list http://www.spout.com/ Recent community activity around Pleasantville 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/Pleasantville/114723/default.aspx Title: Pleasantville
Year: 1998
Director: Gary Ross
Plot: Gary Ross, Oscar nominated for his Dave and Big screenplays, made his directorial debut with this comedy. The cheerful '50s TV sitcom "Pleasantville" is revived in the '90s for a loyal cable audience. One devoted fan is shy suburban teen David Wagner (Tobey Maguire), who has an almost obsessive interest in the series. Living with his divorced mother (Jane Kaczmarek), David sometimes has disputes with his ultra-hip twin sister Jennifer (Reese Witherspoon). She wants to watch MTV just when a Pleasantville marathon is about to begin. They struggle over the remote control, and it breaks. A strange TV repairman (Don Knotts) supplies their new remote, a potent high-tech device which zaps David and Jennifer inside Pleasantville, where their new sitcom parents are businessman George Parker (William H. Macy) and wife Betty (Joan Allen). As "Bud" and "Mary Sue," the teens take up residence in a black-and-white suburbia where sex does not exist and the temperature is always 72 degrees. Life is always pleasant, books have no words, bathrooms have no toilets, married couples sleep in twin beds, the high school basketball team always wins, and nobody ever questions "The Good Life." David revels in Pleasantville's Prozac-styled peacefulness. He fits right in, but Jennifer's 1990s attitude upsets the blandness balance, painting parts of Pleasantville in "living color." Repressed desires surface, cracks appear in the '50s lifestyles, and the Pleasantville populace finds their lives changing in strange, wonderful ways. It's liberating -- but there's also a darker side. This film breaks an all-time record with more than 1700 special effects shots. Shown at the 1998 Toronto Film Festival. ~ Bhob Stewart, All Movie Guide
Times Tagged: 27
Number of Lists: 40
Number of blog posts: 5
Number of discussion threads: 7
SpoutRating: 3
]]>Fri, 31 Jul 2009 19:44:46 GMTPleasantville1998Gary Ross<a href="/players/P___108980/default.aspx" style='text-decoration:underline'>Gary Ross</a>, Oscar nominated for his <a href=/films/8115/default.aspx style='text-decoration:underline'>Dave</a> and <a href=/films/3140/default.aspx style='text-decoration:underline'>Big</a> screenplays, made his directorial debut with this comedy. The cheerful '50s TV sitcom "Pleasantville" is revived in the '90s for a loyal cable audience. One devoted fan is shy suburban teen David Wagner (<a href="/players/P___196872/default.aspx" style='text-decoration:underline'>Tobey Maguire</a>), who has an almost obsessive interest in the series. Living with his divorced mother (<a href="/players/P____36607/default.aspx" style='text-decoration:underline'>Jane Kaczmarek</a>), David sometimes has disputes with his ultra-hip twin sister Jennifer (<a href="/players/P____77086/default.aspx" style='text-decoration:underline'>Reese Witherspoon</a>). She wants to watch MTV just when a Pleasantville marathon is about to begin. They struggle over the remote control, and it breaks. A strange TV repairman (<a href="/players/P____38844/default.aspx" style='text-decoration:underline'>Don Knotts</a>) supplies their new remote, a potent high-tech device which zaps David and Jennifer inside Pleasantville, where their new sitcom parents are businessman George Parker (William H. Macy) and wife Betty (<a href="/players/P_____1026/default.aspx" style='text-decoration:underline'>Joan Allen</a>). As "Bud" and "Mary Sue," the teens take up residence in a black-and-white suburbia where sex does not exist and the temperature is always 72 degrees. Life is always pleasant, books have no words, bathrooms have no toilets, married couples sleep in twin beds, the high school basketball team always wins, and nobody ever questions "The Good Life." David revels in Pleasantville's Prozac-styled peacefulness. He fits right in, but Jennifer's 1990s attitude upsets the blandness balance, painting parts of Pleasantville in "living color." Repressed desires surface, cracks appear in the '50s lifestyles, and the Pleasantville populace finds their lives changing in strange, wonderful ways. It's liberating -- but there's also a darker side. This film breaks an all-time record with more than 1700 special effects shots. Shown at the 1998 Toronto Film Festival. ~ Bhob Stewart, All Movie Guide27Tag Target (>10)40573http://www.spout.com/ProductImages/t02618vbjjl.jpghttp://www.spout.com/films/Pleasantville/114723/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_20_Television/625/43216/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/21/2009 4:56:03 PM
Body: A great movie that doesn't get a lot of attention in Series 7: The Contenders. It came out during the height of reality shows like Survivor and was about a faux new television show in which seven unsuspecting people are picked by a lottery and only the last one standing gets their freedom. At the time, it seemed like an Americanized version of Battle Royale, but Series 7 focused more on the television aspect and just how ridiculous it was becoming. I know it's mushy and preachy, but I still love Pleasantville. Watching modern day kids trying to survive in a black white Leave It To Beaver like town; and it was when Reese Witherspoon was still in her slutty bad ass girl Freeway stage which is always hilarious to watch. Bolt fits the theme. A dog raised believing it is a super enhanced cyber puppy on a television show gets lost and must learn to live in the real world was decent enough. Hairspray was about a bunch of kids vying for a coveted spot on a local tv dance show. Halloween III: Season of the Witch revolved around kids putting on cursed masks and watching a television commercial that would kill them. Fun times. Galaxy Quest was about a group of washed up Strek Trek like actors that find themselves transported to a real intergalactic war and must try and imitate their faux television personas to survive. I'll have to watch it a dozen more times, but I'm fairly kinda sorta maybe almost certain that Inland Empire had something to do with television. Natural Born Killers was more or less an indictment of the horrors of television on our society. I didn't really care for The Nines because I thought it was a little too too; it was trying to convey something about losing ourselves in the false reality of television. Or maybe not, I don't know. Bamboozled is one of my favorite Spike Lee movies about a television executive that tries to get fired by programming a horrifically racist minstrel show but is shocked to learn that it becomes a sensational hit. Soapdish was a stupid fun look at all the ridiculous bitching and backstabbing that goes on behind the scenes of a daytime soap opera series. Edtv came out right after The Truman Show and was pretty much trying to say the same thing. The Cable Guy. Doesn't get the credit it deserves and is probably one of Jim Carrey's best performances. American Dreamz was just __________. I don't watch American Idol so maybe I wasn't cool enough to enjoy it. Stay Tuned was one of those movies from my childhood where most of the comedy went straight over my head. Something about a family getting sucked into a sadistic television and must survive all the twisted versions of popular shows at the time. Need to watch it again.
