quote:

ORIGINAL: jamesbondguy

I thought Playtime was genuinely brilliant. The use of long-shot, I thought, was it's greatest achievement, allowing for a quite large density of jokes and visual gags (especially in that incredible restaurant scene which is by far the most impressive comedy set-piece I've ever seen) and a far more realistic look at the modern world- after all, we don't look at just one person's face all the time, and the idea of 'not being sure what we're supposed to be watching' is deliberate and very true-to-life and the ultimate end-point of Tati's method- the little amusing movements which everyone makes which are easy to miss but which exist and continue happening. If anything it allows for it to be rewatched time and time again. Tati, especially at this point in his career, was all about showing the metallic, the alienating, aspects of modern life, whether it be the uselessness of much conversation or the vulgarity of 'futuristic design'. The moments where everything collapses in on itself- say the restaurant falling to pieces or Hulot and the girls' journey on the busy streets of Paris at the end- are some of the most liberating in cinema, I'd say, if only for the near-intensity of the scenes in the office building. It's satire, I think, is deep and biting- the modern world is alien, cold, ordered and totalitarian, but there are still times, when you go outside or look around, when warmth emerges, and humanity even invades the sheen and clean. It's probably the most intellectual comedy film ever made (and the most challenging, definitely- even with all the pre-viewing reading I did I still found it difficult to navigate at first), but I'd also say it's among the best ever made, and certainly the most impressive. And it's funny.

quote:

ORIGINAL: Piles

I think I've said before that this thread is easily my favourite on the forum. It goes sporadically from surreal but hilarious banter to reviews to actual film discussion, often within the same post, and it's like a mini community in its own right. I rarely go out of the Lists and Top 10s subforum at all, to be honest, except to look at the two HOFs, and this thread's popularity and activity means there's always a few new posts everytime I log on.

quote:

ORIGINAL: Piles

quote:

ORIGINAL: jamesbondguy

I thought Playtime was genuinely brilliant. The use of long-shot, I thought, was it's greatest achievement, allowing for a quite large density of jokes and visual gags (especially in that incredible restaurant scene which is by far the most impressive comedy set-piece I've ever seen) and a far more realistic look at the modern world- after all, we don't look at just one person's face all the time, and the idea of 'not being sure what we're supposed to be watching' is deliberate and very true-to-life and the ultimate end-point of Tati's method- the little amusing movements which everyone makes which are easy to miss but which exist and continue happening. If anything it allows for it to be rewatched time and time again. Tati, especially at this point in his career, was all about showing the metallic, the alienating, aspects of modern life, whether it be the uselessness of much conversation or the vulgarity of 'futuristic design'. The moments where everything collapses in on itself- say the restaurant falling to pieces or Hulot and the girls' journey on the busy streets of Paris at the end- are some of the most liberating in cinema, I'd say, if only for the near-intensity of the scenes in the office building. It's satire, I think, is deep and biting- the modern world is alien, cold, ordered and totalitarian, but there are still times, when you go outside or look around, when warmth emerges, and humanity even invades the sheen and clean. It's probably the most intellectual comedy film ever made (and the most challenging, definitely- even with all the pre-viewing reading I did I still found it difficult to navigate at first), but I'd also say it's among the best ever made, and certainly the most impressive. And it's funny.

I think I remember M Hulot's Holiday being in your short-lived top 10 French films thread, and I completely agree that it's a great film. I haven't seen Playtime yet, but that and Jour de Fete are both superb, and - to some extent - discussed similar themes that you speak about here. Parade was less succesful, I thought, but as a non-pretentious evening's entertainment it was quite fun.

These conflicting opinions mean I'll be watching Playtime in the next week or so ....

