list http://www.spout.com/ Recent community activity around Masculin/Feminin 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/Masculin_Feminin/22027/default.aspx Title: Masculin/Feminin
Year: 1966
Director: Jean-Luc Godard
Plot: Masculine Feminine was Jean-Luc Godard's first (but not his last) foray into the burgeoning "Children of the Sixties" generation -- or, as Godard described it, "the children of Marx and Coca-Cola." Impressionable teenager Paul (Jean-Pierre Léaud) tries to make sense of the world by working as an interviewer for a research firm. Meanwhile, Paul cohabits with aspiring singer Madeleine (Chantal Goya), with two additional young ladies joining the nocturnal festivities. Paul jumps or is pushed from a window, leaving a pregnant Madeleine to move on to the next aimless youth she meets. While the nominal hero has failed to find fulfillment in personal relations, another male protagonist (Michel Debord), a political activist, is luckier -- an indication that the director favored revolutionary politics over simple emotionalism at this point in his career. Though Godard's free-form style is usually opposed to linear storytelling, Masculine Feminine has solid literary roots, having been inspired by two Guy de Maupassant stories. ~ Hal Erickson, All Movie Guide
Times Tagged: 5
Number of Lists: 15
Number of blog posts: 8
SpoutRating: 3
]]>Wed, 24 Jun 2009 16:14:29 GMTMasculin/Feminin1966Jean-Luc GodardMasculine Feminine was <a href="/players/P____91804/default.aspx" style='text-decoration:underline'>Jean-Luc Godard</a>'s first (but not his last) foray into the burgeoning "Children of the Sixties" generation -- or, as Godard described it, "the children of Marx and Coca-Cola." Impressionable teenager Paul (<a href="/players/P____44069/default.aspx" style='text-decoration:underline'>Jean-Pierre Léaud</a>) tries to make sense of the world by working as an interviewer for a research firm. Meanwhile, Paul cohabits with aspiring singer Madeleine (Chantal Goya), with two additional young ladies joining the nocturnal festivities. Paul jumps or is pushed from a window, leaving a pregnant Madeleine to move on to the next aimless youth she meets. While the nominal hero has failed to find fulfillment in personal relations, another male protagonist (Michel Debord), a political activist, is luckier -- an indication that the director favored revolutionary politics over simple emotionalism at this point in his career. Though Godard's free-form style is usually opposed to linear storytelling, Masculine Feminine has solid literary roots, having been inspired by two Guy de Maupassant stories. ~ Hal Erickson, All Movie Guide5Slightly Tagged (1-5)1583http://www.spout.com/ProductImages/t67293vt02s.jpghttp://www.spout.com/films/Masculin_Feminin/22027/default.aspxFilm http://www.spout.com/blogs/karina/archive/2009/1/7/39215.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/7/2009 4:01:52 PM
Body: Jordan Galland, director of Rosencrantz and Guildenstern Are Undead, truly has every press hook a Slamdance filmmaker could ask for, from the ample involvement of celebrity children (Jake “Son of Dustin” Hoffman stars, Bijou Phillips has a cameo and Sean Lennon composed the score), to, of course, the fantastic title recalling mid-century “poster first, script later” schlock horror (which, according to Wikipedia, Galland came up with at age 14 — yet another angle!). The director also has the foolhardy balls (or is it savvy?) to admit that his film was influenced by both Masculin Feminin and Hudson Hawk, which makes it sound pretty much irresistable. Undead premieres on Monday, January 19 at Slamdance; its trailer is above and Galland answers the 4 Questions We Ask Everyone after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like The Hunger meets Waiting for Guffman. Or…. it’s like Fright Night meets Manhattan, meets Shakespeare in Love in a dark alley with a twist of The Da Vinci Code, with stretch limos with Mickey Blue Eyes-type mobsters and bumbling detectives, a la Pink Panther. I worked with an absolutely fantastic ensemble, which includes Jake Hoffman, Devon Aoki, John Ventimilgia, Kris Lemche, Waris Ahluwalia, Ralph Macchio, Jeremy Sisto and a wonderful cameo from Bijou Phillips. The crew was also a complete godsend from the cinematographer Chris Lavasseur, the costume designer Cameron Folan and the first assistant director, Chris Carol. We shot this film on the RED camera, which was really convenient and inexpensive. This film is the second feature film in New York City to use this RED camera technology. I chose to make this film for many reasons, but the main reason was that I didn’t want to work in just one genre. I was able to make a film that allowed me to play with ideas from tons of movies I love, from Dr. Strangelove, to What’s Up Doc, Hudson Hawk, Goodfellas, Shakespeare in Love, Waiting for Guffman, The Hunger, Legend, True Romance, Masculin Feminin. It’s a smorgasbord, as they say. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. Although I still compose music as my day job, I used to have rock band called dopo yume which evolved into a rock band called Domino. Some interesting things have happened while we were touring such as opening for Lilly Allen, Rufus Wainwright, Maroon 5, Phantom Planet Ween, Rooney, Sean Lennon and Cibo Matto. Once, Fischerspooner hired my band to be their backing band so we flew to Sao Paulo, Brazil, where we played in front of forty thousand people. It would have been almost picturesque (as far rock moments go on stage) except Casey Spooner made my band where blue jump suits and head bands and wrist bands, and I had the goofiest outfit of them all. Have you been to Sundance or Slamdance before? If so, tell us your best moment (or worst, which ever is funnier). I went to Slamdance last year as a visitor and was very surprised and impressed to see how central Slamdance was in terms of the Sundance world. Also, because Slamdance is centered around one location on Main Street (Treasure Mountain Inn) there was a real sense of “Indie Community” and I loved every film I saw there. My favorite movies (besides Frost, which was produced by my producers) were Circus Rosaire and Paranormal Activity. I’m a big skiing fan and never get to do it since I live in New York City, so that added a whole level of “communing with nature” to my Slamdance experience last year. I hope I have time to go skiing again. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? As an actor on my set once said when he was lying in a coffin during his death scene, “I hate courting this kind of negative energy.” My favorite double feature experience, and one that I would gladly repeat: Hot August Night, which premiered at the 2006 Film Forum in NYC; and Superfly and The Warriors, which were part of the New York Film Noir Festival. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 07 Jan 2009 21:01:52 GMTKarinaKarina on SpoutBlog1/7/2009 4:01:52 PM Jordan Galland, director of Rosencrantz and Guildenstern Are Undead, truly has every press hook a Slamdance filmmaker could ask for, from the ample involvement of celebrity children (Jake “Son of Dustin” Hoffman stars, Bijou Phillips has a cameo and Sean Lennon composed the score), to, of course, the fantastic title recalling mid-century “poster first, script later” schlock horror (which, according to Wikipedia, Galland came up with at age 14 — yet another angle!). The director also has the foolhardy balls (or is it savvy?) to admit that his film was influenced by both Masculin Feminin and Hudson Hawk, which makes it sound pretty much irresistable. Undead premieres on Monday, January 19 at Slamdance; its trailer is above and Galland answers the 4 Questions We Ask Everyone after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like The Hunger meets Waiting for Guffman. Or…. it’s like Fright Night meets Manhattan, meets Shakespeare in Love in a dark alley with a twist of The Da Vinci Code, with stretch limos with Mickey Blue Eyes-type mobsters and bumbling detectives, a la Pink Panther. I worked with an absolutely fantastic ensemble, which includes Jake Hoffman, Devon Aoki, John Ventimilgia, Kris Lemche, Waris Ahluwalia, Ralph Macchio, Jeremy Sisto and a wonderful cameo from Bijou Phillips. The crew was also a complete godsend from the cinematographer Chris Lavasseur, the costume designer Cameron Folan and the first assistant director, Chris Carol. We shot this film on the RED camera, which was really convenient and inexpensive. This film is the second feature film in New York City to use this RED camera technology. I chose to make this film for many reasons, but the main reason was that I didn’t want to work in just one genre. I was able to make a film that allowed me to play with ideas from tons of movies I love, from Dr. Strangelove, to What’s Up Doc, Hudson Hawk, Goodfellas, Shakespeare in Love, Waiting for Guffman, The Hunger, Legend, True Romance, Masculin Feminin. It’s a smorgasbord, as they say. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. Although I still compose music as my day job, I used to have rock band called dopo yume which evolved into a rock band called Domino. Some interesting things have happened while we were touring such as opening for Lilly Allen, Rufus Wainwright, Maroon 5, Phantom Planet Ween, Rooney, Sean Lennon and Cibo Matto. Once, Fischerspooner hired my band to be their backing band so we flew to Sao Paulo, Brazil, where we played in front of forty thousand people. It would have been almost picturesque (as far rock moments go on stage) except Casey Spooner made my band where blue jump suits and head bands and wrist bands, and I had the goofiest outfit of them all. Have you been to Sundance or Slamdance before? If so, tell us your best moment (or worst, which ever is funnier). I went to Slamdance last year as a visitor and was very surprised and impressed to see how central Slamdance was in terms of the Sundance world. Also, because Slamdance is centered around one location on Main Street (Treasure Mountain Inn) there was a real sense of “Indie Community” and I loved every film I saw there. My favorite movies (besides Frost, which was produced by my producers) were Circus Rosaire and Paranormal Activity. I’m a big skiing fan and never get to do it since I live in New York City, so that added a whole level of “communing with nature” to my Slamdance experience last year. I hope I have time to go skiing again. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? As an actor on my set once said when he was lying in a coffin during his death scene, “I hate courting this kind of negative energy.” My favorite double feature experience, and one that I would gladly repeat: Hot August Night, which premiered at the 2006 Film Forum in NYC; and Superfly and The Warriors, which were part of the New York Film Noir Festival. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/7/39213.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/7/2009 4:01:36 PM
Body: Jordan Galland, director of Rosencrantz and Guildenstern Are Undead, truly has every press hook a Slamdance filmmaker could ask for, from the ample involvement of celebrity children (Jake “Son of Dustin” Hoffman stars, Bijou Phillips has a cameo and Sean Lennon composed the score), to, of course, the fantastic title recalling mid-century “poster first, script later” schlock horror (which, according to Wikipedia, Galland came up with at age 14 — yet another angle!). The director also has the foolhardy balls (or is it savvy?) to admit that his film was influenced by both Masculin Feminin and Hudson Hawk, which makes it sound pretty much irresistable. Undead premieres on Monday, January 19 at Slamdance; its trailer is above and Galland answers the 4 Questions We Ask Everyone after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like The Hunger meets Waiting for Guffman. Or…. it’s like Fright Night meets Manhattan, meets Shakespeare in Love in a dark alley with a twist of The Da Vinci Code, with stretch