Archive for the ‘cinema’ category
OK, kids. Now that The Oscars are over (and whether you were #TeamArgo or #TeamLincoln or #TeamIDreamedADream, I’m sure we can all agree that it’s good riddance to this year’s particular brand of Awards season drama…) it’s time for a bit of entertainment that is all about NOT judging and embracing our … erm … wide range of … tastes.
Over the weekend, the Kitty Packard Pictorial played host to the I F***ing Love This Movie Blogathon,… which was, admittedly, bad timing for film fans (myself included) who were consumed with the Oscar frenzy (hence the day late post). But believe it or not, there were a few of you bloggers our there who were still able to make time to stop and get real.
Let the blogroll commence!
OK. Hear me out here. I’ve got a bazillion of favorite movies, OK? But you all have lives, and I can’t sustain readership probably much longer than it takes to read to the end of this paragraph. So. In selecting the film that I f***ing love, I decided upon a scientific process: I went through my DVD collection and selected the DVD with the most scratches, stains and other war-wounds evident of abusive viewing. And the clear winner here is Robert Zemeckis’ directorial debut, the 1978 screwball comedy I Wanna Hold Your Hand. I mean, god forbid anyone should ever do a forensic analysis on this DVD cover. I’m pretty sure there’s a wine stain, chocolate smudge and … hmm … maybe soy sauce from a chinese takeout ages ago? Whatever, it’s gross, and I’m ashamed.
But the movie inside this battered fortress, is Top 40 Solid Gold.
“As a nation we began by declaring that all men are created equal. We now read that practically to say all men are created equal—except Negroes. Soon, it will say all men are created equal except Negroes, foreigners and Catholics. When it comes to this, I shall prefer emigrating to some country where they make no pretense of loving liberty. To Russia, for instance, where despotism can be taken pure and without the base alloy of hypocrisy.” – Abraham Lincoln
As you’ve might have guessed by this point, I’m something of a history nerd. And history nerds tend to ruffle a bit at the assumption that history is dull, preachy, or worse: irrelevant. This is almost certainly due to the fact that all of us hated our freshman year history teachers, only to hate our sophomore history teachers even more, and third period American history was more or less along the lines of Chinese water torture.
Which is totally unfair.
As the passion, fervor, and gut-wrenching agony of the last two weeks of this Election year proved, history in the making makes for tremendously entertaining theatre. Why on earth wouldn’t we think that the moments recorded in our history textbooks were any less passionate, fervent, agonizing. Read more ►
So. Chances are you’re here, reading these words, because you have some sort of affinity for classic films. Black, white, color, VistaVision, CinemaScope, 35mm, 70mm, cinerama and even smell-o-vision. And as a fan of celluloid cinema (something facing extinction with the onslaught of the now commonplace DCP and the possibly soon-to-be commonplace 48 FPS) you are probably familiar with the work of director Chuck Workman, even if you don’t know his name. In 1986, Workman created a short film entitled Precious Images, commissioned to commemorate the 50th Anniversary of the Director’s Guild of America. The film won the Academy Award for Best Live Action Short in 1987, where it was screened during the Oscar ceremony. Classic film-lovers, however, possibly know it better for its second incarnation: 100 Years at the Movies. Read more ►
That was the question once asked by writer Ted Elrick, his answer coming in the form the essay Classic is in the Eye—and Mind—of the Beholder (as published in DGA News Magazine, Feb. 1992). Elrick gave the daunting task of defining that elusive quality which differentiates a good movie from a classic film to over 100 people working in the entertainment industry. Many of them were veterans of the classic silver screen themselves– still with us when the story went to print back in 1992.
Below are a few of the highlights from this most insightful piece, written at the height of the industry’s first major rally in Washington on the issue of film preservation, and I hope it provides much food for thought…and discussion. Read more ►