Movies: Last Movie You Watched and Rate it | {Insert Appropriate Seasonal Greeting Here}

[Chili]

Man On The Moon (1999) - 7/10

I think it's an average film but a strong performance. Jim Carey's performance of Kaufman through every scene whether it be funny or cringey or pathetic gets stronger and stronger as this film carries on. But the film is really typical disjointed 90s biography-fare. Also how did Courtney Love get cast in 3 separate biopics as the....nvm.

Was trying to think of biopics of comedians/comediennes. The only one I could think of was Lenny. Don`t remember Lenny Bruce but thought that was a very good film with Dustin Hoffman. Trying to imagine anyone playing legends like Jackie Gleason/Carol Burnett/Robin Williams/Richard Pryor/George Carlin et al. Wasn`t much of a fan of Andy Kaufman, just found it eerie how well Jim Carrey captured his act and personality in that film

 

[The Crypto Guy]

M3gan - 8.5/10

Creepy and entertaining movie. Looking forward to the next one.

 

[ItsFineImFine]

Was trying to think of biopics of comedians/comediennes. The only one I could think of was Lenny. Don`t remember Lenny Bruce but thought that was a very good film with Dustin Hoffman. Trying to imagine anyone playing legends like Jackie Gleason/Carol Burnett/Robin Williams/Richard Pryor/George Carlin et al. Wasn`t much of a fan of Andy Kaufman, just found it eerie how well Jim Carrey captured his act and personality in that film

Jim Carey probably should've won an Oscar for that performance, not sure if he was nominated or not.

Andy Kaufman doesn't seem funny at all he just seems like someone who rode the wave of 15 minutes of fame by being outrageous but was able to do it longer than most.

 

[OzzyFan]

Shane (1953)
3.20 out of 4stars

“A weary gunfighter in 1880s Wyoming begins to envision a quieter life after befriending a homestead family with a young son who idolizes him, but a smoldering range war creates tension.”
A great western that thrives on its relationship dynamics complexity and Alan Ladd’s internal battles. The biggest and most openly dramatic story going on is the fight of individual landowning homesteaders versus a “big business” cattle baron over land and rights, and told very well overall, but the heart is Ladd’s relationship with each individual family member as he hides his past and hopes for a stabler future. Ladd plays the mysterious nomadic stranger, whose untold past of a skilled gunslinger/murderer haunts him as he tries to settle down and leave that world behind. Ladd’s relationship with the father (Joe) is the most natural, both are 2 hardnosed manly men that fear nothing and no one while looking for someone to attach to, Ladd for settling down and Joe for another farmhand. But there is a growing displacement feeling growing throughout. Ladd and the young son (Joey) are an idol and idolizer, or arguably even father and son dynamic, whose actions and bonding ever-influences Joey. Teachings of both idealisms and truths ensue as the boy’s future aspects evolve. Ladd’s relationship with the wife (Marian) is so whisper quiet but noticeable, it makes you wonder if anything is happening off camera. So much between Ladd and Marian is told in glances, indirect comments, and marital ‘squabbles’, that it’s marvelous how much tension can exist in such a disengaged relationship. There is a lot going on in this film. Themes of honor, pride, machismo, guns, and a bit of nature vs nurture are seen throughout. Visually the cinematography and framing is great, including some beautiful backdrops of frontier mountains, pastures, valleys, and even ordinary things.

Gun Crazy (1950)
3.15 out of 4stars

“When gun-obsessed pacifist Bart witnesses expert shooter Annie demonstrate her firearm prowess at a carnival one night, it's love at first sight. A crime spree begins when Annie’s true self gets the best of her.”
A great noir about a pre-Bonnie and Clyde hot and heavy gun loving couple, as well as an influencer for French New-Wave apparently. Fast paced and filled with stylish thrills and tension, with many thanks to well orchestrated chase/hunt/escape scenes and quality acting turns from Dall and Cummins. Obsession and guns are the foremost topics at hand here. Obsession, while never good, is multiplicably worse when tied to things like greed and lust (and guns). Guns imbue power and exhilaration, but they can also facilitate crime and have the potential for murder. The combination can be disastrous. As seen within the film, obsession can be blinding, distorting one's moral compass, and while one is still responsible for one’s own actions, lustfully tie you to a darkly corrupt soul. I’d also suggest the power of love and/or lust here also, as I do believe both fight their true natures and compromise to different extents because of their relationship with each other.

