Watched Hollywood Ending. I've seen it before and had completely forgotten about it. Psychosomatic Blindness ! :rotfl:
I am quite liable to pull such a stunt at some point. Just for the hec of it.
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Watched Hollywood Ending. I've seen it before and had completely forgotten about it. Psychosomatic Blindness ! :rotfl:
I am quite liable to pull such a stunt at some point. Just for the hec of it.
:hammer: :effigyburning:Quote:
Originally Posted by [url=http://lite.mayyam.com/hub/viewtopic.php?t=13352&start=1020
I repeat, he writes people so damn well.
The fragility of situation, the inevitability of untruth, the discomfort in the company of people who know where you are coming from, the judgements that constantly morph, the rationalizations.
An artist's "intimate acquaintance with truth" 'mbAingalE. :bow:
Btw, is this the film where the characters speak about Riefenstahl, etc ? Or was it Anything Else.. :think:
Yeah the girl first calls Woody's novel brilliant then starts dissing it. When asked, she continues to say it is brilliant. Then she says : "Triumph of the Will is a great movie but you despise the ideas behind it' :rotfl3:Quote:
Originally Posted by kid-glove
Yeah yeah ! :lol:Quote:
Originally Posted by P_R
I'm in total agreement with what she is saying, hence the remembrance !
A certain degree of oppression, imbalances, certain equations, relation possibilities (heck even topics of conversation) being out of question - even if by claustraphobic social arrangements - was what kept/keeps the institution ticking. All along you know the truth in this.
When conservatives foam in the mouth, the natural urge to despise them is imperceptibly tempered by the fact that one is not supremely confident of a situation, where one's rational self has to be completely responsible for oneself.
When we think about the future, are we thinking about future experiences of the memories for the further future, that the future generates. Do we want to bind ourselves to the mast like Ulysses did, so he couldn't hear the song of the Sirens. There are a variety of masts on offer: religion, deceipt,denial, responsibilities, inertia...
Again, இந்த மாதிரி எல்லாம் தங்குதடையில்லாம என்னை உளர வைக்க, only Woody fossible. :oops: :clap:
ennai pondra neyargal irukkum varai..Quote:
Originally Posted by P_R
ularunga
ularunga
ularikitte irunga :D
:lol:Quote:
Originally Posted by P_R
:thumbsup:Quote:
Originally Posted by rangan_08
Everything you wanted to know about sex (but were afraid to ask)
The first skit (jester) was moderately funny
The second skit (sheep) was uber blade
Third skit (Italian) was a bit funny but was like one joke drawn too long
Yet to see the rest
Paraphrasing what Qt once said about a Douglas Sirk's film, Any film with such a great title should be (he said "great") released. :P
Godard (or maybe QT) said something similar, "That Title is so great, you could just release the title without making the film" :lol2:
Not your kinda Woody, I'm afraid. Leaning towards, "hey, he was funnier in the early films" old farts like me. My favourite: The Gene Wilder episode of course :lol:Quote:
Originally Posted by P_R
Oh, the third skit apart from being mildly funny, succeeds at being "pretty". And Is one of my favorite parts of the film, and has well-paid homage to Italian films. That's just Woody paying respect to a certain style of filmmaking and it needs a certain amount of talent to do that well. I can't think of anyone else pulling that off.
pArthuttu solrEn.
I liked Love and Death - but I guess that is the last of his early films - or perhaps it is does not count as an early film at all !
I liked the jester episode
The st suffixing of everything :lol:
I'm all out of naked flesh but would the velvet do? :rotfl:
Remember you said that if was ever in town I should look up your wife? :rotfl3:
It is exactly in this context that he talked about funny v. pretty. He said this was one very rare occasion when he could do stuff in terms of 'look and feel' that he would otherwise not have a lot of occasion to do when making his movies.Quote:
Originally Posted by kid-glove
:lol: Yeah, definitely some of the best moments there. And yeah, the Italian film homage/spoof too. Heck I love the whole movie, just the sperm episode was a bit of a turn off.
Woody wrote a segment about where he is a spider who gets eaten up after mating by Louise Lasser who is a black widow. He didn't get a good ending - so he abandoned it after shooting. It is quite funny.
