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timschochet

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1 hour ago, wikkidpissah said:

Agree. Tried to watch it recently and rarely seen anything more staid and stagy. Would have enjoyed a slasher musical more. Important, yes, but to put it on a favorites list you'd have to be a humorless, lip-service progressive with a pineapple up your a........................................nm

Some movies age like a fine wine and some age like a burrito from Taco Bell. This movie is the latter. It literally killed Spencer Tracy.Some movies age like a fine wine and some age like a burrito from Taco Bell. This movie is the latter. It literally killed Spencer Tracy.

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15 minutes ago, Ilov80s said:

Some movies age like a fine wine and some age like a burrito from Taco Bell. This movie is the latter. It literally killed Spencer Tracy.Some movies age like a fine wine and some age like a burrito from Taco Bell. This movie is the latter. It literally killed Spencer Tracy.

I loved it. It was much better than Cats. I'm going to see it again and again. I loved it. It was much better than Cats. I'm going to see it again and again.

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2 hours ago, Andy Dufresne said:

Because he likes it more than Godfather.

 

Glory >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Godfather

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36 minutes ago, McGarnicle said:

I loved it. It was much better than Cats. I'm going to see it again and again. I loved it. It was much better than Cats. I'm going to see it again and again.

I'm seeing double so figure I might as well type double 

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3 hours ago, Yankee23Fan said:

I'm not saying that you have bad taste in movies I'm really not.  And I liked Glory a lot.  Agree with everything you said about it.

But how the **** you rank it higher than Godfather?  On what planet is that a real thing?  This one?  Nope, not on this one.  You're on some different plane of existence or something. 

Again.  In my humble opinion.  YMMV.  Etcetera, etcetera.

Godfather Part II

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Eh, tomato tomahto. 

 

We need a new american history type list thing. Finish this one up already.

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13. The Caine Mutiny (1954)

Directed by: Edward Dmytryk

Starring: Humphrey Bogart, Fred MacMurray, Van Johnson, Jose Ferrer

Columbia Pictures told Stanley Kramer, the producer of this film, that they were afraid that Herman Wouk's story might be perceived as "anti-military" (this was during the Red Scare), so Kramer puts in lots of scenes glorifying the Navy, along with a message at the beginning of the film about how wonderful US servicemen are. Actually, I found that these inclusions add to the film's likability. 

Most people remember Bogart, of course, because Queeg is at once one of the greatest Hollywood villains ever, but what's really ironic is that he's not the villain of the movie at all- indeed, he's a hero, as the film eventually demonstrates. The true villain is Keefer, played by MacMurray, who was simply a spectacular noir actor before he gave that up to become the fatherly star of My Three Sons. Van Johnson was also terrific as the hero Maryk (Johnson was a gay movie star who tragically had to live in the closet, even to the point of marrying). Robert Francis as Keith had a promising movie career ahead of him, but died only a year later in a plane crash. Jose Ferrer had perhaps the greatest voice in movie history.

Anyhow, this is my favorite of the great old fashioned Hollywood war movies. It's riveting all throughout. And it's also my favorite Bogart role. 

Up next: Six years from now, I'll be back here with my wife and two kids. And I'll see you, and one of my kids will say, "Daddy, who is that?" And I'll say it's not nice to point at single fat women.

 
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23 hours ago, timschochet said:

By the way, Wikipedia refers to the 54th Regiment, correctly, as made up of African-American soldiers:

https://en.wikipedia.org/wiki/54th_Massachusetts_Infantry_Regiment

You're fine calling them the 54th Massachusetts, but their historical is 54th Massachusetts (Colored) Volunteer Infantry. Commonly referred to that in numerous books & websites. Though you have to wonder where the parenthetical reference came from? The 175 federal regiments were called USCT, but the state regiments didn't seem to use the C word in their title (think there was like 6 state regiments.) pretty minor point.

Great movie, and along with Ken Burns PBS series, proved to be a critical element in a resurgence in ACW history & battlefield tourism. 

