ILX Film Club, The (1924-2019)

so this was, what, fine? OK? a bigger budget version of the longer silent comedies from the late 20s, and I enjoyed watching it well enough, but that's kind of it. the cinematography was nothing special, the comedy scenes were neither funny nor spectacular (apart from the first one where he was sleeping on the statue) - the story with the rich drunk could have been developed a little. most importantly I'm afraid i found the central love story just kind of mawkish and basic, and the famous last scene just left me cold. think I have to conclude that I am Just Not Into Chaplin.

Think Keaton works better for a modern audience than Chaplin does, the latter often gets mawkish.

I don't like how transactional the romance feels. she loves him because he paid for the operation which restored her sight, but there's very little to show she really knows who he is. what if, having found out he's a penniless tramp and the money was stolen, she finds she isn't really into him? Kindness towards people you pity isn't romance, surely. of course this is entirely my reading and she may actually be really into him, but it was a surprise that I didn't feel completely on-board at the end.

https://i.postimg.cc/hGCj1LB8/lf.jpg

M, Fritz Lang, 1931

Morbsies #70
Sight & Sound Critics #36

youtube link, English subs

I have yet to meet the person who doesn't love or at least really, really like this movie. Prove me wrong, ILX!

Melancholia (von Trier, 2011)
The Earrings of Madame de...(Ophuls, 1953)

Finally got to watch it on MUBI. Just perfect. Silly people make it hard for themselves.

I was reminded this evening that I watched the von Trier a couple of months ago. It's kinda unique how Von Trier got into making really good films by the end of his career.

fair but so uncool beliefs here (Eric H.) at 10:38 12 Jun 23

I have yet to meet the person who doesn't love or at least really, really like this movie. Prove me wrong, ILX!

https://i.imgur.com/mrQz5lH.jpg

Shanghai Express, Josef von Sternberg, 1932
Morbsies #229

Flaming, goddamn masterpiece this one is

it's here because it's somebody's number one pick.

I thought I had it downloaded, but I didn't, so just resolved that.

it isn't on youtube

The only one of the six-film run from Morocco to The Devil is a Woman that has never been in the “first among equals” position in my personal rankings is Devil, but lately I am settling on Shanghai being the true best, tho Empress outdoes it in sheer gall

this was an odd one, for the first half an hour or more I wasn't getting into it at all, despite those amazing shots of the train going through the market, I think maybe the lack of restoration on the copy I was watching hobbled it somewhat.

then suddenly it all clicked, and I was gripped. Marlene Dietrich's performance is straight up astounding, and the way close ups are used! it just feels like a breakthrough, very much pre-code in the way the characters are free to be themselves, even Chang is well-drawn and in no way a cartoon villain. (Did find it bizarre that this warlord and his army in Northern China were speaking in Cantonese throughout, but makes sense in terms of actors available in Hollywood in 1932)

Oh and quite chuffed to have picked up that it was a loose adaptation of Boule de Suif, I was a bit obsessed with Maupassant after doing some of his short stories for GSCE English literature, and don't see him referenced nearly enough.

Going to try to find a restoration for a better re-watch.

think I'm too cishet to fully "get" Sternberg/Dietrich :(

not really sure what you mean, I don't really like camp or kitsch and I didn't see any of that here

Yeah I'm not sure what is meant by that.

---

The Earrings of Madame de...(Ophuls, 1953)

Sorry lol already posted about that.

Yeah, only parts of Scarlet Empress and maybe Devil is a Woman are, to my eyes, tipped over into genuine camp

I dunno about camp, but I bought that Criterion box and watched up to and including Blonde Venus - there seemed to be a big thematic preoccupation with obsessive passion arising from often forbidden or impossible love, and a focus on female pain (that last shot of Morocco!), portrayed with solidarity as opposed to sadism. Is it controversial to say those are traditionally queer themes? Anyway while I admired the visuals and emotional commitment of those films there was something about them that kept me at arm's length regarding them, thus my initial post, which was meant half-jokingly and self-deprecatingly if that didn't come through.

Is it controversial to say those are traditionally queer themes?

No, but also, y'know, feminist themes as well

I like Sternberg (aka the fake "von") but I'd rather discuss Ophuls.

https://upload.wikimedia.org/wikipedia/commons/f/f3/Kingkongposter.jpg

King Kong, Merian C Cooper & Ernest B. Schoedsack, 1933

Morbsies #546

Saw someone in a discord the other day arguing that sfx age but good storytelling does not so we still like King Kong because it's a great story, despite the aged effects. Wrong! Special effects can have aesthetic value that goes beyond their state-of-the-artness and the reason we like King Kong is because big munhkee looks great, despite the story being mostly bullshit.

"Twas beauty killed the beast" - nah dude pretty sure it was you taking this poor animal out of his habitat and flogging him as a circus attraction that's to blame here.

Not sure if I've seen this in full before, if I have then it was in the early 90s and I wasn't paying attention.

This is not on youtube in full, there is a hacked down one-hour version but I won't bother sharing it.

