SCFZ

it's the indian godfather, the basis for john woo's a better tomorrow, a bollywood blockbuster and you people aren't even watching it



i'll just cut to the chase

rischka wrote: ↑Tue May 18, 2021 9:12 pm it's the indian godfather, the basis for john woo's a better tomorrow, a bollywood blockbuster

sorry! too busy watching garbo fantasise about getting whipped by nils asther (focus on 75 sally focus)

Samna (Jabbar Patel)
India Song (Marguerite Duras)
Hard Times (Walter Hill)
Mausam (Gulzar)
Chupke Chupke (Hrishikesh Mukherjee)

Deewar (Yash Chopra)
At Long Last Love (Peter Bogdanovich)
Prayanam (Bharathan)
Pastorale (Otar Ioseliani)
Wide Angle Saxon (Owen Land)

Crazy Mama (Jonathan Demme)
Sholay (Ramesh Sippy)
The Valiant Ones (King Hu)
Hester Street (Joan Micklin Silver)
Mili (Hrishikesh Mukherjee)

Benilde (Manoel de Oliveira)
Mandingo (Richard Fleischer)
Nazareno Cruz and the Wolf (Leonardo Favio)
Chomana Dudi (B.V. Karanth)
Columbo: Identity Crisis (Patrick McGoohan)

no blossoming cherry trees? i didnt watch it yet but was planning to.

my aging brain can no longer remember if i've seen cherry trees and himiko or just one of them and my brain is tricking me into thinking i've seen them both

That heavily-cadenced "Put the damn guns down!" line that Pacino chants somewhere around m.30 - m.40 would work nicely in a song about oh, say, police violence or something.Probably too high-profile to use without getting a clearance, though.

EDIT: In Dog Day Afternoon, that is.

My final list:
1. One Flew Over the Cuckoo's Nest (Milos Forman)
2. Barry Lyndon (Stanley Kubrick)
3. The Mirror (Andrei Tarkovsky)
4. That Most Important Thing: Love (Andrzej Zulawski)
5. Nashville (Robert Altman)
------------
6. Dersu Uzala (Akira Kurosava)
7. Dog Day Afternoon (Sidney Lumet)
8. Picnic at Hanging Rock (Peter Weir )
9. Jaws (Steven Spielberg)
10. Rollerball (Norman Jewison)
--------
11. Salò, or the 120 Days of Sodom ( Pier Paolo Pasolini)
12. The Passenger (Michelangelo Antonioni)
13. The Man Who Would Be King (John Huston)
14. The Promised Land (Andrzej Wajda)
15. Tommy (Ken Russell )
------------
16. Deep Red (Dario Argento)
17. Night Moves (Arthur Penn)
18. Three Days of the Condor (Sydney Pollack)
19. The Day of the Locust (John Schlesinger)
20. Chronicle of the Years of Fire (Mohammed Lakhdar-Hamina)
----------
Recommended films i still enjoy :
----------
21. L'Histoire d'Adele H (Francois Truffaut) -7.5/10
22. The Rocky Horror Picture Show ( Jim Sharman)-7.5/10-cult movie
23. Le Vieux Fusil (Robert Enrico) -7.5/10
24. The Travelling Players (Theo Angelopoulos)-7.5/10
25. Adoption (Márta Mészáros)-7.5/10
26. Special Section (Costa-Gavras)-7/10
27. The French Connection II (John Frankenheimer)-7/10
28. Les Innocents aux Mains Sales (Claude Chabrol)-7/10
29. Conduct Unbecoming (Michael Anderson) - 7/10
30. The Night Caller (Henri Verneuil) -6.5/10
---------------
31. Manila in the Claws of Light (Lino Brocka) -6.5/10
32. The Man in the Glass Booth ( Arthur Hiller) -6.5/10
33. The Lost Honor of Katharina Blum (Volker Schlöndorff, Margarethe von Trotta)-6.5/10
34. India Song ( Marguerite Duras) -6.5/10
35. Furtivos (Jose L. Borau) -6.5/10
36. Adieu poulet (Pierre Granier-Deferre)-6.5/10
37. Lisztomania (Ken Russell)-6.5/10
38. One Hundred Days after Childhood (Sergey Solovyov)-6.5/10
39. Flic Story (Jacques Duray)-6.5/10
40. Love and death (Woody Allen)-6.5/10
--------
41. Mother Küsters Goes to Heaven ( Rainer Werner Fassbinder)-6.5/10
42. Sunshine Boys (Herbert Ross)-6.5/10
43. Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles (Chantal Akerman)-6.5/10
44. Bite the bullet (Richard Brooks)-6.5/10
45. The Hindenburg (Robert Wise) -6.5/10
46. The Wind and the Lion (John Milius)-6.5/10
47. Last Stop on the Night Train (Aldo Lado)-6.5/10
48. Afonya (Georgiy Daneliya)-6.5/10
49. Overlord (Stuart Cooper)-6.5/10
50. Framed (Phil Karlson)-6.5/10
---------------
51. Love Among the Ruins (George Cukor)-6.5/10
52. Farewell, My Lovely (Dick Richards) -6/10-my guilty pleasure
53. The Killer elite (Sam Packinpah)-6/10
54. Shivers (David Cronenberg)-6/10
55. The Reincarnation of Peter Proud (J. Lee Thompson)-6/10
56. The Eiger Sanction (Clint Eastwood)-6/10
57. Shampoo (Hal Ashby)-6/10
58. Fantozzi (Luciano Salce)-6/10
59. The Drowning pool (Stuart Rosenberg)-6/10
60. Breakout (Tom Gries) -6/10

