list http://www.spout.com/ Recent community activity around The Young Girls of Rochefort on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Young_Girls_of_Rochefort/79953/default.aspx Title: The Young Girls of Rochefort
Year: 1967
Director: Jacques Demy
Plot: Jacques Demy directed this frothy tribute to the Hollywood musicals of the 1940s, a follow-up to his earlier success The Umbrellas of Cherbourg (1964). Twin sisters Delphine and Solange (played by real-life sisters Catherine Deneuve and Françoise Dorleac) live in the small coastal town of Rochefort, where they run a school teaching dancing and music. Both feel frustrated in Rochefort, and they dream of travelling to Paris, where they believe romance and opportunity awaits them. Meanwhile, their single mother, Yvonne (Danielle Darrieux), who runs a cafe in town, pines for her lost love, Simon (Michel Piccoli). One day, one of Yvonne's regular customers, a sailor with an artistic bent named Maxence (Jacques Perrin), shows her a painting of the imaginary girl of his dreams, and she looks just like Delphine, whom he's never met. Meanwhile, Simon has returned to Rochefort, bringing with him a close friend, American pianist Andy Miller (Gene Kelly); Simon has made friends with Solange and introduces her to Andy, who immediately falls in love with her. Sadly, Les Demoiselles de Rochefort was Françoise Dorleac's last film; she died in an auto accident shortly after completing the picture. ~ Mark Deming, All Movie Guide
Times Tagged: 5
Number of Lists: 4
Number of blog posts: 69
SpoutRating: 3
]]>Fri, 14 Nov 2008 17:00:57 GMTThe Young Girls of Rochefort1967Jacques Demy<a href="/players/P____87476/default.aspx" style='text-decoration:underline'>Jacques Demy</a> directed this frothy tribute to the Hollywood musicals of the 1940s, a follow-up to his earlier success <a href=/films/36371/default.aspx style='text-decoration:underline'>The Umbrellas of Cherbourg</a> (1964). Twin sisters Delphine and Solange (played by real-life sisters <a href="/players/P____18574/default.aspx" style='text-decoration:underline'>Catherine Deneuve</a> and Françoise Dorleac) live in the small coastal town of Rochefort, where they run a school teaching dancing and music. Both feel frustrated in Rochefort, and they dream of travelling to Paris, where they believe romance and opportunity awaits them. Meanwhile, their single mother, Yvonne (<a href="/players/P____17063/default.aspx" style='text-decoration:underline'>Danielle Darrieux</a>), who runs a cafe in town, pines for her lost love, Simon (<a href="/players/P____56669/default.aspx" style='text-decoration:underline'>Michel Piccoli</a>). One day, one of Yvonne's regular customers, a sailor with an artistic bent named Maxence (<a href="/players/P___106153/default.aspx" style='text-decoration:underline'>Jacques Perrin</a>), shows her a painting of the imaginary girl of his dreams, and she looks just like Delphine, whom he's never met. Meanwhile, Simon has returned to Rochefort, bringing with him a close friend, American pianist Andy Miller (<a href="/players/P____97107/default.aspx" style='text-decoration:underline'>Gene Kelly</a>); Simon has made friends with Solange and introduces her to Andy, who immediately falls in love with her. Sadly, Les Demoiselles de Rochefort was Françoise Dorleac's last film; she died in an auto accident shortly after completing the picture. ~ Mark Deming, All Movie Guide5Slightly Tagged (1-5)4693http://www.spout.com/ProductImages/t180276p0wu.jpghttp://www.spout.com/films/The_Young_Girls_of_Rochefort/79953/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/11/14/37303.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 11/14/2008 12:00:57 PM
Body: Still impossibly gorgeous and chic at age 65, Catherine Deneuve is the ultimate living emblem of the lasting romance of French film.  She’s also amongst the busiest international female stars over the age of fifty, and while Deneuve has made the occasional questionable move since hitting that marker of age (dueting with a post-post-post Sex Pistols Malcolm McLaren; playing “herself” in I Want to See, a dramatized document of her visit to war-torn Lebanon), Melissa Anderson is right to note that for the most part, over the last decade and a half, “she has shown a fearlessness in her roles—no matter how small.” That fearlessness is on display in A Christmas Tale, where Deneuve is at her best rocking a borderline incestuously playful love-hate with her wicked charmer of a son (and potential lifesaver) Matthieu Amalric. With that film hitting theaters tomorrow, here’s a look back at a few iconic Catherine Deneuve moments, all readily available via YouTube. “Chanson Des Jumelles,” from Les Demoiselles de Rochefort Of the two Jacques Demy musicals in which Deneuve appeared in