list http://www.spout.com/ Recent community activity around Mr. Deeds Goes to Town 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/Mr_Deeds_Goes_to_Town/23425/default.aspx Title: Mr. Deeds Goes to Town
Year: 1936
Director: Frank Capra
Plot: When a car crash ends the life of a fabulously wealthy patron of the arts, the decedent's $20,000,000 fortune is inherited by one Longfellow Deeds (Gary Cooper) of Mandrake Falls, Vermont. Already a reasonably successful local businessman, Deeds doesn't really feel the need for anything extra in his life: he just wants enough time to practice his tuba and compose greeting-card doggerel. When Deeds is convinced to move to New York, hard-boiled newspaper reporter Babe Bennett (Jean Arthur) is dispatched to get the inside scoop on "The Cinderella Man." Babe's stories of Deeds' eccentricities and no-nonsense dealings with phonies and poseurs provide excellent headline fodder; but she begins to regret her actions, having fallen in love with the big lug. Deeds ultimately sets up a foundation to dispense his fortune to the country's neediest souls, on the proviso that the recipients do their best to get back on their feet, a turn of events that leads his lawyer John Cedar (Douglas Dumbrille) to try to have him declared insane. By the end of the sanity hearing, the judge (H. B. Walker) declares: "Not only are you sane, but you're the sanest man who ever walked in this courtroom!" A joyously unadulterated hunk of Frank Capra-corn, Mr. Deeds Goes to Town was adapted by Robert Riskin from Clarence Buddington Kelland's short story "Opera Hat." In addition to the pleasure of watching the country bumpkin outwit city slickers, the movie is a film buff's dream, boasting one of the best character-actor casts ever assembled for a single film. Nominated for four Academy Awards, the film won Frank Capra his second Oscar (out of three) as Best Director. ~ Hal Erickson, All Movie Guide
Times Tagged: 26
Number of Lists: 10
Number of blog posts: 8
Number of discussion threads: 1
SpoutRating: 3
]]>Thu, 21 May 2009 20:14:18 GMTMr. Deeds Goes to Town1936Frank CapraWhen a car crash ends the life of a fabulously wealthy patron of the arts, the decedent's $20,000,000 fortune is inherited by one Longfellow Deeds (<a href="/players/P____14817/default.aspx" style='text-decoration:underline'>Gary Cooper</a>) of Mandrake Falls, Vermont. Already a reasonably successful local businessman, Deeds doesn't really feel the need for anything extra in his life: he just wants enough time to practice his tuba and compose greeting-card doggerel. When Deeds is convinced to move to New York, hard-boiled newspaper reporter Babe Bennett (<a href="/players/P_____2459/default.aspx" style='text-decoration:underline'>Jean Arthur</a>) is dispatched to get the inside scoop on "The Cinderella Man." Babe's stories of Deeds' eccentricities and no-nonsense dealings with phonies and poseurs provide excellent headline fodder; but she begins to regret her actions, having fallen in love with the big lug. Deeds ultimately sets up a foundation to dispense his fortune to the country's neediest souls, on the proviso that the recipients do their best to get back on their feet, a turn of events that leads his lawyer John Cedar (<a href="/players/P____20492/default.aspx" style='text-decoration:underline'>Douglas Dumbrille</a>) to try to have him declared insane. By the end of the sanity hearing, the judge (H. B. Walker) declares: "Not only are you sane, but you're the sanest man who ever walked in this courtroom!" A joyously unadulterated hunk of Frank Capra-corn, Mr. Deeds Goes to Town was adapted by <a href="/players/P___108347/default.aspx" style='text-decoration:underline'>Robert Riskin</a> from Clarence Buddington Kelland's short story "Opera Hat." In addition to the pleasure of watching the country bumpkin outwit city slickers, the movie is a film buff's dream, boasting one of the best character-actor casts ever assembled for a single film. Nominated for four Academy Awards, the film won <a href="/players/P____84082/default.aspx" style='text-decoration:underline'>Frank Capra</a> his second Oscar (out of three) as Best Director. ~ Hal Erickson, All Movie Guide26Tag Target (>10)10813http://www.spout.com/ProductImages/t04975kmm7q.jpghttp://www.spout.com/films/Mr_Deeds_Goes_to_Town/23425/default.aspxFilm http://www.spout.com/blogs/risselada/archive/2009/5/21/42365.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 5/21/2009 2:06:53 PM
Body: This blog entry is part of my "movie year countdown round #2". Read more about that here. Mr. Deeds Goes to Town Mr. Frank Capra scores a hat trick with me! This is the third film of his I have seen, and I give all three a perfect score of 10 out of 10. No man can craft a better sappy, emotionally manipulative story that absolutely works for me! There's no mystery to these stories. With this film, It's a Wonderful Life, and Mr. Smith Goes to Washington, the stories are clearly about a pure man of innocence and morals in a world that seems to be all against him but reveals itself to be full of many people just as good as him. Why do Capra's movies of this sort work over other formulaic films that attempt the same kinds of sappy stories? Well on one side it's clearly excellence in all of the major aspects of solid movie making of this type. Fantastic writing, filming and editing, and perfect casting and acting, especially for the leads. On the other side, it must be just a kind of mysterious magic that Capra possesses. Some people just have the intuition for certain things, and for Capra it was presenting you with this kind of sappy story without making you feel guilty for feeling emotional. Well, that's the way it works for me at least. Rating: 10/10
]]>Thu, 21 May 2009 18:06:53 GMTRisseladaRisselada Blog5/21/2009 2:06:53 PMThis blog entry is part of my "movie year countdown round #2". Read more about that here. Mr. Deeds Goes to Town Mr. Frank Capra scores a hat trick with me! This is the third film of his I have seen, and I give all three a perfect score of 10 out of 10. No man can craft a better sappy, emotionally manipulative story that absolutely works for me! There's no mystery to these stories. With this film, It's a Wonderful Life, and Mr. Smith Goes to Washington, the stories are clearly about a pure man of innocence and morals in a world that seems to be all against him but reveals itself to be full of many people just as good as him. Why do Capra's movies of this sort work over other formulaic films that attempt the same kinds of sappy stories? Well on one side it's clearly excellence in all of the major aspects of solid movie making of this type. Fantastic writing, filming and editing, and perfect casting and acting, especially for the leads. On the other side, it must be just a kind of mysterious magic that Capra possesses. Some people just have the intuition for certain things, and for Capra it was presenting you with this kind of sappy story without making you feel guilty for feeling emotional. Well, that's the way it works for me at least. Rating: 10/10 http://www.spout.com/groups/Coming_Soon/Superheroes_and_Sex_in_the_City_new_DVDs_12_9/216/38087/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 12/8/2008 4:47:20 PM
Body: New DVDs on 12/9 -- Highlights The Dark Knight -- Watch trailer. We're giving away some Dark Knight DVDs, check it out. Hellboy II: The Golden Army -- Watch the trailer. I liked it a lot more than the first (and I liked that one!). When it comes to fun and surprises, I think the scene in the Troll Market surpasses the Mos Eisley cantina scene from Star Wars. I Am Legend (The Ultimate Collector's Edition, 3 Discs) -- Watch the trailer. The Resident Evil series 3-pack. Sex and the City (4 discs) Some Frank Capra classics are getting reissued by Sony pictures: It Happened One Night Mr. Deeds Goes to Town Mr. Smith Goes to Washington You Can't Take it With You
]]>Mon, 08 Dec 2008 21:47:20 GMTSkyPilotComing Soon12/8/2008 4:47:20 PMNew DVDs on 12/9 -- Highlights The Dark Knight -- Watch trailer. We're giving away some Dark Knight DVDs, check it out. Hellboy II: The Golden Army -- Watch the trailer. I liked it a lot more than the first (and I liked that one!). When it comes to fun and surprises, I think the scene in the Troll Market surpasses the Mos Eisley cantina scene from Star Wars. I Am Legend (The Ultimate Collector's Edition, 3 Discs) -- Watch the trailer. The Resident Evil series 3-pack. Sex and the City (4 discs) Some Frank Capra classics are getting reissued by Sony pictures: It Happened One Night Mr. Deeds Goes to Town Mr. Smith Goes to Washington You Can't Take it With You http://www.spout.com/blogs/spoutblog/archive/2008/11/19/37441.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/19/2008 1:01:04 PM
Body: Unemployment is about to get even worse now that Citigroup has announced it will cut 52,000 jobs early next year. And falsely reported news of a killing in Santa Clara, California (the shooter was fired, not laid off) only adds to the bleak atmosphere surrounding the already upsetting job market. But while desperate times may lead to desperate measures, it’s vital for us to remember what we learned from the films of the 1930s, when the Great Depression caused a nearly 25% rate of unemployment (we’re currently at 6.5%). Hopeful stories of upward mobility and implausible solutions were popular at the time, though many of them had downsides or inspired the desire for unlikely prospects. Still, there was some guidance to be found buried within the fantasies of Hollywood, and SpoutBlog has compiled this handy list to help you make the right choices during your current or imminent joblessness. Film: Little Caesar (1931) Tip: Dancing is ultimately more lucrative than crime. We learned over and over from films in the 1930s that crime doesn’t pay, and with Little Caesar we learned the additional tip that if you’re going to be a cocky, power-hungry little jerk with leadership goals, you better have the balls to back up your bite. However, the best advice acquired from Francis Edward Faragoh and Robert N. Lee’s Oscar-nominated screenplay is that life as a dancer is a much better career path than that of a gangster. Sure, there may be a few dangers if your gig is at a mob-run club or if your former best friend is your boss’ rival, a la the conflict between Joe (Douglas Fairbanks Jr.) and Rico (Edward G. Robinson) in Mervyn LeRoy’s film. But unlike your old buddy, who will literally die in a gutter, you might find wealth, stardom and love. Worst-case scenario, you don’t become rich and famous but you get a job teaching little kids at a dance studio in suburbia. Whereas there’s no such thing as a crime studio. Film: Trouble in Paradise (1932) Tip: Falling for your mark, and/or your boss, is fine as long as you get a bonus out of it and then return to your true love It’s clear from the start that fellow pickpockets Gaston (Herbert Marshall) and Lily (Miriam Hopkins) are made for each other. Yet when the duo acquire jobs working for the wealthy perfumer Madame Colet (Kay Francis) in a scheme to con her out of her money, Gaston goes and complicates things by developing feelings for his new employer/mark. Fortunately, after dipping his hands into both her purses (oh the innuendo!), he comes away with the jackpot and is able to fall back into place with his equal. Getting a job where you’re partially a gigolo can be rewarding in terms of special perks, both sexual and financial, but ultimately a relationship between employee and employer is difficult, especially if there’s a real class clash involved. So get in quick, get out on top and find a nice girl with whom you’ve got more in common. Film: King Kong (1933) Tip: If you’re cast in a film, make sure it’s a local production. Tons of unemployed people turn to showbiz as a solution to their situation, and a quick glance on Craigslist reveals plenty of calls for film and TV extras. But be wary, because if it sounds too good to be true, it probably is. And be suspicious of “directors” who approach you on the street offering you the role of a lifetime. It’s possible the guy’s a real Hollywood player like Carl Denham (Robert Armstrong), but it’s also possible that the gig will bring you to a remote island where you’ll attract the largest stalker ever imagined. In the end, you might actually become a big star, just like Ann Darrow (Fay Wray), but by then many will have paid for your social status with their lives, and you’ll have to live with the