list http://www.spout.com/ Recent community activity around Barry Lyndon 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/Barry_Lyndon/2369/default.aspx Title: Barry Lyndon
Year: 1975
Director: Stanley Kubrick
Plot: With ornate imagery reminiscent of paintings from the story's 18th century period, Stanley Kubrick's adaptation of William Makepeace Thackeray's novel depicts the rise and fall of a sensitive rogue in the British aristocracy. Young Irishman Redmond Barry (Ryan O'Neal) leaves home to seek his fortune after apparently killing an English officer in a duel. Through a series of mishaps and accidents, Barry winds up fighting with the Prussian army in the Seven Years' War under the command of Capt. Potzdorf (Hardy Kruger); at war's end, Potzdorf enlists Barry to spy on a shady Chevalier (Patrick Magee). Instead, Barry joins up with the Irish Chevalier to flee Prussia and live as gamblers among Europe's elite. Wishing to climb even higher, Barry soon meets the beautiful Lady Lyndon (Marisa Berenson), marrying her for her fortune after her older titled husband dies. Her son Lord Bullingdon (Leon Vitali), however, despises the upstart Barry, and, regardless of how his mother may feel, sees to it that the re-named Barry Lyndon will never be able to stake his claim to the entrenched aristocracy. Coming after Kubrick's esteemed hits 2001 (1968) and A Clockwork Orange (1971), Barry Lyndon opened with high expectations and met with decidedly mixed responses to its restrained tone. Even with Oscar nominations for Best Picture and Best Director (and wins for Cinematography, Art Direction, Costumes, and Adapted Score), Barry Lyndon was a box office failure, as mid-'70s audiences increasingly turned away from such narrative challenges as its epic length and muffled emotions. Since then, Barry Lyndon has gained in stature, taking its place among the formidable artistic achievements of Kubrick's career. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 12
Number of Lists: 40
Number of blog posts: 9
Number of discussion threads: 6
SpoutRating: 4
]]>Mon, 03 Aug 2009 19:03:45 GMTBarry Lyndon1975Stanley KubrickWith ornate imagery reminiscent of paintings from the story's 18th century period, <a href="/players/P____98221/default.aspx" style='text-decoration:underline'>Stanley Kubrick</a>'s adaptation of William Makepeace Thackeray's novel depicts the rise and fall of a sensitive rogue in the British aristocracy. Young Irishman Redmond Barry (<a href="/players/P____53567/default.aspx" style='text-decoration:underline'>Ryan O'Neal</a>) leaves home to seek his fortune after apparently killing an English officer in a duel. Through a series of mishaps and accidents, Barry winds up fighting with the Prussian army in the Seven Years' War under the command of Capt. Potzdorf (<a href="/players/P____39469/default.aspx" style='text-decoration:underline'>Hardy Kruger</a>); at war's end, Potzdorf enlists Barry to spy on a shady Chevalier (<a href="/players/P____44560/default.aspx" style='text-decoration:underline'>Patrick Magee</a>). Instead, Barry joins up with the Irish Chevalier to flee Prussia and live as gamblers among Europe's elite. Wishing to climb even higher, Barry soon meets the beautiful Lady Lyndon (<a href="/players/P_____5566/default.aspx" style='text-decoration:underline'>Marisa Berenson</a>), marrying her for her fortune after her older titled husband dies. Her son Lord Bullingdon (Leon Vitali), however, despises the upstart Barry, and, regardless of how his mother may feel, sees to it that the re-named Barry Lyndon will never be able to stake his claim to the entrenched aristocracy. Coming after Kubrick's esteemed hits <a href=/films/211592/default.aspx style='text-decoration:underline'>2001</a> (1968) and <a href=/films/6454/default.aspx style='text-decoration:underline'>A Clockwork Orange</a> (1971), Barry Lyndon opened with high expectations and met with decidedly mixed responses to its restrained tone. Even with Oscar nominations for Best Picture and Best Director (and wins for Cinematography, Art Direction, Costumes, and Adapted Score), Barry Lyndon was a box office failure, as mid-'70s audiences increasingly turned away from such narrative challenges as its epic length and muffled emotions. Since then, Barry Lyndon has gained in stature, taking its place among the formidable artistic achievements of Kubrick's career. ~ Lucia Bozzola, All Movie Guide12Tag Target (>10)40964http://www.spout.com/ProductImages/u46770t1jyp.jpghttp://www.spout.com/films/Barry_Lyndon/2369/default.aspxFilm http://www.spout.com/groups/Movie_Polls/Which_of_these_movies_directed_by_Stanley_Kubrick/657/43976/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 9/22/2009 2:12:36 PM
Body: Please reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:2001: A Space OdysseyBarry LyndonA Clockwork OrangeDr. Strangelove or: How I Learned to Stop Worrying and Love the BombEyes Wid ShutFull Metal JacketKiller's KissThe KillingLolitaPaths of GloryThe ShiningSpartacus
]]>Tue, 22 Sep 2009 18:12:36 GMTRisseladaMovie Polls9/22/2009 2:12:36 PMPlease reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:2001: A Space OdysseyBarry LyndonA Clockwork OrangeDr. Strangelove or: How I Learned to Stop Worrying and Love the BombEyes Wid ShutFull Metal JacketKiller's KissThe KillingLolitaPaths of GloryThe ShiningSpartacus http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_27_Games_of_Chance/625/43321/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 7/29/2009 8:17:43 PM
Body: I'm going to start this post with the appropriate music video from a couple of Living Legends. The Grough and Eligh - "All In" ___________________________________________________________ ___________________________________________________________ Okay, now that I've gotten that out of my system... KICK ASS TOPIC MERC!!!! I just went to Vegas a couple weeks ago.. It was a blast! [quote user="mercurial"] The dangerous illegal gambles where life is on the line are also rather intriguing like in the inconceivably funny The Princess Bride, ultra realistic Intacto and historical accurate Barry Lyndon. [/quote] I liked Intacto but I thought 13 Tzameti took the same concept and did it a little bit better. I thought it was pretty tense throughout the whole second half. Also, check out The Cooler if you haven't already. I really liked the 'old school' Vegas feel of this film. It had a good story as well.