the 60s, I prefer the darker, more bittersweet Les Parapluies de Cherbourg, in which Deneuve’s mother encourages her to marry a rich diamond salesmen when her great love knocks her up then goes off to war. But this early number in Demy’s tribute to the Hollywood light musical comedy (featuring an aging Gene Kelly as the love interest for Deneuve’s sister, Françoise Dorléac) is a better advertisement for Demy’s charms. Dressed in matching tennis dresses and ridiculous Easter bonnets, Deneuve and Dorleac sing a jaunty tune full of back story, touching on everything from their single mom’s frites stand to the moles the sisters inherited from their absentee dad, while still reminding us every third line that they’re looking for husbands. But in a dreamy, adorable and not at all contemporary pathetic way! Factory Dancing, Dancer in the Dark Deneuve plays a more reluctant song-and-dance participant in this first big number from Lars Von Trier’s experimental musical tragedy. But it’s her initial resistance and arms-folded impatience with the potentially dangerous childlike fancies of almost-blind Selma (Bjork) that make the thing, when Deneuve finally surrenders. Lipstick after murder before imaginary hallway grope, Repulsion The bit where Deneuve dreams she’s attacked by hands reaching through the walls of her apartment is oft cited as the most memorable image of Roman Polanski’s stark 1965 thriller, but as the above clip shows, that moment is the punctuation on a string of visual ideas. My favorite is when the delusional Deneuve–in between killing her landlord when he tries to rape her, and falling to the hands in the hallway–rises from bed, applies a generous coat of lipstick, and then returns to bed, where another attack, this one imaginary, leaves lipstick streaks on her pillow. A Lesbian Vampire’s Guide to Picking up Women, The Hunger This clip from Tony Scott’s 1983 vampire movie isn’t embeddable, but it’s so good that we’re willing to lose you to the click through. The impossibly regal Deneuve pours her housegeust Susan Sarandon a glass of “2,000 year old sherry,” then sits at the piano and calmly plays while Sarandon essentially talks to herself for while. Eventually, there scene takes a turn for Graduate-esque “are you trying to seduce me?” territory, at which point accidentally Sarandon spills a bit of sherry on her white t-shirt, which she very obviously is wearing nothing underneath. Whoops! Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 14 Nov 2008 17:00:57 GMTKarinaKarina on SpoutBlog11/14/2008 12:00:57 PMStill impossibly gorgeous and chic at age 65, Catherine Deneuve is the ultimate living emblem of the lasting romance of French film.  She’s also amongst the busiest international female stars over the age of fifty, and while Deneuve has made the occasional questionable move since hitting that marker of age (dueting with a post-post-post Sex Pistols Malcolm McLaren; playing “herself” in I Want to See, a dramatized document of her visit to war-torn Lebanon), Melissa Anderson is right to note that for the most part, over the last decade and a half, “she has shown a fearlessness in her roles—no matter how small.” That fearlessness is on display in A Christmas Tale, where Deneuve is at her best rocking a borderline incestuously playful love-hate with her wicked charmer of a son (and potential lifesaver) Matthieu Amalric. With that film hitting theaters tomorrow, here’s a look back at a few iconic Catherine Deneuve moments, all readily available via YouTube. “Chanson Des Jumelles,” from Les Demoiselles de Rochefort Of the two Jacques Demy musicals in which Deneuve appeared in the 60s, I prefer the darker, more bittersweet Les Parapluies de Cherbourg, in which Deneuve’s mother encourages her to marry a rich diamond salesmen when her great love knocks her up then goes off to war. But this early number in Demy’s tribute to the Hollywood light musical comedy (featuring an aging Gene Kelly as the love interest for Deneuve’s sister, Françoise Dorléac) is a better advertisement for Demy’s charms. Dressed in matching tennis dresses and ridiculous Easter bonnets, Deneuve and Dorleac sing a jaunty tune full of back story, touching on everything from their single mom’s frites stand to the moles the sisters inherited from their absentee dad, while still reminding us every third line that they’re looking for husbands. But in a dreamy, adorable and not at all contemporary pathetic way! Factory Dancing, Dancer in the Dark Deneuve plays a more reluctant song-and-dance participant in this first big number from Lars Von Trier’s experimental musical tragedy. But it’s her initial resistance and arms-folded impatience with the potentially dangerous childlike fancies of almost-blind Selma (Bjork) that make the thing, when Deneuve finally