Review the movie you just viewed (all the way to) 11

[lazarus]

Strangely I haven't seen any adaptations of the five or so Greene books I have read. But as films I really enjoyed Philip Noyce's version of The Quiet American, Fritz Lang's Ministry of Fear, Cukor's Travels With My Aunt, Neil Jordan's The End of the Affair, Otto Preminger's The Human Factor, and Carol Reed's The Fallen Idol.

 

[Jive Turkey]

I would ordinarily do a full review, but shit, it's almost 6 AM. The Third Man is a great movie, very well written and genuinely suspenseful in parts with terrific cinematography and direction throughout, but it may have the worst soundtrack of all time (Un Chien Andalou is a close second).

But that's where the film gets much of it's character and charm. For me, it's one of the highlights. It's like a constant subconscious reminder of the setting

 

[powerhour24]

The 1999 End of the Affair and 2002 Quiet American are very well acted and staged films, but they come from two of Greene's most impacting and deep novels, and as such the films themselves are superficial. Lang's Ministry of Fear might be the best adaptation of his work, simply because it's the most professional film based on the entertainment side of his work, and as such not as difficult to do as his character works. Brighton Rock straddles that line, but I've never seen the original adaptation of it because it isn't readily available here.

I think it has been done in a renamed fairly unknown release, but I truly hope no one tries to adapt The Power & The Glory into a modern film. The one that could work really well as a film is The Comedians, it's the ultimate hybrid of Greene's thriller and drama sensibilities, but much of the subtext comes out in the dialog rather than internal monologue, though the protagonist would probably still be difficult to truly express on screen, it could be done well, and the "villains" though somewhat changed over the years are still highly relevant to this day. I've never watched the 60's version, I've heard it was terrible.

 

[corianderstem]

I watched Coming Home last night; it was very good.

 

[lazarus]

I think it has been done in a renamed fairly unknown release, but I truly hope no one tries to adapt The Power & The Glory into a modern film.

The renamed film is fairly unknown, which is odd considering it was directed by John Ford and starred Henry Fonda:

The Fugitive (1947) - IMDb

 

[powerhour24]

Right, I've not seen it, forgot that was the one. It deviates very much so from the novel, so I have a feeling despite the prestige behind it, I'll probably hate it. Maybe I'll just avoid it.

 

[lazarus]

Yeah I've learned over the years to try and separate the two mediums. There's a difference between abridging a novel or changing key elements and actually betraying the spirit and theme of a work. If a filmmaker manages to avoid the latter, I can appreciate an adaptation on its own terms.

For example, I haven't read The Quiet American, but Noyce's film is very critical of American involvement in the region and for that alone it should be applauded. Plus it was shot very well by Christopher Doyle, and has what may be Michael Caine's finest performance.

 

[LemonMelon]

First Eyes Wide Shut and now this. LM is the killer is interesting film scores.

If you mean half-assed scores that add absolutely nothing to the film but dissonance, yeah, I'm not a huge fan.

Minimalism isn't always awful in my view either, for the record. Eraserhead and The Shining are likely my two favorite film scores. Not sure you can even call the former a "score" as such, more like an assault. It's amazing.

And it's certainly beautiful at the ending, one of the greatest ever.

Spoiler

One of the finest closing shots I've ever seen. Just beautiful.

 

[powerhour24]

Yeah I've learned over the years to try and separate the two mediums. There's a difference between abridging a novel or changing key elements and actually betraying the spirit and theme of a work. If a filmmaker manages to avoid the latter, I can appreciate an adaptation on its own terms.

For example, I haven't read The Quiet American, but Noyce's film is very critical of American involvement in the region and for that alone it should be applauded. Plus it was shot very well by Christopher Doyle, and has what may be Michael Caine's finest performance.

I can typically separate my interests, but The Power and The Glory is so extraordinary, and it just might be my favorite novel ever, so knowing that it is wildly divergent and what I said earlier about the difficulty in truly capturing Greene's characters and themes, I think I'll sit this one out.

I do agree that the Quiet American is gorgeously made, and Caine is fantastic, but it's take on the subtext is without depth compared with the book, that is not of the filmmakers creation, Greene's damnation of outsiders interfering with matters outside of their understanding was almost prophetic for the American involvement in Vietnam years later.

