list http://www.spout.com/ Recent community activity around Faust 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/Faust/11319/default.aspx Title: Faust
Year: 1926
Director: F.W. Murnau
Plot: Faust was the mammoth German production which won F. W. Murnau his contract with Hollywood's Fox Studios. Emil Jannings glowers his way through the role of Mephistopholes, who offers the aging Faust (Gosta Eckman) an opportunity to relive his youth, the price being Faust's soul. Though highly stylized, the film is unsettlingly realistic at times, especially during the execution of the unfortunate Gretchen. Even in old age, actress Camilla Horn could recall how close she came to genuine immolation when Murnau burned her at the stake. An American version of Faust had been planned earlier as a Mary Pickford vehicle, but Pickford's mother wanted no part of a film in which her darling daughter strangled her own baby. The scenario for Faust touches lightly upon the previous retellings by Goethe and Marlowe, but is more heavily reliant on the paintings of Pietr Breughel. ~ Hal Erickson, All Movie Guide
Times Tagged: 20
Number of Lists: 6
Number of blog posts: 6
Number of discussion threads: 1
SpoutRating: 3
]]>Thu, 02 Apr 2009 19:38:03 GMTFaust1926F.W. MurnauFaust was the mammoth German production which won F. W. Murnau his contract with Hollywood's Fox Studios. <a href="/players/P____35211/default.aspx" style='text-decoration:underline'>Emil Jannings</a> glowers his way through the role of Mephistopholes, who offers the aging Faust (Gosta Eckman) an opportunity to relive his youth, the price being Faust's soul. Though highly stylized, the film is unsettlingly realistic at times, especially during the execution of the unfortunate Gretchen. Even in old age, actress <a href="/players/P____33254/default.aspx" style='text-decoration:underline'>Camilla Horn</a> could recall how close she came to genuine immolation when Murnau burned her at the stake. An American version of Faust had been planned earlier as a <a href="/players/P____56706/default.aspx" style='text-decoration:underline'>Mary Pickford</a> vehicle, but Pickford's mother wanted no part of a film in which her darling daughter strangled her own baby. The scenario for Faust touches lightly upon the previous retellings by Goethe and Marlowe, but is more heavily reliant on the paintings of Pietr Breughel. ~ Hal Erickson, All Movie Guide20Tag Target (>10)6613http://www.spout.com/ProductImages/t10808jp4o1.jpghttp://www.spout.com/films/Faust/11319/default.aspxFilm http://www.spout.com/blogs/lluver92/archive/2009/9/9/43838.aspx Post By: Lluver92
Post To: Lluver92 Blog
Post Date: 9/9/2009 6:50:19 PM
Body: FAUST with a LIVE SCORE performed by Cabeza de Vaca Arcestra. Art Theatre of Long Beach 2025 EAST 4TH STREET ~ LONG BEACH, CA 90804 ~ 562.438.5435 FRIDAY 9/11/09 MIDNIGHT
]]>Wed, 09 Sep 2009 22:50:19 GMTLluver92Lluver92 Blog9/9/2009 6:50:19 PMFAUST with a LIVE SCORE performed by Cabeza de Vaca Arcestra. Art Theatre of Long Beach 2025 EAST 4TH STREET ~ LONG BEACH, CA 90804 ~ 562.438.5435 FRIDAY 9/11/09 MIDNIGHT http://www.spout.com/blogs/lluver92/archive/2009/9/9/43837.aspx Post By: Lluver92
Post To: Lluver92 Blog
Post Date: 9/9/2009 6:48:59 PM
Body: FAUST with a LIVE SCORE performed by Cabeza de Vaca Arcestra. Art Theatre of Long Beach 2025 EAST 4TH STREET ~ LONG BEACH, CA 90804 ~ 562.438.5435 FRIDAY 9/11/09 MIDNIGHT
]]>Wed, 09 Sep 2009 22:48:59 GMTLluver92Lluver92 Blog9/9/2009 6:48:59 PMFAUST with a LIVE SCORE performed by Cabeza de Vaca Arcestra. Art Theatre of Long Beach 2025 EAST 4TH STREET ~ LONG BEACH, CA 90804 ~ 562.438.5435 FRIDAY 9/11/09 MIDNIGHT http://www.spout.com/blogs/risselada/archive/2009/4/2/41414.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 4/2/2009 3:38:03 PM
Body: This blog entry is part of my “movie year countdown”. To read more about that check out my first Spout filmblog entry. Der Golem, wie er in die Welt kam (The Golem) The Golem series is one of the original horror series, setting up many horror film clichés that are still being used today. It's hard to look at this final and most famous of the three films and not think of (the much more enjoyable) Frankenstein in many thematic ways and in many specific scenes such as when the Golem encounters the young girl. It wasn't too long ago that I saw this movie and I can hardly remember any images from most of it. I guess that's a sign that I found most of it rather boring. The scene where the golem comes to life is one of the most fascinating in the film, but the DVD special features reveal a scene similar to this was achieved with even more mesmerizing results in Murnau's Faust. Rating: 5/10
