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| Author |
Message |
| 25 new of 326 responses total. |
mcnally
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response 299 of 326:
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Jun 20 01:02 UTC 2000 |
(by making everything a murky grey and claiming it's "artistically moody"?)
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omni
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response 300 of 326:
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Jun 20 04:23 UTC 2000 |
I liked GWTW, although it was a bit too long. There are a number of
fine performances given by: Jane Darwell, Clark Gable, Butterfly McQueen, and
Hattie McDaniel. I particularly liked Olivia DeHavilland's role. I have always
like Ms DeHavilland.
Ok the movie is cheesy, but it does tell a good story.
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lelande
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response 301 of 326:
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Jun 20 17:47 UTC 2000 |
resp:299
i know it may be more work than you're willing to take on, but if you can
manage to think about more than 'sleepy hollow' you might be able to
contribute to discussion rather than muck it up.
i used burton as an example because he's recent, well-known, and has
extraordinary control over the pallette of his flix. most of the time his
movies have a synthetic look to them: very plastic as in edward scissorhands'
suburban setting, the miniature model town in beetlejuice, the hokey alien
invasion in mars attacks, etc. etc. yadda yadda. maybe one can criticize
burton for always employing such an artificial look to his movies, but since
burton seems to strive for said artificial look in accordance with the
characters and the places in which they exist in the movies, without trying
to pull wool over the audience-eye, it wouldn't be criticism, it would be a
matter of difference in aesthetic opinion. a buddy of mine is severely
anti-formalist, so he'd fall into the bracket of cats that despise burton for
this reason (and others); beyond aesthetic difference, it's impressive stuff
that he does with his colors.
then look at kevin smith, who also has very unrealistic arrays of colors, but
i get the feeling that smith doesn't want his colors to look unrealistic, but
that he wants his scenes and characters to look authentic, real,
real-life-like. so he uses generic shirts, unprovocative lighting, and
striaghtforward camera-angles. metatron and what's-her-name drink tequila in
a mexican restaurant: i saw only one angle of this mexican restaurant, making
it seem very much like a stage dressed up to be the quintessential small
mexican restaurant. snore. snore.
boy ain't no FENG SHUI, that be fo damn shur.
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jazz
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response 302 of 326:
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Jun 20 18:27 UTC 2000 |
Kevin Smith is arguably influenced by four-colour layout comics,
though, and in accordance with that theory, his not-quite-real colour schemes,
staging, and dialogue, make considerably more sense. He's also directing on
a very small budget, unlike Burton, and the combined budgets of all of the
Kevin Smith films put together wouldn't begin to approach the special effects
budgets of one Burton film.
My beef with Burton is that he's a one-trick pony. His ideas were
fresh and creative in Beetlejuice, but by the time Edward Scissorhands rolled
out, the "Burton feel" was beginning to get a bit dated. Sleepy Hollow
deviated enough from the traditional "Burton feel" that I didn't mind it at
all, but it was still obviously a Burton film.
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jor
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response 303 of 326:
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Jun 20 22:08 UTC 2000 |
omni . . Rear Window . . that was Raymond Burr!
sheesh I wasn't paying attention.
Yes the Hitchcock mass showing on AMC is irresistable . .
I made the mistake of watching The Birds in it's entirety.
Their entirety. The Great Gasoline Accident is
still great, but I found myself being very critical
of much of the film, e.g., the superficial romance that
is the premise for the leading lady's visit to
Bodega Bay. Yes I was just pecking it apart, I've
seen it too many times.
I've always wanted to visit Bodega Bay.
So since then I've just watched chance segments. A bit
of Miss Froy in The Lady Vanishes. The very end of
Suspicion. The climax of Rear Window. The light and
shadow, shadow, shadow, let's colorize it all and
erase all the shadows.
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remmers
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response 304 of 326:
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Jun 20 22:59 UTC 2000 |
I think the problem with the superficial romance in The Birds
wasn't that it was superficial but rather that the actors
weren't up to making the audience forget that. Rod Taylor
and Tippi Hedren were no substitute for Cary Grant and Grace
Kelly.
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mcnally
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response 305 of 326:
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Jun 20 23:10 UTC 2000 |
Believable rumor has it that Hitchcock's interest was not primarily in
Tippie Hedren's acting skills..
