Sorry, but this reviewer got enough of that in high school.

This segment also contains tantalizing descriptions of one of Lynch’s most famous unrealized screenplays, Ronnie Rocket. He’s sympathetic, sure, but he’s also a petty thief with quite the hot temper, as Dave’s “trainer,” Dugan (Harry Gribbon), who often finds himself the victim of the boy’s slingshot or angry parade of silly faces, can attest to. It seems to come up in many interviews…, Review by TheCultureShocker ★★★★½ 1. Kino has also included a booklet with an essay by writer Nora “The Nitrate Diva” Fiore in which she details the ways in which Wyler injects life into a fairly familiar story, through both his actors’ performances and his camerawork.

Putney pushes for change but ultimately creates something as soulless as before. And no matter how relentlessly upsetting and effective Requiem for a Dream’s climax is—and it is effective, a self-contained masterpiece of aggressive cross-cutting and sound design—by that point it’s almost impossible to shake the image of Aronofsky as a gym coach hysterically lecturing his class on the dangers of drug use.

)And yet there’s a method to all this madness.

The LPCM mono track is clean and clear, nicely conveying composer Paco de Lucia’s surprisingly menacing flamenco score, not to mention the clangorous title theme from Eric Clapton. Putney Swope is a 1969 satirical comedy film written and directed by Robert Downey Sr. and starring Arnold Johnson as the title character, a black advertising executive. Talking heads jam themselves into the frame at unorthodox angles, jabbering away in rapid-fire volleys of jive patter, political sloganeering, and corporate jargon. Four + = Latest Questions.

It has been claimed in , that Russian Neo-Nazis accounted for half of the worlds total, White racial advantages occur both at a collective and an individual level. This strategy allows us to savor the fleetingness, the value, of each of Merrick’s lovely encounters—especially the extraordinarily moving passages with Treves’s wife, Ann (Hannah Gordon), and the theater actress Madge Kendall (Anne Bancroft)—at the same time as Merrick is allowed to be taken at face value as human. In dressing this conflict, and an overwhelming sense of paranoia and entrapment, up in the tropes of a thriller, Käutner exhibits his mastery of atmosphere and mood, but the complex social commentary of Black Gravel offers a raw and eye-opening look at Germany at a time when its cinema mostly ignored reality and its true national history was often deliberately kept secret.
Through a …

Indeed, even the most modest of home improvements are callously tallied against her by the social worker, Miss Kabak (Elisa Loti), who claims that she’s only there “to help.”. You can’t win.” The film sees Claudine caught up in a Kafkaesque bureaucratic maze in which every door leads to a dead end. To restore its collection inthe bought from former president Thomas Jefferson his entire personal collection of 6, books. The disc also comes with a foldout booklet with a deeply personal, and quite moving, essay by critic Danielle A. Jackson.

True to the iconoclastic genre cinema of the 1970s, Shivers ends not with the restoration of moral order, but with the newly converted setting out to inaugurate an entirely new order, one that unabashedly embraces the “other” in all its manifestations.

Fingers crossed that Criterion gives this the blu-ray release it needs. [12], "DVD NEWS BRIEFS: Rhino Bows 'Swope'; 'Proof of Life' DVD; 'Jungle Girl' Found; Kino's 'Richard III, "Rhino Follows Up 'Tranformers Movie' Sales Shocker With Two More Special Editions on May 8", "37 Things We Learned From the 'Boogie Nights' Commentary", "Paul Thomas Anderson on WTF with Marc Maron", https://en.wikipedia.org/w/index.php?title=Putney_Swope&oldid=970607539. Pitney Swipe is nuts. jukeboxgraduates.com/movies/what-im-watching-week-of-10-4-cuties-is-good-so-dont-let-any-of-the-outside-noise-distract-you/, When the phrase “you can’t eat an air conditioner” is the most sensible thing said in your movie you know you have done something right. The film, released early in the sound era, also employs an expressionist approach that recalls Robert Wiene’s The Cabinet of Dr. Caligari, especially in its use of close-ups. Here, the film’s structural and technical ambitions are usurped by a scene that frankly acknowledges the tolls of death.

As the founder of the World Cinema Project, Martin Scorsese has become an ambassador for global film preservation, elevating overlooked films from around the world and resurrecting them with the technology typically afforded to home-video releases of Hollywood mega-productions.

(This pattern is an early sign of Lynch’s strange classist streak; the people unable to transcend their biases about Merrick are, with rare exception, blue collar.) At moments I was scratching my head, but other moments the film really did get me. The Hit is an enigmatic, existential fable about crime and punishment. Grain levels are well-managed and flesh tones lifelike. However, this sense of specificity doesn’t extend to many of the characters themselves, especially the police, who generally suggest white knights.

