Born after your old movies

Tuesday 22 September 2020, 8.00pm HKT


CULTURAL MILIEU
WHY do we pretend old movies are good? Indeed, why even watch movies that were made before you were born?

Because they are?

Please, watch Vertigo (1958) then come back with your renewed opinion.

How bad do you like bad to get?

Jane Russell as Rio McDonald in ‘The Outlaw’ (1941/43/46).

Universally acclaimed masterpieces of all time:—

1927 — Metropolis
1927 — Sunrise: A Song of Two Humans

1931 — City Lights
1931 — M
1933 — King Kong
1936 — Modern Times

1940 — The Great Dictator
1941 — Citizen Kane
1942 — Casablanca
1946 — It’s a Wonderful Life
1948 — Ladri di biciclette (Bicycle Thieves)

1950 — All About Eve
1950 — Sunset Blvd.
1954 — La strada (The Road)
1954 — Rear Window
1954 — Shichinin no Samurai (Seven Samurai)
1955 — The Night of the Hunter
1958 — Vertigo

1963 — 8½ (Otto e mezzo)
1968 — 2001: A Space Odyssey

1974 — The Godfather Part II
1975 — Jaws
1976 — Network
1976 — Taxi Driver
1977 — Star Wars IV: A New Hope

1980 — Raging Bull
1988 — Nuovo Cinema Paradiso

Most of the movies from the the ’30s and ’40s, mister.

Let me add a few more (just a few) to the universal list:—

8½ / Otto e mezzo (1963)
12 Angry Men (1957)
49th Parallel (1941)
633 Squadron (1964)
2001: A Space Odyssey (1968)

A Bridge Too Far (1977)
Alice in Wonderland (1951)
Alien (1979)
All About Eve (1950)
All Quiet on the Western Front (1930)
Apocalypse Now (1976)

Back to the Future (1985)
Barry Lyndon (1975)
Ben-Hur (1959)
Blade Runner (1982)
Bonnie and Clyde (1967)
Butch Cassidy and the Sundance Kid (1969)

Casablanca (1942)
Cat on a Hot Tin Roof (1958)
C’era una volta il West (Once Upon a Time in the West) (1968)
Charge of the Light Brigade (1938)
Citizen Kane (1941)
City Lights (1931)
Cleopatra (1963)
Coma (1978)
La mépris (Contempt) (1963)
Cool Hand Luke (1967)

Dark Star (1974)
Das Boot (1981)
Deathwish (1974)
Der Untergang (2004)
Dirty Harry (1971)
Doctor Zhivago (1965)
Dog Day Afternoon (1975)
Dr Strangelove (1964)
Dune (1984)

Easy Rider (1967)
Enter the Dragon (1971)

Fantasia (1940)
Far From the Madding Crowd (1915, 1967)
Farenheit 451 (1966)
Fargo (1996)
Forrest Gump (1994)
Full Metal Jacket (1987)

Gone with the Wind (1939)

Hulk (2003)

Il buono, il brutto, il cattivo (The Good, The Bad and the Ugly) (1966)
Intolerance (1916)
It’s a Wonderful Life (1946)

Jaws (1975)
Jesus Christ Superstar (1973)

King Kong (1933)

La dolce vita (1960)
La passion de Jeanne d’Arc (1928)
La règle du jeu (The Rules of the Game) (1939)
La strada (The Road) (1954)
Ladri di biciclette (Bicycle Thieves) (1948)
Lawrence of Arabia (1962)
Life of Brian (1979)
Logan’s Run (1976)

M (1931)
Man with a Movie Camera (1929)
Memento (2000)
Metropolis (1927)
Modern Times (1936)
Mr Smith Goes to Washington (1939)
Mulholland Drive (2001)

Network (1976)
No Blade of Grass (1970)
North by Northwest (1959)
Nosferatu (1922)
Nuovo Cinema Paradiso (1988)

