list http://www.spout.com/ Recent community activity around When Harry Met Sally 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/When_Harry_Met_Sally/38027/default.aspx Title: When Harry Met Sally
Year: 1989
Director: Rob Reiner
Plot: Rob Reiner's romantic comedy When Harry Met Sally stars Billy Crystal and Meg Ryan as the title pair. The film opens with the two strangers, both newly graduated from the University of Chicago, share a car trip from Chicago to New York, where they are both going to make their way. During the trip, they discuss aspects of their characters and their lives, eventually deciding it is impossible for men and women to be "just friends." They arrive in New York and go their separate ways. They meet a few years later on an airplane and Harry reveals he is married. They meet again at a bookstore a few years after that where Harry reveals he is now divorced. From that point on, the two form a friendship. Eventually their closeness results in their respective best friends (played by Carrie Fisher and Bruno Kirby) meeting and falling in love with each other. At a New Year's Eve party Harry and Sally confront the complex tangle of emotions they feel for each other. The soundtrack consists primarily of Harry Connick Jr. crooning standards like "It Had to Be You." ~ Perry Seibert, All Movie Guide
Times Tagged: 104
Number of Lists: 91
Number of blog posts: 7
Number of discussion threads: 10
SpoutRating: 3
]]>Sun, 08 Mar 2009 14:08:42 GMTWhen Harry Met Sally1989Rob Reiner<a href="/players/P___107886/default.aspx" style='text-decoration:underline'>Rob Reiner</a>'s romantic comedy When Harry Met Sally stars <a href="/players/P____86318/default.aspx" style='text-decoration:underline'>Billy Crystal</a> and <a href="/players/P____62388/default.aspx" style='text-decoration:underline'>Meg Ryan</a> as the title pair. The film opens with the two strangers, both newly graduated from the University of Chicago, share a car trip from Chicago to New York, where they are both going to make their way. During the trip, they discuss aspects of their characters and their lives, eventually deciding it is impossible for men and women to be "just friends." They arrive in New York and go their separate ways. They meet a few years later on an airplane and Harry reveals he is married. They meet again at a bookstore a few years after that where Harry reveals he is now divorced. From that point on, the two form a friendship. Eventually their closeness results in their respective best friends (played by <a href="/players/P____89886/default.aspx" style='text-decoration:underline'>Carrie Fisher</a> and <a href="/players/P____38448/default.aspx" style='text-decoration:underline'>Bruno Kirby</a>) meeting and falling in love with each other. At a New Year's Eve party Harry and Sally confront the complex tangle of emotions they feel for each other. The soundtrack consists primarily of Harry Connick Jr. crooning standards like "It Had to Be You." ~ Perry Seibert, All Movie Guide104Tag Target (>10)917103http://www.spout.com/ProductImages/u50629q5ajs.jpghttp://www.spout.com/films/When_Harry_Met_Sally/38027/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/3/3/40799.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/3/2009 5:03:10 PM
Body: In addition to winning Best Picture (and seven other awards) at the Oscars last week, Slumdog Millionaire passed a major box office benchmark. It has now grossed more than $100 million in the U.S., which is pretty astonishing for a film with one-third of its dialogue in a foreign language. But is Slumdog’s popularity a one-shot in terms of its audience’s interest in India, or are moviegoers actually now more curious about the nation and its own films? Some websites are simplifying the question of whether or not Slumdog will be a gateway film with polls asking if American moviegoers will now “go Bollywood” (40% of Cinematical readers flat out answered, “no.”), which is rather silly since Danny Boyle’s movie bears no resemblance to the majority of Bollywood pictures. In fact, Americans have in the past received far greater entry points into Indian cinema by way of films involving Anglo or NRI (non-resident Indian) protagonists directed by culturally bridging filmmakers (such as NRI helmers Deepa Mehta, Mira Nair and Gurinder Chadha), than the more-touristy type of filmmaking represented with Slumdog. If someone truly wants to become familiar with Bollywood, he or she should probably just jump right in and then patiently get used to the style, which can be quite difficult for Westerners to immediately grasp. The extremely interested might benefit from reading the section on popular Indian cinema in Dimitris Eleftheriotis and Gary Needham’s Asian Cinemas: A Reader & Guide, a book that does a really great job acquainting the Western spectator with Eastern film form. Or, the more casually curious cinephile could simply follow our guide to accessible Indian (or India-based) films for the Slumdog lover to watch next: Sita Sings the Blues (Nina Paley, 2008) What it’s about: Paley’s semi-autobiographical animated feature self-deprecatingly depicts the events of the filmmaker’s divorce crosscut with a somewhat paralleling adaptation of part of the epic Indian poem Ramayana. Why you should see it: Although not an Indian production nor made by an Indian filmmaker, Sita does offer an entry point for the mythological genre of Indian films and/or an introduction to Hindu myths, a number of which are the basis for a lot of Bollywood musical numbers. If that’s not enough reason, though, here’s what Karina wrote about the film in her review: “Sita Sings the Blues is a strange and beautiful little film, a potentially wispy slice of autobiography smartly elevated through irresistible, orgiastic style.” Where to see it: Sita won the Gotham Award for Best Film Not Playing at a Theater Near You and will infamously remain without a distributor forever. However, those of us in the NYC area can watch the film on PBS’ Reel 13 program on March 7. Those of you outside New York are in luck, too; the film is currently available for free on Reel 13’s website as a streaming video. Salaam Bombay! (Mira Nair, 1988) What it’s about: A 10-year-old boy tries to survive on the streets of Bombay (now Mumbai) after being told to go out and find work by his mother. Why you should see it: With all the crossover movies from the