Tag: Film

Roy Head & The Traits–Treat Her Right
The Bob Seger System*–Ramblin’ Gamblin’ Man
No Artist–Boss Radio
Featuring – Humble Harve*
Deep Purple–Hush
No Artist–Mug Root Beer Advertisement
The Village Callers–Hector
Buchanan Brothers (2)–Son Of A Lovin’ Man
Chad & Jeremy–Paxton Quigley’s Had The Course
No Artist–Tanya’s Tanning Butter Advertisement
Paul Revere & The Raiders–Good Thing
Paul Revere & The Raiders–Hungry
Box Tops–Choo Choo Train
Mitch Ryder & The Detroit Wheels–Jenny Take A Ride
Deep Purple–Kentucky Woman
Buffy Sainte-Marie–The Circle Game
No Artist–Boss Radio
Featuring – The Real Don Steele*
Simon & Garfunkel–Mrs. Robinson
No Artist–Numero Uno Advertisement
Los Bravos–Bring A Little Lovin’
No Artist–Suddenly / Heaven Sent Advertisement
No Artist–Vagabond High School Reunion
No Artist–KHJ Los Angeles Weather Report
No Artist–The Illustrated Man Advertisement / Ready For Action
Dee Clark–Hey Little Girl
No Artist–Summer Blonde Advertisement
Neil Diamond–Brother Love’s Traveling Salvation Show
Robert Corff–Don’t Chase Me Around
Paul Revere & The Raiders–Mr. Sun, Mr. Moon
José Feliciano–California Dreamin’
I Cantori Moderni di Alessandroni–Dynamite Jim (English Version)
Vanilla Fudge–You Keep Me Hangin’ On (Quentin Tarantino Edit)
Maurice Jarre–Miss Lilly Langtry
No Artist–KHJ Batman Promotion

Once Upon a Time in Hollywood – Trailer

Andrew Sarris Remembrance

THE ARRIVAL IN MY LIFE of Film Culture 28 in the spring of 1963, with Andrew Sarris’s preliminary sorting out of American movie directors that became the basis for his greatly expanded The American Cinema (published in 1968), was one of those before and after moments. It’s hard even to reconstruct what it was like to have the past of American film suddenly spread out, a map of a country known previously only through rumor and fragmentary glimpses. Not just a map: a map accompanied with pointed commentary by a guide at once passionate and endlessly curious. It was all so exotic then. The very titles of the movies seemed like a strange kind of recovered poetry. But it was our own past, a lost world of universal neighborhood experience that had been occulted and buried. He pointed out things that I didn’t know existed and argued persuasively for their importance. Rarely had there been such a cascade of information and insights and urgently communicated judgments.

andrew sarris, 1928–2012
O’Brien, Geoffrey. Stolen Glimpses, Captive Shadows

Slacker – Quotes from

Old Man: When young, we mourn for one woman… as we grow old, for women in general. The tragedy of life is that man is never free yet strives for what he can never be. The thing most feared in secret always happens. My life, my loves, where are they now? But the more the pain grows, the more this instinct for life somehow asserts itself. The necessary beauty in life is in giving yourself to it completely. Only later will it clarify itself and become coherent.

Video Backpacker: To me, my thing is, a video image is much more powerful and useful than an actual event. Like back when I used to go out, when I was last out, I was walking down the street and this guy, that came barreling out of a bar, fell right in front of me, and he had a knife right in his back, landed right on the ground and… Well, I have no reference to it now. I can’t put it on pause. I can’t put it on slow mo and see all the little details. And the blood, it was all wrong. It didn’t look like blood. The hue was off. I couldn’t adjust the hue. I was seeing it for real, but it just wasn’t right. And I didn’t even see the knife impact on the body. I missed that part.

Old Anarchist: And remember: the passion for destruction is also a creative passion.

Working on Same Painting: Sorry, I’m late.

Having a Breakthrough Day: That’s okay, time doesn’t exist.

IMDB

Presents a day in the life in Austin, Texas among its social outcasts and misfits, predominantly the twenty-something set, using a series of linear vignettes. These characters, who in some manner just don’t fit into the establishment norms, move seamlessly from one scene to the next, randomly coming and going into one another’s lives. Highlights include a UFO buff who adamantly insists that the U.S. has been on the moon since the 1950s, a woman who produces a glass slide purportedly of Madonna’s pap smear, and an old anarchist who sympathetically shares his philosophy of life with a robber.

Quentin Tarantino – Once Upon a Time in Hollywood – Novel Review, NYTIMES

Quentin Tarantino’s first novel is, to borrow a phrase from his oeuvre, a tasty beverage.

