list http://www.spout.com/ Recent community activity around Valley Girl 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/Valley_Girl/36680/default.aspx Title: Valley Girl
Year: 1983
Director: Martha Coolidge
Plot: A satiric romantic comedy, Martha Coolidge's Valley Girl is a testimony to the short-lived Southern California '80s craze. Julie (Deborah Foreman) is a good-natured teenager following a swarm of pastel pink valley girls, who utter "gag me" at every opportunity. To her friends' dismay , Julie breaks up with her egotistical boyfriend, Tommy (Michael Bowen), while shopping at the mall. All the valley kids go to a party that night, and Tommy immediately tries to bed one of Julie's friends. Randy (Nicolas Cage), a bad boy from Hollywood, shows up and crashes the party. Open-minded Julie flirts with him before he is literally thrown out, presumably just for looking different. Smitten with Julie, Randy sneaks back into the party to talk to her again. Julie drags a whimpering valley friend with her to spend the night cruising with Randy in Hollywood. After an extended courtship, Randy is in love with Julie, and she must choose between him and Tommy, who wants her back. Her friends refuse to accept Randy, who makes many exaggerated attempts to win back her love. Finally, after she has a heartfelt talk with her dad (Frederic Forrest), love triumphs at the prom. ~ Andrea LeVasseur, All Movie Guide
Times Tagged: 47
Number of Lists: 12
Number of blog posts: 3
Number of discussion threads: 6
SpoutRating: 3
]]>Sun, 05 Apr 2009 17:00:12 GMTValley Girl1983Martha CoolidgeA satiric romantic comedy, <a href="/players/P____85800/default.aspx" style='text-decoration:underline'>Martha Coolidge</a>'s Valley Girl is a testimony to the short-lived Southern California '80s craze. Julie (<a href="/players/P____24283/default.aspx" style='text-decoration:underline'>Deborah Foreman</a>) is a good-natured teenager following a swarm of pastel pink valley girls, who utter "gag me" at every opportunity. To her friends' dismay , Julie breaks up with her egotistical boyfriend, Tommy (<a href="/players/P_____7725/default.aspx" style='text-decoration:underline'>Michael Bowen</a>), while shopping at the mall. All the valley kids go to a party that night, and Tommy immediately tries to bed one of Julie's friends. Randy (<a href="/players/P____10155/default.aspx" style='text-decoration:underline'>Nicolas Cage</a>), a bad boy from Hollywood, shows up and crashes the party. Open-minded Julie flirts with him before he is literally thrown out, presumably just for looking different. Smitten with Julie, Randy sneaks back into the party to talk to her again. Julie drags a whimpering valley friend with her to spend the night cruising with Randy in Hollywood. After an extended courtship, Randy is in love with Julie, and she must choose between him and Tommy, who wants her back. Her friends refuse to accept Randy, who makes many exaggerated attempts to win back her love. Finally, after she has a heartfelt talk with her dad (<a href="/players/P____24332/default.aspx" style='text-decoration:underline'>Frederic Forrest</a>), love triumphs at the prom. ~ Andrea LeVasseur, All Movie Guide47Tag Target (>10)12363http://www.spout.com/ProductImages/t33677tgxya.jpghttp://www.spout.com/films/Valley_Girl/36680/default.aspxFilm http://www.spout.com/blogs/karina/archive/2009/1/8/39245.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/8/2009 11:01:28 AM
Body: I’ll never forget the first time I heard the Sinatra standard “My Way”, while sitting in the balcony of an art house in Denver, chain-smoking Benson & Hedges ultra-light menthols, staring nearly hypnotized by the sight of sexy Gary Oldman transforming himself into the swaggering embodiment of punk rock, tearing through both cover song and screen. Sid and Nancy (along with Howard Deutch’s Pretty In Pink which also came out in 1986, and Martha Coolidge’s 1983 Valley Girl) was nothing less than a revelation to this teenager with Aqua-netted hair, Doc Martins and ripped fishnets, because it actually portrayed “my people,” spoke to me in my own musical language. And my feeling of identification probably was not unlike that experienced by a certain segment of the movie-going public 31 years before Alex Cox paid tribute to the junkie romance of Sid Vicious and Nancy Spungen, who witnessed another tale of fucked-up love, possible