past two decades dealing with interracial relationships, arranged marriage and the complications of NRI life, Nair’s films are typically the most entertaining. But while minor gateways could be found in her films The Namesake (starring Harold & Kumar’s Kal Penn), Mississippi Masala (starring Denzel Washington) or the very enjoyable Monsoon Wedding, this Oscar-nominated drama might be what Slumdog fans seek most if primarily interested in more “poverty porn.” Like Slumdog, Salaam Bombay! even starred actual non-professional street children. Where to see it: Available on DVD. Pather Panchali (Satyajit Ray, 1955) What it’s about: The first installment of Ray’s Apu trilogy (which also includes Aparajito and The World of Apu), Pather Panchali is a tragedy-filled tale of a poor family living in rural Bengal in the 1920s and concentrates on the coming of age story of young Apu. Why you should see it: Aside from being one of the greatest films ever made, let alone one of the greatest Indian films, Pather Panchali tells a universal story of family and is quite Western in form (for one thing, it lacks musical numbers), a fact that made it somewhat looked down upon in its own country. But in addition to its accessibility, it can also serve as a starting point to melodramatic conventions found in many classic Indian films. The abandoning patriarch, the significantly strong matriarch and other common national metaphors are present and will familiarize you for the next title on this list. Where to see it: This is one of those films that’s constantly being screened at repertory houses, so see it on a big screen if you have the chance. Otherwise, the entire Apu trilogy is unfortunately out of print on DVD. But such masterpieces can’t possibly be unavailable for too long, so pick up a box set whenever one is released. Mother India (Mehboob Khan, 1957) What it’s about: An epic maternal melodrama and metaphor for post-colonial India, Khan’s Oscar-nominated film focuses on a poor Indian family throughout many years, as the patriarch leaves the home and the mother is left to deal with two very different sons. Why you should see it: If you enjoy Pather Panchali, you may at least appreciate the story of Mother India, though the latter has a much more melodramatic and emotional tone. Unlike Pather Panchali, it does feature musical numbers as well as a bit of comic relief, courtesy of a very bratty little boy. Also, it’s basically the Gone With the Wind of India, at least in terms of its national significance — and one familiar-looking shot — if not in terms of its plot. Where to see it: Available on DVD. Lagaan: Once Upon a Time in India (Ashutosh Gowariker, 2001) What it’s about: Oppressed Indian villagers battle against their British governors … in a cricket match seemingly depicted in real time. Also, one of the villagers becomes entangled in a love triangle between his true love and a British woman, who is also the sister of the film’s villain. Why you should see it: First of all, it’s one of the most accessible foreign films of the last 10 years, period. For the guys: Lagaan is just like all your favorite underdog sports flicks except that it gives you even more of the game, as well as some singing and dancing here and there (with music by Slumdog Oscar-winner A.R. Rahman). So what if you don’t know anything about cricket; just pretend it’s baseball. For the gals: there’s just as much romance as cricket playing. Advice for both sexes: you might want to fast forward through the song that the British woman sings. It’s the single unbearable moment in the nearly 4-hour film. Where to see it: Apparently unavailable through rental sites like Netflix, but you can pick up a DVD through Amazon affiliates. Hum Tum (Kunal Kohli, 2004) What it’s about: Basically, though not officially, it’s the Bollywood remake of When Harry Met Sally. Why you should see it: If Lagaan is the perfect gateway for guys, Hum Tum is the perfect gateway for girls, although like Lagaan, this film has something for both sexes. All guys can appreciate When Harry Met Sally, after all, right? Where to see it: Also unavailable through Netflix, but you can find a very cheap all-region DVD through Amazon affiliates. Abhimaan (Hrishikesh Mukherjee, 1973) What it’s about: Inspired by A Star is Born, a famous singer meets, falls for and fosters the career of a young woman, who ends up more popular than him. Why you should see it: First of all, every Slumdog fan should become acquainted with Amitabh Bachchan (the celebrity whose autograph the young excrement-covered Jamal acquires), who costars here with his real-life wife Jaya Bhaduri (a bigger star at the time). Second of all, because the musical numbers all figure into the plot, either as recording studio sequences or concert performances, there’s not as much of that jarring, interruptive nature of most Bollywood musicals. Where to see it: Available on DVD. It’s also one of the many Indian films available for streaming on Netflix’s Watch Instantly. Amar Akbar Anthony (Manmohan Desai, 1977) What it’s about: Another great metaphor for post-colonial India, this other Bachchan-starring classic tells the story of three brothers separated as infants, who end up growing up under very different circumstances. One is adopted by a Hindu policeman and becomes the same; one is brought up by a Muslim taylor and becomes a popular singer; and the third (played by Bachchan) is raised Catholic and enters a life of crime. Why you should see it: For more Amitabh Bachchan after he became India’s favorite actor. Though not technically a great film, it is filled with a lot of absurd moments and can serve as a gateway for those cinephiles who can only approach new things first through ironic appreciation. Such viewers should really love the Easter scene in which Bachchan jumps out of a giant egg wearing a top hat and monocle to sing a song about himself. Where to see it: Currently available on DVD. Krrish (Rakesh Roshan, 2006) What it’s about: This sequel to the sci-fi movie Koi…Mil Gay is your typical superhero action flick, except done in the style of Bollywood. Why you should see it: This one is primarily for getting your kids into Indian cinema, because kids will watch just about any superhero movie, regardless of the language or setting. Though the original more-E.T.