]]>Thu, 02 Apr 2009 19:38:03 GMTRisseladaRisselada Blog4/2/2009 3:38:03 PMThis blog entry is part of my &ldquo;movie year countdown&rdquo;. To read more about that check out my first Spout filmblog entry. Der Golem, wie er in die Welt kam (The Golem) The Golem series is one of the original horror series, setting up many horror film clich&eacute;s that are still being used today. It's hard to look at this final and most famous of the three films and not think of (the much more enjoyable) Frankenstein in many thematic ways and in many specific scenes such as when the Golem encounters the young girl. It wasn't too long ago that I saw this movie and I can hardly remember any images from most of it. I guess that's a sign that I found most of it rather boring. The scene where the golem comes to life is one of the most fascinating in the film, but the DVD special features reveal a scene similar to this was achieved with even more mesmerizing results in Murnau's Faust. Rating: 5/10 http://www.spout.com/groups/Coming_Soon/3_20_Guess_what_I_LOVE_YOU_MAN_new_movies_t/216/41069/1/ShowPost.aspx Post By: spout
Post To: Coming Soon
Post Date: 3/16/2009 12:47:14 PM
Body: NEW to THEATERS 3/17 I Love You, Man -- Watch trailer. Aww, lok at that hug . . . That's what I want to do to Paul Rudd and Jason Segel, along with the rest of the stars (Andy Samberg, J.K. Simmons, and The Office's Rashida Jones). With all of those people, how can this movie go wrong? If you still think it could go wrong, I recommend you rent the exact opposite of this movie; and as far as I can tell, the exact opposite is P.S., I Love You, which stars Gerard Butler and Hillary Swank (watch trailer). Duplicity -- Watch trailer. Clive Owen and Julia Roberts are corporate spies who team up to pull off the ultimate con. Uh oh, can they trust each other??? This reminds me of the old screwball comedies with Cary Grant and Rosalind Russell. Only I'm not so sure this is going to be as good as a Howard Hawks movie . . . Oh well, this could still entertain. (P.S., Duplicity is not a sequel to Multiplicity, which stars Michael Keaton and Andie MacDowell, so if you're not in the mood for a spy movie, watch Multiplicity again (watch trailer). The Great Buck Howard (limited) -- Watch trailer. A law school dropout (Colin Hanks) becomes assistant to a has-been magician (John Malkovich). Al-riiiiiight, Emily Blunt and Steve Zahn are in it! Plus Colin Hanks' real-life dad (Tom Hanks) plays his movie dad! Sin Nombre (limited) -- Watch trailer. Two desperate Honduran teenagers try to start new lives in the US The tagline is "The greatest sin of all is risking nothing." Hey, isn't that also the tagline of Maverick starring Mel Gibson? (Watch trailer to Maverick.) Super Capers (limited) -- Watch trailer. Another B-grade superhero satire, although unlike Superhero Movie, Super Capers looks like it at least has some heart. The story: a regular guy joins a team of superheroes-in-training. During their first mission, which fails, our hero finds himself framed as the mastermind of the crime. He must clear the name of his team by finding the real villain. Some really entertaining actors fill the minor roles--Jon Polito, Tom Sizemore, Adam West, and Clint Howard (Ron's weird-looking brother)--so this might deliver some worthwhile entertainment. __________________________________________________ BONUS VIDEO: Sylvester Stallone's new muscles are lethal weapons ___________________________________________________ NEW to DVD 3/17 The Duchess -- Watch trailer. This is the kind of thing Keira Knightley is really good at: acting powerful and cute at the same time. Baby Mama -- Watch trailer. Starring Tina Fey and Amy Poehler . . . which is pretty much all you need to know. FilmCouch's Kevin Buist says it's good, although it doesn't allow the two enough time to improv. How to Lose Friends and Alienate People -- Watch trailer. I've heard it's okay, but it didn't really live up to anyone's potential. Speaking of Simon Pegg movies, I've heard The Good Night is pretty good, and I'm looking forward to the sexy reincarnation of Star Trek. Faust -- Watch trailer. This 1926 silent epic from W. F. Murnau (the guy who gave us Nosferatu) looks like it's a truly mind-bending experience. Punisher: War Zone -- Watch trailer. Punisher reboot #2. I miss Dolph Lundgren; I guess you don't know what you got 'til it's gone . . .
