list http://www.spout.com/ Recent community activity around Amadeus on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Amadeus/1034/default.aspx Title: Amadeus
Year: 1984
Director: Milos Forman
Plot: For this film adaptation of Peter Shaffer's Broadway hit, director Milos Forman returned to the city of Prague that he'd left behind during the Czech political crises of 1968, bringing along his usual cinematographer and fellow Czech expatriate, Miroslav Ondricek. Amadeus is an expansion of a Viennese "urban legend" concerning the death of 18th-century musical genius Wolfgang Amadeus Mozart. From the vantage point of an insane asylum, aging royal composer Salieri (F. Murray Abraham) recalls the events of three decades earlier, when the young Mozart (Tom Hulce) first gained favor in the court of Austrian emperor Joseph II (Jeffrey Jones). Salieri was incensed that God would bless so vulgar and obnoxious a young snipe as Mozart with divine genius. Why was Salieri--so disciplined, so devoted to his art, and so willing to toady to his superiors--not touched by God? Unable to match Mozart's talent, Salieri uses his influence in court to sabotage the young upstart's career. Disguising himself as a mysterious benefactor, Salieri commissions the backbreaking "Requiem," which eventually costs Mozart his health, wealth, and life. Among the film's many pearls of dialogue, the best line goes to the Emperor, who rejects a Mozart composition on the grounds that it has "too many notes." Amadeus won eight Academy Awards, including Best Picture, Best Director, Best Adapted Screenplay, and Best Actor for F. Murray Abraham. In 2002, the film received a theatrical re-release as "Amadeus: The Director's Cut," a version that includes 22 minutes of additional footage. ~ Hal Erickson, All Movie Guide
Times Tagged: 109
Number of Lists: 89
Number of blog posts: 5
Number of discussion threads: 7
SpoutRating: 4
]]>Mon, 24 Aug 2009 16:32:08 GMTAmadeus1984Milos FormanFor this film adaptation of Peter Shaffer's Broadway hit, director <a href="/players/P____90166/default.aspx" style='text-decoration:underline'>Milos Forman</a> returned to the city of Prague that he'd left behind during the Czech political crises of 1968, bringing along his usual cinematographer and fellow Czech expatriate, Miroslav Ondricek. Amadeus is an expansion of a Viennese "urban legend" concerning the death of 18th-century musical genius <a href="/players/P___103711/default.aspx" style='text-decoration:underline'>Wolfgang Amadeus Mozart</a>. From the vantage point of an insane asylum, aging royal composer Salieri (F. Murray Abraham) recalls the events of three decades earlier, when the young Mozart (<a href="/players/P____33864/default.aspx" style='text-decoration:underline'>Tom Hulce</a>) first gained favor in the court of Austrian emperor Joseph II (<a href="/players/P____36137/default.aspx" style='text-decoration:underline'>Jeffrey Jones</a>). Salieri was incensed that God would bless so vulgar and obnoxious a young snipe as Mozart with divine genius. Why was Salieri--so disciplined, so devoted to his art, and so willing to toady to his superiors--not touched by God? Unable to match Mozart's talent, Salieri uses his influence in court to sabotage the young upstart's career. Disguising himself as a mysterious benefactor, Salieri commissions the backbreaking "Requiem," which eventually costs Mozart his health, wealth, and life. Among the film's many pearls of dialogue, the best line goes to the Emperor, who rejects a Mozart composition on the grounds that it has "too many notes." Amadeus won eight Academy Awards, including Best Picture, Best Director, Best Adapted Screenplay, and Best Actor for F. Murray Abraham. In 2002, the film received a theatrical re-release as "Amadeus: The Director's Cut," a version that includes 22 minutes of additional footage. ~ Hal Erickson, All Movie Guide109Tag Target (>10)89574http://www.spout.com/ProductImages/u51599htmv9.jpghttp://www.spout.com/films/Amadeus/1034/default.aspxFilm http://www.spout.com/blogs/pippin06/archive/2009/5/31/42472.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 5/31/2009 11:49:24 AM
Body: What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Amadeus is on the following AFI list: The Original Top 100 (#53) Greetings, ladies and gentlemen of Spoutland! Long time no blog. I blame this on my other great cultural love, theater. It is super difficult to watch films while, in this case, stage managing a little musical called Guys and Dolls at a local community theater for six days out of a week. As such, not only have I not been able to see many films (and thereby review them), I nearly forgot that I re-watched this little gem from the 80s a month ago, a film that curiously made the original AFI Greatest list but failed to register on any of the subsequent lists. I first saw Amadeus when I was in the eighth grade. For some reason, my English teacher - who never really felt any sort of pressure to make her students actually do work - showed us this film. At the time, I didn't really like it. My impression of the film at the tender age of 13 was that it was weird and offensively unsympathetic to one of the world's most renowned and celebrated composers, and that made me mad. As a budding violinist just discovering an appreciation for classical music by the widely acknowledged "greats," I didn't appreciate the fact that the ingenious Mozart and his image were being sullied by this movie. Plus, the movie reminded me of the marginally related Falco song "Rock Me, Amadeus," which was an annoying synth-pop one-hit wonder from the same decade. I do not like that song even still. It's annoying, I tell you! Re-watching the film for this project, I've revised my opinion somewhat. I'm not sure that it is deserving of being called one of America's greatest films, but it's certainly a much better film than I initially gave it credit for. One of its most winning qualities is the fact that the filmmakers, particularly Director Milos Forman (who also directed One Flew Over the Cuckoo's Nest), definitely knew and appreciated music and painted the film in such a wash that this knowledge and passion for music permeates each and every frame. Plus, the film boasts one of the greatest musical scores of film - incorporating both composers Mozart and Salieri's works at intermittent intervals to the delight of music lovers' ears, including mine. The film is told from Salieri's (F. Murray Abraham) perspective as he rots away in his advanced age in an insane asylum. Under the guise of confession to a local priest, Salieri recalls his life from the moment he was introduced to prodigal but boorish Wolfgang Amadeus Mozart (Tom Hulce) and the ensuing, unstated rivalry that developed between them. Salieri, after all, rued Mozart's genius and instant success; the famed Mozart lacked proper social graces and humility, after all, whilst Salieri spent many days genuflecting before God and questioning why Mozart was blessed with talent when he, himself, worked so hard, only to be overshadowed by his younger counterpart in places such as the court of Austrian Emperor Joseph II (Jeffrey Jones). Thus, Salieri works to sabotage the young Mozart, disguising himself as a benefactor, commissioning the composition of a "Requiem" that costs Mozart everything, even as the prodigy's drinking and other appetites consume him first. Amadeus is a curious film to me. On the one hand, the grandiose and operatic story meditating on how life imitates art and vice versa, is something rarely equaled in cinema. It's a true story at its core, but it's based on bits of urban legend derived from