-than-Superman film, Koi…Mil Gay, should probably be watched first, there’s nothing wrong with making this your primary gateway for the little ones. Where to see it: Currently available on DVD Vanaja (Rajnesh Domalpalli, 2006) What it’s about: Set in South India and controversially made outside the local “Tollywood” film industry, Domalpalli’s comparatively non-musical film follows the story of a 14-year-old girl who is pretty much sold off by her father to a wealthy landowner who puts her to work while also teaching her traditional Kuchipudi dance. Why you should see it: While not very relative to Slumdog or most of the other films on this list, Vanaja will open up viewers to other cinemas of India, even if this rather Western-form film was a Columbia University graduate thesis film and even if it is considered more “art house” than the popular cinema of the Indian state of Andhra Pradesh. Like the slightly similar coming of age art house film Pather Panchali, Vanaja is a wonderful film and a terrific start for beginners. But because this film features Indian music and dance, it may also function as a gateway to the typical musical films of India, either produced in Andhra Pradesh or Mumbai (Bollywood) Where to see it: Available on DVD. Originally posted on:SpoutBlog
]]>Tue, 03 Mar 2009 22:03:10 GMTSpoutBlogSpoutBlog on spout.com3/3/2009 5:03:10 PMIn addition to winning Best Picture (and seven other awards) at the Oscars last week, Slumdog Millionaire passed a major box office benchmark. It has now grossed more than $100 million in the U.S., which is pretty astonishing for a film with one-third of its dialogue in a foreign language. But is Slumdog’s popularity a one-shot in terms of its audience’s interest in India, or are moviegoers actually now more curious about the nation and its own films? Some websites are simplifying the question of whether or not Slumdog will be a gateway film with polls asking if American moviegoers will now “go Bollywood” (40% of Cinematical readers flat out answered, “no.”), which is rather silly since Danny Boyle’s movie bears no resemblance to the majority of Bollywood pictures. In fact, Americans have in the past received far greater entry points into Indian cinema by way of films involving Anglo or NRI (non-resident Indian) protagonists directed by culturally bridging filmmakers (such as NRI helmers Deepa Mehta, Mira Nair and Gurinder Chadha), than the more-touristy type of filmmaking represented with Slumdog. If someone truly wants to become familiar with Bollywood, he or she should probably just jump right in and then patiently get used to the style, which can be quite difficult for Westerners to immediately grasp. The extremely interested might benefit from reading the section on popular Indian cinema in Dimitris Eleftheriotis and Gary Needham’s Asian Cinemas: A Reader & Guide, a book that does a really great job acquainting the Western spectator with Eastern film form. Or, the more casually curious cinephile could simply follow our guide to accessible Indian (or India-based) films for the Slumdog lover to watch next: Sita Sings the Blues (Nina Paley, 2008) What it’s about: Paley’s semi-autobiographical animated feature self-deprecatingly depicts the events of the filmmaker’s divorce crosscut with a somewhat paralleling adaptation of part of the epic Indian poem Ramayana. Why you should see it: Although not an Indian production nor made by an Indian filmmaker, Sita does offer an entry point for the mythological genre of Indian films and/or an introduction to Hindu myths, a number of which are the basis for a lot of Bollywood musical numbers. If that’s not enough reason, though, here’s what Karina wrote about the film in her review: “Sita Sings the Blues is a strange and beautiful little film, a potentially wispy slice of autobiography smartly elevated through irresistible, orgiastic style.” Where to see it: Sita won the Gotham Award for Best Film Not Playing at a Theater Near You and will infamously remain without a distributor forever. However, those of us in the NYC area can watch the film on PBS’ Reel 13 program on March 7. Those of you outside New York are in luck, too; the film is currently available for free on Reel 13’s website as a streaming video. Salaam Bombay! (Mira Nair, 1988) What it’s about: A 10-year-old boy tries to survive on the streets of Bombay (now Mumbai) after being told to go out and find work by his mother. Why you should see it: With all the crossover movies from the past two decades dealing with interracial relationships, arranged marriage and the complications of NRI life, Nair’s films are typically the most entertaining. But while minor gateways could be found in her films The Namesake (starring Harold & Kumar’s Kal Penn), Mississippi Masala (starring Denzel Washington) or the very enjoyable Monsoon Wedding, this Oscar-nominated drama might be what Slumdog fans seek most if primarily interested in more “poverty porn.” Like Slumdog, Salaam Bombay! even starred actual non-professional street children. Where to see it: Available on DVD. Pather Panchali (Satyajit Ray, 1955) What it’s about: The first installment of Ray’s Apu trilogy (which also includes Aparajito and The World of Apu), Pather Panchali is a tragedy-filled tale of a poor family living in rural Bengal in the 1920s and concentrates on the coming of age story of young Apu. Why you should see it: Aside from being one of the greatest films ever made, let alone one of the greatest Indian films, Pather Panchali tells a universal story of family and is quite Western in form (for one thing, it lacks musical numbers), a fact that made it somewhat looked down upon in its own country. But in addition to its accessibility, it can also serve as a starting point to melodramatic conventions found in many classic Indian films. The abandoning patriarch, the significantly strong matriarch and other common national metaphors are present and will familiarize you for the next title on this list. Where to see it: This is one of those films that’s constantly being screened at repertory houses, so see it on a big screen if you have the chance. Otherwise, the entire Apu trilogy is unfortunately out of print on DVD. But such masterpieces can’t possibly be unavailable for too long, so pick up a box set whenever one is released. Mother India (Mehboob Khan, 1957) What it’s about: An epic maternal melodrama and metaphor for post-colonial India, Khan’s Oscar-nominated film focuses