list http://www.spout.com/ Recent community activity around Tootsie 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/Tootsie/35484/default.aspx Title: Tootsie
Year: 1982
Director: Sydney Pollack
Plot: Michael Dorsey (Dustin Hoffman), a brilliant but troublesome New York actor, has managed to alienate every producer on both coasts. Michael's agent George Fields (Sydney Pollack) can't even get his client a commercial since Michael complained that the tomato he was playing wasn't properly motivated. "You were a tomato!" screams George in desperation, adding that Michael is so obnoxious that he will probably never work again. Dorsey thinks otherwise; when he hears of an opening on a popular soap opera, he applies for the job--even though the job is for a woman. Posing as "Miss Dorothy Michaels," Michael wins the part and becomes a widely-known actress. Yet complications ensue when Michael falls for his co-star Julie (Jessica Lange, in an Oscar-winning performance) but, as Dorothy, is courted by Julie's widowed father (Charles Durning). Michael ultimately finds that his disguise as a woman has made him a better man. One of the classic comedies of the 1980s, Tootsie's gender-bending premise boasts a screenplay by Larry Gelbart and Murray Schisgal, and by a host of memorable supporting comic performances from Dabney Coleman, Teri Garr, George Gaynes, and Bill Murray. Future Oscar-winner Geena Davis makes her screen debut as a daytime drama queen, which indeed she had been before Tootsie came along. ~ Hal Erickson, All Movie Guide
Times Tagged: 12
Number of Lists: 32
Number of blog posts: 4
Number of discussion threads: 3
SpoutRating: 3
]]>Mon, 24 Aug 2009 11:14:17 GMTTootsie1982Sydney PollackMichael Dorsey (<a href="/players/P____94585/default.aspx" style='text-decoration:underline'>Dustin Hoffman</a>), a brilliant but troublesome New York actor, has managed to alienate every producer on both coasts. Michael's agent George Fields (<a href="/players/P___106775/default.aspx" style='text-decoration:underline'>Sydney Pollack</a>) can't even get his client a commercial since Michael complained that the tomato he was playing wasn't properly motivated. "You were a tomato!" screams George in desperation, adding that Michael is so obnoxious that he will probably never work again. Dorsey thinks otherwise; when he hears of an opening on a popular soap opera, he applies for the job--even though the job is for a woman. Posing as "Miss Dorothy Michaels," Michael wins the part and becomes a widely-known actress. Yet complications ensue when Michael falls for his co-star Julie (<a href="/players/P____40447/default.aspx" style='text-decoration:underline'>Jessica Lange</a>, in an Oscar-winning performance) but, as Dorothy, is courted by Julie's widowed father (<a href="/players/P____20780/default.aspx" style='text-decoration:underline'>Charles Durning</a>). Michael ultimately finds that his disguise as a woman has made him a better man. One of the classic comedies of the 1980s, Tootsie's gender-bending premise boasts a screenplay by <a href="/players/P____91236/default.aspx" style='text-decoration:underline'>Larry Gelbart</a> and Murray Schisgal, and by a host of memorable supporting comic performances from <a href="/players/P____85491/default.aspx" style='text-decoration:underline'>Dabney Coleman</a>, <a href="/players/P____26007/default.aspx" style='text-decoration:underline'>Teri Garr</a>, <a href="/players/P____26241/default.aspx" style='text-decoration:underline'>George Gaynes</a>, and <a href="/players/P___103861/default.aspx" style='text-decoration:underline'>Bill Murray</a>. Future Oscar-winner <a href="/players/P____17342/default.aspx" style='text-decoration:underline'>Geena Davis</a> makes her screen debut as a daytime drama queen, which indeed she had been before Tootsie came along. ~ Hal Erickson, All Movie Guide12Tag Target (>10)32433http://www.spout.com/ProductImages/u52539kqi05.jpghttp://www.spout.com/films/Tootsie/35484/default.aspxFilm http://www.spout.com/blogs/pippin06/archive/2009/9/2/43777.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 9/2/2009 9:01:40 PM
Body: What's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here:http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Tootsie is on the following AFI lists: The Original Top 100 (#62)100 Funniest Films (#2)The Revised Top 100 (#69) I watched Tootsie instantly on Netflix. As for preconceived notions, I had some prejudice against the movie because, again, it is billed as one of the funniest American movies according to the American Film Institute, second only to Some Like It Hot, which, if you have been following these reviews of mine, you know is not my favorite. Also, Tootsie struck me as a new dimension on the cross-dressing farce angle that was explored by Some Like It Hot, only updated for the 80s, taken out of a touring performance group of women and placed in the world of television acting, and pared down as far as the number of love-struck transvestites. Maybe I’m unfairly oversimplifying Tootsie; I think it’s its own film, but I also find it interesting that what tickles the Institute’s funny bones most is men in drag. Still, I’d also heard that Tootsie was at least “cute,” and I do like Dustin Hoffman, so I plodded forward with this next entry on the Original list. In Tootsie, Hoffman plays Michael Dorsey, a skilled and once sought-after actor who has ruined his reputation by being difficult with directors and is, therefore, shunned in showbiz from the Big Apple to Hollywood. Michael’s agent, George Fields (director Sydney Pollak), can’t even get Michael commercial work because he continually questions his motivations, even if he’s playing something as inane as a tomato. Michael needs work, though. His friend and roommate, who is played by Bill Murray, is writing a play that he wants to direct and produce, and he does not have the capital to make it happen. Thus, after hearing about an audition for a soap opera (a loose parody of “General Hospital”) from his longtime friend and acting student (Teri Garr), Michael decides to go for it. The only problem is that the part is for a woman. Thus, Michael takes three-dimensional acting to a whole new extreme by becoming Dorothy Michaels, new hospital administrator; wins national fame and acclaim; and becomes an interesting new voice for feminism in the process. The only complication is that Michael/Dorothy seems to fall for his co-star Julie (Jessica Lange), who adopts “Dottie” as her best friend and possible paramour to her widowed father (Charles Durning), potentially compromising Michael’s foolproof professional disguise. Tootsie was definitely cute, but it was also dated, and to claim it as one of the funniest movies of American cinema feels like a tall claim indeed. True, Michael learns that he makes a better woman in the end (this is not a spoiler, by the way), and this kind of commentary was extremely relevant in 1982, but today, it feels like an echo from an evermore-distant past. The film was well performed; all of the actors were convincing and believable, even if not all of their characters were actually funny in the end. To wit, the funniest character was played by Teri Garr, who, though she becomes a hysterical stereotype of the ignored and trodden upon friend-turned-girlfriend, the typical somewhat psycho ex/girlfriend who can only obsess about her imaginary relationship to a man interested in accidental sex (see the film), she has this fast, ditzy delivery and manic set of tantrums that proved to be the only points in the film at which I really laughed. Even Bill Murray, who is one of my favorite actors in the world in addition to being probably my favorite comedic actor, was decidedly deadpan in this performance and was otherwise relatively unmemorable. And, naturally, Hoffman was divine as Dorothy; he wasn’t the most attractive woman (about which the film readily pokes fun), but the change in his mannerisms and affectations was quite convincing, so much so that I almost forgot he was a man myself until watching scenes in which he sat in nothing but his wig-cap and pantyhose. In fact, the laughs were designed to be situational, and when Pollak directed this farce toward over-the-top, the film became legitimately funny. Otherwise, it played like a television sitcom stretched over two hours, and while the suggestion of its formulaic tendencies may be harsh, the fact of the matter is that Tootsie didn’t create the formula. Some Like It Hot provided the framework in film upon which Tootsie built its ultimate message about the relationships