the relative lack of information available about this particular relationship. The film is opulent, with extravagant art direction and costuming reflecting its eighteenth century period. F. Murray Abraham's performance is tour de force - over the top but in a way so genuine and so relatable that its melodrama is forgiven. Every opera, every performance of either composer's works was performed and filmed with great care. This is truly a classical music lover's film, from the very opening frames to the last. I don't love this film, though, and it comes down to some of the choices taken by the filmmakers. I read that it was conscious on Forman's part to direct the performers to use their native accents, most of which were American and inconsistently so. As such, nobody sounded like anyone else, even though all were supposed to be Austrian, and I found this lack of consistency extremely distracting to my suspension of disbelief. The quirky laugh aside, I was never convinced by Hulce's portrayal of the titular man - even if Mozart was a man-child incapable of propriety, enabled though he was according to his genius, Hulce just seemed like the wrong choice for the part. He certainly played up the emotionally underdeveloped sides of Mozart and provided great contrast to Abraham's stalwart and sour Salieri, but there was a quality about Hulce's performance that unsettled me, though I can't put my finger on or give a name to this quality. Maybe it's the notion that I could never buy him as the genius, even if it wasn't hard to buy him as the garish and arrogant young boor who possessed the genius. While the film lauded Mozart's unparalleled body of work even as it convincingly portrayed him to be the court jester, every time Hulce floated onto screen in scenes where Mozart was composing or showing off his prodigy, I had trouble believing his characterizations. I could be the minority in this reaction, but I can't help these reactions just the same. The All Movie Guide review at the bottom of this page discusses how thoroughly the film explores paradox – the paradox of Mozart the man, the paradox of Salieri's love-hate obsession with him. True, the film walks a fine tightrope of balancing contradictions in an intellectually satisfying way. As entertainment, though, I didn't love this film as much others because I was too annoyed or distracted with the aforementioned elements. I will say this for Amadeus: though it clocks in at just about three hours, it never drags. Forman, who seems to be a contemplative director adept at parsing out emotional resonance and philosophical undercurrent from his unusual topics, ingeniously conducted the pace of the film not unlike the movements in an opera. In fact, the entire movie seemed to ebb and flow – crescendo and decrescendo, if you will – to the passion and genius of the composers behind the music, and this fact leaves me liking the movie quite a bit, even if I can't love it. Is it one of America's greatest films? That is the big question. I'm not so sure, but I leave others to ponder and to answer it. Incidentally, The Deer Hunter replaced Amadeus at this rank on the Revised list (The Deer Hunter jumped up several spots from its original rank). For my money, Amadeus has aspects of greatness but is a film I would not place on my personal 100 greatest. Still, the film is very good. In fact, I'm inclined to rate it a 7.5 between shaky/entertaining and minor flaws/very good on the patented ratings scale, owing to the few distracting flaws I discussed above (even if they are flaws in my eyes only). As to the test, I don't think it passes. I'm glad I watched it again, but I think twice is enough for me. The best part about Amadeus in my opinion is the music and the celebration of musical genius, and that's something I can appreciate and enjoy without having to watch the movie again and at any time I wish.
]]>Sun, 31 May 2009 15:49:24 GMTpippin06Reel Thoughts5/31/2009 11:49:24 AMWhat's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Amadeus is on the following AFI list: The Original Top 100 (#53) Greetings, ladies and gentlemen of Spoutland! Long time no blog. I blame this on my other great cultural love, theater. It is super difficult to watch films while, in this case, stage managing a little musical called Guys and Dolls at a local community theater for six days out of a week. As such, not only have I not been able to see many films (and thereby review them), I nearly forgot that I re-watched this little gem from the 80s a month ago, a film that curiously made the original AFI Greatest list but failed to register on any of the subsequent lists. I first saw Amadeus when I was in the eighth grade. For some reason, my English teacher - who never really felt any sort of pressure to make her students actually do work - showed us this film. At the time, I didn't really like it. My impression of the film at the tender age of 13 was that it was weird and offensively unsympathetic to one of the world's most renowned and celebrated composers, and that made me mad. As a budding violinist just discovering an appreciation for classical music by the widely acknowledged "greats," I didn't appreciate the fact that the ingenious Mozart and his image were being sullied by this movie. Plus, the movie reminded me of the marginally related Falco song "Rock Me, Amadeus," which was an annoying synth-pop one-hit wonder from the same decade. I do not like that song even still. It's annoying, I tell you! Re-watching the film for this project, I've revised my opinion somewhat. I'm not sure that it is deserving of being called one of America's greatest films, but it's certainly a much better film than I initially gave it credit for. One of its most winning qualities is the fact that the filmmakers, particularly Director Milos Forman (who also directed One Flew Over the Cuckoo's Nest), definitely knew and appreciated music and painted the film in such a wash that this knowledge and passion for music permeates each and every frame. Plus, the film boasts one of the greatest musical scores of film - incorporating both composers Mozart and Salieri's works at intermittent intervals to the delight of music lovers' ears, including mine. The film is told from Salieri's (F. Murray Abraham) perspective as he rots away in his advanced age in an insane asylum. Under the guise of confession to a local priest, Salieri recalls his life from the moment he was introduced to prodigal but boorish Wolfgang Amadeus Mozart (Tom Hulce) and the ensuing, unstated rivalry that developed between them. Salieri, after all, rued Mozart's genius and instant success; the famed Mozart lacked proper social graces and humility, after all, whilst Salieri spent many days genuflecting before God and questioning why Mozart was blessed with talent when he, himself, worked so hard, only to be overshadowed by his younger counterpart in places such as the court of Austrian Emperor Joseph II (Jeffrey Jones). Thus, Salieri works to sabotage the young Mozart, disguising himself as a benefactor, commissioning the composition of a "Requiem" that costs Mozart everything, even as the prodigy's drinking and other appetites consume him first. Amadeus is a curious film to me. On the one hand, the grandiose and operatic story meditating on how life imitates art and vice versa, is something rarely equaled in cinema. It's a true story at its core, but it's based on bits of urban legend derived from the relative lack of information available about this particular relationship. The film is opulent, with extravagant art direction and costuming reflecting its eighteenth century period. F. Murray