But...no where there Godfather I or II in any ranking. The story lags in the middle.

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Tim, refresh my memory: this is a list of the films you enjoy most, not the films you think are the best - right?

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28 minutes ago, BobbyLayne said:

You're fine calling them the 54th Massachusetts, but their historical is 54th Massachusetts (Colored) Volunteer Infantry. Commonly referred to that in numerous books & websites. Though you have to wonder where the parenthetical reference came from? The 175 federal regiments were called USCT, but the state regiments didn't seem to use the C word in their title (think there was like 6 state regiments.) pretty minor point.

Great movie, and along with Ken Burns PBS series, proved to be a critical element in a resurgence in ACW history & battlefield tourism. 

But...no where there Godfather I or II in any ranking. The story lags in the middle.

Interesting stuff.

Obviously, my ranking of The Godfather Part II as my 23rd favorite movie of all time appears to be my most controversial choice so far. I do love that movie, or it wouldn't be #23 on my list. But IMO it is flawed compared to the movies I have ranked above it. I'll discuss this in a little more detail when I get to the original film (a little later on.) 

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22 minutes ago, Uruk-Hai said:

Tim, refresh my memory: this is a list of the films you enjoy most, not the films you think are the best - right?

Yep. It's even in the title. "Favorite".

If I were ranking the BEST films of all time (which I am not at all qualified to do,) I would probably end up including some movies in my top 10 that aren't anywhere on this list: such as:  

Citizen Kane

8 1/2

2001: A Space Odyssey

Other movies that are not on this list but would have to be on that one, in no particular order:

Sunset Boulevard

The Seventh Seal

Gone With the Wind

The Wizard of Oz

Casablanca

To Kill A Mockingbird

Psycho

Vertigo

Rear Window

Persona

The Grand Illusion

City Lights

The Graduate

 

 

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21 minutes ago, timschochet said:

13. The Caine Mutiny (1954)

Directed by: Edward Dmytryk

Starring: Humphrey Bogart, Fred MacMurray, Van Johnson, Jose Ferrer

Columbia Pictures told Stanley Kramer, the producer of this film, that they were afraid that Herman Wouk's story might be perceived as "anti-military" (this was during the Red Scare), so Kramer puts in lots of scenes glorifying the Navy, along with a message at the beginning of the film about how wonderful US servicemen are. Actually, I found that these inclusions add to the film's likability. 

Most people remember Bogart, of course, because Queeg is at once one of the greatest Hollywood villains ever, but what's really ironic is that he's not the villain of the movie at all- indeed, he's a hero, as the film eventually demonstrates. The true villain is Keefer, played by MacMurray, who was simply a spectacular noir actor before he gave that up to become the fatherly star of My Three Sons. Van Johnson was also terrific as the hero Maryk (Johnson was a gay movie star who tragically had to live in the closet, even to the point of marrying). Robert Francis as Keith had a promising movie career ahead of him, but died only a year later in a plane crash. Jose Ferrer had perhaps the greatest voice in movie history.

Anyhow, this is my favorite of the great old fashioned Hollywood war movies. It's riveting all throughout. And it's also my favorite Bogart role. 

Up next: Six years from now, I'll be back here with my wife and two kids. And I'll see you, and one of my kids will say, "Daddy, who is that?" And I'll say it's not nice to point at single fat women.

 

you are so woke. great picture -

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25 minutes ago, timschochet said:

13. The Caine Mutiny (1954)

Directed by: Edward Dmytryk

Starring: Humphrey Bogart, Fred MacMurray, Van Johnson, Jose Ferrer

 

The post-WWII era was tough on Hollywood.  The studio system was much weaker than the 30s and the industry faced challenges from television and the red scare.  But there were some great war movies that came out in the immediate aftermath.  They struck a more realistic and reflective tone than the jingoism of the war years.  Other great ones included Twelve O'Clock High, Stalag 17, They Were Expendable and Battleground.  I don't think modern viewers can appreciate them same way that contemporary audiences did.

