list http://www.spout.com/ Recent community activity around The Ten Commandments 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/The_Ten_Commandments/34409/default.aspx Title: The Ten Commandments
Year: 1956
Director: Cecil B. DeMille
Plot: Based on the Holy Scriptures, with additional dialogue by several other hands, The Ten Commandments was the last film directed by Cecil B. DeMille. The story relates the life of Moses, from the time he was discovered in the bullrushes as an infant by the pharoah's daughter, to his long, hard struggle to free the Hebrews from their slavery at the hands of the Egyptians. Moses (Charlton Heston) starts out "in solid" as Pharoah's adopted son (and a whiz at designing pyramids, dispensing such construction-site advice as "Blood makes poor mortar"), but when he discovers his true Hebrew heritage, he attempts to make life easier for his people. Banished by his jealous half-brother Rameses (Yul Brynner), Moses returns fully bearded to Pharoah's court, warning that he's had a message from God and that the Egyptians had better free the Hebrews post-haste if they know what's good for them. Only after the Deadly Plagues have decimated Egypt does Rameses give in. As the Hebrews reach the Red Sea, they discover that Rameses has gone back on his word and plans to have them all killed. But Moses rescues his people with a little Divine legerdemain by parting the Seas. Later, Moses is again confronted by God on Mt. Sinai, who delivers unto him the Ten Commandments. Meanwhile, the Hebrews, led by the duplicitous Dathan (Edward G. Robinson), are forgetting their religion and behaving like libertines. "Where's your Moses now?" brays Dathan in the manner of a Lower East Side gangster. He soon finds out. A remake of his 1923 silent film, DeMille's The Ten Commandments may not be the most subtle and sophisticated entertainment ever concocted, but it tells its story with a clarity and vitality that few Biblical scholars have ever been able to duplicate. It is very likely the most eventful 219 minutes ever recorded to film--and who's to say that Nefertiri (Anne Baxter) didn't make speeches like, "Oh, Moses, Moses, you splendid, stubborn, adorable fool"? ~ Hal Erickson, All Movie Guide
Times Tagged: 5
Number of Lists: 18
Number of blog posts: 4
Number of discussion threads: 4
SpoutRating: 3
]]>Wed, 26 Aug 2009 19:46:47 GMTThe Ten Commandments1956Cecil B. DeMilleBased on the Holy Scriptures, with additional dialogue by several other hands, The Ten Commandments was the last film directed by Cecil B. DeMille. The story relates the life of Moses, from the time he was discovered in the bullrushes as an infant by the pharoah's daughter, to his long, hard struggle to free the Hebrews from their slavery at the hands of the Egyptians. Moses (<a href="/players/P____94233/default.aspx" style='text-decoration:underline'>Charlton Heston</a>) starts out "in solid" as Pharoah's adopted son (and a whiz at designing pyramids, dispensing such construction-site advice as "Blood makes poor mortar"), but when he discovers his true Hebrew heritage, he attempts to make life easier for his people. Banished by his jealous half-brother Rameses (<a href="/players/P_____9264/default.aspx" style='text-decoration:underline'>Yul Brynner</a>), Moses returns fully bearded to Pharoah's court, warning that he's had a message from God and that the Egyptians had better free the Hebrews post-haste if they know what's good for them. Only after the Deadly Plagues have decimated Egypt does Rameses give in. As the Hebrews reach the Red Sea, they discover that Rameses has gone back on his word and plans to have them all killed. But Moses rescues his people with a little Divine legerdemain by parting the Seas. Later, Moses is again confronted by God on Mt. Sinai, who delivers unto him the Ten Commandments. Meanwhile, the Hebrews, led by the duplicitous Dathan (Edward G. Robinson), are forgetting their religion and behaving like libertines. "Where's your Moses now?" brays Dathan in the manner of a Lower East Side gangster. He soon finds out. A remake of his 1923 silent film, DeMille's The Ten Commandments may not be the most subtle and sophisticated entertainment ever concocted, but it tells its story with a clarity and vitality that few Biblical scholars have ever been able to duplicate. It is very likely the most eventful 219 minutes ever recorded to film--and who's to say that Nefertiri (<a href="/players/P_____4663/default.aspx" style='text-decoration:underline'>Anne Baxter</a>) didn't make speeches like, "Oh, Moses, Moses, you splendid, stubborn, adorable fool"? ~ Hal Erickson, All Movie Guide5Slightly Tagged (1-5)18443http://www.spout.com/ProductImages/t40126wo81s.jpghttp://www.spout.com/films/The_Ten_Commandments/34409/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_June_22_The_Plague/625/42756/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 6/22/2009 2:12:54 PM