on a poor Indian family throughout many years, as the patriarch leaves the home and the mother is left to deal with two very different sons. Why you should see it: If you enjoy Pather Panchali, you may at least appreciate the story of Mother India, though the latter has a much more melodramatic and emotional tone. Unlike Pather Panchali, it does feature musical numbers as well as a bit of comic relief, courtesy of a very bratty little boy. Also, it’s basically the Gone With the Wind of India, at least in terms of its national significance — and one familiar-looking shot — if not in terms of its plot. Where to see it: Available on DVD. Lagaan: Once Upon a Time in India (Ashutosh Gowariker, 2001) What it’s about: Oppressed Indian villagers battle against their British governors … in a cricket match seemingly depicted in real time. Also, one of the villagers becomes entangled in a love triangle between his true love and a British woman, who is also the sister of the film’s villain. Why you should see it: First of all, it’s one of the most accessible foreign films of the last 10 years, period. For the guys: Lagaan is just like all your favorite underdog sports flicks except that it gives you even more of the game, as well as some singing and dancing here and there (with music by Slumdog Oscar-winner A.R. Rahman). So what if you don’t know anything about cricket; just pretend it’s baseball. For the gals: there’s just as much romance as cricket playing. Advice for both sexes: you might want to fast forward through the song that the British woman sings. It’s the single unbearable moment in the nearly 4-hour film. Where to see it: Apparently unavailable through rental sites like Netflix, but you can pick up a DVD through Amazon affiliates. Hum Tum (Kunal Kohli, 2004) What it’s about: Basically, though not officially, it’s the Bollywood remake of When Harry Met Sally. Why you should see it: If Lagaan is the perfect gateway for guys, Hum Tum is the perfect gateway for girls, although like Lagaan, this film has something for both sexes. All guys can appreciate When Harry Met Sally, after all, right? Where to see it: Also unavailable through Netflix, but you can find a very cheap all-region DVD through Amazon affiliates. Abhimaan (Hrishikesh Mukherjee, 1973) What it’s about: Inspired by A Star is Born, a famous singer meets, falls for and fosters the career of a young woman, who ends up more popular than him. Why you should see it: First of all, every Slumdog fan should become acquainted with Amitabh Bachchan (the celebrity whose autograph the young excrement-covered Jamal acquires), who costars here with his real-life wife Jaya Bhaduri (a bigger star at the time). Second of all, because the musical numbers all figure into the plot, either as recording studio sequences or concert performances, there’s not as much of that jarring, interruptive nature of most Bollywood musicals. Where to see it: Available on DVD. It’s also one of the many Indian films available for streaming on Netflix’s Watch Instantly. Amar Akbar Anthony (Manmohan Desai, 1977) What it’s about: Another great metaphor for post-colonial India, this other Bachchan-starring classic tells the story of three brothers separated as infants, who end up growing up under very different circumstances. One is adopted by a Hindu policeman and becomes the same; one is brought up by a Muslim taylor and becomes a popular singer; and the third (played by Bachchan) is raised Catholic and enters a life of crime. Why you should see it: For more Amitabh Bachchan after he became India’s favorite actor. Though not technically a great film, it is filled with a lot of absurd moments and can serve as a gateway for those cinephiles who can only approach new things first through ironic appreciation. Such viewers should really love the Easter scene in which Bachchan jumps out of a giant egg wearing a top hat and monocle to sing a song about himself. Where to see it: Currently available on DVD. Krrish (Rakesh Roshan, 2006) What it’s about: This sequel to the sci-fi movie Koi…Mil Gay is your typical superhero action flick, except done in the style of Bollywood. Why you should see it: This one is primarily for getting your kids into Indian cinema, because kids will watch just about any superhero movie, regardless of the language or setting. Though the original more-E.T.-than-Superman film, Koi…Mil Gay, should probably be watched first, there’s nothing wrong with making this your primary gateway for the little ones. Where to see it: Currently available on DVD Vanaja (Rajnesh Domalpalli, 2006) What it’s about: Set in South India and controversially made outside the local “Tollywood” film industry, Domalpalli’s comparatively non-musical film follows the story of a 14-year-old girl who is pretty much sold off by her father to a wealthy landowner who puts her to work while also teaching her traditional Kuchipudi dance. Why you should see it: While not very relative to Slumdog or most of the other films on this list, Vanaja will open up viewers to other cinemas of India, even if this rather Western-form film was a Columbia University graduate thesis film and even if it is considered more “art house” than the popular cinema of the Indian state of Andhra Pradesh. Like the slightly similar coming of age art house film Pather Panchali, Vanaja is a wonderful film and a terrific start for beginners. But because this film features Indian music and dance, it may also function as a gateway to the typical musical films of India, either produced in Andhra Pradesh or Mumbai (Bollywood) Where to see it: Available on DVD. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_February_23_Karaoke_Party/625/40633/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 2/25/2009 1:05:00 AM
Body: Although I hated Duets, I loved the duet between Gwyneth Paltrow and Huey Lewis singing Cruisin'. Maggie Gyllenhaal does some decent karaoke in Happy Endings. It was that awkwardly heartfelt singing that fit the film perfectly. The girls get forced into singing an embarrassing version of Like A Virgin in The House Bunny. There was that cutesy scene in P.S. I Love You where Gerard Butler and Hilary Swank try and out do one another in karaoke. And my favorite (next to the one in Lost In Translation) is in When Harry Met Sally . . . when Meg Ryan sings Surrey With the Fringe On Top with Billy Crystal in The Sharper Image.