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Piles

quote:

ORIGINAL: jamesbondguy

I thought Playtime was genuinely brilliant. The use of long-shot, I thought, was it's greatest achievement, allowing for a quite large density of jokes and visual gags (especially in that incredible restaurant scene which is by far the most impressive comedy set-piece I've ever seen) and a far more realistic look at the modern world- after all, we don't look at just one person's face all the time, and the idea of 'not being sure what we're supposed to be watching' is deliberate and very true-to-life and the ultimate end-point of Tati's method- the little amusing movements which everyone makes which are easy to miss but which exist and continue happening. If anything it allows for it to be rewatched time and time again. Tati, especially at this point in his career, was all about showing the metallic, the alienating, aspects of modern life, whether it be the uselessness of much conversation or the vulgarity of 'futuristic design'. The moments where everything collapses in on itself- say the restaurant falling to pieces or Hulot and the girls' journey on the busy streets of Paris at the end- are some of the most liberating in cinema, I'd say, if only for the near-intensity of the scenes in the office building. It's satire, I think, is deep and biting- the modern world is alien, cold, ordered and totalitarian, but there are still times, when you go outside or look around, when warmth emerges, and humanity even invades the sheen and clean. It's probably the most intellectual comedy film ever made (and the most challenging, definitely- even with all the pre-viewing reading I did I still found it difficult to navigate at first), but I'd also say it's among the best ever made, and certainly the most impressive. And it's funny.

I think I remember M Hulot's Holiday being in your short-lived top 10 French films thread, and I completely agree that it's a great film. I haven't seen Playtime yet, but that and Jour de Fete are both superb, and - to some extent - discussed similar themes that you speak about here. Parade was less succesful, I thought, but as a non-pretentious evening's entertainment it was quite fun.

These conflicting opinions mean I'll be watching Playtime in the next week or so ....

I saw it at the cinema, bitch. Beat that.

Edit: Also, I saw Jour De Fete and Mr Hulot's Holiday in a cinema double-bill a couple of years ago. Beat that one as well!

quote:

ORIGINAL: Piles

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Piles

quote:

ORIGINAL: jamesbondguy

I thought Playtime was genuinely brilliant. The use of long-shot, I thought, was it's greatest achievement, allowing for a quite large density of jokes and visual gags (especially in that incredible restaurant scene which is by far the most impressive comedy set-piece I've ever seen) and a far more realistic look at the modern world- after all, we don't look at just one person's face all the time, and the idea of 'not being sure what we're supposed to be watching' is deliberate and very true-to-life and the ultimate end-point of Tati's method- the little amusing movements which everyone makes which are easy to miss but which exist and continue happening. If anything it allows for it to be rewatched time and time again. Tati, especially at this point in his career, was all about showing the metallic, the alienating, aspects of modern life, whether it be the uselessness of much conversation or the vulgarity of 'futuristic design'. The moments where everything collapses in on itself- say the restaurant falling to pieces or Hulot and the girls' journey on the busy streets of Paris at the end- are some of the most liberating in cinema, I'd say, if only for the near-intensity of the scenes in the office building. It's satire, I think, is deep and biting- the modern world is alien, cold, ordered and totalitarian, but there are still times, when you go outside or look around, when warmth emerges, and humanity even invades the sheen and clean. It's probably the most intellectual comedy film ever made (and the most challenging, definitely- even with all the pre-viewing reading I did I still found it difficult to navigate at first), but I'd also say it's among the best ever made, and certainly the most impressive. And it's funny.

I think I remember M Hulot's Holiday being in your short-lived top 10 French films thread, and I completely agree that it's a great film. I haven't seen Playtime yet, but that and Jour de Fete are both superb, and - to some extent - discussed similar themes that you speak about here. Parade was less succesful, I thought, but as a non-pretentious evening's entertainment it was quite fun.

These conflicting opinions mean I'll be watching Playtime in the next week or so ....

I saw it at the cinema, bitch. Beat that.

Edit: Also, I saw Jour De Fete and Mr Hulot's Holiday in a cinema double-bill a couple of years ago. Beat that one as well!

