot rather early on, when mentioning a particular insect that practices in bigamy. You know where the story is heading. Irene (Tora Teje) indulges in various whims including the pursuit of an aviator (certainly looking ahead to Rules of the Game) and of course her husband\'s best friend. The husband is no angel and his relationship with his niece has a particularly disturbing familiarity to it. Nevertheless its all in good old fashioned immoral fun. Perhaps the biggest laugh one might get watching the film today is not in the careful interplay between characters, but in a very dated reference made early in the film where one of Irene\'s suitors suggests going for a ride in his 100 horse power automobile. My how technology changes.\r\n\r\nFilms of the kind are frequently high gloss products, and the production value ante gets raised early in the film. The film is relatively free from the constraints of a studio production, with a great deal of its action taking place in the outdoors, including some early shots from the air, in the film\'s then stunning aerial sequence. Sparing no expense was the inclusion of the film\'s play. An internationally respected Swedish company was hired to put on the play, and it has all the extravagence one would expect from Griffith or DeMille, who\'s films were finally making their way into Sweden following a cultural embargo during World War I.\r\n\r\nI still have a hard time seeing such lighthearted fare from Sweden. Being that the majority of films from there I\'ve seen were helmed by the typically ultra serious Ingmar Bergman, you forget sometimes that their film history is just as varied as the US or France. In fact in many ways Sweden were leaders in their market, which explains why so many people were brought over to Hollywood, which was in line with their policy of \"If you can\'t beat \'em, buy \'em\". In the days before international film festivals, I suppose that was the greatest honor you could have, being offered a job in Hollywood. Seems like these types of films would have been perfectly suited for the somewhat adventerous tastes of Hollywood in the jazz age, but he died in November of 1928.\r\n\r\nGrade B-','c8f4a0740dd68c3fb7b54644ec9511df',0,'','odVMj7tg',1,0,'',0,0,0),(15250,2550,3,1,0,'69.120.114.47',1156284000,1,0,1,1,1,1,'A','Re: Erotikon (1920) - Mauritz Stiller','Hmm, I always thought Stiller directed stern melodramas when he still lived in Sweden. Wanted to watch \"The Saga of Gosta Berling\" recently, when I noticed that there is only the shorter cut available in Germany. Hope this will change in the future, and more of Stiller\'s work will be available. Have you seen any of his Hollywood movies, wpqx?','e88884f7fd1ff3ed6466a9f059aafb79',0,'','gVWl0cbG',1,0,'',0,0,0),(15251,2550,3,1,0,'69.120.114.47',1156287360,1,0,1,1,1,1,'jcdavies','Re: Erotikon (1920) - Mauritz Stiller','I could do with seeing it and others by Stiller. I\'m not at all clear which is/are his most admired these days- whether Erotikon, Gunnar Hede\'s Saga, Gosta Berling\'s Saga, Sir Arne\'s Treasure..\r\n\r\nAnyway, any of these on dvd/video?','3345c7b89f22c864ee6c16e241852f4c',0,'','9js7NJ3d',1,0,'',0,0,0),(15252,2550,3,1,0,'69.120.114.47',1156289460,1,0,1,1,1,1,'A','Re: Erotikon (1920) - Mauritz Stiller','I know that \"Gosta Berling\'s Saga\" is available on DVD in the US. Released by \"Kino\" in what is most likely the films original length. \r\nMaybe Criterion will get hold of some other titles?','6582f1b06d894f5b8f1a623e45853758',0,'','tEsNdLW7',1,0,'',0,0,0),(15253,2550,3,1,0,'69.120.114.47',1156492920,1,0,1,1,1,1,'arsaib4','Re: Erotikon (1920) - Mauritz Stiller','Stiller\'s Erotikon, The Saga of Gosta Berling, and Sir Arne\'s Treasure are all available on DVD in the U.S. (Kino).','903875ca3bfa0300e8d7fa074dd582ad',0,'','J6vCSDnU',1,0,'',0,0,0),(15254,2550,3,1,0,'69.120.114.47',1156533180,1,0,1,1,1,1,'wpqx','Re: Erotikon (1920) - Mauritz Stiller','I have the Kino DVD of Gosta Berling, but haven\'t gotten to see it. I have seen his American debut The Kiss, which also starred Garbo, but that\'s because I\'ve seen every Garbo film from the US (and I think Gosta Berling is the only foreign one in existence I haven\'t gotten to watch). As for the American film, it is just sub-standard fare, and far too forumulaic.','da0059682d2f8833a2717a7b217f6a0c',0,'','CdMGJRxV',1,0,'',0,0,0),(15256,2552,3,1,0,'69.120.114.47',1136791380,1,0,1,1,1,1,'A','We have a silent board!','Repeating my entusiastic posting from Imdb some time ago: We have a silent board! Hahaha!!!  \r\nOk, now how about everybody typing doen how he came to the silents?\r\nI watched some of \'em \"unknowngly\" as a kid, mostly some keystone cops chasers shorts that came sometimes on TV. Loved the wacky pace and the funny music. Years later as my love for cinema was at full bloom, I saw some screenshots from \"The Cabinet of Dr. Caligari\" and decided that i had to see it. Luckily my local library had it on some crappy old Video in a butchered 46 min version, and I persuaded the stunned librarian to go to the attic, where some old films nobody wanted to see were bumming around (among them A fistfull of dollars, the third Man, and The Big Sleep!!!), and include it in the catalogue again, so i could borrow it. He did this (and I\'m lucky to report all of the other films also got on display again), and when I put it in my VCR and saw the first scene I knew that I would love silents for the rest of my life. I admit that since then I\'ve been a bit lazy watching silent films, as I usually watch them without soundtrack (I hate modern interpretations) and have to concentrate so much more to catch everything, that I\'ve seen only about 150 of them.\r\nNevertheless I prefer silent films to the ones with sound (I\'m not kidding!) and have still my whole life ahead of me to enjoy the many wonders from the past. \r\nSo, what was your enlightenment regarding silent films?','9b0b897ce1c0d783b6fedb4fd9299071',0,'','w65Mpbq9',1,0,'',0,0,0),(15257,2552,3,1,0,'69.120.114.47',1136925780,1,0,1,1,1,1,'wpqx','Re: We have a silent board!','Silent films were part of the curriculum. I got into the whole world of movies through the AFI\'s top 100, and four films on that list were silent (5 considering Jazz Singer is practically silent). It was Griffith\'s Birth of a Nation though that really helped me to see the potential spectacle and awe of silent film. There was a grandiose quality to that among other silents that was never really duplicated in the sound era. Shame that sound had to push the evolution of cinema back about 14 years, because just as it was coming around some of the best films of all time were made. I mean just in 1928 was the Passion of Joan of Arc, The Wedding March, Steamboat Bill Jr, The Circus, Pandora\'s Box, The Wind and the Last Command.','3d977c4ec7719b06211005179f54ad27',0,'','x7gwNRvy',1,0,'',0,0,0),(15258,2552,3,1,0,'69.120.114.47',1137016980,1,0,1,1,1,1,'A','Re: We have a silent board!','I also enjoyed \"The Birth of a nation\" immensly when i first saw it. And it was my introdution to Griffith - not a bad start.\r\nI agree with you, that in 1928 some of the finest silent films were made. It would have really been interesting to see where silents would have developed after that (especially in the US and Germany), but alas, sound came... But maybe there will be a greater production of silent films some day in the future. \r\nTo add to 1928:\r\nA woman of Affairs (great melodrama), White shadows in the South Seas (very interesting anti-imperialism movie), un chien andalou (you know ).','2c10546e1327696d65075d485421d6df',0,'','saSbPrVE',1,0,'',0,0,0),(15259,2552,3,1,0,'69.120.114.47',1137045660,1,0,1,1,1,1,'wpqx','Re: We have a silent board!','Ironic to mention A Woman of Affairs, I love that film, very liberal minded and drastically ahead of it\'s time. Certainly much more empowering than the supposedly feminist Female (1933). Also forgot about King Vidor\'s The Crowd which is only slightly overrated.','42696a0b9df6de995b4ba58190297afb',0,'','LXoR9jhc',1,0,'',0,0,0),(15260,2552,3,1,0,'69.120.114.47',1137755580,1,0,1,1,1,1,'hengcs','Re: We have a silent board!','Well, the only silent films I could recall are those that I have watched when I was very young (i.e., without even knowing their titles). There aren\'t VCDs or DVDs then, so I have not gotten to watch any of those again ...\r\n\r\nI presume a number of them were Chaplin\'s ... well, as a kid, at least we laughed at \"exaggeration\", but as we grow older, some people who dislike those might call those styles of humor \"slapsticks\" ... sigh ...\r\n\r\nAnyway, can this recent short be considered a silent film?\r\n\r\nHow to Tell When a Relationship is Over in Ninety Seconds\r\nUnited Kingdom | 1:30 | Tony Roche\r\n\r\nwww.atomfilms.com/af/cont...d=65486554\r\n\r\nhee hee','a9d60913332a5f090a5ed8920b76e92b',0,'','zZEGxJcL',1,0,'',0,0,0),(15261,2552,3,1,0,'69.120.114.47',1137790500,1,0,1,1,1,1,'wpqx','Re: We have a silent board!','There was dialogue in that, I\'m a little ashamed at you Mr. Administrator. You need to do some research.','1d18dc7e9ba9dda4612297bdc4e0fd4d',0,'','XyvUfi93',1,0,'',0,0,0),(15262,2552,3,1,0,'69.120.114.47',1137827160,1,0,1,1,1,1,'hengcs','Re: We have a silent board!','oh no, i forgot to take a relook at the short ...\r\ni watched it too long ago ...\r\n\r\nall i could recall is\r\n... the famous \"book\" scene\r\n... the \"French\" scene ...\r\nhee hee ...\r\n* naughty grin *\r\n\r\nas for the admin\r\n... i want to retire too ... so busy with my work \r\n... but trying to post sth new every week ...\r\n... anyone volunteers to take over?','c56741c0d8037360007bff862c8c2f7d',0,'','sDUcpeTo',1,0,'',0,0,0),(15263,2552,3,1,0,'69.120.114.47',1151250840,1,0,1,1,1,1,'Johndav','Re: We have a silent board!','There\'s been a valuable + interesting series by amiable, dry British comedian Paul Merton on BBC Four (i think that was the channel), with individual programmes on the silent clowns Chaplin, Keaton, Laurel and Hardy, and Harold Lloyd- each rounded off with a short. For me, the pick of these was undoubtedly Keaton\'s early little masterpiece The Goat. Alongside this, a programme by Matthew Sweet extolling the unsung virtues of British silent cinema, and several films screened, like A Cottage on Dartmoor (which he thinks the best British silent). Now i agree with Sweet that this film gives the lie to those who think of director Asquith as mainly a director of filmed theatre, cos it is quite imaginative. Still, i\'m far from convinced that British silents are anywhere near the standard of the international masterpieces of the period- which unfortunately were not shown. So many viewers will have remained unaware of the true brilliance of the silent era; a missed opportunity.','cff8bf939ae326f9194706b9d320da7d',0,'','BNgTC9V0',1,0,'',0,0,0),(15264,2552,3,1,0,'69.120.114.47',1151291760,1,0,1,1,1,1,'trevor826','Re: We have a silent board!','John, I did catch a few of the programmes in the series but unfortunately missed A Cottage on Dartmoor however I did see Hindle Wakes which I\'ve promised to write more on and Piccadilly. Hopefully a larger scale season of silent cinema will air sometime, as you mentioned \"many viewers will have remained unaware of the true brilliance of the silent era\" and I would certainly include myself in that number.