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RE: My Lazy Top 100 Rewatch Project

 
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RE: My Lazy Top 100 Rewatch Project - 12/8/2012 5:31:59 PM   
Rebel scum


Posts: 3483
Joined: 2/1/2006
Thing From Another World is fun, but I can think of a lot of 50s B-movies I prefer.

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Post #: 61
RE: My Lazy Top 100 Rewatch Project - 12/8/2012 5:36:25 PM   
elab49


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Joined: 1/10/2005
It's a genre and period I love, but I just think nothing else matches the snap this has from the talent involved.

Which ones would you peg as your favourites?


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quote:

ORIGINAL: Deviation] LIKE AMERICA'S SWEETHEARTS TOO. IT MADE ME LAUGH A LOT AND THOUGHT IT WAS WITTY. ALSO I FEEL SLOWLY DYING INSIDE. I KEEP AGREEING WITH ELAB.


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Post #: 62
RE: My Lazy Top 100 Rewatch Project - 12/8/2012 5:43:16 PM   
Rebel scum


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Them! is probably my fave, then The Day the Earth Stood Still, Invasion of the Body Snatchers and The Incredible Shrinking Man are all up there.

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"We are not safe! A dark menace rises to the east! Duckies go quack! Cows go moo! I want ice cream. Verily, will you two hobbits join my quest?"

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Post #: 63
RE: My Lazy Top 100 Rewatch Project - 12/8/2012 6:06:41 PM   
elab49


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Love the first three. For some reason I really didn't enjoy the last time I watched Incredible Shrinking Man. Not sure what went wrong there. 

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quote:

ORIGINAL: Deviation] LIKE AMERICA'S SWEETHEARTS TOO. IT MADE ME LAUGH A LOT AND THOUGHT IT WAS WITTY. ALSO I FEEL SLOWLY DYING INSIDE. I KEEP AGREEING WITH ELAB.


Annual Poll 2013 - All Lists Welcome

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Post #: 64
RE: My Lazy Top 100 Rewatch Project - 12/8/2012 6:20:18 PM   
Rebel scum


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Joined: 2/1/2006
That's odd, I think Incredible Shrinking Man has one of the best blends of serious human drama and silly sci-fi of any B-movie, 50s or no.

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"We are not safe! A dark menace rises to the east! Duckies go quack! Cows go moo! I want ice cream. Verily, will you two hobbits join my quest?"

(in reply to elab49)
Post #: 65
RE: My Lazy Top 100 Rewatch Project - 12/8/2012 6:23:01 PM   
elab49


Posts: 54597
Joined: 1/10/2005
It'd been quite a while since I'd last seen it and I'd been looking forward to it but , I don't know. A blip, maybe. 

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Lips Together and Blow - blogtasticness and Glasgow Film Festival GFF13!

quote:

ORIGINAL: Deviation] LIKE AMERICA'S SWEETHEARTS TOO. IT MADE ME LAUGH A LOT AND THOUGHT IT WAS WITTY. ALSO I FEEL SLOWLY DYING INSIDE. I KEEP AGREEING WITH ELAB.


Annual Poll 2013 - All Lists Welcome

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Post #: 66
RE: My Lazy Top 100 Rewatch Project - 12/8/2012 8:13:11 PM   
homersimpson_esq


Posts: 20118
Joined: 30/9/2005
From: Springfield
I kinda love the Incredible Shrinking Man if only for the absolutely mental ending. Comes out of nowhere and goes all philosophical.

Nice to see you acknowledging this as a lazy rewatch. I guess my challenge is to make sure you don't get ahead of me, although you're starting 100 films ahead of me already!


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Post #: 67
RE: My Lazy Top 100 Rewatch Project - 12/8/2012 8:15:17 PM   
elab49


Posts: 54597
Joined: 1/10/2005
At the end I'll probably think about what would still be in the 100 now and maybe which films would replace them. It just takes so much horrible pressure off if you're just accepting the order as it stands 

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Lips Together and Blow - blogtasticness and Glasgow Film Festival GFF13!

quote:

ORIGINAL: Deviation] LIKE AMERICA'S SWEETHEARTS TOO. IT MADE ME LAUGH A LOT AND THOUGHT IT WAS WITTY. ALSO I FEEL SLOWLY DYING INSIDE. I KEEP AGREEING WITH ELAB.