One Flew Over the Cuckoo’s Nest (1975)
One Million Years BC (1966)

Patton (1970)
Peeping Tom (1960)
Per qualche dollaro in piú (For a Few Dollars More) (1965)
Planet of the Apes (1968)
Platoon (1986)
Predator (1987)
Pulp Fiction (1994)

Quadrophenia (1979)

Raging Bull (1980)
Raiders of the Lost Ark (1981)
Ran (1985)
Rashōmon (1950)
Rear Window (1954)
Reservoir Dogs (1992)
Rollerball (1974)
Rosemary’s Baby (1968)

Satyricon (1969)
Seven Days in May (1964)
Shaft (1971)
Shichinin no Samurai (1954)
Silent Running (1972)
Singin’ in the Rain (1952)
Snow White and the Seven Dwarfs (1937)
Solaris (1972, USSR original)
Some Like It Hot (1959)
Soylent Green (1973)
Spartacus (1950)
Stalag 17 (1953)
Stalker (1979, USSR original)
Star Wars IV: A New Hope (1977)
Sunrise: A Song of Two Humans (1927)
Sunset Blvd. (1950)

Taxi Driver (1976)
Texas Chainsaw Massacre (1974)
The Adventures of Robin Hood (1938)
The African Queen (1951)
The Andromeda Strain (1971)
The Big Sleep (1946)
The Boy Friend (1971)
The Current War (2019)
The Day the Earth Stood Still (1951)
The Dawn Patrol (1930 and 1937 versions)
The Exorcist (1973)
The Face of Dr Fu Manchu (1965)
The Forbidden Planet (1955)
The French Connection (1971)
The Full Monty (1997)
The Godfather (1972)
The Godfather Part II (1974)
The Great Dictator (1940)
The Great Escape (1963)
The Guns of Navarone (1961)
The Hunger (1983)
The Life and Death of Colonel Blimp (1943)
The Maltese Falcon (1941)
The Manchurian Candidate (1962)
The Matrix (1999)
The Night of the Hunter (1955)
The Night of the Iguana (1964)
The Omega Man (1971)
The Prisoner of Zenda (1937)
The Silence of the Lambs (1991)
The Sound of Music (1965)
The Sting (1973)
The Sun in a Net / Slnko v sieti (1963)
The Ten Commandments (1956)
The Terminator (1984)
The Thing (1982)
The Time Machine (1960)
The Wizard of Oz (1939)
The Year of Living Dangerously (1982)
Thirty Seconds Over Tokyo (1944)
THX 1138 (1971) — Huxley and Orwell meet French New Wave!
Tokyo Story (1953)
Toy Story (1994)

Vertigo (1954)

Wall-E (2008)
Waterloo (1973)
Westworld (1973)
Wild Strawberries (1957)
Woodstock (1970)

Zardoz (1974)
Zulu (1964)

家春秋 / Family, Spring, Autumn (1953–54)

Get Carter (1971) starring Michael Cain, and Sitting Target (1972) starring Oliver Reed — two notable modern movies aimed at giving an authentic feel of modern British life in the ’70s, despite both being ordinary crime action movies and not masterpieces cinematically.

Barry Lyndon (1975), directed by Stanley Kubrick

In the period piece Barry Lyndon (1975), Kubrick famously shot candlelit indoor scenes with a NASA ƒ/1.1 satellite lens to replicate how the naked eye sees things.

Jesus Christ Superstar (1973) has got to be one of the greatest musicals of the 20th century. The look on young people’s faces watching it TODAY is just priceless.

“This was made in 1973?! I swear I’m watching something that’s made this year or something.”Ex-colleague’s teenage daughter on watching Jesus Christ Superstar the first time in 2017

Far From the Madding Crowd (1967) makes you feel you’re someone living in the 1840s watching a contemporary movie also set in 1840s. The earlier version from 1915 isn’t too shabby either.