]]>Thu, 30 Jul 2009 00:17:43 GMTleeroy711Weekly Theme7/29/2009 8:17:43 PMI'm going to start this post with the appropriate music video from a couple of Living Legends. The Grough and Eligh - "All In" ___________________________________________________________ ___________________________________________________________ Okay, now that I've gotten that out of my system... KICK ASS TOPIC MERC!!!! I just went to Vegas a couple weeks ago.. It was a blast! [quote user="mercurial"] The dangerous illegal gambles where life is on the line are also rather intriguing like in the inconceivably funny The Princess Bride, ultra realistic Intacto and historical accurate Barry Lyndon. [/quote] I liked Intacto but I thought 13 Tzameti took the same concept and did it a little bit better. I thought it was pretty tense throughout the whole second half. Also, check out The Cooler if you haven't already. I really liked the 'old school' Vegas feel of this film. It had a good story as well. http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_July_27_Games_of_Chance/625/43299/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/28/2009 9:57:28 PM
Body: We're throwing caution to the wind and hoping for a windfall this week. There's a reason Las Vegas is such a popular destination: the strippers and all you can eat buffets are a distant second to the lure of taking a chance on the endless stream of slot machines, roulette wheels and poker tables where a single stroke of luck can bring you unimaginable riches (or at least pay for a go at the buffet later). I've always loved those smokey gambling dens of iniquity where the liquor is cheap and so are the woman such as those in The Big Sleep, Gilda, and Dick Tracy. The dangerous illegal gambles where life is on the line are also rather intriguing like in the inconceivably funny The Princess Bride, ultra realistic Intacto and historical accurate Barry Lyndon. Recently I've taken a liking to Texas Hold'em and movies such as Rounders, Ocean's 11, Casino Royale and My Blueberry Nights do the game justice (with losers like Lucky You and All In making a mockery of it). So what other movies are there about gambling / games of chance?
]]>Wed, 29 Jul 2009 01:57:28 GMTmercurialWeekly Theme7/28/2009 9:57:28 PMWe're throwing caution to the wind and hoping for a windfall this week. There's a reason Las Vegas is such a popular destination: the strippers and all you can eat buffets are a distant second to the lure of taking a chance on the endless stream of slot machines, roulette wheels and poker tables where a single stroke of luck can bring you unimaginable riches (or at least pay for a go at the buffet later). I've always loved those smokey gambling dens of iniquity where the liquor is cheap and so are the woman such as those in The Big Sleep, Gilda, and Dick Tracy. The dangerous illegal gambles where life is on the line are also rather intriguing like in the inconceivably funny The Princess Bride, ultra realistic Intacto and historical accurate Barry Lyndon. Recently I've taken a liking to Texas Hold'em and movies such as Rounders, Ocean's 11, Casino Royale and My Blueberry Nights do the game justice (with losers like Lucky You and All In making a mockery of it). So what other movies are there about gambling / games of chance? http://www.spout.com/blogs/karina/archive/2009/3/10/40926.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/10/2009 12:02:30 PM
Body: Jody Lee Lipes, cinematographer of Antonio Campos‘ Afterschool, makes his feature length directorial debut with the SXSW Emerging Visions selection Brock Enright: Good Times Will Never Be the Same, a beautifully shot doc about an artist struggling to maintain a somewhat normal domestic relationship while producing a half-baked, largely inscrutable but still vaguely offensive installation for a New York gallery. Below the jump, check out the film’s trailer, as well as Lipes’ answers to The 5 Questions We Ask Everyone. Tell us about your movie. Who did you work with, 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. Brock Enright: Good Times Will Never Be The Same is like Hearts of Darkness: A Filmmaker’s Apocalypse meets American Movie. It’s a verite love story about the emerging artist Brock Enright, and his girlfriend Kirsten Deirup trying to put together the most significant gallery show of his career, and hold onto each other, the family, and the gallery in the process.  The fact that it’s about an artist is secondary, it’s really about someone striving to make it, and how his blind dedication to craft affects the people around him. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. My day job is cinematography, so I don’t have an occupation outside the film industry. I’ve been fortunate enough to be able to support myself as a shooter since I finished college, and in the process I’ve had the opportunity to really develop my sensibilities and learn a lot from everyone I’ve collaborated with over the last 8 or 9 years, including this film’s producer, Kyle Martin, and editor, Lance Edmands who were both in my class at NYU. Being a cameraman can be a little stifling to me at times, but I genuinely feel that I’ve been able to find my own voice because of it, and for that reason Brock Enright: Good Times Will Never Be The Same doesn’t feel like a first time director’s work to me. Have you been to SXSW before? If so, tell us about your funniest story from the experience. If not, what are you looking forward to re: the festival and/or the city of Austin ? I haven’t been to SXSW film before, so this is a pretty great introduction.  It’s our world premiere for the Brock Enright film, and another narrative feature that I shot called Afterschool, which premiered at Cannes ‘08, is screening as well. I’m really looking forward to watching Brock deal with the audience after the film screens, he’s one of the most charismatic human beings I’ve had the pleasure of meeting, and I have a feeling he will defy people’s expectations. 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? My death row double feature would definitely be Barry Lyndon followed by My Cousin Vinny. There’s been some criticism that the only way to get into SXSW is by being a part of an “incestuous scene where everybody knows everybody.” So who did *you* have to sleep with to get in? (Metaphorically or literally: are there any SXSW filmmaker(s) past or present that you’re close with personally and/or professionally, and how have those relationships helped or hurt the process of producing your film and getting it seen?) I don’t consider myself part of the SXSW scene, but there are people that have been very supportive of my project, and really gone above and beyond the call of duty to urge programmers all over the world to watch my film.  However, I don’t know what good that does unless the work is on par with the festival’s standards, and program.  