Body: Hey Y'all... Let's talk about plague movies. Everyone remembers Charlton and Yul in Celil B. DeMille's epic, The Ten Commandments or Bergman's The Seventh Seal which takes place during the bubonic plague of the 14th century. How about some more modern examples? 28 Days Later comes to mind. Plague of rage infested running zombies. Or how about Doomsday?.... I'm not sure what the hell that movie was all about but it was a hellova good time. Also, if you can find it, La Peste is a solid film that takes place during an outbreak of bubonic plague in some South American city... William Hurt & Robert Duvall are in it. I saw it on IFC a few years ago & missed the beginning, netflix doesn't seem to have it.
]]>Mon, 22 Jun 2009 18:12:54 GMTleeroy711Weekly Theme6/22/2009 2:12:54 PMHey Y'all... Let's talk about plague movies. Everyone remembers Charlton and Yul in Celil B. DeMille's epic, The Ten Commandments or Bergman's The Seventh Seal which takes place during the bubonic plague of the 14th century. How about some more modern examples? 28 Days Later comes to mind. Plague of rage infested running zombies. Or how about Doomsday?.... I'm not sure what the hell that movie was all about but it was a hellova good time. Also, if you can find it, La Peste is a solid film that takes place during an outbreak of bubonic plague in some South American city... William Hurt &amp; Robert Duvall are in it. I saw it on IFC a few years ago &amp; missed the beginning, netflix doesn't seem to have it. http://www.spout.com/groups/Movie_Games/Re_Cause_Effect/598/32762/1/ShowPost.aspx Post By: joem18b
Post To: Movie Games
Post Date: 7/19/2008 11:46:58 AM
Body: The Israelites return to their land, led by C. Heston (The Ten Commandments, 1956), but then the Romans show up three years later to hassle Heston himself (Ben Hur, 1959).
]]>Sat, 19 Jul 2008 15:46:58 GMTjoem18bMovie Games7/19/2008 11:46:58 AMThe Israelites return to their land, led by C. Heston (The Ten Commandments, 1956), but then the Romans show up three years later to hassle Heston himself (Ben Hur, 1959). http://www.spout.com/blogs/spoutblog/archive/2008/6/18/31371.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/18/2008 1:01:16 PM
Body: I keep forgetting that Mike Myers is not actually playing an Indian in The Love Guru, and yet I’m constantly reminded by the film’s commercials, which show that ridiculous shot of a little kid’s body with Myers’ giant head digitally superimposed onto it. Really, Myers’ character (Pitka) is a white American who is left on the doorstep of an Indian ashram when he’s a child. Then he’s raised as Indian, I guess (or simply Hindu, but then why the accent?). Apparently the character, Pitka, couldn’t simply look and talk like Myers. He had to have that silly accent and the clothes and the facial hair, despite the fact that Deepak Chopra, who partially inspired the character (and who appears in the movie), is able to wear jeans and be clean-shaven. Because who would believe Myers as an Indian guru with just the voice, the clothes and his baby face? Of course, Myers is not the first actor to wear or grow a beard and/or mustache in order to take on the guise of another ethnicity. Sure, it’s also the accent and the makeup that transforms the actor, but with the most recognizable faces, it’s the facial hair that really seals the deal for supposed authenticity. Charlton Heston as Mexican in Touch of Evil (pictured above) - Maybe if Heston could maintain the accent he wouldn’t have needed the mustache. But then in photos he still would have just looked like regular old Heston. With the whiskers, however, he looks like regular old Heston with a mustache. If this look defined a man as Mexican, then many characters from the ’30s must have been Mexican. Rhett Butler? Mexican. Nick Charles (and anyone else played by William Powell)? Mexican. John Wayne as Mongolian in The Conqueror - I don’t think Wayne even tried with the accent, and it doesn’t appear like any makeup was applied to his face. But thanks to that catfish stash he’s totally convincing as Mongolian emperor Genghis Khan. Too bad Susan Hayward couldn’t wear facial hair to make her look more like a Tartar queen. Actually, it might have helped. Peter Sellers as Chinese in Murder By Death - He certainly wasn’t the first white actor to play Charlie Chan. There was Warner Oland, Sidney Toler and Roland Winters, among others. But he’s probably the only one not primarily famous for playing the Chinese-American detective. Not that it would be acceptable for anyone to portray Chan without the iconic facial hair. Edward G. Robinson as Reubenite in The Ten Commandments - Born a Romanian Jew, Robinson was more acceptably cast as an ancient Israelite than it would seem. Yet after playing so many Italians in so many gangster movies, he was going against type as the traitor Dathan. Did the character grow the beard to align him more with the Egyptians, though? If so, then this is a twofold instance of facial hair making the race. Wallace Beery as Mexican in Viva Villa! -Long before Charlton Heston wore a mustache to pass as Mexican, Wallace Beery did the same. At least Beery was playing a real person, though, and had to wear a mustache. Still, would anyone have believed the star as any non-iconically-stashed Mexican? Sacha Baron Cohen as a Kazakh in Borat - OK, so without the accent, Sacha Baron Cohen would just look like an early ’80s Freddie Mercury wannabe. But also, without that mustache, he’d merely look like Sacha Baron Cohen. Not that any of us knew what the actor really looked like prior to his publicity tour for this movie, but that’s beside the point. Eddie Murphy as white on Saturday Night Live - In the early ’80s, when many white men wanted to be Tom Selleck or Burt Reynolds, this kind of mustache was absolutely necessary for Murphy’s transformation. Anthony Quinn as an Arab in Lawrence of Arabia - The Mexican-American Quinn was great at playing against race. And he wasn’t the first or last to don a beard to play an Arab. But his portrayal was probably the most iconic representation of Arab for most of us who grew up in non-ethnically-diverse suburbs. John Cleese as French in Monty Python and the Holy Grail - You may recognize that he’s French by the exaggerated accent (his lines as the taunter are popular audio samples), but Cleese just wouldn’t be convincing as French without the exaggerated mustache. I know this, because at Halloween time, I see items called “French mustache,” meaning it’s an essential part of the stereotype. Meryl Streep as Jewish in Angels in America - You can’t play an Orthodox rabbi without the big frizzy beard, but when you’re Meryl Streep, regardless of how much of a chameleon you are, the beard is more than a must. It’s perhaps the only way of being passable as male and Jewish. Originally posted on:SpoutBlog
]]>Wed, 18 Jun 2008 17:01:16 GMTSpoutBlogSpoutBlog on spout.com6/18/2008 1:01:16 PM I keep forgetting that Mike Myers is not actually playing an Indian in The Love Guru, and yet I’m constantly reminded by the film’s commercials, which show that ridiculous shot of a little kid’s body with Myers’ giant head digitally superimposed onto it. Really, Myers’ character (Pitka) is a white American who is left on the doorstep of an Indian ashram when he’s a child. Then he’s raised as Indian, I guess (or simply Hindu, but then why the accent?). Apparently the character, Pitka, couldn’t simply look and talk like Myers. He had to have that silly accent and the clothes and the facial hair, despite the fact that Deepak Chopra, who partially inspired the character (and who appears in the movie), is able to wear jeans and be clean-shaven. Because who would believe Myers as an Indian guru with just the voice, the clothes and his baby face? Of course, Myers is not the first actor to wear or grow a beard and/or mustache in order to take on the guise of another ethnicity. Sure, it’s also the accent and the makeup that transforms the actor, but with the most recognizable faces, it’s the facial hair that really seals the deal for supposed authenticity. Charlton Heston as Mexican in Touch of Evil (pictured above) - Maybe if Heston could maintain the accent he wouldn’t have needed the mustache. But then in photos he still would have just looked like regular old Heston. With the whiskers, however, he looks like regular old Heston with a mustache. If this look defined a man as Mexican, then many characters from the ’30s must have been Mexican. Rhett Butler? Mexican. Nick Charles (and anyone else played by William Powell)? Mexican. John Wayne as Mongolian in The Conqueror - I don’t think Wayne even tried with the accent, and it doesn’t appear like any makeup was applied to his face. But thanks to that catfish stash he’s totally convincing as Mongolian emperor Genghis Khan. Too bad Susan Hayward couldn’t wear facial hair to make her look more like a Tartar queen. Actually, it might have helped. Peter Sellers as Chinese in Murder By Death - He certainly wasn’t the first white actor to play Charlie Chan. There was Warner Oland, Sidney Toler and Roland Winters, among others. But he’s probably the only one not primarily famous for playing the Chinese-American detective. Not that it would be acceptable for anyone to portray Chan without the iconic facial hair. Edward G. Robinson as Reubenite in The Ten Commandments - Born a Romanian Jew, Robinson was more acceptably cast as