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timdraft #4: Movie Category Draft (2 Viewers)
- Thread starter timschochet
- Start date
Mrs. Rannous
Footballguy
<p><strong>26.8 - <em>Seven Brides for Seven Brothers</em> - Dance Scene</strong></p>
<p> </p>
<p>The barn dance, which apparantly is not findable. I'll keep at it, but I expect tish knows it anyway.</p>
<p> </p>
<p>The barn dance, which apparantly is not findable. I'll keep at it, but I expect tish knows it anyway.</p>
Last edited by a moderator:
Mrs. Rannous
Footballguy
Seriously? You think this manure would be fixed by now.
26.8 - Seven Brides for Seven Brothers - Dance scene
The barn dance. Not too findable. I'm pretty sure tish knows it anyway.
26.8 - Seven Brides for Seven Brothers - Dance scene
The barn dance. Not too findable. I'm pretty sure tish knows it anyway.
Mrs. Rannous
Footballguy
timschochet
Footballguy
Mrs. Rannous
Footballguy
I have tons of other picks in this category. I would have judged this one if tish hadn't gotten there first.
timschochet
Footballguy
I am making two moves here:
1. I am moving Paul Scofield as Sir Thomas More in A Man For All Seasons to historical portrayal.
2. I am moving West Side Story to movies about New York.
1. I am moving Paul Scofield as Sir Thomas More in A Man For All Seasons to historical portrayal.
2. I am moving West Side Story to movies about New York.
tish155
Footballguy
i would be happy to let you judge dance and i can take something else if thats an option. dont know if swapping is allowed at this point in the draft.
krista4
Footballguy
I had two in this category from the beginning, neither of which has been taken. The other would probably score higher, but this movie affected me greatly. It's fantastic, with incredible performances (how many Polish actresses have been nominated for an Oscar for a performance in Slovak?), but I'm not sure I could ever watch it again.
26.9 The Shop on Main Street - nazis
26.9 The Shop on Main Street - nazis
Nick Vermeil
Footballguy
Send them my way.
AcerFC
Footballguy
10. joffer- OTC til 11:00est
11. Tiannamen Tank- On Deck
12. Nick Vermiel- In the Hole
13. BobbyLayne- autoskip
14. tish155- I have her pick
15. timschochet
16. Karma Police- autoskip
17. higgins
18. hooter311- autoskip
19. Aerial Assault- autoskip
20. Val Rannous
21. Doug B- autoskip
22. Time Kibitzer
23. Andy Dufresne
24. Mister CIA-autoskip
25. rikishiboy
11. Tiannamen Tank- On Deck
12. Nick Vermiel- In the Hole
13. BobbyLayne- autoskip
14. tish155- I have her pick
15. timschochet
16. Karma Police- autoskip
17. higgins
18. hooter311- autoskip
19. Aerial Assault- autoskip
20. Val Rannous
21. Doug B- autoskip
22. Time Kibitzer
23. Andy Dufresne
24. Mister CIA-autoskip
25. rikishiboy
AcerFC
Footballguy
BobbyLayne
Footballguy
23.13 Scenes long take - Opening from Magnolia
AcerFC
Footballguy
Dr. Octopus
Footballguy
I was going on memory, but if that's the case then I can see why you passed. A lot of the ones I considered had that same issue - and some of the ones that were drafted (even mine to some degree) also suffer from that as well.
I don't think we ever had criteria for this one, but at the very least true monologues should score higher.
Dr. Octopus
Footballguy
Dr. Octopus
Footballguy
26.06 Conan the Barbarian - Super Hero
The original with Arnold (who mercifully is not asked to speak much) - although the reboot movie was much better than I could have expected and one of the most violent movies I've seen.
The original with Arnold (who mercifully is not asked to speak much) - although the reboot movie was much better than I could have expected and one of the most violent movies I've seen.
BobbyLayne
Footballguy
24.13 Movies England - Secrets & Lies
Print Page
Moment after moment, scene after scene, “Secrets & Lies” unfolds with the fascination of eavesdropping. We are waiting to see what these people will do next, caught up in the fear and the hope that they will bring the whole fragile network of their lives crashing down in ruin. When they prevail--when common sense and good hearts win over lies and secrets--we feel almost as relieved as if it had happened to ourselves.
Mike Leigh's best films work like that. He finds a rhythm of life--not “real life,” but real life as fashioned and shaped by all the art and skill his actors can bring to it--and slips into it, so that we are not particularly aware we're watching a film; he has a scene here, set at a backyard barbecue, that shows exactly how family gatherings are sometimes a process of tiptoeing through minefields. One wrong word, and the repressed resentments of decades will blow up in everyone's face.