]]>Mon, 16 Mar 2009 16:47:14 GMTspoutComing Soon3/16/2009 12:47:14 PMNEW to THEATERS 3/17 I Love You, Man -- Watch trailer. Aww, lok at that hug . . . That's what I want to do to Paul Rudd and Jason Segel, along with the rest of the stars (Andy Samberg, J.K. Simmons, and The Office's Rashida Jones). With all of those people, how can this movie go wrong? If you still think it could go wrong, I recommend you rent the exact opposite of this movie; and as far as I can tell, the exact opposite is P.S., I Love You, which stars Gerard Butler and Hillary Swank (watch trailer). Duplicity -- Watch trailer. Clive Owen and Julia Roberts are corporate spies who team up to pull off the ultimate con. Uh oh, can they trust each other??? This reminds me of the old screwball comedies with Cary Grant and Rosalind Russell. Only I'm not so sure this is going to be as good as a Howard Hawks movie . . . Oh well, this could still entertain. (P.S., Duplicity is not a sequel to Multiplicity, which stars Michael Keaton and Andie MacDowell, so if you're not in the mood for a spy movie, watch Multiplicity again (watch trailer). The Great Buck Howard (limited) -- Watch trailer. A law school dropout (Colin Hanks) becomes assistant to a has-been magician (John Malkovich). Al-riiiiiight, Emily Blunt and Steve Zahn are in it! Plus Colin Hanks' real-life dad (Tom Hanks) plays his movie dad! Sin Nombre (limited) -- Watch trailer. Two desperate Honduran teenagers try to start new lives in the US The tagline is "The greatest sin of all is risking nothing." Hey, isn't that also the tagline of Maverick starring Mel Gibson? (Watch trailer to Maverick.) Super Capers (limited) -- Watch trailer. Another B-grade superhero satire, although unlike Superhero Movie, Super Capers looks like it at least has some heart. The story: a regular guy joins a team of superheroes-in-training. During their first mission, which fails, our hero finds himself framed as the mastermind of the crime. He must clear the name of his team by finding the real villain. Some really entertaining actors fill the minor roles--Jon Polito, Tom Sizemore, Adam West, and Clint Howard (Ron's weird-looking brother)--so this might deliver some worthwhile entertainment. __________________________________________________ BONUS VIDEO: Sylvester Stallone's new muscles are lethal weapons ___________________________________________________ NEW to DVD 3/17 The Duchess -- Watch trailer. This is the kind of thing Keira Knightley is really good at: acting powerful and cute at the same time. Baby Mama -- Watch trailer. Starring Tina Fey and Amy Poehler . . . which is pretty much all you need to know. FilmCouch's Kevin Buist says it's good, although it doesn't allow the two enough time to improv. How to Lose Friends and Alienate People -- Watch trailer. I've heard it's okay, but it didn't really live up to anyone's potential. Speaking of Simon Pegg movies, I've heard The Good Night is pretty good, and I'm looking forward to the sexy reincarnation of Star Trek. Faust -- Watch trailer. This 1926 silent epic from W. F. Murnau (the guy who gave us Nosferatu) looks like it's a truly mind-bending experience. Punisher: War Zone -- Watch trailer. Punisher reboot #2. I miss Dolph Lundgren; I guess you don't know what you got 'til it's gone . . . http://www.spout.com/blogs/quint/archive/2008/9/24/35516.aspx Post By: quint
Post To: An inordinate number of peppers
Post Date: 9/24/2008 8:55:15 PM
