list http://www.spout.com/ Recent community activity around Little Murders 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/Little_Murders/20547/default.aspx Title: Little Murders
Year: 1971
Director: Alan Arkin
Plot: Actor Alan Arkin has an impressive film directorial debut with Little Murders, Jules Feiffer's bitter and moving satire (originally produced as an off-Broadway play). Elliot Gould (who also co-produced the film) plays Alfred Chamberlain -- a one time successful photographer who is now down on his luck because he began to eliminate people from his photographs. He also suffers from an inability to feel or to be passionate about anything. But then Alfred meets Patsy Newqvist (Marcia Rodd), who takes it upon herself to mold Alfred into "a strong, vital, self-assured man, that I can protect and take care of." As their relationship develops and Patsy takes Alfred to meet her parents, they suddenly bang up against the brick wall of urban violence and insensitivity. In this world of senseless killings and madness, Alfred realizes that the only way to get back into the world is to become as insane as everyone else. ~ Paul Brenner, All Movie Guide
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]]>Fri, 15 Aug 2008 13:01:01 GMTLittle Murders1971Alan ArkinActor <a href="/players/P____79913/default.aspx" style='text-decoration:underline'>Alan Arkin</a> has an impressive film directorial debut with Little Murders, Jules Feiffer's bitter and moving satire (originally produced as an off-Broadway play). Elliot Gould (who also co-produced the film) plays Alfred Chamberlain -- a one time successful photographer who is now down on his luck because he began to eliminate people from his photographs. He also suffers from an inability to feel or to be passionate about anything. But then Alfred meets Patsy Newqvist (<a href="/players/P____60953/default.aspx" style='text-decoration:underline'>Marcia Rodd</a>), who takes it upon herself to mold Alfred into "a strong, vital, self-assured man, that I can protect and take care of." As their relationship develops and Patsy takes Alfred to meet her parents, they suddenly bang up against the brick wall of urban violence and insensitivity. In this world of senseless killings and madness, Alfred realizes that the only way to get back into the world is to become as insane as everyone else. ~ Paul Brenner, All Movie Guide162http://www.spout.com/ProductImages/t43752bj6k8.jpghttp://www.spout.com/films/Little_Murders/20547/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/8/15/34036.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/15/2008 9:01:01 AM
Body: Tropic Thunder is taking heavy fire, not for Robert Downey Jr.’s blackface performance, but rather for Ben Stiller’s spoof movie-within-a-movie, Simple Jack. Is this a case of political correctness gone too far? Or does Hollywood have serious flaws in how it portrays people with disabilities? The latter may have been Stiller’s point all along… Our friend Kevin Kelly shares the tale of his journey to the fabled Skywalker Ranch to see Clone Wars and meet the elusive George Lucas. The film, essentially a two hour trailer for the upcoming animated series, gets into some pretty wonky territory when it asks the question we’ve all wondered: What would Truman Capote be like as a Hutt? Karina checks in with what she’s watching. An Elliott Gould retrospective sheds some light on Little Murders and Jean-Luc Godard’s refusal to direct it. Also, Azazel Jacobs, director of the upcoming Mamma’s Man, Doris Day in Please Don’t Eat the Daisies, and soft-core porn sci-fi web show, The Fold. Note: Due to a Wordpress upgrade, our audio player will not display. Click the link below to hear this week’s show. Play FilmCouch 83 4:07 - Tropic Thunder 16:50 - The Clone Wars, Skywalker Ranch 25:30 - Karina’s Media Diet (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) Originally posted on:SpoutBlog
]]>Fri, 15 Aug 2008 13:01:01 GMTSpoutBlogSpoutBlog on spout.com8/15/2008 9:01:01 AM Tropic Thunder is taking heavy fire, not for Robert Downey Jr.’s blackface performance, but rather for Ben Stiller’s spoof movie-within-a-movie, Simple Jack. Is this a case of political correctness gone too far? Or does Hollywood have serious flaws in how it portrays people with disabilities? The latter may have been Stiller’s point all along… Our friend Kevin Kelly shares the tale of his journey to the fabled Skywalker Ranch to see Clone Wars and meet the elusive George Lucas. The film, essentially a two hour trailer for the upcoming animated series, gets into some pretty wonky territory when it asks the question we’ve all wondered: What would Truman Capote be like as a Hutt? Karina checks in with what she’s watching. An Elliott Gould retrospective sheds some light on Little Murders and Jean-Luc Godard’s refusal to direct it. Also, Azazel Jacobs, director of the upcoming Mamma’s Man, Doris Day in Please Don’t Eat the Daisies, and soft-core porn sci-fi web show, The Fold. Note: Due to a Wordpress upgrade, our audio player will not display. Click the link below to hear this week’s show. Play FilmCouch 83 4:07 - Tropic Thunder 16:50 - The Clone Wars, Skywalker Ranch 25:30 - Karina’s Media Diet (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/8/9/33804.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 8/9/2008 7:00:59 PM