an ancient Israelite than it would seem. Yet after playing so many Italians in so many gangster movies, he was going against type as the traitor Dathan. Did the character grow the beard to align him more with the Egyptians, though? If so, then this is a twofold instance of facial hair making the race. Wallace Beery as Mexican in Viva Villa! -Long before Charlton Heston wore a mustache to pass as Mexican, Wallace Beery did the same. At least Beery was playing a real person, though, and had to wear a mustache. Still, would anyone have believed the star as any non-iconically-stashed Mexican? Sacha Baron Cohen as a Kazakh in Borat - OK, so without the accent, Sacha Baron Cohen would just look like an early ’80s Freddie Mercury wannabe. But also, without that mustache, he’d merely look like Sacha Baron Cohen. Not that any of us knew what the actor really looked like prior to his publicity tour for this movie, but that’s beside the point. Eddie Murphy as white on Saturday Night Live - In the early ’80s, when many white men wanted to be Tom Selleck or Burt Reynolds, this kind of mustache was absolutely necessary for Murphy’s transformation. Anthony Quinn as an Arab in Lawrence of Arabia - The Mexican-American Quinn was great at playing against race. And he wasn’t the first or last to don a beard to play an Arab. But his portrayal was probably the most iconic representation of Arab for most of us who grew up in non-ethnically-diverse suburbs. John Cleese as French in Monty Python and the Holy Grail - You may recognize that he’s French by the exaggerated accent (his lines as the taunter are popular audio samples), but Cleese just wouldn’t be convincing as French without the exaggerated mustache. I know this, because at Halloween time, I see items called “French mustache,” meaning it’s an essential part of the stereotype. Meryl Streep as Jewish in Angels in America - You can’t play an Orthodox rabbi without the big frizzy beard, but when you’re Meryl Streep, regardless of how much of a chameleon you are, the beard is more than a must. It’s perhaps the only way of being passable as male and Jewish. Originally posted on:SpoutBlog http://www.spout.com/groups/HORROR_MOVIES_101/Farewell_to_one_of_the_Greats/222/27006/1/ShowPost.aspx Post By: Dr_Gor
Post To: HORROR MOVIES 101
Post Date: 4/6/2008 3:04:48 PM
Body: Last night, Saturday, April 5, 2008, Charlton Heston died at his home in Beverly Hills after a lengthy battle with alzheimer's disease. He was 84. Mr. Heston was truly a legendary and iconic actor who will be remembered forever. But more than that, he was truly a great man, as well. His 64 year marriage to wife Lydia, who was at his side when he died, is a testament to what kind of a man he was. In a town where infidelity and divorce and remarriage are the norm, Mr. Heston was the exception who lived by his own rules and standards. No obituary I could write could do justice to this most talented and amazing actor and great human being, so here is what was written in the LA Times... Charlton Heston, 84; actor, Oscar winner, played grand figures - Los Angeles Times I have been watching and enjoying Mr. Heston's films throughout my entire life. Here are some of my favorites... The Ten Commandments ; some pretty amazing special FX were overshadowed by Mr. Heston's stunning performance... Ben Hur ; Mr. Heston insisted on doing his own stunt work in the legendary chariot race even though, he admitted, after months of practice, he was not a "very good chariot driver." But not to worry... he was assured by MGM that all he had to do was stay on the chariot and he would win... Major Dundee ; read the LA Times obit, above, for a GREAT story about a confrontation between Mr. Heston and legendary insaniac director Sam Peckinpah on the set of this one... Will Penny ; as an aging saddle-tramp, Mr. Heston rescues an attractive widow and her young son from some REALLY bad guys, led by Donald Pleasance... Planet Of The Apes ; "Get your filthy paws off me, you damn, dirty APE!" ... Beneath The Planet Of The Apes ; 'Taylor' gets his ultimate revenge on those "filthy apes" ... The Omega Man ; Mr. Heston sacrifices his life to save the day yet again in one of my FAVORITE movies of ALL time... Soylent Green ; "Soylent Green is PEOPLE!!!" ... Airport 1975 ; In a most heroic fashion, Mr. Heston saves the lives of a plane-load of people... including Linda Blair! I am forever in his debt... Earthquake ; again, Mr. Heston saves the day... again at the cost of his own life... The Awakening ; as an archeologist, Mr. Heston is faced with a different type of dilemma when his attractive young daughter is possessed by the spirit of an ancient Egyptian priestess who then tries to lure him into an incestous relationship... There are many more I could mention but I will stop here for now. The world is a scarier and darker place without Charlton Heston in it and he will be missed. I drink to his memory. < GOR >
