What Was The Last Movie You Watched?

[Doctor Strange]

I Saw The Light, the recent Hank Williams biopic with Tom Hiddleston.

It's a mixed bag. Hiddleston is, of course, excellent. The performance sequences are well done, and since the songs are pure gold, they sparkle. The production design and costumes are good - and of course, there are threads in the Hat forum just about the hats.

But where the film really fails for me is in dealing with Williams as a creative artist. Even after he gets a job as a songwriter, we never see him actually writing any songs. There's no attempt to understand his complex personality, beyond boozing and affairs... and that he has a knee-jerk rebellious response to (most) authority while at the same time remaining in thrall to his overbearing mother (Cherry Jones - great). This is shown, but not explored. The film spends far too much time on his contentious relationships with his wives, when it should be a little more about his music.

Two other complaints:

The songs in the film are nearly all his good-time, get-people-dancing tunes (Move On Over, Hey Good Lookin, Honky Tonkin'), with only a couple of the heavier - and more deeply felt, philosophical, melancholy - ones showing up towards the end. Another way in which his brilliant creativity isn't well served.

And the film follows the standard musical biopic template far too closely: unrecognized talent, struggle, success, addiction, rehab, affairs, conflicts, self-destruction, failing health, too-early death. While it's certainly true that Williams' life is a classic example of this arc, it's really hard for me to take most of these threadbare tropes seriously after their hilariously brilliant deconstruction in Walk Hard: The Dewey Cox Story!

 

[Fading Fast]

"Breakfast at Tiffany's" on the big screen at a TCM-hosted screening.

You reach a point when you've seen a movie so many times, that you no longer watch but experience a series of impressions as your mind wanders over small or random details since the plot and dialogue are familiar. So, this time, I noticed both Hepburn and Peppard played the scene in the strip bar perfectly, letting facial expressions and body English, not dialogue, speak to what they were thinking. Or the surprised, but somewhat intrigued expression on the face of the woman Peppard approaches in public accidentally thinking it is Hepburn - she used her thirty second on screen well as her desire for Peppard was conveyed in an almost-wanton glance.

The big screen allows you to notice things like that better. And things like the continuity gaff when, in the last scene, Peppard's hair goes from flopped over his forehead to slicked back to flopped over despite him not having moved. Or, more impressively, the scale of New York City which director Edwards uses to make his characters feel lost at times and inspired at others based on the emotion of the scene.

At this point in my "Breakfast at Tiffany's" relationship, I experience the film - on big screen or TV - almost as mood: sometimes the glamor of New York City, of Hepburn, of the two of them - young, in love and discovering it together - lifts me up and makes it a fun, almost light movie. This time, however, on the big screen, I felt the sadness of the movie - the lostness of Holly Golightly, the shabbiness of Peppard and Patricia Neal's relationship, the poverty she grew up in, the tragic senseless death of her brother - in an oppressive way.

Next time will be a new experience with a new mood - but probably, and unfortunately, not on the big screen where it really does deserve to be seen.

 

[Fading Fast]

Bullitt

God, I love that film.

I enjoy it more now that I don't have to focus on the silly plot and can focus more on the style and tone of the movie because that is where it really shines. McQueen, IMHO, is the movie, owns the movie, is never better in a movie.

 

[Fading Fast]

The Shop Around The Corner. I think Jimmy Stewart could read the phone book & I'd be entertained.

And this is, maybe, his best movie early movie. He is so natural in this one - the camera just loves him. To be fair, Margaret Sullivan holds her own with him as the chemistry between those to takes the charm quotient over the top.

He has so many good movies that it's hard to pick a few, this and "The Philadelphia Story" are two of my favorites from his early career with "Anatomy of a Murder," "Bell Book and Candle" and "Vertigo" some from the later part of it.

And early or late, the man could always wear a suit like he was born in it.

 

[AmateisGal]

"Breakfast at Tiffany's" on the big screen at a TCM-hosted screening.