surrenders. Lipstick after murder before imaginary hallway grope, Repulsion The bit where Deneuve dreams she’s attacked by hands reaching through the walls of her apartment is oft cited as the most memorable image of Roman Polanski’s stark 1965 thriller, but as the above clip shows, that moment is the punctuation on a string of visual ideas. My favorite is when the delusional Deneuve–in between killing her landlord when he tries to rape her, and falling to the hands in the hallway–rises from bed, applies a generous coat of lipstick, and then returns to bed, where another attack, this one imaginary, leaves lipstick streaks on her pillow. A Lesbian Vampire’s Guide to Picking up Women, The Hunger This clip from Tony Scott’s 1983 vampire movie isn’t embeddable, but it’s so good that we’re willing to lose you to the click through. The impossibly regal Deneuve pours her housegeust Susan Sarandon a glass of “2,000 year old sherry,” then sits at the piano and calmly plays while Sarandon essentially talks to herself for while. Eventually, there scene takes a turn for Graduate-esque “are you trying to seduce me?” territory, at which point accidentally Sarandon spills a bit of sherry on her white t-shirt, which she very obviously is wearing nothing underneath. Whoops! Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/11/14/37302.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/14/2008 12:00:40 PM
Body: Still impossibly gorgeous and chic at age 65, Catherine Deneuve is the ultimate living emblem of the lasting romance of French film.  She’s also amongst the busiest international female stars over the age of fifty, and while Deneuve has made the occasional questionable move since hitting that marker of age (dueting with a post-post-post Sex Pistols Malcolm McLaren; playing “herself” in I Want to See, a dramatized document of her visit to war-torn Lebanon), Melissa Anderson is right to note that for the most part, over the last decade and a half, “she has shown a fearlessness in her roles—no matter how small.” That fearlessness is on display in A Christmas Tale, where Deneuve is at her best rocking a borderline incestuously playful love-hate with her wicked charmer of a son (and potential lifesaver) Matthieu Amalric. With that film hitting theaters tomorrow, here’s a look back at a few iconic Catherine Deneuve moments, all readily available via YouTube. “Chanson Des Jumelles,” from Les Demoiselles de Rochefort Of the two Jacques Demy musicals in which Deneuve appeared in the 60s, I prefer the darker, more bittersweet Les Parapluies de Cherbourg, in which Deneuve’s mother encourages her to marry a rich diamond salesmen when her great love knocks her up then goes off to war. But this early number in Demy’s tribute to the Hollywood light musical comedy (featuring an aging Gene Kelly as the love interest for Deneuve’s sister, Françoise Dorléac) is a better advertisement for Demy’s charms. Dressed in matching tennis dresses and ridiculous Easter bonnets, Deneuve and Dorleac sing a jaunty tune full of back story, touching on everything from their single mom’s frites stand to the moles the sisters inherited from their absentee dad, while still reminding us every third line that they’re looking for husbands. But in a dreamy, adorable and not at all contemporary pathetic way! Factory Dancing, Dancer in the Dark Deneuve plays a more reluctant song-and-dance participant in this first big number from Lars Von Trier’s experimental musical tragedy. But it’s her initial resistance and arms-folded impatience with the potentially dangerous childlike fancies of almost-blind Selma (Bjork) that make the thing, when Deneuve finally surrenders. Lipstick after murder before imaginary hallway grope, Repulsion The bit where Deneuve dreams she’s attacked by hands reaching through the walls of her apartment is oft cited as the most memorable image of Roman Polanski’s stark 1965 thriller, but as the above clip shows, that moment is the punctuation on a string of visual ideas. My favorite is when the delusional Deneuve–in between killing her landlord when he tries to rape her, and falling to the hands in the hallway–rises from bed, applies a generous coat of lipstick, and then returns to bed, where another attack, this one imaginary, leaves lipstick streaks on her pillow. A Lesbian Vampire’s Guide to Picking up Women, The Hunger This clip from Tony Scott’s 1983 vampire movie isn’t embeddable, but it’s so good that we’re willing to lose you to the click through. The impossibly regal Deneuve pours her housegeust Susan Sarandon a glass of “2,000 year old sherry,” then sits at the piano and calmly plays while Sarandon essentially talks to herself for while. Eventually, there scene takes a turn for Graduate-esque “are you trying to seduce me?” territory, at which point accidentally Sarandon spills a bit of sherry on her white t-shirt, which she very obviously is wearing nothing underneath. Whoops! Originally posted on:SpoutBlog