I'm seeing "Breathless" at the cinema (well, the film studies lecture theatre which doubles as a cinema) this friday... does that compare?

quote:

ORIGINAL: jamesbondguy

I thought Playtime was genuinely brilliant. The use of long-shot, I thought, was it's greatest achievement, allowing for a quite large density of jokes and visual gags (especially in that incredible restaurant scene which is by far the most impressive comedy set-piece I've ever seen) and a far more realistic look at the modern world- after all, we don't look at just one person's face all the time, and the idea of 'not being sure what we're supposed to be watching' is deliberate and very true-to-life and the ultimate end-point of Tati's method- the little amusing movements which everyone makes which are easy to miss but which exist and continue happening. If anything it allows for it to be rewatched time and time again. Tati, especially at this point in his career, was all about showing the metallic, the alienating, aspects of modern life, whether it be the uselessness of much conversation or the vulgarity of 'futuristic design'. The moments where everything collapses in on itself- say the restaurant falling to pieces or Hulot and the girls' journey on the busy streets of Paris at the end- are some of the most liberating in cinema, I'd say, if only for the near-intensity of the scenes in the office building. It's satire, I think, is deep and biting- the modern world is alien, cold, ordered and totalitarian, but there are still times, when you go outside or look around, when warmth emerges, and humanity even invades the sheen and clean. It's probably the most intellectual comedy film ever made (and the most challenging, definitely- even with all the pre-viewing reading I did I still found it difficult to navigate at first), but I'd also say it's among the best ever made, and certainly the most impressive. And it's funny.

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Piles

I think I've said before that this thread is easily my favourite on the forum. It goes sporadically from surreal but hilarious banter to reviews to actual film discussion, often within the same post, and it's like a mini community in its own right. I rarely go out of the Lists and Top 10s subforum at all, to be honest, except to look at the two HOFs, and this thread's popularity and activity means there's always a few new posts everytime I log on.

But, Piles, the Unpopular Opinions Thread?! How can you not read such scintillating debate and discussion?!

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Piles
lots of writing

I saw a restored Pierrot Le Fou at the cinema. So no.

quote:

ORIGINAL: rick_7

quote:

ORIGINAL: jamesbondguy

I thought Playtime was genuinely brilliant. The use of long-shot, I thought, was it's greatest achievement, allowing for a quite large density of jokes and visual gags (especially in that incredible restaurant scene which is by far the most impressive comedy set-piece I've ever seen) and a far more realistic look at the modern world- after all, we don't look at just one person's face all the time, and the idea of 'not being sure what we're supposed to be watching' is deliberate and very true-to-life and the ultimate end-point of Tati's method- the little amusing movements which everyone makes which are easy to miss but which exist and continue happening. If anything it allows for it to be rewatched time and time again. Tati, especially at this point in his career, was all about showing the metallic, the alienating, aspects of modern life, whether it be the uselessness of much conversation or the vulgarity of 'futuristic design'. The moments where everything collapses in on itself- say the restaurant falling to pieces or Hulot and the girls' journey on the busy streets of Paris at the end- are some of the most liberating in cinema, I'd say, if only for the near-intensity of the scenes in the office building. It's satire, I think, is deep and biting- the modern world is alien, cold, ordered and totalitarian, but there are still times, when you go outside or look around, when warmth emerges, and humanity even invades the sheen and clean. It's probably the most intellectual comedy film ever made (and the most challenging, definitely- even with all the pre-viewing reading I did I still found it difficult to navigate at first), but I'd also say it's among the best ever made, and certainly the most impressive. And it's funny.

I'm afraid I didn't get any sense of what Tati was trying to do; I was just bored rigid. That's a very readable, well-argued post, but I find it hard to reconcile the film you're describing with the one I just watched. There was nothing to grasp, or to engage with, just an endless stream of unremarkable incident. Perhaps seeing it on a big screen would help - but I'm not sure I'll ever be brave enough to find out. I was expecting to be astounded, and while I was, it wasn't in the way I'd hoped.
 