between men and women. Also, I didn’t laugh more often than I did at these situations because this kind of farce is also prevalent in theater. It was pleasant enough; the film was cute, but I didn’t love it, even if Pollak and company did a good job in piecing together all of these ingredients. In the end, I think Tootsie merits a rating of 8 for being very good/minor flaws because, in my mind, the film could have been funnier and still remained touching. Also, I ultimately found it difficult to buy the ending. Without spoiling the film, I’ll just intimate that Julie is a very understanding lady and not necessarily in a way I would believe. Still, the message is clear, and perhaps men could learn a little something by wearing a dress (*wink*). Tootsie also does not pass the famous test. As much as I love 80s films, this is not one I saw as a child, which would imbue it with sentimental value, and it might have been cute enough to watch once but feels too much like film or theater that I’ve seen before to require owning it. The film is recommendable, though, as an easygoing film, appropriate when a person just wants to watch a comedy or a light romance, and others might find this kind of farce funnier than me. As for me, there are just other films with Dustin Hoffman and many of these other actors that I enjoy so much more.
]]>Thu, 03 Sep 2009 01:01:40 GMTpippin06Reel Thoughts9/2/2009 9:01:40 PM What's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here:http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Tootsie is on the following AFI lists: The Original Top 100 (#62)100 Funniest Films (#2)The Revised Top 100 (#69) I watched Tootsie instantly on Netflix. As for preconceived notions, I had some prejudice against the movie because, again, it is billed as one of the funniest American movies according to the American Film Institute, second only to Some Like It Hot, which, if you have been following these reviews of mine, you know is not my favorite. Also, Tootsie struck me as a new dimension on the cross-dressing farce angle that was explored by Some Like It Hot, only updated for the 80s, taken out of a touring performance group of women and placed in the world of television acting, and pared down as far as the number of love-struck transvestites. Maybe I&rsquo;m unfairly oversimplifying Tootsie; I think it&rsquo;s its own film, but I also find it interesting that what tickles the Institute&rsquo;s funny bones most is men in drag. Still, I&rsquo;d also heard that Tootsie was at least &ldquo;cute,&rdquo; and I do like Dustin Hoffman, so I plodded forward with this next entry on the Original list. In Tootsie, Hoffman plays Michael Dorsey, a skilled and once sought-after actor who has ruined his reputation by being difficult with directors and is, therefore, shunned in showbiz from the Big Apple to Hollywood. Michael&rsquo;s agent, George Fields (director Sydney Pollak), can&rsquo;t even get Michael commercial work because he continually questions his motivations, even if he&rsquo;s playing something as inane as a tomato. Michael needs work, though. His friend and roommate, who is played by Bill Murray, is writing a play that he wants to direct and produce, and he does not have the capital to make it happen. Thus, after hearing about an audition for a soap opera (a loose parody of &ldquo;General Hospital&rdquo;) from his longtime friend and acting student (Teri Garr), Michael decides to go for it. The only problem is that the part is for a woman. Thus, Michael takes three-dimensional acting to a whole new extreme by becoming Dorothy Michaels, new hospital administrator; wins national fame and acclaim; and becomes an interesting new voice for feminism in the process. The only complication is that Michael/Dorothy seems to fall for his co-star Julie (Jessica Lange), who adopts &ldquo;Dottie&rdquo; as her best friend and possible paramour to her widowed father (Charles Durning), potentially compromising Michael&rsquo;s foolproof professional disguise. Tootsie was definitely cute, but it was also dated, and to claim it as one of the funniest movies of American cinema feels like a tall claim indeed. True, Michael learns that he makes a better woman in the end (this is not a spoiler, by the way), and this kind of commentary was extremely relevant in 1982, but today, it feels like an echo from an evermore-distant past. The film was well performed; all of the actors were convincing and believable, even if not all of their characters were actually funny in the end. To wit, the funniest character was played by Teri Garr, who, though she becomes a hysterical stereotype of the ignored and trodden upon friend-turned-girlfriend, the typical somewhat psycho ex/girlfriend who can only obsess about her imaginary relationship to a man interested in accidental sex (see the film), she has this fast, ditzy delivery and manic set of tantrums that proved to be the only points in the film at which I really laughed. Even Bill Murray, who is one of my favorite actors in the world in addition to being probably my favorite comedic actor, was decidedly deadpan in this performance and was otherwise relatively unmemorable. And, naturally, Hoffman was divine as Dorothy; he wasn&rsquo;t the most attractive woman (about which the film readily pokes fun), but the change in his mannerisms and affectations was quite convincing, so much so that I almost forgot he was a man myself until watching scenes in which he sat in nothing but his wig-cap and pantyhose. In fact, the laughs were designed to be situational, and when Pollak directed this farce toward over-the-top, the film became legitimately funny. Otherwise, it played like a television sitcom stretched over two hours, and while the suggestion of its formulaic tendencies may be harsh, the fact of the matter is that Tootsie didn&rsquo;t create the formula. Some Like It Hot provided the framework in film upon which Tootsie built its ultimate message about the relationships between men and women. Also, I didn&rsquo;t laugh more often than I did at these situations because this kind of farce is also prevalent in theater. It was pleasant enough; the film was cute, but I didn&rsquo;t love it, even if Pollak and company did a good job in piecing together all of these ingredients. In the end, I think Tootsie merits a rating of 8 for being very good/minor flaws because, in my mind, the film could have been funnier and still remained touching. Also, I ultimately found it difficult to buy the ending. Without spoiling the film, I&rsquo;ll just intimate that Julie is a very understanding lady and not necessarily in a way I would believe. Still, the message is clear, and perhaps men could learn a little something by wearing a dress (*wink*). Tootsie also does not pass the famous test. As much as I love 80s films, this is not one I saw as a child, which would imbue it with sentimental value, and it might have been cute enough to watch once but feels too much like film or theater that I&rsquo;ve seen before to require owning it. The film is recommendable, though, as an easygoing film, appropriate when a person just wants to watch a comedy or a light romance, and others might find this kind of farce funnier than me. As for me, there are just other films with Dustin Hoffman and many of these other actors that I enjoy so much more. http://www.spout.com/blogs/jimbell/archive/2009/8/17/43569.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 8/17/2009 1:48:24 PM
Body: Tootsie (2008) is a wonderful comedy, but it is dated. Sydney Pollock does a great directing job, and the cast is superb. But the one joke gets a bit tiresome. An unemployed, idealistic, and obnoxious actor (Dustin Hoffman) gets a job on a soap opera by pretending to be a woman. Then it is one awkward situation after another. Although the actor, Michael, does grow, we don’t see it until the final scene where he says he was a better man as a woman than he was as a man. This wraps up the dated theme: So many men are sexist pigs, and they need to get in touch with their feminine side to become better. Michael is a womanizer (we hear), the TV producer is a sexist, and the star of the soap opera comes on to all the women. The kindly old gent who falls for Michael/Dorothy insists men should be men and women should be women—roosters don’t lay eggs. All the women are struggling with these unenlightened men.. Arguably, the biggest revolution in our society in the last half century has been in women’s rights, and the situation today is substantially different than when Tootsie was made a quarter century ago.