Body: Elliot Gould said a few words Friday night before a BAM screening of Little Murders, the 1971 film based on Jules Feiffer’s play, which Gould starred in and produced for first-time feature director Alan Arkin. The event came towards the midpoint of a retrospective at the Brooklyn theater dedicated to Gould’s 70s-era peak, and the actor seemed humbled by the thought of so many snapshots of an era lined up for quick consumption. “It’s my life,” he said wistfully. Then, with a little wave of a hand and a vigorous shake of his head, he corrected himself: “Well, it’s all of our lives, isn’t it?” Gould noted that he’d “probably never” seen Little Murders “with a real crowd”–when the film was released in the States in February of 1971, Gould was in Sweden shooting The Touch for Ingmar Bergman, and thanks to its disappointing box office, it didn’t have much of a life for a while. Not that Gould took time out at the time to dwell on its failure. After the screening, Gould’s answers to questions from both the audience and moderator Bruce Bennett continually circled around a kind of “fear” the actor experienced at the peak of his career. After a 1970 TIME Magazine story in which he was anointed both “the urban Don Quixote” and “a star for an uptight age”, Gould worked constantly because he was afraid that if he stopped to catch his breath––or picked the wrong project and fell on his face––his allure would cool off and he wouldn’t be able to find a job. You can’t say he didn’t make the most of this workaholic bender. In the first half of the decade, Gould appeared in one minor masterpiece after another, including the three films he starred in for Robert Altman (M.A.S.H. has wrapped and The Long Goodbye has one more screening at BAM tonight; California Split plays next weekend). It was Gould’s appeal to the Hollywood establishment (born from his genuine rapport with audiences–that TIME story devoted paragraphs upon paragraphs to the ways in which viewers were “comforted” that Gould “seems so ordinary as that he seems so little like a star”) that got Little Murders made. Feiffer’s play, about the unlikely Upper Manhattan meet-terrifying and marriage of incurable optimist Patsy and unrepentant apathist Alfred, barely lasted a week in its initial Broadway run. After Arkin mounted a successful revival off-Broadway in 1969, Gould and producing partner Jack Brodsky bought the rights and tried to charm Jean-Luc Godard into directing Little Murders as his first American production. In his recent interview with Gould for the New York TImes, Dennis Lim said the relationship between Gould and Godard dissolved after the former sought a firm commitment and latter said something that “is not printable.” Last night, Gould elaborated. “I’m not a businessman, but The Establishment really wanted to work with me. But no one wanted to work with Godard––he was much too dangerous.” Gould says he and Godard were walking down the street in New York when the actor sought assurance that the god of the French New Wave wouldn’t lay his rep to waste. “I said, ‘If I’m going to produce for you, you have to show up for me.’” According to Gould, Godard responded, “‘If my wife and son ask me to tell them I love them, I tell them to go fuck themselves.’ And I said, ‘That’s very strong, Jean-Luc, but I’m not there yet.” Arkin didn’t prove to be a more commercial choice. Initial critical reaction was mixed, and audiences didn’t get it. Though surely intended in its era as an over-the-top comic satire on the city in which it’s set––one which looked awfully prescient when Manhattan devolved, at the end of the decade, into virtual hell on earth––Little Murders plays today almost like science fiction. The idea of a Manhattan turned toxic by senseless crime and pervasive insanity is unfathomable in the age of the truly square post-Giuliani Times Square and a downtown that’s seemingly been redesigned to complement Dean and Deluca. Which is not to say that Little Murders has lost a bit of its incisive social commentary over the years––it all still works in the realm of metaphor. Certainly, Alfred’s inability to fight or feel feels familiar in a