20:10: The imitators edition
I stole this idea from Nathaniel Rogers. These are screen caps of the twentieth minute and tenth second of movies, many of which I can’t really expand on as he eloquently does. But really, this is posted because My VLC shuffle played The Kids are All Right and Shutter Island, which are already taken. [ETA; Also, I have not and will not put the names of the movies where these screen capscome from, for guessing reasons]
A rival painter observes, praises master yet talking behind the protagonist’s back.
“Excusez moi, numero two!” “HEY!”
“What happened?” “Oh, you didn’t hear…”
It’s not high school anymore. Friends dirty dancing in public…
He feels the pains of ‘adult sizing’ in a self-aware amusement park.
“…children, heaven bless them, they will look up to me and mind me…”
Los Angeles, night-time. The vandals rise and fall.
Traffic. No dialogue, obviously.
“Yeah, well, where is he? How come he takes a lousy stinkin’ job?”
At 3AM, a careless nursemaid tells the truth to a budding actor.
The big leap.
ph. MGM
No one can do blasphemy like Woody Allen. Thing is I’ve been looking for this scene while skimming Hannah and Her Sisters and couldn’t find it, and I was gonna post a still of Barbara Hershey permanently coming out of the shower or the atrocious fashion. Oh, you want me to do that too?
When April (Carrie Fisher) makes Holly (Dianne Wiest) feel guilty about something the former did. Well, Holly didn’t have dibs on David (Sam Waterston), so finders keepers.
And when Holly and Mickey (Woody Allen) have a second chance. What kind of Jewish parent names their kid Mickey?
Also, Lewis Black, Julia-Louis Dreyfus, John Turturro and Richard Jenkins are in this movie? I need to rewatch this in entirety!
Related Articles
- Modern Maestros: Woody Allen (filmexperience.blogspot.com)
Network at the Bloor
(Like Noah’s Ark. ph. secret)
“I’m mad as hell, and I’m not going to take this anymore!”
That is Howard Beale’s (Peter Finch) jeremiad proclamation, echoed by a handful of New Yorkers decorating its apartment walls. Seeing this on the big screen will incite wonder and dread, the first of many proclamation within this movie.
One of the components of a movie or it to be considered a favourite is the crazy. I mentioned this in my post about “Twelve Monkeys,” but you’ll hear different pitches of it in “Network.” The movie is one dialogue explosion surpassing the previous scene, culminating with a last and fucked up solution.
Sidney Lumet, one of my favourite directors, is the hand that rocks this film. His theatre background is well demonstrated here, again handling Paddy Chayefsky’s eloquent script like it’s Shakespeare. Howard Beale asks his audience to be involved the same way Lumet provokes his audience to new crazy heights. The characters referring to the fourth wall reminds us that a self-aware fictional lie is better than the comforting one.
Everyone else who has seen this movie will talk about its parallels today. We’re at the ‘Golden Age of Television’ now, but that doesn’t stop “processed instant God,” as Diana Christensen (Faye Dunaway) says, to seep through and turn every viewer into a madman. Imagine a Glenn Beck who cannot understand Ayn Rand.
I want you get up now, turn off your computers, get up on your chairs, and go to the Bloor tomorrow night at 9. Plan this. Take at least one other person with you. See the movie and find out whether “Rocky” should have won. You have to see this movie before you die.
Okinawa Assault 