The Man From Earth (2007)
3.10 out of 4stars

“An impromptu goodbye party for 40 something year old Professor John Oldman becomes a mysterious interrogation after the retiring scholar reveals to his colleagues that he is 14,000 years old.”
A great sci-fi drama that is a low budget dialogue driven success with its excellent idea and solid execution. The set-up of the 14,000 year old man being a teacher and creating a dialogue with 5 (6 in total as the film progresses) different teachers of 5-6 different fields is clever. An interesting interrogation occurs as well as discussions on his life and relevant topics. Not getting into specifics to ruin anything, but I felt it dabbled too much on religious topics with some things you may have heard on Ancient Aliens (and no, our protagonist is never declared an alien), even if the talk is historically and opinionatedly well-intentioned. That part of the film aside, it’s a time worthy watch.

 

[KallioWeHardlyKnewYe]

Shane (1953)
3.20 out of 4stars

“A weary gunfighter in 1880s Wyoming begins to envision a quieter life after befriending a homestead family with a young son who idolizes him, but a smoldering range war creates tension.”
A great western that thrives on its relationship dynamics complexity and Alan Ladd’s internal battles. The biggest and most openly dramatic story going on is the fight of individual landowning homesteaders versus a “big business” cattle baron over land and rights, and told very well overall, but the heart is Ladd’s relationship with each individual family member as he hides his past and hopes for a stabler future. Ladd plays the mysterious nomadic stranger, whose untold past of a skilled gunslinger/murderer haunts him as he tries to settle down and leave that world behind. Ladd’s relationship with the father (Joe) is the most natural, both are 2 hardnosed manly men that fear nothing and no one while looking for someone to attach to, Ladd for settling down and Joe for another farmhand. But there is a growing displacement feeling growing throughout. Ladd and the young son (Joey) are an idol and idolizer, or arguably even father and son dynamic, whose actions and bonding ever-influences Joey. Teachings of both idealisms and truths ensue as the boy’s future aspects evolve. Ladd’s relationship with the wife (Marian) is so whisper quiet but noticeable, it makes you wonder if anything is happening off camera. So much between Ladd and Marian is told in glances, indirect comments, and marital ‘squabbles’, that it’s marvelous how much tension can exist in such a disengaged relationship. There is a lot going on in this film. Themes of honor, pride, machismo, guns, and a bit of nature vs nurture are seen throughout. Visually the cinematography and framing is great, including some beautiful backdrops of frontier mountains, pastures, valleys, and even ordinary things.

Gun Crazy (1950)
3.15 out of 4stars

“When gun-obsessed pacifist Bart witnesses expert shooter Annie demonstrate her firearm prowess at a carnival one night, it's love at first sight. A crime spree begins when Annie’s true self gets the best of her.”
A great noir about a pre-Bonnie and Clyde hot and heavy gun loving couple, as well as an influencer for French New-Wave apparently. Fast paced and filled with stylish thrills and tension, with many thanks to well orchestrated chase/hunt/escape scenes and quality acting turns from Dall and Cummins. Obsession and guns are the foremost topics at hand here. Obsession, while never good, is multiplicably worse when tied to things like greed and lust (and guns). Guns imbue power and exhilaration, but they can also facilitate crime and have the potential for murder. The combination can be disastrous. As seen within the film, obsession can be blinding, distorting one's moral compass, and while one is still responsible for one’s own actions, lustfully tie you to a darkly corrupt soul. I’d also suggest the power of love and/or lust here also, as I do believe both fight their true natures and compromise to different extents because of their relationship with each other.