:shock: For this film? Whoaaa.....Quote:
Originally Posted by P_R
Yes. It is part of a book I read recently that I have been telling whoever will care to listen (and even those who won't) about. It is an early biography of Woody Allen by Eric Lax. It was written around the time Woody finished Sleeper. It walks us through the way he works, his idiosyncracies, the way he thinks about writing comedy, the challenges of writing comedy for films (as opposed to stand-up routines etc.).Quote:
Originally Posted by groucho070
I have that book...guess I totally forgot that piece of trivia :oops:
Thought so !Quote:
Originally Posted by P_R
I spoke too soon
The last two skits were hilarious :rotfl:
You shoot this girl, I'll sue you for malpractice :rotfl3:
(after he defeats the giant breast) I thought you'd be nursed to death :lol:
The sperm episode was side-splitting.
Norman Mailer has this same kind of relevance :rotfl2:
Premiere in Cannes (out of competition): Woody Allen's You Will Meet a Tall Dark Stranger, with Naomi Watts, Antonio Banderas, Anthony Hopkins, Josh Brolin and Freida Pinto. Description on the film's Facebook page: "A little romance, some sex, some treachery, and apart from that, a few laughs. The lives of a group of people, whose passions, ambitions and anxieties force them all into assorted troubles that run the gamut from ludicrous to dangerous."
This line is side-splitting.Quote:
Originally Posted by P_R
How the brain-cell colleagues checking out the girl :rotfl:
The hauling up of the priest who was found sabotaging the cerebral cortex :lol:
VCB on Zee Studio
After getting shot...
Vicky: This is NOT my life
:clap:
As Mudaliar said about Kamban KaNNagi. adhu ennamO andha poNNu manasula ninna aLavukku, pEr nikka mAttEngudhu.
Annie Hall on MGM
The phyrric triumph of seeing her take her guy to: The Sorrow and the Pity. :bow:
I dont' get Zee studio & MGM in my cable - planning to get dish tv soon. Hope you had a whale of a time.
Read a few stories from Side Effects. Remembering Needleman & An Apology were good read.
And then....Appraisal in Purananooru----- a blogger at last :)
Blades of grass reminded me of Whitman's Leaves of Grass .
Nice one.
rangan_08, if you are still deciding on the DTH ensure you get UTV World Movies and/or NDTV Lumiere.
Yesterday morning on UTV World Movies they were showing Kikujiro (the film based on which NandhalAlA is being made by Myshkin)
Woody's inteview to Commonweal
Quote:
My friends were more preoccupied with social issues—issues such as abortion, racial discrimination, and Communism—and those issues just never caught my interest. Of course they mattered to me as a citizen to some degree…but they never really caught my attention artistically. I always felt that the problems of the world would never ever be solved until people came to terms with the deeper issues—that there would be an aimless reshuffling of world leaders and governments and programs.
<expletive> :bow:Quote:
we all know the same truth; our lives consist of how we choose to distort it, and that’s it.
Some pearls there.
But of course, I've read him use lemonade analogy.. Perhaps it's another shortened version of this interview..
Play it Again Sam
Excellent
It's the same goddamn movie all over again and still he manages to impress :clap:
Stardust Memories
Rules padi enakku pudikka koodAdhu.
It is too straight, dangerously borderline meditative, not funny enough etc. But ennavO therila enna maayamO therila I liked it very much. :clap:
Simply by pre-empting every possible reaction and counterreaction, explanation, misunderstanding etc, in-your-face laziness he wins you.
What can you say to a work which shows a member of the audience crying out "cop out artist"
a member of the audience winking at another who asked a 'clever' question
two members of the audience having the following conversation
Quote:
She: what do you think the Rolls Royce represents
He: I think it represents his car
I wouldn't have liked this film had it been made by anybody else. But then no-one else would have made this kind of teasing film.
Genius :clap:
Deconstructing Harry
I was inexplicably moved in several parts of this film :clap:
Mind is likely dictate Manhattan, Crimes.. etc as the best film in the long run. But this one is one going to be an all time special film.
நான் ரொம்பொ ஆர்டிஸ்ட் சார்-னு சொன்ன ராஜூ கூட குறைந்தபட்சம் புரட்சிகரமான கருத்தோட ஒரு நாடகம் போட்டார். அது கூட செய்யாம ஒரு கலைமன பாவனையை கிடைபிடிக்க கூச்சமா இருக்கு.
But those who love Woody in some ways in some degree are guilty of this. Some degree of empathic relation to the intellectual, out of step with the world, artistic spirit. So must some day seek confidence in the strength in this brotherhood and write at length unabashedly.
Wrestled with certain questions which were unnervingly precise. So the whole film felt like I was flitting between enjoying the self-deprecation and empathizing with the one being depcrecated much more than has ever been the case before.
Excellent excellent film.
Wild Strawberries and Through a Glass Darkly
Me: flow-la irukkumbOdhu idhu reNduthaiyum paathuralaamE.