\r\n\r\nCheers Trev.','38deeaae2586461a4dc611ade68b8f47',0,'','W8bptNZv',1,0,'',0,0,0),(15265,2552,3,1,0,'69.120.114.47',1151372820,1,0,1,1,1,1,'A','Re: We have a silent board!','Hmm, don\'t know many silent films from the UK, but I\'ve heard good things about Picadilly. One great silent film from your island is definitely Alfred Hitchcock\'s Blackmail from 1929. You should see it if you \"have remained unaware of the true brilliance of the silent era\"','2695240381b520bc49ad87b062229b19',0,'','2ZFhEfUP',1,0,'',0,0,0),(15266,2552,3,1,0,'69.120.114.47',1151404200,1,0,1,1,1,1,'Johndav','Re: We have a silent board!','Well, i quite enjoyed Piccadilly, but it falls some way short of a masterpiece. Sweet mentioned it having had ovations when screened recently- but i guess that may have been partly for the musical accompanist? Brecon film soc silent screenings would always get a big cheer for the composer/pianist! Blackmail is considerably better- yes, probably the best British silent-, and one we did screen; excellent score by Paul Shallcross, who took quite a fancy to heroine Anny Ondra. I prefer the silent version to the sound one with the famous bread cutting/ \"knife\" scene.','1cd3c16bfcff12da46e9d59d682dc7bc',0,'','SXzZPJBM',1,0,'',0,0,0),(15267,2552,3,1,0,'69.120.114.47',1151414880,1,0,1,1,1,1,'A','Re: We have a silent board!','Hmm, I haven\'t watched the silent version with a score yet, as I try to avoid every acompaniment the first time I watch a film. Of course a great score can make the film even better. Maybe I\'ll listen to the one by Shallcross when i watch it next time...\r\nEvery time I watch a silent film in the cinema, the live band/ composer get a big cheer. And usually they are better than the film!  \r\nSo far I have heard many great live accompaniments, and I\'m always astounded at the \"bad\" scores most films get on DVD/VHS...\r\nMaybe it is because artists tend to improvise more when playing live, whereas the company usually tries to make a safe bet?','e5486712909c4c86d5b775de44937e58',0,'','9yKcz80C',1,0,'',0,0,0),(15268,2552,3,1,0,'69.120.114.47',1151500200,1,0,1,1,1,1,'Johndav','Re: We have a silent board!','Ah, for Shallcross\' score, you\'ll either have to see him perform it live or get hold of a copy from him (as it\'s not with any video/dvd releases)- he\'s just Brecon\'s resident silent film composer, who does the rounds at venues in England too. We were lucky he lived there! Neil Brand is easily the best known silent composer in the UK, linked with the BFI (and accompanied the silents in Paul Merton\'s TV series). He tends to improvise more than Paul, is a more natural pianist, but Paul has a knack for matching the music very closely with the specific image, sequences and moments. He\'s mainly written for piano. Silent composers must get to know the films as intimately as anyone. He\'s very methodical, but with no loss of charm. I\'m a musical dunce but i did convince him to alter his opening sequence for Potemkin!','94799e12db4c637e1ca8dd489032b0bc',0,'','um1agTDy',1,0,'',0,0,0),(15269,2552,3,1,0,'69.120.114.47',1151551680,1,0,1,1,1,1,'A','Re: We have a silent board!','You are very fortunate in this respect. \r\nI once bought a CD from a great percussionist who accompanied some silent shorts on dozens of percussion instruments. It was fantastic, but the CD isn\'t working. I\'ll try to change it next time I meet him, but I\'ve already missed an opportunity, and this was in 2004, I believe.','eb87f0cc031a95957739cf20ec1702be',0,'','YvTc86io',1,0,'',0,0,0),(15270,2553,3,1,0,'69.120.114.47',1144122360,1,0,1,1,1,1,'wpqx','The Ten Commandments (1923)','Something must be done on this board, several months and next to no comments. Perhaps no one is watching silent films, but I\'ve just seen Demille\'s original Ten Commandments at long last, and for numerous reasons it didn\'t live up to expecations, but at least we can open the floor for discussion.\r\n\r\n   Spectacle for spectacles sake is the defining theme of Cecil B Demille\'s work. Huge sets, exotic locales, and a little bit of moralizing to serve as a conscience. His films are always infected with a fervor for whatever he sees as the public taste. There is a religious tone to most of his films, a way of counteracting the excess of his stories. In many ways his original adaptation of the Ten Commandments seems like a defining film for him. One that mixes his love of all things spectacular with a modern tale of morality set in a world of sin. The main story of this film doesnt seem to have a hell of a lot to do with the Ten Commandments. Simply a tale of one man with no morality or conscience who gets whats due him.\r\n   The story is somewhat biblical, and not just the part about Moses. This is a film about two brothers, one dutiful and god fearing, the other reckless, greedy, and atheist. Like most biblical stories there is a woman between them, and she too succumbs to the ways of sin and debauchery. Truth be told the bible is typically sexist and depicts most women as vile corrupters. Mary here isnt a sinner particularly, instead shes the other type of biblical woman, one whos weak and goes along with whatever men tell her. The role is one of weakness and stands somewhat typical of many moral stories.\r\n   The prologue is what has remained the most memorable and discussed aspect of the film. It can be seen as a direct link to Demilles better remembered 1956 remake. The story is rushed however, by the time we see Moses hes already inflicted 9 plagues on the Egyptians, certainly not as dramatically thrilling as Hestons Let my people go war cry. As ridiculous as many people thought Heston looked in 1956, Moses in this version is even more theatrical. Granted that Moses was played by a much older actor, but just as comical today. The performances, particularly in the Egyptian story are far over the top, even more than usual for silent films, but what in a Demille film isnt over the top?\r\n   The modern story is a little more subdued. It is an allegory, but a not very fascinating one. Richard Dix plays the good son and proves why he was a better actor without dialogue. He represents the Moses of the modern world. The one who aims to do right at his own risk. His mother is a terrible nag, and one cant blame her other son for wanting out of that house. She however seems to walk around with that look of complete depression common with religious people. Shes never seen happy in the film, and how could she be, anyone quoting the bible every other sentence cant possibly be pleasant. Yet in Demilles moral world we should feel compassion for this holy woman. It is a story that may have seemed rather modern, but is shamefully out of date.\r\n   Other aspects of the film remain relevant today. The greatest of these are the shady construction practices. It is not uncommon for builders to downgrade significantly for cost. Here the results are tragic, but then again what was his miserable mother doing there in the first place? As always tales of infidelity will remain timeless, as will financial ruin, and the immorality of the rich and powerful. In many ways things havent changed, but can someone explain how a princess came cutting out of a burlap sack from Leper Island?\r\n\r\nGrade B','0287875eb313a548cdc9dcd69daa5c75',0,'','d6RbxBtN',1,0,'',0,0,0),(15271,2553,3,1,0,'69.120.114.47',1144255680,1,0,1,1,1,1,'A','Re: The Ten Commandments (1923)','Sounds like a terrible mess to me. The two silent films by DeMille I\'ve seen so far seem to be good accompanying pieces. \"The whispering chorus\", a good story brought down by a screenplay with too many improbabilities and plotholes, and a director who seems to fiercly believe in the idiocy and ignorance of the viewers, resulting by a direction that takes you by the hand and hammers the morale home. \"Joan the woman\" was better in most aspects, but still doesn\'t live up to the renomme of a great director. Technically the films are very interesting, but to what use it is employed is a more important question to consider. I know that I\'ll check out the ten commandements one day, but thanks for your warning wpqx. At least an enjoyable review has come out of it','332e7b8d534503a460050ca4c831ddf4',0,'','LT5yKWfZ',1,0,'',0,0,0),(15272,2554,3,1,0,'69.120.114.47',1119031920,1,0,1,1,1,1,'JohnNoone','Qn: Good short films.....HELP!','I\'m planning on throwing a short films party with some of my friends. One problem: I don\'t really know of that many.\r\n\r\nSo far what I have planned is:\r\nEraserhead\r\nCaptain Eo\r\nVincent\r\nFrankenweenie\r\nJo-Jo in the Stars\r\n\r\nSo....I guess my question is\r\n1) What additions would you make to my lineup and (better yet)\r\n2) Where do YOU find out about cool short films. Websites, zines, whatever.\r\n\r\nThanks for your suggestions in advance.','b34da98af26513ab885e7798bb6f89b3',0,'','WLg80lch',1,0,'',0,0,0),(15273,2554,3,1,0,'69.120.114.47',1119194460,1,0,1,1,1,1,'A','Re: Qn: Good short films.....HELP!','Ok,\r\n1. Eraserhead isn\'t a short, but watch it anyway!!\r\n2. I can recommend:\r\nThe Electric House (1922, Edward F. Cline & Buster Keaton)\r\nA Story of Water (1961, Jean-Luc Godard & Franois Truffaut)\r\nAudition (1963, Milos Forman)\r\nIch Nicht (1969, Jrg-Michael Baldenius & Wolfgang Petersen)\r\nDimensions of Dialogue (1982, Jan Svankmajer)\r\nTango (1981, Zbigniew Rybczynski)\r\nGagarin (1995, Alexij Kharitidi)\r\nCousin (1998, Adam Elliot)\r\nBrother (1999, Adam Elliot)\r\nNicht auf den Mund (1999, Kathrin Feistl)\r\nThe Little Girl Who Sold the Sun (1999, Djibril Diop Mambty)\r\nThe Heart of the World (2000, Guy Maddin)\r\nSoins et Beaut (2000, Alejandra Rojo)\r\nCandidature (2001, Emmanuel Bourdieu)\r\nDog (2001, Andrea Arnold)\r\nEat (2001, Bill Plympton)\r\nFreunde (2001, Jan Krger)\r\nTu Vois (2001, Franois Ruiz)\r\nMaintenant (2002, Ins Rabadn)\r\nPortrait (2002, Sergey Loznitsa)\r\n\r\nBut good luck finding them!!  \r\n\r\n3. I don\'t find out about cool short films actually, since I don\'t know anyplace where I could get REALLY valuable info (I mean REALLY!! valuable). Most are just the newest pap.\r\nI watch them on festivals, from old tapes taped from tv, and if some of my favorite directors have made shorts, i try to track them down (sometimes DVD). But there are more and more DVD compilations with good shorts coming onto the market.\r\nAlso look at your library or videostore for Films before 1914. Normally you will find lots of shorts there, many good ones!\r\n\r\nHave fun with the films, I\'d love to see capt. eo again (loved it as a kid), and the two Burton shorts are really great. Haven#t heard of Jo-Jo in the stars though.','f8958dcca6b528b53e3500f8222bb088',0,'','ctSTAaGP',1,0,'',0,0,0),(15274,2554,3,1,0,'69.120.114.47',1119196920,1,0,1,1,1,1,'Sara','Re: Qn: Good short films.....HELP!','By all means see Tim Burton\'s Nightmare Before Christmas directed by Selick. Animated, 75 minutes long, and PURE MAGIC. (DVD also explains how they did the animations.)\r\n\r\nI could watch this over and over. Fun, enjoyable, wonderful graphics and music and characters.\r\n\r\nBelieve me, it is pure magic.\r\n\r\nSara','5f61175c77d097c1b5b8ec3ee2e6ed0f',0,'','kCgFlLT7',1,0,'',0,0,0),(15275,2554,3,1,0,'69.120.114.47',1119198540,1,0,1,1,1,1,'A','Re: Qn: Good short films.....HELP!','Believe her, it really IS magic. \r\nA unique film.','10185f4447cc5c667d24ba6ee8a08e41',0,'','X84Z9pGm',1,0,'',0,0,0),(15276,2554,3,1,0,'69.120.114.47',1119733440,1,0,1,1,1,1,'trevor826','Re: Qn: Good short films.....HELP!','Bus 44\r\n\r\nShort film from China, powerful and emotive, could have easily been turned into a full length feature but the compact nature of it just adds to it\'s strength.\r\n\r\nCheers Trev.','20d1f0a305c609478193e8aa51310b3c',0,'','p7nSgYba',1,0,'',0,0,0),(15277,2554,3,1,0,'69.120.114.47',1119782700,1,0,1,1,1,1,'trevor826','Re: Qn: Good short films.....HELP!','Dangle\r\n\r\nGreat little comedy short. You know how excited a little kid can be when they find they can reach the pull string for the bathroom light! \r\n\r\nA man wandering on a snowy hill see\'s a long red cord apparently dangling from the sky, he pulls it once, day turns to night, pulls it again and again and again; you can guess the rest.\r\n\r\nGood lighthearted fun.\r\n\r\nCheers Trev.','220fcd37253cac5990d0e86b675e16a3',0,'','v9z06GZX',1,0,'',0,0,0),(15278,2554,3,1,0,'69.120.114.47',1119783660,1,0,1,1,1,1,'trevor826','Re: Qn: Good short films.....HELP!','filmfour.com has decent coverage of short films and has a good list of ones you can download. \r\n\r\nCheers Trev.\r\n\r\nI\'ve got to mention The Kiss. Brilliantly constructed humorous short featuring Hugo Weaving. I won\'t go into detail but it\'s well worth seeing.