]]>Wed, 25 Feb 2009 06:05:00 GMTmercurialWeekly Theme2/25/2009 1:05:00 AMAlthough I hated Duets, I loved the duet between Gwyneth Paltrow and Huey Lewis singing Cruisin'. Maggie Gyllenhaal does some decent karaoke in Happy Endings. It was that awkwardly heartfelt singing that fit the film perfectly. The girls get forced into singing an embarrassing version of Like A Virgin in The House Bunny. There was that cutesy scene in P.S. I Love You where Gerard Butler and Hilary Swank try and out do one another in karaoke. And my favorite (next to the one in Lost In Translation) is in When Harry Met Sally . . . when Meg Ryan sings Surrey With the Fringe On Top with Billy Crystal in The Sharper Image. http://www.spout.com/blogs/spoutblog/archive/2008/11/14/37298.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/14/2008 10:00:54 AM
Body: Danny Boyle’s latest, Slumdog Millionaire, hit theaters this week. The whimsical up-tempo romance is quickly becoming a critical darling, with decent prospects for awards season. The funny thing is, we hated it. We take a look back at Boyle’s work, specifically A Life Less Ordinary. That film, far from a critical darling, has essentially the same core belief as Slumdog, that the combination of love, destiny, and tons of money will never let you down. Karina offers more sobering commentary on the fallacies of the typical on-screen romance by comparing An Affair to Remember and When Harry Met Sally with Casablanca. She also praises a new French film with parallels to The Royal Tenenbaums, called A Christmas Tale. As mentioned in the podcast, if you’d like to chime in on the Slumdog Millionaire debate, head to the FilmCouch Group. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 2:51 - Slumdog Millionaire, A Life Less Ordinary 20:09 - Karina on three classic romances, A Christmas Tale, Barackula filmcouch-96 Originally posted on:SpoutBlog
]]>Fri, 14 Nov 2008 15:00:54 GMTSpoutBlogSpoutBlog on spout.com11/14/2008 10:00:54 AM Danny Boyle’s latest, Slumdog Millionaire, hit theaters this week. The whimsical up-tempo romance is quickly becoming a critical darling, with decent prospects for awards season. The funny thing is, we hated it. We take a look back at Boyle’s work, specifically A Life Less Ordinary. That film, far from a critical darling, has essentially the same core belief as Slumdog, that the combination of love, destiny, and tons of money will never let you down. Karina offers more sobering commentary on the fallacies of the typical on-screen romance by comparing An Affair to Remember and When Harry Met Sally with Casablanca. She also praises a new French film with parallels to The Royal Tenenbaums, called A Christmas Tale. As mentioned in the podcast, if you’d like to chime in on the Slumdog Millionaire debate, head to the FilmCouch Group. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) 0:00 - Intro 2:51 - Slumdog Millionaire, A Life Less Ordinary 20:09 - Karina on three classic romances, A Christmas Tale, Barackula filmcouch-96 Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_November_3_The_Movies_in_the/625/36933/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 11/4/2008 10:05:10 AM
Body: [quote user="mercurial"] Meg Ryan is in quite a few: When Harry Met Sally . . . has that great split screen scene when they are lying in bed and watching Casablanca and debating the ending. [/quote] There's also that part in When Harry Met Sally when they are in the bookstore or something and the two girls mention a part in The Lady Vanishes. Hmmmmm. This could easily be a movie connection game.
]]>Tue, 04 Nov 2008 15:05:10 GMTleeroy711Weekly Theme11/4/2008 10:05:10 AM[quote user="mercurial"] Meg Ryan is in quite a few: When Harry Met Sally . . . has that great split screen scene when they are lying in bed and watching Casablanca and debating the ending. [/quote] There's also that part in When Harry Met Sally when they are in the bookstore or something and the two girls mention a part in The Lady Vanishes. Hmmmmm. This could easily be a movie connection game. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_November_3_The_Movies_in_the/625/36929/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 11/4/2008 3:24:13 AM
Body: Meg Ryan is in quite a few: Sleepless in Seattle is based almost entirely off a plot line from An Affair to Remember which is referenced throughout the film. When Harry Met Sally . . . has that great split screen scene when they are lying in bed and watching Casablanca and debating the ending. You've Got Mail references the film it is a remake of (The Shop Around the Corner) as well as the other Hanks/Ryan flicks.
]]>Tue, 04 Nov 2008 08:24:13 GMTmercurialWeekly Theme11/4/2008 3:24:13 AMMeg Ryan is in quite a few: Sleepless in Seattle is based almost entirely off a plot line from An Affair to Remember which is referenced throughout the film. When Harry Met Sally . . . has that great split screen scene when they are lying in bed and watching Casablanca and debating the ending. You've Got Mail references the film it is a remake of (The Shop Around the Corner) as well as the other Hanks/Ryan flicks. http://www.spout.com/groups/Top_5/Re_Top_5_Romantic_Films/190/35891/1/ShowPost.aspx Post By: filmgal81
Post To: Top 5
Post Date: 10/4/2008 6:48:00 AM
Body: Roman Holiday is a great film! I also really love Audrey's role in Breakfast at Tiffany's. Casablanca is also timeless, proving that whether love last a year or just moment, it does not diminish its value. I was not in love with the Sabrina starring Audrey Hepburn. I prefer the remake with Harrison Ford, Julia Ormond and Greg Kinnear. I know, how could I choose the remake over the classic ( and with such a class act as Audrey in the starring role), but there you have it. :) [quote user="pippin06"] Ok, filmgal, I'll play. Casablanca - The romance is fleeting and the story tragic in some ways, but the intertwining of the Rick and Ilsa characters is heartbreaking. Bridget Jones' Diary - The retooling of Pride and Prejudice for girls who aren't stick thin (I relate, see). When Harry Met Sally - It's more than just the fake orgasm scene. It's the best thing written by Nora Ephron ever and possibly Meg Ryan's best performance (think about it). Roman Holiday / Sabrina - Two of the best Audrey movies are some of the most heartfelt romances on film. The Philadelphia Story - It's more situational, a little screwball, and fraught with triangles, but this hilarious movie featuring the other Hepburn puts together Cary Grant as the smitten ex-husband, Jimmy Stewart as the smitten but snarky gossip reporter, and Katharine Hepburn as the high-ideals object of everyone's affection. What's not to love. Hey, I loved the Fountain; I don't know why people have reacted to it the way they have, it's not any more or less mindbendy than Requiem for a Dream or Pi, Aronofsky's previous efforts. Also, the Princess Bride will be a perennial fave of mine, but I've seen it so many times, and it's so screwy, my heart doesn't melt as much as it does to these other films. I saw Wuthering Heights a long time ago, I have to see it again, but it's one of my favorite books in the whole world! [/quote]