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9 minutes ago, timschochet said:

Yep. It's even in the title. "Favorite".

 

 

 

I'm just wondering why you're getting hammered, then. I'd watch Glory 20 times on rerun before I'd watch any of the Godfather films if I had a choice. I grew up in the 60s/70s, and those New Hollywood movies like The Godfather have not aged well. Hopefully, enough of us older folks will retire and there will be a reassessment of those films by younger critics. I don't think GF1 is even a particularly good movie and GF2 is WAY too long (plus, Pacino is an awful actor and failed miserably having to carry the "modern" portion)

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24 minutes ago, Uruk-Hai said:

I'm just wondering why you're getting hammered, then. I'd watch Glory 20 times on rerun before I'd watch any of the Godfather films if I had a choice. I grew up in the 60s/70s, and those New Hollywood movies like The Godfather have not aged well. Hopefully, enough of us older folks will retire and there will be a reassessment of those films by younger critics. I don't think GF1 is even a particularly good movie and GF2 is WAY too long (plus, Pacino is an awful actor and failed miserably having to carry the "modern" portion)

You're going too far for me. I simply can't agree with you. Both are, IMO, incredibly entertaining films- the first significantly more than the second. 

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4 minutes ago, Uruk-Hai said:

I'm just wondering why you're getting hammered, then. I'd watch Glory 20 times on rerun before I'd watch any of the Godfather films if I had a choice. I grew up in the 60s/70s, and those New Hollywood movies like The Godfather have not aged well. Hopefully, enough of us older folks will retire and there will be a reassessment of those films by younger critics. I don't think GF1 is even a particularly good movie and GF2 is WAY too long (plus, Pacino is an awful actor and failed miserably having to carry the "modern" portion)

The Godfather films have aged better than Pacino has.

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1 minute ago, timschochet said:

You're going too far for me. I simply can't agree with you. Both are, IMO, incredibly entertaining films- the first significantly more than the second. 

:shrug:

I don't think they suck, and I can appreciate the craft.

No one will ever convince me that Pacino was a good actor in those films, though. 

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55 minutes ago, Mr. Mojo said:

I have yet to see a Humphrey Bogart film that wasn't good.

He was a one of a kind.

Agree, he might have the highest hit rate ever. (As great movies go)

Edited by Ilov80s

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37 minutes ago, Mr. Mojo said:

I have yet to see a Humphrey Bogart film that wasn't good.

He was a one of a kind.

Greatest movie star of all time IMO.

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3 hours ago, Eephus said:

The post-WWII era was tough on Hollywood.  The studio system was much weaker than the 30s and the industry faced challenges from television and the red scare.  But there were some great war movies that came out in the immediate aftermath.  They struck a more realistic and reflective tone than the jingoism of the war years.  Other great ones included Twelve O'Clock High, Stalag 17, They Were Expendable and Battleground.  I don't think modern viewers can appreciate them same way that contemporary audiences did.

Post WW2 was great, one of best in film history 

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23 hours ago, John Maddens Lunchbox said:

I think he was miscast, but acquitted himself well. Coming off Ferris Bueller it was hard to get that role out of your head. The more I've watched this movie, the better Broderick gets. If you think about the age the guy Broderick was playing would have been, the fresh face isnt that out of place. A more assured officer wouldnt have got that job and Broderick conveys naivete well.

I found him to be distractingly stiff and awkward in this movie. I realize he was probably going for stiff in the role, assuming that was how a person of that class/station would comport themselves in that era, but it just didn't come off convincingly. It was particularly glaring to me because there were so many other actors knocking it out of the park in the same film. And I've got nothing against Broderick in general (I think he was perfect in Election).

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17 hours ago, BobbyLayne said:

You're fine calling them the 54th Massachusetts, but their historical is 54th Massachusetts (Colored) Volunteer Infantry. Commonly referred to that in numerous books & websites. Though you have to wonder where the parenthetical reference came from? The 175 federal regiments were called USCT, but the state regiments didn't seem to use the C word in their title (think there was like 6 state regiments.) pretty minor point.