What about Titanic? The Shawshank Redemption? Lord of the Rings? Pulp Fiction? Mulholland Drive? Not implying any of these flicks are old.

These are all great films.

The point to appreciate is this isn’t a steeplechase of which movies are better or worse than others. It is this:–

  • If it’s the old aesthetic that turns you off, then maybe you shouldn’t be sperging your opinions all over the place. Stick to your own capeshit. You are the cancer of cinema. You are why yee-yee-ass flicks are made each year.

I’m not going to deny Vertigo is shit. Horrible audio. Horrible visuals. Probably original for its time but not now. Terrible acting. Weird awkward cuts. But the storyline is great, which is why many still continue to watch it. Then again, you’re watching it on YouTube, where even The Age of Ultracondom Ultron comes off shit.

I mentioned Vertigo because it was the first thing that came to mind — it is what’s usually presented to any pleb as an example of a pre-’70s movie that’s interesting and looks modern. In fact, Vertigo is consistently the No. 1 or No. 2 best film of all time in all polls.

  • There’s no magical year when movies just started getting better.

Movies simply got better over time. A good movie is more than the sum of its audiovisual, acting and storyline. There is no ‘cutoff’ year — to view good vs. bad movies in that way is just injecting red herrings. You’d be missing out a lot to look at things that way.

For instance, one scene in 2001: A Space Odyssey (1968) was just one step away from being a Monty Python skit. Yet the multinational power struggle in the scene’s subdued dialogue was pretty top of the line and realistic. You could argue that Star Wars IV: A New Hope (1977) was better, but then again, you’re comparing two completely different things.

There is more than one set of people who parade sold films as better, just as there are sets of people who react that NEW films are better.

How will your favourite films of today be considered tomorrow?

Your mum’s honeymoon sextape was pretty good. But I srsly doubt you’d want to watch it for more than two seconds at how you were conceived while your father looked on with glee at your mum being rammed senseless by the hotel chamberlain in dirty underwear.

PATRICIAN IMAGE

Of course, some honestly cannot understand the appeal of old movies. They ‘get it’ with the ones made after a certain year, but totally perplexed over anything before that. They think any ‘old’ movie is dull as f**k generally, and anything older than 20 years is garbage.

Twenty years isn’t old. The 9/11 attacks were already 19 years ago, and people speak of it as though it happened only yesterday. The World Wide Web dates from 1992, or 28 years ago. The first iPhone was launched 13 years ago in 2007, the same year the last major economic meltdown happened. The Internet has around 980 million sites and a third of them are less than a year old. Most people using the Internet aren’t even 20 years old yet.

What the hell are these people on about? Tell me a better decade for movies than the ’40s, ’50s, ’60s and ’70s.

To be brutally honest, it’s not like

  • The Forbidden Planet (1955)
  • Ben-Hur (1958)
  • The Andromeda Strain (1971)
  • Enter The Dragon (1971)
  • Dirty Harry (1971)
  • Texas Chainsaw Massacre (1974)

were any harder to ‘get it’ than

  • Star Wars IV (1977)
  • Raiders of the Lost Ark (1981)
  • Blade Runner (1982)
  • Godzilla (1997)
  • Mulholland Drive (2001)
  • Inception (2010)
  • Zombieland: Double Tap (2019)

I’m not saying you’ve got to maintain some sort of patrician image by watching boring old movies, bruv. The truth is, most movies from whatever era are bad and boring.

Watch Metropolis (1927) and you can easily see it’s better than practically any movie from any decade. That’s when you realise (or should realise) it isn’t ‘old’ movies that are bad — it’s just bad movies are bad.

So now you’re slowly learning. Protip: Piss off.

FLOORED

Several years ago, I was helping my ex-neighbour move out. His then 26-year-old son had a bunch of movie posters on his bedroom wall.

  • “I think movies today are rubbish,” he quipped.

When was the last time he watched a recent movie?

