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Author Topic: Top 100 Club: 1SO  (Read 51309 times)

1SO

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Re: Top 100 Club: 1SO
« Reply #330 on: May 06, 2021, 12:36:59 AM »
I wonder what the Jim Steinman deep cuts are. I feel like I know all his work, and this to me has always been on the level of his work with Meat Loaf. Songs that sound like the radio is changing stations every few seconds and we're just hearing the chorus, none of the verses. It's why when he does come around to the verse you're so deep in the groove that it has a larger impact. I think I've quoted the chorus to "Nowhere Fast" on these boards a dozen times.

I know this movie influenced nothing (except my imagination), but I can't help seeing the worlds of Sin City and Tim Burton's Gotham as a product of what was built here. You could take the script of the Nicholson/Keaton Batman and use these same sets.

I have a special understanding with the dialogue. There are about 10 lines that rank among the worst dialogue I've ever heard, but it's bound to happen when you try to make every line badass. Also, Michael Pare doesn't have the best delivery. Rick Moranis can top him and stay in his uncool character.

Tom Cody: Either you give him some of your money, or I'll give him some of your money.
Billy Fish (handing cash to homeless Ed Begley!?!): Here, buy yourself some soap.

Walter Hill got to make this dream project after the incredible success of 48Hrs. It blew up in his face like Barry Levinson and Toys, but my world wouldn't be the same without it. Thanks for taking the ride.

smirnoff

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Re: Top 100 Club: 1SO
« Reply #331 on: May 06, 2021, 02:49:09 AM »
Apparently you watch different YouTube stuff. Contrapoints videos are often feature-length.

Thanks for the heads up. I'm just enjoying the J.K. Rowling episode.

Sandy

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Re: Top 100 Club: 1SO
« Reply #332 on: May 09, 2021, 10:32:08 PM »
I wonder what the Jim Steinman deep cuts are. I feel like I know all his work, and this to me has always been on the level of his work with Meat Loaf. Songs that sound like the radio is changing stations every few seconds and we're just hearing the chorus, none of the verses. It's why when he does come around to the verse you're so deep in the groove that it has a larger impact.

This is a great way to describe it. The opening songs throws me off kilter and I can't catch my bearings. 

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I think I've quoted the chorus to "Nowhere Fast" on these boards a dozen times.

:D Now I know what to look for in case you do some more quoting.

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I know this movie influenced nothing (except my imagination), but I can't help seeing the worlds of Sin City and Tim Burton's Gotham as a product of what was built here. You could take the script of the Nicholson/Keaton Batman and use these same sets.

For sure. And who knows, it's very likely this movie influenced a great many imaginations.

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I have a special understanding with the dialogue. There are about 10 lines that rank among the worst dialogue I've ever heard, but it's bound to happen when you try to make every line badass. Also, Michael Pare doesn't have the best delivery. Rick Moranis can top him and stay in his uncool character.

Tom Cody: Either you give him some of your money, or I'll give him some of your money.
Billy Fish (handing cash to homeless Ed Begley!?!): Here, buy yourself some soap.

Walter Hill got to make this dream project after the incredible success of 48Hrs. It blew up in his face like Barry Levinson and Toys, but my world wouldn't be the same without it. Thanks for taking the ride.

haha! Dialogue so bad, it's unforgettable. I'm glad I finally caught up with the film. I like seeing filmspotters' movies that have had a big impact in their lives. It makes me think of the questions from the Highlights of the Boards thread. "What film in your Top 100 gives your list personal charm?" :)

smirnoff

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Re: Top 100 Club: 1SO
« Reply #333 on: May 15, 2021, 07:23:33 AM »
Warlock (Edward Dmytryk, 1959)

I most enjoyed the scene in which Fonda spells out the Devil's bargain which the town's council has agreed to by bringing him to Warlock. He's going to solve their problem, but he's going to use the methods he sees fit and not everyone is going to like it. Things in town will improve, but he prophesizes that they will come to resent his presence in the town and the high price they have to pay to keep him there. Sadly this scene in cut short by Anthony Quinn's character calling Fonda away. I thought that was a misstep on the films part not to let that scene stew a bit longer. Force the town council dwell on their decision. Were things really so bad they needed to resort to this? The film sets up a premise that doesn't seem to leave the town any other option... things are already quite bad with people getting killed for next to no reason. The severity of the situation makes the choice feel inevitable and curtails too much pondering about the morals or politics at play. This is Demolition Man in the old west. Simon Pheonix is loose and John Spartan has already been thawed out. When the dust settles you hope the maniac you hired for the job doesn't himself become the next villain.

Fonda is a fantastic presence and knows just how to keep the mystery of the character alive. How much of what happens is chance and how much is part of some scheme? The lengthy middle section of the film is sometimes just messy and other times just complicated. It gets to a point where everyone seems to be on the same level plane between good and evil. What loyalties and principles these characters actually hew to is anyone's guess.