]]>Fri, 14 Nov 2008 17:00:40 GMTSpoutBlogSpoutBlog on spout.com11/14/2008 12:00:40 PMStill impossibly gorgeous and chic at age 65, Catherine Deneuve is the ultimate living emblem of the lasting romance of French film.  She’s also amongst the busiest international female stars over the age of fifty, and while Deneuve has made the occasional questionable move since hitting that marker of age (dueting with a post-post-post Sex Pistols Malcolm McLaren; playing “herself” in I Want to See, a dramatized document of her visit to war-torn Lebanon), Melissa Anderson is right to note that for the most part, over the last decade and a half, “she has shown a fearlessness in her roles—no matter how small.” That fearlessness is on display in A Christmas Tale, where Deneuve is at her best rocking a borderline incestuously playful love-hate with her wicked charmer of a son (and potential lifesaver) Matthieu Amalric. With that film hitting theaters tomorrow, here’s a look back at a few iconic Catherine Deneuve moments, all readily available via YouTube. “Chanson Des Jumelles,” from Les Demoiselles de Rochefort Of the two Jacques Demy musicals in which Deneuve appeared in the 60s, I prefer the darker, more bittersweet Les Parapluies de Cherbourg, in which Deneuve’s mother encourages her to marry a rich diamond salesmen when her great love knocks her up then goes off to war. But this early number in Demy’s tribute to the Hollywood light musical comedy (featuring an aging Gene Kelly as the love interest for Deneuve’s sister, Françoise Dorléac) is a better advertisement for Demy’s charms. Dressed in matching tennis dresses and ridiculous Easter bonnets, Deneuve and Dorleac sing a jaunty tune full of back story, touching on everything from their single mom’s frites stand to the moles the sisters inherited from their absentee dad, while still reminding us every third line that they’re looking for husbands. But in a dreamy, adorable and not at all contemporary pathetic way! Factory Dancing, Dancer in the Dark Deneuve plays a more reluctant song-and-dance participant in this first big number from Lars Von Trier’s experimental musical tragedy. But it’s her initial resistance and arms-folded impatience with the potentially dangerous childlike fancies of almost-blind Selma (Bjork) that make the thing, when Deneuve finally surrenders. Lipstick after murder before imaginary hallway grope, Repulsion The bit where Deneuve dreams she’s attacked by hands reaching through the walls of her apartment is oft cited as the most memorable image of Roman Polanski’s stark 1965 thriller, but as the above clip shows, that moment is the punctuation on a string of visual ideas. My favorite is when the delusional Deneuve–in between killing her landlord when he tries to rape her, and falling to the hands in the hallway–rises from bed, applies a generous coat of lipstick, and then returns to bed, where another attack, this one imaginary, leaves lipstick streaks on her pillow. A Lesbian Vampire’s Guide to Picking up Women, The Hunger This clip from Tony Scott’s 1983 vampire movie isn’t embeddable, but it’s so good that we’re willing to lose you to the click through. The impossibly regal Deneuve pours her housegeust Susan Sarandon a glass of “2,000 year old sherry,” then sits at the piano and calmly plays while Sarandon essentially talks to herself for while. Eventually, there scene takes a turn for Graduate-esque “are you trying to seduce me?” territory, at which point accidentally Sarandon spills a bit of sherry on her white t-shirt, which she very obviously is wearing nothing underneath. Whoops! Originally posted on:SpoutBlog http://www.spout.com/blogs/wonga/archive/2007/9/10/19621.aspx Post By: wonga
Post To: wonga's filmblog
Post Date: 9/10/2007 11:51:00 AM
Body: we (my husband and i) had a really good time in Telluride this year, even while waiting in the rain. we did pretty good with getting into programs and i guess we were lucky since we were ticket-buyers (the lowest caste of all filmgoers…we don’t get a chance to even buy tickets until all the passholders are seated). our strategy was to try and guess what everybody else wanted to see and do the opposite...we also stuck mostly to the larger theaters. almost everyone we talked to, though, was complaining of not getting into movies. there was even a man with a patron pass who showed up 20 minutes before a screening and couldn’t get in, which is unheard of. i think some of the problems might have been with scheduling, as it seemed that everything was either overflowing or half full. FRIDAY THE DAWN OF SOUND: HOW MOVIES LEARNED TO TALK -- very