]]>Tue, 21 Jul 2009 20:56:03 GMTmercurialWeekly Theme7/21/2009 4:56:03 PMA great movie that doesn't get a lot of attention in Series 7: The Contenders. It came out during the height of reality shows like Survivor and was about a faux new television show in which seven unsuspecting people are picked by a lottery and only the last one standing gets their freedom. At the time, it seemed like an Americanized version of Battle Royale, but Series 7 focused more on the television aspect and just how ridiculous it was becoming. I know it's mushy and preachy, but I still love Pleasantville. Watching modern day kids trying to survive in a black white Leave It To Beaver like town; and it was when Reese Witherspoon was still in her slutty bad ass girl Freeway stage which is always hilarious to watch. Bolt fits the theme. A dog raised believing it is a super enhanced cyber puppy on a television show gets lost and must learn to live in the real world was decent enough. Hairspray was about a bunch of kids vying for a coveted spot on a local tv dance show. Halloween III: Season of the Witch revolved around kids putting on cursed masks and watching a television commercial that would kill them. Fun times. Galaxy Quest was about a group of washed up Strek Trek like actors that find themselves transported to a real intergalactic war and must try and imitate their faux television personas to survive. I'll have to watch it a dozen more times, but I'm fairly kinda sorta maybe almost certain that Inland Empire had something to do with television. Natural Born Killers was more or less an indictment of the horrors of television on our society. I didn't really care for The Nines because I thought it was a little too too; it was trying to convey something about losing ourselves in the false reality of television. Or maybe not, I don't know. Bamboozled is one of my favorite Spike Lee movies about a television executive that tries to get fired by programming a horrifically racist minstrel show but is shocked to learn that it becomes a sensational hit. Soapdish was a stupid fun look at all the ridiculous bitching and backstabbing that goes on behind the scenes of a daytime soap opera series. Edtv came out right after The Truman Show and was pretty much trying to say the same thing. The Cable Guy. Doesn't get the credit it deserves and is probably one of Jim Carrey's best performances. American Dreamz was just __________. I don't watch American Idol so maybe I wasn't cool enough to enjoy it. Stay Tuned was one of those movies from my childhood where most of the comedy went straight over my head. Something about a family getting sucked into a sadistic television and must survive all the twisted versions of popular shows at the time. Need to watch it again. http://www.spout.com/blogs/spoutblog/archive/2008/11/26/37694.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/26/2008 5:01:30 PM
Body: Black Friday is a scary time for shoppers in any given year. The crowds, the lines, the difficulty finding parking — all these and more are common annoyances on the day after Thanksgiving, as millions upon millions of Americans begin the Christmas season by making a run for the shopping malls and department stores in hopes of finding the best bargains. This year, of course, the economic downturn will make the day even worse than usual. The stores may be desperately holding the biggest sales we’ll ever witness, but lowest prices aren’t quite low enough for those who are broke or bankrupt. So, you may stay home this Friday. Perhaps you’ll at least make some minor online purchases, because you’re a patriotic, consuming American and it’s kind of like an unofficial holiday in our capitalist democracy. But don’t not go out to the mall simply because of the craziness potentially happening on its many floors of fashion and furnishings. You mustn’t be frightened of the crowds. Just recall any or all of the following ten movie scenes and by comparison you’ll think your Black Friday errands are like a stroll in the park. 10. Arnold Schwarzenegger vs. Sinbad in Jingle All the Way (1996) Maybe in the past there were physical fights for Cabbage Patch Kids or Mighty Morphin Power Rangers, but in the age of the Internet, there are easier ways of tracking down hot items on your kid’s wish list. So, while this sequence depicting two fathers’ desperate attempts to locate a Turbo Man toy is ridiculously exaggerated and despicably malicious for its time, it’s now even farther from likelihood and even less possible to sympathize with or relate to. 9. Beethoven shops for keyboards, Genghis Khan tries out baseball bats and other historical figures experience 1980s mall culture in Bill & Ted’s Excellent Adventure (1988) Obviously you don’t think you’ll be running into such oldies as Abraham Lincoln, Joan of Arc or Billy the Kid, but there could be some relatively ancient folks out and about Friday. And they may not be familiar with such newfangled presents as iPods and Blu-ray. But give the Grannies a break, because they haven’t yet mastered Amazon.com and its not like they’re causing too much ruckus. Unlike Joan and Genghis. 8. Madison learns English at Bloomingdales in Splash (1984) Maybe it is plausible for a mermaid to pick up the local language by watching a few hours of television. How are we to prove otherwise? But wouldn’t she have some kind of an accent if she were used to communicating with high-pitched shrieks? Whatever, it’s obviously not the movie for such questions regarding believabilty. Here’s the more important thing to consider: of all the yelling and screaming going on at the shops this Friday, nothing will be as bad as Madison’s pronunciation of her real name. Also, I bet modern TV screens aren’t as easily shattered. 7. Neo-Nazi salesman at the Army Surplus store in Falling Down (1993) It’s true that many salespersons and cashiers are slow, rude, incompetent or all of the above. But thank goodness there aren’t actually a lot of sexist, homophobic neo-Nazis helping you as you buy shoes. As much as you think you’ve experienced the worst employee ever hired by a retail chain, chances are it wasn’t as much of an inconvenience as it was for William Foster (Michael Douglas) to have to deal with this “sick asshole.” 6. Technicolor fashion show in The Women (1939) This scene is so unnecessary to the film’s plot that it was easily removed for some modern screenings. Mostly it seems just to serve as a showcase for costume designer Adrian, whose fashions are displayed in Technicolor, while the rest of the film is presented in black and white. For the film’s characters to wear any of those outfits, they would have appeared too bold and sexy for their time (it would be like in Pleasantville). Imagine shopping in a store where the clothes aren’t even in the same color spectrum as the world you live in? Okay, in some stores it does seem like that’s the case, but nowhere near as bad as this. 5. Bizarre fashion show in True Stories (1986) And despite its dismissal of physics, the parade in The Women is nowhere near as bad as the fashion show in this bizarre film from Talking Heads frontman David Byrne. There’s not even anything that can be said for this scene other than that we should all be thankful the kids aren’t wearing anything quite so ridiculous. Even some of the stuff at Hot Topic seems more normal in comparison. 