http://www.youtube.com/watch?v=mg51z6daQjo

Soldier in the Rain - Fight Scene - Courtesy of JMoney http://www.youtu...

Garden Of Evil (1954) - Title Sequence -

SOME CAME RUNNING (1958) Dir: Vincente Minnelli

How can you go wrong with this melodrama from 1958? It has ALL the ingredients of classic Hollywood filmmaking at the time. A GREAT CAST at THEIR PEAK...Frank Sinatra when he still was giving great performances as an alcoholic/failed writer who is in love with a schoolteacher who TEACHES writing (Martha Hyer). Dean Martin in a performance that should turn people around (and sure did at the time) as an alcoholic/diabetic/gambler. A charming ne'er do well with the ladies (for my money he gives the best performance in this, as great as everyone ELSE is), Shirley MacLaine (Oscar nominated for supporting actress) as a streetwalker who happens to love failed writer/ex-serviceman Frank,  Martha Hyer (who wound up marrying Producer Hal Wallis, that's another story) as an ALMOST becoming an old-maid schoolteacher who has CUT HERSELF OFF FROM HER "Basest feelings" (i.e., SEX) and consequently LOVE TOO, who is so screwed up she let's Frank make love to her in a "weak moment" and then won't forgive him or herself for allowing him to. So she punishes both him and herself by saying she is scared of how overwhelming and violent his feelings are AND HER OWN!. It's quite a character she has to play (also Oscar nominated that year with Shirley Mac Laine in the film, so they probably "cancelled each other out" that year, as often happens when more than 1 performer is nominated in the same category from the SAME film). Her performance is alternatively alluring yet frigid. 

Shirley MacLaine's performance is also rather remarkable. At the time she had been mostly in musical comedy and wasn't known for dramatic performances. She does overdue a bit in her scene with Martha Hyer whe she visits her school to plead with her over her love of the Sinatra character (too many sniffles which are NOT FELT, this is my feeling ONLY). But there are too many other scenes where she is spot on! Watch the scene at the near end where she and Frank are arguing after he has read a story of his that's just been piblished and he starts to "quiz" her about it! It is truly wonderous.
And, lest I forget, Arthur Kennedy (another Oscar nominee) as Frank's older brother who is financially successful as a jeweler, on the board of directors at the local bank, is involved in a marriage he is less than happy with (sexually and as it turns out personally too). He was younger brother Frank's guardian who had him placed in an orphanage when the parents died and had  Frank put there as a child when HE wanted to marry.  He could play this part of a morally conflicted individual (remember the year before in another Oscar nominated turn he raped Hope Lange, who played his STEP DAUGHTER in PEYTON PLACE!)  and does VERY WELL with basically the most stereotyped part in the film....The entire cast is wonderful.

The story is WONDERFUL. Minnelli's Direction is a just amazing in it's use of the CinemaScope frame (please do NOT LOOK AT THIS IN ANY OTHER WAY THAN WIDESCREEN 16 x 9, you ARE cheating yourself) and it's use of color. NOT to mention the subtlety of the performances which is funny considering in VARIOUS bios, Sinatra and Martin both had thought Minnelli a fuss pot and TOO meticulous. During the CLASSIC end SET PIECE, director Minnelli had dictated that the FERRIS WHEEL be moved to facilitate tha shot HE had in mind. Sinatra and Martin bolted from the set thinking Vincente had been being too much the director....But Minnelli GOT WHAT HE NEEDED...Just watch  it. It is quite astounding! It is akin to watching CHOREOGRAPHY. The motion objects and characters WITHIN the frame, the camera movement, the editing and music all contribute to the OVERALL effect which is serendipitous.
Cinematographer William Daniels outdoes himself here and goes a long way to showing why Sinatra hired HIM a lot years later as an associate producer on several projects. And not to forget Elmer Bernstein's great music score! Very collectible LP (yeah that's right VINYL) and I don't think it's been reissued on CD yet).