Hey don't go around spreading the truth, they won't like it.

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14 hours ago, Mr. Mojo said:

I have yet to see a Humphrey Bogart film that wasn't good.

He was a one of a kind.

 

13 hours ago, timschochet said:

Greatest movie star of all time IMO.

No one said lines like they just came into his head like Bogie. And you can have your Waynes & Schwarzeneggers & Rocks - Bogie's ordinary men doing extraordinary things are 100x more heroic than any of em without an ounce of leaping, riding, running, strafing or sweating because they have the fear, doubt, corruption, honor and purpose of a real person within em.

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7 minutes ago, wikkidpissah said:

 

No one said lines like they just came into his head like Bogie. And you can have your Waynes & Schwarzeneggers & Rocks - Bogie's ordinary men doing extraordinary things are 100x more heroic than any of em without an ounce of leaping, riding, running, strafing or sweating because they have the fear, doubt, corruption, honor and purpose of a real person within em.

Agreed. I think Harrison Ford has some of that quality as well. 

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But Bogart had another dimension to him that Ford and others like the ones WP mentioned did not: all thoroughout his career, he often played the villain as well as the hero. As I pointed out The Caine Mutiny is somewhat complicated: Queeg is paranoid and small-minded but not truly a villain. But in another film I love from a year earlier, The Desperate Hours, Bogie plays an escaped convict and killer who is pure evil. 

Most Hollywood stars back then, and some to this day, are typecast: if moviegoers perceive them as good guys, they don't play bad guys. When's the last time Tom Cruise played the villain? Bogart was one of the great exceptions to this rule. Jack Nicholson is another. 

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Bogart's best performance,  IMO, is in In A Lonely Place.

It's so nuanced and he shows what acting is ALL about in the last 15 minutes. An absolute clinic. I can't think of many times (any?) where I shared the character's emotions as much.

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I most intensely remember my first Bogie experience. I knew who he was cuz he was big when i was a kid and my uncle & dad's college buds were always imitating him but i hadn't really seen him til a sick day when the Dialing-for-Dollars movie had this stoopit thing of Bette Davis & a gay guy arguing about poetry outside a gas station in the desert. I had a fever & was waiting for soup so i didnt get up and change the channel. Then a gangster car pulled up and this sweaty, unshaven guy gets out and looks at everybody like he's deciding whether to shoot em or bite their nose off. And he's scared and he's mad and obnoxious and cool at the same time and he's making everybody be scared and mad and sweaty too cuz he's gotta hole up and wait for dis dame, see?! And it was just the bossest ####in thing i ever saw. I can still feel Bogie's Duke Mantee inside me in turbulent times.

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On 12/7/2015 at 10:20 PM, timschochet said:

HISS: May I say for the record at this point, that I would like to invite Mr. Whittaker Chambers to make these same statements out of the presence of this committee without their being privileged for suit and libel. I challenge you to do it, and I hope you will do it damned quickly...

Yaknow, I can't help but think Trump forcing Comey to appear to unfurl the FISA warrant to disprove Trump's claims isn't going to end well.

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12. Broadcast News (1987)

Directed by: James L. Brooks

Starring: Holly Hunter, William Hurt, Albert Brooks

In a way, this movie is a companion piece to Network, in that, filmed a decade later, it continues to show the deterioration of the news media into entertainment. But although its not as creative or as sharply written as that previous film, I find it more entertaining because it's three main characters are so well defined. Broadcast News is, above all else, a romantic comedy, and it works because we believe in and empathize with its stars.