  • “Oh, like from 10 or 11 years ago.”

It transpired the guy just stopped watching everything after turning 13. Not even TV shows. His favourite movies were The Matrix (1999), Titanic (1997), and Crouching Tiger Hidden Condom Dragon (2000).

What about music and books? Artwork?

  • Though some early ’70s music to him are good, his favourite bands are all from the ’90s, 2000s and 2010s.
  • He said he only ever read books post-Mr Goodbar (by Judith Rossner, 1975). Though he understood that books have been around for thousands of years, to him anything before Mr Goodbar isn’t “modern art.”
  • He didn’t care for art made before 1990, the year he was born.

I was floored by this.

Here we have was a grown man in his mid-20s whose entire ‘cultural’ universe revolved around an intensely narrow timeframe:—

  1. MOVIES — 13 years from 1990 to 2003 (when he stopped watching at age 13)
  2. TV — nil, but let’s say 1 year
  3. READS50 years (1975–present)
  4. MUSIC — 30 years (1990–2010s)
  5. ART — 30 years (1990–2010s)

So this 26 year old’s cultural window had an arithmetic mean (average) of (13+1+50+30+30) ÷ 5 = 24.8 years. For comparison purposes, his geometric mean is 14.24 years (being ⁵√(13×1×50×30×30) = ⁵√585,000 = 14.24).

Not to seem too immodest, I have deeply favourite stuff that spans —

  1. MOVIES, including documentaries — 125+ years (1890s–present)
  2. TV — minimum 66 years from 1950
  3. READS — 1,200 years, best estimate
  4. MUSIC — at least 120 years
  5. ART — easily 4,000 years

My media window arithmetically averages 1,102.2 years. My geometric mean is 343.06 years. My window is 24 times the weight of his. And I’m very normal and ‘unedgy’ in my tastes and timespans for my generation. Honestly, I’m genuinely slightly scared to think about ‘quality’ as a variable between him and me.

Is there a MIDPOINT between our two extreme cultural exposures?

Life is obviously more than numbers, but let’s run the numbers just for the lulz:—

  • His raw total is 124 years, and mine, 5,511 years, so the arithmetic average midpoint should be 2,817½ years — or I’m 1.9 times over the midpoint and he’s 22.7 times under. But this is inaccurate and unrealistic.
  • A more realistic midpoint is geometric 826.66 years (being 124 + 5511 then square root). This means I’m 6⅔ times past the midpoint, and he has 6⅔ times further to go.

In other words, he has to add 165 years’ worth of material to each of his five categories to reach the midpoint. In short, he won’t reach his midpoint this lifetime at his current rate because he will be increasingly out of date from his timespan of 1990–2003 with every passing year. I guess it’s not “Oklahoma, or Bust!”

  • Protip:— The “breakpoint” is the minimum required competency. It is not fixed but shifts and floats relative other people present.

Example:— A room has 10 people, and four have 25 years’ experience each and six have 15 years each. The whole room’s arithmetic average experience is (25+15) ÷ 2 = 20 years — that’s the midpoint. What’s the minimum required competency to join them? The geometric mean tells you it’s 9 years 9 months (being ⁴√(4×25×6×15) = ⁴√9000 = 9.74). That is your breakpoint for entering that room.

That brings back my memories of a Hong Kong TV producer who didn’t know who Judy Garland was (the actress in The Wizard of Oz, 1939). Holy mackerel.

“Don’t you think there were good music and reads from the ’60s and before?” I asked him.

I reminded him that, yeah, ordinary people in the ’70s still read Homer’s Odyssey for pleasure and interest. His only conception of “Odyssey” was the movie 2001: A Space Odyssey, which he detested because the movie was nothing like the novel. At least he read the book, I’ll give him that much.

People like him are, frankly speaking, autistic in the clinical and meme senses. They don’t seem to have any internal resource to understand the first point about movies vs. books — or anything else.