The Man From Earth (2007)
3.10 out of 4stars

“An impromptu goodbye party for 40 something year old Professor John Oldman becomes a mysterious interrogation after the retiring scholar reveals to his colleagues that he is 14,000 years old.”
A great sci-fi drama that is a low budget dialogue driven success with its excellent idea and solid execution. The set-up of the 14,000 year old man being a teacher and creating a dialogue with 5 (6 in total as the film progresses) different teachers of 5-6 different fields is clever. An interesting interrogation occurs as well as discussions on his life and relevant topics. Not getting into specifics to ruin anything, but I felt it dabbled too much on religious topics with some things you may have heard on Ancient Aliens (and no, our protagonist is never declared an alien), even if the talk is historically and opinionatedly well-intentioned. That part of the film aside, it’s a time worthy watch.

A funny personal note -- my wife is named after Shane and I was very nearly named John Wayne (I dodged that bullet, but not by much.)

I've alway been lukewarm on Shane (the movie, not my wife) but have been wanting to revisit it for a while. I am going to prioritize it.

 

[Chili]

Jim Carey probably should've won an Oscar for that performance, not sure if he was nominated or not.

Andy Kaufman doesn't seem funny at all he just seems like someone who rode the wave of 15 minutes of fame by being outrageous but was able to do it longer than most.

He did win a golden globe award for the film. Kaufman seems mostly forgotten now unless checking out an old SNL show or Taxi.

Gun Crazy (1950)
3.15 out of 4stars

“When gun-obsessed pacifist Bart witnesses expert shooter Annie demonstrate her firearm prowess at a carnival one night, it's love at first sight. A crime spree begins when Annie’s true self gets the best of her.”
A great noir about a pre-Bonnie and Clyde hot and heavy gun loving couple, as well as an influencer for French New-Wave apparently. Fast paced and filled with stylish thrills and tension, with many thanks to well orchestrated chase/hunt/escape scenes and quality acting turns from Dall and Cummins. Obsession and guns are the foremost topics at hand here. Obsession, while never good, is multiplicably worse when tied to things like greed and lust (and guns). Guns imbue power and exhilaration, but they can also facilitate crime and have the potential for murder. The combination can be disastrous. As seen within the film, obsession can be blinding, distorting one's moral compass, and while one is still responsible for one’s own actions, lustfully tie you to a darkly corrupt soul. I’d also suggest the power of love and/or lust here also, as I do believe both fight their true natures and compromise to different extents because of their relationship with each other.

Heckuva film of love on the run. Peggy Cummins, wow. If I remember right, there were scenes filmed from the back seat of their car, that made them feel real. Don't know if that was the first film to use that technique but have seen it in other noir films.

Only watched one film of note of late:

Last Year at Marienbad-1961 (subtitles)

The film is mostly narrated, which is often a non starter for me but it works here. The setting is a beautiful luxury hotel with immacutely dressed attractive guests. A man is describing in great detail of his attempt to refresh the memory of a young lady of an encounter they had the year before. She on the other hand doesn't seem to remember him. There is another man she is close to staying at the hotel. The retelling of the story plays out like a dream or fantasy. Was intrigued by the 7-5-3-1 game they play, there must be a trick to it! The lavish gardens are another impressive part of the setting. I probably need to watch this film a few times to fully appreciate but I did enjoy it.

