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DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on May 17, 2017, 09:33:31 PM »
2017 TBD

Douglas Sirk's La Habanera (1937) on blu-ray from Kino, from a new restoration

Trapped in Puerto Rico, a beautiful young Swede is torn between her passionate, but mildly abusive South American oligarch husband and her longing for her European homeland.

Legendary director Douglas Sirk's (Written on the Wind, Imitation of Life) La Habanera is a lushly poetic and boldly modern musical drama decades ahead of its time. Working at Germany's famed UFA Studios (Metropolis), under the very noses of the Nazi authorities that would later him into Hollywood exile and eminence, Sirk transformed a glossy musical vehicle for UFA's "new Garbo" Zarah Leander into a dark an intimate anti-colonial melodrama.

Desperate to escape the "cold Swedish minds" of her homeland, beautiful Astree (Leander) falls under the enchanting spell of the Caribbean love serenade La Habanera and into the arms of Puerto Rican land baron Don Pedro de Avila (Ferdinand Marian). But ten years later, when Astree's old flame Dr. Sven Nagel (Karl Martell) arrives in Puerto Rico on an errand of mercy, all is far from heavenly. Astree is trapped in a loveless marriage to Don Pedro and the island wind that once conveyed the music of romance now carries death in the form of an outbreak of airborne tropical fever. While racing to find a cure for Astree's fever stricken son, Dr. Nagel most elude both the island authorities that would have him jailed for revealing their fatal cover-up and a psychotically jealous Don Pedro who would rather see Astree dead than reunited with her last love.

Douglas Sirk gilds La Habanera with all the dazzling compositions, swooping camera work and ravishing but doomed characters that distinguish his revered 50's Universal melodramas. Cooly precise yet extravagantly emotional, La Habanera is the work of an assured cinematic poet and compelling tragedian already at the peak of his skill.

Paul Thomas Anderson / Re: Other actors/directors/etc. who mention PTA
« Last post by citizn on May 17, 2017, 08:04:51 PM »
From the recent GQ interview with Brad Pitt:

And the fact that you guys are pointing toward that—that clearly doesn't always happen. If you ended up in court, it would be a spectacular nightmare.
Spectacular. I see it everywhere. Such animosity and bitterly dedicating years to destroying each other. You'll be in court and it'll be all about affairs and it'll be everything that doesn't matter. It's just awful, it looks awful. One of my favorite movies when it came out was There Will Be Blood, and I couldn't figure out why I loved this movie, I just loved this movie, besides the obvious talent of Paul T. and, you know, Daniel Day. But the next morning I woke up, and I went, Oh, my God, this whole movie is dedicated to this man and his hatred. It's so audacious to make a movie about it, and in life I find it just so sickening. I see it happen to friends—I see where the one spouse literally can't tell their own part in it, and is still competing with the other in some way and wants to destroy them and needs vindication by destruction, and just wasting years on that hatred. I don't want to live that way.

Xixaxers may also be interested in the following snippet (although not PTA-related):

When is the acting still exciting?
I would say more in comedic stuff, where you're taking gambles. I can turn out the hits over and over and I just—my favorite movie is the worst-performing film of anything I've done, The Assassination of Jesse James. If I believe something is worthy, then I know it will be worthy in time to come. And there are times I get really cynical, you know. I spend a lot of time on design and even this sculpture folly I'm on, I have days when—it all ends up in the dirt anyways: What's the point? So I go through that cycle, too, you know? What's the point?
The whole movie is about adrift people trying to figure out who they are and determine their place in the world, and in the case of Rollergirl, she has such an ephemeral sense of self that she has based her entire persona around this accessory. Even the name that she's chosen for herself (or at least accepted as chosen for her) literally defines her by this one thing. It's a crutch, in a sense, in that it allows her (at least for a time) to live a fully unexamined life. As long as she has her roller skates, she's The Girl With The Roller Skates, no need to look deeper. Because she's afraid of what's to be found under the surface.

And of course, her totem being roller skates in particular carries heavy connotations of arrested emotional development, lost innocence, etc. There's an ironic juxtaposition between her advanced sexuality and how childlike she is in all other aspects.

Good luck on your essay!
Paul Thomas Anderson / What do Rollergirl's skates reveal about her character?
« Last post by wilberfan on May 17, 2017, 05:28:30 PM »
Personal hygiene (and other) jokes aside, what do you think Rollergirl never wanting to remove her skates reveals about her character?   They hold some kind of power for her (literally--in the case of stomping her high school/college tormentor after he gets out of the limo). 