limos with Mickey Blue Eyes-type mobsters and bumbling detectives, a la Pink Panther. I worked with an absolutely fantastic ensemble, which includes Jake Hoffman, Devon Aoki, John Ventimilgia, Kris Lemche, Waris Ahluwalia, Ralph Macchio, Jeremy Sisto and a wonderful cameo from Bijou Phillips. The crew was also a complete godsend from the cinematographer Chris Lavasseur, the costume designer Cameron Folan and the first assistant director, Chris Carol. We shot this film on the RED camera, which was really convenient and inexpensive. This film is the second feature film in New York City to use this RED camera technology. I chose to make this film for many reasons, but the main reason was that I didn’t want to work in just one genre. I was able to make a film that allowed me to play with ideas from tons of movies I love, from Dr. Strangelove, to What’s Up Doc, Hudson Hawk, Goodfellas, Shakespeare in Love, Waiting for Guffman, The Hunger, Legend, True Romance, Masculin Feminin. It’s a smorgasbord, as they say. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. Although I still compose music as my day job, I used to have rock band called dopo yume which evolved into a rock band called Domino. Some interesting things have happened while we were touring such as opening for Lilly Allen, Rufus Wainwright, Maroon 5, Phantom Planet Ween, Rooney, Sean Lennon and Cibo Matto. Once, Fischerspooner hired my band to be their backing band so we flew to Sao Paulo, Brazil, where we played in front of forty thousand people. It would have been almost picturesque (as far rock moments go on stage) except Casey Spooner made my band where blue jump suits and head bands and wrist bands, and I had the goofiest outfit of them all. Have you been to Sundance or Slamdance before? If so, tell us your best moment (or worst, which ever is funnier). I went to Slamdance last year as a visitor and was very surprised and impressed to see how central Slamdance was in terms of the Sundance world. Also, because Slamdance is centered around one location on Main Street (Treasure Mountain Inn) there was a real sense of “Indie Community” and I loved every film I saw there. My favorite movies (besides Frost, which was produced by my producers) were Circus Rosaire and Paranormal Activity. I’m a big skiing fan and never get to do it since I live in New York City, so that added a whole level of “communing with nature” to my Slamdance experience last year. I hope I have time to go skiing again. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? As an actor on my set once said when he was lying in a coffin during his death scene, “I hate courting this kind of negative energy.” My favorite double feature experience, and one that I would gladly repeat: Hot August Night, which premiered at the 2006 Film Forum in NYC; and Superfly and The Warriors, which were part of the New York Film Noir Festival. Originally posted on:SpoutBlog
]]>Wed, 07 Jan 2009 21:01:36 GMTSpoutBlogSpoutBlog on spout.com1/7/2009 4:01:36 PM Jordan Galland, director of Rosencrantz and Guildenstern Are Undead, truly has every press hook a Slamdance filmmaker could ask for, from the ample involvement of celebrity children (Jake “Son of Dustin” Hoffman stars, Bijou Phillips has a cameo and Sean Lennon composed the score), to, of course, the fantastic title recalling mid-century “poster first, script later” schlock horror (which, according to Wikipedia, Galland came up with at age 14 — yet another angle!). The director also has the foolhardy balls (or is it savvy?) to admit that his film was influenced by both Masculin Feminin and Hudson Hawk, which makes it sound pretty much irresistable. Undead premieres on Monday, January 19 at Slamdance; its trailer is above and Galland answers the 4 Questions We Ask Everyone after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. It’s like The Hunger meets Waiting for Guffman. Or…. it’s like Fright Night meets Manhattan, meets Shakespeare in Love in a dark alley with a twist of The Da Vinci Code, with stretch limos with Mickey Blue Eyes-type mobsters and bumbling detectives, a la Pink Panther. I worked with an absolutely fantastic ensemble, which includes Jake Hoffman, Devon Aoki, John Ventimilgia, Kris Lemche, Waris Ahluwalia, Ralph Macchio, Jeremy Sisto and a wonderful cameo from Bijou Phillips. The crew was also a complete godsend from the cinematographer Chris Lavasseur, the costume designer Cameron Folan and the first assistant director, Chris Carol. We shot this film on the RED camera, which was really convenient and inexpensive. This film is the second feature film in New York City to use this RED camera technology. I chose to make this film for many reasons, but the main reason was that I didn’t want to work in just one genre. I was able to make a film that allowed me to play with ideas from tons of movies I love, from Dr. Strangelove, to What’s Up Doc, Hudson Hawk, Goodfellas, Shakespeare in Love, Waiting for Guffman, The Hunger, Legend, True Romance, Masculin Feminin. It’s a smorgasbord, as they say. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. Although I still compose music as my day job, I used to have rock band called dopo yume which evolved into a rock band called Domino. Some interesting things have happened while we were touring such as opening for Lilly Allen, Rufus Wainwright, Maroon 5, Phantom Planet Ween, Rooney, Sean Lennon and Cibo Matto. Once, Fischerspooner hired my band to be their backing band so we flew to Sao Paulo, Brazil, where we played in front of forty thousand people. It would have been almost picturesque (as far rock moments go on stage) except Casey Spooner made my band where blue jump suits and head bands and wrist bands, and I had the goofiest outfit of them all. Have you been to Sundance or Slamdance before? If so, tell us your best moment (or worst, which ever is funnier). I went to Slamdance last year as a visitor and was very surprised and impressed to see how central Slamdance was in terms of the Sundance world. Also, because Slamdance is centered around one location on Main Street (Treasure Mountain Inn) there was a real sense of “Indie Community” and I loved every film I saw there. My favorite movies (besides Frost, which was produced by my producers) were Circus Rosaire and Paranormal Activity. I’m a big skiing fan and never get to do it since I live in New York City, so that added a whole level of “communing with nature” to my Slamdance experience last year. I hope I have time to go skiing again. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? As an actor on my set once said when he was lying in a coffin during his death scene, “I hate courting this kind of negative energy.” My favorite double feature experience, and one that I would gladly repeat: Hot August Night, which premiered at the 2006 Film Forum in NYC; and Superfly and The Warriors, which were part of the New York Film Noir Festival. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/30/34564.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/30/2008 8:00:26 PM
Body: Jeff Goldblum is at Telluride to promote his new film, Adam Resurrected, directed by Paul Schrader. The film follows the story of a Holocaust survivor who also happens to be a clown. Committed to an asylum after the war, he becomes a ring leader of sorts. On the opening day of the festival Goldblum was graciously hugging young fans and striking odd poses for snap-shots. We got a chance to ask him about his media intake, which includes a substantial amount homework from Schrader. Spout: What movies have you seen and enjoyed lately? Jeff Goldbloom: I’ve gone to the movies theaters recently and saw two movies I really enjoyed. The Woody Allen movie, Vicky Cristina Barcelona, I had a very very good time at that, loved that. Then I saw this documentary called Man on Wire. It’s really, really good, I enjoyed that to no end. Spout: Have you been watching anything lately on television that has compelled you? Goldbloom: The Democratic Convention. Spout: Yes, I see your Obama t-shirt there, that was pretty good stuff. What about on the internet, in terms of reading or watching any video online? Goldbloom: Hhhmm, haven’t seen much of that recently, that I can say. Spout: If you were on a desert island, and you had five pieces of media, they could be books, they could even be websites, they could be movies, to entertain you until your death, and you are all alone, what would you bring with you? Goldbloom: Oh God, very difficult. I’m reading now Talks With Ramana Maharshi, I guess I’d bring that. I like… let me see… let me see… oooooh… oooooh… Spout: What about a movie, a favorite all-time film that you will never get sick of? Goldbloom: How about Rosemary’s Baby, or Being There. I like those movies Paul Schrader suggested I see before we made Adam Resurrected: Rules of the Game, Tokyo Story, l’Eclisse by Antonioni, Masculin Féminin by Godard, Vertigo, his favorite Hitchcock, Ali: Fear Eats the Soul… Spout: That is a great movie, we (FilmCouch) discovered that about a year ago, I don’t know how Paul found it, but it’s incredible. Goldbloom: Yeah, it’s really something. Seven Men from Now, Budd Boetticher, he puts that on his recommended list. Spout: That’s a great list, thanks for your time. Originally posted on:SpoutBlog
]]>Sun, 31 Aug 2008 00:00:26 GMTSpoutBlogSpoutBlog on spout.com8/30/2008 8:00:26 PM Jeff Goldblum is at Telluride to promote his new film, Adam Resurrected, directed by Paul Schrader. The film follows the story of a Holocaust survivor who also happens to be a clown. Committed to an asylum after the war, he becomes a ring leader of sorts. On the opening day of the festival Goldblum was graciously hugging young fans and striking odd poses for snap-shots. We got a chance to ask him about his media intake, which includes a substantial amount homework from Schrader. Spout: What movies have you seen and enjoyed lately? Jeff Goldbloom: I’ve gone to the movies theaters recently and saw two movies I really enjoyed. The Woody Allen movie, Vicky Cristina Barcelona, I had a very very good time at that, loved that. Then I saw this documentary called Man on Wire. It’s really, really good, I enjoyed that to no end. Spout: Have you been watching anything lately on television that has compelled you? Goldbloom: The Democratic Convention. Spout: Yes, I see your Obama t-shirt there, that was pretty good stuff. What about on the internet, in terms of reading or watching any video online? Goldbloom: Hhhmm, haven’t seen much of that recently, that I can say. Spout: If you were on a desert island, and you had five pieces of media, they could be books, they could even be websites, they could be movies, to entertain you until your death, and you are all alone, what would you bring with you? Goldbloom: Oh God, very difficult. I’m reading now Talks With Ramana Maharshi, I guess I’d bring that. I like… let me see… let me see… oooooh… oooooh… Spout: What about a movie, a favorite all-time film that you will never get sick of? Goldbloom: How about Rosemary’s Baby, or Being There. I like those movies Paul Schrader suggested I see before we made Adam Resurrected: Rules of the Game, Tokyo Story, l’Eclisse by Antonioni, Masculin Féminin by Godard, Vertigo, his favorite Hitchcock, Ali: Fear Eats the Soul… Spout: That is a great movie, we (FilmCouch) discovered that about a year ago, I don’t know how Paul found it, but it’s incredible. Goldbloom: Yeah, it’s really something. Seven Men from Now, Budd Boetticher, he puts that on his recommended list. Spout: That’s a great list, thanks for your time. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/3/27/26663.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/27/2008 5:00:28 PM
