02-10-2005
CALIFORNIAAAAAAAAAAAAAAAAAAAAA! HERE WE COOOOOOOOOOOOOOOME! Yeah, it's thursday, and yeah, Lindsay is still adorable. But on the down side, two chicks made out and I wasn't at all pleased. Something is terribly wrong here.
Random Observation: Only Neil Young could sing "Rock 'n Roll can never die" over the folky strains of his acoustic guitar with a straight face. What a douche bag.
112) Il Bidone. So I made myself a promise that I'd do my best to find out why the "European Masters" are the "European Masters" in this whole thing. I've seen enough Bergman to know why he gets the title, but as far as the rest go I've really only seen one or two of their movies that are generally considered their best work, and pictures that are generally considered someone's best work aren't really an accurate judge of their real talent/skill. So I decided to start on Fellini with one of his movies that I've never even heard of thinking that would be a good way to go. I liked it all right, but a lot of Italian cinema has always been a little weird to me. Take The Big Deal on Madonna Street. When it was remade as Welcome to Collinwood it just didn't work. A lot of that has to do with poor direction/production and a bungled update of the script (I'm real sure low level crooks in Cleveland regularly use archaic Italian slang from the fifties), but even under surer control I still doubt it would have been a success. Madonna Street is a product of the time and place it was made and therein lies it's brilliance, but also it leaves me feeling like I'm missing something because I wasn't living in Italy and seeing it in the theater when it first came out. I got the same feeling here, like I don't really get a lot of what's going on, not because it's confusing or weird, but just because the culture is so close to our own but just different enough that everything seems off. I'm probably just thinking too much into this and being a "nature of film" jerk. Anyway, I liked that this wasn't so much of a con movie as a movie about con men. Most con movies now are so caught up on the big scam, and it's rare that they con anyone who doesn't deserve it and they try to be so clever but mostly they are just silly and transparent. I didn't really get how some of the scams worked or what they were getting out of it (they're trading coats for gas? What?), but I liked that Fellini showed that most of these guys as true scumbags and what the life can do to someone who isn't. I'll check out more of his work.
113) Rio Conchos. I think Jim Brown had maybe three lines of dialogue in the whole thing. Kind of a drag through the middle and definetely more violent than I would have expected, but overall it was okay. One of the weirdest westerns I've ever seen.
113 down, 887 to go.
Random Observation: Only Neil Young could sing "Rock 'n Roll can never die" over the folky strains of his acoustic guitar with a straight face. What a douche bag.
112) Il Bidone. So I made myself a promise that I'd do my best to find out why the "European Masters" are the "European Masters" in this whole thing. I've seen enough Bergman to know why he gets the title, but as far as the rest go I've really only seen one or two of their movies that are generally considered their best work, and pictures that are generally considered someone's best work aren't really an accurate judge of their real talent/skill. So I decided to start on Fellini with one of his movies that I've never even heard of thinking that would be a good way to go. I liked it all right, but a lot of Italian cinema has always been a little weird to me. Take The Big Deal on Madonna Street. When it was remade as Welcome to Collinwood it just didn't work. A lot of that has to do with poor direction/production and a bungled update of the script (I'm real sure low level crooks in Cleveland regularly use archaic Italian slang from the fifties), but even under surer control I still doubt it would have been a success. Madonna Street is a product of the time and place it was made and therein lies it's brilliance, but also it leaves me feeling like I'm missing something because I wasn't living in Italy and seeing it in the theater when it first came out. I got the same feeling here, like I don't really get a lot of what's going on, not because it's confusing or weird, but just because the culture is so close to our own but just different enough that everything seems off. I'm probably just thinking too much into this and being a "nature of film" jerk. Anyway, I liked that this wasn't so much of a con movie as a movie about con men. Most con movies now are so caught up on the big scam, and it's rare that they con anyone who doesn't deserve it and they try to be so clever but mostly they are just silly and transparent. I didn't really get how some of the scams worked or what they were getting out of it (they're trading coats for gas? What?), but I liked that Fellini showed that most of these guys as true scumbags and what the life can do to someone who isn't. I'll check out more of his work.
113) Rio Conchos. I think Jim Brown had maybe three lines of dialogue in the whole thing. Kind of a drag through the middle and definetely more violent than I would have expected, but overall it was okay. One of the weirdest westerns I've ever seen.
113 down, 887 to go.
posted by Todd Jones at 11:09 PM
1 Comments:
Speaking of California, here they have started advertising for the new season of "the L word," basically Showtime's cashing in shamelessly. I've never seen the show but what I find interesting is that in the advertisements for this season they show a picture of something like twenty womean (of course all of them are model beautiful, none of which weights over 130 pounds a la O.C.)with long flowing hair. There is one girl who has shortish hair but it's still way longer than mine. All that to say with the four lesbian women that I have known personally i.e. multiple years none of them had long hair. They weren't necessarily super short but I mean, come on Showtime, this shows seems to me to appeal to as many lesbians as the movie "Saved" appealed to Christians.
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