4. After hours shopping spree in Modern Times (1936) One great fantasy for all good, consumerist Americans is the empty-store scenario. Whether it’s the end of the world (a la Night of the Comet and 28 Days Later) or simply after hours (Mannequin; El Crimen Ferpecto), the dream is somewhat the same: free reign on all the goods in the store, from food to fashion to roller skates. And for a poor little gamin in Modern Times, it’s like a heavenly shopping spree, even if none of the items are to leave the department store when the fun is over. However, as much as you might hope you had the stores all to yourself on Friday, be thankful that you’re obeying the rules and laws and therefore won’t be arrested when the shopping’s done. 3. Mall car chase in The Blues Brothers (1980) Good thing there’s a quick shot of a Toys “R” Us customer asking a cashier for a Miss Piggy doll or this scene wouldn’t really have anything to do with shopping. It would just simply be a chaotic car chase through a shopping mall. Of course, the destruction could still read as a destroying of the idea of capitalism, just as a similar reading is made about the mall fight in Jackie Chan’s Police Story, as well as any other such mall-set action scene, of which there seemed to be plenty in the materialistic 1980s. As fun as it seems, and as frustrated you might get on Friday, please don’t drive your car into any stores. 2. Zombies go shopping in Dawn of the Dead (1978) This movie is not just some horror flick about people trapped in a mall, threatened by a terrorizing enemy. That’s Chopping Mall. Or the Dawn of the Dead remake. No, this is a satire of consumerism, and all those zombies are representative of the folks you’ll be encountering on Black Friday. But at least they won’t try and eat you. Probably. 1. Richard Pryor is reduced to property in The Toy (1982) Kids are really spoiled these days, even more than they were twenty-six years ago, but no matter how hard it is to imagine what to get the boy who has everything, don’t even think of asking an African-American man if you can buy him for your son. Originally posted on:SpoutBlog
]]>Wed, 26 Nov 2008 22:01:30 GMTSpoutBlogSpoutBlog on spout.com11/26/2008 5:01:30 PMBlack Friday is a scary time for shoppers in any given year. The crowds, the lines, the difficulty finding parking — all these and more are common annoyances on the day after Thanksgiving, as millions upon millions of Americans begin the Christmas season by making a run for the shopping malls and department stores in hopes of finding the best bargains. This year, of course, the economic downturn will make the day even worse than usual. The stores may be desperately holding the biggest sales we’ll ever witness, but lowest prices aren’t quite low enough for those who are broke or bankrupt. So, you may stay home this Friday. Perhaps you’ll at least make some minor online purchases, because you’re a patriotic, consuming American and it’s kind of like an unofficial holiday in our capitalist democracy. But don’t not go out to the mall simply because of the craziness potentially happening on its many floors of fashion and furnishings. You mustn’t be frightened of the crowds. Just recall any or all of the following ten movie scenes and by comparison you’ll think your Black Friday errands are like a stroll in the park. 10. Arnold Schwarzenegger vs. Sinbad in Jingle All the Way (1996) Maybe in the past there were physical fights for Cabbage Patch Kids or Mighty Morphin Power Rangers, but in the age of the Internet, there are easier ways of tracking down hot items on your kid’s wish list. So, while this sequence depicting two fathers’ desperate attempts to locate a Turbo Man toy is ridiculously exaggerated and despicably malicious for its time, it’s now even farther from likelihood and even less possible to sympathize with or relate to. 9. Beethoven shops for keyboards, Genghis Khan tries out baseball bats and other historical figures experience 1980s mall culture in Bill & Ted’s Excellent Adventure (1988) Obviously you don’t think you’ll be running into such oldies as Abraham Lincoln, Joan of Arc or Billy the Kid, but there could be some relatively ancient folks out and about Friday. And they may not be familiar with such newfangled presents as iPods and Blu-ray. But give the Grannies a break, because they haven’t yet mastered Amazon.com and its not like they’re causing too much ruckus. Unlike Joan and Genghis. 8. Madison learns English at Bloomingdales in Splash (1984) Maybe it is plausible for a mermaid to pick up the local language by watching a few hours of television. How are we to prove otherwise? But wouldn’t she have some kind of an accent if she were used to communicating with high-pitched shrieks? Whatever, it’s obviously not the movie for such questions regarding believabilty. Here’s the more important thing to consider: of all the yelling and screaming going on at the shops this Friday, nothing will be as bad as Madison’s pronunciation of her real name. Also, I bet modern TV screens aren’t as easily shattered. 7. Neo-Nazi salesman at the Army Surplus store in Falling Down (1993) It’s true that many salespersons and cashiers are slow, rude, incompetent or all of the above. But thank goodness there aren’t actually a lot of sexist, homophobic neo-Nazis helping you as you buy shoes. As much as you think you’ve experienced the worst employee ever hired by a retail chain, chances are it wasn’t as much of an inconvenience as it was for William Foster (Michael Douglas) to have to deal with this “sick asshole.” 6. Technicolor fashion show in The Women (1939) This scene is so unnecessary to the film’s plot that it was easily removed for some modern screenings. Mostly it seems just to serve as a showcase for costume designer Adrian, whose fashions are displayed in Technicolor, while the rest of the film is presented in black and white. For the film’s characters to wear any of those outfits, they would have appeared too bold and sexy for their time (it would be like in Pleasantville). Imagine shopping in a store where the clothes aren’t even in the same color spectrum as the world you live in? Okay, in some stores it does seem like that’s the case, but nowhere near as bad as this. 5. Bizarre fashion show in True Stories (1986) And despite its dismissal of physics, the parade in The Women is nowhere near as bad as the fashion show in this bizarre film from Talking Heads frontman David Byrne. There’s not even anything that can be said for this scene other than that we should all be thankful the kids aren’t wearing anything quite so ridiculous. Even some of the stuff at Hot Topic seems more normal in comparison. 4. After hours shopping spree in Modern Times (1936) One great fantasy for all good, consumerist Americans is the empty-store scenario. Whether it’s the end of the world (a la Night of the Comet and 28 Days Later) or simply after hours (Mannequin; El Crimen Ferpecto), the dream is somewhat the same: free reign on all the goods in the store, from food to fashion to roller skates. And for a poor little gamin in Modern Times, it’s like a heavenly shopping spree, even if none of the items are to leave the department store when the fun is over. However, as much as you might hope you had the stores all to yourself on Friday, be thankful that you’re obeying the rules and laws and therefore won’t be arrested when the shopping’s done. 3. Mall car chase in The Blues Brothers (1980) Good thing there’s a quick shot of a Toys “R” Us customer asking a cashier for a Miss Piggy doll or this scene wouldn’t really have anything to do with shopping. It would just simply be a chaotic car chase through a shopping mall. Of course, the destruction could still read as a destroying of the idea of capitalism, just as a similar reading is made about the mall fight in Jackie Chan’s Police Story, as well as any other such mall-set action scene, of which there seemed to be plenty in the materialistic 1980s. As fun as it seems, and as frustrated you might get on Friday, please don’t drive your car into any stores. 2. Zombies go shopping in Dawn of the Dead (1978) This movie is not just some horror flick about people trapped in a mall, threatened by a terrorizing enemy. That’s Chopping Mall. Or the Dawn of the Dead remake. No, this is a satire of consumerism, and all those zombies are representative of the folks you’ll be encountering on Black Friday. But at least they won’t try and eat you. Probably. 1. Richard Pryor is reduced to property in The Toy (1982) Kids are really spoiled these days, even more than they were twenty-six years ago, but no matter how hard it is to imagine what to get the boy who has everything, don’t even think of asking an African-American man if you can buy him for your son. Originally posted on:SpoutBlog http://www.spout.com/groups/Heroines_in_Hollywood/Re_The_List/647/36444/1/ShowPost.aspx Post By: seely