\r\n\r\nCheers Trev.','181e8903cf34653668c9e8403b5d7fd8',0,'','q7ix1usX',1,0,'',0,0,0),(15279,2554,3,1,0,'69.120.114.47',1136977980,1,0,1,1,1,1,'madhuban','Re: Qn: Good short films.....HELP!','Recently saw three Atom Egoyan shorts and loved them.\r\n1. Open House\r\n2. Howard In Particular\r\n3. Peep Show\r\n\r\nSurprised that nobody mentioned Resnais\' Pathbreaking \"Night and Fog\"\r\n\r\nM','67ba26fd9fdb21cd7304ebe8ba05e642',0,'','49A8FVXU',1,0,'',0,0,0),(15280,2554,3,1,0,'69.120.114.47',1136987640,1,0,1,1,1,1,'trevor826','Re: Qn: Good short films.....HELP!','Does anyone know the name of the French short of a car tearing through the streets of Paris at dawn, that\'s pretty much all there is to it but the sense of speed is breath taking.\r\n\r\nI think it was probably made during the sixties.\r\n\r\nCheers Trev.','1241508e72ef63e119856fd2a7df140c',0,'','53EpSz8D',1,0,'',0,0,0),(15281,2554,3,1,0,'69.120.114.47',1137017400,1,0,1,1,1,1,'A','Re: Qn: Good short films.....HELP!','Nah, but I think I\'ve heard of it. Sounds interesting.\r\nWould like to see Egoyan\'s shorts, in fat even more than the features I haven\'t seen by him, yet. \r\nAs far as i know he tends to experiment more in the short format.\r\nHow about some comments on them?\r\nAnd welome aboard!','b85b9bce932bd77f06c3100b09269871',0,'','Wnw1K0iQ',1,0,'',0,0,0),(15282,2554,3,1,0,'69.120.114.47',1137022260,1,0,1,1,1,1,'Johndav','Re: Qn: Good short films.....HELP!','Une Partie de Campagne (Renoir) is the best film of under an hour.\r\n\r\nSome great animated shorts:\r\n\r\nStreet of Crocodiles (Quay bros)\r\nTale of Tales (Norstein)\r\nThe Wrong Trousers (Park)\r\nThe Mascot (Starewicz)\r\nWhat\'s Opera, Doc? (Jones)\r\nDuck Amuck (Jones)\r\nBegone Dull Care (Mclaren) handpainted\r\nColour Box (Lye) handpainted\r\n\r\nLive action (many are experimental films):\r\n\r\nA Trip to the Moon (Melies)\r\nVoyage beyond the Impossible (Melies) silent\r\nDream of a Rarebit Fiend (Porter) silent\r\nUn Chien Andalou (Bunuel) silent\r\nEntr\'acte (Clair) silent\r\nTwilight of a Woman\'s Soul (Bauer) silent\r\nDaydreams (Bauer) silent\r\nCops (Cline) silent\r\nMysteries of the Castle of Dice (Man Ray)\r\nThe Music Box (Parrott)\r\nWhite Mane (Lamorisse)\r\nThe Red Balloon (Lamorisse)\r\nMeshes of the Afternoon (Deren)\r\nLa Jetee (Marker)\r\nBirth of a Robot (Lye)\r\nNeighbours (Mclaren)- pixillation\r\nInauguraton of the Pleasure Dome (Anger)\r\nDenko (Camara)\r\n\r\none i\'d love to see:\r\nIsle of Flowers (Furtado)','4d3882b846a2f54c954bbcaaab4b9092',0,'','TaZ2RKBb',1,0,'',0,0,0),(15283,2554,3,1,0,'69.120.114.47',1137038340,1,0,1,1,1,1,'chris aberystwyth','Re: Qn: Good short films.....HELP!','un chien andalou is a must see\r\nLa Jetee is also good, quite experimental in that it is a series of still images but you will recognise the story if you have seen Twelve Monkeys - gilliam lifted the whole story from here. i would add some Kenneth Anger and Peter Greenaway films to the list as well. these are the ones i\'ve seen but there are more. all four are quite experimental. Anger was brought up in Hollywood so a lot of his films go against the normal Hollywood aesthetic.\r\nScorpio rising (Anger)\r\nRabbit\'s Moon (Anger)\r\nH is for House (Greenaway)\r\nWindows (Greenaway)','e6715a613effe615e7ce06aaa48d01b2',0,'','d6pCTDYk',1,0,'',0,0,0),(15284,2554,3,1,0,'69.120.114.47',1137038341,1,0,1,1,1,1,'trevor826','Re: Qn: Good short films.....HELP!','I found the answer to the film of the car racing through Paris, it was \"C\'tait un rendez-vous\" directed by Claude Lelouch. My dating was more than a little off though, it was made in 1976.\r\n\r\nVery good short, a one off that\'s well worth checking out.\r\n\r\nCheers Trev.','8c4428b3d56796847289f6c92474d512',0,'','5rWloB0n',1,0,'',0,0,0),(15285,2554,3,1,0,'69.120.114.47',1137040800,1,0,1,1,1,1,'Unregistered(d)','Re: Qn: Good short films.....HELP!','Scorsese\'s LIFE LESSONS from New York Stories.\r\n\r\nPASSION ACCORDING TO GLEN GOULD from 32 short films about Glen Gould.\r\n\r\nChaplin\'s THE PAWNSHOP\r\n\r\nAnd Irritu\'s MEXICO from 11/9/01','62106576f0475a1eec6801abc7dbed36',0,'','o0XHT2e7',1,0,'',0,0,0),(15286,2554,3,1,0,'69.120.114.47',1137128280,1,0,1,1,1,1,'A','Re: Qn: Good short films.....HELP!','Yeah, I remeber Innaritu\'s offering from the compilation film. It was very impressive and easily the best.\r\nA short by Claude Lelouch that far in his career? Where can I see this? (It probably wasn\'t the short I meant.)\r\nThe few Greenaway shorts I\'ve seen weren\'t impressive, and I didn\'t like \"Windows\", though I\'m a fan of him...','606db19dc6c05e84511b7a292426480a',0,'','0h5R4Qqt',1,0,'',0,0,0),(15287,2554,3,1,0,'69.120.114.47',1137146220,1,0,1,1,1,1,'madhuban','Re: Qn: Good short films.....HELP!','@ A\r\n\r\nThe Lelouch film from the September 11 anthology is interesting only because he does amazing things with sound via a deaf and mute protagonist. But the end is a spoiler!\r\n\r\nI did not care too much for Innaritu\'s film. For me, the best film in that anthology, is clearly Samira\'s segment. Other than her take on literacy (evident in \"Apple\" and \"Blackboards\"), the film also comments on globalisation and the production/privileging of information. The final moments of the film when the children look at the chimney of the brick kiln (the teacher uses it as an analogy for the WTC towers) and mourn the dead is a strangely ironic moment. Ironic because you\'ve been told already that they are making bricks to protect themselves from american bombs! \r\n\r\nM','88e5ea8b8d4d2ea5df87a6be8f52414f',0,'','cD2kjawX',1,0,'',0,0,0),(15288,2554,3,1,0,'69.120.114.47',1137214920,1,0,1,1,1,1,'A','Re: Qn: Good short films.....HELP!','Well, I found Innaritu did amazing things with sound and picture in his segment. But the segment by Samira Makhmalbaf was also great. It stuck in my mind, but I forgot that she made it. Yes, the ending is great. A compassion most americans wouldn\'t consider for nations who are bombing them!','c9250770ebc2014d4d31ff9bfa992a2c',0,'','lVWNvgkT',1,0,'',0,0,0),(15289,2554,3,1,0,'69.120.114.47',1137591000,1,0,1,1,1,1,'madhuban','Re: Qn: Good short films.....HELP!','A had asked for some comments on the Egoyan shorts. Belated, but nevertheless...\r\n\r\nA, you are right about Egoyan being more experimental with his shorts (at least from what I have seen till now). \"Howard In Particular\", \"Peepshow\" and \"Open House\" share the same interest in technology and the manner in which it mediates experience (as in his features), but he takes more stylistic risks with them. On one level, Howard, Peepshow and Open House deal with audio recording (disembodied voice), the photo-machine and the telephone, but in each of the films, a different sort of relationship is set up between the user and the gadget, leading to widely different experiences. Howard, which he made while he was still a student, uses the diembodied voice to talk about power and surveillance. An old man on his retirement day is directed to an empty room with a tape recorder that plays a speech by his boss, recounting several things that he did as an employee in the company. \"Peepshow\" is an istallation-like film playing with the technology of an instant photo booth. A man enters the booth to get himself photographed and bizarre visuals emerge from this encounter. The use of colour is particularly striking. My favourite, however, is \"Open House\" because it allows you to read it in many ways. It is a simple story of a man (posing as a real estate agent) who takes a couple to see a house. When the couple seem to get serious about buying the house, the man (who is revealed to be the son of the house) uses a phone trick to tell them that an earlier customer has just bought the house. In short, you are left with the feeling that this little rigmarole is staged repeatedly by the son, but you are not told why. He brings prospective buyers to his own house, only to tell them, while theyare looking at the property, that it has just been sold! The sinister feel of the film is mostly the result of some brilliant camera-work. None of the characters emerge as \"normal\" people (except, perhaps the wife to some extent) because of the way the camera chooses to shoot them. Most of them lie to each other about themselves, but the most sinister moments are when the camera captures them in close-ups and they think nobody\'s observing them. The camera as a violent interloper, is foregrounded in this lovely little film, in a way that comments on the ruses of technology (the phone trick, the slide projector that the father plays with like a maniac behind a closed door) via another, more powerful technology that is able to show up the trick for what it really is. A sense of decay pervades the film - from the shrouded furniture and the ailing father to the derelict backyard. And amidst this sense of doom, the characters play out a weird tale of social courtesy around the fictive event of buying/selling a house.\r\n\r\nM','280eb10de5ce00c90fd20cfc850d8c4d',0,'','3pjy8zMl',1,0,'',0,0,0),(15290,2554,3,1,0,'69.120.114.47',1137606720,1,0,1,1,1,1,'Johndav','Re: Qn: Good short films.....HELP!','Back to A Nightmare before Xmas: any fans of this- Sara et al- may enjoy the stop-motion animations of Wladislaw Starewicz, through the silent era into the 30\'s. The Mascot has similarites with both Nightmare before Xmas (ghoulish moments) and The Wrong Trousers (charming dog hanging off back of a car, ears flapping etc). It would seem to me an influence on both. A distinctive, eccentric film-maker- see also the longer Tale of the Fox (a technical tour de force), Town Rat Country Rat (a charmer)','3affe477451b628b0c2fc6c066522082',0,'','0SLGypYr',1,0,'',0,0,0),(15291,2554,3,1,0,'69.120.114.47',1137649740,1,0,1,1,1,1,'trevor826','Re: Qn: Good short films.....HELP!','The perfect antidote for those not keen on Amelie, a parody but set in the real Paris rather than Jeunet\'s romanticised vision. \"Le Fabulux Destin de Perrine Martin\", Perrine leaves the theatre after watching Amelie determined to emulate the heroine, helping people and being more adventurous, each time she tries to emulate what she\'s seen it all goes wrong from skimming stones at the same spot only to find it\'s a drained cannal, to dragging a blind man around describing everything while all he\'s doing is getting angrier every second. A great fun short directed by Olivier Ciappa.\r\n\r\nCheers Trev.','ef6f9beef9fc5dd18f11ee4081f31d33',0,'','R5obvqNL',1,0,'',0,0,0),(15292,2554,3,1,0,'69.120.114.47',1137691200,1,0,1,1,1,1,'Johndav','Re: Qn: Good short films.....HELP!','That does sound good fun! Especially for anyone like me overpowered by the goody goody sentimentality of Amelie (though credit for being more original than the parody of course!)','7322972a9f749632cdb41c6c9123b733',0,'','bUYxiay5',1,0,'',0,0,0),(15293,2555,3,1,0,'69.120.114.47',1132640880,1,0,1,1,1,1,'A','Battling Butler (Buster Keaton / USA / 1926)','Saw Battling Butler yesterday, and was a bit disappointed. The cover said that Keaton considered this his favorite film, and I don\'t understand why. Maybe he had fond memories of the shooting, but the film as a whole imo isn\'t anywhere as great as say \"Our hospitality\" or \"Steamboat Bill Jr.