You reach a point when you've seen a movie so many times, that you no longer watch but experience a series of impressions as your mind wanders over small or random details since the plot and dialogue are familiar. So, this time, I noticed both Hepburn and Peppard played the scene in the strip bar perfectly, letting facial expressions and body English, not dialogue, speak to what they were thinking. Or the surprised, but somewhat intrigued expression on the face of the woman Peppard approaches in public accidentally thinking it is Hepburn - she used her thirty second on screen well as her desire for Peppard was conveyed in an almost-wanton glance.

The big screen allows you to notice things like that better. And things like the continuity gaff when, in the last scene, Peppard's hair goes from flopped over his forehead to slicked back to flopped over despite him not having moved. Or, more impressively, the scale of New York City which director Edwards uses to make his characters feel lost at times and inspired at others based on the emotion of the scene.

At this point in my "Breakfast at Tiffany's" relationship, I experience the film - on big screen or TV - almost as mood: sometimes the glamor of New York City, of Hepburn, of the two of them - young, in love and discovering it together - lifts me up and makes it a fun, almost light movie. This time, however, on the big screen, I felt the sadness of the movie - the lostness of Holly Golightly, the shabbiness of Peppard and Patricia Neal's relationship, the poverty she grew up in, the tragic senseless death of her brother - in an oppressive way.

Next time will be a new experience with a new mood - but probably, and unfortunately, not on the big screen where it really does deserve to be seen.

FF, you are always so thoughtful and honest in your assessments of books, movies, and tv shows, nevermind that your reviews are so well written! It's utterly refreshing. Thank you.

 

[Fading Fast]

FF, you are always so thoughtful and honest in your assessments of books, movies, and tv shows, nevermind that your reviews are so well written! It's utterly refreshing. Thank you.

You are very kind and made my day. I believe that if I write something, I owe it to the other members to try to say something (somewhat) interesting and (hopefully) in a fun-to-read manner. My girlfriend and I will tip our wine glasses (it's Friday night, which means wine!) to you for your thoughtful compliment. Best, FF

 

[Stearmen]

The Battle Of San Pietro, John Huston documentary. One of the countless forgotten battles in Italy during WWII.

 

[Formeruser012523]

I Saw The Light, the recent Hank Williams biopic with Tom Hiddleston.

It's a mixed bag. Hiddleston is, of course, excellent. The performance sequences are well done, and since the songs are pure gold, they sparkle. The production design and costumes are good - and of course, there are threads in the Hat forum just about the hats.

But where the film really fails for me is in dealing with Williams as a creative artist. Even after he gets a job as a songwriter, we never see him actually writing any songs. There's no attempt to understand his complex personality, beyond boozing and affairs... and that he has a knee-jerk rebellious response to (most) authority while at the same time remaining in thrall to his overbearing mother (Cherry Jones - great). This is shown, but not explored. The film spends far too much time on his contentious relationships with his wives, when it should be a little more about his music.

Two other complaints:

The songs in the film are nearly all his good-time, get-people-dancing tunes (Move On Over, Hey Good Lookin, Honky Tonkin'), with only a couple of the heavier - and more deeply felt, philosophical, melancholy - ones showing up towards the end. Another way in which his brilliant creativity isn't well served.

And the film follows the standard musical biopic template far too closely: unrecognized talent, struggle, success, addiction, rehab, affairs, conflicts, self-destruction, failing health, too-early death. While it's certainly true that Williams' life is a classic example of this arc, it's really hard for me to take most of these threadbare tropes seriously after their hilariously brilliant deconstruction in Walk Hard: The Dewey Cox Story!

Ugh! Thanks for the review. Remember baulking when first reading Hiddleston had been cast. Can never understand why studios choose to focus on the more negative aspects of the artists lives instead of on why the artists were popular in the first place.

Like the story of the guy in my signature, this is one I'll be sure to avoid.

 

[Zombie_61]

Ugh! Thanks for the review. Remember baulking when first reading Hiddleston had been cast. Can never understand why studios choose to focus on the more negative aspects of the artists lives instead of on why the artists were popular in the first place.