interesting documentary about how sound in movies came about. lots of Vitaphone clips and interviews. BRICK LANE -- directed by Sarah Gavron (U.K.) story about an unhappy Indian woman living in London who finally figures out what she needs and how to make her life meaningful. beautiful cinematography but i thought the story could have been better developed. based on a book by Monica Ali.I’M NOT THERE -- the infamous Bob Dylan movie directed by Todd Haynes. it played twice on Friday and our screening wasn’t full. i know a lot of people were down on this but i thought it was fun and interesting. very impressionistic. maybe if I knew more about Bob Dylan I would have felt differently (i’m more of a Jakob Dylan fan)! i didn’t recognize most of the music but it was great and I’m all psyched to learn more about BD, like what’s the deal with Billy The Kid? the director mentioned that it was kaleidoscopic and some of the pieces fit better than others but it was altogether interesting. Cate Blanchett was the best Dylan and was riveting. it reminded me of "John From Cincinatti," the late HBO show. people were talking and doing inexplicable things and although i had no clue what was going on i liked it anyway. the whole thing was a mystery but in a good way, where just watching was enough. SATURDAYTHE DIVING BELL AND THE BUTTERFLY – directed by Julian Schnabel (France). i went into this blind and was blown away. just a beautiful heartbreaking movie. thinking back, I had heard of this book/memoir but wasn’t interested as it sounded really depressing. although the movie is from the viewpoint of a man who has had a devastating stroke, it is not depressing! Schnabel won best director at Cannes for this and I’m sure we haven’t seen the last of it’s awards. it’s hard to summarize, so I’ll quote the program…"celebration of the hero’s two remaining assets, imagination and memory…shot from a single fixed camera position, with Schnabel transferring the subjective strategies of Brakhage’s poetic cinema with astounding grace and skill…all the uplift you’d expect, but so much more: cognitive science, unexpected bursts of lyrical imagery, and giddy black humor." an absolute must-see movie!CALLING CARDS (SHORT FILMS) – liked all of these, some better than others. at the beginning they made an announcement with regards to graphic sex and violence and they weren’t kidding! a) Rotten Apple – Petrova Ralitza-U.K. b) Screening – Anthony Green-U.S. c) Joburg – Thabo Wolfaadrt-South Africa. d) Pathways – Hagar Ben-Asher-Israel. e) Rabbit Trouble – Mitovski & Kalev-Bulgaria. f) Sasha Et Desire – Cecile Vernant-France.HATS OFF – documentary by Jyll Johnstone about Mimi Weddell, a NYC actress who is still working at age 92. it was a little long but she was a great subject and appeared at the screening in person. they showed many of her clips and she has been in everything, including one of our favorite movies, "Student Bodies." CHRIS & DON: A LOVE STORY – documentary by Guido Santi & Tina Mascara. i would have enjoyed this more if I hadn’t been falling asleep. i don’t really know much about Christopher Isherwood but i’m a fan of Don Bachardy’s paintings (he was at the screening). they had a fascinating life together in Hollywood and what i can remember of the movie was interesting.SUNDAYA TRIBUTE TO MICHEL LEGRAND/THE YOUNG GIRLS OF ROCHEFORT -- i really, really wanted to see this and it was even better than i’d hoped for. He has written some of the world’s most beautiful music and i’m a huge fan. he’s in his 70s now but he came out after the movie and did a Q&A while sitting at the piano. he sang "What Are You Doing The Rest Of Your Life" and brought down the house. he’s known more for his movie music but he has really done everything, including collaborations with Miles Davis and other famous jazz artists (i’ve already ordered some of his CDs)! loved the movie too…very convoluted operatic story with over the top singing and dancing. MAN IN THE SHADOWS: VAL LEWTON – i’m not much of a B-movie fan but i was surprised how many of these movies he produced and how many i'd seen. i’ve already made a list of some i need to see. GEORGE KUCHAR, MOVIEMAKER/PROGRAM B: i admit to not being very excited about this, especially after reading the article about him by John Waters, but it fit our schedule so we went. of course we loved it (Telluride doesn’t have bad movies, with the possible exception of Gummo!) i was sorry i didn’t get to see Program A (a big thanks to Karina, who in the Spout Blog gives a link to see some of his other films on-line for free). he was really funny in person and loved to talk…they had to kick him out at the end so they could start the next movie. we saw 4 videos: a) Video Album 5: The Thursday People – 1987. b) Oasis Of The Pharoahs – 