\" \r\nAnybody know more about this quote. \r\nWhat was surprising to me was the slow pace and very few stunts compared to his other films. I could relax very good during it, there wasn\'t much to keep you on the edge of your seat. Maybe this is due to Keaton directing the film by himself, instead of having another director as was mostly the case. The photography was again top-notch, with some impressive \"dolly\"-shots. \r\nOverall I rated the film **1/2 / ****.','7bcead4a908a76895d59b9df7edec429',0,'','XMn3ckQ6',1,0,'',0,0,0),(15294,2555,3,1,0,'69.120.114.47',1132643520,1,0,1,1,1,1,'wpqx','Re: Battling Butler (Buster Keaton / USA / 1926)','Well I remember reading something similar, but here\'s the story behind that. When a new movie comes out from a director (just as an album for a performer), they almost invariably say it\'s their best work yet. This quote could have been made by Keaton at the time, which would explain it. I certainly agree that it\'s not his best, but I don\'t think it\'s a particularly bad film, certainly beats Harold Lloyd\'s boxing movie The Milky Way. BTW I wonder if Lloyd is going to start getting more credit now that his films are available on DVD for the first time.','9d380ccab6f5e27c07ac5aef4ffaa693',0,'','L8S7fujs',1,0,'',0,0,0),(15295,2555,3,1,0,'69.120.114.47',1132734960,1,0,1,1,1,1,'A','Re: Battling Butler (Buster Keaton / USA / 1926)','I hope so. I have heard great things about Lloyd, but have only seen Safety Last! Other silent films by him weren\'t available here. \r\nThe focus on Keaton and Chaplin puts similarly great comedians (I\'m sure there were some more in the silent era) on a side-track. Some Academics seem to accept only a certain number of greatness, or if two or three people get aknowledeged, they tend to believe the important work has been done. Now with the DVDs a wider public gets to also decide the truth of it.','63c3d7e6d331266ef44ae22dbdd92d69',0,'','6TjzkuJQ',1,0,'',0,0,0),(15296,2556,3,1,0,'69.120.114.47',1123505220,1,0,1,1,1,1,'groom daniel','Charlie Chaplin\'s shorts...','...are really @#%$ great. \r\n\r\nChaplin was a genius, but his shorts from 1917 may have convinced me that he was the greatest director America ever produced. Not only that, but they\'re like nothing I\'ve ever seen from Chaplin -- domestic violence, drug abuse, attempted rape, vaudeville humour -- unreal compared to something like City Lights.','9c301fcd7d618daaef660d1ac920e4fd',0,'','XlYsCQHR',1,0,'',0,0,0),(15297,2556,3,1,0,'69.120.114.47',1123550880,1,0,1,1,1,1,'wpqx','Re: Charlie Chaplin\'s shorts...','Funny Chaplin was British.\r\n\r\nCan\'t say I was a particularly huge fan of his short films, but I\'ve only seen maybe a dozen or so. Any particular recommendations?','4e65606515dbacfccab6cf64f45f4b9f',0,'','H4ZRuyW0',1,0,'',0,0,0),(15298,2556,3,1,0,'69.120.114.47',1123617360,1,0,1,1,1,1,'A','Re: Charlie Chaplin\'s shorts...','I\'ve only seen about 12 of his shorts, almost all before 1916, and (only) two were great:\r\nThe Count (1916)\r\nThe Vagabond (1916)\r\nBesides his longer work, Shoulder Arms! (1918) is phenomenal, but I don\'t consider it a short, but a full length film.','75d4a1f4de7a98c6e44c226e45716e4a',0,'','nNZc8w6D',1,0,'',0,0,0),(15490,2559,3,1,0,'69.120.114.47',1200997860,1,0,1,1,1,1,'arsaib4','Sarah Polley\'s Away from Her (Canada / 2006)','\r\n\r\n\r\n\r\nBased on Alice Munro\'s short story The Bear Came Over the Mountain, this accomplished and affecting feature directorial debut of renowned Canadian actress Sarah Polley is now available on DVD (Lionsgate). The film premiered at the 2006 Toronto Film Festival. It opened in the U.S. back in May of \'07, and did fairly well critically and commercially ($4.5 million). Thanks in large part to the various awards and nominations garnered by Julie Christie\'s remarkable performance, this small gem is now back in the limelight.','2d3d874ea7a1362e3e798b0d1a5118dc',0,'','WXpgN49q',1,0,'',0,0,0),(15491,2559,3,1,0,'69.120.114.47',1200998220,1,0,1,1,1,1,'arsaib4','Re: Sarah Polley\'s Away from Her (Canada / 2006)','A\'s review is coming soon...','1e5b91ea313f5b2fa6db2fb3600d9bb2',0,'','nl6SRByw',1,0,'',0,0,0),(15492,2559,3,1,0,'69.120.114.47',1201059780,1,0,1,1,1,1,'R6dw6C','Re: Sarah Polley\'s Away from Her (Canada / 2006)','What\'s going on here?! I remember another posting by A, arsaib! \r\nIt would\'ve been great to see Miss Polley\'s debut in the theatres, but this time I am in accord with A\'s advice never to watch it dubbed as it\'s totally based on the actors. \r\nMaybe I\'ll comment on it when it comes out on DVD.','4ed44f28190a1bc3c6bb5a330c48c448',0,'','p8EN01V5',1,0,'',0,0,0),(15493,2559,3,1,0,'69.120.114.47',1201060200,1,0,1,1,1,1,'A','Re: Sarah Polley\'s Away from Her (Canada / 2006)','Yes, there was a somewhat embarassing post from me. But I\'m kinda glad it\'s gone. I believe my long anticipated review will do more justice to the film. \r\n\r\nBtw, our frequent reader (and not-so-frequent poster) Matalo Matango was able to catch Away from Her in a subtitled copy in Munich, and now has it on his Top List for 2007. Maybe he would also like to comment on the film?','074a2c937c5d112ffab39a41a57d5acc',0,'','mEn4UWr2',1,0,'',0,0,0),(15494,2559,3,1,0,'69.120.114.47',1201072620,1,0,1,1,1,1,'arsaib4','Re: Sarah Polley\'s Away from Her (Canada / 2006)','\r\n\r\nYes, R6dw6C, a couple of the threads that were updated around the time we officially converted to Yuku got deleted (or at least disappeared from the front page). In a way, I\'m glad that nothing happened to, say, the Last Film Seen thread or any of the other important review-based ones.\r\n\r\nLooking forward to your review, A. I\'m sure it will do justice to the film.','ade1bf12809b77f00a68fa00ab38d85e',0,'','PpM50BHA',1,0,'',0,0,0),(15495,2560,3,1,0,'69.120.114.47',1201161780,1,0,1,1,1,1,'sfdavide','The Ghoul (1934)','Did not see this listed so thought I would give my review as a first thread for this horror film. \r\n\r\n\r\nIt takes a while to get going but it is a gem of a horror film once that happens. The first part although slow and the acting melodramatic does have a nice atmosphere. Once The Ghoul gets going you can see that Boris Karloff can do more with silence then most actors can do with dialogue. He is marvelous like in his earlier films Frakenstein and The Mummy where although he is mostly silent steals the film from the actors with lines.. He has a very expressive face. This film which I believe was lost for many years is a great find for early horror movie buffs. Watch it some night with the lights out and you will not be disappointed.','63452e74e837738c67a832ca3693a25e',0,'','4TbYiwLR',1,0,'',0,0,0),(15496,2560,3,1,0,'69.120.114.47',1201163460,1,0,1,1,1,1,'arsaib4','Re: The Ghoul (1934)','The Ghoul was a 1933 release, no? Sounds interesting. Welcome aboard, sfdavide!','c983d6a044dd878982077cc243ec3cf5',0,'','yNrj4c9S',1,0,'',0,0,0),(15497,2560,3,1,0,'69.120.114.47',1201166220,1,0,1,1,1,1,'wpqx','Re: The Ghoul (1934)','Prepare to be shocked I don\'t think I ever saw this film.','cb2ddbec190326e4a793e822804a54ff',0,'','Df0Fzsr4',1,0,'',0,0,0),(15508,2562,3,1,0,'69.120.114.47',1201465140,1,0,1,1,1,1,'wpqx','The Slapstick Encyclopedia (KINO)','I debated trying to make individual posts for all the films included on this collection, but opted instead for the much lazier general overview. In 1998 David Shepard and company restored another batch of silent films to prepare for home video release. The focus was largely to inform people that there were more comedians than Chaplin in the silent era. It\'s quite remarkable to think of how many popular screen comedians there were in the early days, many of which predating Chaplin by several years. Draws to mind all those funny men that were contemporaries of the Marx Brothers that few younger audiences have any recollection (Red Skelton, Jimmy Durante, etc.) I only picked up the first two volumes for now and it\'s a little upsetting that director information isn\'t really listed on any of the films. Most likely these were the results of producers (Volume 2 is all Mack Sennett), but in the early days a director wasn\'t exactly a position of great importance. The star system was largely in place by now and this meant marketing the newest comedic talent that appeared. The earliest included on the first volume is Ben Turpin, a 40 year old janitor who rose the ranks to become a very recognizable funny man (complete with abnormal mustache). Turpin stars as Mr. Flip, who as one would imagine has his share of misfortunes. In Mabel\'s Dramatic Debut there\'s a rare on screen appearance from Mack Sennett himself, and one of the annoyed movie theater patrons is none other than Roscoe \"Fatty\" Arbuckle. By 1913 he was already making fun of the melodrama that Griffith was producing. Like many, Sennett got his start working for Griffith, and tried to take his improvisational mode when making his own films, which he later discovered proved inefficient and expensive. \r\n\r\nThe one drawback is that Max Linder\'s 1921 feature Be My Wife is shown here in a very abridged version. I would have preferred the entire film, and if that wasn\'t possible leave it out entirely. Sort of spoils it for when I get around to the rest of the film, knowing how it\'ll end. Linder tells a somewhat tragic story in his own life, but illustrates the extraordinary power of cinema. To think he changed his name so his stage career would be shamed upon. The film features some great gags, including a fight with an imaginary intruder that Linder stages. However in 1921 the film proved disappointing and shortly after Linder would return to France a defeated man, overshadowed by his imitators. \r\n\r\nNow it would be great to say that these films didn\'t showcase that rampant falling down and annoying befuddled looks that so often plague films of this kind, but that\'d be a lie. The husband and wife team of Mr. & Mrs. Sidney Drew are great and made a specific point of not dumbing down their antics, believing the average movie goer didn\'t need that much comedic emphasis. They were right, and Fox-Trot Finesse remains enjoyable today. A story of one man\'s wife who can\'t stop doing the fox trot and driving her husband to fake an injury just to get away from dancing (until she writes a letter to send for his mother to come look after her injured son). There are a few other somewhat modern adaptations as well. The Harry Langdon film Saturday Afternoon is possibly the best picture on the first two volumes and is making me want to go out of my way to see much more Langdon work. The newly composed music is hit and miss, and a great deal of it has horribly annoying slide whistles thrown into the score (the same they were sporadically used in Keaton\'s shorts released by Kino). It drives me nuts and helped to ruin Mr. Flip. Look forward to the upcoming volumes.','fe463623feeb144b658d2a15efd89a94',0,'','mMt5PEgc',1,0,'',0,0,0),(15509,2562,3,1,0,'69.120.114.47',1202080800,1,0,1,1,1,1,'wpqx','Re: The Slapstick Encyclopedia (KINO)','Volume 3 is aptly named Funny Girls and features six one-two reelers showcasing a crop of almost completely forgotten female comediennes. It is an interesting title because the first film, Mighty Like a Moose is a Charley Chase picture. He and his wife, played by Vivian Oakland are both hideously ugly (he has teeth like a walrus and she has a comically oversized nose). Well as a surprise to the other they each save enough to get their respective problems fixed. As it happens once removed from their physical abnormality each can\'t resist a chance at romance with someone far more attractive than their spouse, except they happen to fall for each other without knowing it. The highlight of the piece is a segment where Chase fights himself ala Max Linder although this time his wife does figure out who he is and just lets himself go on with the act. \r\n\r\nThe Detectress features Gale Henry who also appeared in Mighty Like a Moose as a woman who hadn\'t danced since 1898, and can only polka. Here she plays an inept would be detective who is on the trail of some stolen papers that she never realizes are actually in her pocket. While tripping after inhaling some opium she imagines all sorts of adventure alongside the world\'s lankiest and laziest police officer. The film may seem rough at times as the majority of the jokes are directed against the Chinese whose cuisine leaves something to be desired. \r\n\r\nThe remaining features are each designed to showcase their particular talent and One Wet Night as well as Know Thy Wife are simply ok at best. Rowdy Ann starring the sadly neglected Fay Tincher is the highlight of the set (and of the entire Slapstick Encyclopedia thusfar). Tincher plays a woman that can only be described as a tom boy if not an outright