Comments for Parallax View http://parallax-view.org Smart Words About Cinema Sat, 05 May 2012 17:38:30 +0000 hourly 1 http://wordpress.org/?v=3.3.2 Comment on SIFF 2012: The 38th Seattle International Film Festival Honors Seattle Filmmaking by Editor http://parallax-view.org/2012/04/28/siff-2012-the-38th-seattle-international-film-festival-honors-seattle-filmmaking/comment-page-1/#comment-15166 Editor Sat, 05 May 2012 17:38:30 +0000 http://parallax-view.org/?p=10849#comment-15166 Tickets are now available on the SIFF website. The links to the site are in the article above. Tickets are now available on the SIFF website. The links to the site are in the article above.

]]> Comment on “And then I just go ahead and write that dialogue” – John Sayles [Part 1] by The Return of the Secaucus Seven « WHAT A FEELING! http://parallax-view.org/2009/09/19/and-then-i-just-go-ahead-and-write-that-dialogue-john-sayles-part-1/comment-page-1/#comment-14850 The Return of the Secaucus Seven « WHAT A FEELING! Wed, 02 May 2012 11:13:17 +0000 http://parallax-view.org/?p=3037#comment-14850 [...] others organized at the University of Washington that Fall. Sayles came and spoke to the course (his remarks collected in Movietone News, a memorable talk), and so did Jonathan Demme and the Airplane! guys [...] [...] others organized at the University of Washington that Fall. Sayles came and spoke to the course (his remarks collected in Movietone News, a memorable talk), and so did Jonathan Demme and the Airplane! guys [...]

]]> Comment on SIFF 2012: The 38th Seattle International Film Festival Honors Seattle Filmmaking by Thomas Murphy http://parallax-view.org/2012/04/28/siff-2012-the-38th-seattle-international-film-festival-honors-seattle-filmmaking/comment-page-1/#comment-14574 Thomas Murphy Sun, 29 Apr 2012 03:23:16 +0000 http://parallax-view.org/?p=10849#comment-14574 Hi; I appeared as a featured extra in both "The Details" and "Grassroots", and want to know when I can buy tickets to both. Get back to me on this, please. Thanks, Thomas Murphy Hi; I appeared as a featured extra in both “The Details” and “Grassroots”, and want to know when I can buy tickets to both. Get back to me on this, please.

Thanks,
Thomas Murphy

]]> Comment on Will Eisner, Frank Miller and “The Spirit” by Nave 'Torment' http://parallax-view.org/2008/12/24/will-eisner-frank-miller-and-the-spirit/comment-page-1/#comment-14521 Nave 'Torment' Sat, 28 Apr 2012 16:41:05 +0000 http://parallax-view.org/?p=1091#comment-14521 While I understand that Miller tried to adapt THE SPIRIT in his own voice and vision -- and yes, the discrepancy from Eisner's work is certainly an adaptation -- what he fails to deliver is what Denny Colt was a spirit of: the noir genre itself. As a comic-book reader it was Miller's work that introduced me to the world of noir, of a dark and dreary reality where morality remained as ambiguous as the colours that were mortal, but with both his work in Batman and The Spirit, FM keeps moving away from that world. The Spirit evoked the soul of film noir -- of hardboiled heroes who were lost in the alienation of the modern, urban world. The character walked the fine line between "pulp" and "superhero" -- thematically -- on film, he's simply another Dick Tracy fan who's all flash with fedoras and trench-coats without the ingrained sense of despair and uncertainty that would propel a real detective to go on fighting. Miller touched on that in the opening shot -- that uncertainty of his own identity -- but gradually lost it when "NOIR" became more of a "FAD" than a "REALITY". While I understand that Miller tried to adapt THE SPIRIT in his own voice and vision — and yes, the discrepancy from Eisner’s work is certainly an adaptation — what he fails to deliver is what Denny Colt was a spirit of: the noir genre itself. As a comic-book reader it was Miller’s work that introduced me to the world of noir, of a dark and dreary reality where morality remained as ambiguous as the colours that were mortal, but with both his work in Batman and The Spirit, FM keeps moving away from that world. The Spirit evoked the soul of film noir — of hardboiled heroes who were lost in the alienation of the modern, urban world. The character walked the fine line between “pulp” and “superhero” — thematically — on film, he’s simply another Dick Tracy fan who’s all flash with fedoras and trench-coats without the ingrained sense of despair and uncertainty that would propel a real detective to go on fighting. Miller touched on that in the opening shot — that uncertainty of his own identity — but gradually lost it when “NOIR” became more of a “FAD” than a “REALITY”.