I look at the documentary films included in SXSW this year, and I’m honored to be a part of the team in any way shape or form. To me that means nobody is getting in just cause they are fucking someone; the work has to be good. Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 10 Mar 2009 16:02:30 GMTKarinaKarina on SpoutBlog3/10/2009 12:02:30 PM Jody Lee Lipes, cinematographer of Antonio Campos‘ Afterschool, makes his feature length directorial debut with the SXSW Emerging Visions selection Brock Enright: Good Times Will Never Be the Same, a beautifully shot doc about an artist struggling to maintain a somewhat normal domestic relationship while producing a half-baked, largely inscrutable but still vaguely offensive installation for a New York gallery. Below the jump, check out the film’s trailer, as well as Lipes’ answers to The 5 Questions We Ask Everyone. Tell us about your movie. Who did you work with, 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. Brock Enright: Good Times Will Never Be The Same is like Hearts of Darkness: A Filmmaker’s Apocalypse meets American Movie. It’s a verite love story about the emerging artist Brock Enright, and his girlfriend Kirsten Deirup trying to put together the most significant gallery show of his career, and hold onto each other, the family, and the gallery in the process.  The fact that it’s about an artist is secondary, it’s really about someone striving to make it, and how his blind dedication to craft affects the people around him. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. My day job is cinematography, so I don’t have an occupation outside the film industry. I’ve been fortunate enough to be able to support myself as a shooter since I finished college, and in the process I’ve had the opportunity to really develop my sensibilities and learn a lot from everyone I’ve collaborated with over the last 8 or 9 years, including this film’s producer, Kyle Martin, and editor, Lance Edmands who were both in my class at NYU. Being a cameraman can be a little stifling to me at times, but I genuinely feel that I’ve been able to find my own voice because of it, and for that reason Brock Enright: Good Times Will Never Be The Same doesn’t feel like a first time director’s work to me. Have you been to SXSW before? If so, tell us about your funniest story from the experience. If not, what are you looking forward to re: the festival and/or the city of Austin ? I haven’t been to SXSW film before, so this is a pretty great introduction.  It’s our world premiere for the Brock Enright film, and another narrative feature that I shot called Afterschool, which premiered at Cannes ‘08, is screening as well. I’m really looking forward to watching Brock deal with the audience after the film screens, he’s one of the most charismatic human beings I’ve had the pleasure of meeting, and I have a feeling he will defy people’s expectations. 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? My death row double feature would definitely be Barry Lyndon followed by My Cousin Vinny. There’s been some criticism that the only way to get into SXSW is by being a part of an “incestuous scene where everybody knows everybody.” So who did *you* have to sleep with to get in? (Metaphorically or literally: are there any SXSW filmmaker(s) past or present that you’re close with personally and/or professionally, and how have those relationships helped or hurt the process of producing your film and getting it seen?) I don’t consider myself part of the SXSW scene, but there are people that have been very supportive of my project, and really gone above and beyond the call of duty to urge programmers all over the world to watch my film.  However, I don’t know what good that does unless the work is on par with the festival’s standards, and program.  I look at the documentary films included in SXSW this year, and I’m honored to be a part of the team in any way shape or form. To me that means nobody is getting in just cause they are fucking someone; the work has to be good. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/3/10/40925.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/10/2009 12:00:36 PM
Body: Jody Lee Lipes, cinematographer of Antonio Campos‘ Afterschool, makes his feature length directorial debut with the SXSW Emerging Visions selection Brock Enright: Good Times Will Never Be the Same, a beautifully shot doc about an artist struggling to maintain a somewhat normal domestic relationship while producing a half-baked, largely inscrutable but still vaguely offensive installation for a New York gallery. Below the jump, check out the film’s trailer, as well as Lipes’ answers to The 5 Questions We Ask Everyone. Tell us about your movie. Who did you work with, 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. Brock Enright: Good Times Will Never Be The Same is like Hearts of Darkness: A Filmmaker’s Apocalypse meets American Movie. It’s a verite love story about the emerging artist Brock Enright, and his girlfriend Kirsten Deirup trying to put together the most significant gallery show of his career, and hold onto each other, the family, and the gallery in the process.  The fact that it’s about an artist is secondary, it’s really about someone striving to make it, and how his blind dedication to craft affects the people around him. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. My day job is cinematography, so I don’t have an occupation outside the film industry. I’ve been fortunate enough to be able to support myself as a shooter since I finished college, and in the process I’ve had the opportunity to really develop my sensibilities and learn a lot from everyone I’ve collaborated with over the last 8 or 9 years, including this film’s producer, Kyle Martin, and editor, Lance Edmands who were both in my class at NYU. Being a cameraman can be a little stifling to me at times, but I genuinely feel that I’ve been able to find my own voice because of it, and for that reason Brock Enright: Good Times Will Never Be The Same doesn’t feel like a first time director’s work to me. Have you been to SXSW before? If so, tell us about your funniest story from the experience. If not, what are you looking forward to re: the festival and/or the city of Austin ? I haven’t been to SXSW film before, so this is a pretty great introduction.  It’s our world premiere for the Brock Enright film, and another narrative feature that I shot called Afterschool, which premiered at Cannes ‘08, is screening as well. I’m really looking forward to watching Brock deal with the audience after the film screens, he’s one of the most charismatic human beings I’ve had the pleasure of meeting, and I have a feeling he will defy people’s expectations. 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? My death row double feature would definitely be Barry Lyndon followed by My Cousin Vinny. There’s been some criticism that the only way to get into SXSW is by being a part of an “incestuous scene where everybody knows everybody.” So who did *you* have to sleep with to get in? (Metaphorically or literally: are there any SXSW filmmaker(s) past or present that you’re close with personally and/or professionally, and how have those relationships helped or hurt the process of producing your film and getting it seen?) I don’t consider myself part of the SXSW scene, but there are people that have been very supportive of my project, and really gone above and beyond the call of duty to urge programmers all over the world to watch my film.  However, I don’t know what good that does unless the work is on par with the festival’s standards, and program.  I look at the documentary films included in SXSW this year, and I’m honored to be a part of the team in any way shape or form. To me that means nobody is getting in just cause they are fucking someone; the work has to be good. Originally posted on:SpoutBlog