Biopics and biographical documentaries are a "damned if you do, damned if you don't" proposition for the people producing them. If they focus on the "negative aspects" people complain they didn't show more of the person's positive qualities, and if they focus on "why they were popular in the first place" people complain it was a lightweight "puff piece". Also, I can't recall ever watching one and walking away afterwards believing I actually knew the person better than I did before I watched it. That being said, I realize it's an impossible task to sum up a person's entire life in a couple of hours no matter how well-documented that life may have been, so take these biopics for what they are--entertainment, nothing more.

...Like the story of the guy in my signature, this is one I'll be sure to avoid.

If you ever have an opportunity, there's a three-part British documentary called Buster Keaton: A Hard Act to Follow from 1987 that is definitely worth seeing. It's the most "balanced" biographical documentary I've ever seen, showcasing his brilliant professional talents while not pulling punches about the difficulties in his professional and personal lives. It was released on DVD in the U.K., but so far hasn't been released in the U.S. so there is no "Region 1" version available, and it doesn't look like there will be one any time soon. Several years ago a friend and I attended a special screening here in Los Angeles, and afterward spoke with the promoter. He said they've been trying to get this released in the U.S. ever since it first aired in the U.K., but that distributors felt there wouldn't be enough interest to justify the expense.

 

[2jakes]

Biopics and biographical documentaries are a "damned if you do, damned if you don't" proposition for the people producing them. If they focus on the "negative aspects" people complain they didn't show more of the person's positive qualities, and if they focus on "why they were popular in the first place" people complain it was a lightweight "puff piece". Also, I can't recall ever watching one and walking away afterwards believing I actually knew the person better than I did before I watched it. That being said, I realize it's an impossible task to sum up a person's entire life in a couple of hours no matter how well-documented that life may have been, so take these biopics for what they are--entertainment, nothing more.

If you ever have an opportunity, there's a three-part British documentary called Buster Keaton: A Hard Act to Follow from 1987 that is definitely worth seeing. It's the most "balanced" biographical documentary I've ever seen, showcasing his brilliant professional talents while not pulling punches about the difficulties in his professional and personal lives. It was released on DVD in the U.K., but so far hasn't been released in the U.S. so there is no "Region 1" version available, and it doesn't look like there will be one any time soon. Several years ago a friend and I attended a special screening here in Los Angeles, and afterward spoke with the promoter. He said they've been trying to get this released in the U.S. ever since it first aired in the U.K., but that distributors felt there wouldn't be enough interest to justify the expense.

I recorded this Keaton bio when it was shown on AMC in the early years
before there was commercial interruption.
Similar to what TCM has today.
It was recorded on VHS tape which was the only thing available in
my area at the time.

I have since found this on YouTube.

For viewing purposes, I have set my Sony TV as a "secondary" viewing screen above my
computer when I want to watch specific film in a larger format.
The quality is not as my HD TV format.
But being a Keatonholic, I don't mind.

 

[Zombie_61]

I recorded this Keaton bio when it was shown on AMC in the early years
before there was commercial interruption.
Similar to what TCM has today.
It was recorded on VHS tape which was the only thing available in
my area at the time.

I have since found this on YouTube...

D'oh! You Tube! Why didn't I think of looking there???

 

[Formeruser012523]

If you ever have an opportunity, there's a three-part British documentary called Buster Keaton: A Hard Act to Follow from 1987 that is definitely worth seeing. It's the most "balanced" biographical documentary I've ever seen, showcasing his brilliant professional talents while not pulling punches about the difficulties in his professional and personal lives. It was released on DVD in the U.K., but so far hasn't been released in the U.S. so there is no "Region 1" version available, and it doesn't look like there will be one any time soon. Several years ago a friend and I attended a special screening here in Los Angeles, and afterward spoke with the promoter. He said they've been trying to get this released in the U.S. ever since it first aired in the U.K., but that distributors felt there wouldn't be enough interest to justify the expense.