]]>Mon, 17 Aug 2009 17:48:24 GMTJimBellJimBell Blog8/17/2009 1:48:24 PMTootsie (2008) is a wonderful comedy, but it is dated. Sydney Pollock does a great directing job, and the cast is superb. But the one joke gets a bit tiresome. An unemployed, idealistic, and obnoxious actor (Dustin Hoffman) gets a job on a soap opera by pretending to be a woman. Then it is one awkward situation after another. Although the actor, Michael, does grow, we don&rsquo;t see it until the final scene where he says he was a better man as a woman than he was as a man. This wraps up the dated theme: So many men are sexist pigs, and they need to get in touch with their feminine side to become better. Michael is a womanizer (we hear), the TV producer is a sexist, and the star of the soap opera comes on to all the women. The kindly old gent who falls for Michael/Dorothy insists men should be men and women should be women&mdash;roosters don&rsquo;t lay eggs. All the women are struggling with these unenlightened men.. Arguably, the biggest revolution in our society in the last half century has been in women&rsquo;s rights, and the situation today is substantially different than when Tootsie was made a quarter century ago. http://www.spout.com/blogs/spoutblog/archive/2008/7/2/32031.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/2/2008 2:01:03 PM
Body: Jonathan Levine’s crowd-pleasing (in terms of audience awards at festivals, not in terms of uplifting Hollywood endings) film The Wackness opens in limited release tomorrow. In case you haven’t noticed from the ads and the soundtrack, it takes place in the New York City of 1994, a special time for the place because Rudy Giuliani had just become mayor and was beginning to clean up the city, Goldie Wilson-stylee (OK, not really Goldie Wilson-stylee, but who doesn’t love a good BTTF reference?). NYC in the ’90s was quite special for me. It’s when I moved here. And moved here a second time (I’ve since moved here a third time), and watching The Wackness made me nostalgic for the decade. It also made me think of some of the other films from or set in that period, a number of which kind of define my experience with the city. 1990: Quick Change - It’s a bit ironic that this comedy, which features Bill Murray putting down the city non-stop, is the movie that really represents NYC on film for me. Actually, considering Tootsie was probably my first exposure to NYC on screen and Ghostbusters was the movie that made me want to visit Manhattan more often (I grew up in nearby Connecticut), I guess Murray was kind of like my ambassador to New York. My current jogging route goes through a neighborhood that’s prominently used in Quick Change, and whenever I pass the spot where I can see the Statue of Liberty across the bay, I think of the movie and have trouble believing anyone could want to get out of here as much as Murray’s character does. 1991: The Fisher King - One of my favorite spots in all of NYC is Grand Central Terminal, partially because it was my gateway to the city but mostly because of this film’s employment of the station for a fantasy waltz number in the main concourse. It’s one of my favorite scenes in film history, though I’m not quite sure if I love the scene because I already loved the station or if I fell in love with the station because of this scene. 1992: Definitely, Maybe - I can’t think of many movies that look back to NYC in the ’90s the way The Wackness does. There’s Austin Chick’s XX/XY, which I haven’t seen, and there’s this recent movie, which flashes back to 1992 and then continues through the decade. Two fun little gags I appreciated as a NYC settler are the bit about cigarettes costing so much more here and the spot-on comment about how one day suddenly everyone in the city had a cell phone, which they haven’t put down since. 1993: Manhattan Murder Mystery - Obviously there has to be a Woody Allen movie on this list. It may not be the best, but it’s Allen’s New York, it’s from 1993, and it’s got that great Cole Porter song at the beginning. 1994: Leon (The Professional) - The Wackness will now take over the 1994 spot, but the previous place holder was this action classic. It’s nice, because it has a sort of outsider’s perspective of the city — thanks to both the lead character and the director hailing from France — that I still had at the time. Much of the movie, though, lacks the strong touristy, landmark-heavy NYC that a lot of movies set here display (you can barely even make out the Twin Towers in the opening montage). And had it been made a few years later, it probably wouldn’t have even been shot here. Fortunately, it was, and I got my first cinematic introduction to the Roosevelt Island tram (years before seeing it in Spider-Man), which I’ll always be afraid of riding. 1995: Kids - I saw Larry Clark’s film a few weeks before moving to Manhattan for school, and I thought it would prepare me for the worst. But aside from seeing Chloe Sevigny around the neighborhood, I actually didn’t come in contact with a lot of kids like those featured in the movie. Of course, I was hanging out with nerdy film students, not local high schoolers. 1996: Girl 6 - I admit, I’ve never seen this, but just as with Woody, this list has to include one film from Spike Lee. And this one is at least appropriate to my experience, because my acting teacher at the time plays an acting teacher in the film. 1997: Escape from New York - Thanks to Giuliani, the NYC of ‘97 didn’t look like it did in John Carpenter’s science fiction film, which came out back in 1981. Of course, some people felt like Giuliani made Manhattan more like a prison than was depicted on screen. 1998: Godzilla - In the same summer, moviegoers saw parts of NYC destroyed in Armageddon, Deep Impact and Godzilla. So why am I including the worst one, which also made the least amount of money — also the one I actually didn’t bother seeing? Because while it was being made, there were tanks all over the part of Manhattan that I frequented, and though I eventually knew what they were there for, I never got over the surreal feeling of being in a city occupied by the U.S. military (on 9/11 the surreal actually became real, with soldiers visible everywhere, making it all the more significant in retrospect). 1999: Eyes Wide Shut - Closing out the decade is Kubrick’s final film, which he shot in England but set in NYC. Despite an attempt to make it look very accurate — I remember reading about the production’s specific import of Village Voice boxes for the occasion — it’s one of the least authentic-looking New York films of the era. At least it doesn’t feature the Rocky Mountains in the background, though. Bonus: Tour - This addition is blatant self-promotion, as the documentary features me and the ska band I was in. But it’s particularly fitting because it shows NYC in the last week of the ’90s, when we departed for a Southeastern U.S. tour, and it ends with us returning to the city mid-January 2000. Originally posted on:SpoutBlog