]]>Sun, 06 Apr 2008 19:04:48 GMTDr_GorHORROR MOVIES 1014/6/2008 3:04:48 PM Last night, Saturday, April 5, 2008, Charlton Heston died at his home in Beverly Hills after a lengthy battle with alzheimer&#39;s disease. He was 84. Mr. Heston was truly a legendary and iconic actor who will be remembered forever. But more than that, he was truly a great man, as well. His 64 year marriage to wife Lydia, who was at his side when he died, is a testament to what kind of a man he was. In a town where infidelity and divorce and remarriage are the norm, Mr. Heston was the exception who lived by his own rules and standards. No obituary I could write could do justice to this most talented and amazing actor and great human being, so here is what was written in the LA Times... Charlton Heston, 84; actor, Oscar winner, played grand figures - Los Angeles Times I have been watching and enjoying Mr. Heston&#39;s films throughout my entire life. Here are some of my favorites... The Ten Commandments ; some pretty amazing special FX were overshadowed by Mr. Heston&#39;s stunning performance... Ben Hur ; Mr. Heston insisted on doing his own stunt work in the legendary chariot race even though, he admitted, after months of practice, he was not a &quot;very good chariot driver.&quot; But not to worry... he was assured by MGM that all he had to do was stay on the chariot and he would win... Major Dundee ; read the LA Times obit, above, for a GREAT story about a confrontation between Mr. Heston and legendary insaniac director Sam Peckinpah on the set of this one... Will Penny ; as an aging saddle-tramp, Mr. Heston rescues an attractive widow and her young son from some REALLY bad guys, led by Donald Pleasance... Planet Of The Apes ; &quot;Get your filthy paws off me, you damn, dirty APE!&quot; ... Beneath The Planet Of The Apes ; &#39;Taylor&#39; gets his ultimate revenge on those &quot;filthy apes&quot; ... The Omega Man ; Mr. Heston sacrifices his life to save the day yet again in one of my FAVORITE movies of ALL time... Soylent Green ; &quot;Soylent Green is PEOPLE!!!&quot; ... Airport 1975 ; In a most heroic fashion, Mr. Heston saves the lives of a plane-load of people... including Linda Blair! I am forever in his debt... Earthquake ; again, Mr. Heston saves the day... again at the cost of his own life... The Awakening ; as an archeologist, Mr. Heston is faced with a different type of dilemma when his attractive young daughter is possessed by the spirit of an ancient Egyptian priestess who then tries to lure him into an incestous relationship... There are many more I could mention but I will stop here for now. The world is a scarier and darker place without Charlton Heston in it and he will be missed. I drink to his memory. &lt; GOR &gt; http://www.spout.com/blogs/karina/archive/2008/3/13/26168.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/13/2008 12:01:11 PM
Body: Here’s an excerpt from a comment by Variety writer Peter Debruge, left on a SXSW dispatch by Aaron Hillis on Glenn Kenny’s blog: Pretty soon, it all reduces to semantics, but the label benefits those it describes in that it connects films that, on an individual basis, would be too small to register on most people’s radar. Would Hannah Takes the Stairs or Quiet City or Mutual Appreciation have warranted a NY Times piece on their own? (Then again, is the NYT even the right forum to discuss such films, which seem to do just fine with the more selective audience of the blogosphere?) Debruge is here giving us an object lesson in why most applications of The M Word are really, really frustrating: the genre label becomes a polite form of thinly masking the condescending assumption that none of these films can stand on their own without it. Mutual Appreciation is not a film that needs a movement as a prerequisite, especially one which mostly coalesced after its premiere. As resolutely analog as it is, it also hardly fits in with Debruge’s wider argument that “important thing is that digital cameras, home editing software and the internet have enabled a new wave of filmmakers, many of whom have become very close friends, sharing equipment, ideas, cast and crew.” This statement is not totally false, but at the risk of sounding like a cranky Marxist, it seems like he’s really talking about the means/tools of production. Goliath and Hannah Takes The Stairs might share an actor and certain technical commonalities, but I can’t imagine two films being more different in their sensibilities. By Debruge’s rationale, The Ten Commandments and The Tingler were part of the same “movement,” because both were shot on film cameras, both were released in movie theaters, both were produced by gimmicky showmen, and both productions employed Vincent Price. Actually, now that I think about it, The Ten Commandments and The Tingler are basically the same movie. Never mind! Originally posted on:SpoutBlog » karina