I watched Shaw Brothers' THE FLYING GUILLOTINE a few days ago, which was one of the least interesting and most boring Shaw Brothers-films that I've seen so far (I've seen some 50+ titles from their output). Not recommended.
This was also my first encounter with director Meng-hua Ho, and I sincerely hope that he has displayed more enthusiasm in some of his other films...

Columbo: Identity Crisis (Patrick McGoohan)

Wait just a minute, can we vote for TV episodes? This changes everything!!!

Nah, not really, but it's pretty cool.

enjoyed tavernier's let joy reign supreme. serra's liberté but less explicit with more philippe noiret (this is a fair balance)

but is there something wrong with my eyes why are all these 1975 films so murky and brown?

1976 according to imdb, DO NOT watch it for this poll, thank you.

Surveillance camera operator simulator, more rewatchable than Playtime. Please, watch this one, it's great.

https://www.youtube.com/watch?v=ZDem_3xr_3M

twodeadmagpies wrote: ↑Thu May 20, 2021 9:00 pm but is there something wrong with my eyes why are all these 1975 films so murky and brown?

depends on the movie & the transfer



but tavernier, for all his strengths, does seem to be a "tasteful browns" sort of guy

Searchlike wrote: ↑Wed May 19, 2021 11:58 pm Wait just a minute, can we vote for TV episodes? This changes everything!!!

i think it has always been a trust your judgement kind of thing. but this (like a dominik graf tatort or a joseph h. lewis rifleman episode) is a pretty clear example of where it works.

no one has watched the arrieta from 75? seems....unlikely...

is it the intrigues of sylvia couski? cause i don't remember it at all but i apparently liked it a lot when i watched it years ago

sally made me watch a movie with bestiality. it was funny tho!

Two fine Romanian films starring Mircea Diaconu this year - very different roles, but in both he's a fellow trying to maintain his integrity in a corrupt woild: FILIP THE KIND (Dan Pita) and RED APPLES (Alexandru Tatos):





The movies are both on Youtube in HD TV rips - subs can be found if'n you know where to look.

brian d wrote: ↑Sat May 22, 2021 2:25 am is it the intrigues of sylvia couski? cause i don't remember it at all but i apparently liked it a lot when i watched it years ago

yeah it has nothing but rave reviews on letterboxd but not one vote here yet, i will get to it

rischka wrote: ↑Sat May 22, 2021 3:28 am sally made me watch a movie with bestiality. it was funny tho!

uh....something something metaphor?? i love it, i don't care, it's making my final 20 (the shit effect brechtian beast serving the same relation to the senses as tourneur's demon and zulawski's sex octopus, except with fantastic music, i think...scarlatti?)

karl wrote: ↑Sat May 22, 2021 7:02 am The movies are both on Youtube in HD TV rips - subs can be found if'n you know where to look.

i.......don't know where to look???? (i can find red apples but if someone could either let me into the secret or put the subs for filip the kind in res i'd be grateful)