Post To: Heroines in Hollywood
Post Date: 10/17/2008 11:57:14 AM
Body: The theme of men resisting the sexual awakening of woman brings to mind "Pleasantville". Who can forget "the bathtub scene"? I don't believe there has ever been a clearer image of sexual awakening in a film, before or since. The shift from black-and-white to colour was really clever and poigniant. Pleasantville was definitely an interesting look at the sexual repression of the times (1950's) and then the awakening towards the end of the decade with the beginning of the 1960's, in a third-wave feminist post Simone d'Beauvoir era. [quote user="filmgal81"] What this film represents is how afraid men were ( and in many cases, still are) of a woman's sexual awakening. Although the film ( and the novel) take place in a bygone era, how much have films really changed from portraying women as either the delicate virgin or the seductive, man-eating whore? I think the more films tackle life's gray area, the sticky, confusing parts, the more we'll see heroines that fall somewhere in the middle of those achetypes. [quote user="seely"] I'm hoping to get a list going here of 'essential' films featuriing women. In some way, these films should each create/portray some sort of archetype that somehow demonstrates an idea/stereotype/cultural standard for women. I'll start. I chose Kill Bill for the group picture because I feel that few films have shown so many different aspects and archetypes for women. The very fact that Uma Thurman's character is referred to as 'The Bride' is worthy of note in and of itself. Her character goes from sword-wielding-sexy-vixen to nuturing mother to vengeful kung-fu killer to mother bear to... well, you get the point. I'm not sure any other film hits so many cultural archetypes so clearly. Was there an intentional message in all of this? I'm not even really sure, however I feel that Kill Bill leaves the audience with a sense that women are deeper than the typical shallow one-sided portrayal that is so painfully common on the silver screen. I would actually be so bold as to submit this as a feminist film. [/quote] [/quote]
]]>Fri, 17 Oct 2008 15:57:14 GMTseelyHeroines in Hollywood10/17/2008 11:57:14 AMThe theme of men resisting the sexual awakening of woman brings to mind "Pleasantville". Who can forget "the bathtub scene"? I don't believe there has ever been a clearer image of sexual awakening in a film, before or since. The shift from black-and-white to colour was really clever and poigniant. Pleasantville was definitely an interesting look at the sexual repression of the times (1950's) and then the awakening towards the end of the decade with the beginning of the 1960's, in a third-wave feminist post Simone d'Beauvoir era. [quote user="filmgal81"] What this film represents is how afraid men were ( and in many cases, still are) of a woman's sexual awakening. Although the film ( and the novel) take place in a bygone era, how much have films really changed from portraying women as either the delicate virgin or the seductive, man-eating whore? I think the more films tackle life's gray area, the sticky, confusing parts, the more we'll see heroines that fall somewhere in the middle of those achetypes. [quote user="seely"] I'm hoping to get a list going here of 'essential' films featuriing women. In some way, these films should each create/portray some sort of archetype that somehow demonstrates an idea/stereotype/cultural standard for women. I'll start. I chose Kill Bill for the group picture because I feel that few films have shown so many different aspects and archetypes for women. The very fact that Uma Thurman's character is referred to as 'The Bride' is worthy of note in and of itself. Her character goes from sword-wielding-sexy-vixen to nuturing mother to vengeful kung-fu killer to mother bear to... well, you get the point. I'm not sure any other film hits so many cultural archetypes so clearly. Was there an intentional message in all of this? I'm not even really sure, however I feel that Kill Bill leaves the audience with a sense that women are deeper than the typical shallow one-sided portrayal that is so painfully common on the silver screen. I would actually be so bold as to submit this as a feminist film. [/quote] [/quote] http://www.spout.com/blogs/shaunhuston/archive/2008/6/26/31754.aspx Post By: ShaunHuston
Post To: ShaunHuston filmblog
Post Date: 6/26/2008 7:00:44 PM
Body: As with Moonstruck's appearance on the romantic comedy list, I found myself charmed by many of the selections on the fantasy list, even where I may not have made the choice myself. I was particularly happy to see Groundhog Day (1993) on this Top 10, but, like a number of other films here, the more I thought about the idea of “fantasy”, the more I began to wonder if some weren't misplaced or mis-categorized. Groundhog Day, alongside Harvey (1950), Miracle on 34th Street (1947), and It's a Wonderful Life (1946), may be fantasies, but they are more accurately described as “fables”, that is, as stories that are essentially about life lessons rather than the fantastic, though they may use fantasy elements to tell their stories. Where the three older films are concerned, there are questions that clearly can, and are, raised about what the protagonists have experienced or who they actually are. Is George Bailey (Jimmy Stewart) actually visited by an angel, or has his subconscious conjured Clarence (Henry Travers) to thwart suicide? Is Kris Kringle (Edmund Gwenn) actually Santa Claus? Does Harvey exist? I think that there are many reasonable answers to these questions. Even the list's top film, The Wizard of Oz (1939), quite explicitly raises the question of whether the heroine's experience was a dream or not. The keywords in the AFI's definition of this genre are “inhabit” and “experience”. Of the films on the list, The Fellowship of the Ring (2001), King Kong (1933), Field of Dreams (1989), The Thief of Bagdad (1924), and Big (1988), are the ones that clearly, materially involve “live-action characters” in “imagined settings” or “situations that transcend the rules of the natural world” (although I would certainly pitch Field of Dreams as a fable, probably Big as well, which just goes to show the plasticity of genre). The selections cited above may or may not have their characters actually engaged in these kinds of worlds and circumstances. Do dreams, hallucinations, and what if scenarios count as inhabitable worlds or supernatural situations? If they do, then