Piles - I agree, it's the first place I head to whenever I log on. There's always a wealth of fascinating reviews (many of them by your good self).

quote:

ORIGINAL: jamesbondguy

It's not certainly not for everyone, but I'm considering sending your review to Jonathan Rosenbaum just so I can watch him destroy you.

quote:

ORIGINAL: rick_7

quote:

ORIGINAL: jamesbondguy

It's not certainly not for everyone, but I'm considering sending your review to Jonathan Rosenbaum just so I can watch him destroy you.

I could take him. He eats craob penis.

quote:

ORIGINAL: Piles

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Piles
lots of writing

I saw a restored Pierrot Le Fou at the cinema. So no.

. That's just not fair.

quote:

ORIGINAL: jamesbondguy

It's not certainly not for everyone, but I'm considering sending your review to Jonathan Rosenbaum just so I can watch him destroy you. It's his favourite film, apparently, and when I went to see it at the cinema they gave out photocopied pages of his review.

Also, an old man in a wheelchair fell asleep after ten minutes.

I was trying to find my Terence Davies article online the other day and found they'd quoted one of my reviews in the literature for Keswick Film Festival. Score.

quote:

ORIGINAL: rick_7

quote:

ORIGINAL: jamesbondguy

It's not certainly not for everyone, but I'm considering sending your review to Jonathan Rosenbaum just so I can watch him destroy you. It's his favourite film, apparently, and when I went to see it at the cinema they gave out photocopied pages of his review.

Also, an old man in a wheelchair fell asleep after ten minutes.

Haha. I can empathise.

quote:


I was trying to find my Terence Davies article online the other day and found they'd quoted one of my reviews in the literature for Keswick Film Festival. Score.

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: rick_7

quote:

ORIGINAL: jamesbondguy

It's not certainly not for everyone, but I'm considering sending your review to Jonathan Rosenbaum just so I can watch him destroy you. It's his favourite film, apparently, and when I went to see it at the cinema they gave out photocopied pages of his review.

Also, an old man in a wheelchair fell asleep after ten minutes.

Haha. I can empathise.

What made it more amusing is that, after he woke up after about an hour, he asked his wife, really loudly, what he had missed. Her reply: "Nothing, really." Tati was probably turning in his grave.

quote:

quote:


I was trying to find my Terence Davies article online the other day and found they'd quoted one of my reviews in the literature for Keswick Film Festival. Score.

Congratulations. But I have to wonder if there's a single city in the world that doesn't have a film festival nowadays.

quote:

ORIGINAL: Epiphany Demon

I am to blame

quote:

ORIGINAL: rick_7

quote:

ORIGINAL: Epiphany Demon

I am to blame

Was there any context?

quote:

ORIGINAL: Epiphany Demon

quote:

ORIGINAL: rick_7

quote:

ORIGINAL: Epiphany Demon

I am to blame

Was there any context?

If rum counts as context, then yes.

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Epiphany Demon

quote:

ORIGINAL: rick_7

quote:

ORIGINAL: Epiphany Demon

I am to blame

Was there any context?

If rum counts as context, then yes.

And I still haven't gone go-karting with you as you promised. So disappointing.

quote:

ORIGINAL: Gram123

The 2009 thread reached a respectable 282 pages, and when 8th Feb came along, we were onto page 22.

This year, we're pages 77 in already! At this rate the thread will reach something near 720 pages by year's end.

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

quote:

ORIGINAL: Miles Messervy 007

17. The Snowman (1982, Jackson) {26 mins}
Yeah, first watch, don't look at me like that. It's certainly good though slightly disappointing. I don't like the way the kid is animated and the penguins thing pissed the pedant in me off, but it's certainly a good idea and very touching. Manages to work without any dialogue through good scenery animation and music. 8

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

quote:

ORIGINAL: Dpp1978
There are certainly times where calling a person a cunt is not only reasonable, it is a gross understatement.

quote:


ORIGINAL: elab49
I really wish I could go down to see Privates