My take on the ending is that Fonda is testing Widmark. Fonda knows that his eventual abscence will leave a vacuum that in time will undo all his work, so I think he creates a situation to see if Widmark has what it takes to hold the reigns of power. He draws on Widmark and he'll shoot him if he has to, and Widmark draws on Fonda willingly, knowning he's probably no match. But it's the willingness that Fonda is meaning to test, and Widmark shows he has it. This is in contrast to the town's former marshall in the beginning of the film who, when pressed, runs for his horse. But it's to the films credit that this final showdown has real tension. Fonda's behaviour in the aftermath of his friends death makes you wonder about his sanity. So when it comes to the final showdown you don't know if you can trust him anymore. But in the end Fonda gives a little smirk that tells you everything you need to know. 

Good Western. Every scene with Fonda is good. When he's not on screen you're just wating till his is. For me nobody else was on that level.
« Last Edit: May 15, 2021, 10:39:49 AM by smirnoff »

1SO

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Re: Top 100 Club: 1SO
« Reply #334 on: May 15, 2021, 10:37:11 PM »
Interesting observation. For me, everyone was playing at the top of their game, but I'm a fan of much of the cast. Didn't consider how Fonda's level is only matched by Stewart, Stanwyck and a small handful of others. For example, before I got into old movies I under-valued Anthony Quinn. Now he's part of the messy, complicated plotting. His initial relationship with Fonda is intriguing, but it's left unexplored as if there's a homosexual subtext they were afraid to explore, but the film was already underway. That said, Quinn's presence is massive, and he may be the best dressed actor ever in a Western, from the vest to the pistols to the striped pants.

Fonda's spelling out how it's going to go was the scene for me. I didn't need to hear the council reacting to this. It'd be like Daniel Day-Lewis giving one of his Gangs of NY/There Will Be Blood speeches. What's left to be said. Of course, as a writer I could see the screenwriter being burnt out after giving Fonda's side and not knowing how to make the council's reaction match it.

Dave the Necrobumper

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Re: Top 100 Club: 1SO
« Reply #335 on: July 27, 2021, 06:52:19 AM »
With ET's movie I was 4 months late, with yours I was only 3, so improvement is there :)

Stage Door (1937)

Here we have a film that if it was made today would be lauded for its female centric plot and cast. Trouble is this was made 74 years ago and in my mind was at the end of an era of some great female centric films. By the end of WWII those films disappeared for several decades. All that said I am not sure I can back up either statement, I would need to do more research.

Opening scene is chaos in a theatrical boarding house. Gives a nice chance to meet a lot of the cast. 5 minutes in and here is Katherine Hepburn. Nice bit of innuendo. Personalities in full swing. Great banter between Hepburn and Ginger Rogers.

This film is about this group of women scraping by to getting successful or even just into theatre based show-business. Some are working the angle of getting wealthy men to boost their careers, of course this is the Hayes era so most of what happens is only implied. Watching this has me wondering how much has changed.

Surprise Lucille Ball (centre) is in the cast, although I had trouble spotting her.



Dialogue tops, the sad tinged ending worked perfectly. Stuck with the Hayes code they implied as much as they could.

Still feeling a little down from the ending, but also up. Shows the mill that is show business, with the women of this theatrical house the wheat for the mill.

Raiting:  80 / 100

1SO

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Re: Top 100 Club: 1SO
« Reply #336 on: July 29, 2021, 10:07:19 AM »
Well, I have to at least reply to this.

Every time I read someone's opinion on Stage Door, it makes me want to watch it again. You got me thinking about how perfectly it balances the bitter and the sweet. We're used to seeing HAPPY-HAPPY-HAPPY-CRUSHINGLY SAD-HOPEFUL. Stage Door doesn't lean into the sad. The act itself is not played for heavy pathos and it's one of the characters we are least attached to. What's important is how the event effects the ones we do care about. Those scenes give Ginger Rogers sharp-tongued hissing a reason to really bite down, and they demonstrate Katherine Hepburn's ability to push emotions through her cold, technical exterior.

I think we're still at the point where any female centric film is news. Only thing that's changed is that male centric stories tend to get called out for their exclusion. That said, the men here are an all-star line up of character actors. My favorite here of that bunch is Franklin Pangborn - master of the one raised eyebrow - as Harcourt the butler who effortlessly walks backwards.

Among the supporting women, it's impossible to pick a favorite. I always lean towards Eve Arden or Ann Miller and this film has both.

1SO

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Re: Top 100 Club: 1SO
« Reply #337 on: January 25, 2022, 08:50:20 PM »
For anyone planning ahead, I have a special theme for my February.

My Favorite Films of the 1970s
108 titles to choose from

jdc

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Re: Top 100 Club: 1SO
« Reply #338 on: January 25, 2022, 09:00:15 PM »
I was trying to remember who had Quadrophenia on their list as I watched it not too long ago due to Top100 lists but then lost track of whose.  Will gather my thoughts soon
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Re: Top 100 Club: 1SO
« Reply #339 on: January 25, 2022, 09:21:13 PM »
For anyone planning ahead, I have a special theme for my February.

My Favorite Films of the 1970s
108 titles to choose from

Sweet! I like this idea a lot.

December and January are the hardest months for me because of all else that is going on at work and with family, so February is a good rebound month. I'm going American Graffiti, All That Jazz (tie-in with the musicals list I'm working on, very much looking forward to it), and one 1SO dictation (but not Jesus Christ Superstar  ;D ). At worst, I'll get to 2 of 3. Says the guy who still needs to watch The Handmaiden for jdc's month. (This weekend.)
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