]]>Tue, 10 Mar 2009 16:00:36 GMTSpoutBlogSpoutBlog on spout.com3/10/2009 12:00:36 PM Jody Lee Lipes, cinematographer of Antonio Campos‘ Afterschool, makes his feature length directorial debut with the SXSW Emerging Visions selection Brock Enright: Good Times Will Never Be the Same, a beautifully shot doc about an artist struggling to maintain a somewhat normal domestic relationship while producing a half-baked, largely inscrutable but still vaguely offensive installation for a New York gallery. Below the jump, check out the film’s trailer, as well as Lipes’ answers to The 5 Questions We Ask Everyone. Tell us about your movie. Who did you work with, 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. Brock Enright: Good Times Will Never Be The Same is like Hearts of Darkness: A Filmmaker’s Apocalypse meets American Movie. It’s a verite love story about the emerging artist Brock Enright, and his girlfriend Kirsten Deirup trying to put together the most significant gallery show of his career, and hold onto each other, the family, and the gallery in the process.  The fact that it’s about an artist is secondary, it’s really about someone striving to make it, and how his blind dedication to craft affects the people around him. Do you have a day job/a non-filmmaking occupation that raises money for your filmmaking efforts? Tell us about it. My day job is cinematography, so I don’t have an occupation outside the film industry. I’ve been fortunate enough to be able to support myself as a shooter since I finished college, and in the process I’ve had the opportunity to really develop my sensibilities and learn a lot from everyone I’ve collaborated with over the last 8 or 9 years, including this film’s producer, Kyle Martin, and editor, Lance Edmands who were both in my class at NYU. Being a cameraman can be a little stifling to me at times, but I genuinely feel that I’ve been able to find my own voice because of it, and for that reason Brock Enright: Good Times Will Never Be The Same doesn’t feel like a first time director’s work to me. Have you been to SXSW before? If so, tell us about your funniest story from the experience. If not, what are you looking forward to re: the festival and/or the city of Austin ? I haven’t been to SXSW film before, so this is a pretty great introduction.  It’s our world premiere for the Brock Enright film, and another narrative feature that I shot called Afterschool, which premiered at Cannes ‘08, is screening as well. I’m really looking forward to watching Brock deal with the audience after the film screens, he’s one of the most charismatic human beings I’ve had the pleasure of meeting, and I have a feeling he will defy people’s expectations. 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? My death row double feature would definitely be Barry Lyndon followed by My Cousin Vinny. There’s been some criticism that the only way to get into SXSW is by being a part of an “incestuous scene where everybody knows everybody.” So who did *you* have to sleep with to get in? (Metaphorically or literally: are there any SXSW filmmaker(s) past or present that you’re close with personally and/or professionally, and how have those relationships helped or hurt the process of producing your film and getting it seen?) I don’t consider myself part of the SXSW scene, but there are people that have been very supportive of my project, and really gone above and beyond the call of duty to urge programmers all over the world to watch my film.  However, I don’t know what good that does unless the work is on par with the festival’s standards, and program.  I look at the documentary films included in SXSW this year, and I’m honored to be a part of the team in any way shape or form. To me that means nobody is getting in just cause they are fucking someone; the work has to be good. Originally posted on:SpoutBlog http://www.spout.com/groups/Community_Recommendations/Re_Historical_Drama/643/38218/1/ShowPost.aspx Post By: mercurial
Post To: Community Recommendations
Post Date: 12/10/2008 6:56:57 PM
Body: My personal favorites: Barry Lyndon Unequivocally the best 18th century period film ever made. Incredible. Black Narcissus Great drama set in the Himalayas. And nuns! Elizabeth Probably have already seen this, but just in case. Great film. Dogville A lot of people have not seen this due to the overwhelming negative reviews for it. But it is an amazing film nonetheless about early 20th century America. Manderlay The second film in the unfinished trilogy that follows Dogville. Gosford Park Impeccable film about the English caste system. A Little Princess Amazing kid's film. I still love it. Edward II Postmodern interpretation of Edward II. Might be too much for some. Battleship Potemkin Great historical film. Iconic scenes throughout. The Red Violin Traces a violin from its creation over 300 hundred years ago to today. And it has Samuel L. Jackson. A Very Long Engagement Tragic wartime flick about World War I in France. The Mission Insightful film about the struggles to convert South American natives to Christianity. Pride and Prejudice (2005) Best adaptation of the novel in my opinion. The Hours Three women going through the same whirlwind of emotions a three different times in history. Plunkett & Macleane Dramatic comedy set around the time of Marie Antoinette. Marie Antoinette (2006) I've grown to love this film since my hesitant initial reaction. Titus Postmodern interpretation of Titus Andronicus. The Messenger: The Story of Joan of Arc Another postmodern interpretation of the life of Joan of Arc. Andersonville Tragic movie about life in a prisoner of war camp in the South during the Civil War. Sleepy Hollow Quirky flick set in 19th century New England. The Color Purple Early 20th century South and the struggle of slaves. Great movie. That's all I can think of for now. I'm sure you've seen a number of these.