It would be easy, but wrong, to describe the plot of “Secrets & Lies” as being about an adopted black woman in London who seeks out her natural birth mother, discovers the woman is white, and arranges to meet her. That would be wrong because it sidesteps the real subject of the film, which is that the mother and her family have been all but destroyed by secrets and lies. The young black woman is the catalyst to change that situation, yes, but her life was fine before the action starts and will continue on an even keel afterward.
Given the deep waters it dives into, “Secrets & Lies” is a good deal funnier and more entertaining than we have any right to expect. It begins with the black woman, a thirtyish optometrist with the quintessentially British name of Hortense Cumberbatch (played by Marianne Jean-Baptiste). After the death of her adoptive mother, she goes to an adoption agency to discover the name of her birth mother, and thinks there must have been a mistake, since the papers indicate her mother was white. There was no mistake.
We meet the mother, named Cynthia, who is played as a fearful, nervous wreck byBrenda Blethyn (who won the best actress award at Cannes for this performance). She lives in an untidy council house with her daughter Roxanne (Claire Rushbrook), who works as a street sweeper, is in a foul mood most of the time, and has a boyfriend whom she has thoroughly cowed. Cynthia mourns the fact that her beloved younger brother Maurice (Timothy Spall) hasn't called her in more than two years, and blames Maurice's wife Monica (Phyllis Logan), that “toffee-nosed cow,” for the long silence.
The phone rings. It is Hortense. “Oh, no, no, no, no, no, dear--there's been some mistake!” says Cynthia. But Hortense persists. Cynthia hangs up. The phone rings again, and she approaches it like an animal sure the trap is set to spring. But she agrees to meet Hortense, and the scene of their meeting--outside a tube station and then in a nearby cafe--is one of the great sequences in all of Mike Leigh's work, based on incredulity, disbelief, memory, embarrassment and acceptance. “But you can't be my daughter, dearie!” Cynthia exclaims. “I mean . . . just look at you!” She claims she has never even slept with a black man, and she is telling the truth, but then a moment comes when she arrives at a startling revelation, and we don't know whether to smile or hold our breaths.
Much of the film is devoted to the domestic life of Maurice and Monica. He is a photographer specializing in wedding pictures; she is a loving woman whose life becomes unbearable for herself and her husband every 28 days. Spall, whom you may remember as the proprietor of the doomed French restaurant in Leigh's “Life Is Sweet,” is a born conciliator, wanting to make everyone happy and usually failing.
The movie arrives at its magnificent conclusion at the family reunion, the barbecue where Cynthia brings Hortense and introduces her as a “friend from work.” Soon the family is trying to puzzle out why an eye doctor would be employed at a cardboard box factory. Leigh and his actors (who develop the characters and dialogue together, in collaboration) play this scene in one unbroken take, in which six characters eat, drink, talk, and stumble across secrets and lies.
I have admired the work of Mike Leigh ever since 1972, when his “Bleak Moments” premiered in the Chicago Film Festival. For many years he was an outcast from British cinema; it's hard to get financing when you don't have a script or even the idea for a film, but Leigh stubbornly persisted in his method of gathering actors and working with them to create the story. In the 1970s and 1980s, he worked mostly in London theater and for the BBC, and then came “High Hopes” (1988), “Life Is Sweet", “Secrets and Lies,” which won the Palme d'Or at Cannes, is a flowering of his technique. It moves us on a human level, it keeps us guessing during scenes as unpredictable as life (the visit, for example, of the former owner of the photography studio), and it shows us how ordinary people have a chance of somehow coping with their problems, which are rather ordinary, too.
One intriguing aspect of the film is the way Leigh handles race: The daughter is black, the mother is white, the family has no idea Cynthia had another child, and yet race is not really on anybody's mind in this film. They think they have more important things to worry about, and they're right.
Print Page
Moment after moment, scene after scene, “Secrets & Lies” unfolds with the fascination of eavesdropping. We are waiting to see what these people will do next, caught up in the fear and the hope that they will bring the whole fragile network of their lives crashing down in ruin. When they prevail--when common sense and good hearts win over lies and secrets--we feel almost as relieved as if it had happened to ourselves.
Mike Leigh's best films work like that. He finds a rhythm of life--not “real life,” but real life as fashioned and shaped by all the art and skill his actors can bring to it--and slips into it, so that we are not particularly aware we're watching a film; he has a scene here, set at a backyard barbecue, that shows exactly how family gatherings are sometimes a process of tiptoeing through minefields. One wrong word, and the repressed resentments of decades will blow up in everyone's face.