]]> Comment on Silent Nights: Keaton and DeMille – DVDs of the Week by Silent Nights Keaton and DeMille DVDs of the Week Parallax View » Images Search http://parallax-view.org/2010/07/08/silent-nights-keaton-and-demille-dvds-of-the-week/comment-page-1/#comment-13265 Silent Nights Keaton and DeMille DVDs of the Week Parallax View » Images Search Sat, 14 Apr 2012 13:47:00 +0000 http://parallax-view.org/?p=5432#comment-13265 [...] http://parallax-view.org/2010/07/08/silent-nights-keaton-and-demille-dvds-of-the-week/ 14 April 2012 6:46am - Images « The tower visible way in the background is located at 926 J Street at Marion and Byron in the gardens » [...] [...] http://parallax-view.org/2010/07/08/silent-nights-keaton-and-demille-dvds-of-the-week/ 14 April 2012 6:46am – Images « The tower visible way in the background is located at 926 J Street at Marion and Byron in the gardens » [...]

]]> Comment on DVD: ‘Something to Live For’ by Richard T. Jameson http://parallax-view.org/2012/04/12/dvd-something-to-live-for/comment-page-1/#comment-13172 Richard T. Jameson Fri, 13 Apr 2012 16:38:56 +0000 http://parallax-view.org/?p=10762#comment-13172 I wonder how many people are learning of the existence of this movie for the first time. After all, there are George Stevens filmographies that don't even include it. It's been little seen over the years (my lone notice of it came by way of a summertime, "Wednesday Night at the Movies" kinda showing back in the Sixties or Seventies). What was the deal? It's certainly not a <i>bad</i> movie. Was Stevens somehow embarrassed to have a film out in the Fifties that didn't pull down a bunch of Oscar nominations? And did he in fact make it right after <b>A Place in the Sun</b>? Recall that <b>Shane</b> sat on the shelf at Paramount for more than a year before being released in 1953 to great acclaim and immediate ascendancy to classic status. Was <b>Something to Live For</b> somehow a hiccup during that strange hiatus? Good on you for citing those long dissolves, of which Stevens was uniquely fond in that era. However, at this remove in time the main thing I remember about the movie was that a featured role went to Paul Valentine, so distinctive as "Joe" in <b>Out of the Past</b> five years earlier. He seemed ill-cast here. I wonder how many people are learning of the existence of this movie for the first time. After all, there are George Stevens filmographies that don’t even include it. It’s been little seen over the years (my lone notice of it came by way of a summertime, “Wednesday Night at the Movies” kinda showing back in the Sixties or Seventies). What was the deal? It’s certainly not a bad movie. Was Stevens somehow embarrassed to have a film out in the Fifties that didn’t pull down a bunch of Oscar nominations? And did he in fact make it right after A Place in the Sun? Recall that Shane sat on the shelf at Paramount for more than a year before being released in 1953 to great acclaim and immediate ascendancy to classic status. Was Something to Live For somehow a hiccup during that strange hiatus? Good on you for citing those long dissolves, of which Stevens was uniquely fond in that era. However, at this remove in time the main thing I remember about the movie was that a featured role went to Paul Valentine, so distinctive as “Joe” in Out of the Past five years earlier. He seemed ill-cast here.

]]> Comment on Black Arts by Domaci Filmovi http://parallax-view.org/2010/02/02/black-arts/comment-page-1/#comment-12984 Domaci Filmovi Wed, 11 Apr 2012 11:16:14 +0000 http://parallax-view.org/?p=4253#comment-12984 Film picture some vision of futurity. The world is turning into a big party. Strange Days is one of my favorite films. It have some magic. Ralph Fiennes was great on the role of Lenny Nero. Film picture some vision of futurity. The world is turning into a big party. Strange Days is one of my favorite films. It have some magic. Ralph Fiennes was great on the role of Lenny Nero.