 

[bono_212]

Being John Malkovich

Um, I don't even know where to begin. I found the film hilarious, for starters. Also incredibly intriguing. That may have been the darkest ending I've ever seen in a film, ever. Or at least the eeriest. My one wish would've been that Nic Cage had the starring role rather than John Cusack because it just seemed like Spike Jones was directing him exactly as he directed Nic Cage in Adaption. I suppose I'd feel the opposite had I seen this film first instead of Adaptation since it did come out first.

Anyways, it's getting a five on Netflix.

 

[lazarus]

Finally saw The Social Network yesterday. In the theatre.

Hard to find much fault aside from some screenplay issues I had. While Sorkin wrote some great dialogue and gave the film a very involving structure, I'm really bothered by the liberties taken with Zuckerberg's personal life. It's one thing to invent a fictional character who dumps the protagonist to provide a motivational force, but to have her come up again and again as an obsession all the way to the very end of the film when the real-life character had a serious girlfriend before, during, and after the creation of FB is just sloppy to me. The story of the lawsuits was good enough to keep viewer interest and allow for shifting loyalties; I didn't need the petty romantic bitterness as well. Also, that scene with Eduardo's girlfriend going apeshit and burning the gift was so extraneous and out of place. Unnecessary broad humor that did not work AT ALL.

Having said all that, from a tech and acting perspective the film is absolutely flawless. While it's not high up on my list, I'm not going to begrudge any of its wins, including Sorkin's. I still don't think it's better than Benjamin Button, though.

 

[Lancemc]

Can't disagree with any of that, aside from the Button reference obviously. Agree with your two faults as well, even though they hardly bothered me given how outstanding nearly everything else was.

 

[lazarus]

Yeah, it's just frustrating in how unnecessary those elements were, whereas some film's flaws are too engrained in the whole thing to reconcile so easily.

One other thing, the Reznor/Ross score, while great, was a little too loud/overbearing at times. But that can't be blamed on the composers, and I hope they score a nom.

 

[Hewson]

Watched "Dinner For Schmucks" last night.
Pretty much as expected, decent but far from spectacular as a whole, but there was one line that had me in hysterics...for those who've seen it it was the line describing who was the partner of The Earl of Sandwich historically, the laugh I got from that one line made the movie worth watching.

 

[powerhour24]

Yeah, it's just frustrating in how unnecessary those elements were, whereas some film's flaws are too engrained in the whole thing to reconcile so easily.

One other thing, the Reznor/Ross score, while great, was a little too loud/overbearing at times. But that can't be blamed on the composers, and I hope they score a nom.

I think having her come back at the restaurant wasn't a big deal, but I tend to agree with finding fault with having him Facebook-stalk her at the very end, though I think it was more of a lazy attempt at showing that he actually did care about what people think about him and wanting to be accepted, if that was important I think they could have found a way to do that earlier.

As to the score, the only time I ever noticed it as loud was during the rowing sequence, but obviously everything was heightened there, overall it was very complimentary but not overbearing for me anyway. Also, gotta laugh at how bad of a pun "I hope they score a nom" is, even though it was most likely unintentional .

 

[lazarus]

The rowing scene was cool I guess, but was there really a point to that whole sequence being so in-your-face?

It seemed as though Fincher was returning to his commercial directing roots, like some big Nike or Mountain Dew logo was going to pop up at the end of the race.

 

[powerhour24]

I think it was kind of showing the ferocity of the Winkelvii and their drive, but yeah it could have been an artsy as hell TV spot just as easily.

 

[lazarus]

Well it was a pretty elaborate and long scene to make that small point. Just because something shows off a mastery of photography and editing doesn't mean that it belonged in the film or enriched it.

I don't want to come off as a hater because I really liked this film, I just find it far from perfect. Because this is a weak year (at least domestically) it doesn't bother me that it's winning all these awards.

But as I alluded to before, I found much more resonance and poetry in Benjamin Button. And a good number of the techs were more impressive; not just the special effects but the photography, the score (one of the decade's best IMO), the art direction, etc. You have a performance by Blanchett that is up there with her best work, and so many glorious compositions it just kills me that a fucking Danny Boyle film ran the table that year.

 

[powerhour24]

I think BB was quite evocative, gorgeously designed and heartbreaking in its acting, but TSN was tighter and makes more of an impact because of its realism and timing.