Body: I'm a fan of Svankmajer, although he can be pretty freaky. What I love about this film in particular is how deeply the metaphor of the stage is exploited. Puppets, people, the city, the set. A man is handing out flyers to the people coming out of the subway. The flyer is a map to a particular address. There is nothing more on it. One hapless character goes there and discovers the accouterment of an alchemist. He puts this on, as well as a fake beard and stage makeup. Tada, Faust. He is on the puppet stage. He takes of the clothing and cuts through the scenery and walks out through the back door out to the city. Yet he is still on the stage. In fact the story has become the inescapable element. The character can not free himself from the character. This is quite fascinating especially given the pervasiveness of the story of Faust, the classic "Be careful what you wish for" scenario. The Faust story belongs to no one author and Svankmajer draws freely from Goethe, Marlowe and some others, including the Opera by Gounod (which is playing here in Grand Rapids in May 2009.) The movie is not based on any one Faust, but all of them and then some. A myth to be retold and re-imagined but always recognizable. How it ends hardly matters. Goethe lets Faust get to heaven. Svankmajer, well, you'll have to see for yourself. A good Svankmajer. A good Faust. My favorite Faust movie is still Faust (1926).
]]>Thu, 25 Sep 2008 00:55:15 GMTquintAn inordinate number of peppers9/24/2008 8:55:15 PMI'm a fan of Svankmajer, although he can be pretty freaky. What I love about this film in particular is how deeply the metaphor of the stage is exploited. Puppets, people, the city, the set. A man is handing out flyers to the people coming out of the subway. The flyer is a map to a particular address. There is nothing more on it. One hapless character goes there and discovers the accouterment of an alchemist. He puts this on, as well as a fake beard and stage makeup. Tada, Faust. He is on the puppet stage. He takes of the clothing and cuts through the scenery and walks out through the back door out to the city. Yet he is still on the stage. In fact the story has become the inescapable element. The character can not free himself from the character. This is quite fascinating especially given the pervasiveness of the story of Faust, the classic "Be careful what you wish for" scenario. The Faust story belongs to no one author and Svankmajer draws freely from Goethe, Marlowe and some others, including the Opera by Gounod (which is playing here in Grand Rapids in May 2009.) The movie is not based on any one Faust, but all of them and then some. A myth to be retold and re-imagined but always recognizable. How it ends hardly matters. Goethe lets Faust get to heaven. Svankmajer, well, you'll have to see for yourself. A good Svankmajer. A good Faust. My favorite Faust movie is still Faust (1926). http://www.spout.com/blogs/spoutblog/archive/2008/7/16/32630.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/16/2008 3:00:59 PM
Body: Though I first buzzed about an Academy Award nomination for Heath Ledger in The Dark Knight more than a month before his death, I now want to take it all back. I feel all the talk of Ledger’s posthumous Oscar chances will cloud my mind when I finally do see it, and it will probably also cloud the Academy’s judgment, too. Six months from now, when the nominations are announced on January 22 (coincidentally the one-year anniversary of Ledger’s death), if Ledger is not recognized for his role as The Joker, there will surely be an uproar — actually, Hollywood might just up and self-implode. I’m not the only one annoyed by all the Oscar buzz. Terry Gilliam, who directed Ledger in The Brothers Grimm and the upcoming The Imaginarium of Doctor Parnassus, is calling “bullshit” on the whole thing, particularly against Warner Bros., which Gilliam accuses of exploiting Ledger’s death and chance of a posthumous Oscar for publicity purposes. Considering most Oscar campaigns for live actors are really just part of movie marketing, he has a good point. Sure, I would love to see Ledger honored. I’ve believed in his Oscar worth since 10 Things I Hate About You . But in February, if he receives a posthumous award, it will surely feel, at least in good percentage, that it’s because he died young. In that case, why not also give supporting noms sight unseen to Rob Knox for Harry Potter and the Half-Blood Prince and Brad Renfro for The Informers? Despite the more than 10 posthumous nominations in Oscar history, however, it’s not obligatory for the Academy to hand out such accolades every time someone dies before his final movie is