 

[shadow1]

Shane (1953)
3.20 out of 4stars

“A weary gunfighter in 1880s Wyoming begins to envision a quieter life after befriending a homestead family with a young son who idolizes him, but a smoldering range war creates tension.”
A great western that thrives on its relationship dynamics complexity and Alan Ladd’s internal battles. The biggest and most openly dramatic story going on is the fight of individual landowning homesteaders versus a “big business” cattle baron over land and rights, and told very well overall, but the heart is Ladd’s relationship with each individual family member as he hides his past and hopes for a stabler future. Ladd plays the mysterious nomadic stranger, whose untold past of a skilled gunslinger/murderer haunts him as he tries to settle down and leave that world behind. Ladd’s relationship with the father (Joe) is the most natural, both are 2 hardnosed manly men that fear nothing and no one while looking for someone to attach to, Ladd for settling down and Joe for another farmhand. But there is a growing displacement feeling growing throughout. Ladd and the young son (Joey) are an idol and idolizer, or arguably even father and son dynamic, whose actions and bonding ever-influences Joey. Teachings of both idealisms and truths ensue as the boy’s future aspects evolve. Ladd’s relationship with the wife (Marian) is so whisper quiet but noticeable, it makes you wonder if anything is happening off camera. So much between Ladd and Marian is told in glances, indirect comments, and marital ‘squabbles’, that it’s marvelous how much tension can exist in such a disengaged relationship. There is a lot going on in this film. Themes of honor, pride, machismo, guns, and a bit of nature vs nurture are seen throughout. Visually the cinematography and framing is great, including some beautiful backdrops of frontier mountains, pastures, valleys, and even ordinary things.

Gun Crazy (1950)
3.15 out of 4stars

“When gun-obsessed pacifist Bart witnesses expert shooter Annie demonstrate her firearm prowess at a carnival one night, it's love at first sight. A crime spree begins when Annie’s true self gets the best of her.”
A great noir about a pre-Bonnie and Clyde hot and heavy gun loving couple, as well as an influencer for French New-Wave apparently. Fast paced and filled with stylish thrills and tension, with many thanks to well orchestrated chase/hunt/escape scenes and quality acting turns from Dall and Cummins. Obsession and guns are the foremost topics at hand here. Obsession, while never good, is multiplicably worse when tied to things like greed and lust (and guns). Guns imbue power and exhilaration, but they can also facilitate crime and have the potential for murder. The combination can be disastrous. As seen within the film, obsession can be blinding, distorting one's moral compass, and while one is still responsible for one’s own actions, lustfully tie you to a darkly corrupt soul. I’d also suggest the power of love and/or lust here also, as I do believe both fight their true natures and compromise to different extents because of their relationship with each other.

The Man From Earth (2007)
3.10 out of 4stars

“An impromptu goodbye party for 40 something year old Professor John Oldman becomes a mysterious interrogation after the retiring scholar reveals to his colleagues that he is 14,000 years old.”
A great sci-fi drama that is a low budget dialogue driven success with its excellent idea and solid execution. The set-up of the 14,000 year old man being a teacher and creating a dialogue with 5 (6 in total as the film progresses) different teachers of 5-6 different fields is clever. An interesting interrogation occurs as well as discussions on his life and relevant topics. Not getting into specifics to ruin anything, but I felt it dabbled too much on religious topics with some things you may have heard on Ancient Aliens (and no, our protagonist is never declared an alien), even if the talk is historically and opinionatedly well-intentioned. That part of the film aside, it’s a time worthy watch.

I've wanted to see this one for a while, thanks for the review.

 

[Pranzo Oltranzista]

Only watched one film of note of late:

Last Year at Marienbad-1961 (subtitles)

The film is mostly narrated, which is often a non starter for me but it works here. The setting is a beautiful luxury hotel with immacutely dressed attractive guests. A man is describing in great detail of his attempt to refresh the memory of a young lady of an encounter they had the year before. She on the other hand doesn't seem to remember him. There is another man she is close to staying at the hotel. The retelling of the story plays out like a dream or fantasy. Was intrigued by the 7-5-3-1 game they play, there must be a trick to it! The lavish gardens are another impressive part of the setting. I probably need to watch this film a few times to fully appreciate but I did enjoy it.

Oh, discovering Marienbad for the first time... Top three films of all time for me. Where it ranks depends on my mood, but normally second.

