Alex Cox:
REPO MAN was made as a "negative pickup" by Universal at the time when Bob Rehme was head of the studio. At the time, the big deal over there was STREETS OF FIRE, and nobody really noticed our film [8 MB PDF] at all. Which was lucky for us, since Bob Rehme had "green-lighted" a film which was quite unusual by studio standards. (previously)
posted by Trurl
on Oct 31, 2011 -
92 comments
Straight to Hell is a 1987 action-comedy film directed by Alex Cox, featuring Sy Richardson, The Clash frontman Joe Strummer (after whose song the film is named), Courtney Love, Dick Rude, Dennis Hopper, Grace Jones, Elvis Costello, Xander Berkeley, Kathy Burke, Jim Jarmusch, Edward Tudor-Pole, Miguel Sandoval, as well as members of The Pogues, Amazulu and The Circle Jerks. ... While the film received almost no positive reviews, it has (like several other of Cox's films) achieved a minor cult status, largely due to its cast of musicians, many of whom have cult followings of their own. A soundtrack has been released. (previously, awesomely)
posted by Trurl
on Jul 1, 2011 -
44 comments
"Beat the Devil" went straight from box office flop to cult classic and has been called the first camp movie, although Bogart, who sank his own money into it, said, "Only phonies like it." It's a movie that was made up on the spot; Huston tore up the original screenplay on the first day of filming, flew the young Truman Capote to Ravallo, Italy, to crank out new scenes against a daily deadline and allowed his supporting stars, especially Robert Morley and Peter Lorre, to create dialogue for their own characters. (Capote spoke daily by telephone with his pet raven, and one day when the raven refused to answer he flew to Rome to console it, further delaying the production.) -
Roger Ebert's Great Movies
posted by Trurl
on May 22, 2011 -
21 comments
...[Change of scene. We are looking out of a car window; it is raining, or has recently rained. Shops go by.] I treated myself to a taxi. I rode home through the city streets! There wasn't a street--there wasn't a building--that wasn't connected to some memory in my mind. There I was buying a suit with my father. There I was having an ice-cream soda after school. When I finally came in, Debby was home from work. And I told her everything about my dinner with André
And here is
Sergio Leone and the Inside Fly Rule's meditation on the only possible other candidate for
Best.Movie.Ever. [more inside]
posted by y2karl
on Apr 3, 2009 -
52 comments
The Room: The Movie. Triple-threat (actor/writer/director)
Tommy Wiseau made his cinematic debut in 2003 with the
The Room (see
trailer and
various scenes),
"a blend between a
softcore porn flick and a Tennessee Williams stageplay." Wiseau ("who's not just one of the most unusual
looking and
sounding-with
an unidentifiable Eastern European accent-leading men ever to
grace the screen, but a narcissist nonpareil whose movie makes
Vincent Gallo's "The Brown Bunny" seem
the apotheosis of cinematic self-restraint...may be something of a first: A movie that
prompts most of its viewers to ask for their money back-before even
30 minutes have passed." -
Variety),
allegedly raised $6 million outside Hollywood to cover production and marketing costs of the self-described "black comedy about love, passion, betrayal and lies" (see
various rough dress rehersals).
Audience members, including comedian
David Cross, have been
"marveling at the bizarre editing, bad bluescreen, uncomfortably explicit
sex scenes and, of course, the enigma of Wiseau himself" as the film
played monthly for years in Los Angeles. Available on
DVD, diehard "roomies"
swear by the
theatrical experience,
shout out their own commentary,
hurl spoons at the screen and singalong to the
soundtrack. Some call it
"The Rocky Horror of the New Millenium" and stage
"Room"
parties. If you look at the
marketing campaign or
survived a screening you might see The Room as
"a seminar on how
NOT to make a movie." [Inspired by
Boing Boing]
posted by boost ventilator
on Jun 1, 2006 -
28 comments
Drama is impossible today. I don't know of any. Drama used to be the belief in guilt, and in a higher order. This absolutely cruel didactic is impossible, unacceptable for us moderns. But melodrama has kept it. You are caged. In melodrama you have human, earthly prisons rather than godly creations. Every Greek tragedy ends with the chorus — "those are strange happenings. Those are the ways of the gods". And so it always is in melodrama.