modern New York that ticks on fashionable apathy. But today Little Murders feels less like a film about a single city than a diagnosis of global angst: in a world that truly seems to be crumbling under the weight of assorted wars and the guzzling of natural resources, with back-up plans barely in sight, nihilism sometimes seems like the only safe philosophical armor for an uncertain future. For Gould, Little Murders‘ lasting relevancy is without question, and the strongest parallels are environmental and political. “If the picture got made today, I think it would hold up, because of its real interest. We didn’t even talk about global warming or gasoline. I thought if the current president of the United States was available, he could play Alan Arkin’s part brilliantly.” When a member of the audience mentioned that things have changed quite a bit in nearly four decades, Gould shot back, “Nothing has changed, except that we’ve become more extreme. We’re out of control, and to have an administration as fucked up as it is, it’s like an Our Gang comedy!” The packed crowd cheered, essentially proving Gould’s point: after 37 years, Little Murders has finally found a choir to preach to. Originally posted on:SpoutBlog » Karina Longworth
]]>Sat, 09 Aug 2008 23:00:59 GMTKarinaKarina on SpoutBlog8/9/2008 7:00:59 PM Elliot Gould said a few words Friday night before a BAM screening of Little Murders, the 1971 film based on Jules Feiffer’s play, which Gould starred in and produced for first-time feature director Alan Arkin. The event came towards the midpoint of a retrospective at the Brooklyn theater dedicated to Gould’s 70s-era peak, and the actor seemed humbled by the thought of so many snapshots of an era lined up for quick consumption. “It’s my life,” he said wistfully. Then, with a little wave of a hand and a vigorous shake of his head, he corrected himself: “Well, it’s all of our lives, isn’t it?” Gould noted that he’d “probably never” seen Little Murders “with a real crowd”–when the film was released in the States in February of 1971, Gould was in Sweden shooting The Touch for Ingmar Bergman, and thanks to its disappointing box office, it didn’t have much of a life for a while. Not that Gould took time out at the time to dwell on its failure. After the screening, Gould’s answers to questions from both the audience and moderator Bruce Bennett continually circled around a kind of “fear” the actor experienced at the peak of his career. After a 1970 TIME Magazine story in which he was anointed both “the urban Don Quixote” and “a star for an uptight age”, Gould worked constantly because he was afraid that if he stopped to catch his breath––or picked the wrong project and fell on his face––his allure would cool off and he wouldn’t be able to find a job. You can’t say he didn’t make the most of this workaholic bender. In the first half of the decade, Gould appeared in one minor masterpiece after another, including the three films he starred in for Robert Altman (M.A.S.H. has wrapped and The Long Goodbye has one more screening at BAM tonight; California Split plays next weekend). It was Gould’s appeal to the Hollywood establishment (born from his genuine rapport with audiences–that TIME story devoted paragraphs upon paragraphs to the ways in which viewers were “comforted” that Gould “seems so ordinary as that he seems so little like a star”) that got Little Murders made. Feiffer’s play, about the unlikely Upper Manhattan meet-terrifying and marriage of incurable optimist Patsy and unrepentant apathist Alfred, barely lasted a week in its initial Broadway run. After Arkin mounted a successful revival off-Broadway in 1969, Gould and producing partner Jack Brodsky bought the rights and tried to charm Jean-Luc Godard into directing Little Murders as his first American production. In his recent interview with Gould for the New York TImes, Dennis Lim said the relationship between Gould and Godard dissolved after the former sought a firm commitment and latter said something that “is not printable.” Last night, Gould elaborated. “I’m not a businessman, but The Establishment really wanted to work with me. But no one wanted to work with Godard––he was much too dangerous.” Gould says he and Godard were walking down the street in New York when the actor sought assurance that the god of the French New Wave wouldn’t lay his rep to waste. “I said, ‘If I’m going to produce for you, you have to show up for me.’” According to Gould, Godard responded, “‘If my wife and son ask me to tell them I love them, I tell them to go fuck themselves.’ And I said, ‘That’s very strong, Jean-Luc, but I’m not there yet.” Arkin didn’t prove to be a more commercial choice. Initial critical reaction was mixed, and audiences didn’t get it. Though surely intended in its era as an over-the-top comic satire on the city in which it’s set––one which looked awfully prescient when Manhattan devolved, at the end of the decade, into virtual hell on earth––Little Murders plays today almost like science fiction. The idea of a Manhattan turned toxic by senseless crime and pervasive insanity is unfathomable in the age of the truly square post-Giuliani Times Square and a downtown that’s seemingly been redesigned to complement Dean and Deluca. Which is not to say that Little Murders has lost a bit of its incisive social commentary over the years––it all still works in the realm of metaphor. Certainly, Alfred’s inability to fight or feel feels familiar in a modern New York that ticks on fashionable apathy. But today Little Murders feels less like a film about a single city than a diagnosis of global angst: in a world that truly seems to be crumbling under the weight of assorted wars and the guzzling of natural resources, with back-up plans barely in sight, nihilism sometimes seems like the only safe philosophical armor for an uncertain future. For Gould, Little Murders‘ lasting relevancy is without question, and the strongest parallels are environmental and political. “If the picture got made today, I think it would hold up, because of its real interest. We didn’t even talk about global warming or gasoline. I thought if the current president of the United States was available, he could play Alan Arkin’s part brilliantly.” When a member of the audience mentioned that things have changed quite a bit in nearly four decades, Gould shot back, “Nothing has changed, except that we’ve become more extreme. We’re out of control, and to have an administration as fucked up as it is, it’s like an Our Gang comedy!” The packed crowd cheered, essentially proving Gould’s point: after 37 years, Little Murders has finally found a choir to preach to. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/8/9/33803.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/9/2008 7:00:50 PM
Body: Elliot Gould said a few words Friday night before a BAM screening of Little Murders, the 1971 film based on Jules Feiffer’s play, which Gould starred in and produced for first-time feature director Alan Arkin. The event came towards the midpoint of a retrospective at the Brooklyn theater dedicated to Gould’s 70s-era peak, and the actor seemed humbled by the thought of so many snapshots of an era lined up for quick consumption. “It’s my life,” he said wistfully. Then, with a little wave of a hand and a vigorous shake of his head, he corrected himself: “Well, it’s all of our lives, isn’t it?” Gould noted that he’d “probably never” seen Little Murders “with a real crowd”–when the film was released in the States in February of 1971, Gould was in Sweden shooting The Touch for Ingmar Bergman, and thanks to its disappointing box office, it didn’t have much of a life for a while. Not that Gould took time out at the time to dwell on its failure. After the screening, Gould’s answers to questions from both the audience and moderator Bruce Bennett continually circled around a kind of “fear” the actor experienced at the peak of his career. After a 1970 TIME Magazine story in which he was anointed both “the urban Don Quixote” and “a star for an uptight age”, Gould worked constantly because he was afraid that if he stopped to catch his breath––or picked the wrong project and fell on his face––his allure would cool off and he wouldn’t be able to find a job. You can’t say he didn’t make the most of this workaholic bender. In the first half of the decade, Gould appeared in one minor masterpiece after another, including the three films he starred in for Robert Altman (M.A.S.H. has wrapped and The Long Goodbye has one more screening at BAM tonight; California Split plays next weekend). It was Gould’s appeal to the Hollywood establishment (born from his genuine rapport with audiences–that TIME story devoted paragraphs upon paragraphs to the ways in which viewers were “comforted” that Gould “seems so ordinary as that he seems so little like a star”) that got Little Murders made. Feiffer’s play, about the unlikely Upper Manhattan meet-terrifying and marriage of incurable optimist Patsy and unrepentant apathist Alfred, barely lasted a week in its initial Broadway run. After Arkin mounted a successful revival off-Broadway in 1969, Gould and producing partner Jack Brodsky bought the rights and tried to charm Jean-Luc Godard into directing Little Murders as his first American production. In his recent interview with Gould for the New York TImes, Dennis Lim said the relationship between Gould and Godard dissolved after the former sought a firm commitment and latter said something that “is not printable.” Last night, Gould elaborated. “I’m not a businessman, but The Establishment really wanted to work with me. But no one wanted to work with Godard––he was much too dangerous.” Gould says he and Godard were walking down the street in New York when the actor sought assurance that the god of the French New Wave wouldn’t lay his rep to waste. “I said, ‘If I’m going to produce for you, you have to show up for me.’” According to Gould, Godard responded, “‘If my wife and son ask me to tell them I love them, I tell them to go fuck themselves.’ And I said, ‘That’s very strong, Jean-Luc, but I’m not there yet.” Arkin didn’t prove to be a more commercial choice. Initial critical reaction was mixed, and audiences didn’t get it. Though surely intended in its era as an over-the-top comic satire on the city in which it’s set––one which looked awfully prescient when Manhattan devolved, at the end of the decade, into virtual hell on earth––Little Murders plays today almost like science fiction. The idea of a Manhattan turned toxic by senseless crime and pervasive insanity is unfathomable in the age of the truly square post-Giuliani Times Square and a downtown that’s seemingly been redesigned to complement Dean and Deluca. Which is not to say that Little Murders has lost a bit of its incisive social commentary over the years––it all still works in the realm of metaphor. Certainly, Alfred’s inability to fight or feel feels familiar in a modern New York that ticks on fashionable apathy. But today Little Murders feels less like a film about a single city than a diagnosis of global angst: in a world that truly seems to be crumbling under the weight of assorted wars and the guzzling of natural resources, with back-up plans barely in sight, nihilism sometimes seems like the only safe philosophical armor for an uncertain future. For Gould, Little Murders‘ lasting relevancy is without question, and the strongest parallels are environmental and political. “If the picture got made today, I think it would hold up, because of its real interest. We didn’t even talk about global warming or gasoline. I thought if the current president of the United States was available, he could play Alan Arkin’s part brilliantly.” When a member of the audience mentioned that things have changed quite a bit in nearly four decades, Gould shot back, “Nothing has changed, except that we’ve become more extreme. We’re out of control, and to have an administration as fucked up as it is, it’s like an Our Gang comedy!” The packed crowd cheered, essentially proving Gould’s point: after 37 years, Little Murders has finally found a choir to preach to. Originally posted on:SpoutBlog
]]>Sat, 09 Aug 2008 23:00:50 GMTSpoutBlogSpoutBlog on spout.com8/9/2008 7:00:50 PM Elliot Gould said a few words Friday night before a BAM screening of Little Murders, the 1971 film based on Jules Feiffer’s play, which Gould starred in and produced for first-time feature director Alan Arkin. The event came towards the midpoint of a retrospective at the Brooklyn theater dedicated to Gould’s 70s-era peak, and the actor seemed humbled by the thought of so many snapshots of an era lined up for quick consumption. “It’s my life,” he said wistfully. Then, with a little wave of a hand and a vigorous shake of his head, he corrected himself: “Well, it’s all of our lives, isn’t it?” Gould noted that he’d “probably never” seen Little Murders “with a real crowd”–when the film was released in the States in February of 1971, Gould was in Sweden shooting The Touch for Ingmar Bergman, and thanks to its disappointing box office, it didn’t have much of a life for a while. Not that Gould took time out at the time to dwell on its failure. After the screening, Gould’s answers to questions from both the audience and moderator Bruce Bennett continually circled around a kind of “fear” the actor experienced at the peak of his career. After a 1970 TIME Magazine story in which he was anointed both “the urban Don Quixote” and “a star for an uptight age”, Gould worked constantly because he was afraid that if he stopped to catch his breath––or picked the wrong project and fell on his face––his allure would cool off and he wouldn’t be able to find a job. You can’t say he didn’t make the most of this workaholic bender. In the first half of the decade, Gould appeared in one minor masterpiece after another, including the three films he starred in for Robert Altman (M.A.S.H. has wrapped and The Long Goodbye has one more screening at BAM tonight; California Split plays next weekend). It was Gould’s appeal to the Hollywood establishment (born from his genuine rapport with audiences–that TIME story devoted paragraphs upon paragraphs to the ways in which viewers were “comforted” that Gould “seems so ordinary as