all of the films are fantasies of one kind or another. On the other hand, if the fantasy elements are not “actually” happening, maybe they aren't. In other words, for a film to be a “fantasy” does its storyworld have to be imagined or supernatural in a material sense or is it good enough that the audience is shown fantastic things, whatever their diegetic “reality” or origin? Not unlike my thinking about the “mystery” category, I think that the AFI could have invested some time in refining its criteria. The current definition, for example, would seem to make room for superhero films (unless you want to count those as science fiction, or, hey, their own genre on some future special), but I doubt that those were seriously considered, if they were considered at all, for this category (a look at the larger selection lists would obviously answer this question, but I'm not motivated enough to open an AFI account; suffice to say that there are no superhero films on this or the scifi Top 10). More to the point, thinking about “fables” as a sub or independent genre would give more precision to how you think about “fantasy,” and maybe draw attention to a wider variety of movies that do, or at least more clearly, present live-action characters in fantastic settings and situations (Pleasantville, 1998, comes to mind). On the other hand, as I stated in the introduction to this post, I think that this list is mostly made up of fine, or at least well loved, films, and maybe there's not much point in pushing arguments over definition (although I would argue for treating The Lord of the Rings movies as a single work; it seems that no matter which installment you pick, it is ultimately just a stand-in for the whole). Link to introduction. Originally posted on:Short-Circuit Signs
]]>Thu, 26 Jun 2008 23:00:44 GMTShaunHustonShaunHuston filmblog6/26/2008 7:00:44 PMAs with Moonstruck's appearance on the romantic comedy list, I found myself charmed by many of the selections on the fantasy list, even where I may not have made the choice myself. I was particularly happy to see Groundhog Day (1993) on this Top 10, but, like a number of other films here, the more I thought about the idea of &ldquo;fantasy&rdquo;, the more I began to wonder if some weren't misplaced or mis-categorized. Groundhog Day, alongside Harvey (1950), Miracle on 34th Street (1947), and It's a Wonderful Life (1946), may be fantasies, but they are more accurately described as &ldquo;fables&rdquo;, that is, as stories that are essentially about life lessons rather than the fantastic, though they may use fantasy elements to tell their stories. Where the three older films are concerned, there are questions that clearly can, and are, raised about what the protagonists have experienced or who they actually are. Is George Bailey (Jimmy Stewart) actually visited by an angel, or has his subconscious conjured Clarence (Henry Travers) to thwart suicide? Is Kris Kringle (Edmund Gwenn) actually Santa Claus? Does Harvey exist? I think that there are many reasonable answers to these questions. Even the list's top film, The Wizard of Oz (1939), quite explicitly raises the question of whether the heroine's experience was a dream or not. The keywords in the AFI's definition of this genre are &ldquo;inhabit&rdquo; and &ldquo;experience&rdquo;. Of the films on the list, The Fellowship of the Ring (2001), King Kong (1933), Field of Dreams (1989), The Thief of Bagdad (1924), and Big (1988), are the ones that clearly, materially involve &ldquo;live-action characters&rdquo; in &ldquo;imagined settings&rdquo; or &ldquo;situations that transcend the rules of the natural world&rdquo; (although I would certainly pitch Field of Dreams as a fable, probably Big as well, which just goes to show the plasticity of genre). The selections cited above may or may not have their characters actually engaged in these kinds of worlds and circumstances. Do dreams, hallucinations, and what if scenarios count as inhabitable worlds or supernatural situations? If they do, then all of the films are fantasies of one kind or another. On the other hand, if the fantasy elements are not &ldquo;actually&rdquo; happening, maybe they aren't. In other words, for a film to be a &ldquo;fantasy&rdquo; does its storyworld have to be imagined or supernatural in a material sense or is it good enough that the audience is shown fantastic things, whatever their diegetic &ldquo;reality&rdquo; or origin? Not unlike my thinking about the &ldquo;mystery&rdquo; category, I think that the AFI could have invested some time in refining its criteria. The current definition, for example, would seem to make room for superhero films (unless you want to count those as science fiction, or, hey, their own genre on some future special), but I doubt that those were seriously considered, if they were considered at all, for this category (a look at the larger selection lists would obviously answer this question, but I'm not motivated enough to open an AFI account; suffice to say that there are no superhero films on this or the scifi Top 10). More to the point, thinking about &ldquo;fables&rdquo; as a sub or independent genre would give more precision to how you think about &ldquo;fantasy,&rdquo; and maybe draw attention to a wider variety of movies that do, or at least more clearly, present live-action characters in fantastic settings and situations (Pleasantville, 1998, comes to mind). On the other hand, as I stated in the introduction to this post, I think that this list is mostly made up of fine, or at least well loved, films, and maybe there's not much point in pushing arguments over definition (although I would argue for treating The Lord of the Rings movies as a single work; it seems that no matter which installment you pick, it is ultimately just a stand-in for the whole). Link to introduction. Originally posted on:Short-Circuit Signs http://www.spout.com/groups/Top_5/Re_Top_5_black_and_white_movies_made_after_1970/190/27783/1/ShowPost.aspx Post By: mercurial
Post To: Top 5
Post Date: 4/25/2008 1:11:46 AM
Body: Entirely in B&W: 1.) Angel-A 2.) Ed Wood 3.) Clerks 4.) Man Bites Dog 5.) Swoon Runner-Ups: Paper Moon, Pi Partially B&W: 1.) American History X 2.) Sin City 3.) Zentropa, or Europa (depending on your country) 4.) Pleasantville 5.) Memento Runner-Up: Renaissance, The Blair Witch Project
]]>Fri, 25 Apr 2008 05:11:46 GMTmercurialTop 54/25/2008 1:11:46 AMEntirely in B&amp;W: 1.) Angel-A 2.) Ed Wood 3.) Clerks 4.) Man Bites Dog 5.) Swoon Runner-Ups: Paper Moon, Pi Partially B&amp;W: 1.) American History X 2.) Sin City 3.) Zentropa, or Europa (depending on your country) 4.) Pleasantville 5.) Memento Runner-Up: Renaissance, The Blair Witch Project http://www.spout.com/blogs/jaysprout/archive/2007/9/8/19523.aspx Post By: jaysprout
Post To: Film & Video Are My Life
Post Date: 9/8/2007 3:35:52 PM
Body: If I understood the movie correctly, you're Black & White until you have sex and then you start to get colorized. The more sex you have, the more colorful you become.Yes, of course, I realize what the movie was supposed to be trying to say but it was so over the top, hit you in the face with a hammer, and - ironically - just plain shallow ... I feel it fails to provoke thought or inspire in any way. There were a couple moments that were funny and you don't get much more clever than signs reading "no coloreds allowed" but those moments are overshadowed by juvenile writing. It could have been so much more than this. Of course, it could have been much, much worse ... it could have been the remake of The Stepford Wives.