Just going to mention moments of the film that STICK with me rather than offer a plot synopsis...First the Sinatra bus ride into PARKMAN (the city of his birth on his way to visit his brother to pay him off for putting him in the orphanage for years, which his older brother Arthur Kennedy paid for,  how's THAT for SHOVING IT UP HIS ORIFICE!). Sinatra plays this scene like a throwaway natural was (which he indeed he was, whatever you think of him personally). He wakes up from the night on board this bus after obviously drunk. (He almost does not realize WHERE he even is) and the FIRST thing he searches for is his WALLET! And where he finds it and knowingly KNOWS where to find it is NOT IN HIS BACK POCKET! They didn't DO stuff like this then. It was pretty daring in 1958. 
Second,  the scene where he gets off the bus with Shirley MacLaine following him! They both are playing the scene so beautifully. He is someone who picked up Shirley the night before and almost doesn't remember her (because he was SO DRUNK that night), and she as someone who has fallen hopelessly in love with Frank even as a streetwalker or pig (significance of that term later) and is gullible and a bit stupid and uneducated, but whose love seeks to conquer Frank's insecurity, make him HAPPY at all costs, and is self-sacrificing (ultimately too as it turns out, in a plot change from JAMES JOYCE'S original novel ending). Just wonderfully well played by "ONE TAKE FRANK." Legend has it that Frank used to HATE going more than a couple of takes and the conflicts he had with the likes of Marlon Brando (on GUYS AND DOLLS, both personally and professionally, and even Edward G. Robinson (on A HOLE IN THE HEAD)
are well known, because these actors could or would go onto many takes and Frank would lose that spark after the first 2 as a rule).
Third, the scene where Frank meets up with Arthur Kennedy again after years of resentment that Frank has for his being a phony and a sellout (mainly of himself). Kennedy's supercilious self-righteousness in feigning concern for his brother Frank and Frank's disdain of all his brother's self-deceiving tricks of concern for Frank are really much more subtle than either actor was given credit for at the time. Don't forget ALSO that Arthur Kennedy had ALSO been Oscar nominated in the supporting actor category the year before in another great melodrama (not quite as inventively directed as this, but as "soap operas" go another winner, "PEYTON PLACE"). Kennedy was in a number of films before the bottle got the best of him years later and was in a number of Italian films before his death which while interesting for OTHER reasons, were far beneath his talent and gave him nothing to do as an actor.

Fourth, the scene where Sinatra and Dean Martin meet. Dean plays BAMA Dillert (where this name comes from is an enigma in itself, as I can think of NO other character in ANY fiction or even NON-fiction with THAT name). The verbal sense of humor and sensitivity (which Martin was NEVER noted for) are in abundance.  Forgive me at this point I should have mentioned
that this entire movie is very well written (and were it NOT for the fact that I have lent out my DVD copy, I'd be able to feign remembrance of just who the screenwriter was)...There is an awareness in both Sinatra & Martin (remember, he used to be a croupier) that shows just how mutually connected they are even verbally sparring with each other. Those in doubt about Martin AS AN actor (a funny story just came to mind which I must relate too). Check these out, THE YOUNG LIONS (1958, Dir: Edward Dmytryk, CAREER (1959, Dir: Joseph Anthony), RIO BRAVO (1959, Dir: Howard Hawks), TOYS IN THE ATTIC (1962, Dir: George Roy Hill, and already blogged about), and also  KISS ME, STUPID (1964, Dir: Billy Wilder).


As an aside before continuing with the film at hand.

While directing Dean in KISS ME, STUPID, there was a scene where Wilder was becoming, shall we say, "uncommonly TEUTONIC" in his direction of Martin. Giving him VERY specific direction which interfered with Martin's naturalistic quality in front of a camera.  Dean diffused the situation with humor. His response to Wilder which has been quoted in various biographies was the following;
"Well Jesus Christ, what the fuck? If you wanted an actor why didn't you go get fucking Marlon Brando?" Isn't that just as you would have thought his reaction would be? And if  THAT doesn't make you laugh I feel kind of sorry for you! Read Nick Tosches bio on Dean for many more stories like that one!