Holly Hunter gives IMO the best performance of her career as the modern American executive woman, brilliant and obsessive-compulsive, yet insecure. Her character would have been impossible ten years earlier (Faye Dunaway's Diane Christensen is a caricature by comparison). Albert Brooks plays, well, Albert Brooks, as he does in the previous two movies I have placed on my list (Lost in America and Defending Your Life). But he's very good at this role, and he's given a lot of great snarky lines to work with. But between the 3 of them, perhaps the guy with the hardest acting job is William Hurt, because he has to come off as well-meaning, very good at what he does (network anchorman), but somewhat stupid, yet real. The last two words are what makes it so difficult- Hurt could have easily played this like Ted Knight from The Mary Tyler Moore Show, but he's going for a deeper pathos than that, and he achieves it.

The movie also features some great supporting characters (particularly Joan Cusack and Jack Nicholson), and like all James L. Brooks movies is expertly written in a witty style that Aaron Sorkin would come to imitate.

Up Next: I've done my share of bootlegging. Up 'ere, if you engage in what the federal government calls 'illegal activity,' but what we call 'just a man tryin' to make a livin' for his family sellin' moonshine liquor,' it behooves oneself to keep his wits. Long story short, we hear a story too good to be true... it ain't.

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On ‎3‎/‎18‎/‎2017 at 6:46 PM, SaintsInDome2006 said:

Yaknow, I can't help but think Trump forcing Comey to appear to unfurl the FISA warrant to disprove Trump's claims isn't going to end well.

Good prediction!

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On 3/18/2017 at 10:50 AM, Andy Dufresne said:

Bogart's best performance,  IMO, is in In A Lonely Place.

It's so nuanced and he shows what acting is ALL about in the last 15 minutes. An absolute clinic. I can't think of many times (any?) where I shared the character's emotions as much.

Just grabbed this one at the library yesterday. 

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11. Inglorious Basterds (2009)

Directed by: Quentin Tarantino

Starring: Brad Pitt, Christoph Waltz, Melanie Laurent

Just a fantastic, entertaining film in so many ways. There are a number of great Hollywood WWII movies that I love but was forced to leave off my list, including, in no particular order, The Great Escape, The Dirty Dozen, The Guns of Navarone, The Eagle Has Landed, Where Eagles Dare, Stalag 17. Tarantino borrows from all of these and from numerous other sources as well in order to tell his fantasy story about killing Hitler. And that's awesome, because everything works in this movie: the tension, suspense, humor, acting, directing, is all top notch. 

Christoph Waltz has the role of a lifetime here, for which he'll no doubt always be remembered. Brad Pitt is fine in a caricature role. Michael Fassbinder is only on screen for a few minutes but is extremely memorable, as is Eli Roth. And then there's Til Schweiger, so ####### awesome. I'm going to have to watch this movie again. So great. 

Up next: I'm going to be a great film star! That is, if booze and sex don't get me first.

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8 minutes ago, timschochet said:

11. Inglorious Basterds (2009)

Directed by: Quentin Tarantino

Starring: Brad Pitt, Christoph Waltz, Melanie Laurent

Just a fantastic, entertaining film in so many ways. There are a number of great Hollywood WWII movies that I love but was forced to leave off my list, including, in no particular order, The Great Escape, The Dirty Dozen, The Guns of Navarone, The Eagle Has Landed, Where Eagles Dare, Stalag 17. Tarantino borrows from all of these and from numerous other sources as well in order to tell his fantasy story about killing Hitler. And that's awesome, because everything works in this movie: the tension, suspense, humor, acting, directing, is all top notch. 

Christoph Waltz has the role of a lifetime here, for which he'll no doubt always be remembered. Brad Pitt is fine in a caricature role. Michael Fassbinder is only on screen for a few minutes but is extremely memorable, as is Eli Roth. And then there's Til Schweiger, so ####### awesome. I'm going to have to watch this movie again. So great. 

Up next: I'm going to be a great film star! That is, if booze and sex don't get me first.

Huh.  Number 11?  It barely cracks the Tarantino top 11 for me.  

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17 minutes ago, Nick Vermeil said:

Huh.  Number 11?  It barely cracks the Tarantino top 11 for me.  

If it's not at least above Death Proof, I think you are doing something wrong. 