 

[OzzyFan]

A funny personal note -- my wife is named after Shane and I was very nearly named John Wayne (I dodged that bullet, but not by much.)

I've alway been lukewarm on Shane (the movie, not my wife) but have been wanting to revisit it for a while. I am going to prioritize it.

That's a fun note. Were your parents/parents-in-law big western fans or actor specific fans?

He did win a golden globe award for the film. Kaufman seems mostly forgotten now unless checking out an old SNL show or Taxi.



Heckuva film of love on the run. Peggy Cummins, wow. If I remember right, there were scenes filmed from the back seat of their car, that made them feel real. Don't know if that was the first film to use that technique but have seen it in other noir films.

Only watched one film of note of late:

Last Year at Marienbad-1961 (subtitles)

The film is mostly narrated, which is often a non starter for me but it works here. The setting is a beautiful luxury hotel with immacutely dressed attractive guests. A man is describing in great detail of his attempt to refresh the memory of a young lady of an encounter they had the year before. She on the other hand doesn't seem to remember him. There is another man she is close to staying at the hotel. The retelling of the story plays out like a dream or fantasy. Was intrigued by the 7-5-3-1 game they play, there must be a trick to it! The lavish gardens are another impressive part of the setting. I probably need to watch this film a few times to fully appreciate but I did enjoy it.

You are correct, great inside the car film shots adding to the experience and feel. I do not know the historics on it though.

I've wanted to see this one for a while, thanks for the review.

No problem. It's definitely recommendable. A lot going on and pleasant to look at.

 

[KallioWeHardlyKnewYe]

That's a fun note. Were your parents/parents-in-law big western fans or actor specific fans?

Shane was my father-in-law's favorite movie.

My dad is indeed a huge Western and John Wayne fan but the coincidentally had family ties too (grandpa and dad names). They opted for a name with no connections though for reasons I have never been told.

 

[kihei]

I have it at 7/10

Me, too.

 

[kihei]

Never been a Shane fan. It's a movie that just seems so ripe for parody.

 

[shadow1]

Red Eye (2005) - 6/10

A woman is pressured into helping coordinate an assassination while traveling on a late night flight.

Rachel McAdams stars a Lisa, a hotel manager who's trying to flying home after attending the funeral of her grandmother. Lisa has a drink with Jack (Cillian Murphy) during a flight delay, and the two later find out they're seated together on the plane. However, this turns out to be no coincidence - Jack is a terrorist who has been following Lisa for weeks. He reveals to her that if she doesn't instruct her hotel staff to change the room of a visiting politician, an assassin will kill her father (Brian Cox)...

Red Eye was directed by Wes Craven, and written by Carl Ellsworth and Dan Foos. The film came out on the heels of the big budget commercial and critical failure Cursed (2005), and sees Craven return to a lower budget, more straightforward thriller. Is Red Eye a return to form for the Horror legend?

It's not bad! Red Eye has a breezy 85 minutes run time, and is a very easy watch. There are only a few characters to keep track of, and the plot is simple to follow. The film is partially a bottle movie, with a huge chunk of the story taking place in the passenger's seats. This is definitely the best part of the film, as you can put yourself in Lisa's shoes and try to think of ways to safely escape the situation. Rachel McAdams and Cillian Murphy give good performances and carry the film, as both are on screen almost the entire runtime.

The thing holding Red Eye back, though, is its predictability. Once you know what the plot is, the rest of the film is just a series of events that culminate in a predicable conclusion. Without spoiling it, Red Eye has an action packed third act, which is where most of the $26M budget went; kind of ironic considering the dialogue scenes are far better. If this film were re-made today by a studio like Blumhouse, I bet it could be done for about $8M, with a heavier emphasis on tension and twists. (Heck, Brian Cox's character spends 99% of the movie alone, in one location; this is cheap filmmaking 101 for getting a big star in your low budget movie... but I digress).