Fifth, the scene where Frank has just said he's going to marry Shirley Mac Laine's streetwalker, and ADMITS this PROUDLY to Dean. There is no scene like this ANYWHERE, that I can think of. Dean is totally incredulous at this admission. When Frank tells him this, his incredulity coupled with complete dumbfounded dejection at his friends' perceived stupidity and even a subtle sense of UNDERSTANDING WHY at the same time, is rather remarkable. This NUANCED playing which Dean Martin was never given his due for. In particular during this exchange note the GUTS it TOOK to call the Shirley MacLaine character a "pig" not once but twice in the same scene with just the right amount of regret too is remarkable. This after (it seems) his ONLY new found friend Frank has told him he's going to MARRY her. This was subversive STUFF for the 50's.
It has supremely inventive (in the classic style) direction by Minnelli (his late period films which are in many ways extensions  of the direction of his musicals ( probably THE BAND WAGON being the peak)...The last scene I will note of his the entire climactic scene. It takes place in a CARNIVAL atmosphere. I will not reveal the details of the plot here as I HATE spoliers. But suffice to say outside of the work of Douglas Sirk or Mario Bava (both directors who were absolute MASTERS OF PURE COLOR) can I think of many scenes in film history which are as blatantly inventive, luxuriant and appropriate as Minnelli and Daniels' use of color and camera movement, even the editing is perfect! It is a cimematic equivalent to Sam Peckinpah's show piece blood baths in his classics, the cinema of Mario Bava's use of color in a potboiler like "Blood on Black Lace", Dario Argento's classic giallo "Deep Red" with it's perfectly edited and shot murder sequences, or Minnelli's own musicals ONLY BETTER. A truly astounding set piece. For anyone wanting to see mainstream Hollywood film making at it's best go no further than this film. More later as I have the time...And thanks for all who have read and please do not be afraid to comment whether in agreement or otherwise. This is one of my top 10 favorite films. AND if you liked this one, catch HOME FROM THE HILL by Minnelli too. It stars Robert Mitchum, Anthony Perkins, George Peppard, Eleanor Parker and (that scene stealer character actor Dub Taylor)...released in 1960 also in succulent MILTON KRASNER shot CinemaScope. AND "TWO WEEKS IN ANOTHER TOWN" (1962) with Kirk Douglas, Edward G. Robinson (playing a film director much like Fritz Lang),  Claire Trevor,  Cyd Charisse, George Hamilton, Daliah Lavi (also in her standout performance in Mario Bava's THE WHIP AND THE BODY, aka "What!").  And what was perceived to be the prequel to TWO WEEKS IN ANOTHER TOWN, 1952's, THE BAD AND THE BEAUTIFUL w/ Kirk Douglas (Oscar nominated for Best Actor), Lana Turner, Dick Powell, Gloria Grahame (Oscar Winner for supporting actress),  and  Walter Pidgeon (he was in FORBIDDEN PLANET, he can do NO wrong!)

Minnelli's work continues to be underrated by all younger generation film goers who are NUMBED by MTV style editing (MAINLY), have no sense of color and it's ultimate meanings (but PREFER to be inundated with it no matter WHAT is may say), SURFACE performances of stereotypes and NOT FULL BLOODED CHARACTERS, stories which lack the minimum of verisimilitude and believability on basic levels, characters which have no basis for their motivations,  music scores which sound like third rate wallpaper (The school of HANS ZIMMER, who I have NEVER heard do a brilliant work yet, but manages to work all the time and very profitably). Sorry this is not an "eldritch" sensibility here. As Tim Lucas (of Video Watchdog and also the author of the finest film book imaginable "ALL THE COLORS OF THE DARK" on director MARIO BAVA) put it when referring to all his criticisms of TODAY'S FILMS versus yesterdays. And if he is NOW unwilling to admit it, I will for him. This "eldritch" sensibility about film and criticism of it is beyond technique. It has to do with entirety of any film and it's circumstances of production. 
Seek out the films I mention in this blog, though I have been lax in writing for it, I haven't been lax in writing and performing music, both of which music and film are the two things I know most about and love as pursuits. I hope any and all comments I may make in my blog are taken in the spirit of LOVE and wanting to turn people ON to achievements in film and music and all the related arts and spur YOU on to a further investigation of ALL of these art forms.

SOLDIER IN THE RAIN (1963) Allied Artists. Director : Ralph Nelson.

Aside from having the elements aforementioned, this gentle-hearted film contain one of the most brutal and sadistic fight scenes ever witnessed "until that time." McQueen staged it for director Ralph Nelson. Kudos to film editor Ralph Winters, Co-fighters Ed Nelson ans Lew Gallo, And the Blake Edwards and Maurice Richlin screenplay.