homicide, and enduring heroin chic. Heartthrob Frank Sinatra would not sing “My Way” in Otto Preminger’s groundbreaking 1955 The Man With The Golden Arm, but he would play the fictional Frankie Machine, another lean and hungry musician of dubious talent weighed down by both a needy blonde and a monkey on his back. With a sizzling jazz score by Elmer Bernstein as perfectly wedded to image as Joe Strummer’s powerful sound is in Cox’s film, and with production design every bit as hyper-real as the addict’s hallucination style of Sid and Nancy, Preminger’s movie, like Cox’s, uses its sleek, feline, magnetic lead to shed light on a hapless guy unwittingly the helpless victim of his own charm, a plaything to both ruthless women and greedy men who take advantage of his naïve nature. Sinatra’s Frankie is a kindhearted, charismatic card dealer just out of rehab, trying to follow his dream of being a drummer, but he’s stuck with a scheming wife in a wheelchair (Eleanor Parker, who seems to be doing a camp version of a Tennessee Williams heroine) and a sometime employer/drug dealer (the appropriately slimy Darren McGavin) who uses heroin as an ace in the hole to control the fragile Frankie. Sid likewise was just a young, working class punk who suddenly found himself stuck with a scheming groupie/junkie/drug dealer (played by Chloe Webb who manages to make Nancy both annoying and endearing), a bass he could barely play, and a Machiavellian manager in the form of Malcolm McLaren who used all the Sex Pistols band members as his own personal puppets. Sid never wanted to be a nihilist icon any more than Frankie wants to deal cards; they’re just so damn alluring, so good at what they do, that others demand it! And pretty soon the lifestyle – including heroin – they’ve nodded into becomes all they know. Tellingly, the most sexually fraught scenes in The Man With The Golden Arm occur not between Frankie and his mistress Molly, played by va-va-voom Kim Novak, but between Frankie and his dealer Louie. It’s Louie who is forever massaging Frankie’s back when he’s tired, intimately cooing in his ear like a lover, taking him arm in arm back to his flat as Frankie swivels his head like a two-timing spouse, for he’s more nervous being seen alone with Louie than with Molly. In one scene a tired Louie begins to relax and get undressed, even takes off his shirt before shooting up that golden arm. Neither Molly nor Frankie’s wife Zosch ever show that much skin in front of Frankie! Indeed, towards the end of Sid and Nancy the bond between the couple isn’t sex, isn’t love, so much as a shared insatiable lust for the drug, the third party in their fatal ménage a trois. For the pursuit of the fix is sexual in itself. And yet the most painful truth in Sid and Nancy is laid bare in that one scene in which Sid destroys everything around him, slaughters that old Sinatra standard in a big ironic “fuck you.” For in a world where outside forces like sex, drugs and rock and roll can determine an individual’s fate there is no such thing as “My Way.” SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 08 Jan 2009 16:01:28 GMTKarinaKarina on SpoutBlog1/8/2009 11:01:28 AMI’ll never forget the first time I heard the Sinatra standard “My Way”, while sitting in the balcony of an art house in Denver, chain-smoking Benson & Hedges ultra-light menthols, staring nearly hypnotized by the sight of sexy Gary Oldman transforming himself into the swaggering embodiment of punk rock, tearing through both cover song and screen. Sid and Nancy (along with Howard Deutch’s Pretty In Pink which also came out in 1986, and Martha Coolidge’s 1983 Valley Girl) was nothing less than a revelation to this teenager with Aqua-netted hair, Doc Martins and ripped fishnets, because it actually portrayed “my people,” spoke to me in my own musical language. And my feeling of identification probably was not unlike that experienced by a certain segment of the movie-going public 31 years before Alex Cox paid tribute to the junkie romance of Sid Vicious and Nancy Spungen, who witnessed another tale of fucked-up love, possible homicide, and enduring heroin chic. Heartthrob Frank Sinatra would not sing “My Way” in Otto Preminger’s groundbreaking 1955 The Man With The Golden Arm, but he would play the fictional Frankie Machine, another lean and hungry musician of dubious talent weighed down by both a needy blonde and a monkey