Overall, Red Eye is a decent popcorn movie. It's a late night thriller you can watch, get some enjoyment out of, and then move on to something else. The film was a return to form commercially for Wes Craven, as it earned $96M worldwide.

 

[kihei]

Beau Is Afraid (2023) Directed by Ari Aster 5B

Beau (Joaquin Phoenix) is a schmuck with major mama issues. His life is one inexplicably surreal encounter after another. He is trying to visit his mother but events conspire to make that more complicated and a downright weirder task than the beleagured Beau is capable of understanding. Emotionally strong this guy ain't, and life seems out to get him, often in mysteriously oddball ways that place him at a distinct psychogical disadvantage with everybody else he meets. Before he finally confronts his mother, he has a whole string of Charlie Kaufman-type misadventures, a veritable odyssey of peculiar situations jam packed with people who either take an instant dislike to him or have ulterior motives so bizarre that it confuses Beau almost as much as it did me.

The end result is a mixed bag of surreal weirdness. The situatiions Beau finds himself in are quite inventive, a wild imagination, presumably Aster's, at play here. But the centre of the movie has a big hole in it--Beau. Although Phoenix provides his usual yeoman effort to humanize yet another seriously damaged human, Beau remains passive and not very interesting. Therefore the things that happen to him had only a distant academic interest for me--more like "what will they think of next" than "oh, this poor guy, I hope his luck turns soon." It doesn't help that Beau's big confrontation with his mother ends up delivering mere screeching in service of a tedious psychological rant, the sort of dialogue that could easily turn up in a Darren Aronofsky movie. All in all, I guess that I would call Beau Is Afraid an honourable failure and leave it at that.

 

[Spring in Fialta]

Last Year at Marienbad-1961 (subtitles)

The film is mostly narrated, which is often a non starter for me but it works here. The setting is a beautiful luxury hotel with immacutely dressed attractive guests. A man is describing in great detail of his attempt to refresh the memory of a young lady of an encounter they had the year before. She on the other hand doesn't seem to remember him. There is another man she is close to staying at the hotel. The retelling of the story plays out like a dream or fantasy. Was intrigued by the 7-5-3-1 game they play, there must be a trick to it! The lavish gardens are another impressive part of the setting. I probably need to watch this film a few times to fully appreciate but I did enjoy it.

The best intro to Marienbad is to read Robbe-Grillet's Jealousy. I consider it my luckiest art accident. He's the screenwriter of the film and if you get lost in this novel (published four years prior) the film feels like a perfect breeze and is much easier to accept. To me, Last Year at Marienbad is the greatest film of all-time. Jealousy probably ranks fifth or sixth for novels. What's so cool about both artworks is that they're narrative works with highly subjective characters at heart, though the prose presents them as anything but. The easiest way to short yourself when experiencing them is to try and make common sense of them. Shed that and the possibilities are endless.

 

[Chili]

The best intro to Marienbad is to read Robbe-Grillet's Jealousy. I consider it my luckiest art accident. He's the screenwriter of the film and if you get lost in this novel (published four years prior) the film feels like a perfect breeze and is much easier to accept. To me, Last Year at Marienbad is the greatest film of all-time. Jealousy probably ranks fifth or sixth for novels. What's so cool about both artworks is that they're narrative works with highly subjective characters at heart, though the prose presents them as anything but. The easiest way to short yourself when experiencing them is to try and make common sense of them. Shed that and the possibilities are endless.

Thanks. I do like to read the book of some of the films I watch. The film seldom lives up to the book which is understandable because it's usually a condensed version of the story. Lately, have been reading more writer biographies or memoirs, get alot of background from their works.

If there are any Bond fans, I would recommend John Pearson's biography of Ian Fleming, written with his widow. Really helped see the genesis of the character in his novels.

 

[ItsFineImFine]

Gun Crazy (1950) - 7/10

This why I haven't yet given into the peer pressure/guilt-tripping of getting married. Simpleton men can get eaten alive by clever women, marriage is for smart men.

