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Author Topic: 1990s US Bracket: Verdicts  (Read 712525 times)

skjerva

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Re: 1990s US Bracket commentary
« Reply #590 on: June 10, 2008, 09:09:48 PM »
Welcome to the Dollhouse
(Todd Solondz, 1995)
vs.
American Movie
(Chris Smith and Sarah Price, 1999)


About two years ago, after watching Storytelling with some people, one of them stated that the “non-fiction” section’s film was based on American Movie.  The idea being that Smith and Price made and/or cut their film at the expense of Mark Borchardt and friends; going in I was braced for an exploitative treatment. 

Dawn:      Why do you hate me?
Brandon:   Because you’re ugly.

That exchange sums up Welcome to the Dollhouse, but I think it also informs this question of intention in American Movie.  While Dollhouse is not so easily about being ugly, but more about being different and unwelcome because of this difference.  American Movie could also be read as such a commentary on difference, and moreso how the idea of the American Dream instills unrealistic desires, but I unfortunately have little sense that Smith and Price were making that movie.  Or were they? 

I found Borchardt and friends beautiful characters.  Certainly Smith and Price had something to do with framing Borchardt at best as a persistent man following his dreams and at worst a delusional lovable loser.  That said, there was plenty of footage that was beyond the making of Coven and Northwestern, and it seemed that more often than not this footage was a poke at Borchardt.  Without knowing how the film about a film was chosen, it seems that Smith and Price could have filmed another film project, likely without such a loaded “star”, it seems there must have been some understanding that Borchardt was a good subject because of his lovable loser vibe – because “he’s ugly”.  This raises the question one of Mark’s brothers asks of why Coven is being made – 'what is the moral standing of such a film?'

When I rented American Movie from my local dealer, the guy at the counter said this was probably his favorite documentary – “but you really think it’s a mockumentary.”  Clearly there is some ambiguity surrounding the subjects, and it seems that it is easy to understand the film as a bit of a joke on them.  But is this fully the responsibility of the film-makers instead of the audience?  I don’t think so, but again, it seems a stretch to maintain that Smith and Price didn’t knowingly use Borchardt as a butt, knowing the audience would likely react in a such a way.

Contrast Movie to DollhouseDollhouse is clearly indicting systems of oppression, and individual oppressors, making Dawn’s life miserable – school, boys, family.  Solondz is making clear commentary on the ugliness of normative U.S. culture.  The problem is that the film, much like this write-up, is a bit tedious and pedantic.  I get it.  No nuance.  Hmmm. 

Movie, as problematic as the film-makers’ positions might be, can be read as a similar critique of the U.S., but doing so with warm and real characters.  Forget the fact that they are “real”, as documentary subjects, but Solondz’ characters are such flat characterizations (as his characters tend to be, even when nuance is attempted) that it drains any interest and investment in their struggle.

With some reluctance, American Movie moves on.
But I wish the public could, in the midst of its pleasures, see how blatantly it is being spoon-fed, and ask for slightly better dreams. 
                        - Iris Barry from "The Public's Pleasure" (1926)

pixote

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Re: 1990s US Bracket commentary
« Reply #591 on: June 11, 2008, 12:01:14 AM »
The final seeding is still in flux, but as things stand right now, the #81 overall seed (American Movie) barely held off the #130 seed (Welcome to the Dollhouse).

Sorry neither viewing was bliss, skjerva, but it sounds like at least the two films informed each other, so all was not lost.  :)

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facedad

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Re: 1990s US Bracket commentary
« Reply #592 on: June 11, 2008, 01:00:38 AM »
Hey, I'm just glad someone turned one in.
You're just jealous! Nobody loves you because you're tiny and made of meat!

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pixote

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Re: 1990s US Bracket commentary
« Reply #593 on: June 11, 2008, 01:55:17 AM »
Hey, I'm just glad someone turned one in.