Movies are not merely a film version of the book, or vice versa. It’s just impossible to pack in all the details and nuances of Frank Herbert’s novel Dune (1965) into a 140-minute movie (1984) with a two-decade-long separation between the two in receptivity.

https://www.youtube.com/watch?v=0sB3Fjw3Uvc

I absobloodylutely adore a lot of the music from the ’50s, ’60s and ’70s. Movies are different from music though. Movies often rely on technical aspects and these get better over time with technology. Music can be deliberately recorded in Lo-Fi these days. Movies can also be deliberately done in ‘old style’ like in black and white. But there are lots of people who think music relies on technical aspects too — all true indeed.

It’s hard to miss the disturbing line of thinking in today’s younger set.

“All old films are just rubbish. Doesn’t matter if the photography was good. Doesn’t matter if the acting was good. Doesn’t matter if the story is good. Old films are shit for just being old. I only watch movies that are less than five years old, preferably in 3D.”

Well, we can describe such a person in three words. Alone. Naked. Ghey.

And outdated — it is an outdated technique to make the point you’re up to date.

Want to know the secret to movies?

People remember only the good — the ones that stood the test of time, not the dross that gets forgotten. Lots of old movies are forgotten movies, just like many old blue movies (‘porn’ to you young ones) are forgotten.

  • Movies that stood the test of time are because they’re influential in some way.

Some people just cannot tolerate THAT — that what was good in the past must necessarily be outdated and bad now. Their attitude is that a lot of the older stuff has been revisited and done better in modern times according to their timeframe. I can accept that up to a point when they point to some Hollywood blockbuster (capeshit specifically) in a pathetic attempt to make a point. Yet it’s hard to miss that these people rarely ever watched a movie older than a few years.

“I do genuinely like some old movies. Generally nothing past the mid-’80s though.”

How was elementary school for you then? Maybe if you stop being hyperbolic and stop strawmanning, I might take you seriously. I just thought you were chopped lameduck liver.

  • Some take the attitude that movies older than 20 years are rubbish. Some even think movies older than 24 months are rubbish.

Why do they BOTH pretend to be an idiot?

If you’ve never watched silent movies from the 1920s, then you’re a complete le/la prolo (pleb) and Le Philistin. If you’ve never watched anything new from the last 10 or 20 years, then you’re a paranoid shut-in and Le Troglodyte.

This video is in fact the greatest motion picture that most Millennials wouldn’t effing understand:—

https://www.youtube.com/watch?v=tc-L9_4jGc4

The world’s oldest motion visual (1888). Groundbreaking for its time, to be sure. My grandmother was just six years old then. The world then was still lit by fire and gas. Yes, folks, The Naked Listener lives in the 21st century but had grandparents he lived with born in late Victorian times. My grandparents taught me how to use the TV remote, not the other way around.

A film made in 1968 is ‘old’? The ’70s and ’80s? Yeah, it’s been downhill since then, right? Trim take; bad modulation.

https://m.youtube.com/watch?v=1dgLEDdFddk

IMDB: Arrival of a train (1895/96)

I like this one. It’s 125 years old. It’s interesting how most of the people in the shot didn’t seem to mind getting filmed. Actually, they had no idea they were being filmed. The device (le cinematographe) didn’t resemble a normal photo camera in those days.

  • Protip:— Old movies can be amazing. They can also be complete shite. New movies can be amazing but can be complete shite too. Watch anything and everything you can, and you’ll find the hidden gems.

I watch movies old and new of all countries because of their stories. Older movies were more focused on storylines and were good at this. There are notable exceptions where the visuals were important, such as Kubrick’s movies tend to be (especially Barry Lyndon, 1975) yet even those ‘visual’ movies still have a deeper meaning and tell a better story than many modern crap-like capeshit could.