]]>Wed, 02 Jul 2008 18:01:03 GMTSpoutBlogSpoutBlog on spout.com7/2/2008 2:01:03 PM Jonathan Levine’s crowd-pleasing (in terms of audience awards at festivals, not in terms of uplifting Hollywood endings) film The Wackness opens in limited release tomorrow. In case you haven’t noticed from the ads and the soundtrack, it takes place in the New York City of 1994, a special time for the place because Rudy Giuliani had just become mayor and was beginning to clean up the city, Goldie Wilson-stylee (OK, not really Goldie Wilson-stylee, but who doesn’t love a good BTTF reference?). NYC in the ’90s was quite special for me. It’s when I moved here. And moved here a second time (I’ve since moved here a third time), and watching The Wackness made me nostalgic for the decade. It also made me think of some of the other films from or set in that period, a number of which kind of define my experience with the city. 1990: Quick Change - It’s a bit ironic that this comedy, which features Bill Murray putting down the city non-stop, is the movie that really represents NYC on film for me. Actually, considering Tootsie was probably my first exposure to NYC on screen and Ghostbusters was the movie that made me want to visit Manhattan more often (I grew up in nearby Connecticut), I guess Murray was kind of like my ambassador to New York. My current jogging route goes through a neighborhood that’s prominently used in Quick Change, and whenever I pass the spot where I can see the Statue of Liberty across the bay, I think of the movie and have trouble believing anyone could want to get out of here as much as Murray’s character does. 1991: The Fisher King - One of my favorite spots in all of NYC is Grand Central Terminal, partially because it was my gateway to the city but mostly because of this film’s employment of the station for a fantasy waltz number in the main concourse. It’s one of my favorite scenes in film history, though I’m not quite sure if I love the scene because I already loved the station or if I fell in love with the station because of this scene. 1992: Definitely, Maybe - I can’t think of many movies that look back to NYC in the ’90s the way The Wackness does. There’s Austin Chick’s XX/XY, which I haven’t seen, and there’s this recent movie, which flashes back to 1992 and then continues through the decade. Two fun little gags I appreciated as a NYC settler are the bit about cigarettes costing so much more here and the spot-on comment about how one day suddenly everyone in the city had a cell phone, which they haven’t put down since. 1993: Manhattan Murder Mystery - Obviously there has to be a Woody Allen movie on this list. It may not be the best, but it’s Allen’s New York, it’s from 1993, and it’s got that great Cole Porter song at the beginning. 1994: Leon (The Professional) - The Wackness will now take over the 1994 spot, but the previous place holder was this action classic. It’s nice, because it has a sort of outsider’s perspective of the city — thanks to both the lead character and the director hailing from France — that I still had at the time. Much of the movie, though, lacks the strong touristy, landmark-heavy NYC that a lot of movies set here display (you can barely even make out the Twin Towers in the opening montage). And had it been made a few years later, it probably wouldn’t have even been shot here. Fortunately, it was, and I got my first cinematic introduction to the Roosevelt Island tram (years before seeing it in Spider-Man), which I’ll always be afraid of riding. 1995: Kids - I saw Larry Clark’s film a few weeks before moving to Manhattan for school, and I thought it would prepare me for the worst. But aside from seeing Chloe Sevigny around the neighborhood, I actually didn’t come in contact with a lot of kids like those featured in the movie. Of course, I was hanging out with nerdy film students, not local high schoolers. 1996: Girl 6 - I admit, I’ve never seen this, but just as with Woody, this list has to include one film from Spike Lee. And this one is at least appropriate to my experience, because my acting teacher at the time plays an acting teacher in the film. 1997: Escape from New York - Thanks to Giuliani, the NYC of ‘97 didn’t look like it did in John Carpenter’s science fiction film, which came out back in 1981. Of course, some people felt like Giuliani made Manhattan more like a prison than was depicted on screen. 1998: Godzilla - In the same summer, moviegoers saw parts of NYC destroyed in Armageddon, Deep Impact and Godzilla. So why am I including the worst one, which also made the least amount of money — also the one I actually didn’t bother seeing? Because while it was being made, there were tanks all over the part of Manhattan that I frequented, and though I eventually knew what they were there for, I never got over the surreal feeling of being in a city occupied by the U.S. military (on 9/11 the surreal actually became real, with soldiers visible everywhere, making it all the more significant in retrospect). 1999: Eyes Wide Shut - Closing out the decade is Kubrick’s final film, which he shot in England but set in NYC. Despite an attempt to make it look very accurate — I remember reading about the production’s specific import of Village Voice boxes for the occasion — it’s one of the least authentic-looking New York films of the era. At least it doesn’t feature the Rocky Mountains in the background, though. Bonus: Tour - This addition is blatant self-promotion, as the documentary features me and the ska band I was in. But it’s particularly fitting because it shows NYC in the last week of the ’90s, when we departed for a Southeastern U.S. tour, and it ends with us returning to the city mid-January 2000. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/6/9/31014.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/9/2008 5:01:53 PM
Body: It took me awhile, but last week I finally saw Indiana Jones and the Kingdom of the Crystal Skull. And to agree with many others, I think it features a few too many ludicrous moments. Yet the most outlandish, in my opinion, is the scene in which Indy and Marion seem to reenact His Girl Friday in about four seconds while riding in the back of a truck. I know it’d been awhile, both for them and for us, but I prefer a little more bickering, a little more holding back in comedy of remarriage plots. Anyway, we knew a long time ago, thanks to Indiana Jones and the Last Crusade, that Indy and Marion didn’t last long together after the end of Raiders of the Lost Ark. So, I didn’t really care if they ended up together at the end of Kingdom of the Crystal Skull, either. It’s probable they still wouldn’t last. And I think the same often with other unlikely movie couples at the end of their respective films. Fortunately, a number of sequels tell us outright that the romance of the first film failed (see The Karate Kid, Part II and Jurassic Park III). Unfortunately, most of the following films didn’t have follow-ups. But if they had, I bet we’d have discovered the romances didn’t last much longer than the closing credits. Bringing Up Baby: Dr. David Huxley (Cary Grant) and Susan Vance (Katherine Hepburn) - As is the case with most screwball comedies, the leads here just don’t seem that compatible. In fact, I wouldn’t be surprised to hear that Susan was quickly shipped off to a mental hospital for being such a daffy loon. Then there’s the matter of her destroying Huxley’s work at the end. No man would really put up with that, even if there were some attraction. And I never actually bought that there is any attraction from his end. Ghostbusters and Ghostbusters