Detour (1945)

This is the sort of movie that you would never think belongs on a blog like this.

The negatives are flipped, the fog machines corny.  The actors are transparent, their characters cliched.  The lighting seems artificial, the plot seems incomplete.  The whole thing is cheap in its production , even cheap in its quasi-Freudian metaphors.  It’s the sort of movie that a high-schooler may come up with in about a week. Continue reading

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Fantasy Academy Awards Ceremony

Okay, so this is a little indulgent.  But I can’t help but think that all this Academy Award talk in which I have been engaging can be diverting in this quest from casual movie watching to competency in film.  What I would like to do is bring back the discussion from contemporary films and set our sights backwards again, towards the vast world of cinema that encompasses over a hundred years of art and culture.  So, I’ve decided to go back and set up my own hypothetical awards ceremony, complete with honorary awards and imaginary glamor.  Imagine a red carpet with Miley Cyrus in her fishnet leggings and Audrey Hepburn in her black Givenchy dress; Jared Leto’s long hair followed by Humphrey Bogart in unbelted wool jackets.  The notion is enchanting, sure.  Those basketball or football video games that I like to play often have a “fantasy draft” setting or a pick-up game kind of setting were you can do the most absurd things: you can have LeBron James play against Oscar Robertson, or have the Detroit duo of Isaiah Thomas and Bill Laimbeer take on Michael Jordan and Dennis Rodman.  Why not do something like that for movies?  I consider this “fantasy academy” a well-earned journey into the indulgent imagination of my own self.  It is time to let all those worlds, the world of John Huston, the world of Federico Fellini, the world of Robert Bresson, the world of Martin Scorsese, and the world of Christopher Nolan, all come together in the ultimate exposition of glamor, art, competition, and class.  And considering the fact that my lists of the greatest directors and movies and acting performances are buried so deep in this blog, I feel like a resurrection of these lists in some new form is not an altogether bad idea, especially considering the fact that I just posted a page which, in essence, restated all the principles and theories that this blog has laid out thus far.  As long as I’m in the “reviewing” mode, I might as well review those earlier lists by having a little fun; having my own awards ceremony in my head.

The nominees are listed in alphabetical order.  There are 10 nominees for each category.  The winners are in bold.  I have hyperlinked all but one of the nominees to clips online (most of which can be found on YouTube) for your viewing pleasure. Continue reading

Modern Times (1936)

modern times

My blog, at least on the surface, is directed by reason and ruled by rationale.  While I sometimes stray from the formula (see my occasional dabblings in annual Academy Awards season, etc.), I attempt to methodically determine what is the next best thing to post in conjunction with what has already been posted and what I would like to post in the near- and distant-future.  In this regard, the option for my next film review is obvious: I’ve done three Hitchcock films and three Coppola films (Vertigo, Notorious, Psycho, The Godfather, Apocalypse Now, and The Conversation) and only two silent films (The General and Battleship Potemkin).  It is time, therefore, for a silent film. Continue reading

Notorious (1946)

index

In light of my most recent posts listing the best actors and acting performances in film, alongside a two-part page series on the analysis of acting, it is only timely to kill two birds with one stone.  Bird number one: write my next review–which is supposed to be on a Hitchcock film as the framework for my blog requires.  Bird number two: write a supplementary article on a superb acting performance within the context of a single film.  Stone number one and only: Notorious. Continue reading

The Godfather (1972)

The Godfather

There is a somewhat calculated way that I go about selecting which films I want to review first, and I do it in accordance with what my imaginary audience would deem most useful.  If my true goal is to highlight the progression from casual to competent–and I believe that I have made that expressly clear–it would not be wise of me to jump into a review of L’Avventura or The Discreet Charm of the Bourgeoisie. What I have found to be the best springboards for development as an active movie-watcher are any Hitchcock film, most Coppola films, and, surprisingly, silent movies.  I hope to use these three sub-groups in my preliminary reviews. Continue reading

The Greatest Directors of All Time

Please read this list in conjunction with my chapter on Auteur Theory.  The list attempts to reconcile a given director’s overall oeuvre, cinematic contributions (to theory and culture), and my personal taste.  In some cases, I considered popularity; there is something to say about a directors ability to garner an audience.  You will see that a good number of usual favorites do not make the cut in this list.  That is because a lot of these, unfortunately, don’t live up to my standard. Continue reading