Also this is not a noire but it's sometimes a noire.

Shallow Grave (1994) - 5/10

Yeah Danny Boyle films are not for me. Starts of well then gets needlessly dark. The characters are all so odious with no reason. A young Ewan Macgregor (who looks and feels like James Macavoy here) especially puts in a maniacal acting performance and it's just tiresome.

 

[Spring in Fialta]

Thanks. I do like to read the book of some of the films I watch. The film seldom lives up to the book which is understandable because it's usually a condensed version of the story. Lately, have been reading more writer biographies or memoirs, get alot of background from their works.

If there are any Bond fans, I would recommend John Pearson's biography of Ian Fleming, written with his widow. Really helped see the genesis of the character in his novels.

Ah, sorry, I didn't explain myself correctly. Marienbad isn't an adaptation of Jealousy, they're two separate artworks by the author of the film. I brought up the former because it's a book that has a similar structure to the film, even if it's a book. But the story isn't the same. Jealousy is set on an African plantation, where the entirety of the story centers around a jealous man spying on his wife through the slats of a window. Similarly to Marienbad, it's structured around circular scenes with shifting details and is impossible to shake. I just had the unintentional luck of reading Jealousy about a month before I watched Marienbad, which I felt was a big help in finding my bearings on a first watch. I probably would have been quite a bit more perplexed if I hadn't. Instead I just let myself be carried right away.

 

[Spring in Fialta]

and I was very nearly named John Wayne (I dodged that bullet, but not by much.)

Damn I laughed.

 

[Pranzo Oltranzista]

Thanks. I do like to read the book of some of the films I watch. The film seldom lives up to the book which is understandable because it's usually a condensed version of the story. Lately, have been reading more writer biographies or memoirs, get alot of background from their works.

If there are any Bond fans, I would recommend John Pearson's biography of Ian Fleming, written with his widow. Really helped see the genesis of the character in his novels.

Ah, sorry, I didn't explain myself correctly. Marienbad isn't an adaptation of Jealousy, they're two separate artworks by the author of the film. I brought up the former because it's a book that has a similar structure to the film, even if it's a book. But the story isn't the same. Jealousy is set on an African plantation, where the entirety of the story centers around a jealous man spying on his wife through the slats of a window. Similarly to Marienbad, it's structured around circular scenes with shifting details and is impossible to shake. I just had the unintentional luck of reading Jealousy about a month before I watched Marienbad, which I felt was a big help in finding my bearings on a first watch. I probably would have been quite a bit more perplexed if I hadn't. Instead I just let myself be carried right away.

Marienbad is available as a "ciné-roman", a (kind of but not really) novelisation by Robbe-Grillet not of the film, but of his screenplay. Though they played it as if they were a match made in heaven, there was lots of tension between Resnais and him, and it's fascinating to see where the director deviated from the writer's (absolute) control over the material (subtle stuff in the soundtrack, in the "psychologisation" of the characters - something RG was absolutely against- and in the mise en abyme of a play within the film, in order to make it a Resnais film). RG wanted his name credited as co-creator of the film and didn't get it, and what was supposed to be a multi-films collaboration between two genius was cut short because of bruised egos. The story has nothing to do with Jealousy, but the whole thing was inspired by another novel, La invención de Morel, which was also adapted into a fascinating film.

RG is one of the very few authors of which I've read the whole work. Everything he wrote was amazing, even his last few books, where he lacked a little steam and where some of it felt a little like self-pastiche, were still very interesting. I think my favorite might be Le Voyeur, which is probably his more straight-forward book, but with some reflexive ideas that were just brilliant. I guess Dans le labyrinthe would be the one book I'd suggest if you were to read only one and want a good idea of his world and style. He's also a very interesting director himself, and his films are brilliant, but he never did anything close to what Resnais did with his material.