]]>Wed, 10 Dec 2008 23:56:57 GMTmercurialCommunity Recommendations12/10/2008 6:56:57 PMMy personal favorites: Barry Lyndon Unequivocally the best 18th century period film ever made. Incredible. Black Narcissus Great drama set in the Himalayas. And nuns! Elizabeth Probably have already seen this, but just in case. Great film. Dogville A lot of people have not seen this due to the overwhelming negative reviews for it. But it is an amazing film nonetheless about early 20th century America. Manderlay The second film in the unfinished trilogy that follows Dogville. Gosford Park Impeccable film about the English caste system. A Little Princess Amazing kid's film. I still love it. Edward II Postmodern interpretation of Edward II. Might be too much for some. Battleship Potemkin Great historical film. Iconic scenes throughout. The Red Violin Traces a violin from its creation over 300 hundred years ago to today. And it has Samuel L. Jackson. A Very Long Engagement Tragic wartime flick about World War I in France. The Mission Insightful film about the struggles to convert South American natives to Christianity. Pride and Prejudice (2005) Best adaptation of the novel in my opinion. The Hours Three women going through the same whirlwind of emotions a three different times in history. Plunkett &amp; Macleane Dramatic comedy set around the time of Marie Antoinette. Marie Antoinette (2006) I've grown to love this film since my hesitant initial reaction. Titus Postmodern interpretation of Titus Andronicus. The Messenger: The Story of Joan of Arc Another postmodern interpretation of the life of Joan of Arc. Andersonville Tragic movie about life in a prisoner of war camp in the South during the Civil War. Sleepy Hollow Quirky flick set in 19th century New England. The Color Purple Early 20th century South and the struggle of slaves. Great movie. That's all I can think of for now. I'm sure you've seen a number of these. http://www.spout.com/blogs/karina/archive/2008/11/7/37063.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 11/7/2008 2:01:06 PM
Body: A number of our blogging friends have picked up the Alphabetical Favorites meme. The idea is that you list 26 favorite movies, one for each letter of the alphabet. Some people are adding comments, but I think it’s more interesting to just toss the titles out there, to see how they fit together within a single list and how they match up to other lists. Also, it’s been a hell of a week and I’m exhausted. I will say this: after not being able to think of a single movie beginning with the letter “J” that I enjoy more than Joe Versus the Volcano, I noticed that several commenters at the House Next Door had slotted the same film in the same face. So much for Todd McCarthy’s contention in his Doubt review that John Patrick Shanley’s first directorial effort was “misguided.” So! My list is after the jump. Ali: Fear Eats The Soul Barry Lyndon Charade Deconstructing Harry Eyes Wide Shut Forty Second Street Ghostbusters Happy Together I Walked With a Zombie Joe vs. the Volcano Killers, The (1946) Long Goodbye, The Morocco North By Northwest On The Town Purple Rain Querelle Rules of the Game, The Star is Born, A (1954) They All Laughed Une Femme est une Femme Vivre Sa Vie When A Woman Ascends the Stairs Xanadu Yolanda and the Thief Zabriskie Point Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 07 Nov 2008 19:01:06 GMTKarinaKarina on SpoutBlog11/7/2008 2:01:06 PMA number of our blogging friends have picked up the Alphabetical Favorites meme. The idea is that you list 26 favorite movies, one for each letter of the alphabet. Some people are adding comments, but I think it’s more interesting to just toss the titles out there, to see how they fit together within a single list and how they match up to other lists. Also, it’s been a hell of a week and I’m exhausted. I will say this: after not being able to think of a single movie beginning with the letter “J” that I enjoy more than Joe Versus the Volcano, I noticed that several commenters at the House Next Door had slotted the same film in the same face. So much for Todd McCarthy’s contention in his Doubt review that John Patrick Shanley’s first directorial effort was “misguided.” So! My list is after the jump. Ali: Fear Eats The Soul Barry Lyndon Charade Deconstructing Harry Eyes Wide Shut Forty Second Street Ghostbusters Happy Together I Walked With a Zombie Joe vs. the Volcano Killers, The (1946) Long Goodbye, The Morocco North By Northwest On The Town Purple Rain Querelle Rules of the Game, The Star is Born, A (1954) They All Laughed Une Femme est une Femme Vivre Sa Vie When A Woman Ascends the Stairs Xanadu Yolanda and the Thief Zabriskie Point Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/11/7/37062.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/7/2008 2:00:55 PM
Body: A number of our blogging friends have picked up the Alphabetical Favorites meme. The idea is that you list 26 favorite movies, one for each letter of the alphabet. Some people are adding comments, but I think it’s more interesting to just toss the titles out there, to see how they fit together within a single list and how they match up to other lists. Also, it’s been a hell of a week and I’m exhausted. I will say this: after not being able to think of a single movie beginning with the letter “J” that I enjoy more than Joe Versus the Volcano, I noticed that several commenters at the House Next Door had slotted the same film in the same face. So much for Todd McCarthy’s contention in his Doubt review that John Patrick Shanley’s first directorial effort was “misguided.” So! My list is after the jump. Ali: Fear Eats The Soul Barry Lyndon Charade Deconstructing Harry Eyes Wide Shut Forty Second Street Ghostbusters Happy Together I Walked With a Zombie Joe vs. the Volcano Killers, The (1946) Long Goodbye, The Morocco North By Northwest On The Town Purple Rain Querelle Rules of the Game, The Star is Born, A (1954) They All Laughed Une Femme est une Femme Vivre Sa Vie When A Woman Ascends the Stairs Xanadu Yolanda and the Thief Zabriskie Point Originally posted on:SpoutBlog