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On 3/17/2017 at 5:29 PM, timschochet said:

Yep. It's even in the title. "Favorite".

If I were ranking the BEST films of all time (which I am not at all qualified to do,) I would probably end up including some movies in my top 10 that aren't anywhere on this list: such as:  

Citizen Kane

8 1/2

2001: A Space Odyssey

Other movies that are not on this list but would have to be on that one, in no particular order:

Sunset Boulevard

The Seventh Seal

Gone With the Wind

The Wizard of Oz

Casablanca

To Kill A Mockingbird

Psycho

Vertigo

Rear Window

Persona

The Grand Illusion

City Lights

The Graduate

 

 

 

:wub:

 

I don't know why you won't admit to loving this one.

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10. Cabaret (1972)

Directed by: Bob Fosse

Starring: Liza Minelli, Michael York, Joel Grey

My top ten films are going to involve longer write-ups.

Although I am a huge fan of the Broadway musical, I don't generally like their adaptions to the big screen. Something usually is missing- even films that a lot of Broadway fans love, like Chicago or My Fair Lady, I only like. Obviously, Cabaret is an exception to that rule. There are several reasons why:

First off is that, with only one exceptions, all of the songs in this musical are onstage, part of the Cabaret show, and are not directly incidental to the plot. They are, in a sense, intermissions to the story of Christopher Isherwood's life in Weimar Germany. (Michael York plays Brian Roberts, heavily based on the gay, Communist Isherwood.) The exception is of course "Tomorrow Belongs to Me", which has got to be one of the most chilling scenes ever produced on film, in which Hitler Youth sing beautifully about the rise of the Nazi Party. In this one scene, Fosse captures brilliantly the lure of fascism as a return to old values, just as he brilliantly captures the growing anti-Semitism in the ballad "If You Could See Her" (in which the MC is comically in love with a gorilla, only to reveal that the gorilla is Jewish at the end of the song.) 

There is more. The Weimar era featured German Expressionism, one of the most pivotal art movements of the 20th century, featuring painters such as George Grosz and Otto Dix (later banned by Joseph Goebbels as "Decadent Art") films such as Metropolis, and architecture like the Bauhaus movement. Bob Fosse takes all these and imitates them in his camera work and costumes, particularly in the nightclub: his camera shots are direct copies of Grosz paintings from the era (and no, I'm no art expert; but my wife was an art major at UCLA and she exposed me to "Decadent Art" along with an exhibit several years back at the Los Angeles County Museum of Art.) As a result, I can watch this movie dozens of times (I have) and see something new each time. 

The music, by Kander and Ebb, is marvelous, and both Joel Gray and Liza Minelli give fantastic singing performances. Minelli in particular reaches her peak in this film, and she's largely been a caricature of herself ever since, becoming victim to the pills and liquor that she bemoans in the film (and which also plagued her mother of course.) But in the movie, particularly in the songs "Maybe This Time" and "Cabaret", she matches her mom in soulfulness and rises to the level of greatest vocalist in a movie ever. 

Despite several of the songs being of a playful nature (actually all of them have deadly serious themes) this is a dark, depressing movie about the rise of Nazi Germany on the one hand and the loss of a decadent soul (Minelli as Sally Bowles) on the other. Sally flirts with a normal life all throughout the film, if only she can find stable love from York, or a stable financial existence (from a debauched millionaire who abandons her and York). In the end she can't have either and returns to her inner destruction as the outer world collapses around her. But it's OK, she sings, because "Life is a cabaret", and she has no regrets. Fosse would expand on this theme a few years later in All That Jazz, an autobiographical film that deals with cancer, which is just as brilliant but, for my money, far less enjoyable. THIS movie, however, is both art for art's sake and fun to watch. 

Up next: I feel that life is divided into the horrible and the miserable. That's the two categories. The horrible are like, I don't know, terminal cases, you know, and blind people, crippled. I don't know how they get through life. It's amazing to me. And the miserable is everyone else. So you should be thankful that you're miserable, because that's very lucky, to be miserable.