guilt. So when answering ads looking for actors, don’t get on any boats headed to far off places. Stick to locally shot films, on which you’re likely to experience fewer dangers and meet fewer giant apes. Film: Lady for a Day (1933) Tip: Don’t lie to your family about being underemployed, because you’ll just wind up more depressed. Apple Annie (May Robson) ends up getting away with her masquerade, in which she convinces her daughter that she’s a well-to-do socialite rather than a poor fruit peddler, but at what cost? Now she’s lied to her child and, worse, given herself a taste of the good life, a high from which she must come down. And with that perspective in mind she’s surely going to hate her true social place even more. So if you’re underemployed, don’t lie about it, not even to your parents. Best circumstance, they help you out a little with your finances. Worst circumstance, you feel even more depressed about your situation and you take your own life — whether literally or, like Annie, figuratively. Plus, if your parents do end up finding out the truth, they’ll be more disappointed with you than they would have been if told the truth all along. Film: Triumph of the Will (1935) Tip: Don’t work for a mad, genocidal dictator unless you want the association to follow you to your grave. Leni Riefenstahl may have denied having full allegiance to Hitler and the Nazis, but she’ll forever be known as the director who helped propagandize the party right up until the beginning of World War II. And to many that makes her one of the bad guys. Whether she’s truly guilty by association, her kind of situation is constantly a topic of ethical debate. Maybe working for later-exposed criminals will keep you from getting elected one day. Maybe working for evil emperors will get you blown up while doing contract work on a giant space station. Either way, it’s best to do as much of a background check on your potential bosses as they’re doing on you. Film: Modern Times (1936) Tip: Don’t be a slave to the machines, or one day they’ll enslave you. That sounds like advice to be gotten from The Matrix, but that film’s dystopia is precisely the kind of future Chaplin was warning about. So much of the imagery in this film consists of workers depending on machines, either to help do the job or feed them, and workers being trapped in machines, figuratively enslaved by them. If you end up getting a job on the internet, and that’s more and more likely to be your best shot at employment these days, you’ll understand Chaplin’s fears better than he could ever have imagined. Film: Mr. Deeds Goes to Town (1936) Tip: Breaking into a rich man’s home will likely get you a job. It’s thanks to a desperate little farmer that the newly rich Deeds (Gary Cooper) decides to divvy up his millions and donate plots of land to the poor. And the gun-wielding intruder doesn’t get thrown in jail; he becomes one of the many who are eligible for some of that free acreage. Hollywood pipe dream, sure, but the concept also seemed to work outside of American cinema. In Renoir’s The Rules of the Game, a man (Julien Carette) is caught trespassing on a wealthy estate and he’s offered a job. However, it may not be necessary to actually commit the crime of breaking and entering to get the attention of potential beneficiaries and employers. In Renoir’s Boudu Saved From Drowning the titular bum is merely witnessed attempting suicide in the Seine (though in Paul Mazursky’s ‘80s remake, Down and Out in Beverly Hills, the bum is also an intruder). And in My Man Godfrey the titular bum is plucked out of the trash and eventually brought home and employed as a butler. Which brings up the next tip. Film: My Man Godfrey (1936) Tip: If forced to become a servant, don’t steal the boss’ daughter’s necklace, pawn it and then gamble with the money made in order to further improve your situation, because only William Powell is good enough to get away with it. You are not as smooth as William Powell; it’s just not possible. So, while he (and his character, Godfrey) is able to come out of this film on top, in the same situation you would more than likely end up back on the garbage heap (without a nightclub built on the spot, that is). Firstly, he’s able to charm the socialite Irene (Carole Lombard) enough to escape homelessness, acquire a position as her family’s butler and eventually win her heart. Secondly, when Irene’s bitter sister, Cornelia (Gail Patrick), attempts to frame him as a necklace nabber, he beats her at her game and follows through to win out even more. What he does with the jewelry, though, would still get most people arrested, even if the ends do justify the means. Never do as Powell does, because nobody can pull off anything as well as he can. Film: You Can’t Take it With You (1938) Tip: Taking up seemingly utopian residence in a commune full of oddballs will likely get you thrown in jail. Grandpa Vanderhof (Lionel Barrymore) wasn’t claiming to be prophet nor did he (as far as we know) have a harem of young wives stored away somewhere in his house, but these days a freewheeling place like his might attract the attention of the Bureau of Alcohol, Tobacco and Firearms or some other government agency assigned to shutting down cults and terrorist organizations. Even then his home was suspected of being a den for treasonous plots, leading to an FBI raid and mass arrest. So, while it may seem like a dream come true to be wooed in by a jolly old man promising free living and the chance to be a toymaker, there’s actually no such thing as Santa Claus, and that man is probably doing something illegal to accommodate such a lifestyle. Film: The Grapes of Wrath (1939) Tip: Don’t settle for wages lower than is standard for the work. If you’re really hungry and desperate for work, you might think about taking only 25 cents an hour for a job you used to do for 30 cents. This happens often with competitive fields, whether it is migrant farming or blogging, but it only lowers your worth and it encourages your employers to keep decreasing the wages as long as someone is willing to settle. Eventually, either your fellow workers or the previous, underbid employees are going to be provoked by the situation and then there’s the chance of violence and further oppression. Plus, then you might be out of the job anyway. Potentially on the run, like Tom Joad (Henry Fonda), too. Originally posted on:SpoutBlog
]]>Wed, 19 Nov 2008 18:01:04 GMTSpoutBlogSpoutBlog on spout.com11/19/2008 1:01:04 PMUnemployment is about to get even worse now that Citigroup has announced it will cut 52,000 jobs early next year. And falsely reported news of a killing in Santa Clara, California (the shooter was fired, not laid off) only adds to the bleak atmosphere surrounding the already upsetting job market. But while desperate times may lead to desperate measures, it’s vital for us to remember what we learned from the films of the 1930s, when the Great Depression caused a nearly 25% rate of unemployment (we’re currently at 6.5%). Hopeful stories of upward mobility and implausible solutions were popular at the time, though many of them had downsides or inspired the desire for unlikely prospects. Still, there was some guidance to be found buried within the fantasies of Hollywood, and SpoutBlog has compiled this handy list to help you make the right choices during your current or imminent joblessness. Film: Little Caesar (1931) Tip: Dancing is ultimately more lucrative than crime. We learned over and over from films in the 1930s that crime doesn’t pay, and with Little Caesar we learned the additional tip that if you’re going to be a cocky, power-hungry little jerk with leadership goals, you better have the balls to back up your bite. However, the best advice acquired from Francis Edward Faragoh and Robert N. Lee’s Oscar-nominated screenplay is that life as a dancer is a much better career path than that of a gangster. Sure, there may be a few dangers if your gig is at a mob-run club or if your former best friend is your boss’ rival, a la the conflict between Joe (Douglas Fairbanks Jr.) and Rico (Edward G. Robinson) in Mervyn LeRoy’s film. But unlike your old buddy, who will literally die in a gutter, you might find wealth, stardom and love. Worst-case scenario, you don’t become rich and famous but you get a job teaching little kids at a dance studio in suburbia. Whereas there’s no such thing as a crime studio. Film: Trouble in Paradise (1932) Tip: Falling for your mark, and/or your boss, is fine as long as you get a bonus out of it and then return to your true love It’s clear from the start that fellow pickpockets Gaston (Herbert Marshall) and Lily (Miriam Hopkins) are made for each other. Yet when the duo acquire jobs working for the wealthy perfumer Madame Colet (Kay Francis) in a scheme to con her out of her money, Gaston goes and complicates things by developing feelings for his new employer/mark. Fortunately, after dipping his hands into both her purses (oh the innuendo!), he comes away with the jackpot and is able to fall back into place with his equal. Getting a job where you’re partially a gigolo can be rewarding in terms of special perks, both sexual and financial, but ultimately a relationship between employee and employer is difficult, especially if there’s a real class clash involved. So get in quick, get out on top and find a nice girl with whom you’ve got more in common. Film: King Kong (1933) Tip: If you’re cast in a film, make sure it’s a local production. Tons of unemployed people turn to showbiz as a solution to their situation, and a quick glance on Craigslist reveals plenty of calls for film and TV extras. But be wary, because if it sounds too good to be true, it probably is. And be suspicious of “directors” who approach you on the street offering you the role of a lifetime. It’s possible the guy’s a real Hollywood player like Carl Denham (Robert Armstrong), but it’s also possible that the gig will bring you to a remote island where you’ll attract the largest stalker ever imagined. In the end, you might actually become a big star, just like Ann Darrow (Fay Wray), but by then many will have paid for your social status with their lives, and you’ll have to live with the guilt. So when answering ads looking for actors, don’t get on any boats headed to far off places. Stick to locally shot films, on which you’re likely to experience fewer dangers and meet fewer giant apes. Film: Lady for a Day (1933) Tip: Don’t lie to your family about being underemployed, because you’ll just wind up more depressed. Apple Annie (May Robson) ends up getting away with her masquerade, in which she convinces her daughter that she’s a well-to-do socialite rather than a poor fruit peddler, but at what cost? Now she’s lied to her child and, worse, given herself a taste of the good life, a high from which she must come down. And with that perspective in mind she’s surely going to hate her true social place even more. So if you’re underemployed, don’t lie about it, not even to your parents. Best circumstance, they help you out a little with your finances. Worst circumstance, you feel even more depressed about your situation and you take your own life — whether literally or, like Annie, figuratively. Plus, if your parents do end up finding out the truth, they’ll be more disappointed with you than they would have been if told the truth all along. Film: Triumph of the Will (1935) Tip: Don’t work for a mad, genocidal dictator unless you want the association to follow you to your grave. Leni Riefenstahl may have denied having full allegiance to Hitler and the Nazis, but she’ll forever be known as the director who helped propagandize the party right up until the beginning of World War II. And to many that makes her one of the bad guys. Whether she’s truly guilty by association, her kind of situation is constantly a topic of ethical debate. Maybe working for later-exposed criminals will keep you from getting elected one day. Maybe working for evil emperors will get you blown up while doing contract work on a giant space station. Either way, it’s best to do as much of a background check on your potential bosses as they’re doing on you. Film: Modern Times (1936) Tip: Don’t be a slave to the machines, or one day they’ll enslave you. That sounds like advice to be gotten from The Matrix, but that film’s dystopia is precisely the kind of future Chaplin was warning about. So much of the imagery in this film consists of workers depending on machines, either to help do the job or