released. Just check out the following list of talent who probably deserved posthumous Oscar recognition as much as Ledger does: Jean Vigo for L’Atalante - One of the greatest, most influential films of all time, L’Atalante premiered in France in 1934, a few months before Vigo died of tuberculosis at the age of 29. It eventually made its way to the U.S. 14 years later, just in time for the debut of the Oscar for Best Foreign Language Film. And considering the first recipient, Vittorio De Sica (for Shoeshine), would win again two years later (for Bicycle Thieves), the Academy should have recognized Vigo’s film, even if it was more than a decade old. Unfortunately, it would be many decades before L’Atalante received the kind of esteem it deserves. James Dean for Rebel Without a Cause - Dean starred in only three feature films, one of which, East of Eden, was released prior to his death. He received posthumous Oscar nominations for that film and his final appearance in Giant, which came out a year later. But wouldn’t it have been wonderful if he’d also been nominated for his most iconic role in Rebel Without a Cause? Sure, he’d have posthumously gone up against himself in 1956, but that’s what movie gods like him were made to do. Richard Harris for Harry Potter and the Chamber of Secrets - Not only should Harris have received a nomination, he should have won, too. It doesn’t matter that it wasn’t the greatest performance by the actor, who’d previously been nominated for 1963’s This Sporting Life and 1990’s The Field. It’s that Harry Potter fans would have tuned in and saved that year’s telecast from being the least-watched in years. Just imagine how many people will be tuning in to next year’s show just because of the (inevitable) Ledger nom. Heather O’Rourke for Poltergeist III - I know that I’m only one of maybe three people who like the third Poltergeist movie, but even if you think the movie itself is bad, you have to give little Heather O’Rourke credit for being giving creepily terrific performances throughout the series. Compare her talent to some other young actresses who’ve been nominated. Especially Abigail Breslin of Little Miss Sunshine. And had she lived, she’d probably be a better actress today than Oscar-winner Anna Paquin. F.W. Murnau for Tabu - His Sunrise was pretty successful a few year earlier, at the 1st Academy Awards, but he wasn’t even nominated. In fact, the man who also gave us Nosferatu, Faust and The Last Laugh was never nominated for an Oscar, a fact that might have been different had the Oscars been founded a decade earlier or had he not died tragically in a car accident at age 43. I’m sure, at least, that Floyd Crosby, when winning for his cinematography work on Tabu, raised the statue to the sky and said, “this is for Murnau.” Peter Sellers for The Fiendish Plot of Dr. Fu Manchu - Whether or not you believe the Academy hates on comedic actors, you should agree that Sellers should have won an Oscar before he died. Or after he died. If he’d been nominated for this critical and commercial failure, though, it would of course have been one of those “he deserved it for ______, but this will do” kind of situtations. Stanley Kubrick for Eyes Wide Shut - If Scorsese can finally win with The Departed, Kubrick should have finally won posthumously with what is often thought of as his worst film. If anything, he at least deserved to be nominated instead of M. Night Shyamalan. Adrienne Shelly for Waitress - Didn’t it seem like a sure thing the writer-director-actress, Shelley, would get the nomination this year? Considering Diablo Cody had already (unofficially) won the actual Oscar before the nominations were even announced, could it have hurt to include the tragically murdered screenwriter? Or were there already too many ladies on the screenwriting ballot this year? Thelma Ritter for What’s So Bad About Feeling Good? - If ever there was a supporting actress who should have won an Oscar, Ritter was she. After six nominations (four of them consecutive), a posthumous seventh should have come with this movie (even if I’ve never personally seen it, I bet she’s great as usual). Unfortunately, the ballots were likely already in when she had her heart attack in February 1969. Also, she probably would have lost to Ruth Gordon anyway. Brandon Lee for The Crow - Laugh all you want, but in a crazy year that saw John Travolta recognized with a nomination and Tom Hanks recognized with a win for one of his silliest performances ever, would it have been so strange if the Academy had given Lee the slot filled by Morgan Freeman (obviously Oscar had little love for The Shawshank Redemption as it was)? Originally posted on:SpoutBlog