]]>Sat, 08 Sep 2007 19:35:52 GMTjaysproutFilm & Video Are My Life9/8/2007 3:35:52 PMIf I understood the movie correctly, you&#39;re Black &amp; White until you have sex and then you start to get colorized. The more sex you have, the more colorful you become.Yes, of course, I realize what the movie was supposed to be trying to say but it was so over the top, hit you in the face with a hammer, and - ironically - just plain shallow ... I feel it fails to provoke thought or inspire in any way. There were a couple moments that were funny and you don&#39;t get much more clever than signs reading &quot;no coloreds allowed&quot; but those moments are overshadowed by juvenile writing. It could have been so much more than this. Of course, it could have been much, much worse ... it could have been the remake of The Stepford Wives. http://www.spout.com/blogs/erico_77375/archive/2007/7/22/15551.aspx Post By: erico_77375
Post To: erico_77375 Blog
Post Date: 7/22/2007 6:54:07 AM
Body: As the opening credits come up, we're watching blended colors on the screen as we hear the sounds of channel surfing going on. As we focus in on the colors and see we're watching the television as channels keep flipping by, we come to a channel called TV Time and are informed of an upcoming marathon of a show called Pleasantville. We are given some information up front. And we go into our tale with...Once Upon A Time...Gary Ross' fantasy is something of an original. It is a modern fairy tale as well as a social satire. His film says so much with humor and whimsy that only after watching it once do you pick up on a few details. With further watching do you really start to see more of what Ross intends to show you. And more you begin to appreciate this film for what it is really about; the value of change and the destructive force of maintaining status quo. The film's protagonists are modern kids David (Tobey Maguire) and Jennifer (Reese Whitherspoon), though the film is mostly about David. When we meet him, he's shy and timid. He relies on the reruns of Pleasantville to fulfill the desires for what he considers a normal family. Jennifer doesn't want that in her life. She values change too much, as we'll see later in the film. When they are brought into this new world, David is afraid of change, afraid that by doing so that they might be stuck there, but also afraid of tarnishing his perfect image of how life should be. Jennifer almost instantly tries to find ways to change it. She is not ignorant as some people I have talked to put it. In a crucial scene where she takes the offensive in the front seat of her date's car, she is doing this not really because she's needing sex, but to shake things up. At this point, we begin to see colors appear in the black and white world of Pleasantville. Is it the sex that's causing this? Not in the least. In fact, sex isn't even the first act of defiance in this movie. The first act is actually independence when Mr. Johnson (Jeff Daniels) informs the audience he's closed the store down on his own, something he's never had to do before. When the kids start to feel independence (as well as a few of the wives of this town), that's when we start to see colors. Eventually, other acts create change. The two strongest are knowledge (watch as kids enter the library in black and white and leave in color) and Passion (either romantic or in the case of David, passion of a son to a mother-figure). Notice after the rain sequence, that most of the characters who turned to color did so without showing to have had sex).The social implications start taking root as early as the scene that David helps Betty (Joan Allen), his TV mother to hide the fact that she has turned to color. When he sees that they do have feeling towards what they have become or have not become, we also see this. When the characters start to see the walls of this repression start to shatter, it becomes violent (and realize that the violence starts with the B&W holdouts). We see racism sprout ("No Coloreds" one sign says in the hardware store) as well as segregation (The Courtroom Scene). Now bare in mind that Pleasantville does not have a police force nor a central government, it is run by the Chamber of Commerce and Big Bob (J.T. Walsh). They meet at the bowling alley and the barbershop and lay plans not to quell rebellion, but to bring back "pleasantness". But as the citizens of Pleasantville are becoming more individual, it becomes harder to please everybody. Even to the point that a blue door is considered unbearable. The three acts of this story are separated by two acts of the elements. The first is by a tree that catches fire. The second is by a rainstorm. This kind of reminds me of the story of the Phoenix; the old Pleasantville was burned away by one burning tree, and was washed anew in a gentle night storm. Performances are key to this story's success. Maguire and Allen's performances are what gauges the rest of the actors. Maguire has to slowly come around from being the keeper of the status quo to a leader of opposition. He does so by finding the little events that make him see how his own fantasies about the show hurt those that actually live in that show. Allen's performance is important because she's the one who feels the changes first in her world in a way that's not exciting, but terrifying. How can she let her husband find out? What will the others think? Little at a time does she realize just how much she wants to be free to make choices for herself. And then there's Jeff Daniels who does a great Jimmy Stewart every-man thing. All he wants to do is paint. His terror is to find something he really loves and have it taken away from him. Gary Ross is no stranger to fantasy tales. His first screenplays were for Big (about a boy who wishes to become a man and has it granted) and Dave (about a look-alike who becomes president and does the job even better than the REAL president does). Even his Seabiscuit is about a real-life fairy tale about a horse that defied the odds more than once. Pleasantville is more conscious than those other films. It intends to tell you a story and make you think about it afterwards. It doesn't treat you like a kid and it doesn't hold your hand. Hard choices are left for all the characters even as the film ends with a character saying, "Well, I guess I don't know either."