]]>Sat, 04 Oct 2008 10:48:00 GMTfilmgal81Top 510/4/2008 6:48:00 AM Roman Holiday is a great film! I also really love Audrey's role in Breakfast at Tiffany's. Casablanca is also timeless, proving that whether love last a year or just moment, it does not diminish its value. I was not in love with the Sabrina starring Audrey Hepburn. I prefer the remake with Harrison Ford, Julia Ormond and Greg Kinnear. I know, how could I choose the remake over the classic ( and with such a class act as Audrey in the starring role), but there you have it. :) [quote user="pippin06"] Ok, filmgal, I'll play. Casablanca - The romance is fleeting and the story tragic in some ways, but the intertwining of the Rick and Ilsa characters is heartbreaking. Bridget Jones' Diary - The retooling of Pride and Prejudice for girls who aren't stick thin (I relate, see). When Harry Met Sally - It's more than just the fake orgasm scene. It's the best thing written by Nora Ephron ever and possibly Meg Ryan's best performance (think about it). Roman Holiday / Sabrina - Two of the best Audrey movies are some of the most heartfelt romances on film. The Philadelphia Story - It's more situational, a little screwball, and fraught with triangles, but this hilarious movie featuring the other Hepburn puts together Cary Grant as the smitten ex-husband, Jimmy Stewart as the smitten but snarky gossip reporter, and Katharine Hepburn as the high-ideals object of everyone's affection. What's not to love. Hey, I loved the Fountain; I don't know why people have reacted to it the way they have, it's not any more or less mindbendy than Requiem for a Dream or Pi, Aronofsky's previous efforts. Also, the Princess Bride will be a perennial fave of mine, but I've seen it so many times, and it's so screwy, my heart doesn't melt as much as it does to these other films. I saw Wuthering Heights a long time ago, I have to see it again, but it's one of my favorite books in the whole world! [/quote] http://www.spout.com/groups/Top_5/Re_Top_5_Romantic_Films/190/35870/1/ShowPost.aspx Post By: pippin06
Post To: Top 5
Post Date: 10/3/2008 2:27:13 PM
Body: [quote user="filmgal81"] My Top 5 in this category are: Closer: I happen to love this film, but many folks I know thought it was too...unhappy? I did not think it was unhappy really, but i did think that it showed how complex relationships are and how unknowable people can be. Life does not have the scripted happy ending, with Nessun Dorma exploding in the background. Life is not as dramatic, or clear cut. The Fountain: Another film I know alot of people I know just didn't get. This was Aronofsky's love letter to us all- what's not to love?! Wuthering Heights: Laurence Olivier, Merle Oberon- the chemistry and performance of a lifetime. Camille: One of the most amazing Garbo films. A story of a woman who was not what she seemed- she was more. The Princess Bride: This film fits into so many categories, it never ceases to amaze me. [/quote] Ok, filmgal, I'll play. Casablanca - The romance is fleeting and the story tragic in some ways, but the intertwining of the Rick and Ilsa characters is heartbreaking. Bridget Jones' Diary - The retooling of Pride and Prejudice for girls who aren't stick thin (I relate, see). When Harry Met Sally - It's more than just the fake orgasm scene. It's the best thing written by Nora Ephron ever and possibly Meg Ryan's best performance (think about it). Roman Holiday / Sabrina - Two of the best Audrey movies are some of the most heartfelt romances on film. The Philadelphia Story - It's more situational, a little screwball, and fraught with triangles, but this hilarious movie featuring the other Hepburn puts together Cary Grant as the smitten ex-husband, Jimmy Stewart as the smitten but snarky gossip reporter, and Katharine Hepburn as the high-ideals object of everyone's affection. What's not to love. Hey, I loved the Fountain; I don't know why people have reacted to it the way they have, it's not any more or less mindbendy than Requiem for a Dream or Pi, Aronofsky's previous efforts. Also, the Princess Bride will be a perennial fave of mine, but I've seen it so many times, and it's so screwy, my heart doesn't melt as much as it does to these other films. I saw Wuthering Heights a long time ago, I have to see it again, but it's one of my favorite books in the whole world!
]]>Fri, 03 Oct 2008 18:27:13 GMTpippin06Top 510/3/2008 2:27:13 PM[quote user="filmgal81"] My Top 5 in this category are: Closer: I happen to love this film, but many folks I know thought it was too...unhappy? I did not think it was unhappy really, but i did think that it showed how complex relationships are and how unknowable people can be. Life does not have the scripted happy ending, with Nessun Dorma exploding in the background. Life is not as dramatic, or clear cut. The Fountain: Another film I know alot of people I know just didn't get. This was Aronofsky's love letter to us all- what's not to love?! Wuthering Heights: Laurence Olivier, Merle Oberon- the chemistry and performance of a lifetime. Camille: One of the most amazing Garbo films. A story of a woman who was not what she seemed- she was more. The Princess Bride: This film fits into so many categories, it never ceases to amaze me. [/quote] Ok, filmgal, I'll play. Casablanca - The romance is fleeting and the story tragic in some ways, but the intertwining of the Rick and Ilsa characters is heartbreaking. Bridget Jones' Diary - The retooling of Pride and Prejudice for girls who aren't stick thin (I relate, see). When Harry Met Sally - It's more than just the fake orgasm scene. It's the best thing written by Nora Ephron ever and possibly Meg Ryan's best performance (think about it). Roman Holiday / Sabrina - Two of the best Audrey movies are some of the most heartfelt romances on film. The Philadelphia Story - It's more situational, a little screwball, and fraught with triangles, but this hilarious movie featuring the other Hepburn puts together Cary Grant as the smitten ex-husband, Jimmy Stewart as the smitten but snarky gossip reporter, and Katharine Hepburn as the high-ideals object of everyone's affection. What's not to love. Hey, I loved the Fountain; I don't know why people have reacted to it the way they have, it's not any more or less mindbendy than Requiem for a Dream or Pi, Aronofsky's previous efforts. Also, the Princess Bride will be a perennial fave of mine, but I've seen it so many times, and it's so screwy, my heart doesn't melt as much as it does to these other films. I saw Wuthering Heights a long time ago, I have to see it again, but it's one of my favorite books in the whole world! http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_July_7_Foodie_Heaven/625/32210/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/7/2008 6:32:58 AM