Abraham's performance is tour de force - over the top but in a way so genuine and so relatable that its melodrama is forgiven. Every opera, every performance of either composer's works was performed and filmed with great care. This is truly a classical music lover's film, from the very opening frames to the last. I don't love this film, though, and it comes down to some of the choices taken by the filmmakers. I read that it was conscious on Forman's part to direct the performers to use their native accents, most of which were American and inconsistently so. As such, nobody sounded like anyone else, even though all were supposed to be Austrian, and I found this lack of consistency extremely distracting to my suspension of disbelief. The quirky laugh aside, I was never convinced by Hulce's portrayal of the titular man - even if Mozart was a man-child incapable of propriety, enabled though he was according to his genius, Hulce just seemed like the wrong choice for the part. He certainly played up the emotionally underdeveloped sides of Mozart and provided great contrast to Abraham's stalwart and sour Salieri, but there was a quality about Hulce's performance that unsettled me, though I can't put my finger on or give a name to this quality. Maybe it's the notion that I could never buy him as the genius, even if it wasn't hard to buy him as the garish and arrogant young boor who possessed the genius. While the film lauded Mozart's unparalleled body of work even as it convincingly portrayed him to be the court jester, every time Hulce floated onto screen in scenes where Mozart was composing or showing off his prodigy, I had trouble believing his characterizations. I could be the minority in this reaction, but I can't help these reactions just the same. The All Movie Guide review at the bottom of this page discusses how thoroughly the film explores paradox &ndash; the paradox of Mozart the man, the paradox of Salieri's love-hate obsession with him. True, the film walks a fine tightrope of balancing contradictions in an intellectually satisfying way. As entertainment, though, I didn't love this film as much others because I was too annoyed or distracted with the aforementioned elements. I will say this for Amadeus: though it clocks in at just about three hours, it never drags. Forman, who seems to be a contemplative director adept at parsing out emotional resonance and philosophical undercurrent from his unusual topics, ingeniously conducted the pace of the film not unlike the movements in an opera. In fact, the entire movie seemed to ebb and flow &ndash; crescendo and decrescendo, if you will &ndash; to the passion and genius of the composers behind the music, and this fact leaves me liking the movie quite a bit, even if I can't love it. Is it one of America's greatest films? That is the big question. I'm not so sure, but I leave others to ponder and to answer it. Incidentally, The Deer Hunter replaced Amadeus at this rank on the Revised list (The Deer Hunter jumped up several spots from its original rank). For my money, Amadeus has aspects of greatness but is a film I would not place on my personal 100 greatest. Still, the film is very good. In fact, I'm inclined to rate it a 7.5 between shaky/entertaining and minor flaws/very good on the patented ratings scale, owing to the few distracting flaws I discussed above (even if they are flaws in my eyes only). As to the test, I don't think it passes. I'm glad I watched it again, but I think twice is enough for me. The best part about Amadeus in my opinion is the music and the celebration of musical genius, and that's something I can appreciate and enjoy without having to watch the movie again and at any time I wish. http://www.spout.com/groups/Movie_Polls/Re_Which_of_these_film_movments_have_produced_film/657/40557/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 2/19/2009 3:15:26 PM
Body: [quote user="pippin06"] This is out of my league too. I consider myself an average to above average filmgoer/viewer but am not sure if I've seen anything in any category (maybe I have and I didn't know it...but maybe not). Like I said, I saw a lot of French films in college, but who knows if they fall under New Wave or something like that... ...but maybe we could somehow start a discussion somewhere where people schooled in these film schools could make recommendations for beginners. That would be cool, right? Or, maybe it's already somewhere...anyone know? [/quote] Ok, well I'll try to give some insight on what I know about them and any recommendations I may have. Czechoslovakian New Wave may be one of the lesser movements listed here. It kind of started in the 60s. A discription from wikipedia says "Trademarks of the movement contain long unscripted dialogues, dark and absurd humour, and the casting of nonactors." I don't know if I've actually seen any, but some of the more popular ones are available from the Criterion Collection like The Shop on Main Street (which people have mentioned on Spout before), Closely Watched Trains, and lots of Milos Forman's (One Flew Over the Cuckoo's Nest, The Man on the Moon, Amadeus) early work like Loves of a Blonde and The Fireman's Ball. Dogme 95 was an official movement started by Lars Von Trier and a few other Danish filmmakers that had specific rules about it. You could actually submit your film to them to be labeled as an official Dogma 95 film. You can probably find the rules online somewhere, but it involved using only digital film and found locations, props, and costumes. You aren't supposed to add any special effects. The full rules are of course available at good old wikipedia. The most famous of the films would probably The Celebration, The Idiots, and my favorite, Julien Donkey-Boy. The French New Wave is a pretty broad movement usually referring to the iconoclastic filmmakers from France. I think the tail end of the 50s is really when this started to get into full swing. Like Tennenbaums mentioned earlier, Jean Luc-Godard and François Truffaut are often the most identifiable filmmakers with the movement, although there are probably dozens if not more who have been lumped into this movement. SkyPilot mentioned Jean-Pierre Melville's Bob le Flambeur. I have seen that one and was disappointed. I've also seen Godard's Breathless and Truffaut's Jules and Jim both of which I did not enjoy. Truffaut's The 400 Blows I appreciated a bit more, but still not a favorite. Some people throw Éric Rohmer into this category as well, although some argue his style is considerably different and stems from somewhere other than many other of the French New Wave filmmakers. I have enjoyed what little I've seen of his work. Expressionism was a movement in Europe in the early 20th century. It stressed intense emotion conveyed through exaggerated and distorted style and forms. The Germans took this movement and put it in film. I'm sure you recognize famous directors like F. W. Murnau and Fritz Lang. Some of these films had extremely expressionistic and highly unrealistic visuals like The Cabinet of Dr. Caligari. Some like The Last Laugh were just more more distorted versions of reality. With all the Dracula talk that has happend on Spout at times I'm guessing you've also heard of Nosferatu. Some of Lang's works that came a bit later that are well known might also count like M and Metropolis. When I looked into it, I can't really define Iranian New Wave any better than just saying it's basically films that were made in Iran. I guess the most popular filmmaker is Abbas Kiarostami. Look him up and you may recognize a lot of his films. Maybe not. I have seen two films from Majid