1997. c) Supercell – 2004. d) Hell Hole Hostage – 2005.MONDAYTHE STORY OF THE KELLY GANG – this was a documentary about the restoration of an Australian silent film from 1906. it was interesting but after watching the bits and pieces they’ve put together over the years there is still not much there! it’s thought to be the first ever feature film. somewhat underwhelming for me. JUNO – this is the movie that we heard the most buzz about. it’s a comedy/drama from Jason Reitman, the director of Thank You For Smoking. everybody wanted to see it, couldn’t get in to see it, or was raving about it. We loved it too and it really is just about a perfect movie. great cast and great screenplay. you think you can tell what’s going to happen but it’s completely original. i’m sure it’s "destined for greatness."THE COUNTERFEITERS – directed by Stefan Ruzowitzky (Austria) there was a lot of buzz about this and someone even compared it to Lives Of Others but it didn’t do much for us. i could tell by the director’s introduction that it was a very personal film for him and the story was interesting but we just never connected with it. i did like the different portrayals of good, evil, and every shade in between.FOR THE LOVE OF MOVIES – documentary about the history of film criticism which i enjoyed very much. i read a lot of reviews and blogs it was fun to learn more about the critics and see what they actually look like. lots of interviews from a wide range of critics (including Karina from Spout)! they also talked about the future of film criticism, blogging, etc. THE BAND’S VISIT – directed by Eran Kolirin (Israel). this was an audience favorite and a good way to end the weekend. very simple, somewhat comic story of eight Egyptian policemen (the Alexandrian Police Orchestra) who are on a band tour and lose their way, ending up in the middle of nowhere. they spend the night with a restaurant owner who takes them in and the experience is a life-changing one for everyone.there were so many things we didn’t get to, but that’s how it always is. although we didn’t make it to his tribute, we did see Daniel Day-Lewis (and his wife) around town two or three times. i was too chicken to talk to him but a woman in front of us just walked up and shook his hand. she said he was very charming and nice (of course)! there are always people in line that we know from years past but this time it seemed like there was more of a chance to talk and we had some good conversations and met a lot of interesting people. we’re already looking forward to next year…
]]>Mon, 10 Sep 2007 15:51:00 GMTwongawonga's filmblog9/10/2007 11:51:00 AMwe (my husband and i) had a really good time in Telluride this year, even while waiting in the rain. we did pretty good with getting into programs and i guess we were lucky since we were ticket-buyers (the lowest caste of all filmgoers&hellip;we don&rsquo;t get a chance to even buy tickets until all the passholders are seated). our strategy was to try and guess what everybody else wanted to see and do the opposite...we also stuck mostly to the larger theaters. almost everyone we talked to, though, was complaining of not getting into movies. there was even a man with a patron pass who showed up 20 minutes before a screening and couldn&rsquo;t get in, which is unheard of. i think some of the problems might have been with scheduling, as it seemed that everything was either overflowing or half full. FRIDAY THE DAWN OF SOUND: HOW MOVIES LEARNED TO TALK -- very interesting documentary about how sound in movies came about. lots of Vitaphone clips and interviews. BRICK LANE -- directed by Sarah Gavron (U.K.) story about an unhappy Indian woman living in London who finally figures out what she needs and how to make her life meaningful. beautiful cinematography but i thought the story could have been better developed. based on a book by Monica Ali.I&rsquo;M NOT THERE -- the infamous Bob Dylan movie directed by Todd Haynes. it played twice on Friday and our screening wasn&rsquo;t full. i know a lot of people were down on this but i thought it was fun and interesting. very impressionistic. maybe if I knew more about Bob Dylan I would have felt differently (i&rsquo;m more of a Jakob Dylan fan)! i didn&rsquo;t recognize most of the music but it was great and I&rsquo;m all psyched to learn more about BD, like what&rsquo;s the deal with Billy The Kid? the director mentioned that it was kaleidoscopic and some of the pieces fit better than others but it was altogether interesting. Cate Blanchett was the best Dylan and was riveting. it reminded me of "John From Cincinatti," the late HBO show. people were talking and doing inexplicable things and although i had no clue what was going on i liked it anyway. the whole thing was a mystery but in a good way, where