I'm not arguing with you on the rowing sequence, when I saw it the first time I was intrigued by how cool it was, but instantly thought the same thing, it didn't belong.

I would argue against 2010 being a weak year, at least when comparing it to 2009 which I thought was much weaker. Also the hate for Danny Boyle pisses me off to no end, granted SM ain't his best work and I could his style(s) could see irritating people, but I'm a big fan, and I love what he's done across genres.

 

[powerhour24]

Oh and yeah, Desplat's score for Benjamin Button is amazing, only outdone in his career by The Ghost Writer IMO.

 

[lazarus]

I've liked all of the films of his I've seen and he's certainly versatile but I don't see what the big deal is and don't consider him that impressive of an artist.

It's a bit of a shame to me that he has a directing Oscar when superior stylists like Fincher, Wes Anderson, Paul Thomas Anderson, and others are still winless.

 

[Lancemc]

I think it's telling that I love TSN less as a film and more as a kinetic montage of slick photography, sound design and fantastic music... and also as a vessel for some of the most rollicking Hollywood dialogue I've heard in years. I've never been a fan of Sorkin really, and I'm still not entirely convinced of his skills as a screenwriter but I think this made me a fan. There are a shit ton of incredibly smart memorable lines in this, and it all kind of coalesces with the above technical attributes into something flawed, occasionally misguided, but very intoxicating. As such I think it's my uhh... third favorite domestic film of the year probably. And yeah, I'm perfectly fine with it winning most of the awards it has and will.

 

[Lancemc]

Also, Laz, I watched 36 vues du Pic Saint Loup today. Loved it. Minor Rivette... I could see that. Still excellent stuff, and clearly the work of greatly experienced master.

I seem to have lost Norwest so I'll get around to that another time. I do have here Paris Belongs to Us, La Pont Du Nord, L'Amour Fou, and La Belle Noiseuse.

 

[lazarus]

May as well do Paris Belongs to Us next to see the origin of most of his career-long themes and occupations. It has the theatre vs. film thing, role vs. performer, conspiracies, etc.

Very good shit, and compared to the debut feature of every other New Wave contemporary, only Resnais was as ambitious out of the gate.

 

[Jive Turkey]

The rowing scene was cool I guess, but was there really a point to that whole sequence being so in-your-face?

It seemed as though Fincher was returning to his commercial directing roots, like some big Nike or Mountain Dew logo was going to pop up at the end of the race.

I wasn't a fan of this scene either. It just seemed so foreign to the rest of the film. And considering tilt shift has been done to death, it seemed a little hokey. I'm sure all the Flickr fanatics loved it

 

[lazarus]

Yeah, I guess a comparable thing would be the "guy gets struck by lightning" cutaways in Button, which took me out of the film after a while, but this really felt like showing off a little.

 

[Jive Turkey]

I still havent seen BB Maybe I'll fix that this week sometime

 

[lazarus]

The screenplay can be trite at times, but the story is unique and inventive, and the cast and Fincher (along with the other behind the camera people) elevate the material with a commitment to depicting the pain of recognizing one's mortality and the process of dealing with the mortality of those around you.

Fincher is often viewed as a cold and detached director but this was a very personal film for him and I think that gets obscured by the high concept, the effects, and all the awards race bullshit.

 

[powerhour24]

Then again Fincher's films with the exception of Zodiac always have some gimmicky shots, though typically they do not make up an entire scene.

 

[powerhour24]

I've liked all of the films of his I've seen and he's certainly versatile but I don't see what the big deal is and don't consider him that impressive of an artist.

It's a bit of a shame to me that he has a directing Oscar when superior stylists like Fincher, Wes Anderson, Paul Thomas Anderson, and others are still winless.

Boyle is a consummate entertainer, and brings an emotional wallop to whatever genre he's mining. For that I prefer him to Fincher who I am a big fan of and I do agree with you that the emotionally cold label is sometimes unwarranted. As for the others, I've made myself abundantly clear in the past on ow much I think PTA is overrated so you won't change my mind there and I don't intend to change yours, and much as I've loved Wes for more than a decade, in terms of direction he's kind of been flogging the same pony for his whole career, so bringing him into a discussion on Boyle is a little out of place,