]]>Wed, 16 Jul 2008 19:00:59 GMTSpoutBlogSpoutBlog on spout.com7/16/2008 3:00:59 PM Though I first buzzed about an Academy Award nomination for Heath Ledger in The Dark Knight more than a month before his death, I now want to take it all back. I feel all the talk of Ledger’s posthumous Oscar chances will cloud my mind when I finally do see it, and it will probably also cloud the Academy’s judgment, too. Six months from now, when the nominations are announced on January 22 (coincidentally the one-year anniversary of Ledger’s death), if Ledger is not recognized for his role as The Joker, there will surely be an uproar — actually, Hollywood might just up and self-implode. I’m not the only one annoyed by all the Oscar buzz. Terry Gilliam, who directed Ledger in The Brothers Grimm and the upcoming The Imaginarium of Doctor Parnassus, is calling “bullshit” on the whole thing, particularly against Warner Bros., which Gilliam accuses of exploiting Ledger’s death and chance of a posthumous Oscar for publicity purposes. Considering most Oscar campaigns for live actors are really just part of movie marketing, he has a good point. Sure, I would love to see Ledger honored. I’ve believed in his Oscar worth since 10 Things I Hate About You . But in February, if he receives a posthumous award, it will surely feel, at least in good percentage, that it’s because he died young. In that case, why not also give supporting noms sight unseen to Rob Knox for Harry Potter and the Half-Blood Prince and Brad Renfro for The Informers? Despite the more than 10 posthumous nominations in Oscar history, however, it’s not obligatory for the Academy to hand out such accolades every time someone dies before his final movie is released. Just check out the following list of talent who probably deserved posthumous Oscar recognition as much as Ledger does: Jean Vigo for L’Atalante - One of the greatest, most influential films of all time, L’Atalante premiered in France in 1934, a few months before Vigo died of tuberculosis at the age of 29. It eventually made its way to the U.S. 14 years later, just in time for the debut of the Oscar for Best Foreign Language Film. And considering the first recipient, Vittorio De Sica (for Shoeshine), would win again two years later (for Bicycle Thieves), the Academy should have recognized Vigo’s film, even if it was more than a decade old. Unfortunately, it would be many decades before L’Atalante received the kind of esteem it deserves. James Dean for Rebel Without a Cause - Dean starred in only three feature films, one of which, East of Eden, was released prior to his death. He received posthumous Oscar nominations for that film and his final appearance in Giant, which came out a year later. But wouldn’t it have been wonderful if he’d also been nominated for his most iconic role in Rebel Without a Cause? Sure, he’d have posthumously gone up against himself in 1956, but that’s what movie gods like him were made to do. Richard Harris for Harry Potter and the Chamber of Secrets - Not only should Harris have received a nomination, he should have won, too. It doesn’t matter that it wasn’t the greatest performance by the actor, who’d previously been nominated for 1963’s This Sporting Life and 1990’s The Field. It’s that Harry Potter fans would have tuned in and saved that year’s telecast from being the least-watched in years. Just imagine how many people will be tuning in to next year’s show just because of the (inevitable) Ledger nom. Heather O’Rourke for Poltergeist III - I know that I’m only one of maybe three people who like the third Poltergeist movie, but even if you think the movie itself is bad, you have to give little Heather O’Rourke credit for being giving creepily terrific performances throughout the series. Compare her talent to some other young actresses who’ve been nominated. Especially Abigail Breslin of Little Miss Sunshine. And