]]>Fri, 07 Nov 2008 19:00:55 GMTSpoutBlogSpoutBlog on spout.com11/7/2008 2:00:55 PMA number of our blogging friends have picked up the Alphabetical Favorites meme. The idea is that you list 26 favorite movies, one for each letter of the alphabet. Some people are adding comments, but I think it’s more interesting to just toss the titles out there, to see how they fit together within a single list and how they match up to other lists. Also, it’s been a hell of a week and I’m exhausted. I will say this: after not being able to think of a single movie beginning with the letter “J” that I enjoy more than Joe Versus the Volcano, I noticed that several commenters at the House Next Door had slotted the same film in the same face. So much for Todd McCarthy’s contention in his Doubt review that John Patrick Shanley’s first directorial effort was “misguided.” So! My list is after the jump. Ali: Fear Eats The Soul Barry Lyndon Charade Deconstructing Harry Eyes Wide Shut Forty Second Street Ghostbusters Happy Together I Walked With a Zombie Joe vs. the Volcano Killers, The (1946) Long Goodbye, The Morocco North By Northwest On The Town Purple Rain Querelle Rules of the Game, The Star is Born, A (1954) They All Laughed Une Femme est une Femme Vivre Sa Vie When A Woman Ascends the Stairs Xanadu Yolanda and the Thief Zabriskie Point Originally posted on:SpoutBlog http://www.spout.com/blogs/cinemarian/archive/2008/5/14/29114.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/14/2008 1:07:44 AM
Body: I hate being wrong. I especially hate being wrong after I see a movie five times, read numerous anaysis of it, have written a paper on a scene I took apart shot-by-shot, and said movie is by my second favorite director of all time. But yes, I was wrong- Barry Lyndon is a masterpiece, meaning that I now like every single film Kubrick has made. Even Coppola can't match that. I think I know why I didn't like it though-Barry Lyndon is the most esoteric and difficult of Kubrick's films (it's noteworthy that after some criticized this film as being to subtle, some critized his next film, The Shining, as being too obvious). It requires a relitivley indepth knowlege of 18th century European history to totally "get it." I don't know anywhere near as much as I should about that topic, but I know more than I did when the first five times as watched the film. Also, the movie really needs to be seen on a big screen. The reason is not only for the absoluley georgeous photography (I once told a friend that this film probably had the greatest color cinematography ever, and that was when I didn't like it), it's because you need to pay extreamly close attention to the film. This is not only to follow the complex, labrynth plot and many, many characters, but in order to see them commuincate. Before, I thought that the title was a misnomer and Kubrick didn't really care about the characters. The way the characters interact is so subtle that you need to be totally enveloped in the world of the film to get it. Aside from Lord Bullingdon (Leon Vitali), Captain Quinn (Leonard Rossiter) and Captain Grogan (Godfrey Quigley), almost no one in this movie says what they are really thinking or feeling, a continous Kubrick theme. The acting is all excellent, with Ryan O'Neil, often thought to be a weak thespian, giving the best performance of his carreer as the complex title character. Everyone is great in this film, but Marisa Barenson as Lady Lyndon and the aforementioned Leonard Rossiter particularly stand out. Oh, and what is the plot, you may ask? Like everything else about this film, it's unconventional. The movie is split into two distinct parts, with Part One a nominal adventure (although a very, very cerebral one) recouting Redmond Barry's rise and Part Two a drama describing his fall, until his new name, Barry Lyndon. A poor Irish boy in the 18th century, Redmond wants to move up in the world, keeping his honor intact, but he falls into numerous adventures he didn't plan on, when he is forced by circumstance to join the British Army in the Seven Years War. In addition to this bizzare, two act instead of three act strucutre, there is also the omnicient Narrator (Michael Horden). One reason why many people hate the movie is that there is no suspense as the Narrator tells us exactly what's going to happen before we see it. At first I thought this was annoying but now I see that it creats a sense of dread (I am reminded of Titanic and Revenge of the Sith as similer examples). Barry Lyndon is most unique film from an extreamly unique director. It takes awhile to get into it, but it's extreamly rewarding. It kind of says something that I wanted to watch this three hour film again the night after I watched for the sixth time. Barry Lyndon (1975)
]]>Wed, 14 May 2008 05:07:44 GMTCinemaRianCinemaRian Blog5/14/2008 1:07:44 AMI hate being wrong. I especially hate being wrong after I see a movie five times, read numerous anaysis of it, have written a paper on a scene I took apart shot-by-shot, and said movie is by my second favorite director of all time. But yes, I was wrong- Barry Lyndon is a masterpiece, meaning that I now like every single film Kubrick has made. Even Coppola can't match that. I think I know why I didn't like it though-Barry Lyndon is the most esoteric and difficult of Kubrick's films (it's noteworthy that after some criticized this film as being to subtle, some critized his next film, The Shining, as being too obvious). It requires a relitivley indepth knowlege of 18th century European history to totally "get it." I don't know anywhere near as much as I should about that topic, but I know more than I did when the first five times as watched the film. Also, the movie really needs to be seen on a big screen. The reason is not only for the absoluley georgeous photography (I once told a friend that this film probably had the greatest color cinematography ever, and that was when I didn't like it), it's because you need to pay extreamly close attention to the film. This is not only to follow the complex, labrynth plot and many, many characters, but in order to see them commuincate. Before, I thought that the title was a misnomer and Kubrick didn't really care about the characters. The way the characters interact is so subtle that you need to be totally enveloped in the world of the film to get it. Aside from Lord Bullingdon (Leon