One Flew Over the Cuckoo’s Nest (Forman)
Kičma (Gilić)
Monty Python and the Holy Grail (Gilliam, Jones)
Salò o le 120 giornate di Sodoma (Pasolini)
Race with the Devil (Starrett)
----------------------------------------------------------------------------------
Maynila sa mga Kuko ng Liwanag (Brocka)
Nashville (Altman)
Dog Day Afternoon (Lumet)
Otobüs (Okan)
Ironiya sudby, ili S legkim parom! (Ryazanov)
----------------------------------------------------------------------------------
Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles (Akerman)
Death Race 2000 (Bartel)
Rollerball (Jewison)
Oj, nie mogę się zatrzymać! (Rybczynski)
Picnic at Hanging Rock (Weir)
----------------------------------------------------------------------------------
Shivers (Cronenberg)
Dokter pulder zaait papavers (Haanstra)
Barry Lyndon (Kubrick)
Dersu Uzala (Kurosawa)
Jaws (Spielberg)

U listed 24 films bro

Curtis, baby wrote: ↑Mon May 24, 2021 5:03 pm U listed 24 films bro

ok i corrected

Evridiki BA is blowing my mind. also i hope to watch dersu uzala before deadline

twodeadmagpies wrote: ↑Sat May 22, 2021 10:37 am

brian d wrote: ↑Sat May 22, 2021 2:25 am is it the intrigues of sylvia couski? cause i don't remember it at all but i apparently liked it a lot when i watched it years ago

except with fantastic music, i think...scarlatti?)

Yeah, Domenico Scarlatti, fantastic stuff indeed! And these specific interpretaions of Scarlatti are absolutely outstanding to my ears!!
Borowczyk usually isn't complimented enough for his mostly brilliant musical choices in his films, me thinks.

Huguette Dreyfus

Dreyfus began taking piano lessons at the age of four years. In 1946, she began working with renowned piano teacher Lazare Levy. In 1950, having learned that music historian Norbert Dufourcq was to give special classes on the music of Johann Sebastian Bach in recognition of the bicentennial of Bachs death at the Conservatoire de Paris, she entered into the class and remained there for four years. In addition to her piano class, she also studied the harpsichord at the Academie Chigiana de Siena under Ruggero Gerlin, who was a student of harpsichord-reviver Wanda Landowska.

In 1958, Dreyfus won the Geneva international harpsichord competition, becoming a prominent figure of ancient Renaissance and Baroque music and of the revival of the harpsichord in France. Her favorite instrument was a harpsichord from Johann Heinrich Hemsch, a German harpsichord maker. His best instruments were made in Paris in the 18th century and are often comparable to those made by Blanchet, another celebrated harpsichord maker.

Dreyfus taught at the Schola Cantorum, at the Sorbonne in Paris, and at the National Conservatory of Music and Dance of Lyon CNSMD de Lyon. She taught as well at the International Academy of Organ and old music of Saint-Maxima-la-Sainte-Baume, and at the Villecroze Academie de Musique.

Wrapping up on '75. I watched four features from 1975, all Hong Kong productions, though none alack approached the entertainment level of already-seen Supra Inframan. Unfortunately, I can't seem to find sufficient interest in post-60s cinema to do a deep dive into such years, something about the aesthetics clashing with my aesthetic values and the period of history feeling too recent and/or malaisey to capture my fancy. Oh well, there's more than enough movies from 1890s-1960s to fill a lifetime of cinephilia, and I do at least enjoy dipping into later decades when the year polls come up. Final ballot below, in two tiers.

The Super Inframan (Hua Shan)
Boo Hoo (Grant Munro)
Marco Polo (Chang Cheh)
The Flying Guillotine (Ho Meng-Hua)

Hedgehog in the Fog (Yuri Norstein)
Lumsden (Peter Raymont)
Xala (Ousmane Sembène)
Disciples of Shaolin (Chang Cheh)

Fire quiote in your sig karl

Evelyn Library P.I. wrote: ↑Tue May 25, 2021 12:15 pm period of history feeling too recent and/or malaisey

Something I'm seeing everywhere in 1975, all the Western filmmakers want to include forward-thinking political content, but (assuming it's more than mere limousine-liberal soft-soap), they're held back over and over by not having a vocabulary adequate to express their concerns. The way the terms of discourse have evolved since then leaves many things (Godard/Mieville are an exception) looking mighty cringey.

(imagine a gif here of Lily Tomlin getting her ass DOWN with a black gospel choir, cuz the file was too large and I couldn't post it.)