Majidi and would recommend The Color of Paradise. It's kind of recent though so I don't really know if it's a good representation of the first wave of the Iranian New Wave. Italian neorealism is what it probably sounds like. Italian films that stressed trying to give a realistic depiction of every day working class people. They did this by shootings things on location and often with non-actors. And a lot of the the "boring" action of normal life that might not find it's way into other films is here. Although I sure don't find it boring. The time frame we are looking at is the later forties. The most famous example is Vittorio De Sica's The Bicycle Thief which I would highly recommend, although De Sica's Shoeshine and Umberto D are also amazing. Other big name directors are Luchino Visconti and Roberto Rossellini. The Japanese New Wave like the French New Wave were a bunch of iconoclastic filmmakers that started with works being released around the end of the 50s through the 70s. You could put Seijun Suzuki in this category who is one of my favorite directors. Tokyo Drifter, Fighting Elegy, Branded to Kill, and Youth of the Beast are all fims of his that I love and are available on the Criterion Collection. Hiroshi Teshigahara also has some of his movies released through Criterion, one of which, Woman in the Dunes, I just saw recently and is amazing. Shohei Imamura also has some of his movies available through Criterion (this is basically just a big Criterion ad). Nagisa Oshima is probably the biggest name from this moment in my mind and I'm rather embarassed to say I still haven't seen any of his films. Mumblecore core is the newest term on this list and has gotten a lot of press on Spout, so maybe you've heard of it. I don't know if I've really seen any movies that would fit this category hardcore, but you probably recognize the trend in independent cinema. I think it has a lot to do with young adults living in big cities. Very low budget. Lots of slang and hip music and culture references with a realistic style. Correct me if I'm wrong on this. Joe Swanberg had a short film series on Spout for a while I think. New French Extremity is the other really new term here. I just came across the name recently to refer to a recent wave of confrontational French films ove the past decade or so. You know how we had a group here on spout called "extreme films"? Well a lot of these would probably fit in nice there. They show you the extreme fifth, cruelty, and violence of humanity often in graphic detail. You may recognize a lot of these names. Gaspar Noé's Irreversible is one of the most well known state side I think. It's the one that runs backwards. I've seen his I Stand Alone and let me say it's pretty striking and depression, very confrontational to the dark and depressing side of the human condition. Other examples are some of Claire Denis' and Leos Carax's recent work, Bruno Dumont (The Life of Jesus, Humanité), Catherine Breillat (Fat Girl). Maybe you have also heard of the infamous Baise-moi (Fuck Me). If you listen to a lot of the horror fans we have on the site too you may hear them rave about many of the violent horror films comming out of France recently. These could probably fit in well too. The most well known now being High Tension. As for New German Cinema, you've heard of Werner Herzog right?? He's one of my favorites (check out The Mystery of Kaspar Hauser, Aguirre: The Wrath of God, Stroszek, Fitzcarraldo). Well he and some other German folks such as R. W. Fassbinder (Ali: Fear Eats the Soul, The Marriage of Maria Braun, The Bitter Tears of Petra Von Kant (the guy made well over fourty films in a span of sixteen years including the fifteen hour long Berlin Alexanderplatz)), Wim Wenders (Wings of Desire, Paris, Texas), Volker Schlöndorff (The Tin Drum) and several others started making the first original movies starting in the late 60s since before the rise of the Nazis (Werner Herzog even made a remake of the classic German film Nosferatu). Finally Germany was a force in the world of Cinema making original and revolutionary films again. Anyone have anything to add?
]]>Thu, 19 Feb 2009 20:15:26 GMTRisseladaMovie Polls2/19/2009 3:15:26 PM[quote user="pippin06"] This is out of my league too. I consider myself an average to above average filmgoer/viewer but am not sure if I've seen anything in any category (maybe I have and I didn't know it...but maybe not). Like I said, I saw a lot of French films in college, but who knows if they fall under New Wave or something like that... ...but maybe we could somehow start a discussion somewhere where people schooled in these film schools could make recommendations for beginners. That would be cool, right? Or, maybe it's already somewhere...anyone know? [/quote] Ok, well I'll try to give some insight on what I know about them and any recommendations I may have. Czechoslovakian New Wave may be one of the lesser movements listed here. It kind of started in the 60s. A discription from wikipedia says "Trademarks of the movement contain long unscripted dialogues, dark and absurd humour, and the casting of nonactors." I don't know if I've actually seen any, but some of the more popular ones are available from the Criterion Collection like The Shop on Main Street (which people have mentioned on Spout before), Closely Watched Trains, and lots of Milos Forman's (One Flew Over the Cuckoo's Nest, The Man on the Moon, Amadeus) early work like Loves of a Blonde and The Fireman's Ball. Dogme 95 was an official movement started by Lars Von Trier and a few other Danish filmmakers that had specific rules about it. You could actually submit your film to them to be labeled as an official Dogma 95 film. You can probably find the rules online somewhere, but it involved using only digital film and found locations, props, and costumes. You aren't supposed to add any special effects. The full rules are of course available at good old wikipedia. The most famous of the films would probably The Celebration, The Idiots, and my favorite, Julien Donkey-Boy. The French New Wave is a pretty broad movement usually referring to the iconoclastic filmmakers from France. I think the tail end of the 50s is really when this started to get into full swing. Like Tennenbaums mentioned earlier, Jean Luc-Godard and Fran&ccedil;ois Truffaut are often the most identifiable filmmakers with the movement, although there are probably dozens if not more who have been lumped into this movement. SkyPilot mentioned Jean-Pierre Melville's Bob le Flambeur. I have seen that one and was disappointed. I've also seen Godard's Breathless and Truffaut's Jules and Jim both of which I did not enjoy. Truffaut's The 400 Blows I appreciated a bit more, but still not a favorite. Some people throw &Eacute;ric Rohmer into this category as well, although some argue his style is considerably different and stems from somewhere other than many other of the French New Wave filmmakers. I have enjoyed what little I've seen of his work. Expressionism was a movement in Europe in the early 20th century. It stressed intense emotion conveyed through exaggerated and distorted style and forms. The Germans took this movement and put it in film. I'm sure you recognize famous directors like F. W. Murnau and Fritz Lang. Some of these films had extremely expressionistic and highly unrealistic visuals like The Cabinet of Dr. Caligari. Some like The Last Laugh were just more more distorted versions of reality. With all the Dracula talk that has happend on Spout at times I'm guessing you've also heard of Nosferatu. Some of Lang's works that came a bit later that are well known might