]]> Comment on Watching with Robert Towne, Oscar-Winning Writer of ‘Chinatown’ by alan fair http://parallax-view.org/2012/04/04/watching-with-robert-towne-oscar-winning-writer-of-chinatown/comment-page-1/#comment-12697 alan fair Thu, 05 Apr 2012 09:51:30 +0000 http://parallax-view.org/?p=10731#comment-12697 Hi Sean and other readers, The thing about Downton Abbey is that it is written and directed from the perspective of the aristocracy. It can be no surprise that this is a series that is popular with contemporary audiences when the prevailing ideology of the "western democracies" is that the ruling elites are the ones who are born to rule and that it is their inherent right (entitlement) to say what and how the world is. I am always struck that anything that portrays the class system as some form of benign form of social organisation is labeled "quality" tv. Are we really taken in by such brazen propaganda? In a country like Britain where the rich are given tax breaks while the poor are stripped of their rights, where what was once seen as social progress is now called "old fashioned" socialism. It can surely be no accident that the makers and writers of this tripe are now offering us a series about the Titanic, where once again the aristocracy are, for the most part, represented as liberals (in the old fashioned sense) when in fact they were in their vanity just about to unleash a holocaust on the working classes of Europe. If you want to see something that redresses this bias you will be hard put to find it these days, but if you can find it, I recommend 'Days Of Hope' a series made when British tv did make programs of quality. Hi Sean and other readers,
The thing about Downton Abbey is that it is written and directed from the perspective of the aristocracy. It can be no surprise that this is a series that is popular with contemporary audiences when the prevailing ideology of the “western democracies” is that the ruling elites are the ones who are born to rule and that it is their inherent right (entitlement) to say what and how the world is.
I am always struck that anything that portrays the class system as some form of benign form of social organisation is labeled “quality” tv. Are we really taken in by such brazen propaganda? In a country like Britain where the rich are given tax breaks while the poor are stripped of their rights, where what was once seen as social progress is now called “old fashioned” socialism. It can surely be no accident that the makers and writers of this tripe are now offering us a series about the Titanic, where once again the aristocracy are, for the most part, represented as liberals (in the old fashioned sense) when in fact they were in their vanity just about to unleash a holocaust on the working classes of Europe.
If you want to see something that redresses this bias you will be hard put to find it these days, but if you can find it, I recommend ‘Days Of Hope’ a series made when British tv did make programs of quality.

]]> Comment on The Ballad Of David Sumner: A Peckinpah Psychodrama by Henry Cuevas http://parallax-view.org/2010/05/03/the-ballad-of-david-sumner-a-peckinpah-psychodrama/comment-page-1/#comment-12678 Henry Cuevas Tue, 03 Apr 2012 23:37:12 +0000 http://parallax-view.org/?p=4827#comment-12678 Appriciate everything written, but I still am bothered by the ending. 1) Amy shouting "Charlie, no" at the man's demise signaled her alliance to charlie. Charlie was going to kill David, no? 2) WHen she shot the last home invader, it semmed that he shot him out of self-defense...she couldn't pull the trigger right away though her husband was about to get his back broken. Why is ahe an adult in this viewrers estimation? 3) What was David's last words to Amy as he left with the man-child Niles? I can't hear it clearly. 4) Before the closing credits, in the car, Niles says that he doesn't know his way home. David smiles and says, he didn't either. Did that mean he left his past... and especially Amy? Is he ready to be an adult on his own? Appriciate everything written, but I still am bothered by the ending.
1) Amy shouting “Charlie, no” at the man’s demise signaled her alliance to charlie. Charlie was going to kill David, no?
2) WHen she shot the last home invader, it semmed that he shot him out of self-defense…she couldn’t pull the trigger right away though her husband was about to get his back broken. Why is ahe an adult in this viewrers estimation?
3) What was David’s last words to Amy as he left with the man-child Niles? I can’t hear it clearly.
4) Before the closing credits, in the car, Niles says that he doesn’t know his way home. David smiles and says, he didn’t either. Did that mean he left his past… and especially Amy? Is he ready to be an adult on his own?

]]> Comment on “Everything happens at its appointed time” – Picnic at Hanging Rock by Filmovi 2011 http://parallax-view.org/2009/12/05/everything-happens-at-its-appointed-time-%e2%80%93-picnic-at-hanging-rock/comment-page-1/#comment-12668 Filmovi 2011 Tue, 03 Apr 2012 15:45:24 +0000 http://parallax-view.org/?p=3770#comment-12668 Stunning imagery hints. Interesting, clever, beautiful, mysterious and well done. Peter Weir early masterpiece. Unusual mystery tale. Slow pace but great atmosphere. Anne-Louise Lambert is a great choice for main role. Stunning imagery hints. Interesting, clever, beautiful, mysterious and well done. Peter Weir early masterpiece. Unusual mystery tale. Slow pace but great atmosphere. Anne-Louise Lambert is a great choice for main role.

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