Of course!Epistemophobia wrote:I have.
Do you remember your impression at all? I know you said you needed to revisit it.
And, hey, I have two more Bartas to watch soon (Freedom and Seven Invisible Men). Any good?
I know what you mean here, as I experienced this the first time I watched it.Bandy Greensacks wrote:I suppose much of my issue with Mother and Son is that, in the end, it simply didn't provide me with new insight or perspective on maternal bonds or spirituality. It feels outside of time, outside of place, outside of my own experience with motherly affection, and so it was very difficult to connect to. It's all so simple, so reliant on small movements and subtle gestures, and if you fail to sense any weight behind them, fail to draw from your perception of its reality, it'll float by and you'll be left with only beautifully constructed but often repetitive painterly images.
That doesn't seem like much of an explanation, but it's the best I can do right now
But then I watched it again and 'unparalleled masterpiece' etc.Bandy Greensacks wrote:Mother and Son would be a good museum installation, but it's not a good film. It's barely even cinematic.
Yeah, I don't doubt that it improves with re-watches. I always wonder whether I may have watched films that others love at exactly the wrong moment in my life, or under the wrong circumstances, or in the wrong format -- as in, maybe a theater experience would change everything, or a Blu rip on a larger TV with a surround sound system, in a darkened room.LEAVES wrote:I know what you mean here, as I experienced this the first time I watched it.
But then I watched it again and 'unparalleled masterpiece' etc.
I would hate to inflict it on a museum crowd, though, as it is difficult to understand such unparalleled closeness in a public space among strangers. Best viewed on alone on a cold, cloudy Sunday winter morning after a rested, peaceful Saturday. That's the best time to feel the full force of Mother and Son's complementary elements of youthful vitality and aged peacefulness.
Or any other time when you feel like it.
Oh! Even better!KFV wrote:cool thanks, the library actually didn't have moloch (despite the system saying it was on the shelf) but while searching i found mother and son (despite the system saying it was lost). typical library, all's well that ends well
The Green Ray is the third. I've enjoyed all three, but this one was the most fun.so glad you liked claire's knee! it's basically the epitome of rohmer. besides it and maud's, which have you seen?
It's absolutely one of her best films - although it lacks the warmth of most of her other works, and is generally, considerably more formally challenging than most of her work.Bandy Greensacks wrote:Good writeup. I'm really going to have to revisit that at some point, because it's the Denis that did the least for me.
I've seen it something like four times now, and I'm still baffled. Notice I didn't mention the plot.charulata wrote:I found it rather baffling on first watch but compelling nevertheless.
Best of the internet, right there.and thanks also for the link to that earlier discussion.
Yeah, I owe this one to you. I'd never seen his top 10 list until you started going through it in your thread.hirtho wrote:such a great movie! i can't recommend Fassbinder's whole top 10 enough, even rewatching what you've seen plays differently seeing it through Fassbinder's eyes
Oh, it is. So much crazy energy! And I couldn't stop taking screencaps.charulata wrote:I really need to watch that Visconti. Sounds soo great.
Haha. I didn't need a NASA engineer to figure that out.B-Side wrote:This was proven by NASA engineers in the 1970s.
Oh, definitely. It's very funny. From what I've seen, Rohmer is always gently (sometimes not so gently) poking fun at his characters, isn't he? Maybe I didn't mention it because his characters are ridiculous the way my real life is, the way I am. You don't feel wet underwater, etc.MrCarmady wrote:Given that it's you, I'm surprised you didn't comment on how funny it is (Jerome's rationalisations, and Fabrice Luchini's cameo in particular), though I didn't see it as such the first time.
Have you seen The Damned? What did you think? How about that long, crazy orgy in the middle? Putting the "party" in Nazi Party.Trip wrote:I grabbed all of those a few years ago for that list and never watched them. Seen 7.
I've seen these. Salò is the best of them.Shieldmaiden wrote:And, because I love lists (and Fassbinder), here's the list in question:
4 Flamingo Road (Michael Curtiz)
5 Salò, Or The 120 Days Of Sodom (Pier Paolo Pasolini)
6 Gentlemen Prefer Blondes (Howard Hawks)
7 Dishonored (Josef von Sternberg)
8 The Night of the Hunter (Charles Laughton)
9 Johnny Guitar (Nicholas Ray)
Guess what, I don't remember it!Shieldmaiden wrote:Have you seen The Damned? What did you think? How about that long, crazy orgy in the middle? Putting the "party" in Nazi Party.
His 10 favorites of his own films are pretty fascinating, too. It makes me so happy to see Despair at number 3!
Yes. Although the serving wenches were raped, too, I believe. Ludicrous is a good word. Scathing is another. It's a very strange film, with a very odd sense of humor. For example, as the family sits around the dinner table, someone says, "Even if this is not a night like all the others."Trip wrote:That Nazi party...vaguely recall it bordering on a gay orgy, or being one quite explicitly. I should revisit it.
Oh, interesting! I always ignored it because I'm a horrible person and because nobody ever mentions it in discussions about Visconti. Which obviously means nothing, but there you go. That was my reason.Shieldmaiden wrote:
Fassbinder's favorite film, The Damned, sat on my coffee table for weeks because I couldn't get past its boring-sounding plot summary of family saga and political intrigue. (I know better, yet still I do this. So frustrating!) Of course, I was ridiculously wrong. "Political intrigue" is a hilarious euphemism for the way these people take economic and personal advantage of the chaos surrounding the Nazi rise to power. This is surely the most dysfunctional family ever put to film! Sibling rivalries and daddy issues are almost lost among the furious backstabbing, blackmail, incest, and murder. This was my second Visconti, after Senso, and it's even more compulsively watchable than that one. I don't think I looked at the clock once, though it's more than two and half hours long. Dirk Bogarde is perfect as the comically ambitious Frederick Bruckmann, but he's actually upstaged by a manic Helmut Berger as Martin von Essenbeck, a character of a thousand faces, believable and preposterous at once. Like the Essenbeck business empire, the film is a fantastic structure of dissonant layers – the melodrama constantly undercut by over-the-top machinations (that make even Fassbinder look understated), the decadent tableaux calling to mind gorgeous Hollywood epics of a previous decade.More screencaps here.
Well, it's better than my reason, which was "Politics? Ew!"Beau wrote:Oh, interesting! I always ignored it because I'm a horrible person and because nobody ever mentions it in discussions about Visconti. Which obviously means nothing, but there you go. That was my reason.
Aw, I was looking forward to that one. I read something that made it sound more like Berlin Alexanderplatz than Merchant. Tragicomic, I think he said.LEAVES wrote:I've only seen the obscure Russian working class story a la The Merchant of Four Seasons. It's what you think it is, basically.
He has two Joan Crawford movies on there!dreiser wrote:Flamingo Road is a pretty good Joan Crawford movie.
Stranger than Paradise might be my favorite from him and I just told Maiden that a while ago. But yeah, love those two.Fist wrote:Give Stranger Than Paradise and Mystery Train a shot, Maiden!