on his back. With a sizzling jazz score by Elmer Bernstein as perfectly wedded to image as Joe Strummer’s powerful sound is in Cox’s film, and with production design every bit as hyper-real as the addict’s hallucination style of Sid and Nancy, Preminger’s movie, like Cox’s, uses its sleek, feline, magnetic lead to shed light on a hapless guy unwittingly the helpless victim of his own charm, a plaything to both ruthless women and greedy men who take advantage of his naïve nature. Sinatra’s Frankie is a kindhearted, charismatic card dealer just out of rehab, trying to follow his dream of being a drummer, but he’s stuck with a scheming wife in a wheelchair (Eleanor Parker, who seems to be doing a camp version of a Tennessee Williams heroine) and a sometime employer/drug dealer (the appropriately slimy Darren McGavin) who uses heroin as an ace in the hole to control the fragile Frankie. Sid likewise was just a young, working class punk who suddenly found himself stuck with a scheming groupie/junkie/drug dealer (played by Chloe Webb who manages to make Nancy both annoying and endearing), a bass he could barely play, and a Machiavellian manager in the form of Malcolm McLaren who used all the Sex Pistols band members as his own personal puppets. Sid never wanted to be a nihilist icon any more than Frankie wants to deal cards; they’re just so damn alluring, so good at what they do, that others demand it! And pretty soon the lifestyle – including heroin – they’ve nodded into becomes all they know. Tellingly, the most sexually fraught scenes in The Man With The Golden Arm occur not between Frankie and his mistress Molly, played by va-va-voom Kim Novak, but between Frankie and his dealer Louie. It’s Louie who is forever massaging Frankie’s back when he’s tired, intimately cooing in his ear like a lover, taking him arm in arm back to his flat as Frankie swivels his head like a two-timing spouse, for he’s more nervous being seen alone with Louie than with Molly. In one scene a tired Louie begins to relax and get undressed, even takes off his shirt before shooting up that golden arm. Neither Molly nor Frankie’s wife Zosch ever show that much skin in front of Frankie! Indeed, towards the end of Sid and Nancy the bond between the couple isn’t sex, isn’t love, so much as a shared insatiable lust for the drug, the third party in their fatal ménage a trois. For the pursuit of the fix is sexual in itself. And yet the most painful truth in Sid and Nancy is laid bare in that one scene in which Sid destroys everything around him, slaughters that old Sinatra standard in a big ironic “fuck you.” For in a world where outside forces like sex, drugs and rock and roll can determine an individual’s fate there is no such thing as “My Way.” SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/8/39244.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/8/2009 11:01:12 AM
Body: I’ll never forget the first time I heard the Sinatra standard “My Way”, while sitting in the balcony of an art house in Denver, chain-smoking Benson & Hedges ultra-light menthols, staring nearly hypnotized by the sight of sexy Gary Oldman transforming himself into the swaggering embodiment of punk rock, tearing through both cover song and screen. Sid and Nancy (along with Howard Deutch’s Pretty In Pink which also came out in 1986, and Martha Coolidge’s 1983 Valley Girl) was nothing less than a revelation to this teenager with Aqua-netted hair, Doc Martins and ripped fishnets, because it actually portrayed “my people,” spoke to me in my own musical language. And my feeling of identification probably was not unlike that experienced by a certain segment of the movie-going public 31 years before Alex Cox paid tribute to the junkie romance of Sid Vicious and Nancy Spungen, who witnessed another tale of fucked-up love, possible homicide, and enduring heroin chic. Heartthrob Frank Sinatra would not sing “My Way” in Otto Preminger’s groundbreaking 1955 The Man With The Golden Arm, but he would play the fictional Frankie Machine, another lean and hungry musician of dubious talent weighed down by both a needy blonde and a monkey on his back. With a sizzling jazz score by Elmer Bernstein as perfectly wedded to image as Joe Strummer’s powerful sound is in Cox’s film, and with production design every bit as hyper-real as the addict’s hallucination style of Sid and Nancy, Preminger’s movie, like