also count like M and Metropolis. When I looked into it, I can't really define Iranian New Wave any better than just saying it's basically films that were made in Iran. I guess the most popular filmmaker is Abbas Kiarostami. Look him up and you may recognize a lot of his films. Maybe not. I have seen two films from Majid Majidi and would recommend The Color of Paradise. It's kind of recent though so I don't really know if it's a good representation of the first wave of the Iranian New Wave. Italian neorealism is what it probably sounds like. Italian films that stressed trying to give a realistic depiction of every day working class people. They did this by shootings things on location and often with non-actors. And a lot of the the "boring" action of normal life that might not find it's way into other films is here. Although I sure don't find it boring. The time frame we are looking at is the later forties. The most famous example is Vittorio De Sica's The Bicycle Thief which I would highly recommend, although De Sica's Shoeshine and Umberto D are also amazing. Other big name directors are Luchino Visconti and Roberto Rossellini. The Japanese New Wave like the French New Wave were a bunch of iconoclastic filmmakers that started with works being released around the end of the 50s through the 70s. You could put Seijun Suzuki in this category who is one of my favorite directors. Tokyo Drifter, Fighting Elegy, Branded to Kill, and Youth of the Beast are all fims of his that I love and are available on the Criterion Collection. Hiroshi Teshigahara also has some of his movies released through Criterion, one of which, Woman in the Dunes, I just saw recently and is amazing. Shohei Imamura also has some of his movies available through Criterion (this is basically just a big Criterion ad). Nagisa Oshima is probably the biggest name from this moment in my mind and I'm rather embarassed to say I still haven't seen any of his films. Mumblecore core is the newest term on this list and has gotten a lot of press on Spout, so maybe you've heard of it. I don't know if I've really seen any movies that would fit this category hardcore, but you probably recognize the trend in independent cinema. I think it has a lot to do with young adults living in big cities. Very low budget. Lots of slang and hip music and culture references with a realistic style. Correct me if I'm wrong on this. Joe Swanberg had a short film series on Spout for a while I think. New French Extremity is the other really new term here. I just came across the name recently to refer to a recent wave of confrontational French films ove the past decade or so. You know how we had a group here on spout called "extreme films"? Well a lot of these would probably fit in nice there. They show you the extreme fifth, cruelty, and violence of humanity often in graphic detail. You may recognize a lot of these names. Gaspar No&eacute;'s Irreversible is one of the most well known state side I think. It's the one that runs backwards. I've seen his I Stand Alone and let me say it's pretty striking and depression, very confrontational to the dark and depressing side of the human condition. Other examples are some of Claire Denis' and Leos Carax's recent work, Bruno Dumont (The Life of Jesus, Humanit&eacute;), Catherine Breillat (Fat Girl). Maybe you have also heard of the infamous Baise-moi (Fuck Me). If you listen to a lot of the horror fans we have on the site too you may hear them rave about many of the violent horror films comming out of France recently. These could probably fit in well too. The most well known now being High Tension. As for New German Cinema, you've heard of Werner Herzog right?? He's one of my favorites (check out The Mystery of Kaspar Hauser, Aguirre: The Wrath of God, Stroszek, Fitzcarraldo). Well he and some other German folks such as R. W. Fassbinder (Ali: Fear Eats the Soul, The Marriage of Maria Braun, The Bitter Tears of Petra Von Kant (the guy made well over fourty films in a span of sixteen years including the fifteen hour long Berlin Alexanderplatz)), Wim Wenders (Wings of Desire, Paris, Texas), Volker Schl&ouml;ndorff (The Tin Drum) and several others started making the first original movies starting in the late 60s since before the rise of the Nazis (Werner Herzog even made a remake of the classic German film Nosferatu). Finally Germany was a force in the world of Cinema making original and revolutionary films again. Anyone have anything to add? http://www.spout.com/groups/Coming_Soon/Re_Time_Travel_Aliens_and_Biopics_New_movies/216/38236/1/ShowPost.aspx Post By: Risselada
Post To: Coming Soon
Post Date: 12/11/2008 11:08:20 AM
Body: [quote user="SkyPilot"] What are your favorite biopics? I asked some friends at Spout about their favorites, and one said, "Does Braveheart count?" Here are some others they listed: ......... 1. Amadeus -- Watch the trailer. This one I need to watch again. I remember it as an interesting movie for anyone who feels like a Salieri when they meet a Mozart. ............ GOOD MOVIES THAT COME FROM PLAYS [/quote] Amadeus if FANTASTIC! And it ALSO comes from a play. So it's really the all around winner of your lists this week. I'd also mention Sleuth (haven't seen the new one yet), The Ruling Class, and Rosencrantz & Guildenstern Are Dead (woah, Spout says there's a 2008 version of this play with Ralph Maccio too!) as some of my other favorites that are based on plays.
]]>Thu, 11 Dec 2008 16:08:20 GMTRisseladaComing Soon12/11/2008 11:08:20 AM[quote user="SkyPilot"] What are your favorite biopics? I asked some friends at Spout about their favorites, and one said, "Does Braveheart count?" Here are some others they listed: ......... 1. Amadeus -- Watch the trailer. This one I need to watch again. I remember it as an interesting movie for anyone who feels like a Salieri when they meet a Mozart. ............ GOOD MOVIES THAT COME FROM PLAYS [/quote] Amadeus if FANTASTIC! And it ALSO comes from a play. So it's really the all around winner of your lists this week. I'd also mention Sleuth (haven't seen the new one yet), The Ruling Class, and Rosencrantz &amp; Guildenstern Are Dead (woah, Spout says there's a 2008 version of this play with Ralph Maccio too!) as some of my other favorites that are based on plays. http://www.spout.com/groups/Coming_Soon/Time_Travel_Aliens_and_Biopics_New_movies_12/216/38083/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 12/8/2008 4:30:05 PM
Body: TIME TRAVEL: A BASIC HUMAN RIGHT Bad Guys Will Always Have Time Travel, so Good Guys Should Have It Too -- 5 Movies That Prove This Argument 1. Timecrimes (NEW) -- Watch the trailer. Read the review, listen to the interview. 2. Time Bandits (1981) -- Watch the trailer. My good friend Kevin (porcupine) loves this flick. That's good, because his parents named him after one of the characters. Would it be less cool if he were named after Kevin McAlister from Home Alone? Something to ponder. 3. Time Cop (1994) -- Watch the trailer. I remember this Jean-Claude Van Damme vehicle was pretty violent and included some gratuitous nudity; I was only 13 when I saw it in '95, and that's all I remember. Are there fans who've seen it more recently? 4. Back to the Future Part II (1989) -- Watch the trailer. Remember how future Biff went back in time to give the gambling results book to 50's Biff, then 50's Biff became rich by never losing a bet at the horseraces? Who besides me wished they could do that? 5. And of course, there's the mo-fo'ing Terminator series. Man, I can't wait for Terminator: Salvation. Read the notes from the Comic-Con press conference. WHOA: KEANU REEVES, ROCKIN' IT 3. The Day the Earth Stood Still (NEW) -- Read about the press conference with Keanu and Jennifer Connelly. I won't lie, I'm excited for this one! Not only am I nuts about Jennifer Connelly, I also think Keanu could be fantastic at playing a non-human. (Just like how Swarzenegger was always best at playing a robot.) Recast the original, you might win a t-shirt. 