Body: This morning I was watching Billy Wilder’s One, Two, Three (see, readers, I do know movies before 1990), and it made me wonder if Coca-Cola is the most cinematic commercial product in the history of film. Not the most prominent in film, necessarily (in terms of either direct product placement or more casual indirect appearance,) but at least the most significant to film. After all, Coca-Cola did own a movie studio (Columbia Pictures) for the greater part of a decade (the 1980s). In addition to One, Two, Three, which is about a Coca-Cola executive in West Berlin, the soft drink figures specifically in and fundamentally to the plots of The Gods Must Be Crazy, Good Bye Lenin! and, obviously, The Coca-Cola Kid. But primarily, such direct incorporations of the brand are more about their connection to the U.S. and capitalism than they are to the actual product of soda. Even when Superman throws a bad guy at a giant Coca-Cola billboard in Superman II, the brand comes with a connotation of Americanism that overshadows any intent to market a beverage. And certainly the title in Godard’s Masculin, Feminin that says “The Children of Marx and Coca-Cola” means Coca-Cola in its non-product definition of being a metaphor for capitalist America. And is the joke in Dr. Strangelove (in the video above) that the head of Coca-Cola is analogous to the President of the United States? (more…) Originally posted on:SpoutBlog
]]>Thu, 27 Mar 2008 21:00:28 GMTSpoutBlogSpoutBlog on spout.com3/27/2008 5:00:28 PM This morning I was watching Billy Wilder’s One, Two, Three (see, readers, I do know movies before 1990), and it made me wonder if Coca-Cola is the most cinematic commercial product in the history of film. Not the most prominent in film, necessarily (in terms of either direct product placement or more casual indirect appearance,) but at least the most significant to film. After all, Coca-Cola did own a movie studio (Columbia Pictures) for the greater part of a decade (the 1980s). In addition to One, Two, Three, which is about a Coca-Cola executive in West Berlin, the soft drink figures specifically in and fundamentally to the plots of The Gods Must Be Crazy, Good Bye Lenin! and, obviously, The Coca-Cola Kid. But primarily, such direct incorporations of the brand are more about their connection to the U.S. and capitalism than they are to the actual product of soda. Even when Superman throws a bad guy at a giant Coca-Cola billboard in Superman II, the brand comes with a connotation of Americanism that overshadows any intent to market a beverage. And certainly the title in Godard’s Masculin, Feminin that says “The Children of Marx and Coca-Cola” means Coca-Cola in its non-product definition of being a metaphor for capitalist America. And is the joke in Dr. Strangelove (in the video above) that the head of Coca-Cola is analogous to the President of the United States? (more…) Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2007/11/1/21346.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/1/2007 4:01:41 PM
Body: Lady Wakasa makes a strong case in defense of Lust, Caution. “It’s true that there are elements in the story that won’t be clear to some Western audiences…There are universalities that can be picked up: about the effects of environment and upbringing, about the nature of love, about what in relationships is and isn’t an act, how war is hell with a twist. But these universalities are filtered through a Chinese lens. As such, I think it’s up to the Westerners to go the extra mile and fill in blanks they find. The shoe on the other foot, to a certain degree.” The Shamus thought Contempt was “about nothing more than the pneumatic perfection of Brigitte Bardot’s ass,” but a later Godard film went over much better. “Masculin-Feminin strikes me as a Warhol-esque montage of the ’60s as we wanted them to truly be, with more going on under the surface than we might want to admit.” A holdover from the heady days immediately following Dumbledore’s outing … you know, last week: Joe Leydon writes that he’s “occasionally had students ask me — earnestly, not snickeringly — if certain movie characters are intended to be interpreted as gay…The two names that pop up most often during these “Is he or isn’t he?” queries: Jedediah Leland (Joseph Cotten) of Citizen Kane and Cosmo Brown (Donald O’Connor) of Singin’ in the Rain.” The Flaming Lips sent 1000 skeletons on parade in Oklahoma City. Scott Solary links to the video evidence. For the record, I would like to note that I recorded my segment of this week’s episode of Film Couch, about actresses who have played Joan of Arc, way back on Tuesday. At the time, I had no idea Jeff Wells would use multiple Saint Joan references to mock Tom O’Neill’s unflappable faith that Sweeney Todd has a chance in hell of winning multiple Oscars. Originally posted on:SpoutBlog
]]>Thu, 01 Nov 2007 20:01:41 GMTSpoutBlogSpoutBlog on spout.com11/1/2007 4:01:41 PM Lady Wakasa makes a strong case in defense of Lust, Caution. “It’s true that there are elements in the story that won’t be clear to some Western audiences…There are universalities that can be picked up: about the effects of environment and upbringing, about the nature of love, about what in relationships is and isn’t an act, how war is hell with a twist. But these universalities are filtered through a Chinese lens. As such, I think it’s up to the Westerners to go the extra mile and fill in blanks they find. The shoe on the other foot, to a certain degree.” The Shamus thought Contempt was “about nothing more than the pneumatic perfection of Brigitte Bardot’s ass,” but a later Godard film went over much better. “Masculin-Feminin strikes me as a Warhol-esque montage of the ’60s as we wanted them to truly be, with more going on under the surface than we might want to admit.” A holdover from the heady days immediately following Dumbledore’s outing … you know, last week: Joe Leydon writes that he’s “occasionally had students ask me — earnestly, not snickeringly — if certain movie characters are intended to be interpreted as gay…The two names that pop up most often during these “Is he or isn’t he?” queries: Jedediah Leland (Joseph Cotten) of Citizen Kane and Cosmo Brown (Donald O’Connor) of Singin’ in the Rain.” The Flaming Lips sent 1000 skeletons on parade in Oklahoma City. Scott Solary links to the video evidence. For the record, I would like to note that I recorded my segment of this week’s episode of Film Couch, about actresses who have played Joan of Arc, way back on Tuesday. At the time, I had no idea Jeff Wells would use multiple Saint Joan references to mock Tom O’Neill’s unflappable faith that Sweeney Todd has a chance in hell of winning multiple Oscars. Originally posted on:SpoutBlog http://www.spout.com/blogs/sarcastig/archive/2007/7/13/13874.aspx Post By: sarcastig