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omni
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response 306 of 326:
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Jun 21 01:25 UTC 2000 |
I've seen enough Perry Mason to know that it was Raymond Burr. He did a
great job, nonetheless. Didja see Hitchcock in Dial M For Murder and The
Birds? He's easy to spot in The Birds, but you have to be closely watching
to see him in Dial M.
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iggy
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response 307 of 326:
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Jun 21 01:32 UTC 2000 |
what did billy joe throw off the tallahatchie bridge?
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cyklone
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response 308 of 326:
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Jun 21 01:40 UTC 2000 |
Omni is right about Burr. And Hitch's trademark was to sneak a cameo
appearance in all his movies, so keep an eye out next time . . . .
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mcnally
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response 309 of 326:
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Jun 21 01:44 UTC 2000 |
re #308: not quite all, but most anyway.. my favorite was the
"appearance" in 'Lifeboat'
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cyklone
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response 310 of 326:
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Jun 21 01:53 UTC 2000 |
Was that one a dead body?
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richard
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response 311 of 326:
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Jun 21 01:59 UTC 2000 |
Hard to believe but there were huge protests about GWTW when it came out
because when Clark Gable leaves at the end, he tells Scarlett, "Frankly my
dear, I dont give a damn" A four letter word in a movie?!?! The studio
wanted to change that last line to "frankly my dear, I dont care" or
something weaker. Gable, to his credit, absolutely insisted that line
stay in as is, and almost quit over it.
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cyklone
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response 312 of 326:
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Jun 21 02:07 UTC 2000 |
Frankly, I don't give a damn
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jerryr
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response 313 of 326:
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Jun 21 02:37 UTC 2000 |
i remember when you couldn't say pregnant or bathroom on tv.
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mcnally
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response 314 of 326:
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Jun 21 02:38 UTC 2000 |
re #310: Not a body, no..
If I recall correctly, one of the characters is reading a newspaper
that has somehow survived the shipwreck and Hitchcock's image appears
in an advertisement for some sort of weight loss method.
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goose
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response 315 of 326:
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Jun 21 03:42 UTC 2000 |
Hedren has aged well (surgically enhanced no doubt).
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omni
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response 316 of 326:
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Jun 21 21:56 UTC 2000 |
The best thing is to let people look for themselves. I've yet to see him
in Psycho, and Rear Window.
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lelande
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response 317 of 326:
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Jun 23 23:10 UTC 2000 |
resp:303
it doesn't take much money to make good colors, even when influenced by
comicdom's classic flatness. by the time he was making movies most good comics
had either improved their color schemes or stuck w/ black & white, and long,
long before then, when he was still shaving with an abrasive washcloth, comics
had much better use of flat color schemes, beginning over in europe. it might
be better argued that he learned how to be a director from watching gap and
mcdonalds commercials.
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gelinas
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response 318 of 326:
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Jun 24 03:00 UTC 2000 |
I have seen him in Psycho, but I missed him this time. I did spot him in
Rear Window. We saw him in one or two of the others, but I've forgotten
the details.
Re the "romance" in The Birds: There wasn't one. Mother and former
girlfriend *assumed* there was a romance.
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jor
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response 319 of 326:
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Jun 25 18:23 UTC 2000 |
Are we assuming that we share an
unambiguous definition of "romance"?
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gelinas
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response 320 of 326:
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Jun 29 03:00 UTC 2000 |
Probably. She visited Bodega Bay because she was a practical joker with
no reason to limit herself. 'Twould be interesting to know what was in the
original note, the one she destroyed when replacing it with a note to the
sister.
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omni
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response 321 of 326:
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Jul 1 08:12 UTC 2000 |
Where was he in Rear Window? I watched it really close and still must have
missed it.
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remmers
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response 322 of 326:
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Jul 1 15:26 UTC 2000 |
Early in the film he can be seen in one of the apartment windows,
doing some repair work or something.
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lelande
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response 323 of 326:
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Jul 1 21:14 UTC 2000 |
are there any hitch movies where he makes his sole appearance anywhere
beyond 'early in the film'? i understand he tried to get the tradition
out of the way quickly so viewers wouldn't spend the whole movie
searching for him while ignoring the flic.
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