II: - Dr. Peter Venkman (Bill Murray) and Dana Barrett (Sigourney Weaver) - This franchise utilizes the device of having the couple split up between the first and second films only to get back together at the finish of the sequel. I understand that audiences prefer a happy ending, but when you know they didn’t work out the first time, why would you believe they could work a second time? Because Dana’s baby seems to like Venkman? Apparently so. But those of us who watched the cartoon series The Real Ghostbusters know that had they remained a couple, Dana would have been animated along with the rest of the characters. Amelie - Amelie Poulain (Audrey Tautou) and Nino Quincampoix (Matthieu Kassovitz) - Despite what Hong Kong audiences who saw Happenstance might think, Amelie has not been given a sequel. So we are just to assume that Amelie and Nino live happily ever after, despite the fact that they’ve only just met right before the end of the film. And we never really get to see them have a conversation, either. We just know that Amelie is kind of a creepy, albeit adorable, stalker and that Nino works in a porn shop. Hopefully he kicked her off his motorcycle as soon as the Yann Tiersen score was over (because then she can come stalk me — see, I’m just bitter with this one). Chungking Express: Cop 663 (Tony Leung) and Faye (Faye Wong) - Faye is kind of like the precursor to Amelie, as she’s something of a stalker — but it’s OK, because she’s so darn cute. While the ending of Wong Kar-wai’s film is ambiguous, we’re kind of expected to believe these two end up together. But what happens when Cop 663 realizes how often Faye broke into his apartment? And how often she plays “California Dreaming” over and over and over again? And how capricious girls are tolerable for only so long? The Muppets Take Manhattan: Kermit the Frog and Miss Piggy - When I was a kid, I thought it made sense for the frog and the pig to be married at the end of this film. Their relationship had been like a Sam & Diane sort of thing for so many years, it seemed inevitable. But when I got older, I realized that Kermit really has no feelings for Piggy, and it’s even evident by his expression during the wedding scene. And I became angry that Jim Henson and Co. would allow kids to applaud the beginnings of what would be a loveless marriage. While writing this, though, I found out from the Muppet Wiki that in “real life” Kermit denies they were really married and that it was just part of the movie. Apparently Piggy claims otherwise. Meanwhile, for people who are actually fans of the relationship, you can see what their offspring would look like in The Muppet Christmas Carol. Some Like It Hot: Joe (Tony Curis) and Sugar Kane Kowalczyk (Marilyn Monroe) - I’ve never been accepting of characters who woo women with deception such as costume and false identities, and there have been countless examples in both movies and TV throughout the years. Some Like It Hot probably isn’t the first film to feature such fraudulence, but because Joe fools Sugar Kane by being both a good girl friend and a rich suitor he’s double guilty. I trust that even the relationship between Jerry/Daphne (Jack Lemmon) and Osgood Fielding III (Joe E. Brown) lasted longer. Tootsie: Michael Dorsey (Dustin Hoffman) and Julie Nichols (Jessica Lange) - This one is pretty much the same as the relationship in Some Like It Hot, only it’s a bit more respectable because Michael is less aggressive in his falling for Julie. Sure, there’s one scene where he’s not in drag and he attempts a kinda sleazy maneuver, but at least he never takes on a yachting outfit and Cary Grant voice. Thankfully, there is no kiss at the end of Tootsie, just forgiveness, and we’re left to think Michael and Julie will only become acquaintances at best. I have doubts that even that relationship lasted very long. Juno: Juno MacGuff (Ellen Page) and Paulie Bleeker (Michael Cera) - High school movie romances should never be believed to last (especially the couples formed at the end of The Breakfast Club). I know, there are a number of high school sweethearts that do get married and live happily ever after. But most of us are not with the boy or girl we dated in high school. Even if there is a baby involved. Personally, I think Paulie Bleeker is too good for Juno, and I think he probably goes on to college and moves on with his life, while doing his part to contribute to the baby, of course. Two Weeks Notice: Lucy Kelson (Sandra Bullock) and George Wade (Hugh Grant) - I’ve witnessed first-hand that opposites can attract. And if I hadn’t, I could always use James Carville and Mary Matalin as a prime example of a couple who shouldn’t work but do. Nonetheless, I don’t buy the union of her environmental lawyer and his billionaire real estate tycoon. Nor do I buy the union of Meg Ryan and Tom Hanks in the similar pair-up of You’ve Got Mail. If relationships like that were believable, we wouldn’t have so much enjoyed the affair between Jack and C.C. on 30 Rock. The Graduate: Ben Braddock (Dustin Hoffman, again) and Elaine Robinson (Katherine Ross) - I always assumed it would ultimately bother Elaine too much that Ben had an affair with her mother. I guess if we’re to believe Buck Henry’s cameo in The Player, though, they live quite happily ever after … with Mrs. Robinson. Originally posted on:SpoutBlog
]]>Mon, 09 Jun 2008 21:01:53 GMTSpoutBlogSpoutBlog on spout.com6/9/2008 5:01:53 PMIt took me awhile, but last week I finally saw Indiana Jones and the Kingdom of the Crystal Skull. And to agree with many others, I think it features a few too many ludicrous moments. Yet the most outlandish, in my opinion, is the scene in which Indy and Marion seem to reenact His Girl Friday in about four seconds while riding in the back of a truck. I know it’d been awhile, both for them and for us, but I prefer a little more bickering, a little more holding back in comedy of remarriage plots. Anyway, we knew a long time ago, thanks to Indiana Jones and the Last Crusade, that Indy and Marion didn’t last long together after the end of Raiders of the Lost Ark. So, I didn’t really care if they ended up together at the end of Kingdom of the Crystal Skull, either. It’s probable they still wouldn’t last. And I think the same often with other unlikely movie couples at the end of their respective films. Fortunately, a number of sequels tell us outright that the romance of the first film failed (see The Karate Kid, Part II and Jurassic Park III). Unfortunately, most of the following films didn’t have follow-ups. But if they had, I bet we’d have discovered the romances didn’t last much longer than the closing credits. Bringing Up Baby: Dr. David Huxley (Cary Grant) and Susan Vance (Katherine Hepburn) - As is the case with most screwball comedies, the leads here just don’t seem that compatible. In fact, I wouldn’t be surprised to hear that Susan was quickly shipped off to a mental hospital for being such a daffy loon. Then there’s the matter of her destroying Huxley’s work at the end. No man would really put up with that, even if there were some attraction. And I never actually bought that there is any attraction from his end. Ghostbusters and Ghostbusters II: - Dr. Peter Venkman (Bill Murray) and Dana Barrett (Sigourney Weaver) - This franchise