Post To: As cool as a Fruitstand
Post Date: 7/13/2007 4:00:33 PM
Body: This is certainly a milestone in my cinematic education: my very first Godard. I checked. In my defence, his films are not easy to get a hold of, and they're not exactly the kind of films often shown on Dutch television. So when I saw that Masculin Feminin was on sale for a mere ten euros, I decided to ignore my resolution not to buy any more DVD's until I'd seen all those I already have, and gave myself a holiday present. (actually, two: they had Drugstore Cowboy for 6 euro. Who could resist?)All this, of course, to build up anticipation for the crucial question: what did I think?Aside from how refreshingly bizarre and unpredictable I found it, I'm not quite sure yet. There's simply too much to it, I think, to absorb in just one sitting, and I mean that as a good thing. It's a portrait of an age and of a generation, but I'm not sure what exactly it says about that age, that generation. There's affection in how Godard portrays his protagonist, Paul, but also some detachment, a certain sense of mockery too.I love how Godard frames his images. It's as if he sometimes felt he was being too precise, too preditable, and decided to just shift the image a little to the left or right, leaving someone's face cut in half, another oddly centered. I love the playing with sound too: phasing in, phasing out, fitting with the images or not at all.During the conversation Paul has with Mlle 19 ans, my father said the film was not that much different from the third one we saw yesterday, and I bristled, because to me, it couldn't have been more different. Ego-documents, after all, are made by people who think their own lives are the most fascinating thing there is, and Masculin Feminin is all about putting this shameless self-display under scrutiny.Paul is also someone who -perhaps like most 21 year olds at some time or another- thinks his ideas are revolutionary, that he will re-invent the world single-handedly, that he alone is "pure" in his quest for the truth, for philosophy, for enlightenment. And in the interview scene, not only is it shown how terribly naive and silly Mlle 19 ans is, but also how silly and naive Paul is for feeling so superior to her.Maybe that's the overwhelming theme, in the end, the arrogance of youth. But this seems too harsh: Godard never passes judgment, he just observes his characters, shows them to us without any apparent slant, and lets us be the judge. "The children of Marx and Coca-Cola" is right: they are communist, idealistic, paint "Paix au Vietnam" on an American embassy car, but in the end, they drink the Kool-aid, or well, the Coke.I realise this post in incoherent, but in some sense it is appropriate with such an incoherent film: it's not just the jumping back and forth in both image in sound: a man gets shot, without apparent consequence, a man stabs himself and it's neither a joke nor something particularly meaningful: it just happens.The end could be tragic, but due to what came before, it just is, random and slightly sad, but not very significant.After watching this film, I finally understand where "Les Amants Réguliers", Philippe Garrel's 2005 film, comes from. It takes place only a few years after this one, and the plot is, in essence, similar, but the almost 40 years in between make a world of difference: the fun is gone. While Godard doesn't romanticise, you can tell he enjoys spending time with these people, and that he understands the fun inherent in being young. Garrel's film was a reaction to the nostalgia of Bertolluci's "the Dreamers", but he might have gone too far in the other direction: too disillusioned, perhaps, by how little has changed despite all the upheaval of the sixties.I have to admit I have a strange sort of longing for the summer of '68. Is it possible to be homesick for somewhere you've only heard of? Fourty years since the summer of love and it seems the world hasn't changed that much since the fifties, except for technological advances which seem almost superficial. But I suppose as long as there's 21-year-olds in the world, we should be alright. Originally posted on:As cool as a Fruitstand
]]>Fri, 13 Jul 2007 20:00:33 GMTsarcastigAs cool as a Fruitstand7/13/2007 4:00:33 PMThis is certainly a milestone in my cinematic education: my very first Godard. I checked. In my defence, his films are not easy to get a hold of, and they're not exactly the kind of films often shown on Dutch television. So when I saw that Masculin Feminin was on sale for a mere ten euros, I decided to ignore my resolution not to buy any more DVD's until I'd seen all those I already have, and gave myself a holiday present. (actually, two: they had Drugstore Cowboy for 6 euro. Who could resist?)All this, of course, to build up anticipation for the crucial question: what did I think?Aside from how refreshingly bizarre and unpredictable I found it, I'm not quite sure yet. There's simply too much to it, I think, to absorb in just one sitting, and I mean that as a good thing. It's a portrait of an age and of a generation, but I'm not sure what exactly it says about that age, that generation. There's affection in how Godard portrays his protagonist, Paul, but also some detachment, a certain sense of mockery too.I love how Godard frames his images. It's as if he sometimes felt he was being too precise, too preditable, and decided to just shift the image a little to the left or right, leaving someone's face cut