Author Topic: DOCember 2017  (Read 2534 times)


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Re: DOCember 2017
« Reply #20 on: November 23, 2017, 11:36:34 AM »
Only the best tradition. Though Kedi is a legitimate film. Last year’s was a trifle.


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Re: DOCember 2017
« Reply #21 on: November 23, 2017, 06:19:59 PM »
You can save for next year:

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Re: DOCember 2017
« Reply #22 on: November 23, 2017, 07:09:37 PM »
Way ahead of you. Watched it back in 2011. It is in the Bondo Collection.


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Re: DOCember 2017
« Reply #23 on: November 27, 2017, 10:38:55 PM »

I Captured the King of the Leprechauns (1965)

What I initially took to be a promotional piece for the Disney film Darby O'Gill and the Little People, this documentary is very revealing look at the lengths Walt Disney would go thru to sell his product. Surprise #1 is starting off with a visit by Hollywood icon Pat O'Brien. Here's a good place to question the meaning of documentary. Walt and Pat are playing themselves and the volume of information given about Ireland is true, but the scene itself is clearly scripted, though performed in the most natural, ingratiating way. It takes O'Brien little time to sound like he's visiting a friend and not reading text.

From there the story slides into fantasy as invisibly as possible, in the ultimate hopes of making you believe that leprechauns are real. Walt travels to Ireland (maybe) and meets some more experts who eventually tell him he needs to meet a great storyteller named Darby O'Gill. Walt then places himself into scenes from the film. (Having just watched the movie, it's interesting to see a scene slightly rewritten, reshot and reblocked to now be performed to include Disney. Walt isn't just inserted into existing footage. His presence changes the scene entirely.)

This technique continues for a couple of other scenes before Walt switches to introducing lengthy clips by telling Pat O'Brien about events that happened 'before he got there.' These clips reveal every major event that happens in the film, save one cliffhanger - O'Brien's reaction is perfect - to keep the audience interested in paying. This was better than watching the film and more insightful too. Disney truly was a master showman and on that score there is no modern equal.
Rating: * * * - Okay

Bing Crosby in Dublin (aka. A Little Bit of Irish) (1965)

Advertised as Crosby returning to his Irish roots, he visits popular Dublin landmarks, tells some stories and introduces singers, dancers and an actor. As far as exposing me to the culture, results vary from "a bit of alright" to "enough already". The problem is nobody can compete with Crosby for entertainment value so all these talented people we're meant to be turned on to are constantly following a better act. I do personally love that Crosby gives mention to Barry Fitzgerald who he says, "carried me for a couple of pictures."
Rating: * * ½


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Re: DOCember 2017
« Reply #24 on: December 01, 2017, 01:04:57 PM »
Preliminary watchlist:

1. Jane (2017)
2. Dawson City: Frozen Time (2017)
3. I Called Him Morgan (2017)
4. Kedi (2017)
5. Best and Most Beautiful Things (2016)
6. Miss Sharon Jones (2016)
7. Holy Hell (2016)
8. The Overnighters (2014)
9. The Square (2014)
10. The Central Park Five (2012)
11. Detropia (2012)
12. Into the Abyss (2011)
13. The Interrupters (2011)
14. 24 City (2008)
15. The Unknown Soldier (2007)
16. Sicko (2007)
17. Capturing the Friedmans (2003)
18. A Tale of the Wind (1989)
19. Dear America: Letters Home from Vietnam (1988)
20. Partisans of Vilna (1986)
21. Louie Bluie (1985)
22. Shoah (1985)
23. Lightning over Water (1981)
24. Lost, Lost, Lost (1976)
25. I. F. Stone's Weekly (1973)
26. Portrait of Jason (1967)
27. Jazz on a Summer's Day (1960)
28. The African Lion (1955)
29. Les maîtres fous (1955)
30. Death Mills (1945)
31. South: Ernest Shackleton and the Endurance Expedition (1919)

I doubt I'll stick to this as rigidly as I stuck to my film noir lineup, especially since I expect the other reviews in this thread to prompt me to move new titles up in my queue (especially Filmspot-eligible titles).

I think I'd love how awkward it'd be, or how awkward it should be.


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Re: DOCember 2017
« Reply #25 on: December 01, 2017, 01:39:42 PM »
Anybody who didn't watch Cameraperson from last year should really check that out. I believe it's on Film Struck now.
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Re: DOCember 2017
« Reply #26 on: December 01, 2017, 10:15:04 PM »
No thank you.
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Re: DOCember 2017
« Reply #27 on: December 02, 2017, 08:18:59 AM »
It's boring.


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Re: DOCember 2017
« Reply #28 on: December 02, 2017, 01:38:31 PM »
It's wonderful.
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Re: DOCember 2017
« Reply #29 on: December 03, 2017, 10:34:15 AM »
Voyeur (2017)

There was a scene in the documentary American Teen, where the documentarian sits idly by as the teenage boy subjects commit the crime of distributing a sext sent by one of their female colleagues. It was a moment where one hopes for fiction, because the ramifications of the documentarian using the veil of journalistic non-intervention to justify allowing a girl's life to be destroyed is monstrous.

Voyeur begs some similar questions, though in this case the documentarians are tertiary players, covering the journalist who covered the heart of the story in years before. Gay Talese (who eerily reminded me of Robert Durst), made his name embedding (and participating) in the swinging 60s. That's a consensual culture, so whatever. However, that reporting caught the attention of Gerald Foss, a motel owner in Aurora, Colorado (this motel was a few miles from where I lived in Denver and I drove by it at least once back before it was torn down). Foss would tell Talese the story of how he set up his motel to allow him to spy on his lodgers, and would welcome Talese in to see how it functions.

Like I said, the documentary cannot really be accused of participating in this because it takes place after the fact and only captures things in the form of reenactment. Still, just in the framing, it spends a lot of time letting Talese frame things. It looks at Foss' meticulous notes on what he watches as if putting a pseudoscientific veneer on the venture somehow justifies it. Ultimately, by focusing on Foss' and Talese's viewpoints, it does the traditional sin of caring about the offender and not the victim. There is no serious discussion of journalistic ethics and whether Talese can be justified in not reporting the ongoing crimes, much less participating in them in a limited capacity. There is no discussion on what kind of mental fall-out might exist for those who stayed who perhaps remained unaware of the violation at the time, but upon the breaking of the story might have plenty reason to be concerned. Hell, it doesn't even delve much into voyeurism as a psychological fixation. It seems the documentary only exists to glorify a bad man and a bad journalist. Just terribly misjudged.