had she lived, she’d probably be a better actress today than Oscar-winner Anna Paquin. F.W. Murnau for Tabu - His Sunrise was pretty successful a few year earlier, at the 1st Academy Awards, but he wasn’t even nominated. In fact, the man who also gave us Nosferatu, Faust and The Last Laugh was never nominated for an Oscar, a fact that might have been different had the Oscars been founded a decade earlier or had he not died tragically in a car accident at age 43. I’m sure, at least, that Floyd Crosby, when winning for his cinematography work on Tabu, raised the statue to the sky and said, “this is for Murnau.” Peter Sellers for The Fiendish Plot of Dr. Fu Manchu - Whether or not you believe the Academy hates on comedic actors, you should agree that Sellers should have won an Oscar before he died. Or after he died. If he’d been nominated for this critical and commercial failure, though, it would of course have been one of those “he deserved it for ______, but this will do” kind of situtations. Stanley Kubrick for Eyes Wide Shut - If Scorsese can finally win with The Departed, Kubrick should have finally won posthumously with what is often thought of as his worst film. If anything, he at least deserved to be nominated instead of M. Night Shyamalan. Adrienne Shelly for Waitress - Didn’t it seem like a sure thing the writer-director-actress, Shelley, would get the nomination this year? Considering Diablo Cody had already (unofficially) won the actual Oscar before the nominations were even announced, could it have hurt to include the tragically murdered screenwriter? Or were there already too many ladies on the screenwriting ballot this year? Thelma Ritter for What’s So Bad About Feeling Good? - If ever there was a supporting actress who should have won an Oscar, Ritter was she. After six nominations (four of them consecutive), a posthumous seventh should have come with this movie (even if I’ve never personally seen it, I bet she’s great as usual). Unfortunately, the ballots were likely already in when she had her heart attack in February 1969. Also, she probably would have lost to Ruth Gordon anyway. Brandon Lee for The Crow - Laugh all you want, but in a crazy year that saw John Travolta recognized with a nomination and Tom Hanks recognized with a win for one of his silliest performances ever, would it have been so strange if the Academy had given Lee the slot filled by Morgan Freeman (obviously Oscar had little love for The Shawshank Redemption as it was)? Originally posted on:SpoutBlog http://www.spout.com/blogs/quint/archive/2008/5/20/29613.aspx Post By: quint
Post To: An inordinate number of peppers
Post Date: 5/20/2008 9:32:26 PM
Body: There are so many great public domain videos on Google video.
]]>Wed, 21 May 2008 01:32:26 GMTquintAn inordinate number of peppers5/20/2008 9:32:26 PMThere are so many great public domain videos on Google video. http://www.spout.com/blogs/cinemarian/archive/2008/5/14/29135.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/14/2008 1:23:12 AM
Body: Faust is a masterpiece. It has anything anyone could possibly want from a film, unless that person is a moron. I was suspicous of this film, as I had not been a fan Murneau's Nosferatu and The Last Laugh. I changed my mind on Nosferatu after I saw it the way Murnea intended- it was one of the greatest of all horror movies. Even that movie is not as good as Faust. The story is familer even if you've never read the plays by Goethe and Marlow, as I havn't. A man makes a pact with the Devil in exchange for anything that he wants- or so he thinks. What seems like a predicatble fable takes on such weight in this film. Unlike so many stories of this type- we actully see why the pact is so tempting- why won't God give you what you want, when all you want is to help others? What's wrong with wanting to love someone? Because we invest so much in the characters, we care about what happens to them. The last act of the film is spellbinding. Very few directors can show the depths of the human experience like this on the screen- I was reminded of Dreyer and Bergman. In addition to the personal story, we are treated to spectral forces- we see angels and the Devil literally, and the archeytpes at the back of our mind come out in force. This one of the few films- Nosferatu, The Seventh Seal and The Shining are the only other examples that I can think of, where the supernatural intermix in the lives humans in a totally beleivable way and spectral way. Everything in this film happens is beleivable- it's what the characters would do if this happend to them. If you have ever been tempted to do evil, and if you are human, you have- you need to see this film. Faust (1926)