feed them, and workers being trapped in machines, figuratively enslaved by them. If you end up getting a job on the internet, and that’s more and more likely to be your best shot at employment these days, you’ll understand Chaplin’s fears better than he could ever have imagined. Film: Mr. Deeds Goes to Town (1936) Tip: Breaking into a rich man’s home will likely get you a job. It’s thanks to a desperate little farmer that the newly rich Deeds (Gary Cooper) decides to divvy up his millions and donate plots of land to the poor. And the gun-wielding intruder doesn’t get thrown in jail; he becomes one of the many who are eligible for some of that free acreage. Hollywood pipe dream, sure, but the concept also seemed to work outside of American cinema. In Renoir’s The Rules of the Game, a man (Julien Carette) is caught trespassing on a wealthy estate and he’s offered a job. However, it may not be necessary to actually commit the crime of breaking and entering to get the attention of potential beneficiaries and employers. In Renoir’s Boudu Saved From Drowning the titular bum is merely witnessed attempting suicide in the Seine (though in Paul Mazursky’s ‘80s remake, Down and Out in Beverly Hills, the bum is also an intruder). And in My Man Godfrey the titular bum is plucked out of the trash and eventually brought home and employed as a butler. Which brings up the next tip. Film: My Man Godfrey (1936) Tip: If forced to become a servant, don’t steal the boss’ daughter’s necklace, pawn it and then gamble with the money made in order to further improve your situation, because only William Powell is good enough to get away with it. You are not as smooth as William Powell; it’s just not possible. So, while he (and his character, Godfrey) is able to come out of this film on top, in the same situation you would more than likely end up back on the garbage heap (without a nightclub built on the spot, that is). Firstly, he’s able to charm the socialite Irene (Carole Lombard) enough to escape homelessness, acquire a position as her family’s butler and eventually win her heart. Secondly, when Irene’s bitter sister, Cornelia (Gail Patrick), attempts to frame him as a necklace nabber, he beats her at her game and follows through to win out even more. What he does with the jewelry, though, would still get most people arrested, even if the ends do justify the means. Never do as Powell does, because nobody can pull off anything as well as he can. Film: You Can’t Take it With You (1938) Tip: Taking up seemingly utopian residence in a commune full of oddballs will likely get you thrown in jail. Grandpa Vanderhof (Lionel Barrymore) wasn’t claiming to be prophet nor did he (as far as we know) have a harem of young wives stored away somewhere in his house, but these days a freewheeling place like his might attract the attention of the Bureau of Alcohol, Tobacco and Firearms or some other government agency assigned to shutting down cults and terrorist organizations. Even then his home was suspected of being a den for treasonous plots, leading to an FBI raid and mass arrest. So, while it may seem like a dream come true to be wooed in by a jolly old man promising free living and the chance to be a toymaker, there’s actually no such thing as Santa Claus, and that man is probably doing something illegal to accommodate such a lifestyle. Film: The Grapes of Wrath (1939) Tip: Don’t settle for wages lower than is standard for the work. If you’re really hungry and desperate for work, you might think about taking only 25 cents an hour for a job you used to do for 30 cents. This happens often with competitive fields, whether it is migrant farming or blogging, but it only lowers your worth and it encourages your employers to keep decreasing the wages as long as someone is willing to settle. Eventually, either your fellow workers or the previous, underbid employees are going to be provoked by the situation and then there’s the chance of violence and further oppression. Plus, then you might be out of the job anyway. Potentially on the run, like Tom Joad (Henry Fonda), too. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/10/14/36308.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/14/2008 5:01:12 PM
Body: Oliver Stone has long been synonymous with political passion projects, but his latest film, W., may be his most ambitious effort yet, if only because of how quickly the thing came together and got made. Now the serio-comic biopic about our sitting president is about to hit theaters, less than ten months after anyone had heard of its inception, and it’s getting a number of favorable reviews, will possibly rule the box office this weekend, and could even garner an Oscar nomination for Josh Brolin, who portrays the man with the titular initial, George W. Bush. But not all political passion projects are quite as successful as W. is expected to be. Some such films have been banned, while some have simply failed to acquire an audience on more democratic grounds, whether in terms of box office, critical or awards recognition. Yet regardless of the reception of a political passion project, either at the time of release (or intended release) or decades later, it may be regarded as an achievement merely for being made, because it can be a difficult task for a filmmaker, no matter how famous or powerful, to completely, without compromise, express his or her politics using such a collaborative and populist form of art as cinema. We’ve put together a list of 10 political passion projects that were (and are) successful on both levels. They’ve been embraced by a wide audience, a majority of critics and/or the Academy, and they also manage to be as uncompromising in their political passion as is possible in Hollywood. The Great Dictator (Charles Chaplin, 1940) For his first “talkie”, Chaplin took on Hitler and the Nazis when it was still taboo for American media to do so. And it became his biggest hit ever in spite of its controversial subject matter. Considering one of the major problems with W. is reportedly Oliver Stone’s inability to mix the serious scenes with the comic, he might have benefitted from looking again at this film, one of the greatest political satires of all time. Meet John Doe (Frank Capra, 1941) Capra had already made a number of greater films with political subject matter, but this was pretty much his ultimate passion project, a culmination of themes he’d worked with on similar films like Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. But as successful as those films were in terms of Capra’s political expression, and as free as the filmmaker seemed to be throughout his illustrious career at Columbia Pictures, he always felt at least a little stifled by studio head Harry Cohn, and so with this, his first semi-independent project (co-produced and distributed by Warner Bros.), he had the most creative control yet. Unfortunately, the result wasn’t nearly as popular as his past films and the film is also not nearly as tight a work. However, more than 65 years later, it’s still one of the best displays of a filmmaker attempting to work out and express his political ideals in a mainstream film. Wilson (Henry King, 1944) Long before Oliver Stone and political documentarians made it more common and acceptable to make a movie about disliked politicians, producer and 20th Century Fox founder Darryl F. Zanuck developed this passion project about his favorite president, Woodrow Wilson. And the result would seem to have been a great success based on its reception by critics and the Academy Awards (nominated for 10, it won 5 Oscars, including Best Original Screenplay), yet it was a terrible, terrible flop at the box office, apparently because the public didn’t like or care about Wilson as much as Zanuck did. And legend has it that Zanuck was so embarrassed by the failure that he forbade his staff to ever mention its title again. Despite it’s Oscar success, it is unfortunately unavailable on DVD. The Green Berets (Ray Kellogg, John Wayne, John Gaddis and Mervyn LeRoy, 1968) Regardless of whether or not you agree with John Wayne’s politics, you have to give the guy some respect for making a stand with this film, which displays his support for the Vietnam War. It was a bold move for anybody, even one of Hollywood’s biggest stars, to dare go up against the zeitgeist of the times. And of course it was and is very much hated because of its heavy handed pro-war message. Reds (Warren Beatty, 1981) Beatty had already shown himself to be something of a politically minded celebrity, and he would go on to a greater reputation for being a liberal actor/filmmaker, but here with his first solo directing effort, he made an ambitious epic about the American communist John Reed and released it in a year that ushered in the most conservatively materialistic decade of the 20th century. Despite the political climate of the country, though, it was relatively successful at the box office, and it went on to recieve 12 Oscar nominations, of which it won 3, including a Best Director trophy for Beatty. Malcolm X (Spike Lee, 1992) Whether or not you believe it should have been nominated for more Oscars or if it was politically and racially ignored, the success of Malcolm X, both financially and culturally, was a terrific achievement for Spike Lee, who had made and has made less ambitious political passion projects before and since, some even arguably better than this one. Dead Man Walking (Tim Robbins, 1995) Robbins had already begun making political statement films a few years earlier with Bob Roberts, but this film, which he also produced, is the greater passion project. It may occasionally put off supporters of the death penalty, but those performances by Sean Penn and Susan Sarandon (who won an Oscar) simply can not be ignored. The Passion of the Christ (Mel Gibson, 2004) You can’t think about passion projects without this film immediately coming to mind –– and not just because it has the word passion right there in the title. As for the political part, as much as some of us would prefer not to think of religion as being a part of politics, it certainly is, and both the marketing and reception of Gibson’s film were very much from political perspectives, possibly even more so than from straight religious perspectives. Good Night, and Good Luck (George Clooney, 2005) Perhaps the best cinematic celebration of journalism since All the President’s Men, Clooney’s film is also possibly the classiest political passion project since guys like Beatty, Robbins and Clooney decided to go behind the camera and express their ideals. Darfur Now (Ted Braun, 2007) At a time when famous people like George Clooney and the double duty of “Brangelina” get equal respect and flak for being so political, it’s refreshing to see this documentary defend celebrity action while also examining the film’s specific cause. Produced by and featuring Don Cheadle (and also featuring Clooney), the doc is not technically the actor’s project as much as it is Braun’s, yet due to Cheadle’s passionate interest in the Darfur issue and his involvement with and in the film, and because he’s the biggest name on the production, it can certainly be accepted as equally his political effort. Originally posted on:SpoutBlog