cowboy. After a boxing match her father decides to send her away to college to \"larn to be a lady\". On the train she starts shooting everything in site, even sending the stereotyped black porter running through the desert. At \"college\" she learns some ballet from a clumsy professor who can\'t keep from falling down, and attempts to dance while wearing cowboy boots and her six shooter in one of the most awkward costumes ever assembled. The film largely works on its situational nature, but is certainly prone to moments of slapstick deftly blending the best of both elements of silent comedy. \r\n\r\nHearts and Flowers is notable for a female-female kiss (done while one is in drag no less), and revolves around a band leader\'s plight to marry a would be heiress. The joke is on him because the woman has no money and the film is largely slapstick with a few kicks and punches thrown in.','737fb51e9dadfcaa681014c0d85deae3',0,'','oF2b0WeC',1,0,'',0,0,0),(15520,2565,3,1,0,'69.120.114.47',1201507980,1,0,1,1,1,1,'hengcs','The Kite Runner (2007)','\r\nDirector: Marc Forster \r\nCast: Zekeria Ebrahimi, Ahmad Khan Mahmidzada, Khalid Abdalla','7f25ac31078bd6ba8fbd3b9dd99e1cd9',0,'','ThJBcp5V',1,0,'',0,0,0),(15533,2568,3,1,0,'69.120.114.47',1206437460,1,0,1,1,1,1,'hengcs','Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','\r\n\r\nDirector: John Woo \r\nCast: Tony Leung Chiu Wai, Takeshi Kaneshiro, Chang Chen, Hu Jun, Zhang Fengyi, Lin Chiling, Zhao Wei, Shido Nakamura \r\n\r\nThis is the most anticipated film that will be screened this July (part 1) and December (part 2). \r\n\r\nWhile nobody can predict the outcome till it is screened, many are at least ascertained of a better \"plot\" (unless it is not well adapted). The story is based on an episode in the familiar Romance of The Three Kingdoms classic.','4de722a9a2c9af9942c1aaf4ca93dc6d',0,'','vUfzwNr0',1,0,'',0,0,0),(15534,2568,3,1,0,'69.120.114.47',1231582680,1,0,1,1,1,1,'hengcs','Re: Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','Red Cliff 1 - a bit slow becos they r just paving the way for Part 2. \r\n\r\nRed Cliff 2 - rather enjoyable after the initial ball game ... \r\n\r\nIMHO, they should re-edit the 2 parts to make the story tighter and it will feel much more like an epic','a03e57980eda03fce12fea94a81db0ee',0,'','VfghCD2E',1,0,'',0,0,0),(15535,2568,3,1,0,'69.120.114.47',1231898700,1,0,1,1,1,1,'R6dw6C','Re: Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','IMHO, they should re-edit the 2 parts to make the story tighter and it will feel much more like an epic That\'s exactly what they will do for the European market, make one 2,5 hour movie out of the two. I\'m looking forward to the film since I was one of those who sincerely hoped that John Woo would return to his home country and make another Chinese Film but I will avoid this European version because I can\'t imagine it will do the Film any good.','abbd40f974c23aa99db4412bfcdd6990',0,'','mbGwDH3Q',1,0,'',0,0,0),(15536,2568,3,1,0,'69.120.114.47',1232123700,1,0,1,1,1,1,'hengcs','Re: Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','I think 3.5 hr makes better sense.','5560b5623c6fff188e2126df64fe343f',0,'','WzGXPRCM',1,0,'',0,0,0),(15537,2568,3,1,0,'69.120.114.47',1232245080,1,0,1,1,1,1,'R6dw6C','Re: Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','Don\'t you think it will be too \"hasty\" and rushed then? Since lengthy parts are said to be mostly action, won\'t there too much of it and too little plot / character development? I once tried to imagine BEN HUR, trimmed down to 150 Minutes and it creeped me out because I could easily imagine what parts would be missing if that cut would\'ve been made by the producers because they always think that the audiences just want action, action, action. \r\n\r\nRegarding your \"suggestion\": Unfortunately, I got the impression that new films are not allowed to run longer than 160 Minutes when released theatrical today. The biggest exceptions (in commercial cinema) of the last years probably were the \"four Jacksons\" (Lord of the Rings 1 - 3 and King Kong)... I often cry out for the good old times, where it was quite common for mainstream movies to run three hours, to come back but they probably won\'t.','0a056af13fee2df7068fe0a9da2c2595',0,'','ELs4mRGN',1,0,'',0,0,0),(15538,2568,3,1,0,'69.120.114.47',1232416260,1,0,1,1,1,1,'hengcs','Re: Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','Oh, I was not aware of this cinematic ruling. \r\n\r\nAnyway, I do feel that Red Cliff Part 1 and 2 is a bit uneven. \r\nI like characterization, but I also like movies to keep me on the toes (i.e., interested to know what happen next). \r\nHence, I feel that the total of 5 hrs shld be trimmed, maybe to 3.5 or worse case, 4 hrs. \r\n\r\nEven though Europe/US will have a shorter version, the DVDs for the 2 parts is always available. \r\n\r\nrgds','00ca3bec391b84cf645a411e406e5884',0,'','CEYNtDw1',1,0,'',0,0,0),(15539,2568,3,1,0,'69.120.114.47',1232443440,1,0,1,1,1,1,'R6dw6C','Re: Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','Well, that\'s exactly what upset me - I was looking forward to the film(s) very much and because of the massive cut European version, I will probably be unable to see it in a theatre because I don\'t want to support this kind of \"distribution\". They still did that in the 60ies and 70ies but one should suppose that we left those times behind us. \r\nWell, at least on DVD. Since the RC3 Blu-ray seems to be so great, according to DVDBeaver, the DVDs will also be, I assume.','e68ed8922463f786174ab3d73c1f990f',0,'','gstJTl49',1,0,'',0,0,0),(15540,2568,3,1,0,'69.120.114.47',1235882460,1,0,1,1,1,1,'tzarine','Re: Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','Love the Tony Leung-Takeshi Kaneshiro glances during their musical interlude and doves, too. \r\n\r\nEntertaining epic stuff. Glad to see Woo back. After the Hollywood mishaps.','92524b097127417eab74d66095ab523f',0,'','jKXo5zs7',1,0,'',0,0,0),(15541,2568,3,1,0,'69.120.114.47',1236589440,1,0,1,1,1,1,'hengcs','Re: Red Cliff (Chi Bi) (2008) (Hong Kong/China/US)','Hi, \r\nI am glad you like it. \r\n\r\nDid you watch Red Cliff 1 or 2 or both? \r\n\r\nrgds','cd6445c1d37c1dff36c617c08f3e8f26',0,'','L3PZzpJx',1,0,'',0,0,0),(15542,2569,3,1,0,'69.120.114.47',1206943800,1,0,1,1,1,1,'hengcs','Italy David di Donatello Awards 2008; 2009','52nd David di Donatello Awards 2008 \r\n\r\nThe official website \r\nclick \r\nhttp://www.daviddidonatello.it/candidature2008.htm \r\n\r\nThe nominees \r\n\r\n\r\nbest film / miglior film \r\nCaos calmo, produced by Domenico Procacci, directed by Antonello Grimaldi \r\nGiorni e nuvole, produced by Lionello Cerri, directed by Silvio Soldini \r\nLa Giusta distanza, produced by Domenico Procacci, directed by Carlo Mazzacurati \r\nLa Ragazza del lago, produced by Nicola Giuliano, Francesca Cima (Indigo Film), directed by Andrea Molaioli \r\nIl Vento fa il suo giro, produced by Simone Bachini, Mario Chemello, Giorgio Diritti, directed by Giorgio Diritti\r\n\r\nbest film from the European Union / miglior film dell\'Unione Europea \r\n4 Months, 3 Weeks and 2 Days, by Cristian Mungiu (Lucky Red) \r\nCous cous, by Abdellatif Kechiche (Lucky Red) \r\nElizabeth - The Golden Age, by Shekhar Kapur (Universal) \r\nIrina Palm, by Sam Garbarski (Teodora Film) \r\nThe Diving Bell and the Butterfly, by Julian Schnabel (BIM)\r\n\r\nbest foreign film / miglior film straniero \r\nAcross the Universe, by Julie Tamor (Sony) \r\nInto the Wild, by Sean Penn (BIM) \r\nIn the Valley of Elah, by Paul Haggis (Mikado) \r\nNo Country for Old Men, by Joel and Ethan Coen (Universal) \r\nThere Will Be Blood, by Paul Thomas Anderson (Buena Vista Int\'l Italia)\r\n\r\nbest documentary feature / miglior documentario di lungometraggio \r\nCentravanti nato, by Gianclaudio Guiducci \r\nMadri, by Barbara Cupisti \r\nLa Minaccia, by Silvia Luzi, Luca Bellino \r\nIl Passaggio della linea, by Pietro Marcello \r\nVogliamo anche le rose, by Alina Marazzi\r\n\r\nbest director / migliore regista \r\nCristina COMENCINI, Bianco e nero \r\nAntonello GRIMALDI, Caos calmo \r\nCarlo MAZZACURAT, La giusta distanza \r\nAndrea MOLAIOLI, La ragazza del lago \r\nSilvio SOLDINI, Giorni e nuvole\r\n\r\nbest new director / migliore regista esordiente \r\nFabrizio BENTIVOGLIO, Lascia perdere, Johnny! \r\nGiorgio DIRITTI, Il vento fa il suo giro \r\nMarco MARTANI, Cemento armato \r\nAndrea MOLAIOLI, La ragazza del lago \r\nSilvio MUCCINO, Parlami d\'amore\r\n\r\nbest actress / migliore attrice protagonista \r\nAnna BONAIUTO, La ragazza del lago \r\nMargherita BUY, Giorni e nuvole \r\nAntonia LISKOVA, Riparo \r\nValentina LODOVINI, La giusta distanza \r\nValeria SOLARINO, Signorinaeffe\r\n\r\nbest actor / migliore attore protagonista \r\nAntonio ALBANESE, Giorni e nuvole \r\nLando BUZZANCA, I viceré \r\nNanni MORETTI, Caos calmo \r\nKim ROSSI STUART, Piano, solo \r\nToni SERVILLO, La ragazza del lago\r\n\r\nbest supporting actress / migliore attrice non protagonista (with a tie) \r\nPaola CORTELLESI, Piano, solo \r\nCarolina CRESCENTINI, Parlami d\'amore \r\nIsabella FERRARI, Caos calmo \r\nValeria GOLINO, Caos calmo \r\nSabrina IMPACCIATORE, Signorinaeffe \r\nAlba ROHRWACHER, Giorni e nuvole\r\n\r\nbest supporting actor / migliore attore non protagonista \r\nGiuseppe BATTISTON, Giorni e nuvole \r\nAlessandro GASSMAN, Caos calmo \r\nFabrizio GIFUNI, La ragazza del lago \r\nAhmed HAFIENE, La giusta distanza \r\nUmberto ORSINI, Il mattino ha l\'oro in bocca\r\n\r\nbest screenplay / migliore sceneggiatura \r\nNanni MORETTI, Laura PAOLUCCI, Francesco PICCOLO, Caos Calmo \r\nDoriana LEONDEFF, Francesco PICCOLO, Federica PONTREMOLI, Silvio SOLDINI, Giorni e nuvole \r\nDoriana LEONDEFF, Carlo MAZZACURATI, Marco PETTENELLO, Claudio PIERSANTI, La giusta distanza \r\nSandro PETRAGLIA, La ragazza del lago \r\nGiorgio DIRITTI, Fredo VALLA, l vento fa il suo giro\r\n\r\nbest producer / migliore produttore \r\nDomenico PROCACCI, Caos calmo \r\nLionello CERRI, Giorni e nuvole \r\nNicola GIULIANO, Francesca CIMA (Indigo Film), La ragazza del lago \r\nAndrea OCCHIPINTI, Gianluca ARCOPINTO, Sonetàula \r\nSimone BACHINI, Mario CHEMELLO, Giorgio DIRITTI, Il vento fa il suo giro\r\n\r\nbest cinematographer / migliore direttore della fotografia \r\nLuca BIGAZZI, La giusta distanza \r\nMaurizio CALVESI, I viceré \r\nArnaldo CATINARI, Parlami d\'amore \r\nRamiro CIVITA, La ragazza del lago \r\nAlessandro PESCI, Caos calmo\r\n\r\nbest editor / migliore montatore \r\nPaolo COTTIGNOLA, La giusta distanza \r\nCarlotta CRISTIANI, Giorni e nuvole \r\nEduardo CRESPO - Giorgio DIRITTI, Il vento fa il suo giro \r\nGiogiò FRANCHINI, La ragazza del lago \r\nAngelo NICOLINI, Caos calmo\r\n\r\nbest composer / migliore musicista \r\nPaolo BUONVINO, Caos calmo \r\nLele MARCHITELLI, Piano, solo \r\nFausto MESOLELLA, Lascia perdere, Johnny! \r\nTeho TEARDO, La ragazza del lago \r\nGiovanni VENOSTA, Giorni e nuvole\r\n\r\nbest original song / migliore canzone originale (with a tie) \r\nL\'AMORE TRASPARENTE di Ivano Fossati, Caos calmo \r\nSENZA FIATO di Paolo Buonvino, Cemento armato \r\nAMORE FERMATI di Gorni, Zapponi, Terzoli, Lascia perdere, Johnny ! \r\nL\'ARRIVO A MILANO di Pino Donaggio, Milano - Palermo. Il ritorno. \r\nTEAR DOWN THESE HOUSES di Skin, Andrea Guerra, Parlami d\'amore \r\nLA RABBIA di Luis Bacalov, La rabbia\r\n\r\nbest production designer / migliore scenografo \r\nPaola BIZZARRI, Giorni e nuvole \r\nGiada CALABRIA, Caos calmo \r\nFrancesco FRIGERI, I vicerè \r\nAlessandra MURA, La ragazza del lago \r\nTonino ZERA, Hotel Meina\r\n\r\nbest costume designer / migliore costumista (with a tie) \r\nMilena CANONERO, I vicerè \r\nOrtensia DE FRANCESCO, Lascia perdere, Johnny! \r\nCatia DOTTORI, Hotel Meina \r\nMaurizio MILLENOTTI, Parlami d\'amore \r\nSilvia NEBIOLO- Patrizia MAZZON, Giorni e nuvole \r\nAlessandra TOESCA, Caos calmo\r\n\r\nbest visual effects / migliori effetti speciali visivi \r\nProxima, Caos Calmo \r\nMarbea, Cemento armato \r\nPaola Trisoglio e Stefano Marinoni per Visualogie, La