I think you can expect at least five more between now and the end of the weekend, including mine.

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facedad

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Re: 1990s US Bracket commentary
« Reply #594 on: June 11, 2008, 10:36:05 AM »
Hey, I'm just glad someone turned one in.

I think you can expect at least five more between now and the end of the weekend, including mine.

pixote
I'll believe it when I see it.
You're just jealous! Nobody loves you because you're tiny and made of meat!

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pixote

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Re: 1990s US Bracket commentary
« Reply #595 on: June 11, 2008, 10:40:29 AM »
Hey, I'm just glad someone turned one in.
I think you can expect at least five more between now and the end of the weekend, including mine.
I'll believe it when I see it.

Book it!  (And that five wasn't even counting you, who could easily up it to six.)

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facedad

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Re: 1990s US Bracket commentary
« Reply #596 on: June 11, 2008, 10:41:49 AM »
Hey, I'm just glad someone turned one in.
I think you can expect at least five more between now and the end of the weekend, including mine.
I'll believe it when I see it.

Book it!  (And that five wasn't even counting you, who could easily up it to six.)

pixote
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You're just jealous! Nobody loves you because you're tiny and made of meat!

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St. Martin the Bald

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Re: 1990s US Bracket commentary
« Reply #597 on: June 11, 2008, 03:05:27 PM »
You are still waiting on my match-up correct?
You did not reassign it?

I have the films just looking for some free time this week.
Hey, nice marmot!

pixote

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Re: 1990s US Bracket commentary
« Reply #598 on: June 11, 2008, 06:17:50 PM »
You are still waiting on my match-up correct?
You did not reassign it?

I have the films just looking for some free time this week.

I never doubted you.  :)

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Valentine McKee

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Re: 1990s US Bracket commentary
« Reply #599 on: June 13, 2008, 06:31:50 AM »
The Age of Innocence
Martin Scorsese, 1993

VS

The Lion King
Roger Allers and Bob Minkoff, 1994

The Age of Innocence
So, Martin Scorsese doing a period romance.
A diversion for him, it's a slow thoughtful film that takes it's time, reminding me of watching Barry Lyndon - fine stuff, but don't expect the narrative to run away. Watching it today, it's odd to see Daniel Day Lewis not being the scene as he has been lately, but rather giving a balanced performance of a man forced by society to live with one he does not love.
But it didn't do it for me.
A few years ago, in an odd moment of self-awareness, I realised that some films I would be unable to "get" until I myself had experienced certain things. How can I appreciate a scene of divorce having never been there, or how the birth of a child can change one so greatly. But a certain amount of responsibility lies with the filmmaker. For a film that is focussing on it's characters, Scorsese himself seems to tire of it, and often throws in a crossfade or narration just to spice things up a little. He himself needs to include visual flourishes to keep the movie moving.
Or maybe I'm still just a little inexperienced....


The Lion King
Way back in 1994, when my cinema trips were few and far between, The Lion King and Forrest Gump were out at the same time, and a friend's parent took us to see the latter. I enjoyed it, but everyone else had seemed to have seen The Lion King. Being a young teenager back then, by the time The Lion King came on telly, I was far too cool to watch a family film, and a Disney one at that!
So fast forward a decade and thanks to these messageboards, The Lion King is finally going to hit my radar.
First impression - wow - that's some opening.
With all the advances in technology, it's not the be all and end all of stunning animated imagery, and the charge of the animals at the beginning of this film grabs you, propelling you into the film, and what's surely Jeremy Iron's best performance to date. The actors in this film have been cast perfectly, from the powerful James Earl Jones to Nathan Lane and Rowan Atkinson and a surprise Matthew Broderick halfway through, every character is rich and real, with the exception of the lioness, who's not given much time at all.
Overall a success, fast paced, fun songs and that hand-drawn look that makes the African plains wild and real.


Not even a close call, The Lion King moves on.
The cat's in the bag and the bag's in the river.