]]>Wed, 14 May 2008 05:23:12 GMTCinemaRianCinemaRian Blog5/14/2008 1:23:12 AMFaust is a masterpiece. It has anything anyone could possibly want from a film, unless that person is a moron. I was suspicous of this film, as I had not been a fan Murneau's Nosferatu and The Last Laugh. I changed my mind on Nosferatu after I saw it the way Murnea intended- it was one of the greatest of all horror movies. Even that movie is not as good as Faust. The story is familer even if you've never read the plays by Goethe and Marlow, as I havn't. A man makes a pact with the Devil in exchange for anything that he wants- or so he thinks. What seems like a predicatble fable takes on such weight in this film. Unlike so many stories of this type- we actully see why the pact is so tempting- why won't God give you what you want, when all you want is to help others? What's wrong with wanting to love someone? Because we invest so much in the characters, we care about what happens to them. The last act of the film is spellbinding. Very few directors can show the depths of the human experience like this on the screen- I was reminded of Dreyer and Bergman. In addition to the personal story, we are treated to spectral forces- we see angels and the Devil literally, and the archeytpes at the back of our mind come out in force. This one of the few films- Nosferatu, The Seventh Seal and The Shining are the only other examples that I can think of, where the supernatural intermix in the lives humans in a totally beleivable way and spectral way. Everything in this film happens is beleivable- it's what the characters would do if this happend to them. If you have ever been tempted to do evil, and if you are human, you have- you need to see this film. Faust (1926) http://www.spout.com/blogs/chesterfilms/archive/2007/7/7/13336.aspx Post By: chesterfilms
Post To: chesterfilms Blog
Post Date: 7/7/2007 1:08:00 PM
Body: I'm calling this one my Annie Hall/Barry Lyndon Memorial list (just to keep it interesting). 1. Fitzcarraldo (1982) - It's the story of a man who will stop at nothing to pull a ship over a mountain, made by a a man who will stop at nothing to make a film about a man who pulls a ship over a mountain. 2. Faust (1926) - Have you seen this film? Seriously, how the heck did they make this thing back then. Very scary. 3. Alexander Nevsky (1938) - So unbelievably epic. You can still see it's influence on films Action/Epic films to this day. 4. Ed Wood (1994) - Burton's best film ever. The best biopic film ever. Best film of 1994. One of my favorite films of all time. 5. Mary Poppins (1964) - Loved it as a kid. Love it as an adult. It's a classic that never grows old or dated, so shut up!!Here are some of my runners up:Princess Mononoke (1997) Ivan The Terrible Part:I (1944) Barton Fink (1991)
]]>Sat, 07 Jul 2007 17:08:00 GMTchesterfilmschesterfilms Blog7/7/2007 1:08:00 PMI'm calling this one my Annie Hall/Barry Lyndon Memorial list (just to keep it interesting). 1. Fitzcarraldo (1982) - It's the story of a man who will stop at nothing to pull a ship over a mountain, made by a a man who will stop at nothing to make a film about a man who pulls a ship over a mountain. 2. Faust (1926) - Have you seen this film? Seriously, how the heck did they make this thing back then. Very scary. 3. Alexander Nevsky (1938) - So unbelievably epic. You can still see it's influence on films Action/Epic films to this day. 4. Ed Wood (1994) - Burton's best film ever. The best biopic film ever. Best film of 1994. One of my favorite films of all time. 5. Mary Poppins (1964) - Loved it as a kid. Love it as an adult. It's a classic that never grows old or dated, so shut up!!Here are some of my runners up:Princess Mononoke (1997) Ivan The Terrible Part:I (1944) Barton Fink (1991) http://www.spout.com/members/0/tags/life/MemberTagFilms.aspxlife
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