Something I'm seeing everywhere in 1975, all the Western filmmakers want to include forward-thinking political content, but (assuming it's more than mere limousine-liberal soft-soap), they're held back over and over by not having a vocabulary adequate to express their concerns. The way the terms of discourse have evolved since then leaves many things (Godard/Mieville are an exception) looking mighty cringey.

Not quite sure what you mean by not having the vocabulary, so I'm not challenging the assertion, but I find the seventies pretty fascinating for the malaiseyness, as the hope for the revolutionism of the sixties fades and uncertainty takes root in so many films. Some of the more commercial tropes of the late sixties that saw the "heroes" increasingly fail and more "unhappy endings" come as a subversion of the conventions of the past in the seventies become more despairing, the collapse of old values no longer being seen as promising something shiny and new, as in the eighties where either the re-embrace of more conservative values or the mockery of the same allowed for an easier sense of glee in filmmaking, in the mid-seventies the sense of where do we go from here seems the more potent feeling. The conservatism of the old commercial tropes no longer works, but nothing new has replaced it and the problems aren't getting better. Sure, the era has its cringey moments in how they viewed things in a variety of aspects, but that's always going to be the way the past feels when addressing concerns that still haven't been resolved for not fitting current values. In a way, the seventies feel a bit like the thirties, but with a bigger net of concerns to be addressed, things that were flat out ignored in the thirties no longer can be set aside, and it also feels a bit like a warm up to more recent years ( meaning the late oughts and early teens, I'm not up to date with the most recent years), where the same dynamic of distrust in the past but uncertainty about the future holds, but today there is much slicker filmmaking for how widely that door's been opened and addressing a past that now has to encompass the eighties, nineties, and beyond.

The burst of new creativity in the films of the fifties and sixties outside the main commercial centers like the US, also shows some of this, as the thrill of the new has faded and their youth movements are faced with addressing change directly rather than just demanding it abstractly. I just finished watching an excellent little film, Kicma, from Yugoslavia that hits this note dead on, where the story is about the citizens of an apartment complex having to deal with an overwhelming stench of death, a smell so overpowering that it leads to suicide and murders, which only increases the atmosphere of decay. The main character is shown as a supporter of the Yugoslav resistance against fascism during WWII and hinted as a revolutionary of the sixties, not expressed directly of course but suggested by a large photo alongside the one from WWII at the character's desk, but where there once was a revolutionary aspect of heroic sacrifice for the greater good, now there is just malaise and sacrifice to the stench of decay and death. The ideals of the past leading to this inverted sense of despair at the present. It's really good, but in that way where it doesn't exhort the viewer with a sense of purpose, just gives a sense of why that drive is missing, which can be a more potent a artistic moment than false hope, at least for me.

Even in more commercial films, or those that sort of feign commerciality, the lack of hold of older viable tropes is notable and its interesting to watch how they attempt to reimagine or work with the basic forms and still attempt to come up with something new that fits the mood of the day. Stuff like Race with the Devil, Night Moves, Rancho Deluxe, low budget movies like The Chinese Caper and even the some of the bigger hits like Shampoo, The Stepford Wives, Dog Day Afternoon, and The French Connection II all exhibit some of this, but I won't go into that since I've surely said enough already.

I watched Shinoda's Under the Cherry Blossoms the other day. Wonderfully kooky and sometimes eerie, thanks to its horror-movie soundtrack.

7/10

Finalist.

1. Manila in the Claws of Light (Lino Brocka)¨

Far from Home (Sohrab Shahid Saless)
That Most Important Thing: Love (Andrzej Żuławski)
Shivers (David Cronenberg)
Euridice BA 2037 (Nikos Nikolaidis)
The Garden That Tilts (Guy Gilles)
Lips of Blood (Jean Rollin)
The Passenger (Michelangelo Antonioni)
Wrong Move (Wim Wenders)
Cracked Actor (Alan Yentob)

Welfare (Frederick Wiseman)
Translucent Appearances (Barry Gerson)
Hedgehog in the Fog (Yuri Norstein)
Eadweard Muybridge, Zoopraxographer (Thom Andersen)
The Lost Honor of Katharina Blum (Volker Schlöndorff, Margarethe von Trotta)
Fear of Fear (Rainer Werner Fassbinder)
Three Days of the Condor (Sydney Pollack)
India Song (Marguerite Duras)
Barry Lyndon (Stanley Kubrick)
Mirror (Andrei Tarkovsky)