It’s his novelization of his own 2019 film “Once Upon a Time … in Hollywood” (the book’s title omits the ellipsis). It’s been issued in the format of a 1970s-era mass-market paperback, the sort of book you used to find spinning in a drugstore rack.

It’s got a retro-tacky tagline: “Hollywood 1969 … You shoulda been there!” If it weren’t so plump, at 400 pages, you could slip it into the back pocket of your flared corduroys.

Quentin Tarantino Turns His Most Recent Movie Into a Pulpy Page-Turner
Dwight Garner
NYTIMES

Trainspotting Poster

https://www.imdb.com/title/tt0117951/

This Is Where We Came In – Old Time Movie Watching

Where was I? Oh, yes. Films. It is hard to believe that my parents’ generation would walk into a cinema when it suited them, without paying any attention to what film it was that they were going to see. Indeed they weren’t even concerned whether the film had just started, or was halfway through, or was in the middle of the final chase sequence. They would just happily settle into their seats with their sweets and cigarettes and start trying to decipher the plot, and who was the villain, and why everybody was in Hamburg, and then the film would end, and they would sit patiently through the advertisements and newsreels, eat an ice cream, and then the film would begin again, and they would finally discover who everyone was, and why they had all gone to Hamburg, and at exactly the moment when they’d understood what the hell was going on, and could now enjoy the denouement, they’d all shout, “Oh! This is where we came in!”— and leave. How are you supposed to write for an audience like that? The great farce-writer Ben Travers once told me that in the ’30s, posh “country people” would invariably arrive in their seats at the back of the stalls about twenty minutes late (to show that they were not bound by the trivial conventions of the proletariat) and that he therefore always added a brief summary of the plot at that point, so the toffs could get up to speed. But Ben at least knew roughly when they’d be arriving. Did the “Oh! This is where we came in!” brigade ever consider why they liked watching a movie in the wrong order? Well, not my parents, anyway.

Cleese, John. So, Anyway…

Highest Grossing Films of 1990

Highest-grossing films of 1990

1 Ghost – Paramount $505,702,588
2 Home Alone – Fox $476,684,675
3 Pretty Woman – Disney $463,406,268
4 Dances with Wolves – Orion $424,208,848
5 Total Recall – Sony / Carolco $261,317,921
6 Back to the Future Part III – Universal $244,527,583
7 Die Hard 2 – Fox $240,031,094
8 Presumed Innocent – Warner Bros. $221,303,188
9 Teenage Mutant Ninja Turtles – New Line $201,965,915
10 Kindergarten Cop – Universal $201,957,688

https://en.wikipedia.org/wiki/1990_in_film#Highest-grossing_films

Seeing Your Life Onscreen – Aaron Sorkin Discusses The Social Network – Deadline Interview

DEADLINE: We know Mark Zuckerberg didn’t cooperate but did you ever meet Eduardo Saverin, the character played by Andrew Garfield?
SORKIN: Once Eduardo signed that non-disclosure agreement after his settlement, he disappeared off the face of the earth. We don’t know exactly how much he received, but it’s in the hundreds of millions. And it will probably go over a billion because he also does now own a lot of Facebook stock. But on October 1st, the movie opened and that’s the day I met Eduardo. I got a phone call from our producer Scott Rudin that a representative for Eduardo had contacted him late at night. He wanted to see the movie. So we set up a private screening for him in New York right before Lady Gaga’s private screening. It’s true. I went to meet him when the movie was over and you could have performed surgery on him without anesthesia at that point in time. I gotta say, he was a deer in the headlights which is an understatement. He did certainly expect to like the movie a lot, but you could tell in his face that he had just relived the thing. It’s an unreasonable experience that hardly anybody, including myself, knows what it’s like to have a chapter from your life suddenly written, directed, lit, shot, and performed by actors. That was the first and only time I met Eduardo.

Deadline

Michael Apted Interview – Fresh Air

Every seven years since 1964, in what’s known as the Up series, Granada Television has caught us up on the lives of 14 everyday people. The subjects of the documentary series were 7 years old when it began; in the latest installment, 56 Up, they are well into middle age.

Apted on what this experience has been like for him

“What can I say? I mean, it’s the favorite thing I’ve ever done, the thing I’m most proud of. It’s nerve-wracking, because you think you’re always going to blow it and you’ll wreck the whole thing. It seems fragile, and I’ve learned a lot of lessons about it. I’ve made mistakes on it and had to correct those mistakes. You know, particularly I got into a situation, I think, early on where I became judgmental about people — that if they didn’t agree with my standards of success, failure, happiness, whatever, then I would feel they were the lesser for it. And also I try to play God. I try to predict what might happen to people, and sort of set it all up for that. And I did that, and that was an embarrassing mistake. And I think what I’ve learned all the way through is the less I do, the better.”