]]>Tue, 14 Oct 2008 21:01:12 GMTSpoutBlogSpoutBlog on spout.com10/14/2008 5:01:12 PMOliver Stone has long been synonymous with political passion projects, but his latest film, W., may be his most ambitious effort yet, if only because of how quickly the thing came together and got made. Now the serio-comic biopic about our sitting president is about to hit theaters, less than ten months after anyone had heard of its inception, and it’s getting a number of favorable reviews, will possibly rule the box office this weekend, and could even garner an Oscar nomination for Josh Brolin, who portrays the man with the titular initial, George W. Bush. But not all political passion projects are quite as successful as W. is expected to be. Some such films have been banned, while some have simply failed to acquire an audience on more democratic grounds, whether in terms of box office, critical or awards recognition. Yet regardless of the reception of a political passion project, either at the time of release (or intended release) or decades later, it may be regarded as an achievement merely for being made, because it can be a difficult task for a filmmaker, no matter how famous or powerful, to completely, without compromise, express his or her politics using such a collaborative and populist form of art as cinema. We’ve put together a list of 10 political passion projects that were (and are) successful on both levels. They’ve been embraced by a wide audience, a majority of critics and/or the Academy, and they also manage to be as uncompromising in their political passion as is possible in Hollywood. The Great Dictator (Charles Chaplin, 1940) For his first “talkie”, Chaplin took on Hitler and the Nazis when it was still taboo for American media to do so. And it became his biggest hit ever in spite of its controversial subject matter. Considering one of the major problems with W. is reportedly Oliver Stone’s inability to mix the serious scenes with the comic, he might have benefitted from looking again at this film, one of the greatest political satires of all time. Meet John Doe (Frank Capra, 1941) Capra had already made a number of greater films with political subject matter, but this was pretty much his ultimate passion project, a culmination of themes he’d worked with on similar films like Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. But as successful as those films were in terms of Capra’s political expression, and as free as the filmmaker seemed to be throughout his illustrious career at Columbia Pictures, he always felt at least a little stifled by studio head Harry Cohn, and so with this, his first semi-independent project (co-produced and distributed by Warner Bros.), he had the most creative control yet. Unfortunately, the result wasn’t nearly as popular as his past films and the film is also not nearly as tight a work. However, more than 65 years later, it’s still one of the best displays of a filmmaker attempting to work out and express his political ideals in a mainstream film. Wilson (Henry King, 1944) Long before Oliver Stone and political documentarians made it more common and acceptable to make a movie about disliked politicians, producer and 20th Century Fox founder Darryl F. Zanuck developed this passion project about his favorite president, Woodrow Wilson. And the result would seem to have been a great success based on its reception by critics and the Academy Awards (nominated for 10, it won 5 Oscars, including Best Original Screenplay), yet it was a terrible, terrible flop at the box office, apparently because the public didn’t like or care about Wilson as much as Zanuck did. And legend has it that Zanuck was so embarrassed by the failure that he forbade his staff to ever mention its title again. Despite it’s Oscar success, it is unfortunately unavailable on DVD. The Green Berets (Ray Kellogg, John Wayne, John Gaddis and Mervyn LeRoy, 1968) Regardless of whether or not you agree with John Wayne’s politics, you have to give the guy some respect for making a stand with this film, which displays his support for the Vietnam War. It was a bold move for anybody, even one of Hollywood’s biggest stars, to dare go up against the zeitgeist of the times. And of course it was and is very much hated because of its heavy handed pro-war message. Reds (Warren Beatty, 1981) Beatty had already shown himself to be something of a politically minded celebrity, and he would go on to a greater reputation for being a liberal actor/filmmaker, but here with his first solo directing effort, he made an ambitious epic about the American communist John Reed and released it in a year that ushered in the most conservatively materialistic decade of the 20th century. Despite the political climate of the country, though, it was relatively successful at the box office, and it went on to recieve 12 Oscar nominations, of which it won 3, including a Best Director trophy for Beatty. Malcolm X (Spike Lee, 1992) Whether or not you believe it should have been nominated for more Oscars or if it was politically and racially ignored, the success of Malcolm X, both financially and culturally, was a terrific achievement for Spike Lee, who had made and has made less ambitious political passion projects before and since, some even arguably better than this one. Dead Man Walking (Tim Robbins, 1995) Robbins had already begun making political statement films a few years earlier with Bob Roberts, but this film, which he also produced, is the greater passion project. It may occasionally put off supporters of the death penalty, but those performances by Sean Penn and Susan Sarandon (who won an Oscar) simply can not be ignored. The Passion of the Christ (Mel Gibson, 2004) You can’t think about passion projects without this film immediately coming to mind –– and not just because it has the word passion right there in the title. As for the political part, as much as some of us would prefer not to think of religion as being a part of politics, it certainly is, and both the marketing and reception of Gibson’s film were very much from political perspectives, possibly even more so than from straight religious perspectives. Good Night, and Good Luck (George Clooney, 2005) Perhaps the best cinematic celebration of journalism since All the President’s Men, Clooney’s film is also possibly the classiest political passion project since guys like Beatty, Robbins and Clooney decided to go behind the camera and express their ideals. Darfur Now (Ted Braun, 2007) At a time when famous people like George Clooney and the double duty of “Brangelina” get equal respect and flak for being so political, it’s refreshing to see this documentary defend celebrity action while also examining the film’s specific cause. Produced by and featuring Don Cheadle (and also featuring Clooney), the doc is not technically the actor’s project as much as it is Braun’s, yet due to Cheadle’s passionate interest in the Darfur issue and his involvement with and in the film, and because he’s the biggest name on the production, it can certainly be accepted as equally his political effort. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/9/9/34950.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/9/2008 4:01:08 PM
Body: Anticipating the worst from Diane English’s new remake of The Women is not just typical low expectations regarding remakes in general. My dread is specifically based on dissatisfaction with remakes and updates of films from the 1930s, arguably the best decade in cinema (it is certainly my favorite). While I may recognize and appreciate some favorable redos, such as DePalma’s Scarface (of which I’ve never really been a fan), Mazursky’s Down and Out in Beverly Hills and the multiple repeats from Hitchcock, I am more often disappointed with attempts to recreate ‘30s classics, even when I approach them with already low standards. Worst, for me, doesn’t necessarily have to do with the quality of the film alone, especially when related to remakes and updates. The titles and versions I’ve selected are hardly the worst in terms of craft or production value — you’ll note there are no Dracula movies on this list — and a few would almost be acceptable if they were more unique or solitary works. 10. Return to Oz (1985) I begin with a film that is not a remake in any form but tone. Yet I still see it as a kind of response to and update of the far more popular classic The Wizard of Oz (1939), which was viewed by some as not faithful enough to the source literature of L. Frank Baum.  It was a bit of a guilty pleasure for me growing up, but I lost regard for the film after suffering through a professor’s defensive screening of it on the last day of a film history course. Sure, it’s truer to Baum and the illustrations of W.W. Denslow and John R. Neill, but as MGM’s beautiful 1939 interpretation shows, it’s better to be imaginative than loyal when translating works between mediums. 9. The Front Page (1974) Billy Wilder’s version of the Ben Hecht and Charles MacArthur play, which was first adapted to film in 1931, is plenty hilarious thanks to stars Jack Lemmon and Walter Matthau, as well as to a slew of terrific character actors, including Vincent Gardenia, Charles Durning, Austin Pendleton and Dick O’Neill. Also, the film’s homosexual innuendo is an interesting way of acknowledging Howard Hawks’ 1940 gender altering redo, His Girl Friday. I’d definitely choose Wilder’s film over the subsequent big screen version, the 1988 update Switching Channels, but compared to earlier adaptations and to Wilder’s earlier work, the ’74 Front Page is still quite a dissatisfying effort. My biggest problems are with the film’s artificial look, particularly its use of costumes that look more appropriate for a costume party than a period film, the gaudiness of the dialogue, especially the double entendres, and the miscasting of both Carol Burnett and Susan Sarandon (though my annoyance with the women in the film provide further acceptance of the gay undertones). 8. The Distinguished Gentleman (1992) This loose and uncredited reworking of Mr. Smith Goes to Washington (1939) could have been a worthy update had it included more laughs and more of a bite. The concept of placing a small-time con man in the big-time con of politics is ripe for good comedy and satire, plus it makes me think of the respectable crook/crooked respectability angle of Lubitsch’s Trouble in Paradise. Too bad the script was unsatisfactory (not surprising given it came partly from the screenwriter behind Leonard Part 6) and star Eddie Murphy was at the awkward moment of his career when he somehow lost his usual talent for comedy. 7. Flash Gordon (1980) I have to admit that I do actually love this movie. Well, to be fair, I only really love Queen’s score, Brian Blessed’s voice and Max Von Sydow’s makeup. The rest I just like. Anyway, despite my guilty pleasure in watching the thing on television throughout my childhood, it’s neither a good movie nor a successful update. It doesn’t really do the ‘30s Flash Gordon serials justice by being either a big-budget improvement or a tonally and narratively faithful throwback (comparatively, Star Wars succeeded at doing both). 6. The Hunchback of Notre Dame (1996) Disney’s idea to animate Victor Hugo’s novel was of questionable taste, but the studio’s need to so closely imitate William Dieterle’s 1939 adaptation was of questionable creative judgment. When I watch Disney’s Robin Hood, I’m not reminded of how much better Michael Curtiz’s 1938 version is; similarly, I’m able to appreciate the animated Beauty and the Beast and Alice and Wonderland without thinking of previous adaptations. Especially given the controversial lewdness and the simplification of the story, Disney’s version of Hunchback seems an insult to the source novel, Dieterle’s film and Charles Laughton’s characterization. 5. Meet Joe Black (1998) I’m a hypocrite to criticize anyone’s inability to be concise, but a three-hour remake of a 78-minute film (1934’s Death Takes a Holiday) displays a level of excess that even my meandering can’t compare to. Don’t get me wrong, though; I’m no hater of long films. But if you can make a long story short, it’s preferred that you do so. 4. The Mummy (1999) There’s no problem with reimagining a classic horror film as a blockbuster action movie, but taking something so iconically frightening as Boris Karloff’s Imhotep (in the ‘32 version) and updating the look with laughably cartoonish CGI is unfortunate. I know I’m on the other side of the fence from the moviegoers who made this a hit, but I would have actually enjoyed it more if the villain were depicted as a guy wrapped in bandages. 3. Mary Shelley’s Frankenstein (1994) Of course, CG may have been better than this. In fact, the only thing worse than Robert De Niro as the Creature would have been a hand-drawn animated Frankenberry in the role. 2. King Kong (2005) Technically, the 1976 remake with Jeff Bridges is a worse film, but that version at least took some interesting liberties in updating the 1933 classic. Peter Jackson’s intention seemed to be only to faithfully recreate the original with better special effects. And given the fact that many of the CG sequences are embarrassingly awful, I have to say this film was a more monumental failure in terms of purpose and promise. Jackson gave me yet another reason for questioning the point of filmmakers remaking their favorite films. 1. Mr. Deeds (2002) Other than the minor way in which this comedy updates the conservative message of Mr. Deeds Goes to Town (1936), there is really no reason for Capra’s film to have been remade, especially with such broad, immature comedy from Adam Sandler. While the original Mr. Deeds completely speaks to and of its time, this includes no topicality, no compelling historical or contemporary relevancy and no lasting cultural significance. Originally posted on:SpoutBlog