Mini Me: unakku edhu varudhO, adhai mattum seyyi. podhum enRa manamE pon seyyin marundhu.
As much as Woody derives from both the films & Bergman quite a bit, the reason it worked for you is because the film, from start to finish, is fully and utterly Woodyesque. And I personally think it's an original film using Bergmanesque narrative "devices".
For similar reasons, I could make out from your post that it's the Woody part that made you sit through (& applaud) Stardust. Not the Fellini side of it.
Let me admit that both these masters don't get diminished but richened by looking through Woody's glass (not 'darkly' any more but with a lighter idiosyncratic personal tone) which at times encourages one to watch the original films and at least appreciate at a subconscious level, even if not easily reduced to words.
I'm equally guilty of feeling a part of this 'brotherhood', of inner vices of self-importance, pretentiousness, condescension, as you say "empathic relation to the intellectual, out of step with the world, artistic spirit." at a slightly lesser degree too..
Actually I've not seen Fellini at all thus far excepts parts of Amaracord - which was kind of a :huh: :confused2: film for me.Quote:
Originally Posted by kid-glove
Though I am not sure I will give Fellini a try I am inclined to give Bergman one. I feel the two movies I saw (Cries and Whispers and Virgin Spring) may not be 'typical'. Or atleast he may have made different 'types' of film given he was such a prolific filmmaker. That's why I felt if there was a time to try, it would be pretty soon with memories of Stardust and Decon. still fresh.
Yeah and in many ways this stands in way of writing at length about it because it somehow feels like giving a lot of oneself away :-)Quote:
Originally Posted by kid-glove
A few deep breaths later it seems perhaps that one wouldn't give oneself away as much as put on display the exaggerated impressions of oneself. Now that's even more worrisome :-)
I loved Stardust's portrayal of the artist's predicament. No longer being what you used to be, what you are liked for (he is going to a retrospective!) and being thought of as the 'one with the answer to everything' and continuously emphasizing this is not the case (and being liked even more for it) all of that came out very well. He isn't impacting people's lives or perhaps not in the way he thinks one ought to, but seeks h reassurance that there is some justification of his existence and manages to find some again through his imagination - his only mode of existence.
In a way it said exactly the same thing as Decon Harry, that he 'exists' in his work. The couple of seconds of suspension when the woman at the beach says "don't you remember me, your mother" makes the point well. But it is pretty much there throughout in the frog jumping in and out of screen, film and real, as if to him the difference is marginal. He exists in the reactions to his work, the winking audience member who thought he'd trapped him etc.
But all this will be swept away. Nobody cares even when he tries to cloak the question nobly by saying even Beethoven and Shakespeare will be his fellow victims.
He has to make decisions which are not imaginary. They as real as two noisy kids can get. Does he have emotions or is he expressing emotions to 'fit in'. Can he hold that line long enough to make things work in a world where he can't just imagine things the way he wants them to be. (And not as if the imaginations guarantees realization there either, you have people being sent to jazz heaven ! So even in the 'easy' world things are tough). He has to grasp at the memories, the perfect moments that are bound to be evanascenet. (Nothing is as fatal to an ideal as its realization - Schopenhauer) Acknowledging that that's all he's going to get.
As an artists you feel several lives - so you can't live one life as easily as the rest of the world seems to. As an artist you have heightened aesthetic sensibilities, a complicated personality and you never ever relate to anyone fully as much always deigning to put on an agreeable personality. Perhaps he will hold on to it long enough, perhaps not. And perhaps he will be the peddler of profundity who makes gaping admirers feel clever by coining corny descriptions like 'peddler of profundity'.
I may be guilty of reading it the way I want to, based on the flavor of month in terms of 'ideas I obsess about ' now.
Woody seems to think that is inevitable too :-)
He watches Bicycle Thieves and tries to divorce it from the social context and relate it to wider problems of the human condition (i.e. things his character obsesses about :lol: )
What a terrific artist. :bow:
In the last couple of weeks, I really don't know how many times I saw the first half an hour of Annie Hall. I am obsessed.
True Genius.
What a source of inspiration - not in the technical aspect ( for me, of course), but just to live life....with all the crisis, traumas, agonies & miseries. Truly one of the greatest, sensible & brilliant films ever made.
:notworthy:
I don't like to stress on birthdays. But it so happens that one gets to remember their favorite filmmakers. Today it's Woody's 75 or 76th. Still have enough time to meet the tall dark stranger. Until then keep giving us many more films to laugh, feel, ruminate and indulge with.