Influences on each film

Started by wilder, November 30, 2017, 02:59:02 PM

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Lottery

Quote from: wilder on January 04, 2018, 03:37:01 PM

From the Globe and Mail interview modage linked:

QuoteHe's much more comfortable discussing books – stories by Daphne du Maurier, Anya Seton, Shirley Jackson and Charlotte Brontë (at least by way of Robert Stevenson's 1943 film adaptation of Jane Eyre) fed into Phantom Thread's stuffy, sensuous milieu – and movies.


All female writers in this quote, very interesting.

Quote from: wilder on January 04, 2018, 03:37:01 PM

Quote"If I fetishize certain films, it's ones from the 1930s and 40s, getting up into the early 50s, too. Those are the ones that really get me going." Phantom Thread feels indebted to such sources: Lewis Allen, David Lean's smaller-scale dramas, and especially German exile Max Ophüls.

He really loves him some old 30s-50s films, as mentioned earlier:
QuoteI don't fetishize '70s movies the way some people do. I love them, but my models are those '30s films, and I'm always trying to emulate that.

Another non-specific mention of Turner Classic Movies in this video. Possibly the most consistent influence on him since at least The Master. Mentioned in several interviews that it's always on in the background for him.


wilder

(for the sake of annotating)

Mark Bridges mentions he was shown Maytime in Mayfair (1949) in the of the video interview above.

Lewton

Quote from: wilder on January 04, 2018, 03:37:01 PM
Unclear if Lewis Allen is an actual influence or just the interviewer's suggestion. Putting The Uninvited (1944) with a question mark.

I was going back and forth about this, but I'm currently thinking that PTA probably actually talked about Lewis Allen, as he's mentioned all of the other influences noted in that sentence. I might be wrong, though.

Thanks for sharing this.

wilder

Most likely the case. I'll just put them. No one ever had a worse life for watching more Ophüls and Lean.

wilder

Conscious influence or not, the film that feels most similar to Phantom Thread to me is Joseph Losey's The Servant (1963). It's mentioned in this Guardian review, but in general hasn't been bandied about as much. Losey's thematic interests very much align.

From Senses of Cinema's profile:

QuoteThe dominant themes of Losey's eclectic work are emotional instability, emotional and physical violence and perverse sexual power plays. There is not one conventional love story in his films. He has a mania for settings that express states of mind, and his camera movements are always abnormally sensitive and skittish. He has been attacked as a case of style over substance, but this misses the point. If Losey had been a writer his deficiencies would make him a minor figure, but he was from first to last a film director, and, at least for directors who don't write their own material, style is substance.

At the very least it'd make a great double feature...



wilder

Question mark. But whoa.


aka Paris Thrills (1945)

Philippe Clarence, a famous Parisian dressmaker, seduces his friend's fiancee. But, for the 1st time in his life, this is for real. The film is also a sharp picture of the fashion world.

Quote from: CriterionForum user senseboveJuly 20, 2018

Just saw Jacques Becker's absolutely wonderful Falbalas—did Anderson actually acknowledge it as an influence anywhere?

Because I find it hard to believe he didn't see it... There are too many things that seem to be lifted: a fussy, capricious, and wantonly cruel couturier whose House is managed by his only living relative, a matronly older sister; a breakfast scene where the obsequious former lover who has fallen out of favor storms off when he rejects her overt attempts to cater to him; and some banter between the designer and a model which starts with his seemingly derisive comment on her breast size and ends with him telling her its none of her business (implying what PT makes explicit: it's his to make her have some if he wants her to). I may have gone into it looking for them—but put together they all seem a bit much to be coincidental.

Quote from: Letterboxd user rischkaMay 30, 2016

an early becker effort set in the world of haute couture. raymond rouleau stars as a womanizing diva designer who employs an army of seamstresses to produce his creations, each season inspired by a new muse. his latest discovery is betrothed to a dear friend, a girl who's too naive to see his seductions shouldn't be taken seriously. that is, until she's no longer available to him, when he suddenly decides to chuck everything and run away with her, not caring who may be hurt in the process. while i don't totally buy the ending, raymond rouleau is terrific here, becker has a deft hand with the witty dialogues and frantic pace and a great eye for interesting character traits. he still hasn't let me down. plus the wonderful paris 40s fashions esp amazing hats!!