]]>Tue, 09 Sep 2008 20:01:08 GMTSpoutBlogSpoutBlog on spout.com9/9/2008 4:01:08 PM Anticipating the worst from Diane English’s new remake of The Women is not just typical low expectations regarding remakes in general. My dread is specifically based on dissatisfaction with remakes and updates of films from the 1930s, arguably the best decade in cinema (it is certainly my favorite). While I may recognize and appreciate some favorable redos, such as DePalma’s Scarface (of which I’ve never really been a fan), Mazursky’s Down and Out in Beverly Hills and the multiple repeats from Hitchcock, I am more often disappointed with attempts to recreate ‘30s classics, even when I approach them with already low standards. Worst, for me, doesn’t necessarily have to do with the quality of the film alone, especially when related to remakes and updates. The titles and versions I’ve selected are hardly the worst in terms of craft or production value — you’ll note there are no Dracula movies on this list — and a few would almost be acceptable if they were more unique or solitary works. 10. Return to Oz (1985) I begin with a film that is not a remake in any form but tone. Yet I still see it as a kind of response to and update of the far more popular classic The Wizard of Oz (1939), which was viewed by some as not faithful enough to the source literature of L. Frank Baum.  It was a bit of a guilty pleasure for me growing up, but I lost regard for the film after suffering through a professor’s defensive screening of it on the last day of a film history course. Sure, it’s truer to Baum and the illustrations of W.W. Denslow and John R. Neill, but as MGM’s beautiful 1939 interpretation shows, it’s better to be imaginative than loyal when translating works between mediums. 9. The Front Page (1974) Billy Wilder’s version of the Ben Hecht and Charles MacArthur play, which was first adapted to film in 1931, is plenty hilarious thanks to stars Jack Lemmon and Walter Matthau, as well as to a slew of terrific character actors, including Vincent Gardenia, Charles Durning, Austin Pendleton and Dick O’Neill. Also, the film’s homosexual innuendo is an interesting way of acknowledging Howard Hawks’ 1940 gender altering redo, His Girl Friday. I’d definitely choose Wilder’s film over the subsequent big screen version, the 1988 update Switching Channels, but compared to earlier adaptations and to Wilder’s earlier work, the ’74 Front Page is still quite a dissatisfying effort. My biggest problems are with the film’s artificial look, particularly its use of costumes that look more appropriate for a costume party than a period film, the gaudiness of the dialogue, especially the double entendres, and the miscasting of both Carol Burnett and Susan Sarandon (though my annoyance with the women in the film provide further acceptance of the gay undertones). 8. The Distinguished Gentleman (1992) This loose and uncredited reworking of Mr. Smith Goes to Washington (1939) could have been a worthy update had it included more laughs and more of a bite. The concept of placing a small-time con man in the big-time con of politics is ripe for good comedy and satire, plus it makes me think of the respectable crook/crooked respectability angle of Lubitsch’s Trouble in Paradise. Too bad the script was unsatisfactory (not surprising given it came partly from the screenwriter behind Leonard Part 6) and star Eddie Murphy was at the awkward moment of his career when he somehow lost his usual talent for comedy. 7. Flash Gordon (1980) I have to admit that I do actually love this movie. Well, to be fair, I only really love Queen’s score, Brian Blessed’s voice and Max Von Sydow’s makeup. The rest I just like. Anyway, despite my guilty pleasure in watching the thing on television throughout my childhood, it’s neither a good movie nor a successful update. It doesn’t really do the ‘30s Flash Gordon serials justice by being either a big-budget improvement or a tonally and narratively faithful throwback (comparatively, Star Wars succeeded at doing both). 6. The Hunchback of Notre Dame (1996) Disney’s idea to animate Victor Hugo’s novel was of questionable taste, but the studio’s need to so closely imitate William Dieterle’s 1939 adaptation was of questionable creative judgment. When I watch Disney’s Robin Hood, I’m not reminded of how much better Michael Curtiz’s 1938 version is; similarly, I’m able to appreciate the animated Beauty and the Beast and Alice and Wonderland without thinking of previous adaptations. Especially given the controversial lewdness and the simplification of the story, Disney’s version of Hunchback seems an insult to the source novel, Dieterle’s film and Charles Laughton’s characterization. 5. Meet Joe Black (1998) I’m a hypocrite to criticize anyone’s inability to be concise, but a three-hour remake of a 78-minute film (1934’s Death Takes a Holiday) displays a level of excess that even my meandering can’t compare to. Don’t get me wrong, though; I’m no hater of long films. But if you can make a long story short, it’s preferred that you do so. 4. The Mummy (1999) There’s no problem with reimagining a classic horror film as a blockbuster action movie, but taking something so iconically frightening as Boris Karloff’s Imhotep (in the ‘32 version) and updating the look with laughably cartoonish CGI is unfortunate. I know I’m on the other side of the fence from the moviegoers who made this a hit, but I would have actually enjoyed it more if the villain were depicted as a guy wrapped in bandages. 3. Mary Shelley’s Frankenstein (1994) Of course, CG may have been better than this. In fact, the only thing worse than Robert De Niro as the Creature would have been a hand-drawn animated Frankenberry in the role. 2. King Kong (2005) Technically, the 1976 remake with Jeff Bridges is a worse film, but that version at least took some interesting liberties in updating the 1933 classic. Peter Jackson’s intention seemed to be only to faithfully recreate the original with better special effects. And given the fact that many of the CG sequences are embarrassingly awful, I have to say this film was a more monumental failure in terms of purpose and promise. Jackson gave me yet another reason for questioning the point of filmmakers remaking their favorite films. 1. Mr. Deeds (2002) Other than the minor way in which this comedy updates the conservative message of Mr. Deeds Goes to Town (1936), there is really no reason for Capra’s film to have been remade, especially with such broad, immature comedy from Adam Sandler. While the original Mr. Deeds completely speaks to and of its time, this includes no topicality, no compelling historical or contemporary relevancy and no lasting cultural significance. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/9/2/34658.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/2/2008 4:00:50 PM
Body: The Democratic National Convention is over, and all the ecstatic party members have left Denver to go back to their zombie-esque lives (Bob Hope said it, not me). But after four days of celebrating what it means to be a Democrat, some may not wish to settle down and calmly wait out the next two months until Obama’s (possible) win, let alone the next five months waiting for the candidate to (possibly) be sworn in as President, participating in the normal non-specifically-Democratic, non-self-congratulatory activities that most of us are content with. So, one thing excited Democrats can do is watch movies that will continue to inspire and encourage their beliefs and politics. As Karina already wrote, The American President is one movie that just barely may allow Obama fans to relive his DNC speech. Also, beginning yesterday, the Oscar-nominated documentary No End in Sight will be available in full on YouTube through till Election Day. Of course, there’s always other anti-war and anti-Bush docs for free viewing online, at such sites as SnagFilms and FreeDocumentaries.org. And since there are so many docs out there that can make a Democrat giddy with the want for change, I’ve decided to limit today’s list to fictions and dramatizations, because they are more about feelings than facts, and that’s all you really need for political inspiration these days. As usual, I’m leaving out a lot of picks, both obvious and obscure, so feel free to tell us what movie make you feel most proud to be a Democrat. Mr. Deeds Goes to Town - Never mind that Frank Capra voted Republican or that ultimately this film has rather conservative messages regarding traditionalism, privatization and self-sufficiency; all the allusions to the New Deal are strong enough to excite any Rooseveltian liberal. In its time it may have fooled the population by seeming pro-FDR, but today it can still be appreciated by Democrats for demonstrating the President’s Depression-era programs in a way that may be celebrated by those who believe in them. Just concentrate more on screenwriter Robert Riskin’s influence and contribution and ignore Capra’s underlying and conclusive ideology. Cradle Will Rock - Another Depression-era film, though this one was made 63 years later and is actually pro-New Deal, directed by the openly liberal actor/filmmaker Tim Robbins. In a way, it’s probably more left-wing than even some Democrats can agree with, but a general appreciation for government-funded and supported arts, as well as a hatred of conservative-pressured cuts to similar programs, should allow most in the party to enjoy the film. The People vs. Larry Flynt - You can’t have a Democratic film marathon without at least one title celebrating the First Amendment. Feel free to substitute with Lenny, or just add it to the list. Roe vs. Wade - A TV movie, sure, and not even a great one, but when it comes to films about women’s right to choose, you’ve either got great foreign films (Vera Drake; 4 Months, 3 Weeks and 2 Days), which don’t exactly represent U.S. politics, documentaries (which don’t qualify the list), and satires (Citizen Ruth would be a decent inclusion, maybe, but it kind of ridicules all sides). So, here’s the direct dramatization of the court case that made history. Thirteen Days - JFK’s presidency is well-enough renowned by the Democratic Party, but this specific portrayal of one of his greatest moments in office is also important viewing for fans of RFK and Adlai Stevenson. Dick - It’s possible to get excited while watching All the President’s Men and celebrating the outcome of Woodward and Bernstein’s investigation, but Dick is a little more anti-Nixon, at least in a lampooning manner. Plus, as great as Redford and Hoffman are in AtPM, I prefer Will Ferrell and Bruce McCullough as the journalists who helped to take down the corrupt Republican. Harold and Kumar Escape from Guantanamo Bay - And if you prefer Dan Hedaya’s humorous portrayal of Nixon in Dick to Anthony Hopkins in Nixon, you’ll likely enjoy James Adomian’s caricature of George W. Bush in this Harold & Kumar sequel. It’s a little jokingly apologetic, but it will tide you over until W. comes out — if you’re even eager to see a full biopic about your worst enemy, that is. Inherit the Wind - Based on the infamous 1925 trial of science teacher John T. Scopes, who was convicted for teaching evolution in a state allowing only creationism to be taught, this 1960 adaptation of Jerome Lawrence and Robert E. Lee’s play continues to be significant in the ongoing debate regarding science vs. religion and the division of Church and State. To Kill a Mockingbird - Since I can’t decide on any movies to include that directly deal with the Civil Rights Act, here’s the movie based on the book that inspired me most about civil rights when I was young. It should be required viewing (and the book should be required reading) for all kids of impressionable age. Three Kings - I certainly wouldn’t vote for somebody solely based on his or her movie tastes, but I will admit to liking Bill Clinton a little bit more, post-presidency, after learning from his guest appearance on Roger Ebert & the Movies that he loved Three Kings. And, the other way around, I had an even greater appreciation for the film after Clinton’s endorsement, which included a reading of the film, which goes as follows (thanks to Salon for the quote and lead-in): He saw the movie as an indication that we need to face up to society’s “oldest, most primitive problem, our tribalism, our tendency to go beyond a natural pride in our group, whether it’s a racial or ethnic or religious group or whatever,” which results in “fear and distrust and dehumanization and violence against ‘the other.’” Of course, just because Clinton liked Three Kings doesn’t mean other Democrats will. Or vice versa. Ronald Reagan was apparently a big fan of Mr. Deeds Goes to Town, which hasn’t made me any less of a fan. So, I’ll ask again, differently, since the Democratic Party is anything but completely united: what movies are most relevant to your politics as a Democrat? Originally posted on:SpoutBlog