People who say shite like “Movies older than N years are garbage” are retards and belong to the ADHD Generation because they can’t understand these types of things and end up looking like directionless idiots. Time to ask them, why do you pretend new movies are good? Are they legit retarded or just baiting?

The first 20 years of filmmaking were really interesting. Filmmakers primarily used stage techniques then, but you can see glimmers of what movies will have become. You can see the evolution happening almost in real time when you watch the full range of movies.

Silent movies are only RELATIVELY harder to relate to for most people now, but even the blind could see the physicality of the actors is so much more pronounced. You can really see how much a person could say just with their eyes, even from silent action stars like Buster Keaton (1895–1966). Modern films are missing a great deal of this.

Old movies are good for the most part. It’s just the three-hour-long ‘art’ films that blow.

(via Wikimedia)

Just a reminder that Le règle du jeu (The Rules of the Game), released in 1939, is better than possibly any film this 21st century. By the way, the director Jean Renoir was son of the painter Auguste Renoir. Nope, you don’t need to know French to understand the film’s storyline.

Why even watch movies that were made before you were born?

Shallow, self-absorbed Millennials are easy to spot — sorry, any generation, really. They just cannot appreciate anything that isn’t set in their own timeframe.

I appreciate movies older and younger than I am all the time. That’s because I’m not ethnocentric and arrogant. I understand there was a time before me and a time after me, and there are other societies besides mine.

Over the years, I have come to realise there is some truth to this idea:—

  • For most people, the cutoff point for ‘getting it’ with any movie is around the time you were born. Anything made prior to that would probably look and feel somewhat ‘dated’ and many of their references don’t come across so readily.

There are exceptions to this, of course. A person born 10 years after Star Wars IV (1977) and watched it just two or three times as a kid will come to understand the 10-year difference in references contained in that movie. Look at the 501st UK Garrison Star Wars Costuming Club and its charity work — the majority of its members are born well after 1977 and got into this Star Wars thing roughly in mid-adult years.

Lots of Millennials do enjoy old and older movies. I’m saying, for most people, movies made before you were born are a little harder to relate to — especially if old movies have been practically absent as a ‘cultural’ fixture during your formative years.

It’s like jerking off to Playboy magazines or something. They were great, but we do have online porn now so it’s hard to go back. Maybe that’s a bad analogy, but you get what I mean.


Below is Body Candy (1980), one of the best porn movies ever made that also made it into mainstream cinema.


© The Naked Listener’s Weblog, 22 Sept 2020. (B16167)

All images via allchans unless indicated otherwise.

L’article original écrit le 23 mai 2016.

Movies: Four days of realistic faffing around

Saturday 12 April 2014, 1.00am HKT


THIS week I’m taking a slightly different approach to unloading my temporary movie fetish and do you a single movie, one that makes an impression on me because of my tenuous link with Italy.

Le Quattro Giornate di Napoli (1962) via Wikipedia

Le Quattro Giornate di Napoli (1962)

The Four Days of Naples (English dubbed version)

MGM (in USA), Titan (in Italy), black & white, 2 hours 4 mins

The plot seems to me:

Like most spaghetti films, you’ve got to think quite a bit to fathom out if there IS a plot.

In 1943, occupying Germans force the townsfolk of Naples to work in slave camps, a fact which throws a monkey wrench into Axis cooperation. The Napoletanos have had enough of the crap, they snap, and tip over into open rebellion with the aid of the Resistenza Italiana. However, the rebels and the Resistenza aren’t making any headway against the Germans. The tide turns for the rebels when a bunch of cute-looking boys with fantastic cheekbones and clear complexion (from the local orphanage or something) joins the rebellion. The chicks who join in soon after are so fine too. A whole lot of very italianate patriotic weeping and sloganeering ensues among the rebels while the faffing around continues unabated. Amazingly, four days of this tiramisu tumult actually drove out the Germans. When everything settles down, Allied troops then conveniently turns up and the city is awarded a fantastic medal of valour.