ragazza del lago \r\nLee Wilson, La terza madre \r\nCorrado Virgilio, Vincenzo Nisco, Winx Club - Il segreto del regno perduto\r\n\r\nbest sound / migliore fonico di presa diretta \r\nGaetano CARITO, Caos calmo \r\nFrançois MUSY, Giorni e nuvole \r\nBruno PUPPARO, Bianco e nero \r\nRemo UGOLINELLI, La giusta distanza \r\nAlessandro ZANON, La ragazza del lago\r\n\r\nbest makeup / migliore truccatore \r\nMartina COSSU, Come tu mi vuoi \r\nGianfranco MECACCI, Caos calmo \r\nFernanda PEREZ, La ragazza del lago \r\nEsmé SCIARONI, Giorni e nuvole \r\nGino TAMAGNINI, I vicerè\r\n\r\nbest hair stylist / migliore acconciatore \r\nMaria Teresa CORRIDONI, I vicerè \r\nAldina GOVERNATORI, Giorni e nuvole \r\nGiorgio GREGORINI, Scusa ma ti chiamo amore \r\nFerdinando MEROLLA, Hotel Meina \r\nSharim SABATINI, Caos calmo\r\n\r\nbest documentary short / miglior cortometraggio \r\nAdil & Yusuf, by Claudio Noce \r\nIl Bambino di Carla, by Emanuela Rossi \r\nOra che Marlene, by Giovanna Nazarena Silvestri \r\nTramondo, by Giacomo Agnetti, Davide Bazzali \r\nUova, by Alessandro Celli\r\n\r\nYoung David / David Giovani \r\nLa Giusta distanza, by Carlo Mazzacurati \r\nLezioni di cioccolato, by Claudio Cupellini \r\nParlami d\'amore, by Silvio Muccino \r\nPiano, solo, by Riccardo Milani \r\nI vicerè, by Roberto Faenza\r\n\r\nHonorary David / David Speciali \r\nCarlo Verdone, for his thirty-year career (1978-2008) \r\nLuigi Magni, for his 80th birthday \r\nGabriele Muccino, for his success as director/screenwriter in the United States\r\n\r\n\r\nDocumentary (feature/short) Nominations Jury: Andrea Piersanti (president), Francesca Calvelli, Enzo Decaro, Paolo Fondato, Enrico Magrelli, Mario Mazzetti, Paolo Mereghetti\r\n\r\nYoung David Award nominees chosen by 6,000 Italian college student','aeceab019ef68883d6e56bc3efe60c10',0,'','XscCElmd',1,0,'',0,0,0),(15543,2569,3,1,0,'69.120.114.47',1206944520,1,0,1,1,1,1,'hengcs','Re: Italy David di Donatello Awards 2008; 2009','Winners will be announced on April 18','4efcbaefe822fd5196dedf6ab13c42b4',0,'','tPLZ5WbB',1,0,'',0,0,0),(15544,2569,3,1,0,'69.120.114.47',1207008000,1,0,1,1,1,1,'R6dw6C','Re: Italy David di Donatello Awards 2008; 2009','best visual effects / migliori effetti speciali visivi \r\n\r\nLee Wilson, La terza madre \r\n\r\n\r\nThat must be a joke or something, the CGI Sequences in \"La terza madre\" belong to the worst and cheapest SFX I\'ve ever, ever witnessed my whole life (same is true with the film). One of the oddest nominations.','5eac4cfac4e6dcf7d407c69ceca9f7b7',0,'','SPTXlcrq',1,0,'',0,0,0),(15545,2569,3,1,0,'69.120.114.47',1209716040,1,0,1,1,1,1,'hengcs','Re: Italy David di Donatello Awards 2008; 2009','\r\n\r\n52nd David di Donatello Awards 2008 \r\n\r\nThe winners \r\n\r\n\r\nbest film / miglior film \r\nLa Ragazza del lago, produced by Nicola Giuliano, Francesca Cima (Indigo Film), directed by Andrea Molaioli \r\n\r\nbest film from the European Union / miglior film dell\'Unione Europea \r\nIrina Palm, by Sam Garbarski (Teodora Film) \r\n\r\nbest foreign film / miglior film straniero \r\nNo Country for Old Men, by Joel and Ethan Coen (Universal) \r\n\r\nbest documentary feature / miglior documentario di lungometraggio \r\nMadri, by Barbara Cupisti \r\n\r\nbest director / migliore regista \r\nAndrea MOLAIOLI, La ragazza del lago \r\n\r\nbest new director / migliore regista esordiente \r\nAndrea MOLAIOLI, La ragazza del lago \r\n\r\nbest actress / migliore attrice protagonista \r\nMargherita BUY, Giorni e nuvole\r\n\r\nbest actor / migliore attore protagonista \r\nToni SERVILLO, La ragazza del lago\r\n\r\nbest supporting actress / migliore attrice non protagonista (with a tie) \r\nAlba ROHRWACHER, Giorni e nuvole\r\n\r\nbest supporting actor / migliore attore non protagonista \r\nAlessandro GASSMAN, Caos calmo \r\n\r\nbest screenplay / migliore sceneggiatura \r\nSandro PETRAGLIA, La ragazza del lago \r\n\r\nbest producer / migliore produttore \r\nNicola GIULIANO, Francesca CIMA (Indigo Film), La ragazza del lago \r\n\r\nbest cinematographer / migliore direttore della fotografia \r\nRamiro CIVITA, La ragazza del lago \r\n\r\nbest editor / migliore montatore \r\nGiogiò FRANCHINI, La ragazza del lago \r\n\r\nbest composer / migliore musicista \r\nPaolo BUONVINO, Caos calmo\r\n\r\nbest original song / migliore canzone originale (with a tie) \r\nL\'AMORE TRASPARENTE di Ivano Fossati, Caos calmo \r\n\r\nbest production designer / migliore scenografo \r\nFrancesco FRIGERI, I vicerè \r\n\r\nbest costume designer / migliore costumista (with a tie) \r\nMilena CANONERO, I vicerè \r\n\r\nbest visual effects / migliori effetti speciali visivi \r\nPaola Trisoglio e Stefano Marinoni per Visualogie, La ragazza del lago \r\n\r\nbest sound / migliore fonico di presa diretta \r\nAlessandro ZANON, La ragazza del lago\r\n\r\nbest makeup / migliore truccatore \r\nGino TAMAGNINI, I vicerè\r\n\r\nbest hair stylist / migliore acconciatore \r\nMaria Teresa CORRIDONI, I vicerè \r\n\r\nbest documentary short / miglior cortometraggio \r\nUova, by Alessandro Celli\r\n\r\nYoung David / David Giovani \r\nParlami d\'amore, by Silvio Muccino \r\n\r\nHonorary David / David Speciali \r\nCarlo Verdone, for his thirty-year career (1978-2008) \r\nLuigi Magni, for his 80th birthday \r\nGabriele Muccino, for his success as director/screenwriter in the United States','9068df96e6a74527c488a8eab21462c9',0,'','BKh3YxPF',1,0,'',0,0,0),(15546,2569,3,1,0,'69.120.114.47',1240213740,1,0,1,1,1,1,'hengcs','Re: Italy David di Donatello Awards 2008; 2009','David di Donatello Awards 2009 \r\n\r\nhttp://www.daviddidonatello.it/candi09.htm \r\n\r\nThe nominees are \r\n\r\n\r\nMiglior Film (Best Film)\r\n\r\nIL DIVO, Andrea Occhipinti, Nicola Giuliano, Francesca Cima, Maurizio Coppolecchia \r\nEX, Fulvio Lucisano, Federica Lucisano \r\nGOMORRA, Domenico Procacci \r\nSI PUO\' FARE, Angelo Rizzoli \r\nTUTTA LA VITA DAVANTI, Motorino Amaranto - Medusa \r\nMigliore Regista (Best Director)\r\n\r\nPupi Avati, IL PAPA\' DI GIOVANNA \r\nFausto Brizzi, EX \r\nMatteo Garrone, GOMORRA \r\nGiulio Manfredonia, SI PUO\' FARE \r\nPaolo Sorrentino, IL DIVO\r\n\r\nMigliore Regista Esordiente (Best New Director)\r\n\r\nMarco Amenta, LA SICILIANA RIBELLE \r\nUmberto Carteni, DIVERSO DA CHI? \r\nTony D\'Angelo, UNA NOTTE \r\nGianni di Gregorio, PRANZO DI FERRAGOSTO \r\nMarco Pontecorvo, PA-RA-DA\r\n\r\nMigliore Sceneggiatura (Best Screenplay)\r\n\r\nPaolo Sorrentino, IL DIVO \r\nFausto Brizzi, Marco Martani, Massimiliano Bruno, EX \r\nMaurizio Braucci, Ugo Chiti, Gianni di Gregorio, Matteo Garrone, Massimo Gaudioso, Roberto Saviano, GOMORRA \r\nFabio Bonifacci, Giulio Manfredonia, SI PUO\' FARE \r\nFrancesco Bruni, Paolo Virzi, TUTTA LA VITA DAVANTI\r\n\r\nMigliore Produttore (Best Producer)\r\n\r\nAugusto Allegra, Isabella Cocuzza, Giuliana Gamba, Arturo Paglia, COVER BOY - L\'ULTIMA RIVOLUZIONE \r\nAndrea Occhipinti, Nicola Giuliano, Francesca Cima, Maurizio Coppolecchia, IL DIVO \r\nDomecìnico Procacci, GOMORRA \r\nMatteo Garrone, PRANZO DI FERRAGOSTO \r\nAngelo Rizzoli, SI PUO\' FARE\r\n\r\nMigliore Attrice Protagonista (Best Actress)\r\n\r\nDonatella Finocchiaro, GALANTUOMINI \r\nClaudia Gerini, DIVERSO DA CHI? \r\nValeria Golino, GIULIA NON ESCE LA SERA \r\nIlaria Occhini, MAR NERO \r\nAlba Rohrwacher, IL PAPA DI GIOVANNA\r\n\r\nMigliore Attore Protagonista (Best Actor)\r\n\r\nLuca Argentero, DIVERSO DA CHI? \r\nClaudio Bisio, SI PUO\' FARE \r\nValerio Mastandrea, NON PENSARCI \r\nSilvio Orlando, IL PAPA DI GIOVANNA \r\nTony Servillo, IL DIVO\r\n\r\nMigliore Attrice Non Protagonista (Best Supporting Actress)\r\n\r\nPiera Degli Esposti, IL DIVO \r\nSabrina Ferilli, TUTTA LA VITA DAVANTI \r\nMaria Nazionale, GOMORRA \r\nMicaela Ramazzotti, TUTTA LA VITA DAVANTI \r\nCarla Signoris, EX\r\n\r\nMigliore Attore Non Protagonista (Best Actor)\r\n\r\nGiuseppe Battiston, NON PENSARCI \r\nClaudio Bisio, EX \r\nCarlo Buccirosso, IL DIVO \r\nLuca Lionello, COVER BOY - L\'ULTIMA RIVOLUZIONE \r\nFilippo Nigro, DIVERSO DA CHI?\r\n\r\nMigliore Direttore della Fotografia (Best Cinematography)\r\n\r\nLuca Bigazzi, IL DIVO \r\nArnaldo Catinari, I DEMONI DI SAN PIETROBURGO \r\nMarco Onorato, GOMORRA \r\nItalo Petriccione, COME DIO COMANDA \r\nVittorio Storaro, CARAVAGGIO\r\n\r\nMigliore Musicista (Best Composer)\r\n\r\nTeho Teardo, IL DIVO \r\nBruno Zambrini, EX \r\nBaustelle, GIULIA NON ESCE LA SERA \r\nPaolo Buonvino, ITALIANS \r\nPivio e Aldo De Scalzi, SI PUO\' FARE\r\n\r\nMigliore Canzone Originale (Best Original Song)\r\n\r\nIL CIELO HA UNA PORTA SOLA, music, lyrics and performance by Biagio Antonacci, EXPIANGI ROMA, music and lyrics by Francesco BIANCONI, performance by Baustelle e Valeria Golino, GIULIA NON ESCE LA SERA \r\nHERCULANEUM, music by Robert DEL NAJA, lyrics by Neil Davidge, Euan Dickinson, performance by Robert Del Naja, Neil Davidge, GOMORRA \r\nPER FARE A MENO DI TE, music by Giorgia and Fabrizio Campanelli, lyrics and performance by Giorgia, SOLO UN PADRE \r\nSENZA FARSI MALE, music and lyrics by Fabio Abate, performance by Carmen CONSOLI, L\'UOMO CHE AMA\r\n\r\nMigliore Scenografo (Best Art Direction)\r\n\r\nGiancarlo Basili, SANGUEPAZZO \r\nPaolo Bonfini, GOMORRA \r\nGiantito Burchiellaro, CARAVAGGIO \r\nLino Fiorito, IL DIVO \r\nFrancesco Frigeri, I DEMONI DI SAN PIETROBURGO\r\n\r\nMigliore Costumista (Best Costumes)\r\n\r\nAlessandra Cardini, GOMORRA \r\nMario Carlini e Francesco Crivellini, IL PAPA\' DI GIOVANNA \r\nDaniela Ciancio, IL DIVO \r\nElisabetta Montaldo, I DEMONI DI SAN PIETROBURGO \r\nLia Morandini, CARAVAGGIO\r\n\r\nMigliore Truccatore (Best Makeup)\r\n\r\nAlessandro Bertolazzi, CARAVAGGIO \r\nEnrico Iacoponi, SANGUEPAZZO \r\nVincenzo Mastrantonio, DUE PARTITE \r\nLuigi Rocchetti, I DEMONI DI SAN PIETROBURGO \r\nVittorio Sodano, IL DIVO\r\n\r\nMigliore Acconciatore (Best Hair Stylist)\r\n\r\nEnzo Cera, CARAVAGGIO \r\nMaria Teresa CORRIDONI, SANGUEPAZZO \r\nMirella Ginnoto, I DEMONI DI SAN PIETROBURGO \r\nFerdinando Merolla, DUE PARTITE \r\nAldo Signoretti, IL DIVO\r\n\r\nMigliore Montatore (Best Editing)\r\n\r\nEsmeralda Calabria, GIULIA NON ESCE LA SERA \r\nLuciana Pandolfelli, EX \r\nMarco Spoletino, GOMORRA \r\nCristiano Travaglioli, IL DIVO \r\nCecilia Zanuso, SI PUO\' FARE\r\n\r\nMigliore Fonico di Presa Diretta (Best Sound Editor)\r\n\r\nEmanuele Cecere, IL DIVO \r\nMarco Fiumara, EX \r\nMaricetta Lonbardo, GOMORRA \r\nGaetano Carito, Marco Grillo, Bruno Pupparo, ITALIANS \r\nBruno Pupparo, SI PUO\' FARE\r\n\r\nMigliori Effetti Speciali Visivi (Best Visual Effects)\r\n\r\nEDI EFFETTI DIGITALI ITALIANI, COME DIO COMANDA \r\nFRAME BY FRAME, I DEMONI DI SAN PIETROBURGO \r\nNicola Sganga, Rodolfo Migliari per VISION, IL DIVO \r\nGiuseppe Squillaci, ITALIANS \r\nPROXIMA, TUTTA LA VITA DAVANTI\r\n\r\nMiglior Film dell\'Unione Europea (Best European Union Film)\r\n\r\nENTRE LES MURS (THE CLASS), Laurent Cantet \r\nIL GIARDINO DI LIMONI (ETZ LIMON / LEMON TREE), Eran Riklis \r\nSLUMDOG MILLIONAIRE, Danny Boyle \r\nTHE READER, Stephen Daldry \r\nVALZER CON BASHIR (WALTZ WITH BASHIR), Ari Folman \r\n\r\nMiglior Film Straniero (Best Foreign Film)\r\n\r\nGRAN TORINO, Clint Eastwood \r\nMILK, Gus Van Sant \r\nTHE VISITOR, Tom McCarthy \r\nTHE WRESTLER, Darren Aronofsky \r\nWALL - E, Andrew Stanton\r\n\r\nMiglior Documentario di Lungometraggio (Best Documentary Feature Film)\r\n\r\n211: ANNA, Giovanna Massimetti, Paolo Serbandini \r\nCOME UN UOMO SULLA TERRA, Andrea Segre, Dagmawi Yimer, in collaboration with Riccardo Biadene \r\nDIARIO DI UN CURATO DI MONTAGNA, Stefano Saverioni \r\nNON TACERE, Fabio Grimaldi\r\n\r\nRATA NECE BITI (LA GUERRA NON CI SARA\'), Daniele Gaglianone *winner*\r\n\r\nMiglior Cortometraggio (Best Short Film)\r\n\r\nL\'AMORE E\' UN GIOGO, Andrea Rovetta\r\n\r\nL\'ARBITRO, Paolo Zucca *winner*\r\n\r\nBISESTO, Giovanni Esposito, Francesco Prisco \r\nCICATRICI, Eros Achiardi \r\nLA MADONNA DELLA FRUTTA, Paola Randi\r\n\r\nDavid Giovani (Award voted by youth)\r\n\r\nEX, Fausto Brizzi \r\nPA-RA-DA, Marco Pontecorvo \r\nSI PUO\' FARE, Giulio Manfredonia \r\nLA