]]>Tue, 02 Sep 2008 20:00:50 GMTSpoutBlogSpoutBlog on spout.com9/2/2008 4:00:50 PMThe Democratic National Convention is over, and all the ecstatic party members have left Denver to go back to their zombie-esque lives (Bob Hope said it, not me). But after four days of celebrating what it means to be a Democrat, some may not wish to settle down and calmly wait out the next two months until Obama’s (possible) win, let alone the next five months waiting for the candidate to (possibly) be sworn in as President, participating in the normal non-specifically-Democratic, non-self-congratulatory activities that most of us are content with. So, one thing excited Democrats can do is watch movies that will continue to inspire and encourage their beliefs and politics. As Karina already wrote, The American President is one movie that just barely may allow Obama fans to relive his DNC speech. Also, beginning yesterday, the Oscar-nominated documentary No End in Sight will be available in full on YouTube through till Election Day. Of course, there’s always other anti-war and anti-Bush docs for free viewing online, at such sites as SnagFilms and FreeDocumentaries.org. And since there are so many docs out there that can make a Democrat giddy with the want for change, I’ve decided to limit today’s list to fictions and dramatizations, because they are more about feelings than facts, and that’s all you really need for political inspiration these days. As usual, I’m leaving out a lot of picks, both obvious and obscure, so feel free to tell us what movie make you feel most proud to be a Democrat. Mr. Deeds Goes to Town - Never mind that Frank Capra voted Republican or that ultimately this film has rather conservative messages regarding traditionalism, privatization and self-sufficiency; all the allusions to the New Deal are strong enough to excite any Rooseveltian liberal. In its time it may have fooled the population by seeming pro-FDR, but today it can still be appreciated by Democrats for demonstrating the President’s Depression-era programs in a way that may be celebrated by those who believe in them. Just concentrate more on screenwriter Robert Riskin’s influence and contribution and ignore Capra’s underlying and conclusive ideology. Cradle Will Rock - Another Depression-era film, though this one was made 63 years later and is actually pro-New Deal, directed by the openly liberal actor/filmmaker Tim Robbins. In a way, it’s probably more left-wing than even some Democrats can agree with, but a general appreciation for government-funded and supported arts, as well as a hatred of conservative-pressured cuts to similar programs, should allow most in the party to enjoy the film. The People vs. Larry Flynt - You can’t have a Democratic film marathon without at least one title celebrating the First Amendment. Feel free to substitute with Lenny, or just add it to the list. Roe vs. Wade - A TV movie, sure, and not even a great one, but when it comes to films about women’s right to choose, you’ve either got great foreign films (Vera Drake; 4 Months, 3 Weeks and 2 Days), which don’t exactly represent U.S. politics, documentaries (which don’t qualify the list), and satires (Citizen Ruth would be a decent inclusion, maybe, but it kind of ridicules all sides). So, here’s the direct dramatization of the court case that made history. Thirteen Days - JFK’s presidency is well-enough renowned by the Democratic Party, but this specific portrayal of one of his greatest moments in office is also important viewing for fans of RFK and Adlai Stevenson. Dick - It’s possible to get excited while watching All the President’s Men and celebrating the outcome of Woodward and Bernstein’s investigation, but Dick is a little more anti-Nixon, at least in a lampooning manner. Plus, as great as Redford and Hoffman are in AtPM, I prefer Will Ferrell and Bruce McCullough as the journalists who helped to take down the corrupt Republican. Harold and Kumar Escape from Guantanamo Bay - And if you prefer Dan Hedaya’s humorous portrayal of Nixon in Dick to Anthony Hopkins in Nixon, you’ll likely enjoy James Adomian’s caricature of George W. Bush in this Harold & Kumar sequel. It’s a little jokingly apologetic, but it will tide you over until W. comes out — if you’re even eager to see a full biopic about your worst enemy, that is. Inherit the Wind - Based on the infamous 1925 trial of science teacher John T. Scopes, who was convicted for teaching evolution in a state allowing only creationism to be taught, this 1960 adaptation of Jerome Lawrence and Robert E. Lee’s play continues to be significant in the ongoing debate regarding science vs. religion and the division of Church and State. To Kill a Mockingbird - Since I can’t decide on any movies to include that directly deal with the Civil Rights Act, here’s the movie based on the book that inspired me most about civil rights when I was young. It should be required viewing (and the book should be required reading) for all kids of impressionable age. Three Kings - I certainly wouldn’t vote for somebody solely based on his or her movie tastes, but I will admit to liking Bill Clinton a little bit more, post-presidency, after learning from his guest appearance on Roger Ebert & the Movies that he loved Three Kings. And, the other way around, I had an even greater appreciation for the film after Clinton’s endorsement, which included a reading of the film, which goes as follows (thanks to Salon for the quote and lead-in): He saw the movie as an indication that we need to face up to society’s “oldest, most primitive problem, our tribalism, our tendency to go beyond a natural pride in our group, whether it’s a racial or ethnic or religious group or whatever,” which results in “fear and distrust and dehumanization and violence against ‘the other.’” Of course, just because Clinton liked Three Kings doesn’t mean other Democrats will. Or vice versa. Ronald Reagan was apparently a big fan of Mr. Deeds Goes to Town, which hasn’t made me any less of a fan. So, I’ll ask again, differently, since the Democratic Party is anything but completely united: what movies are most relevant to your politics as a Democrat? Originally posted on:SpoutBlog http://www.spout.com/blogs/cinemarian/archive/2008/5/12/28613.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/12/2008 11:47:56 AM
Body: Frank Capra is one of the most controversial of all American directors. Yet he is rarely thought of that way. Perhaps it is because that his detractors do not deny that he is technically accomplished filmmaker who made the movies he wanted to make. Instead, they deny those films worth. To them, his film are worse then bad- they are not even worth talking about, being little more than, as my friend Oslan once described the works of Capra's spiritual descendant, Stephen Spielberg, "baby food for the masses". On the hand, Capra's supporters (and I am one) believe that his films are far more complex than meets the eye. His film are metaphors for the average person (Capra was one of the first Hollywood directors to have well rounded female protagonists) in the American world. But, contrary to popular belief, his works are not cinematic equivalent of a Norman Rockwell painting. The fact that his movies tend to be upbeat does not say they do not contain darkness, although his film are fundamentally optimistic about America, they are not jingoistic propaganda, but an honest statement. I say all this at the beginning of my review of Mr. Deeds Goes to Town so that I can talk about the movie on its merits. One of Capra's most famous films, it is not one of the directors masterpieces like It's a Wonderful Life or its companion piece, Mr. Smith Goes to Washington, but is certainly in the top tier of his works. It won the Oscar for Best Director, and was considered to be a front-runner for Best Picture, and lost in surprise upset to Robert Z. Leonard's vastly inferior The Great Ziegfeld. Longfellow Deeds (Gary Cooper) is an eccentric but popular citizen of the small town of Mandrake Falls, Vermont, who makes a living writing limericks for greeting cards. One day he is visited by an attorney named John Ceder (Douglas Dumbrille) who informs him that a distant relative has died suddenly and that Deeds will inherit twenty million dollars. Deeds does not know what to do. He doesn't need the money and is happy in Mandrake Falls, but Ceder manages to convince to come to New York. What Deeds doesn't know is that the lawyer needs Deeds to sign over a power of attorney so he can pay off and cover up a debt his law firm illegally incurred. At the same time, reporter Babe Bennet (Jean Arthur) is assigned to cover the case and masquares and an average girl- just the kind that Deeds will fall for. Eventually, the new millionaire realizes the reporter's real identity and decides to leave New York in disgust, only to meet an ex-farmer (Raymond Walburn) who is at his wits end. Digusted at the newspaper accounts of Deed's parting, he asks how the man can spend money to impress friends when so many in the country would love a thousandth of that money to buy food. Moved, Deeds to decided to give away his entire fortune, but a desperate Ceder comes up with a way to stop him- accuse him of insanity and have him committed. Both Mr. Deeds and Mr. Smith have a similar structure- a naïve but good hearted average Joe becomes a member of a flawed system, is tempted to leave it, but is convinced by his romantic interest (Jean Arthur in both films) to stay and fight. The difference for me is that Mr. Smith is about an institution I believe in, America, whereas Mr. Deeds is about an institution I don't, capitalism. Make no mistake, Capra shows us greedy tycoons and clueless debutantes, but he has a basic faith in free market economies that I don't share. And some of Capra's arguments in this film I don't agree with. A populist, the director mocks "elite" art (my words), as Deeds refuses to give money to the Metropolitan Opera, which has never turned a profit. The implicit logic is that only art that is popular has value. This is shared by a scene in which a group of serious writers mock Deeds for his occupation, a mean thing to do, certainly, but there is a bit populist anti-intellectualism in this film that I found bothersome. What is also dated about the film is Deeds predilection to solve his problems using violence- whenever he hits someone who says something unreasonable, we side more with the victim than with the perpetrator. However, there is a lot that does work, indeed, everything else. The movie is absolutely magically photographed by Joseph Walker, and some of the scenes between Cooper and Arthur are among the most romantic ever committed to celluloid, and the movie is quite deep in its characterization of Deeds. He begins the film self-actualized, and it is only when he listens to others that he feels the need to spend his money on conspicuous consumption. Later, he is reminded of the values that he always held, are indeed the correct ones. I've often wondered what I would do if I won the lottery or was lucky enough to make it big in Hollywood. I hope I follow the example of Longfellow Deeds. Mr. Deeds Goes to Town (1936)