Edited by timschochet

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23 hours ago, BobbyLayne said:

 

:wub:

 

I don't know why you won't admit to loving this one.

I like the chess scenes a lot. The rest of the film is really dull for me. 

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6 minutes ago, timschochet said:

10. Cabaret (1972)

Directed by: Bob Fosse

Starring: Liza Minelli, Michael York, Joel Grey

My top ten films are going to involve longer write-ups.

Although I am a huge fan of the Broadway musical, I don't generally like their adaptions to the big screen. Something usually is missing- even films that a lot of Broadway fans love, like Chicago or My Fair Lady, I only like. Obviously, Cabaret is an exception to that rule. There are several reasons why:

First off is that, with only one exceptions, all of the songs in this musical are onstage, part of the Cabaret show, and are not directly incidental to the plot. They are, in a sense, intermissions to the story of Christopher Isherwood's life in Weimar Germany. (Michael York plays Brian Roberts, heavily based on the gay, Communist Isherwood.) The exception is of course "Tomorrow Belongs to Me", which has got to be one of the most chilling scenes ever produced on film, in which Hitler Youth sing beautifully about the rise of the Nazi Party. In this one scene, Fosse captures brilliantly the lure of fascism as a return to old values, just as he brilliantly captures the growing anti-Semitism in the ballad "If You Could See Her" (in which the MC is comically in love with a gorilla, only to reveal that the gorilla is Jewish at the end of the song.) 

There is more. The Weimar era featured German Expressionism, one of the most pivotal art movements of the 20th century, featuring painters such as George Grosz and Otto Dix (later banned by Joseph Goebbels as "Decadent Art") films such as Metropolis, and architecture like the Bauhaus movement. Bob Fosse takes all these and imitates them in his camera work and costumes, particularly in the nightclub: his camera shots are direct copies of Grosz paintings from the era (and no, I'm no art expert; but my wife was an art major at UCLA and she exposed me to "Decadent Art" along with an exhibit several years back at the Los Angeles County Museum of Art.) As a result, I can watch this movie dozens of times (I have) and see something new each time. 

The music, by Kander and Ebb, is marvelous, and both Joel Gray and Liza Minelli give fantastic singing performances. Minelli in particular reaches her peak in this film, and she's largely been a caricature of herself ever since, becoming victim to the pills and liquor that she bemoans in the film (and which also plagued her mother of course.) But in the movie, particularly in the songs "Maybe This Time" and "Cabaret", she matches her mom in soulfulness and rises to the level of greatest vocalist in a movie ever. 

Despite several of the songs being of a playful nature (actually all of them have deadly serious themes) this is a dark, depressing movie about the rise of Nazi Germany on the one hand and the loss of a decadent soul (Minelli as Sally Bowles) on the other. Sally flirts with a normal life all throughout the film, if only she can find stable love from York, or a stable financial existence (from a debauched millionaire who abandons her and York). In the end she can't have either and returns to her inner destruction as the outer world collapses around her. But it's OK, she sings, because "Life is a cabaret", and she has no regrets. Fosse would expand on this theme a few years later in All That Jazz, an autobiographical film that deals with cancer, which is just as brilliant but, for my money, far less enjoyable. THIS movie, however, is both art for art's sake and fun to watch. 

Up next: I feel that life is divided into the horrible and the miserable. That's the two categories. The horrible are like, I don't know, terminal cases, you know, and blind people, crippled. I don't know how they get through life. It's amazing to me. And the miserable is everyone else. So you should be thankful that you're miserable, because that's very lucky, to be miserable.

If this movie didn't show me that a movie musical can actually tell stories BETTER than dramas when done right, i never would have devoted the last 6 yrs to writing one of my own, so i thank Kander, Ebb & Fosse for sending me on the greatest journey of my life. That said, the 2nd act drags until the payoff, especially if Liza Minelli is an acquired taste for one. I'd actually like to see Sam Mendes try filming the version he and my cousin staged @ Studio54 so successfully in the late 90s - less heft but more snap.