It would be easy, but wrong, to describe the plot of “Secrets & Lies” as being about an adopted black woman in London who seeks out her natural birth mother, discovers the woman is white, and arranges to meet her. That would be wrong because it sidesteps the real subject of the film, which is that the mother and her family have been all but destroyed by secrets and lies. The young black woman is the catalyst to change that situation, yes, but her life was fine before the action starts and will continue on an even keel afterward.
Given the deep waters it dives into, “Secrets & Lies” is a good deal funnier and more entertaining than we have any right to expect. It begins with the black woman, a thirtyish optometrist with the quintessentially British name of Hortense Cumberbatch (played by Marianne Jean-Baptiste). After the death of her adoptive mother, she goes to an adoption agency to discover the name of her birth mother, and thinks there must have been a mistake, since the papers indicate her mother was white. There was no mistake.
We meet the mother, named Cynthia, who is played as a fearful, nervous wreck byBrenda Blethyn (who won the best actress award at Cannes for this performance). She lives in an untidy council house with her daughter Roxanne (Claire Rushbrook), who works as a street sweeper, is in a foul mood most of the time, and has a boyfriend whom she has thoroughly cowed. Cynthia mourns the fact that her beloved younger brother Maurice (Timothy Spall) hasn't called her in more than two years, and blames Maurice's wife Monica (Phyllis Logan), that “toffee-nosed cow,” for the long silence.
The phone rings. It is Hortense. “Oh, no, no, no, no, no, dear--there's been some mistake!” says Cynthia. But Hortense persists. Cynthia hangs up. The phone rings again, and she approaches it like an animal sure the trap is set to spring. But she agrees to meet Hortense, and the scene of their meeting--outside a tube station and then in a nearby cafe--is one of the great sequences in all of Mike Leigh's work, based on incredulity, disbelief, memory, embarrassment and acceptance. “But you can't be my daughter, dearie!” Cynthia exclaims. “I mean . . . just look at you!” She claims she has never even slept with a black man, and she is telling the truth, but then a moment comes when she arrives at a startling revelation, and we don't know whether to smile or hold our breaths.
Much of the film is devoted to the domestic life of Maurice and Monica. He is a photographer specializing in wedding pictures; she is a loving woman whose life becomes unbearable for herself and her husband every 28 days. Spall, whom you may remember as the proprietor of the doomed French restaurant in Leigh's “Life Is Sweet,” is a born conciliator, wanting to make everyone happy and usually failing.
The movie arrives at its magnificent conclusion at the family reunion, the barbecue where Cynthia brings Hortense and introduces her as a “friend from work.” Soon the family is trying to puzzle out why an eye doctor would be employed at a cardboard box factory. Leigh and his actors (who develop the characters and dialogue together, in collaboration) play this scene in one unbroken take, in which six characters eat, drink, talk, and stumble across secrets and lies.
I have admired the work of Mike Leigh ever since 1972, when his “Bleak Moments” premiered in the Chicago Film Festival. For many years he was an outcast from British cinema; it's hard to get financing when you don't have a script or even the idea for a film, but Leigh stubbornly persisted in his method of gathering actors and working with them to create the story. In the 1970s and 1980s, he worked mostly in London theater and for the BBC, and then came “High Hopes” (1988), “Life Is Sweet", “Secrets and Lies,” which won the Palme d'Or at Cannes, is a flowering of his technique. It moves us on a human level, it keeps us guessing during scenes as unpredictable as life (the visit, for example, of the former owner of the photography studio), and it shows us how ordinary people have a chance of somehow coping with their problems, which are rather ordinary, too.
One intriguing aspect of the film is the way Leigh handles race: The daughter is black, the mother is white, the family has no idea Cynthia had another child, and yet race is not really on anybody's mind in this film. They think they have more important things to worry about, and they're right.
BobbyLayne
Footballguy
I see Dr. Octopus taking his 26th rounder - are we using a draft order? Thought we were still on the 25th?
AcerFC
Footballguy
We are well into the 26th GB.
26th
10. joffer- OTC til 11:00est
11. Tiannamen Tank- On Deck
12. Nick Vermiel- In the Hole
13. BobbyLayne- autoskip
14. tish155- I have her pick
15. timschochet
16. Karma Police- autoskip
17. higgins- autoskip
18. hooter311- autoskip
19. Aerial Assault- autoskip
20. Val Rannous
21. Doug B- autoskip
22. Time Kibitzer
23. Andy Dufresne
24. Mister CIA-autoskip
25. rikishiboy
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BobbyLayne
Footballguy
Aye, page one is pretty far behind, eh?