]]>Mon, 12 May 2008 15:47:56 GMTCinemaRianCinemaRian Blog5/12/2008 11:47:56 AMFrank Capra is one of the most controversial of all American directors. Yet he is rarely thought of that way. Perhaps it is because that his detractors do not deny that he is technically accomplished filmmaker who made the movies he wanted to make. Instead, they deny those films worth. To them, his film are worse then bad- they are not even worth talking about, being little more than, as my friend Oslan once described the works of Capra's spiritual descendant, Stephen Spielberg, "baby food for the masses". On the hand, Capra's supporters (and I am one) believe that his films are far more complex than meets the eye. His film are metaphors for the average person (Capra was one of the first Hollywood directors to have well rounded female protagonists) in the American world. But, contrary to popular belief, his works are not cinematic equivalent of a Norman Rockwell painting. The fact that his movies tend to be upbeat does not say they do not contain darkness, although his film are fundamentally optimistic about America, they are not jingoistic propaganda, but an honest statement. I say all this at the beginning of my review of Mr. Deeds Goes to Town so that I can talk about the movie on its merits. One of Capra's most famous films, it is not one of the directors masterpieces like It's a Wonderful Life or its companion piece, Mr. Smith Goes to Washington, but is certainly in the top tier of his works. It won the Oscar for Best Director, and was considered to be a front-runner for Best Picture, and lost in surprise upset to Robert Z. Leonard's vastly inferior The Great Ziegfeld. Longfellow Deeds (Gary Cooper) is an eccentric but popular citizen of the small town of Mandrake Falls, Vermont, who makes a living writing limericks for greeting cards. One day he is visited by an attorney named John Ceder (Douglas Dumbrille) who informs him that a distant relative has died suddenly and that Deeds will inherit twenty million dollars. Deeds does not know what to do. He doesn't need the money and is happy in Mandrake Falls, but Ceder manages to convince to come to New York. What Deeds doesn't know is that the lawyer needs Deeds to sign over a power of attorney so he can pay off and cover up a debt his law firm illegally incurred. At the same time, reporter Babe Bennet (Jean Arthur) is assigned to cover the case and masquares and an average girl- just the kind that Deeds will fall for. Eventually, the new millionaire realizes the reporter's real identity and decides to leave New York in disgust, only to meet an ex-farmer (Raymond Walburn) who is at his wits end. Digusted at the newspaper accounts of Deed's parting, he asks how the man can spend money to impress friends when so many in the country would love a thousandth of that money to buy food. Moved, Deeds to decided to give away his entire fortune, but a desperate Ceder comes up with a way to stop him- accuse him of insanity and have him committed. Both Mr. Deeds and Mr. Smith have a similar structure- a na&iuml;ve but good hearted average Joe becomes a member of a flawed system, is tempted to leave it, but is convinced by his romantic interest (Jean Arthur in both films) to stay and fight. The difference for me is that Mr. Smith is about an institution I believe in, America, whereas Mr. Deeds is about an institution I don't, capitalism. Make no mistake, Capra shows us greedy tycoons and clueless debutantes, but he has a basic faith in free market economies that I don't share. And some of Capra's arguments in this film I don't agree with. A populist, the director mocks "elite" art (my words), as Deeds refuses to give money to the Metropolitan Opera, which has never turned a profit. The implicit logic is that only art that is popular has value. This is shared by a scene in which a group of serious writers mock Deeds for his occupation, a mean thing to do, certainly, but there is a bit populist anti-intellectualism in this film that I found bothersome. What is also dated about the film is Deeds predilection to solve his problems using violence- whenever he hits someone who says something unreasonable, we side more with the victim than with the perpetrator. However, there is a lot that does work, indeed, everything else. The movie is absolutely magically photographed by Joseph Walker, and some of the scenes between Cooper and Arthur are among the most romantic ever committed to celluloid, and the movie is quite deep in its characterization of Deeds. He begins the film self-actualized, and it is only when he listens to others that he feels the need to spend his money on conspicuous consumption. Later, he is reminded of the values that he always held, are indeed the correct ones. I've often wondered what I would do if I won the lottery or was lucky enough to make it big in Hollywood. I hope I follow the example of Longfellow Deeds. Mr. Deeds Goes to Town (1936) http://www.spout.com/blogs/spoutblog/archive/2008/2/15/25193.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/15/2008 5:00:48 PM
Body: What is the first thing you’d do if you found out you had super powers? Save someone? No, you’d probably try something selfish first, just because you could. You’d likely say you’ll use the powers for good after that initial all-for-me trial run, but there’s a good chance you’ll get greedy instead. After all, you’re only human — you’re just more powerful than the rest of the race. This is exactly what happens to David Rice (played by Max Thieriot then Hayden Christensen), a kid who discovers he can teleport, or jump, anywhere he’s been before. Yes, he’s kind of like the X-Men character Nightcrawler, someone David is likely familiar with since he references Marvel comics and therefore has a good self-awareness of the fantastical sort of life he’s a part of, or ought to be a part of. But unlike Spider-Man, another exemplary Marvel character, he doesn’t believe in the whole “with great power comes great responsibility” crap. Although the first time he robs a bank he tells himself he’ll pay it back one day, he eventually stops kidding himself. He doesn’t even contemplate using the money to help the needy. He’s no Robin Hood or Longfellow Deeds. He’s just your average follower of Objectivism. (more…) Originally posted on:SpoutBlog
]]>Fri, 15 Feb 2008 22:00:48 GMTSpoutBlogSpoutBlog on spout.com2/15/2008 5:00:48 PMWhat is the first thing you’d do if you found out you had super powers? Save someone? No, you’d probably try something selfish first, just because you could. You’d likely say you’ll use the powers for good after that initial all-for-me trial run, but there’s a good chance you’ll get greedy instead. After all, you’re only human — you’re just more powerful than the rest of the race. This is exactly what happens to David Rice (played by Max Thieriot then Hayden Christensen), a kid who discovers he can teleport, or jump, anywhere he’s been before. Yes, he’s kind of like the X-Men character Nightcrawler, someone David is likely familiar with since he references Marvel comics and therefore has a good self-awareness of the fantastical sort of life he’s a part of, or ought to be a part of. But unlike Spider-Man, another exemplary Marvel character, he doesn’t believe in the whole “with great power comes great responsibility” crap. Although the first time he robs a bank he tells himself he’ll pay it back one day, he eventually stops kidding himself. He doesn’t even contemplate using the money to help the needy. He’s no Robin Hood or Longfellow Deeds. He’s just your average follower of Objectivism. (more…) Originally posted on:SpoutBlog http://www.spout.com/blogs/risselada/archive/2007/11/19/21772.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 11/19/2007 11:10:22 AM
Body: This is a list for Round 2 of my movie year countdown viewing project as first described here. If by any strange chance whoever is reading this is actually following along you may notice that I'm still less than two thirds of the way through my original one. Well I'm starting this new one because as much as I love old movies it can get a little tedious watching just older movies. So I'm going to be blending my watching of the two lists together. Still focusing on the original one, but every once in a while sliding in the next entry from this new list.Again these new movies are limited to full length movies that are available on Netflix. And for this new round instead of picking a movie from every year, I will be picking a movie from every two years. For example the first movie must have come out during 2006 or 2007. The second movie must have come out in 2004 or 2005. The next in 2002 or 2003. You see.The list is not finished yet, but here is what I have decided so far. I will update this post later with the new flicks.-------------------------------------------------------------------------------1. Children of Men (2006)2. The New World (2005)3. Mou gaan dou (Infernal Affairs) (2002)4. Riri Shushu no subete (All About Lily Chou-Chou) (2001)5. Party Monster (1998)6. Hard Eight (1996)7. Smoke (1995)8. Jennifer Eight (1992)9. The Fisher King (1991)10. Tetsuo (Tetsuo, the Iron Man) (1989)11. Angel Heart (1987)12. Runaway Train (1985)13. Burden of Dreams (1982)14. The Big Red One (1980)15. Stalker (1979)16. Network (1976)17. Angst essen Seele auf (Ali: Fear Eats the Soul) (1974)18. The Wicker Man (1973)19. Land des Schweigens und der Dunkelheit (Land of Silence and Darkness) (1971)20. Z (1969)21. In Cold Blood (1967)22. Suna no onna (Woman in the Dunes) (1964)23. The Intruder (1962)24. Jungfrukällan (The Virgin Spring) (1960)25. Pickpocket (1959)26. Invasion of the Body Snatchers (1956)27. Kiss Me Deadly (1955)28. Shane (1953)29. Winchester '73 (1950)30. The Big Clock (1948)31. The Postman Always Rings Twice (1946)32. The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France (1944)33. Hi Diddle Diddle (1943)34. The Philadelphia Story (1940)35. Angels with Dirty Faces (1938)36. Mr. Deeds Goes to Town (1936)37. Man on the Flying Trapeze (1935)38. I Am a Fugitive from a Chain Gang (1932)39. Zemlya (Earth) (1930)40. Die Büchse der Pandora (Pandora's Box) (1929)41. The Unknown (1927)42. Seven Chances (1925)43. Dr. Mabuse, der Spieler - Ein Bild der Zeit (Dr. Mabuse: The Gambler) (1922)44. The Kid (1921)45. Male and Female (1919)46. Umirayushchii Lebed (The Dying Swan) (1917)47. The Birth of a Nation (1915)
]]>Mon, 19 Nov 2007 16:10:22 GMTRisseladaRisselada Blog11/19/2007 11:10:22 AMThis is a list for Round 2 of my movie year countdown viewing project as first described here. If by any strange chance whoever is reading this is actually following along you may notice that I&#39;m still less than two thirds of the way through my original one. Well I&#39;m starting this new one because as much as I love old movies it can get a little tedious watching just older movies. So I&#39;m going to be blending my watching of the two lists together. Still focusing on the original one, but every once in a while sliding in the next entry from this new list.Again these new movies are limited to full length movies that are available on Netflix. And for this new round instead of picking a movie from every year, I will be picking a movie from every two years. For example the first movie must have come out during 2006 or 2007. The second movie must have come out in 2004 or 2005. The next in 2002 or 2003. You see.The list is not finished yet, but here is what I have decided so far. I will update this post later with the new flicks.-------------------------------------------------------------------------------1. Children of Men (2006)2. The New World (2005)3. Mou gaan dou (Infernal Affairs) (2002)4. Riri Shushu no subete (All About Lily Chou-Chou) (2001)5. Party Monster (1998)6. Hard Eight (1996)7. Smoke (1995)8. Jennifer Eight (1992)9. The Fisher King (1991)10. Tetsuo (Tetsuo, the Iron Man) (1989)11. Angel Heart (1987)12. Runaway Train (1985)13. Burden of Dreams (1982)14. The Big Red One (1980)15. Stalker (1979)16. Network (1976)17. Angst essen Seele auf (Ali: Fear Eats the Soul) (1974)18. The Wicker Man (1973)19. Land des Schweigens und der Dunkelheit (Land of Silence and Darkness) (1971)20. Z (1969)21. In Cold Blood (1967)22. Suna no onna (Woman in the Dunes) (1964)23. The Intruder (1962)24. Jungfruk&auml;llan (The Virgin Spring) (1960)25. Pickpocket (1959)26. Invasion of the Body Snatchers (1956)27. Kiss Me Deadly (1955)28. Shane (1953)29. Winchester &#39;73 (1950)30. The Big Clock (1948)31. The Postman Always Rings Twice (1946)32. The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France (1944)33. Hi Diddle Diddle (1943)34. The Philadelphia Story (1940)35. Angels with Dirty Faces (1938)36. Mr. Deeds Goes to Town (1936)37. Man on the Flying Trapeze (1935)38. I Am a Fugitive from a Chain Gang (1932)39. Zemlya (Earth) (1930)40. Die B&uuml;chse der Pandora (Pandora&#39;s Box) (1929)41. The Unknown (1927)42. Seven Chances (1925)43. Dr. Mabuse, der Spieler - Ein Bild der Zeit (Dr. Mabuse: The Gambler) (1922)44. The Kid (1921)45. Male and Female (1919)46. Umirayushchii Lebed (The Dying Swan) (1917)47. The Birth of a Nation (1915) http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
Number of films tagged: 12478