utilizes the device of having the couple split up between the first and second films only to get back together at the finish of the sequel. I understand that audiences prefer a happy ending, but when you know they didn’t work out the first time, why would you believe they could work a second time? Because Dana’s baby seems to like Venkman? Apparently so. But those of us who watched the cartoon series The Real Ghostbusters know that had they remained a couple, Dana would have been animated along with the rest of the characters. Amelie - Amelie Poulain (Audrey Tautou) and Nino Quincampoix (Matthieu Kassovitz) - Despite what Hong Kong audiences who saw Happenstance might think, Amelie has not been given a sequel. So we are just to assume that Amelie and Nino live happily ever after, despite the fact that they’ve only just met right before the end of the film. And we never really get to see them have a conversation, either. We just know that Amelie is kind of a creepy, albeit adorable, stalker and that Nino works in a porn shop. Hopefully he kicked her off his motorcycle as soon as the Yann Tiersen score was over (because then she can come stalk me — see, I’m just bitter with this one). Chungking Express: Cop 663 (Tony Leung) and Faye (Faye Wong) - Faye is kind of like the precursor to Amelie, as she’s something of a stalker — but it’s OK, because she’s so darn cute. While the ending of Wong Kar-wai’s film is ambiguous, we’re kind of expected to believe these two end up together. But what happens when Cop 663 realizes how often Faye broke into his apartment? And how often she plays “California Dreaming” over and over and over again? And how capricious girls are tolerable for only so long? The Muppets Take Manhattan: Kermit the Frog and Miss Piggy - When I was a kid, I thought it made sense for the frog and the pig to be married at the end of this film. Their relationship had been like a Sam & Diane sort of thing for so many years, it seemed inevitable. But when I got older, I realized that Kermit really has no feelings for Piggy, and it’s even evident by his expression during the wedding scene. And I became angry that Jim Henson and Co. would allow kids to applaud the beginnings of what would be a loveless marriage. While writing this, though, I found out from the Muppet Wiki that in “real life” Kermit denies they were really married and that it was just part of the movie. Apparently Piggy claims otherwise. Meanwhile, for people who are actually fans of the relationship, you can see what their offspring would look like in The Muppet Christmas Carol. Some Like It Hot: Joe (Tony Curis) and Sugar Kane Kowalczyk (Marilyn Monroe) - I’ve never been accepting of characters who woo women with deception such as costume and false identities, and there have been countless examples in both movies and TV throughout the years. Some Like It Hot probably isn’t the first film to feature such fraudulence, but because Joe fools Sugar Kane by being both a good girl friend and a rich suitor he’s double guilty. I trust that even the relationship between Jerry/Daphne (Jack Lemmon) and Osgood Fielding III (Joe E. Brown) lasted longer. Tootsie: Michael Dorsey (Dustin Hoffman) and Julie Nichols (Jessica Lange) - This one is pretty much the same as the relationship in Some Like It Hot, only it’s a bit more respectable because Michael is less aggressive in his falling for Julie. Sure, there’s one scene where he’s not in drag and he attempts a kinda sleazy maneuver, but at least he never takes on a yachting outfit and Cary Grant voice. Thankfully, there is no kiss at the end of Tootsie, just forgiveness, and we’re left to think Michael and Julie will only become acquaintances at best. I have doubts that even that relationship lasted very long. Juno: Juno MacGuff (Ellen Page) and Paulie Bleeker (Michael Cera) - High school movie romances should never be believed to last (especially the couples formed at the end of The Breakfast Club). I know, there are a number of high school sweethearts that do get married and live happily ever after. But most of us are not with the boy or girl we dated in high school. Even if there is a baby involved. Personally, I think Paulie Bleeker is too good for Juno, and I think he probably goes on to college and moves on with his life, while doing his part to contribute to the baby, of course. Two Weeks Notice: Lucy Kelson (Sandra Bullock) and George Wade (Hugh Grant) - I’ve witnessed first-hand that opposites can attract. And if I hadn’t, I could always use James Carville and Mary Matalin as a prime example of a couple who shouldn’t work but do. Nonetheless, I don’t buy the union of her environmental lawyer and his billionaire real estate tycoon. Nor do I buy the union of Meg Ryan and Tom Hanks in the similar pair-up of You’ve Got Mail. If relationships like that were believable, we wouldn’t have so much enjoyed the affair between Jack and C.C. on 30 Rock. The Graduate: Ben Braddock (Dustin Hoffman, again) and Elaine Robinson (Katherine Ross) - I always assumed it would ultimately bother Elaine too much that Ben had an affair with her mother. I guess if we’re to believe Buck Henry’s cameo in The Player, though, they live quite happily ever after … with Mrs. Robinson. Originally posted on:SpoutBlog http://www.spout.com/blogs/minerwerks/archive/2008/5/27/30059.aspx Post By: minerwerks
Post To: minerwerks Blog
Post Date: 5/27/2008 11:27:38 PM
Body: Nothing like a tragic loss in the film world to remind me how broad the art of film can be and how many worthy films are out there that I have yet to view. Earlier this year, when reviewing the Oscar nominees for Best Picture, I singled out Sydney Pollack's performance in 'Michael Clayton' as being particularly good. In the later part of his career - the part most familar to myself as a relative youngster - Pollack was best known as a producer and actor. While I knew of him as a director, it turns out I have been ridiculously neglectful of the man's filmography. Of course, most people have seen 'Tootsie,' the 1982 comedy that starred a cross-dressing Dustin Hoffman. But other than this blockbuster, the only Pollack-directred film I've actually seen is 'The Firm' (not a bad film, if I may say). But Pollack, we should not forget, was an Oscar-winner. He directed 'Out of Africa,' starring Meryl Streep and Robert Redford, two of the cinema's most likable performers. And though Redford has been in some of my favorite films ('All the President's Men,' 'Sneakers'), I haven't seen a single one of Pollack's films starring Mr. Sundance himself. There's the political thriller 'Three Days of the Condor,' the prototypical romance 'The Way We Were,' and the western drama 'Jeremiah Johnson,' among others (seven in total). In the later years, I had seen and admired Pollack's acting in 'Eyes Wide Shut' and 'Changing Lanes,' and I had expected to see his directorial effort 'The Interpreter' when it was released, but it just didn't happen. And of all the films in Pollack's filmography, why on earth have I never seen 'They Shoot Horses, Don't They?' Thankfully, we have a rich filmography as a director, actor and producer to enjoy for years to come, but it's a shame that Mr. Pollack had to depart this Earth while he still had vibrancy and talent to offer the film industry. He will be missed.