SICILIANA RIBELLE, Marco Amenta \r\nSOLO UN PADRE, Luca Lucini\r\n\r\nDavid Speciali Assegnati (Special Awards)\r\n\r\nCarlo Verdone \r\nLuigi Magni \r\nGabriele Muccino','3c8fbc2ea9333f8e658bec519be3f780',0,'','2BS6hvVW',1,0,'',0,0,0),(15550,2573,3,1,0,'69.120.114.47',1227510660,1,0,1,1,1,1,'hengcs','International Critics/Audience versus Local Critics/Audience ...','I saw posts in imdb that I thought it is worthwhile mentioning here ... \r\nclick \r\nhttp://www.imdb.com/board/bd0000034/reply/120980340 \r\n\r\ne.g., An interesting post by ANGEL_GLEZ 3 days ago (Thu Nov 20 2008 11:17:07) \r\n\r\nPLEASE PARDON me for cutting and pasting here (for easy reference) \r\n\r\nThis was what ANGEL_GLEZ posted \r\n----------------------------------------------------------------------- \r\n\r\nSure, there is no an Universal Canon. But it is always curious to know the greatest films according to local critics of each country: \r\n\r\nGreece: O Drakos instead of Angelopoulos \r\nCanada: Mon Oncle Antoine instead of Cronenberg \r\nChina: Spring in a Small Town instead of Zhang Yimou \r\nCzechoslovakia: Marketa Lazarova instead of Forman \r\nHong Kong: A Better Tomorrow instead of Wong Kar Wai \r\nIndia: Sholay instead of Ray \r\nRussia: My Friend Ivan Lapshin instead of Eisenstein \r\nSpain: El Verdugo instead of Buñuel \r\nSweden: Raven\'s End instead of Bergman \r\nYugoslavia: Who\'s That Singing Over There instead of Kusturica \r\n\r\n--------------------------------------------------------------------- \r\n\r\nThis kind of sparks the questions \r\n(i) Does local differ vastly in taste from international critics/audience? \r\n(ii) Are critics sometimes too \"aloof\" from the masses? \r\n(iii) Should directors make films for the people (i.e., box office hits) or should they make it to win awards (esp. international awards)? \r\n\r\n-- I recall a Swedish friend telling me they are not crazy over Bergman \r\n-- I know of many Chinese from Taiwan/HongKong/China/Singapore/etc saying they do not necessarily understand or appreciate Tsai Ming Liang (too slow or even at times too cryptic for comfort), etc \r\n-- and also, the recent break in box office for France (Welcome to the Sticks, i.e., Bienvenue chez les Ch\'tis) \r\n-- and also, the recent break in box office for Taiwan (Cape No.7) \r\netc','0466b77c185eff28ccce3a906ad784d2',0,'','xALUhQZo',1,0,'',0,0,0),(15551,2573,3,1,0,'69.120.114.47',1227933540,1,0,1,1,1,1,'tzarine','Re: International Critics/Audience versus Local Critics/Audience ...','I can see the appeal of both A Better Tomorrow & WKW. \r\n\r\nTsai Ming Liang is just tedious. \r\n\r\nZhang Yi Mou makes what my HK friend calls \"Chinese movies for gweilos.\"','b3eb75c197b3f8d6337f845269c935f4',0,'','triljHPG',1,0,'',0,0,0),(15552,2573,3,1,0,'69.120.114.47',1228068060,1,0,1,1,1,1,'hengcs','Re: International Critics/Audience versus Local Critics/Audience ...','ha ha ha','b8f69661050a66250e359a8aa5a9b8c9',0,'','u7yWo8G3',1,0,'',0,0,0),(15620,2604,5,2,0,'160.83.73.26',1248726145,1,0,1,1,1,1,'','Re: 1990\'s foriegn film','Here\'s the trailer:\n\n[youtube:21qhdvej]&lt;object width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/SvG2opL7UOU&amp;hl=en&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/SvG2opL7UOU&amp;hl=en&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:21qhdvej]','bbf7379d92c2ec22d03020bb7ab1d253',0,'AAQ=','21qhdvej',1,0,'',0,0,0),(15621,2604,5,1,0,'69.243.150.235',1248745939,1,0,1,1,1,0,'Helpme remember','Re: 1990\'s foriegn film','Nope-this film was very dark (not a lot of light from the scenes-most of the clothing was also grey and dark) although I am certain it was a color film &amp; had only one setting-this home that was in the shape of a square with a center courtyard.  I remember that in one scene the women are looking at lace for the one daughter\'s wedding dress.  Sorry not too much else to go on, as when I saw it I was in junior high.  It could have possibly been from the 80\'s seeing it was on PBS and I don\'t think they would have been showing brand new films.  Thanks for all the help.','4b9ffc1676a714763be98e03e1d33794',0,'','2ae216ab',1,0,'',0,0,0),(15623,2607,5,1,0,'97.115.36.47',1249938834,1,0,1,1,1,0,'candygirl','strong women\'s foreign film','I rented a VHS tape of this movie about 15 years ago. The story took place in post WWII Europe and featured a women returning to her home town with her young daughter. The film progressed through time as the daughter grew into an independent and strong woman like her mother. The daughter, a lesbian, wanted her own child so a planned insemination/tryst with a handsome acquaintance was arranged and she became a mother of her own daughter. This child grew into a beautiful girl who was raped by the town\'s bully, who was in turn dealt a rightful justice. Throughout, the matriarch guided her life and those she loved according to her own strong values and independence.\nI sure would like to see this movie again as it was beautifully written, acted, and filmed. Any ideas what it was called?','25354d3297a31273738411e4d4441316',0,'','2p6zyqz0',1,0,'',0,0,0),(15628,2610,6,2,0,'160.83.73.26',1250695180,1,0,1,1,1,1,'','Thirst (2008, South Korea) - Park Chan-wook','[youtube:32ab87ug]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/kG4AV6kLrKY&amp;hl=en&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/kG4AV6kLrKY&amp;hl=en&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:32ab87ug]','a7515b0f1d64a24396fff869c1e6b761',0,'AAQ=','32ab87ug',1,0,'',0,0,0),(15629,2611,6,2,0,'160.83.73.26',1250695340,1,0,1,1,1,1,'','Revanche - 2008, Germany','[youtube:18evrz9e]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/VJwGep3MIO0&amp;hl=en&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/VJwGep3MIO0&amp;hl=en&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:18evrz9e]','0c2cdecc3262ca8e47c14f6049cdd711',0,'AAQ=','18evrz9e',1,0,'',0,0,0),(15630,2612,6,2,0,'160.83.73.26',1250695488,1,0,1,1,1,1,'','Lorna\'s Silence - 2008, France','[youtube:3o50ri4p]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/5ZN_rVSq1qg&amp;hl=en&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/5ZN_rVSq1qg&amp;hl=en&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3o50ri4p]','130efe8fd20e42d90188624931c30d5a',0,'AAQ=','3o50ri4p',1,0,'',0,0,0),(15626,2607,5,1,0,'70.116.94.220',1250368659,1,0,1,1,1,0,'lauraq','Re: strong women\'s foreign film','I don\'t know the name of the film but I have been looking for it for several years now.  I think I saw it on HBO about 18 to 20 years ago.  It has always been one of my favorites and I would love to find it again too. Hopefully someone can help.','69f9346e4dec5e4b072f1c425c6b2bd4',0,'','2duo3wa1',1,0,'',0,0,0),(15627,2607,5,1,0,'70.116.94.220',1250369379,1,0,1,1,1,0,'lauraq','Re: strong women\'s foreign film','Hey Candygirl, I found it!  The movie is called Antonia\'s Line, it was done in 1996 and it won the Academy Award for best foreign film. I have not looked to see if it can be ordered.','42c7a3e5e1f29e8b755c50ecc271d2e6',0,'','213lzcu6',1,0,'',0,0,0),(15639,2618,6,2,0,'69.120.114.47',1262272222,1,0,1,1,1,1,'','Coco Before Chanel - 2009, France','[youtube:1mkedwja]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/bvDFPjx-uBU&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/bvDFPjx-uBU&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1mkedwja]','f08f1b6e710758e75a453c5962e58ca1',0,'AAQ=','1mkedwja',1,0,'',0,0,0),(15640,2619,6,2,0,'69.120.114.47',1262272626,1,0,1,1,1,1,'','A Prophet - 2009, France','[youtube:8d9iubex]&lt;object width=&quot;560&quot; 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value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/OEmkappTLEM&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;425&quot; height=&quot;344&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3qq5b65x]','5dce297dc9e1c7ee1f3b7705b5f7f24a',0,'AAQ=','3qq5b65x',1,0,'',0,0,0),(15642,2621,6,2,0,'69.120.114.47',1262272949,1,0,1,1,1,1,'','Red Cliff - 2008, China','[youtube:20pizo4u]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/pd0bqLQrtdE&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/pd0bqLQrtdE&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:20pizo4u]','273ee05c0a87b3e0033db153a244af61',0,'AAQ=','20pizo4u',1,0,'',0,0,0),(15643,2622,6,2,0,'69.120.114.47',1262273305,1,0,1,1,1,1,'','Ong Bak 2 - 2008, Thailand','[youtube:324bwbas]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/lml3uGdL0RM&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/lml3uGdL0RM&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:324bwbas]','b134fbfc5cc97109e2d079271f94f406',0,'AAQ=','324bwbas',1,0,'',0,0,0),(15644,2623,6,2,0,'69.120.114.47',1262273728,1,0,1,1,1,1,'','The Vanished Empire - 2008, Russia','[youtube:3gvt1a9j]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/xxXGKIrWleo&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/xxXGKIrWleo&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3gvt1a9j]','ae04ba42bde9de09953620ef7242ea8b',0,'AAQ=','3gvt1a9j',1,0,'',0,0,0),(15645,2624,6,2,0,'69.120.114.47',1262273829,1,0,1,1,1,1,'','Ajami - 2009, Israel','[youtube:u9pw3uko]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/sF50ROdrJW0&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/sF50ROdrJW0&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:u9pw3uko]','81ff717c6ffe4e5ee6ed6baef5080922',0,'AAQ=','u9pw3uko',1,0,'',0,0,0),(15646,2625,6,2,0,'69.120.114.47',1262273972,1,0,1,1,1,1,'','Storm - 2009, Netherlands','[youtube:yim963cj]&lt;object width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/XFe0EK6d1QU&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/XFe0EK6d1QU&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;560&quot; height=&quot;340&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:yim963cj]','6ac23f1ee00eced8fb9181ac7b2247fe',0,'AAQ=','yim963cj',1,0,'',0,0,0),(15647,2626,6,2,0,'69.120.114.47',1270247567,1,0,1,1,1,1,'','The Girl With the Dragon Tattoo - 2009, Sweden','[youtube:2i0v1jnv]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/JlF-hk3IJQE&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/JlF-hk3IJQE&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:2i0v1jnv]','c4c78a17cf0483db9fb053a2cfa25c0f',0,'AAQ=','2i0v1jnv',1,0,'',0,0,0),(15648,2627,6,2,0,'69.120.114.47',1272754765,1,0,1,1,1,1,'','The Secret in Their Eyes - 2009, Argentina','[youtube:8ur1zk1w]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/0cNd1OIp808&amp;hl=en_US&amp;fs=1&amp;&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/0cNd1OIp808&amp;hl=en_US&amp;fs=1&amp;&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:8ur1zk1w]','07837a3b286b543532d152678a9f28a0',0,'AAQ=','8ur1zk1w',1,0,'',0,0,0),(15649,2628,6,2,0,'208.109.80.102',1283214432,1,0,1,1,1,1,'','The Concert - 2009, France','[youtube:qpsddcpl]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/3aait4aOxP0?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/3aait4aOxP0?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:qpsddcpl]','a1d52abe911e92a6c66fce488ed38146',0,'AAQ=','qpsddcpl',1,0,'',0,0,0),(15650,2629,6,2,0,'208.109.80.102',1283214526,1,0,1,1,1,1,'','La Soga - 2009, Dominican Republic','[youtube:3cu6mfrk]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/4ZQA_AqK_lE?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/4ZQA_AqK_lE?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3cu6mfrk]','168006b33ea3485de7d25a6d945c882a',0,'AAQ=','3cu6mfrk',1,0,'',0,0,0),(15651,2630,6,2,0,'208.109.80.101',1283214834,1,0,1,1,1,1,'','The Girl Who Played With Fire - 2010, Sweden','[youtube:2jw8juht]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/oSsodK7KFXQ?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/oSsodK7KFXQ?fs=1&amp;amp;hl=en_US&quot; 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We think we\'ve solved most of our spam-bot problems by installing new software (fingers crossed). Users will need to answer a simple question to register (hint: Seven Samurai). We\'re also looking to integrate with Facebook in the near future. Please let us know if you have any comments or suggestions.