Cox’s, uses its sleek, feline, magnetic lead to shed light on a hapless guy unwittingly the helpless victim of his own charm, a plaything to both ruthless women and greedy men who take advantage of his naïve nature. Sinatra’s Frankie is a kindhearted, charismatic card dealer just out of rehab, trying to follow his dream of being a drummer, but he’s stuck with a scheming wife in a wheelchair (Eleanor Parker, who seems to be doing a camp version of a Tennessee Williams heroine) and a sometime employer/drug dealer (the appropriately slimy Darren McGavin) who uses heroin as an ace in the hole to control the fragile Frankie. Sid likewise was just a young, working class punk who suddenly found himself stuck with a scheming groupie/junkie/drug dealer (played by Chloe Webb who manages to make Nancy both annoying and endearing), a bass he could barely play, and a Machiavellian manager in the form of Malcolm McLaren who used all the Sex Pistols band members as his own personal puppets. Sid never wanted to be a nihilist icon any more than Frankie wants to deal cards; they’re just so damn alluring, so good at what they do, that others demand it! And pretty soon the lifestyle – including heroin – they’ve nodded into becomes all they know. Tellingly, the most sexually fraught scenes in The Man With The Golden Arm occur not between Frankie and his mistress Molly, played by va-va-voom Kim Novak, but between Frankie and his dealer Louie. It’s Louie who is forever massaging Frankie’s back when he’s tired, intimately cooing in his ear like a lover, taking him arm in arm back to his flat as Frankie swivels his head like a two-timing spouse, for he’s more nervous being seen alone with Louie than with Molly. In one scene a tired Louie begins to relax and get undressed, even takes off his shirt before shooting up that golden arm. Neither Molly nor Frankie’s wife Zosch ever show that much skin in front of Frankie! Indeed, towards the end of Sid and Nancy the bond between the couple isn’t sex, isn’t love, so much as a shared insatiable lust for the drug, the third party in their fatal ménage a trois. For the pursuit of the fix is sexual in itself. And yet the most painful truth in Sid and Nancy is laid bare in that one scene in which Sid destroys everything around him, slaughters that old Sinatra standard in a big ironic “fuck you.” For in a world where outside forces like sex, drugs and rock and roll can determine an individual’s fate there is no such thing as “My Way.” SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog
]]>Thu, 08 Jan 2009 16:01:12 GMTSpoutBlogSpoutBlog on spout.com1/8/2009 11:01:12 AMI’ll never forget the first time I heard the Sinatra standard “My Way”, while sitting in the balcony of an art house in Denver, chain-smoking Benson & Hedges ultra-light menthols, staring nearly hypnotized by the sight of sexy Gary Oldman transforming himself into the swaggering embodiment of punk rock, tearing through both cover song and screen. Sid and Nancy (along with Howard Deutch’s Pretty In Pink which also came out in 1986, and Martha Coolidge’s 1983 Valley Girl) was nothing less than a revelation to this teenager with Aqua-netted hair, Doc Martins and ripped fishnets, because it actually portrayed “my people,” spoke to me in my own musical language. And my feeling of identification probably was not unlike that experienced by a certain segment of the movie-going public 31 years before Alex Cox paid tribute to the junkie romance of Sid Vicious and Nancy Spungen, who witnessed another tale of fucked-up love, possible homicide, and enduring heroin chic. Heartthrob Frank Sinatra would not sing “My Way” in Otto Preminger’s groundbreaking 1955 The Man With The Golden Arm, but he would play the fictional Frankie Machine, another lean and hungry musician of dubious talent weighed down by both a needy blonde and a monkey on his back. With a sizzling jazz score by Elmer Bernstein as perfectly wedded to image as Joe Strummer’s powerful sound is in Cox’s film, and with production design every bit as hyper-real as the addict’s hallucination style of Sid and Nancy, Preminger’s movie, like Cox’s, uses its sleek, feline, magnetic lead to shed light on a hapless guy unwittingly the helpless victim of his own charm, a plaything to both ruthless women and greedy men who take advantage of his naïve nature. Sinatra’s Frankie is a kindhearted, charismatic card dealer just out