]]>Wed, 28 May 2008 03:27:38 GMTminerwerksminerwerks Blog5/27/2008 11:27:38 PMNothing like a tragic loss in the film world to remind me how broad the art of film can be and how many worthy films are out there that I have yet to view. Earlier this year, when reviewing the Oscar nominees for Best Picture, I singled out Sydney Pollack's performance in 'Michael Clayton' as being particularly good. In the later part of his career - the part most familar to myself as a relative youngster - Pollack was best known as a producer and actor. While I knew of him as a director, it turns out I have been ridiculously neglectful of the man's filmography. Of course, most people have seen 'Tootsie,' the 1982 comedy that starred a cross-dressing Dustin Hoffman. But other than this blockbuster, the only Pollack-directred film I've actually seen is 'The Firm' (not a bad film, if I may say). But Pollack, we should not forget, was an Oscar-winner. He directed 'Out of Africa,' starring Meryl Streep and Robert Redford, two of the cinema's most likable performers. And though Redford has been in some of my favorite films ('All the President's Men,' 'Sneakers'), I haven't seen a single one of Pollack's films starring Mr. Sundance himself. There's the political thriller 'Three Days of the Condor,' the prototypical romance 'The Way We Were,' and the western drama 'Jeremiah Johnson,' among others (seven in total). In the later years, I had seen and admired Pollack's acting in 'Eyes Wide Shut' and 'Changing Lanes,' and I had expected to see his directorial effort 'The Interpreter' when it was released, but it just didn't happen. And of all the films in Pollack's filmography, why on earth have I never seen 'They Shoot Horses, Don't They?' Thankfully, we have a rich filmography as a director, actor and producer to enjoy for years to come, but it's a shame that Mr. Pollack had to depart this Earth while he still had vibrancy and talent to offer the film industry. He will be missed. http://www.spout.com/groups/Queer_Cinema/Re_most_overrated_gay_movie/318/12693/1/ShowPost.aspx Post By: joem18b
Post To: Queer Cinema
Post Date: 6/30/2007 2:17:32 PM
Body: [quote user="lukasblu"]Talking about gay movies,what is some of the more recent release gay films have you seen are your faves or recommend????mine is Imagine Me & Youwhat is yor all time fave gay flick???A Home at the End of the World , The Object of My Affection ,Imagine Me & You ,Beautiful Boxer (thai), Before Night Falls (spanish),Chasing Amy , Flawless, The Adventures of Priscilla, Queen of the Desert (australian)what non-gay flick but have to dress like the other gender to get ahead in life,or more opportunities in life ,or get attracted to a special someone film are your faves??Some of my faves are of my faves is tootsie and yentlAnd i am not sure if this is a gay movie or not because at the beginning he was playing a gay character in a play and had a lover and then later on he played a guy playing a guy and fell in love with a woman.I guess he is bisexual;Any way it is underrated movie that deserves more credit and a second look;It had a script that i have never seen and it is also a love story.It is Stage Beauty (2004).Has anyone else seen this flick????Loved this movie!!![/quote]I liked Transamerica, if transgender films count.Stage Beauty is about the days in England when men were required by law to take the female as well as the male roles onstage. Billy Crudup is one of the female stars, but I don't think it's clear what his own preferences are. He does have a royal male lover but I took that as part of his job. As you point out, the plot has him go straight at the end. I liked the movie, though I really liked Shakespeare in Love, which has some of the same themes.