Fresh Air

Nominate a Movie / Movies for the National Film Registry

Nominations are now being accepted for the 2020 Registry
The 2020 deadline for nominations is September 15, 2020.

The Library of Congress invites you to submit your recommendations for movies to be included on the 2020 National Film Registry. Public nominations play a key role when the Librarian and Film Board are considering their final selections. To be eligible for the Registry, a film must be at least 10 years old and be “culturally, historically, or aesthetically significant.”

Registry criteria does not specifically prohibit television programs, commercials, music videos or foreign productions, however, the original intent of the legislation that established the Registry was to safeguard U.S. films. Consequently the National Film Preservation Board and the Librarian of Congress give first consideration to American motion pictures.

The Registry is intended to reflect American society and the rich tapestry of American cinema since its inceptions around 1890. To that end, we strongly encourage the nomination of the full-range of American film-making: not just Hollywood classics or other well-known works, but also silent era titles, documentaries, avant-garde, educational and industrial films, as well as films representing the vibrant unmatched diversity of American culture, both in terms of content and all those who created these snapshots of America society: directors, writers, actors and actresses, cinematographers, and other crafts.

Looking for ideas on possible films to nominate? Check here for hundreds of titles not yet selected to the National Film Registry. View the complete list of films currently on the Registry.

You may recommend up to 50 titles per year through our online nomination form..

Library of Congress

Peterloo

The Peterloo Massacre took place at St Peter’s Field, Manchester, Lancashire, England on Monday 16 August 1819. On this day, cavalry charged into a crowd of around 60,000 people, who had gathered to demand the reform of parliamentary representation.

After the end of the Napoleonic Wars in 1815 there was an acute economic slump, accompanied by chronic unemployment and harvest failure, and exacerbated by the Corn Laws which kept the price of bread high. At that time only around 11% of adult males had the vote, very few of them in the industrial north which was worst hit, and reformers identified parliamentary reform as the solution. A mass campaign to petition parliament for manhood suffrage gained three-quarters of a million signatures in 1817 but was flatly rejected by the House of Commons. When a second slump occurred in early 1819, radical reformers sought to mobilise huge crowds to force government to back down. The movement was particularly strong in the north-west of England, where the Manchester Patriotic Union organised a mass rally in August 1819 addressed by well-known radical orator Henry Hunt.

Shortly after the meeting began, local magistrates called on the Manchester and Salford Yeomanry to arrest Hunt and several others on the platform with him. The Yeomanry charged into the crowd, knocking down a woman and killing a child, and finally apprehended Hunt. Cheshire Magistrates chairman William Hulton then summoned the 15th Hussars to disperse the crowd. They charged with sabres drawn, and 9-15 people were killed and 400–700 were injured in the ensuing confusion. The event was first labelled the “Peterloo massacre” by the radical Manchester Observer newspaper, in a bitterly ironic reference to the bloody Battle of Waterloo, which had taken place four years earlier.

– Wikipedia

Truffaut, François. The Films in My Life – quote from and epigraph

When I was a critic, I thought that a successful film had simultaneously to express an idea of the world and an idea of cinema; La Règle du Jeu and Citizen Kane corresponded to this definition perfectly. Today, I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between; I am not interested in all those films that do not pulse.

Epigraph:
I believe a work is good to the degree that it expresses the man who created it.
ORSON WELLES

These books were alive and they spoke to me.
HENRY MILLER, The Books in My Life

Truffaut, François. The Films in My Life
Amazon

Glamour and Oil Fields – Los Angeles, Variety of

From Los Feliz to Long Beach, the 1997 classic exposes rot beneath the glamour of Los Angeles

“I remember the first time I got off the plane in LA. I came up to Hollywood, on La Brea or La Cienega, I can’t remember, through the oil fields,” says L.A. Confidential production designer Jeannine Oppewall. “And I thought to myself: ‘What the hell kind of city is this, with oil fields in the middle of it?’”

For Oppewall, who spoke to Curbed LA on the eve of the 1997 neo-noir’s 20th anniversary, the illusory romance of the City of Angels was stripped away in an instant. That’s what the movie does too, puncturing our inflated ideas of Old Hollywood glamour by plumbing the psychological depths of its key characters and (sometimes literally) exposing the rot underneath.

By Chris Eggertsen, la.curbed.com

Desultory Notes

Once Upon a Time… in Hollywood – Soundtrack