of rehab, trying to follow his dream of being a drummer, but he’s stuck with a scheming wife in a wheelchair (Eleanor Parker, who seems to be doing a camp version of a Tennessee Williams heroine) and a sometime employer/drug dealer (the appropriately slimy Darren McGavin) who uses heroin as an ace in the hole to control the fragile Frankie. Sid likewise was just a young, working class punk who suddenly found himself stuck with a scheming groupie/junkie/drug dealer (played by Chloe Webb who manages to make Nancy both annoying and endearing), a bass he could barely play, and a Machiavellian manager in the form of Malcolm McLaren who used all the Sex Pistols band members as his own personal puppets. Sid never wanted to be a nihilist icon any more than Frankie wants to deal cards; they’re just so damn alluring, so good at what they do, that others demand it! And pretty soon the lifestyle – including heroin – they’ve nodded into becomes all they know. Tellingly, the most sexually fraught scenes in The Man With The Golden Arm occur not between Frankie and his mistress Molly, played by va-va-voom Kim Novak, but between Frankie and his dealer Louie. It’s Louie who is forever massaging Frankie’s back when he’s tired, intimately cooing in his ear like a lover, taking him arm in arm back to his flat as Frankie swivels his head like a two-timing spouse, for he’s more nervous being seen alone with Louie than with Molly. In one scene a tired Louie begins to relax and get undressed, even takes off his shirt before shooting up that golden arm. Neither Molly nor Frankie’s wife Zosch ever show that much skin in front of Frankie! Indeed, towards the end of Sid and Nancy the bond between the couple isn’t sex, isn’t love, so much as a shared insatiable lust for the drug, the third party in their fatal ménage a trois. For the pursuit of the fix is sexual in itself. And yet the most painful truth in Sid and Nancy is laid bare in that one scene in which Sid destroys everything around him, slaughters that old Sinatra standard in a big ironic “fuck you.” For in a world where outside forces like sex, drugs and rock and roll can determine an individual’s fate there is no such thing as “My Way.” SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog http://www.spout.com/groups/Movie_Games/Re_The_meeting/598/37807/1/ShowPost.aspx Post By: csprague
Post To: Movie Games
Post Date: 12/1/2008 4:21:02 PM
Body: [quote user="Ravie13"] Sid and Nancy were sitting in a delicatessen looking rather dazed and confused. Walking the Line between the good, the bad and the ugly they sipped on ther cocktails. It was the point of no return between them. They knew what they wanted and this meeting was the last resort. Nancy looked at him. She was a woman on the verge of a nervous breakdown but she kept up the charade of a happy-go-lucky valley girl. But, nervously, she pushed the drink away and looked into his tired eyes. "Sid, I want a divorce." [/quote] wow. that was impressive :) I want a divorce. lol. I can't believe that's a movie title.
]]>Mon, 01 Dec 2008 21:21:02 GMTcspragueMovie Games12/1/2008 4:21:02 PM[quote user="Ravie13"] Sid and Nancy were sitting in a delicatessen looking rather dazed and confused. Walking the Line between the good, the bad and the ugly they sipped on ther cocktails. It was the point of no return between them. They knew what they wanted and this meeting was the last resort. Nancy looked at him. She was a woman on the verge of a nervous breakdown but she kept up the charade of a happy-go-lucky valley girl. But, nervously, she pushed the drink away and looked into his tired eyes. "Sid, I want a divorce." [/quote] wow. that was impressive :) I want a divorce. lol. I can't believe that's a movie title. http://www.spout.com/groups/Movie_Games/The_meeting/598/37562/1/ShowPost.aspx Post By: Ravie13
Post To: Movie Games
Post Date: 11/23/2008 4:54:31 AM
Body: Sid and Nancy were sitting in a delicatessen looking rather dazed and confused. Walking the Line between the good, the bad and the ugly they sipped on ther cocktails. It was the point of no return between them. They knew what they wanted and this meeting was the last resort. Nancy looked at him. She was a woman on the verge of a nervous breakdown but she kept up the charade of a happy-go-lucky valley girl. But, nervously, she pushed the drink away and looked into his tired eyes. "Sid, I want a divorce."