Vitali), Captain Quinn (Leonard Rossiter) and Captain Grogan (Godfrey Quigley), almost no one in this movie says what they are really thinking or feeling, a continous Kubrick theme. The acting is all excellent, with Ryan O'Neil, often thought to be a weak thespian, giving the best performance of his carreer as the complex title character. Everyone is great in this film, but Marisa Barenson as Lady Lyndon and the aforementioned Leonard Rossiter particularly stand out. Oh, and what is the plot, you may ask? Like everything else about this film, it's unconventional. The movie is split into two distinct parts, with Part One a nominal adventure (although a very, very cerebral one) recouting Redmond Barry's rise and Part Two a drama describing his fall, until his new name, Barry Lyndon. A poor Irish boy in the 18th century, Redmond wants to move up in the world, keeping his honor intact, but he falls into numerous adventures he didn't plan on, when he is forced by circumstance to join the British Army in the Seven Years War. In addition to this bizzare, two act instead of three act strucutre, there is also the omnicient Narrator (Michael Horden). One reason why many people hate the movie is that there is no suspense as the Narrator tells us exactly what's going to happen before we see it. At first I thought this was annoying but now I see that it creats a sense of dread (I am reminded of Titanic and Revenge of the Sith as similer examples). Barry Lyndon is most unique film from an extreamly unique director. It takes awhile to get into it, but it's extreamly rewarding. It kind of says something that I wanted to watch this three hour film again the night after I watched for the sixth time. Barry Lyndon (1975) http://www.spout.com/blogs/marymcilwain/archive/2007/7/13/13847.aspx Post By: marymcilwain
Post To: Dollar Video Curator
Post Date: 7/13/2007 4:00:21 PM
Body: The polite society of nobility may seem an endless parade of teas, whispers, nods and dueling; boring, predictable. But in the glamorous world of the rich, cinched and nasty, they fuck others over as well as the rest of us more poorly dressed saps. Whereas the least fortunate of us end up perhaps in county lock-up, a pauper’s grave, or serving on jury duty, the wrong steps of an upper-class naughty-kin, could end perhaps in public shame at the Opera, or as the butt of everyone’s social “No-No” joke. The horror! But hey, punishment is all relative. Watch The Lifestyles of the Rich and Opulent implode for your entertainment in:The Age of Innocence, Barry Lyndon, Dangerous LiaisonsThe Age of Innocence Our hero Newland Archer is fucked from the second he lays eyes on the Countess Olenska, his betrothed’s slutty older cousin, who is world-weary and lookin’ for some action. The two become close when Newland advises her on her bad marriage, encouraging her to not get divorced, because all she would gain is “her freedom.” Meanwhile, Newland’s marriage to sweet little cousin May, all sugar and propriety on the outside and absolute demon on the inside, is imminent, and the next thing you know, the pair is off touring Europe on honeymoon while Newland’s bitter realization sets in. Upon their return, and unable to take the longing anymore, the Countess announces her decision to quit New York for Europe. May weaves a tangled and sticky web of societal propriety indeed, hosting the ultimate “Fuck-You-Get-Out-Of-My-Life” going away party, intended to keep Newland and the Countess apart forever. In this world of fine manners, a handshake might as well be a hand job, and a shared glance? Well, that is akin to a knock-down, dirty, screw in an alley behind a dumpster. Newland and the Countess are kept apart, unable to relay their undying love, and the Countess is shipped off the next day. But by the end of the party, Newland has decided to leave May and follow the Countess to Europe, but May has one final card to play, the classic, “Whoops, I’m pregnant!” Duty, honor, society and resolve to live a love-less life of boredom win out, and Newland, proper fucked indeed, accepts his fate. Barry Lyndon Redmond Barry (Lyndon) is an ambitious son-of-a-bitch. Born a poor Irish lad, he is determined to become a British Noble. How to do that you ask? Barry properly fucks over everyone who comes across his life from the very beginning, starting with his cousin, whose marriage he attempts to destroy out of jealousy. He then changes allegiance during the 7 year war, joins up with androgynous weirdo Chevalier de Balibari to royally screw royalty out of money at cheated card games, later continuing on to screw over his new wife the Countess Lyndon and her son by driving them into poverty and misery whilst screwing his way through a jungle of ladies-of-the-night, and culminating in the killing his own kid when a horse he bought him bucks him off.Along the way, Barry ruins the lives of many others that cross his path; the gay army general that he outs, the Prussians who employ him as a spy, anyone who doesn’t pay up their gambling debt, and his wife’s long-time religious confidant who he allows his mother to fire after some 20-odd years. Not to mention that he, awesomely, is not too proud to engage in an all-out, roll around on the ground in front of the company fist-fight with his stepson. Hey, whatever means satisfy the ends. But it is Lyndon who is properly fucked in the end. When he duels with Lord Burlingdon, his stepson who is now all grown up and has a serious bone to pick with dear ol’ stepdad, he gets shot in the leg. The life of Barry Lyndon ends with his leg’s amputation, and his expulsion from his wife’s home, broke and broken. He is sent home to live with mommy. Ouch.Dangerous Liaisons The reserved hush-toned society of 18th Century French Nobility is a world of parlors, teas, polite conversations and gentlemanly hand kisses. Or so you would expect, but up the curving, ornate staircase and behind those opulent, mirrored doorways, lay a world of some serious proper fucking, in the most literal sense of the word. The cruelty of the rich and bored is a force to be reckoned with in any era, but Glenn Close and John Malkovich put our own Paris Hilton, Britney Spears and K-Fed to shame. The name of the game is who fucked who, how, when, where, and how often. Our Malko is the toy of Glenn Close, a lady of some serious non-scruples, who sends him off to corrupt the girl promised to a former lover. Malko has no problems with this at all, instructing her in the ways of the love game, eventually knocking her up, and turning her into a whore of most glorious proportions. Meanwhile, Glenny is out seducing a fine young lad, and Malko turns his eyes to the ever hard-to-get Michelle Pfeiffer. Upon ruination of all parties, and when Malko gets mad a Glenny for not given up the golden ‘poon, the two next set out to destroy each other. A duel, a stab, a confession and a few revealing letters later, Malko is dead and Glenny shunned by society. Props to the properly fucked, all around. Conclusion: You are your own worst enemy. Originally posted on:Dollar Video Curator