Dr. Octopus
Footballguy
I was making up my 26th round pick> I was #skipped last night. From what it looks like we are at 26.10 right now.
KarmaPolice
Footballguy
It was dilemma time - do you go with the far superior, foreign film or the terrible film that might have more of a wank factor for JML? In the end I went with the first choice, but we will see where that gets me: 24.16: Y tu mamá también (sex/adultery)
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timschochet
Footballguy
I'll get to it . Blame ####### Godzilla.
BobbyLayne
Footballguy
Played Tully Basconbe at the height of my acting career (age 16). It was a run.
KarmaPolice
Footballguy
Another English biopic by the same stuffy English director. Unlike King's Speech, I enjoyed this one though. Can't have this category without some soccer:
25.10: The Damned United (England)
25.10: The Damned United (England)
krista4
Footballguy
Sent to both. Thank you!!!!!!
Yes, you can, and it's a great pick (it's why I asked early in the draft whether we could take the same actor in the same category).
rikishiboy
Footballguy
please skip me today....gotta concentrate on other things.
charvik
Footballguy
Tiananmen Tank
Footballguy
#skip
meanjoegreen
Footballguy
I thought the same thing from casually following along. The rules regarding the multiple drafting of movies and actors should have been listed on the front page. Since you couldn't take the same movie or it's franchise once one was drafted, I too assumed you couldn't repeat an actor. It's hard for people to follow every piece of dialogue that is scattered throughout the draft when having to check in when they can.Damn it, I should have paid more attention. I thought once an actor was taken in a category, they were done
Nick Vermeil
Footballguy
26.12 Presumed Innocent - Cross Examination of expert - Courtroom Scene
Of course I can't find video of it, but it's a great scene where Raul Julia destroys the prosecutions expert witness against defendant Harrison Ford. Here's some nerdy law blog talking about the scene from the book.
This is a pretty solid courtroom movie where you are never quite sure, until the end, if Harrison Ford is innocent. And Greta Scacchi is smoking hot here.
Of course I can't find video of it, but it's a great scene where Raul Julia destroys the prosecutions expert witness against defendant Harrison Ford. Here's some nerdy law blog talking about the scene from the book.
This is a pretty solid courtroom movie where you are never quite sure, until the end, if Harrison Ford is innocent. And Greta Scacchi is smoking hot here.
BobbyLayne
Footballguy
RULES QUESTION
I'm going take a movie off the board with my next pick for a specific scene. Do I have the option to use the same movie but a different scene?
I'm going take a movie off the board with my next pick for a specific scene. Do I have the option to use the same movie but a different scene?
Andy Dufresne
Footballguy
I have a couple good monologues if someone's looking for one. I can't decide which one I want to take. One could also be used in Courtroom Scene.
BobbyLayne
Footballguy
25.13 - Dance Scene - Mr. Thackery and Pamela Dare, To Sir With Love
First half of this clip (second half is Lulu singing the title song):
http://www.youtube.com/watch?v=KPi-nnC8VD4
Full Movie
Norwood - I'm won't be around much until Monday. Here is what we have left: Scenes - Classroom, Courtroom, Fight, Romantic Gesture. Portrayals - Dramatic Actor in a Comedic Role.
First half of this clip (second half is Lulu singing the title song):
http://www.youtube.com/watch?v=KPi-nnC8VD4
Full Movie
Norwood - I'm won't be around much until Monday. Here is what we have left: Scenes - Classroom, Courtroom, Fight, Romantic Gesture. Portrayals - Dramatic Actor in a Comedic Role.
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Andy Dufresne
Footballguy
Dr. Octopus
Footballguy
If you move it to another category or just choose a different scene in that movie later, yes. If you want to have both scenes in different categories, no.
BobbyLayne
Footballguy
OK, thanks.
May later choose a classroom scene from To Sir With Love.
ETA: e.g., move it from Dance Scene to Classroom Scene using a different segment.
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Dr. Octopus
Footballguy
Dr. Octopus
Footballguy
timschochet
Footballguy
"Shall We Dance" from The King And I- dance
Yul Brynner and Deborah Kerr- iconic
Yul Brynner and Deborah Kerr- iconic
timschochet
Footballguy
To Sir With Love was written and directed by James Clavell- of Shogun fame.
BobbyLayne
Footballguy
I thought so, and I was a little bewildered by Joffer's response. I probably didn't make it clear in my initial question. Anyway, thanks for clearing that up for me.
BobbyLayne
Footballguy
Sidney Poitier was on a helluva run when that came out.
ETA: I've always spelled his name wrong
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