 

[Spring in Fialta]

Marienbad is available as a "ciné-roman", a (kind of but not really) novelisation by Robbe-Grillet not of the film, but of his screenplay. Though they played it as if they were a match made in heaven, there was lots of tension between Resnais and him, and it's fascinating to see where the director deviated from the writer's (absolute) control over the material (subtle stuff in the soundtrack, in the "psychologisation" of the characters - something RG was absolutely against- and in the mise en abyme of a play within the film, in order to make it a Resnais film). RG wanted his name credited as co-creator of the film and didn't get it, and what was supposed to be a multi-films collaboration between two genius was cut short because of bruised egos. The story has nothing to do with Jealousy, but the whole thing was inspired by another novel, La invención de Morel, which was also adapted into a fascinating film.

RG is one of the very few authors of which I've read the whole work. Everything he wrote was amazing, even his last few books, where he lacked a little steam and where some of it felt a little like self-pastiche, were still very interesting. I think my favorite might be Le Voyeur, which is probably his more straight-forward book, but with some reflexive ideas that were just brilliant. I guess Dans le labyrinthe would be the one book I'd suggest if you were to read only one and want a good idea of his world and style. He's also a very interesting director himself, and his films are brilliant, but he never did anything close to what Resnais did with his material.

Just ordered The Invention of Morel. Sounds super interesting.

 

[Pranzo Oltranzista]

Just ordered The Invention of Morel. Sounds super interesting.

The novel? Please report back. I love the film, but haven't read the book.

 

[Spring in Fialta]

The novel? Please report back. I love the film, but haven't read the book.

Yeah, the book. I have some catching up to do on my reviews for those lol

 

[Rodgerwilco]

Shane (1953)
3.20 out of 4stars

“A weary gunfighter in 1880s Wyoming begins to envision a quieter life after befriending a homestead family with a young son who idolizes him, but a smoldering range war creates tension.”
A great western that thrives on its relationship dynamics complexity and Alan Ladd’s internal battles. The biggest and most openly dramatic story going on is the fight of individual landowning homesteaders versus a “big business” cattle baron over land and rights, and told very well overall, but the heart is Ladd’s relationship with each individual family member as he hides his past and hopes for a stabler future. Ladd plays the mysterious nomadic stranger, whose untold past of a skilled gunslinger/murderer haunts him as he tries to settle down and leave that world behind. Ladd’s relationship with the father (Joe) is the most natural, both are 2 hardnosed manly men that fear nothing and no one while looking for someone to attach to, Ladd for settling down and Joe for another farmhand. But there is a growing displacement feeling growing throughout. Ladd and the young son (Joey) are an idol and idolizer, or arguably even father and son dynamic, whose actions and bonding ever-influences Joey. Teachings of both idealisms and truths ensue as the boy’s future aspects evolve. Ladd’s relationship with the wife (Marian) is so whisper quiet but noticeable, it makes you wonder if anything is happening off camera. So much between Ladd and Marian is told in glances, indirect comments, and marital ‘squabbles’, that it’s marvelous how much tension can exist in such a disengaged relationship. There is a lot going on in this film. Themes of honor, pride, machismo, guns, and a bit of nature vs nurture are seen throughout. Visually the cinematography and framing is great, including some beautiful backdrops of frontier mountains, pastures, valleys, and even ordinary things.

Great write-up on Shane. Watched this for the first time a couple months ago and really enjoyed it. Your indication of Shane and Marian's interactions is something that I picked up on. I was half-expecting there to be a sub-plot of some over-the-line interaction between the two which would add to the complexity of Shane's relationship with the family as a whole.

Totally agree about your last line on the cinematography. Many of the shots felt very authentic and clean, particularly the mountain and prairie shots.

 

[Pranzo Oltranzista]

Yeah, the book. I have some catching up to do on my reviews for those lol

If you're curious:

The Invention of Marienbad: Resnais, Robbe-Grillet, Morel, and Adolfo Bioy Casares on the Left Bank - Bright Lights Film Journal

I might just have convinced myself to buy it too.