2. A Scanner Darkly (2006) -- Really good movie from Richard Linklater. It's rotoscoped like Waking Life, but it has a story! It's funny and sad and paranoid (it's about narcs and drug addiction). The trio of Keanu, Woody Harrelson and Robert Downey Jr. make it a buddy tragi-comedy. 1. Point Break (1991) -- Watch the trailer. Time to watch it again. When Hot Fuzz came out, I'm so glad they paid homage to this lovable turkey. CHE & OUR FAVORITE BIOPICS Che (NEW) -- Read Karina's review and the Steven Soderberg press conference. This is not one of Karina's favorite biopics. Find out why Karina's review pissed off older bloggers. What are your favorite biopics? I asked some friends at Spout about their favorites, and one said, "Does Braveheart count?" Here are some others they listed: 6. Gandhi -- Watch the trailer. I dig that Ben Kingsley. I haven't seen this though, what do you guys think of it? 5. Into the Wild -- Watch the trailer. Haven't seen this one either. 4. Evita -- The musical with Madonna. I don't know if I could handle it. 3. A Beautiful Mind -- Watch the trailer. Haven't seen it. 2. I'm Not There -- Watch the trailer. Careful with this one, because if you don't know a lot about Bob Dylan's life, the film will just be confusing and frustrating. If you do know your Dylan, this is beautiful and a real heart-breaker. 1. Amadeus -- Watch the trailer. This one I need to watch again. I remember it as an interesting movie for anyone who feels like a Salieri when they meet a Mozart. GOOD MOVIES THAT COME FROM PLAYS 3. Doubt (NEW) -- Watch the trailer. Great cast, with Philip Seymour Hoffman, Meryl Streep and Amy Adams. 2. My favorite Shakespeare movies: for the comedies, Love's Labour's Lost and The Merchant of Venice. For the tragedies, I really like Titus and Roman Polanski's Macbeth. How about you guys? 1. Rope (1948) -- Jimmy Stewart is great in this thriller from Alfred Hitchcock. It all takes place in one apartment. WEIRD-ASS LOOKIN' ANIMATED MOVIE Delgo (NEW) -- Watch the weird-ass trailer. OTHER NEW MOVIES You know something juicy about these? Hit us with it!What Doesn't Kill You -- ..."makes you ugly." That's the saying, right? Stars Ethan Hawke and Mark Ruffalo, who play old friends trying to dodge gangs and a detective (Mark Wahlberg) in South Boston.Nothing Like the Holidays -- Watch the trailer. Alfred Molina! Where God Left His Shoes -- Stars John Leguizamo, who's trying to find an apartment for his family on Christmas Eve, after they've lived in a homeless shelter for a few months. Dark Streets -- Watch the trailer. I love that guy Elias Koteas. While She Was Out -- Kim Basinger's a housewife fighting for her life out in the woods (looks like some young men are trying to get her).$9.99 -- Stop-motion animation, starring Geoffrey Rush.
]]>Mon, 08 Dec 2008 21:30:05 GMTSkyPilotComing Soon12/8/2008 4:30:05 PMTIME TRAVEL: A BASIC HUMAN RIGHT Bad Guys Will Always Have Time Travel, so Good Guys Should Have It Too -- 5 Movies That Prove This Argument 1. Timecrimes (NEW) -- Watch the trailer. Read the review, listen to the interview. 2. Time Bandits (1981) -- Watch the trailer. My good friend Kevin (porcupine) loves this flick. That's good, because his parents named him after one of the characters. Would it be less cool if he were named after Kevin McAlister from Home Alone? Something to ponder. 3. Time Cop (1994) -- Watch the trailer. I remember this Jean-Claude Van Damme vehicle was pretty violent and included some gratuitous nudity; I was only 13 when I saw it in '95, and that's all I remember. Are there fans who've seen it more recently? 4. Back to the Future Part II (1989) -- Watch the trailer. Remember how future Biff went back in time to give the gambling results book to 50's Biff, then 50's Biff became rich by never losing a bet at the horseraces? Who besides me wished they could do that? 5. And of course, there's the mo-fo'ing Terminator series. Man, I can't wait for Terminator: Salvation. Read the notes from the Comic-Con press conference. WHOA: KEANU REEVES, ROCKIN' IT 3. The Day the Earth Stood Still (NEW) -- Read about the press conference with Keanu and Jennifer Connelly. I won't lie, I'm excited for this one! Not only am I nuts about Jennifer Connelly, I also think Keanu could be fantastic at playing a non-human. (Just like how Swarzenegger was always best at playing a robot.) Recast the original, you might win a t-shirt. 2. A Scanner Darkly (2006) -- Really good movie from Richard Linklater. It's rotoscoped like Waking Life, but it has a story! It's funny and sad and paranoid (it's about narcs and drug addiction). The trio of Keanu, Woody Harrelson and Robert Downey Jr. make it a buddy tragi-comedy. 1. Point Break (1991) -- Watch the trailer. Time to watch it again. When Hot Fuzz came out, I'm so glad they paid homage to this lovable turkey. CHE &amp; OUR FAVORITE BIOPICS Che (NEW) -- Read Karina's review and the Steven Soderberg press conference. This is not one of Karina's favorite biopics. Find out why Karina's review pissed off older bloggers. What are your favorite biopics? I asked some friends at Spout about their favorites, and one said, "Does Braveheart count?" Here are some others they listed: 6. Gandhi -- Watch the trailer. I dig that Ben Kingsley. I haven't seen this though, what do you guys think of it? 5. Into the Wild -- Watch the trailer. Haven't seen this one either. 4. Evita -- The musical with Madonna. I don't know if I could handle it. 3. A Beautiful Mind -- Watch the trailer. Haven't seen it. 2. I'm Not There -- Watch the trailer. Careful with this one, because if you don't know a lot about Bob Dylan's life, the film will just be confusing and frustrating. If you do know your Dylan, this is beautiful and a real heart-breaker. 1. Amadeus -- Watch the trailer. This one I need to watch again. I remember it as an interesting movie for anyone who feels like a Salieri when they meet a Mozart. GOOD MOVIES THAT COME FROM PLAYS 3. Doubt (NEW) -- Watch the trailer. Great cast, with Philip Seymour Hoffman, Meryl Streep and Amy Adams. 2. My favorite Shakespeare movies: for the comedies, Love's Labour's Lost and The Merchant of Venice. For the tragedies, I really like Titus and Roman Polanski's Macbeth. How about you guys? 1. Rope (1948) -- Jimmy Stewart is great in this thriller from Alfred Hitchcock. It all takes place in one apartment. WEIRD-ASS LOOKIN' ANIMATED MOVIE Delgo (NEW) -- Watch the weird-ass trailer. OTHER NEW MOVIES You know something juicy about these? Hit us with it!What Doesn't Kill You -- ..."makes you ugly." That's the saying, right? Stars Ethan Hawke and Mark Ruffalo, who play old friends trying to dodge gangs and a detective (Mark Wahlberg) in South Boston.Nothing Like the Holidays -- Watch the trailer. Alfred Molina! Where God Left His Shoes -- Stars John Leguizamo, who's trying to find an apartment for his family on Christmas Eve, after they've lived in a homeless shelter for a few months. Dark Streets -- Watch the trailer. I love that guy Elias Koteas. While She Was Out -- Kim Basinger's a housewife fighting for her life out in the woods (looks like some young men are trying to get her).$9.99 -- Stop-motion animation, starring Geoffrey Rush. http://www.spout.com/blogs/spoutblog/archive/2008/7/24/33038.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/24/2008 2:01:14 PM