The Grapevine / Re: Patti Cake$
« Last post by jenkins on May 17, 2017, 04:04:45 PM »
i like the culture of becoming your own hero. of course a bunch of people are so against it, for what they call their good reasons

Geremy Jasper music video

The Grapevine / Patti Cake$
« Last post by wilder on May 17, 2017, 03:54:39 PM »

In a coming-of-age story straight out of Jersey, an unlikely rapper finds her voice as a one-of-a-kind hip-hop legend in the making in PATTI CAKE$, the first feature film from acclaimed commercial and music-video director Geremy Jasper. Set in gritty strip-mall suburbia, PATTI CAKE$ chronicles an underdog’s quest for fame and glory with humor, raw energy and some unforgettable beats.

Written and Directed by Geremy Jasper
Release Date - August 18, 2017
The Small Screen / Re: Better Call Saul
« Last post by RegularKarate on May 17, 2017, 12:31:26 PM »

I just read a critic say that Chuck is hatching a new plan against Jimmy. But that's wrong, right? It seems like he's motivated to get help for himself. He even called the doctor who was skeptical about his condition.

Yeah, we are due for another swing toward really feeling for Chuck again. If he accepts his issue and tries to work on it, we can start to like him again and hope he and Jimmy patch things up.

And I'm going to have to reiterate this. Something is off about Mike's daughter-in-law. She seems manipulative and not genuine, and/or a little crazy. It was worse when she was trying to get a new house, but it's still there. Whenever she talks, it sounds like she's reciting something from memory, not speaking like a human. Is this a problem with the acting, or is it an intended part of her character?

Honestly, I think it's both. I think she's a bad actress, but I also think that on paper, it definitely seems like she's taking advantage of him.
The Grapevine / Re: Akira (Live Action - 2009)
« Last post by Reelist on May 17, 2017, 10:47:34 AM »
Thank the Lord! Why do movies studios assume that since your movie made $200 million, of course the next thing you'd like to do is make a $200 million movie? Akira is just another in the long line of expensive scifi remakes that will pale in compairson to the original, just like Robocop and Total Recall. Jordan* has so much more up his sleeve to offer than that.

* we're friends now
The Small Screen / Re: Better Call Saul
« Last post by Sleepless on May 17, 2017, 09:49:36 AM »
Was it just me or did the scene with Howard leaving Chuck's seem like it was foreshadowing Howard's death? (After they've been drinking, Chuck asks if he's okay to drive.) Plot wise, it might make sense. What's the worst thing that could happen to Chuck now on top of losing his brother and being forced to confront a mental illness? Losing his business partner and being forced to confront the challenge of running a major law firm when all the employees think he's crazy. It would be a massive jolt and send Chuck ever further down this terrible spiral. But it would be a bit heavy handed for the show, especially given there was no callback to it within the same episode. For some reason that scene stuck out for me. Weird.

Also, that playground chat scene was pretty terrible.

Chalk it up to a couple of "off brand" scenes?
The Small Screen / Re: Assorted TV news
« Last post by wilder on May 16, 2017, 10:41:13 PM »
‘Get Out’s Jordan Peele Teams With WBTV, HBO & Bad Robot For ‘Lovecraft Country’ Drama Series; Misha Green Writing
via Deadline

EXCLUSIVE: Get Out writer-director Jordan Peele’s Monkeypaw Productions is teaming with J.J. Abrams’ Bad Robot and Warner Bros Television on Lovecraft Country, a one-hour drama that has been given a straight-to-series order by HBO. The pilot will be written by Underground executive producer/showrunner/writer Misha Green. Peele will be exec producer along with Green, Abrams and Ben Stephenson. Green will be showrunner.

There is connective tissue to Peele’s breakout genre feature Get Out, which brought a Black Lives Matter theme to the horror genre. Lovecraft Country, the 2016 novel from Matt Ruff, focuses on 25-year-old Atticus Black. After his father goes missing, Black joins up with his friend Letitia and his Uncle George to embark on a road trip across 1950s Jim Crow America to find him. This begins a struggle to survive and overcome both the racist terrors of white America and the malevolent spirits that could be ripped from a Lovecraft paperback. The goal is an anthological horror series that reclaims genre storytelling from the African-American perspective.

Peele brought the book to Bad Robot and enlisted Green.

“When I first read Lovecraft Country I knew it had the potential to be unlike anything else on television,” Green said. “Jordan, JJ, Bad Robot, Warner Bros and HBO are all in the business of pushing the limits when it comes to storytelling, and I am beyond thrilled to be working with them on this project.”

This comes after his Monkeypaw banner was staked to a first-look film deal at Universal. Universal-based Blumhouse made Peele’s breakout genre hit Get Out, which has grossed $215 million worldwide on a $4.5 million budget. He formed Monkeypaw in 2012 to tell stories in comedy, horror and other genres, but his genre work is quickly overtaking his previous identity in comedy from MADtv and the Emmy- and Peabody-winning Comedy Central series Key & Peele.

Monkeypaw also produced Keanu, the film he starred in with his longtime TV series partner Keegan-Michael Key.
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