]]>Sun, 23 Nov 2008 09:54:31 GMTRavie13Movie Games11/23/2008 4:54:31 AMSid and Nancy were sitting in a delicatessen looking rather dazed and confused. Walking the Line between the good, the bad and the ugly they sipped on ther cocktails. It was the point of no return between them. They knew what they wanted and this meeting was the last resort. Nancy looked at him. She was a woman on the verge of a nervous breakdown but she kept up the charade of a happy-go-lucky valley girl. But, nervously, she pushed the drink away and looked into his tired eyes. "Sid, I want a divorce." http://www.spout.com/groups/Weekly_Movie_Prep/Re_Weekly_Prep_for_10_24_Releases/651/36624/1/ShowPost.aspx Post By: seely
Post To: Weekly Movie Prep
Post Date: 10/23/2008 2:38:02 PM
Body: I'm a bit behind on my current releases, so this week my goals are to see Nick and Norah's Infinite Playlist, and Guy Ritchie's Rocknrolla'. I thought good prep for Nick and Norah may be a rewatching of Valley Girl, as it seems to share a similar 'one crazy night' theme with an unlikely cast of characters and events. Along those lines, since it is somewhat of a music-centric film I thought High Fidelity could be of merit too, with the Top 5/playlist themes maybe going hand-in-hand. That, and I'll use any excuse I can to justify watching either film again. Rocknrolla is easy... I'd have to dust off my two favorite Ritchie films, Lock Stock and Two Smoking Barrels, and Snatch. Two of my favorite films... great action, a lot of great lines and enough humour thrown in here and there to keep you chuckling while the plot gets heavy. I'm hoping Ritchie's impending divorce hasn't gotten him too down to put in a few good laughs and some more colourful characters!
]]>Thu, 23 Oct 2008 18:38:02 GMTseelyWeekly Movie Prep10/23/2008 2:38:02 PMI'm a bit behind on my current releases, so this week my goals are to see Nick and Norah's Infinite Playlist, and Guy Ritchie's Rocknrolla'. I thought good prep for Nick and Norah may be a rewatching of Valley Girl, as it seems to share a similar 'one crazy night' theme with an unlikely cast of characters and events. Along those lines, since it is somewhat of a music-centric film I thought High Fidelity could be of merit too, with the Top 5/playlist themes maybe going hand-in-hand. That, and I'll use any excuse I can to justify watching either film again. Rocknrolla is easy... I'd have to dust off my two favorite Ritchie films, Lock Stock and Two Smoking Barrels, and Snatch. Two of my favorite films... great action, a lot of great lines and enough humour thrown in here and there to keep you chuckling while the plot gets heavy. I'm hoping Ritchie's impending divorce hasn't gotten him too down to put in a few good laughs and some more colourful characters! http://www.spout.com/groups/Forever_Young/Re_80s_teen_flick_that_described_romantic_relation/85/36439/1/ShowPost.aspx Post By: seely
Post To: Forever Young
Post Date: 10/17/2008 10:49:22 AM
Body: Oh this is a good one! I'm definately a hopeless romantic underdog at heart, and *loved* the way 80's films portrayed highschool relationships, with their clearly defined archetypical characters and somewhat formulaic endings. For me, I think I was most shaped by: The Breakfast Club Valley Girl Say Anything Sixteen Candles (1984) They all had similar themes, of people winding up with someone that they typically shouldn't be interested in... this gave me a lot of hope as an awkward pubescent teenager. [quote user="filmgal81"] As a kid, what 80s teen movie did you think high school romantic relationships would be most like? For me, it is a toss up between three movies: For Keeps ( happy endings), Dirty Dancing ( fleeting love), and The Breakfast Club ( flirtations) [/quote]
]]>Fri, 17 Oct 2008 14:49:22 GMTseelyForever Young10/17/2008 10:49:22 AMOh this is a good one! I'm definately a hopeless romantic underdog at heart, and *loved* the way 80's films portrayed highschool relationships, with their clearly defined archetypical characters and somewhat formulaic endings. For me, I think I was most shaped by: The Breakfast Club Valley Girl Say Anything Sixteen Candles (1984) They all had similar themes, of people winding up with someone that they typically shouldn't be interested in... this gave me a lot of hope as an awkward pubescent teenager. [quote user="filmgal81"] As a kid, what 80s teen movie did you think high school romantic relationships would be most like? For me, it is a toss up between three movies: For Keeps ( happy endings), Dirty Dancing ( fleeting love), and The Breakfast Club ( flirtations) [/quote] http://www.spout.com/groups/Top_5/Re_Top_5_Romantic_Films/190/35938/1/ShowPost.aspx Post By: seely
Post To: Top 5
Post Date: 10/6/2008 1:28:13 PM