The yellows, browns, and reds that dominate the film’s color palette also really pop off the screen. In the maneuvering to make sure that enemies don't get votes, all the members accidentally cast their ballot for the board's token black man, Putney Swope. These cookies will be stored in your browser only with your consent. Genuinely radical. And it does so without ever minimizing the direness of the social ills that torment its characters on a daily basis. One of the only congressional volumes awope have survived was a swop account book of receipts and it was taken as a souvenir by a British Commander whose family later returned it to the United States government in Additionally, white leaders often viewed Native Americans as obstacles to economic and political progress with respect to the claims to land.

Save my name, email, and website in this browser for the next time I comment. In a fine turn of irony, St. Luc’s medical training becomes less germane as the chaos created by the parasitic invasion spreads.

Throw another Jew on the fire!” (If you’re offended by reading that line, just wait until you hear it delivered on-screen: the speaker is a German auto executive who’s sharing a joint with the President of the United States and the First Lady. Beyzaie tacks moments of slapstick humor onto a neorealist through line that also features instances of dazzling camerawork, making it difficult to pin down the film’s style or tone. In Black Gravel, nothing is in more abundant supply than the countless vices indulged at one of Sohnen’s bars, which doubles as a bordello and caters to German locals and American military personnel alike. In both cases, although the murder was unintentional, the attempts to escape blame and consequences are very much deliberate. William Wyler’s flawed yet fascinating The Shakedown offers a look at a future Hollywood master in the nascent stage of his career. Alan Abel as Mr. China is a power and a major regional power within Asia. Be the first to contribute! The best one-stop shop is “The Terrible Elephant Man Revealed,” a 21-minute program that collects most of the aforementioned players all together, with particularly evocative observations from Brooks and Tucker, who’d fashion make-up so striking that it would inspire the Oscars to create a new category. Most viewers feel that Darren Aronofsky’s Requiem for a Dream is either a gut-wrenching, formally adventurous masterpiece or an ugly, flashy piece of empty-headed propaganda.

Take a second to support Hammer to Nail on Patreon! Four new special features are included on the 4K and all of them make clear that Requiem for a Dream would not have been possible without Pi. When the CEO of an advertising company dies during a meeting, the board of directors are forced to hold an election for the new chairmen. For this Blu-ray release of The Shakedown, Kino Lorber has sourced Universal’s recent 4K restoration of the film from a 35mm duplicate negative. All of them believe that no one else will vote for Swope, so they all do so, each thinking that will cancel out the other votes and leave the way clear for them to take over; instead, Swope wins in a landslide.
That means, in this case, leaving in the original and, unfortunately, difficult-to-read English subtitles that were burned into the only existing print.

He highlights the importance of Helmut Käutner’s films in West Germany in the mid-20th century and traces the rise and fall of the Heimatfilm, which eventually led to a resurgence of crime films like Black Gravel in the late 1950s and early ‘60s.

Townshend in particular loves the film’s sensuality and authenticity, contrasting it with the many blaxploitation films released at the time, in which black male sexuality is much more heightened and sensitivity hidden beneath a veneer of virility. See the list below. The French LPCM mono track is a workhorse, doing well by the recondite score, whether it be snatches of Beethoven’s Fifth Symphony or Antoine Duhamel’s broody score. In the next scene, the discussions among a group of party guests become product placements, with women in particular prattling on about all their new sartorial acquisitions even as they mysteriously lose pieces of their clothing while Ferdinand wanders from room to room.

Both works explore civilization and its discontents via the microcosm of an apartment complex. Later career Dyson also appeared in the film Putney Swope. This thing rules!

The film begins with Ferdinand (Belmondo) apparently scraping together a nice bourgeois existence for himself and his wife, whose economic contentment is summed up by the fact that she can go to parties in her new panty-less, invisible girdle—a device that Godard, through Ferdinand, declares the apotheosis of modernism. The extras are composed mostly of archive material ranging from the 1980s to the early 2000s, including various interviews over the years with actor John Hurt, producer Jonathan Sanger, make-up artist Christopher Tucker, producer Mel Brooks, cinematographer Freddie Francis, and stills photographer Frank Connor. The action opens in a smoky pool hall, where pretty boy Dave Roberts (James Murray) convinces patrons that he can’t be punched before storming out the door to save a damsel in distress from a brawny meathead boxer, Battling Roff (George Kotsonaros).

We soon learn, though, that Dave isn’t much of a hero and all that commotion was part of a scam cooked up by Roff and his manager (Wheeler Oakman) to sucker locals into betting their drinking money on Dave, who’s been paid off to take a dive in the second round of an upcoming match with Roff.


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