Body: One of the many fads for cinephilic YouTubers, perhaps next in popularity after mashups and sweded remakes, is the condensed movie. Actually, thanks to a recent Empire contest, the art of sweding and the art of fitting features into a 60-second time frame is now also a mashed-up fad (though I guess sweding has always involved shortened versions). But while in this day and age any fanboy can do a shortened remake of his or her favorite movie or an abridged recut that breaks a film down to its bare essentials (i.e. its use of the f-word), condensing a film is not necessarily a low art. Just look at the 76-minute video Academy by R. Luke DuBois, a conceptual artist who works with both audio and visual mediums. A couple of years ago, using a time-lapse process, DuBois crafted this compilation of sped-up versions of Best Picture Oscar winners, which he says “allows us to explore the temporal, formal, and aesthetic progression of the first seventy-five years of the Academy awards by taking each film and compressing, sound and picture, into a single minute.” I’ll let you decide if there’s actually a difference between Academy and something like this. If you go by DuBois’ interests in Gestalt and his claim that “Repeat viewing of the entire piece allows the viewer not only to see cinematic history unfolding, but also to see formal tropes in cinematography, editing, and music direction exposed through the massive acceleration of temporal scale employed by the piece,” then it’s true that he’s got more academic credit. And as far as worthwhile viewing, I also think DuBois wins. Of the seven Academy samples available on the web (compressed versions of Wings, Gone WIth the Wind, From Here to Eternity, West Side Story, The French Connection, Amadeus and Titanic), I’ve seen six of the films, and because each video includes the film in its entirety, I feel like I’ve gotten a refresher viewing of each of them. I only wish I could watch all movies that fast the first time — ingesting them fully, of course, not as a skimming. Maybe I’d be able to see more of the old films I get criticized each day for not having seen enough of. Anyway, because I can’t embed any of the clips of Academy, I leave you with a completely different sort of condensed version of a film: a rap recreation of The Shawshank Redemption, which is a film that didn’t win Best Picture but maybe should have. And I must say that this video is every bit as brilliant as DuBois’ scholarly film-related endeavors. Enjoy. Originally posted on:SpoutBlog
]]>Thu, 24 Jul 2008 18:01:14 GMTSpoutBlogSpoutBlog on spout.com7/24/2008 2:01:14 PM One of the many fads for cinephilic YouTubers, perhaps next in popularity after mashups and sweded remakes, is the condensed movie. Actually, thanks to a recent Empire contest, the art of sweding and the art of fitting features into a 60-second time frame is now also a mashed-up fad (though I guess sweding has always involved shortened versions). But while in this day and age any fanboy can do a shortened remake of his or her favorite movie or an abridged recut that breaks a film down to its bare essentials (i.e. its use of the f-word), condensing a film is not necessarily a low art. Just look at the 76-minute video Academy by R. Luke DuBois, a conceptual artist who works with both audio and visual mediums. A couple of years ago, using a time-lapse process, DuBois crafted this compilation of sped-up versions of Best Picture Oscar winners, which he says “allows us to explore the temporal, formal, and aesthetic progression of the first seventy-five years of the Academy awards by taking each film and compressing, sound and picture, into a single minute.” I’ll let you decide if there’s actually a difference between Academy and something like this. If you go by DuBois’ interests in Gestalt and his claim that “Repeat viewing of the entire piece allows the viewer not only to see cinematic history unfolding, but also to see formal tropes in cinematography, editing, and music direction exposed through the massive acceleration of temporal scale employed by the piece,” then it’s true that he’s got more academic credit. And as far as worthwhile viewing, I also think DuBois wins. Of the seven Academy samples available on the web (compressed versions of Wings, Gone WIth the Wind, From Here to Eternity, West Side Story, The French Connection, Amadeus and Titanic), I’ve seen six of the films, and because each video includes the film in its entirety, I feel like I’ve gotten a refresher viewing of each of them. I only wish I could watch all movies that fast the first time — ingesting them fully, of course, not as a skimming. Maybe I’d be able to see more of the old films I get criticized each day for not having seen enough of. Anyway, because I can’t embed any of the clips of Academy, I leave you with a completely different sort of condensed version of a film: a rap recreation of The Shawshank Redemption, which is a film that didn’t win Best Picture but maybe should have. And I must say that this video is every bit as brilliant as DuBois’ scholarly film-related endeavors. Enjoy. Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_top_five_movies_that_scared_the_crap_out_of_you/190/30313/1/ShowPost.aspx Post By: nikolarulz
Post To: Top 5
Post Date: 6/2/2008 8:55:01 AM
Body: OK, so here are mine: 1. Beauty and the Beast - OMG, especially the first five minutes with the creepy prologue... It really was scary! 2. Amadeus - The part when Salieri poses as Mozart's father... Guess I was too young to understand the concept, so I was ultra scared! 3. Titanic - Especially the opening underwater shots, with the broken doll on the ocean floor. 4. The Lion King - Of course, the part when Scar kills Mufasa. 5. Cabaret - When the two lesbians roll in the mud, and outside the Nazis beat the owner of the cabaret. Also, the scene when Liza Minelli thinks about the future child, sitting alone on the stairs.
]]>Mon, 02 Jun 2008 12:55:01 GMTnikolarulzTop 56/2/2008 8:55:01 AMOK, so here are mine: 1. Beauty and the Beast - OMG, especially the first five minutes with the creepy prologue... It really was scary! 2. Amadeus - The part when Salieri poses as Mozart's father... Guess I was too young to understand the concept, so I was ultra scared! 3. Titanic - Especially the opening underwater shots, with the broken doll on the ocean floor. 4. The Lion King - Of course, the part when Scar kills Mufasa. 5. Cabaret - When the two lesbians roll in the mud, and outside the Nazis beat the owner of the cabaret. Also, the scene when Liza Minelli thinks about the future child, sitting alone on the stairs. http://www.spout.com/groups/Top_5/Top_Five_Movies_About_Music/190/17927/1/ShowPost.aspx Post By: tmoney
Post To: Top 5
Post Date: 8/12/2007 11:01:39 PM
Body: This category can be music documentaries, musicals, performance films, movies about the music industry (please no one say empire records PLEASE.) 1. Once - I cannot say/blog enough good things about this special special film. It is so lovely and heartbreaking. Watch it. I am not a Frames fan, but the melodramatic rock is perfect for this kind of movie. 2. Spinal Tap - yeah yeah kind of obvious, but it IS great. 3. Hedwig and the Angry Inch -one of my favorite musicals, and my favorite rock opera definitely.4. The Devil and Daniel Johnston - Not my favorite of musicians by far (i mean how much Daniel Johnston can one listen to?), but this is probably my favorite music documentary. 5. Amadeus - it has been years since i've seen this but as i recall it is an amazing film. I love music. i love films. enlighten me.