just watching was enough. SATURDAYTHE DIVING BELL AND THE BUTTERFLY &ndash; directed by Julian Schnabel (France). i went into this blind and was blown away. just a beautiful heartbreaking movie. thinking back, I had heard of this book/memoir but wasn&rsquo;t interested as it sounded really depressing. although the movie is from the viewpoint of a man who has had a devastating stroke, it is not depressing! Schnabel won best director at Cannes for this and I&rsquo;m sure we haven&rsquo;t seen the last of it&rsquo;s awards. it&rsquo;s hard to summarize, so I&rsquo;ll quote the program&hellip;"celebration of the hero&rsquo;s two remaining assets, imagination and memory&hellip;shot from a single fixed camera position, with Schnabel transferring the subjective strategies of Brakhage&rsquo;s poetic cinema with astounding grace and skill&hellip;all the uplift you&rsquo;d expect, but so much more: cognitive science, unexpected bursts of lyrical imagery, and giddy black humor." an absolute must-see movie!CALLING CARDS (SHORT FILMS) &ndash; liked all of these, some better than others. at the beginning they made an announcement with regards to graphic sex and violence and they weren&rsquo;t kidding! a) Rotten Apple &ndash; Petrova Ralitza-U.K. b) Screening &ndash; Anthony Green-U.S. c) Joburg &ndash; Thabo Wolfaadrt-South Africa. d) Pathways &ndash; Hagar Ben-Asher-Israel. e) Rabbit Trouble &ndash; Mitovski &amp; Kalev-Bulgaria. f) Sasha Et Desire &ndash; Cecile Vernant-France.HATS OFF &ndash; documentary by Jyll Johnstone about Mimi Weddell, a NYC actress who is still working at age 92. it was a little long but she was a great subject and appeared at the screening in person. they showed many of her clips and she has been in everything, including one of our favorite movies, "Student Bodies." CHRIS &amp; DON: A LOVE STORY &ndash; documentary by Guido Santi &amp; Tina Mascara. i would have enjoyed this more if I hadn&rsquo;t been falling asleep. i don&rsquo;t really know much about Christopher Isherwood but i&rsquo;m a fan of Don Bachardy&rsquo;s paintings (he was at the screening). they had a fascinating life together in Hollywood and what i can remember of the movie was interesting.SUNDAYA TRIBUTE TO MICHEL LEGRAND/THE YOUNG GIRLS OF ROCHEFORT -- i really, really wanted to see this and it was even better than i&rsquo;d hoped for. He has written some of the world&rsquo;s most beautiful music and i&rsquo;m a huge fan. he&rsquo;s in his 70s now but he came out after the movie and did a Q&amp;A while sitting at the piano. he sang "What Are You Doing The Rest Of Your Life" and brought down the house. he&rsquo;s known more for his movie music but he has really done everything, including collaborations with Miles Davis and other famous jazz artists (i&rsquo;ve already ordered some of his CDs)! loved the movie too&hellip;very convoluted operatic story with over the top singing and dancing. MAN IN THE SHADOWS: VAL LEWTON &ndash; i&rsquo;m not much of a B-movie fan but i was surprised how many of these movies he produced and how many i&#39;d seen. i&rsquo;ve already made a list of some i need to see. GEORGE KUCHAR, MOVIEMAKER/PROGRAM B: i admit to not being very excited about this, especially after reading the article about him by John Waters, but it fit our schedule so we went. of course we loved it (Telluride doesn&rsquo;t have bad movies, with the possible exception of Gummo!) i was sorry i didn&rsquo;t get to see Program A (a big thanks to Karina, who in the Spout Blog gives a link to see some of his other films on-line for free). he was really funny in person and loved to talk&hellip;they had to kick him out at the end so they could start the next movie. we saw 4 videos: a) Video Album 5: The Thursday People &ndash; 1987. b) Oasis Of The Pharoahs &ndash; 1997. c) Supercell &ndash; 2004. d) Hell Hole Hostage &ndash; 2005.MONDAYTHE STORY OF THE KELLY GANG &ndash; this was a documentary about the restoration of an Australian silent film from 1906. it was interesting but after watching the bits and pieces they&rsquo;ve put together over the years there is still not much there! it&rsquo;s thought to be the first ever feature film. somewhat underwhelming for me. JUNO &ndash; this is the movie that we heard the most buzz about. it&rsquo;s a comedy/drama from Jason Reitman, the director of Thank You For Smoking. everybody wanted to see it, couldn&rsquo;t get in to see it, or was raving about it. We loved it too and it really is just about a perfect movie. great cast and great screenplay. you think you can tell what&rsquo;s going to happen but it&rsquo;s completely original. i&rsquo;m sure it&rsquo;s "destined for greatness."THE COUNTERFEITERS &ndash; directed by Stefan Ruzowitzky (Austria) there was a lot of buzz about this and someone even