The releasing company, ALLIED ARTISTS (formerly Monogram Pictures) was one of the small independent studios of the 50's and early 60's to release a great percentage of great films which still are watched today. FRIENDLY PERSUASION,  55 DAYS AT PEKING, EL CID, THE BIG CIRCUS...Etc. Also the films of Roger Corman like NOT OF THIS EARTH (finally given a a DVD release after years of having the horrid remake with Traci Lords out there), Caltiki, the Immortal Monster (1960 Riccardo Freda & Mario Bava, only from Italy and letterboxed on an out of print Italian DVD) and others.

SOLDIER IN THE RAIN (1963) Allied Artists. Director : Ralph Nelson.

There can be little doubt that this still largely unknown little film is one of the most moving I have ever seen...Whenever I mention it to people they are first of all surprised to know that there's a film Starring Steve McQueen, Jackie Gleason and Tuesday Weld that they haven't seen or heard of, OR if they HAVE SEEN IT,  the memory of it has stayed with them throughout the years.


Where can I begin....what starts out as if it's going to be in a typical service comedy in the vein of a NO TIME FOR SERGEANTS goes in distinctly different and off beat directions. The plot is not as important in this film as are the CHARACTERS, their relationships to each other and the numerous subtle touches from the entire cast and all concerned in making the film. Not mention the bittersweet feelings generated that are peculiar to this film which is totally UNLIKE any other...and for all these reasons and the contributions I will enumerate below is my own personal top favorite film. All the other films I have cited in this blog, in one way or another have already been written about extensively elsewhere and have become universally recognized in varying degrees as classics. Beyond one appreciation in AMERICAN DIRECTORS (edited by Jean-Pierre Corsodon in the 80's) I have never seen that happen with THIS film, "surely far and away the best film Ralph Nelson ever signed as a director," I believe was the quote in the monograph in the aforementioned book.


His direction here is almost totally out of character with the rest of his oervre. The other films of his that I still like include REQUIEM FOR A HEAVYWEIGHT, LILIES OF THE FIELD, DUEL AT DIABLO, ONCE A THIEF, CHARLY, FLIGHT OF THE DOVES and THE WRATH OF GOD and less so SOLDIER BLUE which is hampered by excessive violence and a truly terrible pair of performances from Candice Bergen and Peter Strauss . Other films include his only sci-fi/horror title EMBRYO (which so little is thought of that only has had public domain releases from horrible pan and scan prints). The IN THE HEAT OF THE NIGHT clone ."..tick...tick...tick" with a great cast given little to do (including George Kennedy, Frederic March and Jim Brown), FATHER GOOSE (with Cary Grant and Leslie Caron and Cy Coleman's amateurish score), and THE WILBY CONSPIRACY.
This film almost universally dismissed as a service comedy gone awry (admittedly true...because the service comedy is a mere pretext for something much better) needs to be seen by more people who I'm sure would be similarly affected if they'd seen it.  I must make mention of the contributions of DP Philip A. Lathrop who's cinematography has always been underrated and one of Henry Mancini's finest scores which UNFORTUNATELY in it's CURRENT video incarnation is severely altered from the main title sequences musical substitution. (more below).

The ORIGINAL video release of this title from ALLIED ARTISTS video in the earliest days of VHS contained the original score INTACT. There is possibly the MOST HAUNTING and SOMBER piece of music he ever wrote, that was the main title and it's absence is achingly missed. It is a trumpet lead (perfectly chosen as the lead instrument for the melody which foreshadows the later sadness in the film) which is over a primary chord of the minor ninth which is AUTOMATICALLY gonna hit one instinctively to the heart. Additionally the harmonic movement behind the melody is unlike anything I have ever heard anywhere else. 

The current WARNER VIDEO ARCHIVE collection DVD contains what is a television reissue print struck sometime in the eighties after the video release. It was reissued by 20th Century Fox's subsidiary VHS label by KEY VIDEO with a LORIMAR sub-ownership and I have no idea which print this was. But chances are it is the same reissue print with the substituted main title music because I have seen this print on televison with that LORIMAR LOGO and every subsequent issue of the film has been this way. I have never understood what could be behind this. It can't have been a "rights" problem, as is often the case because the rest of Mancini's score is in place. Let me be more specific. The piece of music that has been substituted is from later in the body of the film. On one of Mancini's RCA compilations of themes, the cue itself is entitled "Bird Brain." It is much more typical of a comic film in substance, tone and effect than the original piece which is much better for any number of reasons even INHERENTLY better. Hopefully I am not boring you all with this but for those who have seen the film and DO LOVE IT this can only be some corporate a**hole that decided the film needed to have a "jokier" musical opening and axed Mancini's original theme  as "too sad"and replaced it with the cue as I've just described. I am being kind when I tell you I would like to tar and feather this cretin whoever he/she may be. This music was so distinctive to the experience (and inherently marvelous on it's own) that only someone with no sensitivity could have done such damage in thinking "they know better" than the filmakers who originally made the film.