]]>Mon, 13 Aug 2007 03:01:39 GMTtmoneyTop 58/12/2007 11:01:39 PMThis category can be music documentaries, musicals, performance films, movies about the music industry (please no one say empire records PLEASE.) 1. Once - I cannot say/blog enough good things about this special special film. It is so lovely and heartbreaking. Watch it. I am not a Frames fan, but the melodramatic rock is perfect for this kind of movie. 2. Spinal Tap - yeah yeah kind of obvious, but it IS great. 3. Hedwig and the Angry Inch -one of my favorite musicals, and my favorite rock opera definitely.4. The Devil and Daniel Johnston - Not my favorite of musicians by far (i mean how much Daniel Johnston can one listen to?), but this is probably my favorite music documentary. 5. Amadeus - it has been years since i&#39;ve seen this but as i recall it is an amazing film. I love music. i love films. enlighten me. http://www.spout.com/blogs/chesterfilms/archive/2007/7/7/13353.aspx Post By: chesterfilms
Post To: chesterfilms Blog
Post Date: 7/7/2007 2:31:00 PM
Body: 1. Almost Famous (2000) - I know a lot of people who dismiss this film, but It's one of my favorites. I truly captures the spirit of the era. 2. Nashville (1975) - An epic, sprawling masterpiece. One of Altman's finest achievements. 3. This Is Spinal Tap (1984) - What more should be said. Fantastic music & possible the funniest movies of all time.4. High Fidelity (2000) - Frears & company perfectly capture the spirit of the book. Made the whole Top 5 list process even more relevant.5. A Hard Day's Night (1964) - Obviously the songs are amazing, but this is one of the most fun films you could ever see.Runners Up:The Red ShoesFive Easy Pieces Amadeus
]]>Sat, 07 Jul 2007 18:31:00 GMTchesterfilmschesterfilms Blog7/7/2007 2:31:00 PM1. Almost Famous (2000) - I know a lot of people who dismiss this film, but It's one of my favorites. I truly captures the spirit of the era. 2. Nashville (1975) - An epic, sprawling masterpiece. One of Altman's finest achievements. 3. This Is Spinal Tap (1984) - What more should be said. Fantastic music &amp; possible the funniest movies of all time.4. High Fidelity (2000) - Frears &amp; company perfectly capture the spirit of the book. Made the whole Top 5 list process even more relevant.5. A Hard Day's Night (1964) - Obviously the songs are amazing, but this is one of the most fun films you could ever see.Runners Up:The Red ShoesFive Easy Pieces Amadeus http://www.spout.com/blogs/divinemsjunebug/archive/2007/6/24/11990.aspx Post By: divinemsjunebug
Post To: divinemsjunebug Blog
Post Date: 6/24/2007 8:01:28 PM
Body: This is one of my favorite movies. I know that it is not historically correct for a lot of it, but it is a beautiful movie filled with lust, deceit, jealousy, and the most beautiful music. I absolutely love the Mozart Requiem and when they played the Lacrimosa as they dumped him in a pauper's grave with all those other bodies, it just tore my heart out. I recommend this movie to everyone (even if you don't like classical music, the story is enough to captivate you).
]]>Mon, 25 Jun 2007 00:01:28 GMTdivinemsjunebugdivinemsjunebug Blog6/24/2007 8:01:28 PMThis is one of my favorite movies. I know that it is not historically correct for a lot of it, but it is a beautiful movie filled with lust, deceit, jealousy, and the most beautiful music. I absolutely love the Mozart Requiem and when they played the Lacrimosa as they dumped him in a pauper&#39;s grave with all those other bodies, it just tore my heart out. I recommend this movie to everyone (even if you don&#39;t like classical music, the story is enough to captivate you). http://www.spout.com/groups/Filmspotting/Re_Top_5_Movies_About_Music/304/11738/1/ShowPost.aspx Post By: Risselada
Post To: Filmspotting
Post Date: 6/22/2007 5:03:34 PM
Body: I'm not sure why everyone always makes these self imposed rules like "no bio pics" and such.First of all it's hard to pick movies about music because movies themselves almost ARE music. Music is certainly the closest artform to film.I'm just going to do a search for keyword "music" on IMDB for movies I rated and pick the ones that seems the most relevent.The Singing Detective. A great mini-series and a great film. The film took what was fundamentally British in the miniseries and found the American equivalent. Wow this movie is dense and beautiful. I've found out that the musicals I like that most are ones that don't have original music but use prexisting familiar music in a way to inform or contrast the themes of it's particular story.Amadeus. There's no reason this movie shouldn't count. It's just too good.The Ruling Class. Another great British film to use prewritten music to amazing darkly comic and profound effect.The Hole. This is like The Singing Detective and The Ruling Class but in Taiwan. I've been trying to find a good collection of Grace Chang songs after this, but I can't find any distributed in the USA.This Is Spinal Tap. Yeah you know. For a runner up, Ghost World is about collecting some great vintage R. Crumb/Terry Zwigoff fan type music.
]]>Fri, 22 Jun 2007 21:03:34 GMTRisseladaFilmspotting6/22/2007 5:03:34 PMI&#39;m not sure why everyone always makes these self imposed rules like "no bio pics" and such.First of all it&#39;s hard to pick movies about music because movies themselves almost ARE music. Music is certainly the closest artform to film.I&#39;m just going to do a search for keyword "music" on IMDB for movies I rated and pick the ones that seems the most relevent.The Singing Detective. A great mini-series and a great film. The film took what was fundamentally British in the miniseries and found the American equivalent. Wow this movie is dense and beautiful. I&#39;ve found out that the musicals I like that most are ones that don&#39;t have original music but use prexisting familiar music in a way to inform or contrast the themes of it&#39;s particular story.Amadeus. There&#39;s no reason this movie shouldn&#39;t count. It&#39;s just too good.The Ruling Class. Another great British film to use prewritten music to amazing darkly comic and profound effect.The Hole. This is like The Singing Detective and The Ruling Class but in Taiwan. I&#39;ve been trying to find a good collection of Grace Chang songs after this, but I can&#39;t find any distributed in the USA.This Is Spinal Tap. Yeah you know. For a runner up, Ghost World is about collecting some great vintage R. Crumb/Terry Zwigoff fan type music. http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
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]]>Sun, 20 Dec 2009 18:42:29 GMT8748157831Tag http://www.spout.com/members/0/tags/music/MemberTagFilms.aspxmusic
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Number of people who tagged: 26

Number of times used: 118

]]>Sun, 28 Jun 2009 22:16:34 GMT8326118Tag http://www.spout.com/members/0/tags/opera/MemberTagFilms.aspxopera
Number of films tagged: 1016

Number of people who tagged: 25

Number of times used: 32

]]>Sun, 29 Nov 2009 15:39:16 GMT10162532Tag