in half, another oddly centered. I love the playing with sound too: phasing in, phasing out, fitting with the images or not at all.During the conversation Paul has with Mlle 19 ans, my father said the film was not that much different from the third one we saw yesterday, and I bristled, because to me, it couldn't have been more different. Ego-documents, after all, are made by people who think their own lives are the most fascinating thing there is, and Masculin Feminin is all about putting this shameless self-display under scrutiny.Paul is also someone who -perhaps like most 21 year olds at some time or another- thinks his ideas are revolutionary, that he will re-invent the world single-handedly, that he alone is "pure" in his quest for the truth, for philosophy, for enlightenment. And in the interview scene, not only is it shown how terribly naive and silly Mlle 19 ans is, but also how silly and naive Paul is for feeling so superior to her.Maybe that's the overwhelming theme, in the end, the arrogance of youth. But this seems too harsh: Godard never passes judgment, he just observes his characters, shows them to us without any apparent slant, and lets us be the judge. "The children of Marx and Coca-Cola" is right: they are communist, idealistic, paint "Paix au Vietnam" on an American embassy car, but in the end, they drink the Kool-aid, or well, the Coke.I realise this post in incoherent, but in some sense it is appropriate with such an incoherent film: it's not just the jumping back and forth in both image in sound: a man gets shot, without apparent consequence, a man stabs himself and it's neither a joke nor something particularly meaningful: it just happens.The end could be tragic, but due to what came before, it just is, random and slightly sad, but not very significant.After watching this film, I finally understand where "Les Amants Réguliers", Philippe Garrel's 2005 film, comes from. It takes place only a few years after this one, and the plot is, in essence, similar, but the almost 40 years in between make a world of difference: the fun is gone. While Godard doesn't romanticise, you can tell he enjoys spending time with these people, and that he understands the fun inherent in being young. Garrel's film was a reaction to the nostalgia of Bertolluci's "the Dreamers", but he might have gone too far in the other direction: too disillusioned, perhaps, by how little has changed despite all the upheaval of the sixties.I have to admit I have a strange sort of longing for the summer of '68. Is it possible to be homesick for somewhere you've only heard of? Fourty years since the summer of love and it seems the world hasn't changed that much since the fifties, except for technological advances which seem almost superficial. But I suppose as long as there's 21-year-olds in the world, we should be alright. Originally posted on:As cool as a Fruitstand http://www.spout.com/blogs/sarcastig/archive/2007/6/30/12716.aspx Post By: sarcastig
Post To: As cool as a Fruitstand
Post Date: 6/30/2007 7:01:28 PM
Body: This is certainly a milestone in my cinematic education: my very first Godard. I checked. In my defence, his films are not easy to get a hold of, and they're not exactly the kind of films often shown on Dutch television. So when I saw that Masculin Feminin was on sale for a mere ten euros, I decided to ignore my resolution not to buy any more DVD's until I'd seen all those I already have, and gave myself a holiday present. (actually, two: they had Drugstore Cowboy for 6 euro. Who could resist?)All this, of course, to build up anticipation for the crucial question: what did I think?Aside from how refreshingly bizarre and unpredictable I found it, I'm not quite sure yet. There's simply too much to it, I think, to absorb in just one sitting, and I mean that as a good thing. It's a portrait of an age and of a generation, but I'm not sure what exactly it says about that age, that generation. There's affection in how Godard portrays his protagonist, Paul, but also some detachment, a certain sense of mockery too.I love how Godard frames his images. It's as if he sometimes felt he was being too precise, too preditable, and decided to just shift the image a little to the left or right, leaving someone's face cut in half, another oddly centered. I love the playing with sound too: phasing in, phasing out, fitting with the images or not at all.During the conversation Paul has with Mlle 19 ans, my father said the film was not that much different from the third one we saw yesterday, and I bristled, because to me, it couldn't have been more different. Ego-documents, after all, are made by people who think their own lives are the most fascinating thing there is, and Masculin Feminin is all about putting this shameless self-display under scrutiny.Paul is also someone who -perhaps like most 21 year olds at some time or another- thinks his ideas are revolutionary, that he will re-invent the world single-handedly, that he alone is "pure" in his quest for the truth, for philosophy, for enlightenment. And in the interview scene, not only is it shown how terribly naive and silly Mlle 19 ans is, but also how silly and naive Paul is for feeling so superior to her.Maybe that's the overwhelming theme, in the end, the arrogance of youth. But this seems too harsh: Godard never passes judgment, he just observes his characters, shows them to us without any apparent slant, and lets us be the judge. "The children of Marx and Coca-Cola" is right: they are communist, idealistic, paint "Paix au Vietnam" on an American embassy car, but in the end, they drink the Kool-aid, or well, the Coke.I realise this post in incoherent, but in some sense it is appropriate with such an incoherent film: it's not just the jumping back and forth in both image in sound: a man gets shot, without apparent consequence, a man stabs himself and it's neither a joke nor something particularly meaningful: it just happens.The end could be tragic, but due to what came before, it just is, random