Body: Moving along from the depressingly bleak visions of man struggling to survive after the apocalypse, let's spend some time examining films that revolve around humankind's love of food in all it's myriad forms. We all know at least one scene from a film that involves food (from the orgasm sandwich in When Harry Met Sally to the beggars feast in Viridiana or the Chinese restaurant Christmas dinner in A Christmas Story etcetera), but let's discuss those lesser in abundance films in which the entirety of the plot focuses primarily on food. Recently, Ratatouille seemed to bring out the gourmand in a lot of people (similar to what Big Night did more than a decade ago) while No Reservations just seemed to turn everyone's stomachs. Waitress brought about renewed interest in the realm of baking (pies in particular) and Tim Burton's re-imagined Charlie and the Chocolate Factory once again sent everyone's sweet tooth into a diabetic coma. While it could be argued that every zombie movie could be among this list, the best horror movies involving food have been Dumplings, which after watching has made the sound of someone slurping soup make my skin crawl, Blood Feast, which is a more visceral and straightforward version of Fried Green Tomatoes (without all that sappy crap), and of course Attack of the Killer Tomatoes in which food finally gets its revenge on us. On the documentary side of things we have Super Size Me and King Corn (and maybe the faux-based-on-real-events-exploitation-book-adaptation-movie Fast Food Nation). Lastly, some of my guilty pleasures have to be Waiting..., an amazing expose into the behavior of over-worked and under-paid restaurant employee's. Pieces of April, which centers around the amazingly stressful preparation of Thanksgiving dinner. What's Eating Gilbert Grape? which is surprisingly all about food when you think about it (preparing meals for his obese mother, the gentrification of small towns by Wal-Mart-like supermarkets and fast food restaurants, and the main character working in a grocery store and delivering "ice cream" to the local bored housewives). And The Last Supper which turns family dinners into Liberal Judgement Day. So now, where's the beef? I mean, what are some of your favorite foodie flicks?
]]>Mon, 07 Jul 2008 10:32:58 GMTmercurialWeekly Theme7/7/2008 6:32:58 AM Moving along from the depressingly bleak visions of man struggling to survive after the apocalypse, let's spend some time examining films that revolve around humankind's love of food in all it's myriad forms. We all know at least one scene from a film that involves food (from the orgasm sandwich in When Harry Met Sally to the beggars feast in Viridiana or the Chinese restaurant Christmas dinner in A Christmas Story etcetera), but let's discuss those lesser in abundance films in which the entirety of the plot focuses primarily on food. Recently, Ratatouille seemed to bring out the gourmand in a lot of people (similar to what Big Night did more than a decade ago) while No Reservations just seemed to turn everyone's stomachs. Waitress brought about renewed interest in the realm of baking (pies in particular) and Tim Burton's re-imagined Charlie and the Chocolate Factory once again sent everyone's sweet tooth into a diabetic coma. While it could be argued that every zombie movie could be among this list, the best horror movies involving food have been Dumplings, which after watching has made the sound of someone slurping soup make my skin crawl, Blood Feast, which is a more visceral and straightforward version of Fried Green Tomatoes (without all that sappy crap), and of course Attack of the Killer Tomatoes in which food finally gets its revenge on us. On the documentary side of things we have Super Size Me and King Corn (and maybe the faux-based-on-real-events-exploitation-book-adaptation-movie Fast Food Nation). Lastly, some of my guilty pleasures have to be Waiting..., an amazing expose into the behavior of over-worked and under-paid restaurant employee's. Pieces of April, which centers around the amazingly stressful preparation of Thanksgiving dinner. What's Eating Gilbert Grape? which is surprisingly all about food when you think about it (preparing meals for his obese mother, the gentrification of small towns by Wal-Mart-like supermarkets and fast food restaurants, and the main character working in a grocery store and delivering "ice cream" to the local bored housewives). And The Last Supper which turns family dinners into Liberal Judgement Day. So now, where's the beef? I mean, what are some of your favorite foodie flicks? http://www.spout.com/blogs/shaunhuston/archive/2008/6/18/31391.aspx Post By: ShaunHuston
Post To: ShaunHuston filmblog
Post Date: 6/18/2008 9:01:56 PM
Body: For me, the romantic comedy Top 10 is the most solid compilation of the group. Not only is the rom com a clearly established American film genre, but the individual selections are all eminently reasonable and defensible. This is not to suggest that I wouldn't make alternate suggestions, because I would, but I understand the reasoning behind each of the ten films on the AFI's list. And I don't have any strong contrarian or idiosyncratic preferences that would lead me to tilt at a windmill like arguing against the selection of, say, City Lights (1931) as number one, or its inclusion on the list altogether. The one film on this list that I do question is Sleepless in Seattle (1993). There isn't anything outstandingly wrong with the film, but it isn't especially remarkable, either. It doesn't represent a particularly clever or innovative take on the genre. It doesn't push any boundaries. It doesn't mark any point in the development of the form (indeed, I would argue that it is fairly typical of the post-Harry and Sally rom com, including being less enjoyable than its progenitor). And Tom Hanks and Meg Ryan do not have any special chemistry together (maybe one reason why they spend most of the movie apart). Replacing Sleepless in Seattle is fairly easy; the one gaping hole in the AFI's list is the absence of anything by Preston Sturges. But what to pick? Just about any of his films would be a better choice than the more contemporary film, but, for me, it's a tough call between: Sullivan's Travels (1941), The Lady Eve (1941), and The Palm Beach Story (1942). I probably lean in the direction of Sullivan's, largely because of how sharply written the first meeting between Sullivan (Joel McCrea) and The Girl (Veronica Lake) is; all I'll say here is that Nora Ephron wishes she could write dialogue like the snappy back-and-forth in this scene. On the other hand, there are moments of clear genius in The Lady Eve, from both Barbara Stanwyck and Sturges. However, the film does have one central flaw, and it's an important one from a genre perspective: the lead characters are not evenly matched. At no point does Henry Fonda's Charles Pike have a chance against Stanwyck's Jean Harrington, and practically each time I watch the film I want her to take her revenge without taking him back; he's that much of a drip. While I would replace Sleepless in Seattle with Sullivan's Travels, I would not list it at the bottom. In deference to people who know silent film better than I, I'd put it at number two. I could make an argument for either of the other two Sturges movies, but, as I indicated in the opening, the existing selections are reasonable enough that I don't feel compelled to argue for taking off, even, a film like Moonstruck (1987), the appearance of which I found to be surprisingly charming. Link to introduction. Originally posted on:Short-Circuit Signs
]]>Thu, 19 Jun 2008 01:01:56 GMTShaunHustonShaunHuston filmblog6/18/2008 9:01:56 PMFor me, the romantic comedy Top 10 is the most solid compilation of the group. Not only is the rom com a clearly established American film genre, but the individual selections are all eminently reasonable and defensible. This is not to suggest that I wouldn't make alternate suggestions, because I would, but I understand the reasoning behind each of the ten films on the AFI's list. And I don't have any strong contrarian or idiosyncratic preferences that would lead me to tilt at a windmill like arguing against the selection of, say, City Lights (1931) as number one, or its inclusion on the list altogether. The one film on this list that I do question is Sleepless in Seattle (1993). There isn't anything outstandingly wrong with the film, but it isn't especially remarkable, either. It doesn't represent a particularly clever or innovative take on the genre. It doesn't push any boundaries. It doesn't mark any point in the development of the form (indeed, I would argue that it is fairly typical of the post-Harry and Sally rom com, including being less enjoyable than its progenitor). And Tom Hanks and Meg Ryan do not have any special chemistry together (maybe one reason why they spend most of the movie apart). Replacing Sleepless in Seattle is fairly easy; the one gaping hole in the AFI's list is the absence of anything by Preston Sturges. But what to pick? Just about any of his films would be a better choice than the more contemporary film, but, for me, it's a tough call between: Sullivan's Travels (1941), The Lady Eve (1941), and The Palm Beach Story (1942). I probably lean in the direction of Sullivan's, largely because of how sharply written the first meeting between Sullivan (Joel McCrea) and The Girl (Veronica Lake) is; all I'll say here is that Nora Ephron wishes she could write dialogue like the snappy back-and-forth in this scene. On the other hand, there are moments of clear genius in The Lady Eve, from both Barbara Stanwyck and Sturges. However, the film does have one central flaw, and it's an important one from a genre perspective: the lead characters are not evenly matched. At no point does Henry Fonda's Charles Pike have a chance against Stanwyck's Jean Harrington, and practically each time I watch the film I want her to take her revenge without taking him back; he's that much of a drip. While I would replace Sleepless in Seattle with Sullivan's Travels, I would not list it at the bottom. In deference to people who know silent film better than I, I'd put it at number two. I could make an argument for either of the other two Sturges movies, but, as I indicated in the opening, the existing selections are reasonable enough that I don't feel compelled to argue for taking off, even, a film like Moonstruck (1987), the appearance of which I found to be surprisingly charming. Link to introduction. Originally posted on:Short-Circuit Signs http://www.spout.com/groups/Top_5/Re_Top_5_Uses_of_Split_Screen/190/28349/1/ShowPost.aspx Post By: leeroy711
Post To: Top 5
Post Date: 5/8/2008 2:40:45 AM
Body: [quote user="mercurial"] When done right, a scene that utilizes split screen techniques can become unforgettable. Done wrong, and, well . . . %$*@! 5.) Jackie Brown - Adds that extra something during the latter half of the film. I could switch this with Kill Bill, but I personally like the use of it here a little more. 4.) Requiem For A Dream - Used throughout the film to emphasize the effects of the various drugs consumed by the characters. I'd say it worked. 3.) When Harry Met Sally - The bedroom scene in which Harry and Sally are watching television from their own separate bedrooms but split screen to appear they are in the same bed. Amazing dialogue and just plain fun. 2.) Timecode - Four interweaving stories occurring simultaneously, each a single continuous shot. Wow. 1.) The Rules of Attractions - reinventing how a split screen shot can be made; two separate stationary to tracking shots were combined in post-production to give the illusion that they merge into a single widescreen shot. Amazing. [/quote] What's next, top 5 uses of star wipes??.... I'm stumped.
]]>Thu, 08 May 2008 06:40:45 GMTleeroy711Top 55/8/2008 2:40:45 AM[quote user="mercurial"] When done right, a scene that utilizes split screen techniques can become unforgettable. Done wrong, and, well . . . %$*@! 5.) Jackie Brown - Adds that extra something during the latter half of the film. I could switch this with Kill Bill, but I personally like the use of it here a little more. 4.) Requiem For A Dream - Used throughout the film to emphasize the effects of the various drugs consumed by the characters. I'd say it worked. 3.) When Harry Met Sally - The bedroom scene in which Harry and Sally are watching television from their own separate bedrooms but split screen to appear they are in the same bed. Amazing dialogue and just plain fun. 2.) Timecode - Four interweaving stories occurring simultaneously, each a single continuous shot. Wow. 1.) The Rules of Attractions - reinventing how a split screen shot can be made; two separate stationary to tracking shots were combined in post-production to give the illusion that they merge into a single widescreen shot. Amazing. [/quote] What's next, top 5 uses of star wipes??.... I'm stumped. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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