compared it to Lives Of Others but it didn&rsquo;t do much for us. i could tell by the director&rsquo;s introduction that it was a very personal film for him and the story was interesting but we just never connected with it. i did like the different portrayals of good, evil, and every shade in between.FOR THE LOVE OF MOVIES &ndash; documentary about the history of film criticism which i enjoyed very much. i read a lot of reviews and blogs it was fun to learn more about the critics and see what they actually look like. lots of interviews from a wide range of critics (including Karina from Spout)! they also talked about the future of film criticism, blogging, etc. THE BAND&rsquo;S VISIT &ndash; directed by Eran Kolirin (Israel). this was an audience favorite and a good way to end the weekend. very simple, somewhat comic story of eight Egyptian policemen (the Alexandrian Police Orchestra) who are on a band tour and lose their way, ending up in the middle of nowhere. they spend the night with a restaurant owner who takes them in and the experience is a life-changing one for everyone.there were so many things we didn&rsquo;t get to, but that&rsquo;s how it always is. although we didn&rsquo;t make it to his tribute, we did see Daniel Day-Lewis (and his wife) around town two or three times. i was too chicken to talk to him but a woman in front of us just walked up and shook his hand. she said he was very charming and nice (of course)! there are always people in line that we know from years past but this time it seemed like there was more of a chance to talk and we had some good conversations and met a lot of interesting people. we&rsquo;re already looking forward to next year&hellip; http://www.spout.com/blogs/spoutblog/archive/2007/7/11/13677.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/11/2007 4:01:14 PM
Body: I saw the new Hairspray yesterday. I don't want to blow my wad just yet, as I'll be talking about it with Stu VanAirsdale next week on ReelerTV, but here are a few preliminary thoughts: 1) The John Waters original version of Hairspray appears to be up on YouTube in its entirety, and I've embedded one of my favorite chunks above. Penny and Tracy are making out with their new boyfriends in a rat-infested alley. A drunken hobo ambles by, and that's romantic; Tracy's mom drives down the alley looking for her daughter, and it's time to run. Seeking shelter, the kids stumble into a beatnik lair, and stumble right out again when shit gets too weird. It's the perfect encapsulation of Waters' nuanced vision of the young vs. old/class vs. race/culture vs. subculture paradigm, and it's miles beyond anything this new version has up its sleeve. Spoiler alert: the new Hairspray doesn't even have beatniks. 2) That Zac Efron kid is amazing. He's the new Gene Kelly. I can't wait for him to get old and play the dashing American in a postmodern French homage to his earlier successes. At least then maybe my creepy old lady crush will seem a little bit more age appropriate. 3) Not once, in a hundred years of cinema, has a fat suit actually been funny. Prove me wrong and I'll give you $100.*** ***Reward only realizable if you can get me to admit defeat. Originally posted on:SpoutBlog
]]>Wed, 11 Jul 2007 20:01:14 GMTSpoutBlogSpoutBlog on spout.com7/11/2007 4:01:14 PMI saw the new Hairspray yesterday. I don't want to blow my wad just yet, as I'll be talking about it with Stu VanAirsdale next week on ReelerTV, but here are a few preliminary thoughts: 1) The John Waters original version of Hairspray appears to be up on YouTube in its entirety, and I've embedded one of my favorite chunks above. Penny and Tracy are making out with their new boyfriends in a rat-infested alley. A drunken hobo ambles by, and that's romantic; Tracy's mom drives down the alley looking for her daughter, and it's time to run. Seeking shelter, the kids stumble into a beatnik lair, and stumble right out again when shit gets too weird. It's the perfect encapsulation of Waters' nuanced vision of the young vs. old/class vs. race/culture vs. subculture paradigm, and it's miles beyond anything this new version has up its sleeve. Spoiler alert: the new Hairspray doesn't even have beatniks. 2) That Zac Efron kid is amazing. He's the new Gene Kelly. I can't wait for him to get old and play the dashing American in a postmodern French homage to his earlier successes. At least then maybe my creepy old lady crush will seem a little bit more age appropriate. 3) Not once, in a hundred years of cinema, has a fat suit actually been funny. Prove me wrong and I'll give you $100.*** ***Reward only realizable if you can get me to admit defeat. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/musical/MemberTagFilms.aspxmusical
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