Quote from: Letterboxd user Connor DenneyJuly 16, 2017

Flippant playboyism descends into the psychosexual when that required component of physical relationships, the self-gratification awarded by absolute power over romantic partners, is not awarded. We see the effects that objectification of women can have when the "objects" begin to turn on their "master," and the response feels as truthful as it does striking and surprising.



Robyn

I saw quiz show a while ago, which felt like a movie pta would enjoy, but I don't recall him mention it? "films that was never mentioned, but that he probably enjoys" is a thread idea, I guess.

wilder


jviness02

Quote from: Lottery on January 04, 2018, 08:11:57 PM
Quote from: wilder on January 04, 2018, 03:37:01 PM

From the Globe and Mail interview modage linked:

QuoteHe's much more comfortable discussing books – stories by Daphne du Maurier, Anya Seton, Shirley Jackson and Charlotte Brontë (at least by way of Robert Stevenson's 1943 film adaptation of Jane Eyre) fed into Phantom Thread's stuffy, sensuous milieu – and movies.


All female writers in this quote, very interesting.

Quote from: wilder on January 04, 2018, 03:37:01 PM

Quote"If I fetishize certain films, it's ones from the 1930s and 40s, getting up into the early 50s, too. Those are the ones that really get me going." Phantom Thread feels indebted to such sources: Lewis Allen, David Lean's smaller-scale dramas, and especially German exile Max Ophüls.

He really loves him some old 30s-50s films, as mentioned earlier:
QuoteI don't fetishize '70s movies the way some people do. I love them, but my models are those '30s films, and I'm always trying to emulate that.

Another non-specific mention of Turner Classic Movies in this video. Possibly the most consistent influence on him since at least The Master. Mentioned in several interviews that it's always on in the background for him.



I'm confident a well-versed filmmaker and cinephile like PTA was already well-versed in Classic Hollywood before his 40s, but I do think he clearly has been more interested and influenced by those films the last decade of his career. I don't think it's a coincidence his last three films have been flat versus scope. You spend all day watching TCM, it becomes hard to imagine films in something other than a box.

Yes

Excited to see the updates for this with Licorice Pizza

I guess we can begin with American Graffiti

Yes

He's officially named American Graffiti and Fast Times At Ridgemont Times as influences.

Also mentioned Billy Wilder and the film has a reference to Clint Eastwood's Breezy

wrongright

Quote from: Yes on November 13, 2021, 04:17:46 PM
He's officially named American Graffiti and Fast Times At Ridgemont Times as influences.

Also mentioned Billy Wilder and the film has a reference to Clint Eastwood's Breezy

And "Gloria".

wilder

Have to imagine The Last American Virgin is rolling around in there somewhere, especially in light of this quote circa 2014:

Quote"The movies that I really love and the ones that stuck with me are the ones I just listed. But I'm always remembering movies that have influenced me or have done something to me that've been lost or forgotten," he explained.

"I was remembering this movie the other day called The Last American Virgin - it's not a great movie but I saw it and it was a big deal for me.

"It's one of uncountable coming of age teen movies made in the early '80s, but it's really well made and really good. I hadn't thought of it in 10 or 15 years, and that moved me to think about it as much as I do Treasure of Sierra Madre."

Circuitous title connection, too, being a remake of the Israeli movie Lemon Popsicle. Wondering if he'll mention it directly in reference to LP.

Yes

In Sight and Sound, he mentioned The Apartment and Billy Wilder in general for Licorice Pizza

wilder

Someone mentioned a trailer for Floyd Mutrux's Aloha Bobby and Rose (1975) played in front of their NYC screening. And Armond White brought up Mutrux's other films in his review.

Quote from: Armond WhiteAnderson's other model, Floyd Mutrux, whose marvelous '70s quotidian narratives (Aloha, Bobby and Rose, Hollywood Knights, and American Hot Wax)

Quote from: wilder on March 07, 2017, 04:03:02 PM2017 TBD

Floyd Mutrux's Aloha, Bobby And Rose (1975) from Scorpion Releasing. Mutrux also made the underrated Dusty and Sweets McGee (1971)



Bobby has a new '68 Camaro and a dead-end job. Rose has a young son and a nowhere life. One night, they meet, fall in love and share a dream of leaving the seedy side of Hollywood for the easy life of Hawaii. But when an innocent prank goes tragically wrong, Bobby and Rose are on the run from the law and for their lives. As they take to the highway, they find that paradise is just out of reach...and that 'aloha' can also mean 'goodbye.'



Quote from: wilder on May 13, 2015, 09:45:31 PM