]]>Thu, 13 Mar 2008 16:01:11 GMTKarinaKarina on SpoutBlog3/13/2008 12:01:11 PMHere’s an excerpt from a comment by Variety writer Peter Debruge, left on a SXSW dispatch by Aaron Hillis on Glenn Kenny’s blog: Pretty soon, it all reduces to semantics, but the label benefits those it describes in that it connects films that, on an individual basis, would be too small to register on most people’s radar. Would Hannah Takes the Stairs or Quiet City or Mutual Appreciation have warranted a NY Times piece on their own? (Then again, is the NYT even the right forum to discuss such films, which seem to do just fine with the more selective audience of the blogosphere?) Debruge is here giving us an object lesson in why most applications of The M Word are really, really frustrating: the genre label becomes a polite form of thinly masking the condescending assumption that none of these films can stand on their own without it. Mutual Appreciation is not a film that needs a movement as a prerequisite, especially one which mostly coalesced after its premiere. As resolutely analog as it is, it also hardly fits in with Debruge’s wider argument that “important thing is that digital cameras, home editing software and the internet have enabled a new wave of filmmakers, many of whom have become very close friends, sharing equipment, ideas, cast and crew.” This statement is not totally false, but at the risk of sounding like a cranky Marxist, it seems like he’s really talking about the means/tools of production. Goliath and Hannah Takes The Stairs might share an actor and certain technical commonalities, but I can’t imagine two films being more different in their sensibilities. By Debruge’s rationale, The Ten Commandments and The Tingler were part of the same “movement,” because both were shot on film cameras, both were released in movie theaters, both were produced by gimmicky showmen, and both productions employed Vincent Price. Actually, now that I think about it, The Ten Commandments and The Tingler are basically the same movie. Never mind! Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/13/26167.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/13/2008 12:00:54 PM
Body: Here’s an excerpt from a comment by Variety writer Peter Debruge, left on a SXSW dispatch by Aaron Hillis on Glenn Kenny’s blog: Pretty soon, it all reduces to semantics, but the label benefits those it describes in that it connects films that, on an individual basis, would be too small to register on most people’s radar. Would Hannah Takes the Stairs or Quiet City or Mutual Appreciation have warranted a NY Times piece on their own? (Then again, is the NYT even the right forum to discuss such films, which seem to do just fine with the more selective audience of the blogosphere?) Debruge is here giving us an object lesson in why most applications of The M Word are really, really frustrating: the genre label becomes a polite form of thinly masking the condescending assumption that none of these films can stand on their own without it. Mutual Appreciation is not a film that needs a movement as a prerequisite, especially one which mostly coalesced after its premiere. As resolutely analog as it is, it also hardly fits in with Debruge’s wider argument that “important thing is that digital cameras, home editing software and the internet have enabled a new wave of filmmakers, many of whom have become very close friends, sharing equipment, ideas, cast and crew.” This statement is not totally false, but at the risk of sounding like a cranky Marxist, it seems like he’s really talking about the means/tools of production. Goliath and Hannah Takes The Stairs might share an actor and certain technical commonalities, but I can’t imagine two films being more different in their sensibilities. By Debruge’s rationale, The Ten Commandments and The Tingler were part of the same “movement,” because both were shot on film cameras, both were released in movie theaters, both were produced by gimmicky showmen, and both productions employed Vincent Price. Actually, now that I think about it, The Ten Commandments and The Tingler are basically the same movie. Never mind! Originally posted on:SpoutBlog