Body: This is a tough one...I can't think of a lot of romantic films I've seen, but I'll give it a shot. Across the Universe - I love the Beatles, I love sporadic singing, I love the 60's and I love Love. It seemed a little "Higschool Musical Does the Sixties" at times, but I loved some of the cameos and cultural references of the era (despite not particularly liking Bono, I thought he did a fantastic job), and albeit sappy love story. Princess Bride - A classic. I'm a closet fairy tale fan, and this is one of the best. It turns the genre on its head a little, adds a lot of comedy and relies on some less-than-perfect characters with some glaring flaws to create a story that somehow still remains romantic. Say Anything - I'm always a fan of the daughter/son-likes-the-girl/guy-dad/mom-does-not films. These seemed especially prevalent in the 80's, and I think SA is the shining example. SA edged out Valley Girl by a hair in this category for me, mostly because Nicolas Cage suffered a devastating setback in my mind after remaking Bangkok Dangerous (and it wasn't because the first was any good). Big Fish - I know its fictional, but its a powerful love story none-the-less. You get to see the couple through their entire lives together, beginning to end, and how committed and how much they loved each other to the end. Its ridiculously beautiful. I can barely handle the end of the movie. Eternal Sunshine of the Spotless Mind - Maybe a bit out of place in this categorie, but I think it deserves a mention. I think it highlights the idea that love wouldn't exist without pain, and gives us an appreciation of memories and past relationships. Its better to have loved and lost than to never have loved at all. Bah, one short. Wait! Once - Probably my favorite, because of a) the music, and b) the fact it does not end like most romances. It is a beautiful and very innocent story, of a complicated friendship/romance. Don't want to give too much away for those who haven't seen it, but it truly is a beautiful story of two people meeting exactly when they needed to.
]]>Mon, 06 Oct 2008 17:28:13 GMTseelyTop 510/6/2008 1:28:13 PMThis is a tough one...I can't think of a lot of romantic films I've seen, but I'll give it a shot. Across the Universe - I love the Beatles, I love sporadic singing, I love the 60's and I love Love. It seemed a little "Higschool Musical Does the Sixties" at times, but I loved some of the cameos and cultural references of the era (despite not particularly liking Bono, I thought he did a fantastic job), and albeit sappy love story. Princess Bride - A classic. I'm a closet fairy tale fan, and this is one of the best. It turns the genre on its head a little, adds a lot of comedy and relies on some less-than-perfect characters with some glaring flaws to create a story that somehow still remains romantic. Say Anything - I'm always a fan of the daughter/son-likes-the-girl/guy-dad/mom-does-not films. These seemed especially prevalent in the 80's, and I think SA is the shining example. SA edged out Valley Girl by a hair in this category for me, mostly because Nicolas Cage suffered a devastating setback in my mind after remaking Bangkok Dangerous (and it wasn't because the first was any good). Big Fish - I know its fictional, but its a powerful love story none-the-less. You get to see the couple through their entire lives together, beginning to end, and how committed and how much they loved each other to the end. Its ridiculously beautiful. I can barely handle the end of the movie. Eternal Sunshine of the Spotless Mind - Maybe a bit out of place in this categorie, but I think it deserves a mention. I think it highlights the idea that love wouldn't exist without pain, and gives us an appreciation of memories and past relationships. Its better to have loved and lost than to never have loved at all. Bah, one short. Wait! Once - Probably my favorite, because of a) the music, and b) the fact it does not end like most romances. It is a beautiful and very innocent story, of a complicated friendship/romance. Don't want to give too much away for those who haven't seen it, but it truly is a beautiful story of two people meeting exactly when they needed to. http://www.spout.com/blogs/spoutblog/archive/2008/7/18/32714.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/18/2008 11:01:08 AM
Body: Blake Edwards will exec produce a redo of his 1979 comedy 10 along with son Geoffrey, who was an assistant editor on the original. I’d ask what young starlet you’d most like to see in cornrows, but of course a newcomer is being sought to fill the iconic Bo Derek role. A new version of Papillon, or at least a new adaptation of Henri Charriere’s autobiography, will be produced by two-time Oscar winner Branko Lustig (Schindler’s List; Gladiator). Could a remake receive more love from the Academy than did the original? It’s been done before… Like, totally bitchin: MGM is developing a musical remake of Valley Girl. Isn’t the ’80s music nostalgia thing over yet? The “remake” of Tim Burton’s Batman (don’t you remember this video?) is now in theaters, and blah blah blah record-breaking theater count blah blah blah possible record-breaking non-holiday weekend gross blah blah blah, as Karina would put it. Originally posted on:SpoutBlog