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6 minutes ago, wikkidpissah said:

If this movie didn't show me that a movie musical can actually tell stories BETTER than dramas when done right, i never would have devoted the last 6 yrs to writing one of my own, so i thank Kander, Ebb & Fosse for sending me on the greatest journey of my life. That said, the 2nd act drags until the payoff, especially if Liza Minelli is an acquired taste for one. I'd actually like to see Sam Mendes try filming the version he and my cousin staged @ Studio54 so successfully in the late 90s - less heft but more snap.

I saw that version- or at least I think I did. The Los Angeles tour in the late 90s featured Teri Hatcher as Sally, and Michael C. Hall as the emcee (though at the time I had no idea who he was.) But your cousin was involved in that? Pretty awesome. :thumbup: 

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I loved that late 90s stage version but it was very different from the film and takes nothing away from the film- except for the end. At the very end of that show, the cast came out all wearing concentration camp outfits- the striped uniforms of Auschwitz victims. The message was obvious- a bit over obvious and over the top. I thought that it was an unnecessary attempt to bludgeon the audience. But other than that, excellent. 

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Cabaret is a wonderful film that seems to get overlooked a bit today.  It was made at a transition point for Hollywood musicals.  The 60s had lots of big budget, prestige musicals ranging from the ridiculous (Finnian's Rainbow, Paint Your Wagon) to the sublime (West Side Story, The Sound of Music) that had their origins on Broadway.  The 70s brought rock-influenced music into musicals with adapted rock operas and Andrew Lloyd Webber.  Cabaret was a period piece so it was able to avoid the trends of its era.  Along with the influences Tim noted, there are strains of Kurt Weill and Bertolt Brecht in the mix as well.  Cabaret was either the last musical from one era or the first of a new set of more serious musicals.  I would probably argue the latter because of the way the songs are integrated into the script.  The musical numbers are edited into the story rather than the actors suddenly breaking into song in the middle of a scene.  In either event, it was the last musical to be nominated for a Best Picture Oscar for nearly three decades.   The 1960s had averaged almost one nominated musical per year.

Cabaret is perfectly cast and strikingly choreographed.  As Tim mentioned, the production design borrows heavily from Neue Sachlichkeit art and has in turn shaped viewers perspectives of what Weimar Germany must have been like.  It's hard to believe it's been longer from the release of Cabaret to the present than it was between the rise of Hitler and the making of the film.

 

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Just now, timschochet said:

I loved that late 90s stage version but it was very different from the film and takes nothing away from the film- except for the end. At the very end of that show, the cast came out all wearing concentration camp outfits- the striped uniforms of Auschwitz victims. The message was obvious- a bit over obvious and over the top. I thought that it was an unnecessary attempt to bludgeon the audience. But other than that, excellent. 

The Fosse film was different from the stage play.  The characters from the rooming house featured more in the original production.

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Just now, Eephus said:

The Fosse film was different from the stage play.  The characters from the rooming house featured more in the original production.

Right. Plus, Sally Bowles is British. 

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15 minutes ago, timschochet said:

I saw that version- or at least I think I did. The Los Angeles tour in the late 90s featured Teri Hatcher as Sally, and Michael C. Hall as the emcee (though at the time I had no idea who he was.) But your cousin was involved in that? Pretty awesome. :thumbup: 

Yeah - same one who directed the movie of Chicago. Sam Mendes had staged Cabaret in London a few years before but was having trouble getting Broadway to do it until Hal Prince, who directed the original, helped him - at the cost of co-directing it w my cousin, who'd just choreographed Kiss of the Spider Woman for Prince. Within a couple of years, both Cabaret revival co-directors directed Best Picture movies in each their first attempts.

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11 minutes ago, timschochet said:

Right. Plus, Sally Bowles is British. 

Judi Dench was the first Sally Bowles

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