His career as a film director lasted more than 40 years, but
Douglas Sirk (1900-1987) is remembered for the melodramas he made for Universal in Hollywood between 1954 and 1959, his "
divine wallow":
Magnificent Obsession (1954),
All That Heaven Allows (1955),
Written on the Wind (1956),
The Tarnished Angels (1958, William Faulkner considered it the best screen adaptation of one of his novels),
Imitation of Life (1959) -- all considered for decades
little more than a camp oddity. Now audiences are beginning to look deeper at the films of Douglas Sirk, at how, in megafan Todd Haynes' words, they are "
almost spookily accurate about the emotional truths". Now, lucky Chicagoans can enjoy "Douglas Sirk at Universal",
matinees at the Music Box. More inside.
posted by matteo
on Apr 29, 2006 -
14 comments
I first read "Ask the Dust" in 1971 when I was doing research for "Chinatown". I was concerned about the way people really sounded when they talked, and I was dissatisfied with everything else I had read that was written during the '30s. I wanted the real thing, as Henry James would say. When I picked up Fante's "Ask the Dust," I just knew that was the way those kids talked to each other—the rhythms, cadences, racism.
Robert Towne on
adapting John Fante's novel
for the big screen. More inside.
posted by matteo
on Mar 4, 2006 -
17 comments
Detailing the impossible. Louis Feuillade made
more than 800 films covering
almost every contemporary genre: historical drama, comedy, realist drama, melodrama, religious films. However, he was most famous, or infamous, for his crime serials:
Fantômas (1913-14),
Les Vampires, Judex (1916), La Nouvelle Mission de Judex (1917),
Tih-Minh (1918) and Barrabas (1919).
Critics panned his
crime films, often savagely, because the preoccupation of French critics and film-makers in the 1910s and 20s was to elevate cinema -– and, ironically, back then the French saw their own films as lacking the artistry and sophistication of American ones, by Griffith or DeMille – to the level of art. It was years before
Feuillade's films escaped the label of aesthetic backwardness. Now,
critics have realized that what Feuillade has done is to offer us an alternative cinematic mode to Griffiths', one that continues in updated variants throughout cinema. It is predicated on a principle of uncertainty, that questions our understanding of the real. It is
as fluid and elusive a tradition
as a cat burglar,
dressed in black on a night-time rooftop.
posted by matteo
on Nov 8, 2004 -
7 comments
Agitator. Blood doesn't politely trickle in
Takashi Miike's
films: it
gushes out in
(warning: NSFW, graphic) improbable fountains,
painting walls and filling up small cars.
His trademark point-of-view shots are
taken from places other directors wouldn't dream of: the bottom of a dirty toilet bowl (as a man falls into it after being killed); within the ear canal (as it is pierced by a metal spike); even from inside a character's vagina. He has
depicted incest,
drug abuse, teenage prostitution,
violence against women and children
and small dogs, and necrophilia -- and that was just in one film,
Visitor Q, his take on
Pasolini's
Teorema.
Miike has just introduced his latest movie,
Izo, at the
Venice Film Festival (.pdf file).
Miike is less sure about why Americans are now embracing Japanese horror films. His country's horror genre is influenced by "
kwaidan," traditional Japanese
ghost stories that feature revenge and malice: "The stories always have the 'hatedness.' You always bring the feelings of hate [that] you don't see in American cinema". What freaks him out the most, however, is the
everyday automobile accident. "Even in a film, I can't bear to watch it -- it's so much (about) how people are weak, to be just crushed with a car. It makes me feel really depressed".
posted by matteo
on Sep 22, 2004 -
24 comments