that he seems so little like a star”) that got Little Murders made. Feiffer’s play, about the unlikely Upper Manhattan meet-terrifying and marriage of incurable optimist Patsy and unrepentant apathist Alfred, barely lasted a week in its initial Broadway run. After Arkin mounted a successful revival off-Broadway in 1969, Gould and producing partner Jack Brodsky bought the rights and tried to charm Jean-Luc Godard into directing Little Murders as his first American production. In his recent interview with Gould for the New York TImes, Dennis Lim said the relationship between Gould and Godard dissolved after the former sought a firm commitment and latter said something that “is not printable.” Last night, Gould elaborated. “I’m not a businessman, but The Establishment really wanted to work with me. But no one wanted to work with Godard––he was much too dangerous.” Gould says he and Godard were walking down the street in New York when the actor sought assurance that the god of the French New Wave wouldn’t lay his rep to waste. “I said, ‘If I’m going to produce for you, you have to show up for me.’” According to Gould, Godard responded, “‘If my wife and son ask me to tell them I love them, I tell them to go fuck themselves.’ And I said, ‘That’s very strong, Jean-Luc, but I’m not there yet.” Arkin didn’t prove to be a more commercial choice. Initial critical reaction was mixed, and audiences didn’t get it. Though surely intended in its era as an over-the-top comic satire on the city in which it’s set––one which looked awfully prescient when Manhattan devolved, at the end of the decade, into virtual hell on earth––Little Murders plays today almost like science fiction. The idea of a Manhattan turned toxic by senseless crime and pervasive insanity is unfathomable in the age of the truly square post-Giuliani Times Square and a downtown that’s seemingly been redesigned to complement Dean and Deluca. Which is not to say that Little Murders has lost a bit of its incisive social commentary over the years––it all still works in the realm of metaphor. Certainly, Alfred’s inability to fight or feel feels familiar in a modern New York that ticks on fashionable apathy. But today Little Murders feels less like a film about a single city than a diagnosis of global angst: in a world that truly seems to be crumbling under the weight of assorted wars and the guzzling of natural resources, with back-up plans barely in sight, nihilism sometimes seems like the only safe philosophical armor for an uncertain future. For Gould, Little Murders‘ lasting relevancy is without question, and the strongest parallels are environmental and political. “If the picture got made today, I think it would hold up, because of its real interest. We didn’t even talk about global warming or gasoline. I thought if the current president of the United States was available, he could play Alan Arkin’s part brilliantly.” When a member of the audience mentioned that things have changed quite a bit in nearly four decades, Gould shot back, “Nothing has changed, except that we’ve become more extreme. We’re out of control, and to have an administration as fucked up as it is, it’s like an Our Gang comedy!” The packed crowd cheered, essentially proving Gould’s point: after 37 years, Little Murders has finally found a choir to preach to. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/8/8/33768.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 8/8/2008 5:00:59 PM
Body: “There’s been a bit of talk lately about Manic Pixie Dream Girls,” writes Matt Prigge. “It got me thinking about a more interesting and reflexive variation on this character: the kook.” Examples include Annie Hall, “most Eric Rohmer women,” and Marcia Rudd’s character from Little Murders, which screens tonight at BAM in Brooklyn with a Q & A with Elliott Gould to follow. Laure Parsons has launched Infinicine, a new site with news coverage, discussion boards and other resourced dedicated to “information and dialog about the brave new world of digital distribution.” At the FILMMAKER Blog, Scott Macaulay points to Roger Ebert’s three-and-a-half star review of Frownland, which opens in Chicago today. Ebert acknowledges that the film is a tricky sell––”Now why would you want to see this film? Most readers of this review probably wouldn’t. I’m writing for the rest of us”––but ultimately calls the film a “rebirth of the need for expression that inspired the American independent movement in the first place.” Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 08 Aug 2008 21:00:59 GMTKarinaKarina on SpoutBlog8/8/2008 5:00:59 PM “There’s been a bit of talk lately about Manic Pixie Dream Girls,” writes Matt Prigge. “It got me thinking about a more interesting and reflexive variation on this character: the kook.” Examples include Annie Hall, “most Eric Rohmer women,” and Marcia Rudd’s character from Little Murders, which screens tonight at BAM in Brooklyn with a Q & A with Elliott Gould to follow. Laure Parsons has launched Infinicine, a new site with news coverage, discussion boards and other resourced dedicated to “information and dialog about the brave new world of digital distribution.” At the FILMMAKER Blog, Scott Macaulay points to Roger Ebert’s three-and-a-half star review of Frownland, which opens in Chicago today. Ebert acknowledges that the film is a tricky sell––”Now why would you want to see this film? Most readers of this review probably wouldn’t. I’m writing for the rest of us”––but ultimately calls the film a “rebirth of the need for expression that inspired the American independent movement in the first place.” Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/8/8/33767.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/8/2008 5:00:49 PM
Body: “There’s been a bit of talk lately about Manic Pixie Dream Girls,” writes Matt Prigge. “It got me thinking about a more interesting and reflexive variation on this character: the kook.” Examples include Annie Hall, “most Eric Rohmer women,” and Marcia Rudd’s character from Little Murders, which screens tonight at BAM in Brooklyn with a Q & A with Elliott Gould to follow. Laure Parsons has launched Infinicine, a new site with news coverage, discussion boards and other resourced dedicated to “information and dialog about the brave new world of digital distribution.” At the FILMMAKER Blog, Scott Macaulay points to Roger Ebert’s three-and-a-half star review of Frownland, which opens in Chicago today. Ebert acknowledges that the film is a tricky sell––”Now why would you want to see this film? Most readers of this review probably wouldn’t. I’m writing for the rest of us”––but ultimately calls the film a “rebirth of the need for expression that inspired the American independent movement in the first place.” Originally posted on:SpoutBlog
]]>Fri, 08 Aug 2008 21:00:49 GMTSpoutBlogSpoutBlog on spout.com8/8/2008 5:00:49 PM “There’s been a bit of talk lately about Manic Pixie Dream Girls,” writes Matt Prigge. “It got me thinking about a more interesting and reflexive variation on this character: the kook.” Examples include Annie Hall, “most Eric Rohmer women,” and Marcia Rudd’s character from Little Murders, which screens tonight at BAM in Brooklyn with a Q & A with Elliott Gould to follow. Laure Parsons has launched Infinicine, a new site with news coverage, discussion boards and other resourced dedicated to “information and dialog about the brave new world of digital distribution.” At the FILMMAKER Blog, Scott Macaulay points to Roger Ebert’s three-and-a-half star review of Frownland, which opens in Chicago today. Ebert acknowledges that the film is a tricky sell––”Now why would you want to see this film? Most readers of this review probably wouldn’t. I’m writing for the rest of us”––but ultimately calls the film a “rebirth of the need for expression that inspired the American independent movement in the first place.” Originally posted on:SpoutBlog http://www.spout.com/blogs/proteus/archive/2007/10/7/20469.aspx Post By: Proteus
Post To: Proteus Blog
Post Date: 10/7/2007 11:01:39 AM
Body: I loved this from start to finish, but it went in some surprising places. A black comedy masterpiece, and a series of stunning performances. Donald Sutherland, in particular, is amazing in a brief but hilarious role. If Harold & Maude hadn't been released later the same year, this would be the classic black comedy of 1971.
]]>Sun, 07 Oct 2007 15:01:39 GMTProteusProteus Blog10/7/2007 11:01:39 AMI loved this from start to finish, but it went in some surprising places. A black comedy masterpiece, and a series of stunning performances. Donald Sutherland, in particular, is amazing in a brief but hilarious role. If Harold &amp; Maude hadn&#39;t been released later the same year, this would be the classic black comedy of 1971. http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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]]>Thu, 03 Dec 2009 20:09:21 GMT62882261138Tag http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
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]]>Fri, 04 Dec 2009 02:57:25 GMT8748157830Tag http://www.spout.com/members/0/tags/marriage/MemberTagFilms.aspxmarriage
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Number of people who tagged: 67

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]]>Fri, 04 Dec 2009 02:57:25 GMT6733259Tag http://www.spout.com/members/0/tags/rescue/MemberTagFilms.aspxrescue
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]]>Thu, 11 Jun 2009 13:02:15 GMT3711Tag