\n\nJason','265dee2f83090a55a51c196a849a3802',0,'','iai17g56',1,0,'',0,0,0),(15659,2574,3,259,0,'121.96.171.209',1284521278,1,0,1,1,1,1,'','Re: Last movie seen','twilight saga..\n\neclipse..\n\nvery good movie..\n\ncan\'t wait for The Dawn..\n\n <!-- s:) --><img src=\"{SMILIES_PATH}/icon_e_smile.gif\" alt=\":)\" title=\"Smile\" /><!-- s:) -->','fbccc1a21f9db50857020dd8b24bc9a5',0,'','1ks27ljz',1,0,'',0,0,0),(15660,2574,3,2,0,'69.120.114.47',1284597689,1,0,1,1,1,1,'','Re: Last movie seen','The Ghost Writer \n\n- Surprisingly good. Ewan McGregor was great.','4f531637c009119786be2aca500c6bc7',0,'','3uwzrwis',1,0,'',0,0,0),(15661,2574,3,261,0,'69.120.114.47',1286022831,1,0,1,1,1,1,'','Re: Last movie seen','Just saw Girl With The Dragon Tattoo and loved it!  Thanks for the recommendation.','6de09f69c6983e608174cb99ba1b84e3',0,'','65uhfonp',1,0,'',0,0,0),(15662,2638,6,2,0,'69.120.114.47',1286066823,1,0,1,1,1,1,'','The Girl Who Kicked the Hornets\' Nest - 2010, Sweden','[youtube:3n4rcsba]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/8fccRlpFuLo?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/8fccRlpFuLo?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3n4rcsba]','07c2b9e084147f3d5043e24469149993',0,'AAQ=','3n4rcsba',1,0,'',0,0,0),(15663,2639,6,2,0,'69.120.114.47',1286067917,1,0,1,1,1,1,'','Mao\'s Last Dancer - 2009, Australia','[youtube:29nnmljp]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/iPM-tmT9sV8?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/iPM-tmT9sV8?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:29nnmljp]','0165fdf1e2120420229730c4cd255fb8',0,'AAQ=','29nnmljp',1,0,'',0,0,0),(15664,2640,6,2,0,'69.120.114.47',1286068567,1,0,1,1,1,1,'','Heartbreaker - 2010, France','[youtube:2r7h6yil]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/t3PuZo8qLxo?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/t3PuZo8qLxo?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:2r7h6yil]','6ece95f879326f45dfaa933ef2148bec',0,'AAQ=','2r7h6yil',1,0,'',0,0,0),(15665,2641,3,263,0,'38.112.130.120',1286295336,1,0,1,1,1,1,'','Foreign Film Buffs','Hello,\nMy name is Lindsy and I am doing a graduate level qualitative research study on foreign film consumption in the US. I have provided a link to a short 7 question survey. Please click on the link to take the survey I have created on surveymonkey.com. All responses will be confidential. Thank you in advance! If you would rather e-mail me for the questions to the survey, feel free to reach me at <!-- e --><a href=\"mailto:lbrophy@alliant.edu\">lbrophy@alliant.edu</a><!-- e -->. Thanks again!\n\n<!-- m --><a class=\"postlink\" href=\"http://www.surveymonkey.com/s/PC99M7F\">http://www.surveymonkey.com/s/PC99M7F</a><!-- m -->','516377baee6027c6773cb33e112365e6',0,'','39vn5aqf',1,0,'',0,0,0),(15666,2642,6,2,0,'69.120.114.47',1286328029,1,0,1,1,1,1,'','Biutiful - 2010, Spain, Mexico','[youtube:1xj05494]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/fdWz1IFEv4k?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/fdWz1IFEv4k?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1xj05494]','64564e14cccf3a5d1a2fc0a2173f3606',0,'AAQ=','1xj05494',1,0,'',0,0,0),(15667,2643,3,264,0,'108.0.220.33',1286502314,1,0,1,1,1,1,'','Danish Films Rock.','For anyone who digs Danish films--they\'re so bleak and funny at the same time, what\'s not to like--keep an eye out for Paprika Steen\'s new film, Applause. She\'s simply brilliant. Might get an Oscar nomination? She plays a divorced stage actress with a drinking problem. Her work is to play Martha, the crazed nut job in Who\'s Afraid of Virginia Woolf. But then, she has to turn off the crazy (Martha or her true self?) and convince her ex she is ready to be a mother to her two small boys again. The emotional extremes Steen has to portray in this role are unbelievable! Oh and the ex and his new wife and the two boys know she\'s a brilliant stage actress so they\'re very cautious about letting her convince them. Plus, she has to convince herself! Great film. Oscar-caliber acting by Steen. She\'s one of my new favs now that I\'ve seen Applause.','067c6b50fd98b80f5e68a723527a9c60',0,'','3lqpo3n0',1,0,'',0,0,0),(15668,2644,6,2,0,'69.120.114.47',1286721370,1,0,1,1,1,1,'','I am Love - 2009, Italy','[youtube:1v3gyxhj]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/XhbTeBneRVU?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/XhbTeBneRVU?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1v3gyxhj]','3c2957a1665933a32403913b46019d4d',0,'AAQ=','1v3gyxhj',1,0,'',0,0,0),(15669,2645,6,2,0,'69.120.114.47',1286723862,1,0,1,1,1,1,'','Battle Royale - 2000, Japan','[youtube:2obctv7d]&lt;object width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/Y-T7yPJVvXw?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/Y-T7yPJVvXw?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:2obctv7d]','228a2905e0c35152c420c279f85e96de',0,'AAQ=','2obctv7d',1,0,'',0,0,0),(15670,2646,6,2,0,'69.120.114.47',1286769173,1,0,1,1,1,1,'','Carlos - 2010, France','[youtube:1by57tp9]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/VmifD9BK01E?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/VmifD9BK01E?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1by57tp9]','8111ad57ecc94ef01899ed35d5e2f0a7',0,'AAQ=','1by57tp9',1,0,'',0,0,0),(15671,2647,6,2,0,'69.120.114.47',1287068779,1,0,1,1,1,1,'','Certified Copy - 2010, France, Italy, Iran','[youtube:10ipvp3c]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/Ie2l8TctAG8?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/Ie2l8TctAG8?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:10ipvp3c]','e30f31cb09707e71f9040a012a35e279',0,'AAQ=','10ipvp3c',1,0,'',0,0,0),(15673,2649,6,2,0,'69.120.114.47',1287069399,1,0,1,1,1,1,'','Interview - Juliette Binoche on \'Certified Copy\'','[youtube:3dz4q8w2]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/KXr_qMsTzqI?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/KXr_qMsTzqI?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3dz4q8w2]','b36c751073f879733774d0c0e5b9b18c',0,'AAQ=','3dz4q8w2',1,0,'',0,0,0),(15674,2650,6,2,0,'69.120.114.47',1287069979,1,0,1,1,1,1,'','Confessions (Kokuhaku) - 2010, Japan','[youtube:1n3npd9e]&lt;object width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/F73eXXiMwB4?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/F73eXXiMwB4?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1n3npd9e]','1e47fc6ce7fdddd9d953afff1eb4e1d0',0,'AAQ=','1n3npd9e',1,0,'',0,0,0),(15675,2651,6,2,0,'69.120.114.47',1287348768,1,0,1,1,1,1,'','White Material - 2010, France','[youtube:3rka4q9e]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/HESF-shCQjg?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/HESF-shCQjg?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3rka4q9e]','fc13cd9adc9e1e777b0d4163c901fb68',0,'AAQ=','3rka4q9e',1,0,'',0,0,0),(15676,2652,0,2,0,'69.120.114.47',1287368340,1,0,1,1,1,1,'','ForeignFilms.com is now on Facebook','Check out our brand new Facebook page to get the latest foreign film news.\n\n[url:3a4k8rti]http&#58;//www&#46;facebook&#46;com/foreignfilms[/url:3a4k8rti]','bac0d9d58393a0461f7d02756b86de02',0,'EA==','3a4k8rti',1,0,'',0,0,0),(15677,2653,6,2,0,'69.120.114.47',1287442020,1,0,1,1,1,1,'','Fitzcarraldo - 1982, Germany','[youtube:10gd4oww]&lt;object width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/-pJ76nAkysM?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/-pJ76nAkysM?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:10gd4oww]','8956e8ea03bc8511f4e7caa6a2fea8dd',0,'AAQ=','10gd4oww',1,0,'',0,0,0),(15678,2654,6,2,0,'69.120.114.47',1287442741,1,0,1,1,1,1,'','Klaus Kinski tantrum during filming of Fitzcarraldo','[youtube:1i9azkhy]&lt;object width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/yITx7txr-7M?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/yITx7txr-7M?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;480&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1i9azkhy]','ec4c21c9706530aa91aa073f4fcae115',0,'AAQ=','1i9azkhy',1,0,'',0,0,0),(15679,2655,6,2,0,'69.120.114.47',1287456565,1,0,1,1,1,1,'','How I Ended This Summer - 2010, Russia','[youtube:1ck1zkj4]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/ckyiMJXpV98?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/ckyiMJXpV98?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1ck1zkj4]','6e37608d488681aff7fbe0a0c56b84ae',0,'AAQ=','1ck1zkj4',1,0,'',0,0,0),(15681,2657,6,2,0,'69.120.114.47',1287575895,1,0,1,1,1,1,'','28 Days Later - 2002, Britain','[youtube:3l1ewcxt]&lt;object width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/sBZnuUZIbBQ?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/sBZnuUZIbBQ?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;385&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:3l1ewcxt]','cd6229e1647504fdce8464dfd1c734de',0,'AAQ=','3l1ewcxt',1,0,'',0,0,0),(15682,2658,6,2,0,'69.120.114.47',1287664011,1,0,1,1,1,1,'','Tampopo clip with Ken Watanabe','[youtube:1igeezpx]&lt;object width=&quot;640&quot; height=&quot;505&quot;&gt;&lt;param name=&quot;movie&quot; value=&quot;http://www.youtube.com/v/1XyoAZFREnY?fs=1&amp;amp;hl=en_US&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowFullScreen&quot; value=&quot;true&quot;&gt;&lt;/param&gt;&lt;param name=&quot;allowscriptaccess&quot; value=&quot;always&quot;&gt;&lt;/param&gt;&lt;embed src=&quot;http://www.youtube.com/v/1XyoAZFREnY?fs=1&amp;amp;hl=en_US&quot; type=&quot;application/x-shockwave-flash&quot; allowscriptaccess=&quot;always&quot; allowfullscreen=&quot;true&quot; width=&quot;640&quot; height=&quot;505&quot;&gt;&lt;/embed&gt;&lt;/object&gt;[/youtube:1igeezpx]','55794176fa2b07320427c6832c223f3e',0,'AAQ=','1igeezpx',1,0,'',0,0,0),(15683,2659,5,267,0,'86.26.221.175',1287676981,1,0,1,1,1,1,'','Does anyone know the name of this film please??!!!!','Hi I saw this film years ago on film 4 when they were having a foreign film week but I can\'t remember the name or find it anywhere!!\n\nThis is the plot that I remember:\n\nThe film is based around a police officer who is investigating a series of murders.\nHe lives with his son and they have a barn next to their house.\nAs the film progresses the killer makes it look like the police officer\'s son is the killer.\nThe police officer starts to suspect that his son really is the killer.\nI think towards the end the police officer finds his son in their barn and he has blood on him but it was from an animal (??) and in the end they find the killer and he realises it is not his son.\n\nI know thats a bit vauge but if anyone can recognise the film pleeeeeeeease let me know!!!!!\n\nThanks <!-- s:D --><img src=\"{SMILIES_PATH}/icon_e_biggrin.gif\" alt=\":D\" title=\"Very Happy\" /><!-- s:D -->','f64a719b4f4e2266a79a6841e225c8a7',0,'','xtqouzj5',1,0,'',0,0,0),(15684,2660,5,266,0,'199.79.10.117',1288618334,1,0,1,1,1,1,'','Do you know the name of these films?  Thanks!','A few years ago, I saw two films, and I wish I wrote down the names. I hope these descriptions help:\n\n1. A teenage - early 20s boy and his young sister were taken by hostage by, I believe Nazis. The young girl was getting ill, and I believe they killed her because it was winter and they did not have a lot of food. Years, later, the Nazis lead normal lives in different parts of the world, and the young girl\'s brother avenged her by finding each of these men to get revenge.\n\n2. A teenage boy from, I believe, another country was sent to a college prep school where there was a fraternity-like group of boys (I believe German) who would bully and haze the other boys in the school, especially in the cafeteria. They would hit them on the head with a spoon, etc. Well, the boy that was sent there was tough and wouldn\'t take it. At the end of the movie, the boy who wouldn\'t take it, beat the lead bully up and gained respect. There was also a romance between this lead actor and a local girl.\n\nAny help would be greatly appreciated!','05a20946ecb443650ad2296a576ec1da',0,'','1hrm2pqa',1,0,'',0,0,0);