Annual Poll 2013 - All Lists Welcome

(in reply to homersimpson_esq)
Post #: 68
RE: My Lazy Top 100 Rewatch Project - 12/8/2012 8:35:38 PM   
elab49


Posts: 54597
Joined: 1/10/2005




Vengeance is Mine (Imamura, 1979)

It is quite hard to reconcile the types of film Imamura made. HIs work often incorporated the absurd with a sense of humour but where the earlier works were harsh and cynical the later ones – Kanzo Sensei, Warm Water Under a Red Bridge, e.g. - were mellower and more quirky while still asking questions about Japan and the Japanese.  

Based on the 78 day manhunt for a real-life serial killer (here renamed and played with some verve by the great Ken Ogata), we don't get an easy explanation for why Iwao does what he does. We do seem to get some hints - he comes from a christian family and witnesses the humiliation of his father (by a representative of the Emperor to an extent), and we get snapshots of a troubled and troublesome boy who is not satisfied with his lot in life, drifting into petty theft and fraud. And then, with some rather mad outbursts, into murder. It’s not his main aim though, more a by-product of his drifting and desire to get what he wants. The killings in this film are grotesque – visceral, difficult. Not one stab and away, but people fighting hard for their lives. Nothing is glib and easy or sensationalised but nasty and brutal. Similarly with his crimes – Iwao is also a conman and has done time for fraud and we follow one particularly clever scheme where he appropriates money brought for bail. Again, though, this is not presented as a thrilling escapade but as an unshowy record of events.

This isn't a straight chronological narrative. We move quickly between shots and scenes quite a lot in the first half of the film before we reach the Asano Inn, and a little less so afterwards with longer scenes. With trains taking him all over Japan the arrival at the inn is a long sequence of shots giving a sense of immediacy that Donald Ritchie refers to as a predecessor to the kind of shot to come in The Player and Goodfellas as Iwao moves through the station to the taxi, the inn and to his room.  The changes are clearer near the end with a couple of very unusual scenes – one where he heads off upstairs to kill someone but, downstairs, his mother comes down the hall and heads into one of the rooms where the rest of his family are – a different house and a different town. And, of course, the final absurd scene (final scenes are often odd) when his father and wife try to get rid of his remains but the ground rejects his bones after an odd and clearly important shot as their cable car ascends above a car carrying the religieuse on the way down.

I think part of this is a comment on old and new Japan – particularly in the last discussion with his father where it seems more like a discussion between the old world and the new, with the latter not being quite able to destroy the former. Where his father kowtowed and accepted the old order – of the Emperor and religion, denying himself his daughter-in-law - this new blood has no such impulse issues and takes what he wants no matter how destructive, most clearly seen in the final killings on screen. But his father has left that order now – life has changed. It's not clearcut, but Imamura always seems to be looking at how the Japanese actually live, dealing with nature clashing with civilisation or reality and fiction (playing with the documentary form in A Man Vanishes and the role of the filmmaker). Another key character is the innkeeper’s mother – a more interesting symbol of the older society, a murderess herself who, to an extent, understands Iwao's intent and forestalls it on more than one occasion. Perhaps a sign that things haven't changed as much as might be thought. But that last conversation always interested me and the final accusation that Iwao couldn't destroy his father as he only killed things he didn't hate.



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Lips Together and Blow - blogtasticness and Glasgow Film Festival GFF13!

quote:

ORIGINAL: Deviation] LIKE AMERICA'S SWEETHEARTS TOO. IT MADE ME LAUGH A LOT AND THOUGHT IT WAS WITTY. ALSO I FEEL SLOWLY DYING INSIDE. I KEEP AGREEING WITH ELAB.


Annual Poll 2013 - All Lists Welcome

(in reply to elab49)
Post #: 69
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