]]>Sun, 22 Jul 2007 10:54:07 GMTerico_77375erico_77375 Blog7/22/2007 6:54:07 AMAs the opening credits come up, we&#39;re watching blended colors on the screen as we hear the sounds of channel surfing going on. As we focus in on the colors and see we&#39;re watching the television as channels keep flipping by, we come to a channel called TV Time and are informed of an upcoming marathon of a show called Pleasantville. We are given some information up front. And we go into our tale with...Once Upon A Time...Gary Ross&#39; fantasy is something of an original. It is a modern fairy tale as well as a social satire. His film says so much with humor and whimsy that only after watching it once do you pick up on a few details. With further watching do you really start to see more of what Ross intends to show you. And more you begin to appreciate this film for what it is really about; the value of change and the destructive force of maintaining status quo. The film&#39;s protagonists are modern kids David (Tobey Maguire) and Jennifer (Reese Whitherspoon), though the film is mostly about David. When we meet him, he&#39;s shy and timid. He relies on the reruns of Pleasantville to fulfill the desires for what he considers a normal family. Jennifer doesn&#39;t want that in her life. She values change too much, as we&#39;ll see later in the film. When they are brought into this new world, David is afraid of change, afraid that by doing so that they might be stuck there, but also afraid of tarnishing his perfect image of how life should be. Jennifer almost instantly tries to find ways to change it. She is not ignorant as some people I have talked to put it. In a crucial scene where she takes the offensive in the front seat of her date&#39;s car, she is doing this not really because she&#39;s needing sex, but to shake things up. At this point, we begin to see colors appear in the black and white world of Pleasantville. Is it the sex that&#39;s causing this? Not in the least. In fact, sex isn&#39;t even the first act of defiance in this movie. The first act is actually independence when Mr. Johnson (Jeff Daniels) informs the audience he&#39;s closed the store down on his own, something he&#39;s never had to do before. When the kids start to feel independence (as well as a few of the wives of this town), that&#39;s when we start to see colors. Eventually, other acts create change. The two strongest are knowledge (watch as kids enter the library in black and white and leave in color) and Passion (either romantic or in the case of David, passion of a son to a mother-figure). Notice after the rain sequence, that most of the characters who turned to color did so without showing to have had sex).The social implications start taking root as early as the scene that David helps Betty (Joan Allen), his TV mother to hide the fact that she has turned to color. When he sees that they do have feeling towards what they have become or have not become, we also see this. When the characters start to see the walls of this repression start to shatter, it becomes violent (and realize that the violence starts with the B&amp;W holdouts). We see racism sprout (&quot;No Coloreds&quot; one sign says in the hardware store) as well as segregation (The Courtroom Scene). Now bare in mind that Pleasantville does not have a police force nor a central government, it is run by the Chamber of Commerce and Big Bob (J.T. Walsh). They meet at the bowling alley and the barbershop and lay plans not to quell rebellion, but to bring back &quot;pleasantness&quot;. But as the citizens of Pleasantville are becoming more individual, it becomes harder to please everybody. Even to the point that a blue door is considered unbearable. The three acts of this story are separated by two acts of the elements. The first is by a tree that catches fire. The second is by a rainstorm. This kind of reminds me of the story of the Phoenix; the old Pleasantville was burned away by one burning tree, and was washed anew in a gentle night storm. Performances are key to this story&#39;s success. Maguire and Allen&#39;s performances are what gauges the rest of the actors. Maguire has to slowly come around from being the keeper of the status quo to a leader of opposition. He does so by finding the little events that make him see how his own fantasies about the show hurt those that actually live in that show. Allen&#39;s performance is important because she&#39;s the one who feels the changes first in her world in a way that&#39;s not exciting, but terrifying. How can she let her husband find out? What will the others think? Little at a time does she realize just how much she wants to be free to make choices for herself. And then there&#39;s Jeff Daniels who does a great Jimmy Stewart every-man thing. All he wants to do is paint. His terror is to find something he really loves and have it taken away from him. Gary Ross is no stranger to fantasy tales. His first screenplays were for Big (about a boy who wishes to become a man and has it granted) and Dave (about a look-alike who becomes president and does the job even better than the REAL president does). Even his Seabiscuit is about a real-life fairy tale about a horse that defied the odds more than once. Pleasantville is more conscious than those other films. It intends to tell you a story and make you think about it afterwards. It doesn&#39;t treat you like a kid and it doesn&#39;t hold your hand. Hard choices are left for all the characters even as the film ends with a character saying, &quot;Well, I guess I don&#39;t know either.&quot; http://www.spout.com/blogs/billshroyer/archive/2007/6/24/11917.aspx Post By: BillShroyer
Post To: BillShroyer Blog
Post Date: 6/24/2007 7:16:37 AM
Body: "Pleasantville" is in my opinion the most truly meaningful and relevant film ever made. I know to some, it seems more like a "fun" type of film, but there are so many implications and countless layers of meaning upon meaning woven throughout the story - I'm not entirely sure all of that was intentional, but I am sure it's there, and very effective. One take on the meaning of the movie is that it's telling us to try something new and different, and to not be ashamed to let our true selves show. And how quickly a society will fall into fascism out of sheer terror of the unknown. It addresses so much of what's wrong with the world, with humanity in general - not just today, but since our origins.
]]>Sun, 24 Jun 2007 11:16:37 GMTBillShroyerBillShroyer Blog6/24/2007 7:16:37 AM&quot;Pleasantville&quot; is in my opinion the most truly meaningful and relevant film ever made. I know to some, it seems more like a &quot;fun&quot; type of film, but there are so many implications and countless layers of meaning upon meaning woven throughout the story - I&#39;m not entirely sure all of that was intentional, but I am sure it&#39;s there, and very effective. One take on the meaning of the movie is that it&#39;s telling us to try something new and different, and to not be ashamed to let our true selves show. And how quickly a society will fall into fascism out of sheer terror of the unknown. It addresses so much of what&#39;s wrong with the world, with humanity in general - not just today, but since our origins. http://www.spout.com/groups/Top_5/Re_Top_5_Tear_Jerking_Scenes/190/8960/1/ShowPost.aspx Post By: GradysGhost
Post To: Top 5
Post Date: 5/17/2007 11:34:17 PM
Body: In no particular order: 1) Dangerous Lives of Altar Boys - End of the movie (we may be on to something with the "end of film" stuff here) at Kieran Culkin's funeral mass, when Emile Hirsch reads from "The Tygre."2) Crash - You'll all laugh at me for this, but it's the scene where the middle eastern guy tries to shoot the lock repair man and his daughter jumps in front of the gun. It's not the music or the idea of the scene that gets me. It's the repairman's face as he screams.3) Requiem for a Dream - Jared Leto uses his phone call from jail to call Jennifer Conelly. She asks if he's alright and he says that he's coming home soon. Coming home real soon.4) Pleasantville - Almost the whole movie. When Jeff Daniels wipes the black and white makeup from Joan Allen's face. When Joan Allen discovers the orgasm and the tree bursts into flames outside. Never before (and it had been done before) had B&W/color been mixed to such a beautiful point as in Pleasantville.5) Fargo - Again with the "last scene" bit. Det. Marge Gunderson lays in bed with her husband Norm, who is disgruntled that his competition got his duck painting on the 32-cent stamp and he only made the 2-cent stamp. Marge tells him that people use those two-cent stamps all the time, every time postage goes up. It's the fact that you just watched 88 minutes of horrible grotesquity and violence, people getting shot, pubescent youths losing family members and going through unbelievable traumas, a man being disposed of via a wood chipper - all over gobs of money... Juxtaposed against human grumpiness about two cents.
