Rightwing Film Geek

Page updates

Over the weekend, I updated all the site’s ancillary pages — Screening Log, 2009 Top 10 and Past Top 10s — to reflect recent viewing. The 2009 Top 10 still won’t be official for a couple of weeks though (have a couple of screeners to see and a couple of movies to catch up on).

As should be obvious from the screening log, I’ve spent a lot of time recently watching old movies on video. What’s been going on for the past year is a major space-saving(?) project. I’m in the midst of transferring to DVD my entire taped-off-the-air VHS collection. I started taping movies off the air around 1988 and I have since built a collection of more than 400 tapes and probably about 900 movies. I’m about 60 percent of the way through and hope to have it done by 2011. I can’t dub my purchased VHS tapes (about 200) because my dubbing machine refuses to touch anything with Copyguard, so I will continue to have VHS. And I dunno what I’m gonna do with my old tapes though — doubt there’s much of a market for VHS (unlike vinyl records, there’s no possible argument for its aesthetic superiority). But if anyone wants anything …

Anyhoo … so with my VHS-to-DVD copier constantly running, I’ve been sucked into a lot of movies. Just in the past week, I realized that I’ve practically memorized THE THIRD MAN and DOUBLE INDEMNITY, that Pauline Kael was correct in citing THE GOLDEN COACH as Anna Magnani’s greatest performance (she’s both lustily ferile and sunnily comic), and that Joseph Losey’s opening scenes in THE CONCRETE JUNGLE of a snitch returning to jail are among the purest distillation of dread this side of Alfred “most overrated ever” Hitchcock (though Losey fumbles things a bit with awkward use of a then-chic jazz score).

I also watched scenes and bits from pictures, which I didn’t put on the Screening Log because something called away or I was tired or for whatever reason didn’t watch the whole film. And these were some of the reactions I had:

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January 18, 2010 Posted by | Abel Gance, Andrei Tarkovsky, Michelangelo Antonioni, Sergio Leone, The Project | Leave a comment

Joe Queenan on Hitchcock

When I got home, I read the Hitchcock essay that I referred to in my last post. It was a piece written for Movieline by Joe Queenan and reprinted in his book “If You’re Talking to Me, Your Career Must Be in Trouble.”¹ I knew I had to wait to quote an excerpt from his essay as a separate post, because he made the point I wanted to make so much funnier than I could.

His point about Hitchcock, contra Ben Shapiro’s claim that he started with good premises but had no follow-through, is … well … the exact opposite. That Hitch began with ludicrous premises and made great films out of them. Here is Queenan, a wonderful film critic as humorists go:

It’s hard to look at SPELLBOUND today without chortling at its pop Freudianism, and the same is true of VERTIGO, REBECCA, NOTORIOUS and SUSPICION, all of which are wonderful motion pictures whose abiding appeal is not diminished by the fact that they are, at heart, really quite ridiculous stories.

Look at his subject matter. Most serious moviemakers will move heaven and earth to get to the point in their careers where they can film the important works of Western literature; JANE EYRE, THE GRAPES OF WRATH, MADAME BOVARY, THE LAST TEMPTATION OF CHRIST. Hitchcock started out with writers like Daphne DuMaurier and worked his way down. His dalliances with the masters were few, far between and futile

bad books were what Hitchcock made good movies from. Hitchcock was always and forever in the alchemy business, taking what the English call “penny dreadfuls” — heavily plotted, convoluted thrillers — and turning them into visual masterpieces

one aspect of Hitchcock’s movies that has not received sufficient critical attention is the fundamentally idiotic nature of his stories. If you were Ingrid Bergman and your boss, the head of the Green Manor loony bin, told you he was stepping down and handing over the reins to a famous psychoanalyst no one had ever met or even seen a photograph of, wouldn’t you find that a bit strange? … If you were a comely young woman who had just spent 15 minutes chatting with the decidedly quirky Norman Bates, would you then strip to your black slip and brassiere and take a shower? If you were a timid dumpling being slowly driven insane by a psychotic housekeeper with overtly lesbian tendencies, mightn’t it have occurred to you to corner Laurence Olivier and say “Look, honey, if it’s all the same to you, couldn’t we just can that bitch?” … No, it’s all quite mad, isn’t it; and yet, so devilishly clever. Hitchcock simply had no equal in making the most absurd plot lines seem plausible, perhaps even realistic.

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¹ Blurbed by Dave Barry: “If you’re a fan of informed viciousness — and who isn’t — you will love this book.”

January 18, 2010 Posted by | Ben Shapiro, Joe Queenan | Leave a comment

I blame Sonny

My (unfortunately) former colleague Sonny Bunch ruined my day with this tweet:

When it’s said that the right isn’t to be trusted re: movies, it’s because Big Hollywood publishes things like this http://bit.ly/6C1Xs3

… which will take you to the invaluable Andrew Breitbart site, and to an essay by Ben Shapiro that I can only call the most puerile piece of neener-neener adolescent contrarianism I have ever read. (Sonny was no less hostile, calling it “the single stupidest list I’ve ever seen“; his Twitter feed suggests we may see his rebuttal at Big Hollywood soon.) It’s also a credit to Big Hollywood’s readers that the reaction in the combox has been overwhelmingly negative, and with a suitable amount of vitriol.

Shapiro’s list is the 10 Most Over-rated Directors of All Time. And he picks some sacred cows, the two most sacred probably coming at the end:

10.  Ridley Scott …
9.  Michael Mann …
8.  David Lean …
7.  Darren Aronofsky …
6.  Mike Nichols …
5.  David Lynch …
4.  Quentin Tarantino …
3.  Woody Allen …
2.  Martin Scorsese …
1. Alfred Hitchcock …

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January 18, 2010 Posted by | Ben Shapiro | 13 Comments

   

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