Watched this on YouTube some time ago. It was excellent! Highly recommend one called The Art of the Gag, that may still be on YouTube, as well.

 

[Lean'n'mean]

' Into The Storm' (2014)......slow build up but when the action starts, boy it's a thrilling ride. ...I'll be going back for more.

 

[Worf]

FF, you are always so thoughtful and honest in your assessments of books, movies, and tv shows, nevermind that your reviews are so well written! It's utterly refreshing. Thank you.

STOP!!!!!! He won't be able to fit his haid through the door! Plus he'll have to give away ALL his hats.

Worf

 

[AmateisGal]

Amadeus. I loved this movie growing up and when it showed up on Netflix, I figured, why not watch it again? Yes, it's a fictionalized biography of Mozart, but it spurred me to learn more about him. I was obsessed with Mozart and his music in high school. Wrote a paper on him, had a t-shirt with his picture on it, and even had a watch with his face. Yeah, I was *not* your typical teen!

 

[2jakes]

Amadeus. I loved this movie growing up and when it showed up on Netflix, I figured, why not watch it again? Yes, it's a fictionalized biography of Mozart, but it spurred me to learn more about him. I was obsessed with Mozart and his music in high school. Wrote a paper on him, had a t-shirt with his picture on it, and even had a watch with his face. Yeah, I was *not* your typical teen!

Welcome to the "not typical" club!

The movie "Herbie",
Charlie Brown paperback books & Beethoven
were my favorite things in high school & college.

I took a Sharpie & drew the maestro on my sweatshirt.
I used black acrylic paint & plastered my flying hero on my old buggy.

Sweatshirt, baggy khaki pants and canvas Tretorn sneakers and I was
ready for freshman college.

 

[Touchofevil]

STOP!!!!!! He won't be able to fit his haid through the door! Plus he'll have to give away ALL his hats.

Worf

Maybe, you will get one.

 

[Zombie_61]

...The movie "Herbie", Charlie Brown paperback books & Beethoven were my favorite things in high school & college.

I took a Sharpie & drew the maestro on my sweatshirt...

Oh good grief! Assuming you're referring to The Love Bug (1968), that was the movie that sparked my passion for VW Beetles. Also, my friends and I drew on our tee shirts with a variety of Marks-A-Lot permanent markers. And one of my friends' parents has (or had; that was a lot of years ago) a recording of us in our early teen years debating the virtues of Charles M. Schultz' "Peanuts" comic strip (we all agreed the early years were best). Small world.

 

[Fading Fast]

Maybe, you will get one.

Worf is way too cool to wear anything from my wardrobe, except, maybe, one of my Yankee baseball caps because, I think, he is a fan of the Bronx Bombers (a term which, while not going away, does seem to be used much less often today).

 

[Doctor Strange]

Amadeus. I loved this movie growing up and when it showed up on Netflix, I figured, why not watch it again? Yes, it's a fictionalized biography of Mozart, but it spurred me to learn more about him. I was obsessed with Mozart and his music in high school. Wrote a paper on him, had a t-shirt with his picture on it, and even had a watch with his face. Yeah, I was *not* your typical teen!

I was a bigger oddball than you - I had virtually no interest in contemporary pop music AT ALL until I got to college. It was all light classical, old-time jazz, and show tunes.

But while the film of Amadeus is great, I was lucky enough to see the original Broadway production in 1980, with Ian McKellen as Salieri, Tim Curry as Mozart, and Jane Seymour as Constanze. The opening remains, to this day, the greatest single feat of stage acting and stagecraft I've ever seen. Unlike the film, where as he starts reminiscing, old Salieri just cuts to young Salieri... In the play, he slowly rises from his wheelchair, the lighting changes (changing his makeup), his posture and bearing changes to that of a younger man, his voice becomes stronger/younger, the blanket falls away - and he's young Salieri! This was my introduction to the brilliance of Ian McKellen - so I wasn't surprised when he began showing up in big fantasy films two decades later, blowing everyone else off the screen!