Every subsequent telecast (including on TCM, along with FOX MOVIE CLASSICS the last bastions of respectful film broadcast on cable) has been with this unforgivable alteration. I had posted this lamentable fact on TCM's Message board after it was last telecast and it was abruptly gone the following day! All this controversy notwithstanding, PLEASE TRACK THE FILM DOWN and SEE it. It is a truly amazing little film. And as usual reading is cool, but post if you so desire, to this blog...I'D LOVE TO HEAR from people who have seen these films and appreciate them too. Or even if you hate them for whatever reasons.

Another favorite film that isn't generally well thought of....

GARDEN OF EVIL (1954, 20th Century Fox) Director: Henry Hatahway...(or as he was better known "The Toughest sonavabitch in Hollywood with the possible exception of Otto Preminger who LOVED TO SHOUT and belittle his actors).

This may strike most everyone as an odd choice to list which is why I picked it. It has a great cast; Gary Cooper, Richard Widmark, Cameron Mitchell, Hugh Marlowe and Rita Moreno years before fame in West Side Story....AND Susan Hayward for who the score may be as great a one as it is. It almost single handedly makes everything on the screen seem much more than it is. Of course it is the work of Bernard Herrmann. And although not generally known for Westerns (he DID do another a year later for Burt Lancaster's only directed film "THE KENTUCKIAN") this is not your normal everyday western anyway. Give it a look either on DVD or on Fox Movie Channel WIDESCREEN Cinemascope ONLY PLEASE. Milton Krasner's scope images are wonderful! See if this doesn't stay with you.Will post more later.

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antichrist: antichrist: Antichrist the movie: morphing the blo...: "antichrist: Antichrist the movie: morphing the blog to somethi...: 'All of this under the heading of ANTICHRIST: The MOVIE was intended as a..."

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antichrist: Antichrist the movie: morphing the blog to somethi...: "All of this under the heading of ANTICHRIST: The MOVIE was intended as an experiment in blogging to which I am totally new. If you want to r..."

Antichrist the movie: morphing the blog to something more inclusive...ALL FILM FANATICS UNITE!

All of this under the heading of ANTICHRIST: The MOVIE was intended as an experiment in blogging to which I am totally new. If you want to read about those films which have affected me most deeply throughout my life, whether by and single element (acting, direction, screewriting, cinematography, scoring, special effects, etc., READ ON! I promise a few things. Not to bore you silly with "pre-fab" film critics pretentions, discussions of esoteric and anyodyne directorial florishes which ultimately mean nothing, films so obscure that NO ONE beyond the cognoscenti has seen them, and worst of all well-meaning but ultimately UNREWARDING talk of enuii and the MTV stle of editing which infests todays' so called movies to the point of distraction from ALL else. It's like watching a visual SLEDGE HAMMER aimed at one's eyes without relief!
So let's start with an ad hoc favorite film list....NIGHT AND THE CITY (Jules Dassin's 1950 20th Century Fox) Classic film noir with Richard Widmark {in the performance of his career} Gene Tierney, Herbert Lom. Stanislaus Zbyszko, Googie Withers, Hugh Marlowe, Mike Mazurki. As EXPRESSIONISTIC AND AFFECTING as they come. 
SOME CAME RUNNING (Vincente Minnelli, 1958, MGM) Minnelli's flair for artisitc and decorative flourish is at it's most inspired peak here, as are truly underrated performances by Frank Sinatra, Dean Martin (what a shock THIS MUST HAVE BEEN AT THE IME), Shirley MacLaine, Martha Hyer, Arthur Kennedy (the last 3 all Oscar nominated). William Daniels superb cinematography (Sinatra's long association with him began here...witness the number of films thereafter he associate produced with Sinatra), Elmer Bernstein's grandly romantic and original score, and the fine script by Cy Howard. And so damned entertaining!
FORBIDDEN PLANET(Fred MacLeod Wilcox, 1956 MGM)...Yes I know...Old school to todays' cretinous MTV style film viewers but still an astoundingly inventive sci-fi twist on Shakespeare's THE TEMPEST with Leslie Nielsen at his most square-jawed, Anne Francis at her pre-HONEY WEST sexiest, Walter Pidgeon at his most charismatic and unknowingly evil villainous best. With Art Direction and Special Effects beyond anything imagined at the time, and of course the ELECTRONIC TONALITIES of LOUIS AND BEBE BARRON, very much in the style of Karlheinz Stochausen's CONTACTE. GROUND BREAKING and still influential. STAR TREK would NEVER have existed without it. 
FEMALE CONVICT SCORPION; JAILHOUSE 41. (1972, TOEI Studios, Shunya Ito)...The most visually inventive and stylish film from the Japanese at that time in the low-rent exploitation film genre. A simple revenge story becomes a tour de force through sheer inspired invention of direction, cinematography and performances. If you never see another Japanese film see this one to know where Quentin Tarantino's KILL BILL 1 and 2 were REALLY COMING FROM!