]]>Fri, 18 Jul 2008 15:01:08 GMTSpoutBlogSpoutBlog on spout.com7/18/2008 11:01:08 AM Blake Edwards will exec produce a redo of his 1979 comedy 10 along with son Geoffrey, who was an assistant editor on the original. I’d ask what young starlet you’d most like to see in cornrows, but of course a newcomer is being sought to fill the iconic Bo Derek role. A new version of Papillon, or at least a new adaptation of Henri Charriere’s autobiography, will be produced by two-time Oscar winner Branko Lustig (Schindler’s List; Gladiator). Could a remake receive more love from the Academy than did the original? It’s been done before… Like, totally bitchin: MGM is developing a musical remake of Valley Girl. Isn’t the ’80s music nostalgia thing over yet? The “remake” of Tim Burton’s Batman (don’t you remember this video?) is now in theaters, and blah blah blah record-breaking theater count blah blah blah possible record-breaking non-holiday weekend gross blah blah blah, as Karina would put it. Originally posted on:SpoutBlog http://www.spout.com/groups/Filmspotting/Re_Top_5_Movies_Directed_By_Women/304/9069/1/ShowPost.aspx Post By: Jymkata
Post To: Filmspotting
Post Date: 5/20/2007 6:22:14 PM
Body: I had to think hard about this because I couldn't figure out why it was so hard for me to answer about female directors. I was hoping it wasn't some unconscious chauvinistic tedencies on my part causing me to devalue movies directed by females. I actually think that many of the female directed movies of the last decade or so tend to be "woman's pictures" that hold little interest for me in terms of style or story. That being said, there are some movies directed by women that I would rate highly regardless of who helms it. Ida Lupino was a real pioneer in female directing (not the first but the best known early director) and she directed a really nifty film noir - 1) The Hitch-hikerThe '80s are generally mocked as a shallow time in film, but at least women were given a chance to direct mainstream films and a few of the movies are among my favorite 80's and early 90's films:Amy Heckerling - (4 tie) Fast Times at Ridgemont High, Look Who's Talking, and CluelessKathryn Bigelow - (3) Near Dark, (2) Point Break - maybe the first action film directed by a woman? and it kicks ass! Martha Coolidge - (4 tie) Valley Girl, Real GeniusI know Sofia Coppola is the critic's and indie festival darling, but she is a one-hit wonder for me, I hated Marie Antoinette and I was bored by The Virgin Suicides, but even with the unbelievable award season hype I really enjoyed the way she directed (5) Lost in Translation. Hopefully her next film will be a return to form.
]]>Sun, 20 May 2007 22:22:14 GMTJymkataFilmspotting5/20/2007 6:22:14 PMI had to think hard about this because I couldn&#39;t figure out why it was so hard for me to answer about female directors. I was hoping it wasn&#39;t some unconscious chauvinistic tedencies on my part causing me to devalue movies directed by females. I actually think that many of the female directed movies of the last decade or so tend to be "woman&#39;s pictures" that hold little interest for me in terms of style or story. That being said, there are some movies directed by women that I would rate highly regardless of who helms it. Ida Lupino was a real pioneer in female directing (not the first but the best known early director) and she directed a really nifty film noir - 1) The Hitch-hikerThe &#39;80s are generally mocked as a shallow time in film, but at least women were given a chance to direct mainstream films and a few of the movies are among my favorite 80&#39;s and early 90&#39;s films:Amy Heckerling - (4 tie) Fast Times at Ridgemont High, Look Who&#39;s Talking, and CluelessKathryn Bigelow - (3) Near Dark, (2) Point Break - maybe the first action film directed by a woman? and it kicks ass! Martha Coolidge - (4 tie) Valley Girl, Real GeniusI know Sofia Coppola is the critic&#39;s and indie festival darling, but she is a one-hit wonder for me, I hated Marie Antoinette and I was bored by The Virgin Suicides, but even with the unbelievable award season hype I really enjoyed the way she directed (5) Lost in Translation. Hopefully her next film will be a return to form. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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]]>Sun, 28 Jun 2009 22:51:56 GMT118672219Tag http://www.spout.com/members/0/tags/Dance/MemberTagFilms.aspxDance
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]]>Fri, 31 Jul 2009 13:03:15 GMT6234086Tag http://www.spout.com/members/0/tags/dating/MemberTagFilms.aspxdating
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