]]>Fri, 13 Jul 2007 20:00:21 GMTmarymcilwainDollar Video Curator7/13/2007 4:00:21 PMThe polite society of nobility may seem an endless parade of teas, whispers, nods and dueling; boring, predictable. But in the glamorous world of the rich, cinched and nasty, they fuck others over as well as the rest of us more poorly dressed saps. Whereas the least fortunate of us end up perhaps in county lock-up, a pauper’s grave, or serving on jury duty, the wrong steps of an upper-class naughty-kin, could end perhaps in public shame at the Opera, or as the butt of everyone’s social “No-No” joke. The horror! But hey, punishment is all relative. Watch The Lifestyles of the Rich and Opulent implode for your entertainment in:The Age of Innocence, Barry Lyndon, Dangerous LiaisonsThe Age of Innocence Our hero Newland Archer is fucked from the second he lays eyes on the Countess Olenska, his betrothed’s slutty older cousin, who is world-weary and lookin’ for some action. The two become close when Newland advises her on her bad marriage, encouraging her to not get divorced, because all she would gain is “her freedom.” Meanwhile, Newland’s marriage to sweet little cousin May, all sugar and propriety on the outside and absolute demon on the inside, is imminent, and the next thing you know, the pair is off touring Europe on honeymoon while Newland’s bitter realization sets in. Upon their return, and unable to take the longing anymore, the Countess announces her decision to quit New York for Europe. May weaves a tangled and sticky web of societal propriety indeed, hosting the ultimate “Fuck-You-Get-Out-Of-My-Life” going away party, intended to keep Newland and the Countess apart forever. In this world of fine manners, a handshake might as well be a hand job, and a shared glance? Well, that is akin to a knock-down, dirty, screw in an alley behind a dumpster. Newland and the Countess are kept apart, unable to relay their undying love, and the Countess is shipped off the next day. But by the end of the party, Newland has decided to leave May and follow the Countess to Europe, but May has one final card to play, the classic, “Whoops, I’m pregnant!” Duty, honor, society and resolve to live a love-less life of boredom win out, and Newland, proper fucked indeed, accepts his fate. Barry Lyndon Redmond Barry (Lyndon) is an ambitious son-of-a-bitch. Born a poor Irish lad, he is determined to become a British Noble. How to do that you ask? Barry properly fucks over everyone who comes across his life from the very beginning, starting with his cousin, whose marriage he attempts to destroy out of jealousy. He then changes allegiance during the 7 year war, joins up with androgynous weirdo Chevalier de Balibari to royally screw royalty out of money at cheated card games, later continuing on to screw over his new wife the Countess Lyndon and her son by driving them into poverty and misery whilst screwing his way through a jungle of ladies-of-the-night, and culminating in the killing his own kid when a horse he bought him bucks him off.Along the way, Barry ruins the lives of many others that cross his path; the gay army general that he outs, the Prussians who employ him as a spy, anyone who doesn’t pay up their gambling debt, and his wife’s long-time religious confidant who he allows his mother to fire after some 20-odd years. Not to mention that he, awesomely, is not too proud to engage in an all-out, roll around on the ground in front of the company fist-fight with his stepson. Hey, whatever means satisfy the ends. But it is Lyndon who is properly fucked in the end. When he duels with Lord Burlingdon, his stepson who is now all grown up and has a serious bone to pick with dear ol’ stepdad, he gets shot in the leg. The life of Barry Lyndon ends with his leg’s amputation, and his expulsion from his wife’s home, broke and broken. He is sent home to live with mommy. Ouch.Dangerous Liaisons The reserved hush-toned society of 18th Century French Nobility is a world of parlors, teas, polite conversations and gentlemanly hand kisses. Or so you would expect, but up the curving, ornate staircase and behind those opulent, mirrored doorways, lay a world of some serious proper fucking, in the most literal sense of the word. The cruelty of the rich and bored is a force to be reckoned with in any era, but Glenn Close and John Malkovich put our own Paris Hilton, Britney Spears and K-Fed to shame. The name of the game is who fucked who, how, when, where, and how often. Our Malko is the toy of Glenn Close, a lady of some serious non-scruples, who sends him off to corrupt the girl promised to a former lover. Malko has no problems with this at all, instructing her in the ways of the love game, eventually knocking her up, and turning her into a whore of most glorious proportions. Meanwhile, Glenny is out seducing a fine young lad, and Malko turns his eyes to the ever hard-to-get Michelle Pfeiffer. Upon ruination of all parties, and when Malko gets mad a Glenny for not given up the golden ‘poon, the two next set out to destroy each other. A duel, a stab, a confession and a few revealing letters later, Malko is dead and Glenny shunned by society. Props to the properly fucked, all around. Conclusion: You are your own worst enemy. Originally posted on:Dollar Video Curator http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
Number of films tagged: 12479

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