TOYS IN THE ATTIC (1963, Geroge Roy Hill, United Artists). The single best Lillian Hellman adaption on the screen woefully trounced at the time critically. The film is continually wonderful and packed with great performances and direction. Geraldine Page may overdue the "tics" that were part of her acting style all her life but she is just wonderful in this part of the sister who sercetly harbors feelings of incest for her brother (Dean Martin)....Dean Martin...what to say of him. He was a "limited actor"...Yeah RIGHT! That's what Some Came Running, Rio Bravo, Kiss Me Stupid and this film are just great...His roles in all of the aformenetioned films plus ROUGH NIGHT IN JERICHO (Arnold Laven's 1967, Universal western where he plays the nastiest role of his career) are just PERFECT performances. The Panavision cinematgraphy of Joseph Biroc (who
worked most often with director Robert Aldrich) is superb in it's use of the frame. And George Roy Hill's direction is commited and consistantly so far and away above his later films like BUTCH CASSIDY and THE STING that it doesn't look like the work of the same man. A stellar score from George Duning rounds out a great movie. And although attacked at the time for this it IS NOT WATERED DOWN! The incest angle is very explicit but subtle.

TOUCH OF EVIL (1958, Universal-International, Orson Welles) Entirely possible NOW that Welles' universally admired classic and ground breaking masterpiece CITIZEN KANE has overstayed it's welcome due to simple overexposure and imitation, and that this even MORE baroque masterpiece is more entertaining, more inventively directed, and more instinctively involving. Wonderful perfomances from Charlton Heston (way better than he was in his same year Oscar winning performance in Ben-Hur), Janet Leigh (so sexy and yet so unthreateningly so in this), Akim Tamiroff as a sleazy Mexican villain, Mercedes McCambridge as a lesbian druggie, and best of all Dennis Weaver as the precursor to Anthony Perkins in Hitchcock's PSYCHO, as a mentally "challenged" sex-obesssed but REpressed hotel "night man." Scary, frightening and hilarious often at the same time gotta wonder how he managed to play such straight roles for most of his career. With the boomshot from hell opening of cinematographer Russell Metty this is an astounding piece of work.

ONCE UPON A TIME IN THE WEST (1968, Paramount, Sergio Leone) What a cast (Charles Bronson, Jason Robards, Jr., Claudia Cardinale and Henry Fonda who was Leone's FAVORITE actor cast as the worst of all possible villains...hell he shoots kids!), what direction (Leone), cinematography (Tonino Delli Colli, in Techniscope), and possible the very APEX of achievement in film composition as Ennio Morricone (who is without a doubt the most prolific and inspired and  consistent composer in film history {more than 500 scores!!}. Score composed BEFORE the film was SHOT. Name me one of todays' corporate directorial a**-lickers who could do this and have a composer of this accomplishment take on the project. A financial flop here and subject to drastic recutting over the years due to this...(SEE Tim Lucas' Video Watchdog back issues for the complete story). For me it is just the finest Western ever made.

 Could go on with a few other titles and will before long. ALL POSTS ARE WELCOME HERE and SO are recommendations disagreements etc. My blog is your blog!