The whole point of the movie:

Meals take prime precedence over any kind of rebellion or fighting. Respect your elders, but you don’t have to listen to them at any given time. You shunt from one position to the next so often and so much that your enemy just becomes completely nonplussed and incredulous at your unbelievable level of faffing around. This being Napoli, the home of another big Mafia group, you either bloody well snap at your enemy when you (get round to) doing your rebellion — or follow the traditional Mafia routine of slowly strangling your enemy to death down some alleyway. When your young men and women look absolutely cute and adorable, your Win Factor goes up several notches. Ugly people makes for ugly and longer-lasting fighting.

Interesting:

This is actually a rather realistic portrayal of how Italian generally fight against oppression. Those who don’t understand Italians (and therefore won’t understand this movie) will think this movie has got to be sh*tting them and looks more like an Italian version of Keystone Kops. The chicks are absolute babes, if you get my drift.

My private name for it:

“Now I Know Why They Want to Eff With Us”

.

Italian girls at a football match

No, these are NOT the rebels you’re looking for

(Images from Wikipedia and HotPenguin.net)

__________

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DocID: B14105

Movies: Only you think you’re in control

Thursday 10 April 2014, 12.01am HKT


ANOTHER instalment of my temporary movie fetish as I race through my out-of-control life.

Moonrise Kingdom (2012) via Wikipedia

Moonrise Kingdom (2012)

American Empirical Pictures etc, colour, 1 hour 34 mins

The plot seems to me:

Nerd boy meets internally troubled girl in rural America on some fictitious island. Nerd boy eventually meets up with troubled girl all the time. The pair are simultaneously detached and close to each other, which is a feat in itself. They then elope, bouncing from island to island (or island to mainland) in bad weather with only boy scout skills that would otherwise challenge the skills of battle-hardened Navy SEAL commandos. Unnecessarily overwrought search party catches up with the pair and both kids get a beltful around the ear. End of story.

The whole point of the movie:

If you’re going to make someone your big squeeze, make sure the pair of you ‘dig’ a significant amount of the weird facets or fetishes of each other’s personalities (or at least could handle them). When things start going to pot, only the pair of you will have each other for support. In short, don’t settle — otherwise in rough times your partner probably won’t be able to understand your shiz, much less offer support and comfort.

Interesting:

To me, this is one of the most atmospheric movies around, ranking just behind the taut “The Year of Living Dangerously” (1982) and the surrealistically unfathomable “Mulholland Drive” (2001). The girl who plays the troubled girl looks 100% brainy, and I’ve since learnt that she’s a member of Mensa (membership requirement IQ 131–148, or 98th percentile).

My private name for it: “Life As A Fetish”

(Image via Wikipedia)

Reunion in France (1942) via Wikipedia

Reunion in France (1942)

MGM, black & white, 1 hour 42 mins

The plot seems to me:

Career woman in the fashion business enjoys a luxurious lifestyle with her industrial designer boyfriend in occupied Paris, 1940. She’s outraged that her man is fraternising with the Germans, who don’t actually appear too unsavoury. A crash-landed, overbearing American pilot turns up one day, and she gives him aid and soon falls in love with him. Then it transpires that her old lover was actually aiding the resistance by producing defective weapons for the Germs. She then goes back to the old lover. I get the impression that everybody is either pretending to be okay with her lover-by-lover tango or jealous that she gets to wear glad rags all the time.

The whole point of the movie:

You’re never in control of anything. You can only control how you react to things. Sometimes you can’t even be sure of how you’re supposed to react. If you don’t know what or how to react, be sure it’s not over the top. With money, you have a better class of misery.

Interesting:

Has some of the most horrifically in-your-face sarcastic jabs of any movie I’ve ever watched. The storyline is so-so. Just watch it for the barbs.

My private names for it: “You Think Life Works?” or “Because F.U.”

(Image via Wikipedia)

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