]]>Thu, 13 Mar 2008 16:00:54 GMTSpoutBlogSpoutBlog on spout.com3/13/2008 12:00:54 PMHere’s an excerpt from a comment by Variety writer Peter Debruge, left on a SXSW dispatch by Aaron Hillis on Glenn Kenny’s blog: Pretty soon, it all reduces to semantics, but the label benefits those it describes in that it connects films that, on an individual basis, would be too small to register on most people’s radar. Would Hannah Takes the Stairs or Quiet City or Mutual Appreciation have warranted a NY Times piece on their own? (Then again, is the NYT even the right forum to discuss such films, which seem to do just fine with the more selective audience of the blogosphere?) Debruge is here giving us an object lesson in why most applications of The M Word are really, really frustrating: the genre label becomes a polite form of thinly masking the condescending assumption that none of these films can stand on their own without it. Mutual Appreciation is not a film that needs a movement as a prerequisite, especially one which mostly coalesced after its premiere. As resolutely analog as it is, it also hardly fits in with Debruge’s wider argument that “important thing is that digital cameras, home editing software and the internet have enabled a new wave of filmmakers, many of whom have become very close friends, sharing equipment, ideas, cast and crew.” This statement is not totally false, but at the risk of sounding like a cranky Marxist, it seems like he’s really talking about the means/tools of production. Goliath and Hannah Takes The Stairs might share an actor and certain technical commonalities, but I can’t imagine two films being more different in their sensibilities. By Debruge’s rationale, The Ten Commandments and The Tingler were part of the same “movement,” because both were shot on film cameras, both were released in movie theaters, both were produced by gimmicky showmen, and both productions employed Vincent Price. Actually, now that I think about it, The Ten Commandments and The Tingler are basically the same movie. Never mind! Originally posted on:SpoutBlog http://www.spout.com/blogs/eagle795/archive/2007/8/26/18800.aspx Post By: eagle795
Post To: eagle795 Blog
Post Date: 8/26/2007 2:54:15 PM
Body: THE great Biblical epic. Some of the special effects look kinda cheesy now, but it’s still an Easter tradition.
]]>Sun, 26 Aug 2007 18:54:15 GMTeagle795eagle795 Blog8/26/2007 2:54:15 PMTHE great Biblical epic. Some of the special effects look kinda cheesy now, but it&rsquo;s still an Easter tradition. http://www.spout.com/groups/Top_5/The_Wrongness_of_Listing/190/10023/1/ShowPost.aspx Post By: mythman
Post To: Top 5
Post Date: 6/3/2007 12:04:54 AM
Body: Really, I think the otherworldly effect of "theatre" should eliminate existence of all other movies during the time one is watching them. Thus, reviews that reference any other movie are in bad taste---when one watches a movie, no other movie (not even that movie's sequels or -prequels) should be known to exist.Even when reviewing more than one movie at a time (as a 'list of 5' must), a reviewer ought to keep that otherworldly effect in mind---and I call it an 'otherworldly effect' in that--whether a movie is believable or not--one "decides" to be transported into that movie's 'other world' for that movie's duration.((As you might see in my review of THE MATRIX REVOLUTIONS, not every movie begins- and/or ends its own world's stories 'in the theater'; but, if the movie-makers are successful, you aren't distracted away from their movies' worlds while 'in the theater.'))Thus, I can submit my list of 5 'other worlds' I feel enhanced my experience of the 'real' world: The Ten Commandments, SPARTICUS (silent), The Phantom of the Opera (silent), STARGATE, and George Lucas's STAR WARS.
]]>Sun, 03 Jun 2007 04:04:54 GMTmythmanTop 56/3/2007 12:04:54 AMReally, I think the otherworldly effect of "theatre" should eliminate existence of all other movies during the time one is watching them. Thus, reviews that reference any other movie are in bad taste---when one watches a movie, no other movie (not even that movie&#39;s sequels or -prequels) should be known to exist.Even when reviewing more than one movie at a time (as a &#39;list of 5&#39; must), a reviewer ought to keep that otherworldly effect in mind---and I call it an &#39;otherworldly effect&#39; in that--whether a movie is believable or not--one "decides" to be transported into that movie&#39;s &#39;other world&#39; for that movie&#39;s duration.((As you might see in my review of THE MATRIX REVOLUTIONS, not every movie begins- and/or ends its own world&#39;s stories &#39;in the theater&#39;; but, if the movie-makers are successful, you aren&#39;t distracted away from their movies&#39; worlds while &#39;in the theater.&#39;))Thus, I can submit my list of 5 &#39;other worlds&#39; I feel enhanced my experience of the &#39;real&#39; world: The Ten Commandments, SPARTICUS (silent), The Phantom of the Opera (silent), STARGATE, and George Lucas&#39;s STAR WARS. http://www.spout.com/members/0/tags/religion/MemberTagFilms.aspxreligion
Number of films tagged: 1123