and slightly sad, but not very significant.After watching this film, I finally understand where "Les Amants Réguliers", Philippe Garrel's 2005 film, comes from. It takes place only a few years after this one, and the plot is, in essence, similar, but the almost 40 years in between make a world of difference: the fun is gone. While Godard doesn't romanticise, you can tell he enjoys spending time with these people, and that he understands the fun inherent in being young. Garrel's film was a reaction to the nostalgia of Bertolluci's "the Dreamers", but he might have gone too far in the other direction: too disillusioned, perhaps, by how little has changed despite all the upheaval of the sixties.I have to admit I have a strange sort of longing for the summer of '68. Is it possible to be homesick for somewhere you've only heard of? Fourty years since the summer of love and it seems the world hasn't changed that much since the fifties, except for technological advances which seem almost superficial. But I suppose as long as there's 21-year-olds in the world, we should be alright. Originally posted on:As cool as a Fruitstand
]]>Sat, 30 Jun 2007 23:01:28 GMTsarcastigAs cool as a Fruitstand6/30/2007 7:01:28 PMThis is certainly a milestone in my cinematic education: my very first Godard. I checked. In my defence, his films are not easy to get a hold of, and they're not exactly the kind of films often shown on Dutch television. So when I saw that Masculin Feminin was on sale for a mere ten euros, I decided to ignore my resolution not to buy any more DVD's until I'd seen all those I already have, and gave myself a holiday present. (actually, two: they had Drugstore Cowboy for 6 euro. Who could resist?)All this, of course, to build up anticipation for the crucial question: what did I think?Aside from how refreshingly bizarre and unpredictable I found it, I'm not quite sure yet. There's simply too much to it, I think, to absorb in just one sitting, and I mean that as a good thing. It's a portrait of an age and of a generation, but I'm not sure what exactly it says about that age, that generation. There's affection in how Godard portrays his protagonist, Paul, but also some detachment, a certain sense of mockery too.I love how Godard frames his images. It's as if he sometimes felt he was being too precise, too preditable, and decided to just shift the image a little to the left or right, leaving someone's face cut in half, another oddly centered. I love the playing with sound too: phasing in, phasing out, fitting with the images or not at all.During the conversation Paul has with Mlle 19 ans, my father said the film was not that much different from the third one we saw yesterday, and I bristled, because to me, it couldn't have been more different. Ego-documents, after all, are made by people who think their own lives are the most fascinating thing there is, and Masculin Feminin is all about putting this shameless self-display under scrutiny.Paul is also someone who -perhaps like most 21 year olds at some time or another- thinks his ideas are revolutionary, that he will re-invent the world single-handedly, that he alone is "pure" in his quest for the truth, for philosophy, for enlightenment. And in the interview scene, not only is it shown how terribly naive and silly Mlle 19 ans is, but also how silly and naive Paul is for feeling so superior to her.Maybe that's the overwhelming theme, in the end, the arrogance of youth. But this seems too harsh: Godard never passes judgment, he just observes his characters, shows them to us without any apparent slant, and lets us be the judge. "The children of Marx and Coca-Cola" is right: they are communist, idealistic, paint "Paix au Vietnam" on an American embassy car, but in the end, they drink the Kool-aid, or well, the Coke.I realise this post in incoherent, but in some sense it is appropriate with such an incoherent film: it's not just the jumping back and forth in both image in sound: a man gets shot, without apparent consequence, a man stabs himself and it's neither a joke nor something particularly meaningful: it just happens.The end could be tragic, but due to what came before, it just is, random and slightly sad, but not very significant.After watching this film, I finally understand where "Les Amants Réguliers", Philippe Garrel's 2005 film, comes from. It takes place only a few years after this one, and the plot is, in essence, similar, but the almost 40 years in between make a world of difference: the fun is gone. While Godard doesn't romanticise, you can tell he enjoys spending time with these people, and that he understands the fun inherent in being young. Garrel's film was a reaction to the nostalgia of Bertolluci's "the Dreamers", but he might have gone too far in the other direction: too disillusioned, perhaps, by how little has changed despite all the upheaval of the sixties.I have to admit I have a strange sort of longing for the summer of '68. Is it possible to be homesick for somewhere you've only heard of? Fourty years since the summer of love and it seems the world hasn't changed that much since the fifties, except for technological advances which seem almost superficial. But I suppose as long as there's 21-year-olds in the world, we should be alright. Originally posted on:As cool as a Fruitstand http://www.spout.com/blogs/patches/archive/2006/7/13/1815.aspx Post By: patches
Post To: Litter Box blog
Post Date: 7/13/2006 2:58:00 PM
Body: I saw this for the first time at the Sixth Street Bridge park, my first Portable Cinema experience. It's a interesting slice of French youth in the 60's. I didn't fall asleep either.
]]>Thu, 13 Jul 2006 18:58:00 GMTpatchesLitter Box blog7/13/2006 2:58:00 PMI saw this for the first time at the Sixth Street Bridge park, my first Portable Cinema experience. It's a interesting slice of French youth in the 60's. I didn't fall asleep either. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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