]]>Fri, 18 May 2007 03:34:17 GMTGradysGhostTop 55/17/2007 11:34:17 PMIn no particular order: 1) Dangerous Lives of Altar Boys - End of the movie (we may be on to something with the "end of film" stuff here) at Kieran Culkin&#39;s funeral mass, when Emile Hirsch reads from "The Tygre."2) Crash - You&#39;ll all laugh at me for this, but it&#39;s the scene where the middle eastern guy tries to shoot the lock repair man and his daughter jumps in front of the gun. It&#39;s not the music or the idea of the scene that gets me. It&#39;s the repairman&#39;s face as he screams.3) Requiem for a Dream - Jared Leto uses his phone call from jail to call Jennifer Conelly. She asks if he&#39;s alright and he says that he&#39;s coming home soon. Coming home real soon.4) Pleasantville - Almost the whole movie. When Jeff Daniels wipes the black and white makeup from Joan Allen&#39;s face. When Joan Allen discovers the orgasm and the tree bursts into flames outside. Never before (and it had been done before) had B&amp;W/color been mixed to such a beautiful point as in Pleasantville.5) Fargo - Again with the "last scene" bit. Det. Marge Gunderson lays in bed with her husband Norm, who is disgruntled that his competition got his duck painting on the 32-cent stamp and he only made the 2-cent stamp. Marge tells him that people use those two-cent stamps all the time, every time postage goes up. It&#39;s the fact that you just watched 88 minutes of horrible grotesquity and violence, people getting shot, pubescent youths losing family members and going through unbelievable traumas, a man being disposed of via a wood chipper - all over gobs of money... Juxtaposed against human grumpiness about two cents. http://www.spout.com/groups/Top_5/Re_Top_5_black_and_white_movies_made_after_1970/190/6030/1/ShowPost.aspx Post By: Risselada
Post To: Top 5
Post Date: 3/4/2007 11:20:33 PM
Body: [quote user="BigJeffLebowski"]5. Lenny[/quote]Huh, I've never seen the movie Lenny. I'd heard of it but never even realized it was in black and white. Would you recommend really listening to some recordings of Lenny Bruce before actually seeing the movie to get prepared?[quote user="BigJeffLebowski"]No one really brings this up when they mention the film, but I think the monetary restraints on the original Clerks (black and white, stationary camera) give the film a certain security-camera feel that really helps the juxtaposition of the mundane and the outlandish, and is part of the reason Clerks is able to assimilate the two so well.[/quote]You say this is never brought up, but I thought I actually heard Smith himself claim that was the effect in mind even when he was shooting it. I could be mistaken though. I've definitely heard that security camera type of angle discussed before though.[quote user="BigJeffLebowski"]And shouldn't we have special mention for films that either spot-color or switch between black and white and color for more than simply flashbacks? For instance: Rumble Fish, American History X, Pleasantville, Memento, Wings of Desire, Zelig, The Notorious Bettie Page?[/quote]The movie If.... also switchs between color and black and white, and although it was commended by critics as some kind of artistic choice, it turns out it was merely due to their budget forcing them to swtich to black and white stock at a certain point in the shoot.
]]>Mon, 05 Mar 2007 04:20:33 GMTRisseladaTop 53/4/2007 11:20:33 PM[quote user="BigJeffLebowski"]5. Lenny[/quote]Huh, I&#39;ve never seen the movie Lenny. I&#39;d heard of it but never even realized it was in black and white. Would you recommend really listening to some recordings of Lenny Bruce before actually seeing the movie to get prepared?[quote user="BigJeffLebowski"]No one really brings this up when they mention the film, but I think the monetary restraints on the original Clerks (black and white, stationary camera) give the film a certain security-camera feel that really helps the juxtaposition of the mundane and the outlandish, and is part of the reason Clerks is able to assimilate the two so well.[/quote]You say this is never brought up, but I thought I actually heard Smith himself claim that was the effect in mind even when he was shooting it. I could be mistaken though. I&#39;ve definitely heard that security camera type of angle discussed before though.[quote user="BigJeffLebowski"]And shouldn&#39;t we have special mention for films that either spot-color or switch between black and white and color for more than simply flashbacks? For instance: Rumble Fish, American History X, Pleasantville, Memento, Wings of Desire, Zelig, The Notorious Bettie Page?[/quote]The movie If.... also switchs between color and black and white, and although it was commended by critics as some kind of artistic choice, it turns out it was merely due to their budget forcing them to swtich to black and white stock at a certain point in the shoot. http://www.spout.com/members/0/tags/friendship/MemberTagFilms.aspxfriendship
Number of films tagged: 6791

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]]>Sun, 15 Nov 2009 12:23:33 GMT86481291Tag http://www.spout.com/members/0/tags/comingofage/MemberTagFilms.aspxcomingofage
Number of films tagged: 1186

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]]>Sun, 28 Jun 2009 22:51:56 GMT118672219Tag http://www.spout.com/members/0/tags/adolescence/MemberTagFilms.aspxadolescence
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Number of films tagged: 436

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]]>Wed, 02 Dec 2009 23:13:42 GMT4362640Tag http://www.spout.com/members/0/tags/nostalgia/MemberTagFilms.aspxnostalgia
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]]>Thu, 09 Jul 2009 13:13:22 GMT8271621Tag http://www.spout.com/members/0/tags/sibling/MemberTagFilms.aspxsibling
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]]>Fri, 31 Jul 2009 13:03:15 GMT6001327Tag http://www.spout.com/members/0/tags/prejudice/MemberTagFilms.aspxprejudice
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]]>Sun, 16 Aug 2009 18:00:23 GMT4041225Tag http://www.spout.com/members/0/tags/fifties/MemberTagFilms.aspxfifties
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