]]>Sat, 30 Jun 2007 18:17:32 GMTjoem18bQueer Cinema6/30/2007 2:17:32 PM[quote user="lukasblu"]Talking about gay movies,what is some of the more recent release gay films have you seen are your faves or recommend????mine is Imagine Me &amp; Youwhat is yor all time fave gay flick???A Home at the End of the World , The Object of My Affection ,Imagine Me &amp; You ,Beautiful Boxer (thai), Before Night Falls (spanish),Chasing Amy , Flawless, The Adventures of Priscilla, Queen of the Desert (australian)what non-gay flick but have to dress like the other gender to get ahead in life,or more opportunities in life ,or get attracted to a special someone film are your faves??Some of my faves are of my faves is tootsie and yentlAnd i am not sure if this is a gay movie or not because at the beginning he was playing a gay character in a play and had a lover and then later on he played a guy playing a guy and fell in love with a woman.I guess he is bisexual;Any way it is underrated movie that deserves more credit and a second look;It had a script that i have never seen and it is also a love story.It is Stage Beauty (2004).Has anyone else seen this flick????Loved this movie!!![/quote]I liked Transamerica, if transgender films count.Stage Beauty is about the days in England when men were required by law to take the female as well as the male roles onstage. Billy Crudup is one of the female stars, but I don't think it's clear what his own preferences are. He does have a royal male lover but I took that as part of his job. As you point out, the plot has him go straight at the end. I liked the movie, though I really liked Shakespeare in Love, which has some of the same themes. http://www.spout.com/groups/Queer_Cinema/Re_most_overrated_gay_movie/318/12689/1/ShowPost.aspx Post By: lukasblu
Post To: Queer Cinema
Post Date: 6/30/2007 1:11:26 PM
Body: unemployedwaif ,"phenomenon within the realm of queer cinema. "joem18b,"crossover hits". similar to music crossovers but this time in the movies?strangeframe ,"Believe it or not, producers and executive producers are still afraid of films that might be perceived as gay films. maybe the content doesn't justify the best movie ever, but it does move the broader acceptance of gay stories, does it not? "i believe everyone here is right;thanks for the insight/new perspective of looking at brockeback,making of mainstream gay movies;i hope, in the future,that hollywood or mainstream movies make movies that are more varied,/from different spectrums,with great quality and script ,positive outlook of the gay community, no stereotypes,and get great appraise,awards and promotion much like brockback.Talking about gay movies,what is some of the more recent release gay films have you seen are your faves or recommend????mine is Imagine Me & Youwhat is yor all time fave gay flick???A Home at the End of the World , The Object of My Affection ,Imagine Me & You ,Beautiful Boxer (thai), Before Night Falls (spanish),Chasing Amy , Flawless, The Adventures of Priscilla, Queen of the Desert (australian)what non-gay flick but have to dress like the other gender to get ahead in life,or more opportunities in life ,or get attracted to a special someone film are your faves??Some of my faves are of my faves is tootsie and yentlAnd i am not sure if this is a gay movie or not because at the beginning he was playing a gay character in a play and had a lover and then later on he played a guy playing a guy and fell in love with a woman.I guess he is bisexual;Any way it is underrated movie that deserves more credit and a second look;It had a script that i have never seen and it is also a love story.It is Stage Beauty (2004).Has anyone else seen this flick????Loved this movie!!!
]]>Sat, 30 Jun 2007 17:11:26 GMTlukasbluQueer Cinema6/30/2007 1:11:26 PMunemployedwaif ,"phenomenon within the realm of queer cinema. "joem18b,"crossover hits". similar to music crossovers but this time in the movies?strangeframe ,"Believe it or not, producers and executive producers are still afraid of films that might be perceived as gay films. maybe the content doesn't justify the best movie ever, but it does move the broader acceptance of gay stories, does it not? "i believe everyone here is right;thanks for the insight/new perspective of looking at brockeback,making of mainstream gay movies;i hope, in the future,that hollywood or mainstream movies make movies that are more varied,/from different spectrums,with great quality and script ,positive outlook of the gay community, no stereotypes,and get great appraise,awards and promotion much like brockback.Talking about gay movies,what is some of the more recent release gay films have you seen are your faves or recommend????mine is Imagine Me &amp; Youwhat is yor all time fave gay flick???A Home at the End of the World , The Object of My Affection ,Imagine Me &amp; You ,Beautiful Boxer (thai), Before Night Falls (spanish),Chasing Amy , Flawless, The Adventures of Priscilla, Queen of the Desert (australian)what non-gay flick but have to dress like the other gender to get ahead in life,or more opportunities in life ,or get attracted to a special someone film are your faves??Some of my faves are of my faves is tootsie and yentlAnd i am not sure if this is a gay movie or not because at the beginning he was playing a gay character in a play and had a lover and then later on he played a guy playing a guy and fell in love with a woman.I guess he is bisexual;Any way it is underrated movie that deserves more credit and a second look;It had a script that i have never seen and it is also a love story.It is Stage Beauty (2004).Has anyone else seen this flick????Loved this movie!!! http://www.spout.com/groups/Grew_up_in_the_80_s/Re_What_is_your_Favorite_Comedy_of_the_1980_s/38/10570/1/ShowPost.aspx Post By: lukasblu
Post To: Grew up in the 80's
Post Date: 6/9/2007 9:56:12 PM
Body: Yeah i do remember watching nat.lampoons vacation and that was the funniest thing i have seen at that time;Can't believe the've made so many spin-offs the original national lampoons vacation,;BUT nothing will ever be as good,original and funny as the true and tried original vacation.another movie back in 1986 that i found very funny i almost fell off my seat dying of laughter is jumping jack flash with whoopi goldberg;it was not such famous movie or probably might not even have been a wild success BUT something about that movie made me really laugh.i gues u could call it a personal fave back then.Victor/victoria,i remember likng that movie but not being the funniest;that movie made me like julie andrews(also sound of music but that was in the 60s and not a comedy BUT a classic) .Talking about victor /victoria,do you remember a movie called tootsie??i loved that movie and the theme song of that movie!!Tootsie still gets to me til today;Speaking of role reversal movies, i also loved that musical yentl/although this is not a comedy( i was and still a b.streisand fan)yeah and about the monty python the meaning of life and history of the world part 1;that is a very funny and original spoof movie;i remember the scene when the guy sticks a gun behind moses,moses lifts up both his hands in the air and the red sea parts
]]>Sun, 10 Jun 2007 01:56:12 GMTlukasbluGrew up in the 80's6/9/2007 9:56:12 PMYeah i do remember watching nat.lampoons vacation and that was the funniest thing i have seen at that time;Can&#39;t believe the&#39;ve made so many spin-offs the original national lampoons vacation,;BUT nothing will ever be as good,original and funny as the true and tried original vacation.another movie back in 1986 that i found very funny i almost fell off my seat dying of laughter is jumping jack flash with whoopi goldberg;it was not such famous movie or probably might not even have been a wild success BUT something about that movie made me really laugh.i gues u could call it a personal fave back then.Victor/victoria,i remember likng that movie but not being the funniest;that movie made me like julie andrews(also sound of music but that was in the 60s and not a comedy BUT a classic) .Talking about victor /victoria,do you remember a movie called tootsie??i loved that movie and the theme song of that movie!!Tootsie still gets to me til today;Speaking of role reversal movies, i also loved that musical yentl/although this is not a comedy( i was and still a b.streisand fan)yeah and about the monty python the meaning of life and history of the world part 1;that is a very funny and original spoof movie;i remember the scene when the guy sticks a gun behind moses,moses lifts up both his hands in the air and the red sea parts http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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