Number of people who tagged: 67

Number of times used: 176

]]>Thu, 03 Dec 2009 03:31:00 GMT112367176Tag http://www.spout.com/members/0/tags/god/MemberTagFilms.aspxgod
Number of films tagged: 474

Number of people who tagged: 31

Number of times used: 67

]]>Mon, 14 Sep 2009 20:34:41 GMT4743167Tag http://www.spout.com/members/0/tags/jewish/MemberTagFilms.aspxjewish
Number of films tagged: 452

Number of people who tagged: 28

Number of times used: 60

]]>Tue, 01 Dec 2009 19:51:45 GMT4522860Tag http://www.spout.com/members/0/tags/curse/MemberTagFilms.aspxcurse
Number of films tagged: 398

Number of people who tagged: 17

Number of times used: 39

]]>Wed, 04 Nov 2009 21:30:07 GMT3981739Tag http://www.spout.com/members/0/tags/slavery/MemberTagFilms.aspxslavery
Number of films tagged: 584

Number of people who tagged: 15

Number of times used: 23

]]>Thu, 11 Jun 2009 02:27:19 GMT5841523Tag http://www.spout.com/members/0/tags/religious/MemberTagFilms.aspxreligious
Number of films tagged: 14

Number of people who tagged: 13

Number of times used: 15

]]>Mon, 22 Jun 2009 17:52:29 GMT141315Tag http://www.spout.com/members/0/tags/sea/MemberTagFilms.aspxsea
Number of films tagged: 678

Number of people who tagged: 13

Number of times used: 24

]]>Fri, 15 May 2009 13:02:12 GMT6781324Tag http://www.spout.com/members/0/tags/bible/MemberTagFilms.aspxbible
Number of films tagged: 553

Number of people who tagged: 10

Number of times used: 23

]]>Wed, 09 Sep 2009 17:58:08 GMT5531023Tag http://www.spout.com/members/0/tags/leader/MemberTagFilms.aspxleader
Number of films tagged: 798

Number of people who tagged: 7

Number of times used: 10

]]>Thu, 09 Jul 2009 13:13:22 GMT798710Tag http://www.spout.com/members/0/tags/persecution/MemberTagFilms.aspxpersecution
Number of films tagged: 111

Number of people who tagged: 5

Number of times used: 5

]]>Thu, 04 Jun 2009 13:02:33 GMT11155Tag http://www.spout.com/members/0/tags/pharaoh/MemberTagFilms.aspxpharaoh
Number of films tagged: 86

Number of people who tagged: 2

Number of times used: 2

]]>Tue, 11 Dec 2007 20:38:48 GMT8622Tag http://www.spout.com/members/0/tags/yul/MemberTagFilms.aspxyul
Number of films tagged: 7

Number of people who tagged: 2

Number of times used: 8

]]>Wed, 26 Jul 2006 16:53:50 GMT728Tag http://www.spout.com/members/0/tags/biblical-magnum-opus/MemberTagFilms.aspxbiblical-magnum-opus
Number of films tagged: 1

Number of people who tagged: 1

Number of times used: 1

]]>Sun, 09 Nov 2008 12:32:18 GMT111Tag http://www.spout.com/members/0/tags/exodus/MemberTagFilms.aspxexodus
Number of films tagged: 20

Number of people who tagged: 1

Number of times used: 1

]]>Sun, 29 Jun 2008 03:38:03 GMT2011Tag http://www.spout.com/members/0/tags/Moses/MemberTagFilms.aspxMoses
Number of films tagged: 1

Number of people who tagged: 1

Number of times used: 1

]]>Mon, 22 Sep 2008 19:14:31 GMT111Tag