How explicit should this film have gotten?

One of the things which most puzzles me is how contemporary filmmakers feel always think they have to push the envelope...Whether this is from lack of subtlety, their own reflections of the audience as jaded filmgoers themselves, personal taste or lack thereof is something that always fascinates me. Some geniune nut cases like Cathraine Brelliat just are provacateurs...Some like the ubiquitous and prolific (USED to have talent but buried it) Jesus Franco were always dirty old men even when they were young! There is something more to be said for even the Japanese who although their films have incredible amounts of sex and violence, still would leave something to the imagination.

Witness a scene in the 50's film noir shadow classic THE BIG COMBO...Richard Conte is behind Jean Wallace. Both are fully clothed. He is seen murmuring as he proceeds to kiss her from behind and obviously continues to kiss her while proceeding downward from behind her! ANALINGUS is being implied certainly (the fact that the characters' name is MR. BROWN! also adds to this connotation. Yet what is shown is "harmless" and todays' moviegoers would want to see more. I don't think that Lars Von Trier has any idea about being subtle because he hasn't the talent to think that way. I also don't think that this movie could have been made without some form of explicitness. BUT that said do we need to see blatant female masturbation on the screen (outside of porn, can think of scenes in other films that showed the same thing without being so explicit). Some things ARE beyond the realm of acting...and are not so much meant to be censored as meant to be treated with some form of discretion and a talented filmmaker can circumvent anything. If in the staid 40's Preston Sturges could come out with a film as subversive as THE MIRACLE OF MORGAN'S CREEK as a COMEDY (and one of the most hilarious of them to boot) with the content of pre-marital sex, a main character with the name COCKENLOCKER, implied gang-banging, and other stuff like this without showing anything...then something is wrong with filmakers like Von Trier who is all SURFACE talent.   

antichrist the movie: antichrist misunderstood

antichrist the movie: antichrist misunderstood

The cinematography in Antichrist.

The film despite the ugliness of the subject matter and content is extremely well photographed and even beautiful...Am hard pressed to think of another film like this. It's such a curiosity that it kind of defies description. I remember when I was watching that it was as if I as seeing some kind of A CASE STUDY from a psychological basis that somehow got captured onto a very well planned and executed piece of cinema...It is possible to be engrossed the the technique and depressed by the content of the images. It's an cinematic anomaly for people who are strong enough to stay with it...Even in the end one may hate the film...Really would like to hear from others who have confronted this very cinematic but painful assault on their senses!  

RESPONSE TO JEFF G.

Not even sure if I like this film....I can't certainly recommend it to everyone and hesitate to do that. It is a very challenging film, it is extremely well made, violent, sexy (At least it has sexual content) and as I've said well acted...Reminded me in tone very much of Zulawski's film POSSESSION. It is extremely upsetting on a primal psychological level and there aren't many films that get under one's skin like this one does...I am not even saying this is in a POSITIVE way. There have been films in the past whose very content and manner are just so off-putting to most of the general moviegoing or watching public and that NEVER get to the point where this one does! Can think of many of these....John Byrum's INSERTS w/ Richard Dreifuss, Jessica Harper (of SUSPIRIA), Veronica Cartwright and Bob Hoskins, William Lustig's MANIAC w/ Joe Spinell, Ruggero Deodato's  CANNIBAL HOLOCAUST, Cathraine Brelliat's ANATOMY OF HELL, Gaspar Noe's IRREVERSABLE just to name a few of these gut and psyche challenges. Even Abel Ferrara's  BAD LIEUTENANT would seem to fall in this company. How many of these are worthwhile ventures or worthy of being seen (if one CAN stand them) again and again is up to the individual. I remember when you gave me your copy of Yukio Noda's extremely violent ZERO WOMAN and gave me a disclaimer that it was more than you could stand!

   To a certain extent all cinema is a CONFRONTATION and some films are more confrontational than others. We who love the horror film genre are USED to CONFRONTATIONAL CINEMA. That fear element is a confrontation of that fear. THAT some of us who love movies want that confrontation, well THIS film definitely DOES THAT IN SPADES! So let that be a warning to all those who can accurately gauge what they can stand to see, feel and experience on screen....The one area where I can honestly say I can see no reason for ANYONE to see the film is it's ENTERTAINMENT value! It isn't that kind of movie.