Number of people who tagged: 338

Number of times used: 1480

]]>Fri, 11 Dec 2009 01:28:29 GMT124783381480Tag http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
Number of films tagged: 609

Number of people who tagged: 316

Number of times used: 942

]]>Wed, 16 Dec 2009 21:10:58 GMT609316942Tag http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
Number of films tagged: 816

Number of people who tagged: 313

Number of times used: 1454

]]>Sat, 19 Dec 2009 23:30:46 GMT8163131454Tag http://www.spout.com/members/0/tags/comedy/MemberTagFilms.aspxcomedy
Number of films tagged: 1087

Number of people who tagged: 253

Number of times used: 1342

]]>Tue, 15 Dec 2009 16:38:30 GMT10872531342Tag http://www.spout.com/members/0/tags/Great/MemberTagFilms.aspxGreat
Number of films tagged: 231

Number of people who tagged: 202

Number of times used: 371

]]>Fri, 04 Dec 2009 17:11:49 GMT231202371Tag http://www.spout.com/members/0/tags/romance/MemberTagFilms.aspxromance
Number of films tagged: 7163

Number of people who tagged: 169

Number of times used: 1005

]]>Sun, 20 Dec 2009 01:16:35 GMT71631691005Tag http://www.spout.com/members/0/tags/poverty/MemberTagFilms.aspxpoverty
Number of films tagged: 1505

Number of people who tagged: 38

Number of times used: 70

]]>Wed, 11 Nov 2009 20:28:37 GMT15053870Tag http://www.spout.com/members/0/tags/wealth/MemberTagFilms.aspxwealth
Number of films tagged: 749

Number of people who tagged: 26

Number of times used: 70

]]>Sun, 20 Sep 2009 05:18:07 GMT7492670Tag http://www.spout.com/members/0/tags/reporter/MemberTagFilms.aspxreporter
Number of films tagged: 1590

Number of people who tagged: 22

Number of times used: 52

]]>Wed, 12 Aug 2009 13:02:59 GMT15902252Tag http://www.spout.com/members/0/tags/must-see/MemberTagFilms.aspxmust-see
Number of films tagged: 59

Number of people who tagged: 20

Number of times used: 67

]]>Thu, 09 Jul 2009 11:26:12 GMT592067Tag http://www.spout.com/members/0/tags/poet/MemberTagFilms.aspxpoet
Number of films tagged: 377

Number of people who tagged: 17

Number of times used: 20

]]>Wed, 12 Aug 2009 13:02:59 GMT3771720Tag http://www.spout.com/members/0/tags/conscam/MemberTagFilms.aspxconscam
Number of films tagged: 2333

Number of people who tagged: 12

Number of times used: 19

]]>Wed, 12 Aug 2009 13:02:59 GMT23331219Tag http://www.spout.com/members/0/tags/inheritance/MemberTagFilms.aspxinheritance
Number of films tagged: 1331

Number of people who tagged: 11

Number of times used: 16

]]>Tue, 30 Jun 2009 13:07:18 GMT13311116Tag http://www.spout.com/members/0/tags/newspaper/MemberTagFilms.aspxnewspaper
Number of films tagged: 497

Number of people who tagged: 10

Number of times used: 23

]]>Mon, 16 Nov 2009 19:21:21 GMT4971023Tag http://www.spout.com/members/0/tags/new-york-city/MemberTagFilms.aspxnew-york-city
Number of films tagged: 25

Number of people who tagged: 6

Number of times used: 26

]]>Thu, 12 Nov 2009 20:19:20 GMT25626Tag