It's on iplayer for brits and those with a VPN.

they used to show an extract from this on the Granada Studios Tour (before the MotionMaster "experience", which was a bit disappointing in comparison), it was definitely the best part after getting to walk round the real Coronation Street

Finally watched this last night, all very familiar, but interesting to see it in the context of the year. The editing & direction for the non-monster scenes is interesting after watching Shanghai Express, there is still this slight disconnect between lines of dialogue, but it's at least getting there. Fay Wray and Robert Armstrong were fine, other actors were pretty bad, including Bruce Cabot, who seems to have made the best career out of it anyway.

Agreed that Kong himself looks magnificent, just really ground-breaking animation, really feels like a living, breathing character, this is the main (if not only) reason the film works so well. The dinosaurs on the other hand were a bit shit.

So yeah, not by any means the best film I've ever seen, and the racism is inexcusable, but I can understand why this would be someone's favourite.

https://upload.wikimedia.org/wikipedia/commons/c/c7/Duck_Soup_%281933_poster%2C_Style_B_half_sheet%29.jpeg

Duck Soup, Leo McCarey, 1933

Morbsies #31
Sight & Sound Critics #211

I have seen this looooads of time already, so I'm going to spend the week bingeing the 30s Marx Brothers films and see if I can work out why this is The One.

Is there a Marx brothers box set out there in region 2?

Arrow has a box of the 4 paramount features.

there is a comprehensive torrent out there too

I'm going to spend the week bingeing the 30s Marx Brothers films and see if I can work out why this is The One.

My theory (and worth less than what you paid for it): a combination of a better director of comedy, the Marx Bros' growing experience and confidence in film performing, and little or no enforcement of the Hays Code.

'Duck Soup' and 'Everything Everywhere all at Once' are the only two films I simply could not finish in the last six months.

I can imagine if you aren't into their humour then any Marx Brothers film would be challenging to watch.

But I am very much into their humour.

Not finishing an 80-minute film takes some effort!

Sorry -- 70 minutes.

Horse Feathers is 63 minutes!

actually, now I'm inspired: xyzzz, have you seen much Hollywood comedy and what are your favorites?

xyzz surprisingly not a fan of Marx!

I got very uncomfortable with it tbh. Wasn't doing anything for me and had nothing to hang onto. It's really rare when that happens.

xp: I've seen a Chaplin film as part of this. Several Buster Keaton films. I find lots of things funny.

xxp: 😂

I found Duck Soup more theoretically amusing than actually laugh-inducing, though I enjoyed the "mirror" scene a lot.

Oh, I meant if you've watched any Sturges, Hawks, etc.

yeah I like Duck Soup and will likely show it in class but it has as many misses as hits. The brio of the thing gets it by.

My discovery this week is how solid Animal Crackers and Monkey Business are. I'd kind of written them both off as unpolished and patchy but there's loads of great stuff in both.

Oh, I meant if you've watched any Sturges, Hawks, etc.

― the dreaded dependent claus (Alfred, Lord Sotosyn), Monday, 3 July 2023 bookmarkflaglink

Like Bringing up Baby. Not seen anything like enough though.

Today was Duck Soup day, think I have worked out why this one seems like a step up. Previously I considered it basically on a par with Horse Feathers, but with a weaker ending. But while I still loved Horse Feathers yesterday I have to admit there's a 20-minute stretch (the piano lesson / scene on the boat / failed kidnapping / start of the football game) which is a bit sub-par, especially the bit on the boat, Thelma Todd is mostly excellent, but in that scene she and Groucho are tonally completely off. Whereas in Duck Soup you've got Margaret Dumont, who is never anything short of perfect as a foil.

But Generally Duck Soup just doesn't have any of those weaker sequences, in fact the mirror scene (I think my favourite) is placed at the same point in the story as the sagging section of Horse Feathers. In the previous four films they vacillate between having no real plot at all and having a plot acted out by Serious Actors with the brothers intruding. In Duck Soup they are central to the plot, and people don't ignore them, someone even starts a war because Groucho has been so rude to him, and that just feels right.

Also should note that Zeppo is barely in this one, you can already feel he's halfway out of the door. While I do feel sorry for him, it's never really worked out, and just inserting him as the romantic lead was never going to work.

The ending, then. Last watch I felt it was too rushed, this time it felt just right, I just wanted more! less than 70 minutes is not enough.

Watched A Night At The Opera last night, have seen many times before and was wondering whether it would be worse in context. the MGM pictures (I've just discovered) have this reputation for getting away from the core Marx Brothers product and wasting time on extravagant musical numbers, etc. And yes, several huge musical numbers (including the titular opera of course) and proper actors doing a proper plot, and the spirit of chaos has definitely been dialed down several notches. But it turns out I still love it. The musical numbers are spectacular, the atmosphere of the song on the boat and Chico & Harpo vamping after is an incredible bit of cinema. Then there are so many brilliant scenes - the contract, all the people in the cabin, moving the beds in the hotel, just all the mad things that happen during the opera - the bigger budget only makes these better. The only thing I would say is a step down is the pace of some of the dialogue, Groucho keeps pausing between lines, or saying things that aren't jokes, "I was looking forward to this breakfast" for example. But it's only a minor gripe, I still think it's as good as Duck Soup.

https://www.originalposter.co.uk/uploads/366726100444794_mainphotos.jpg

L'Atalante, Jean Vigo, 1934
Sight & Sound Critics #34
Sight & Sound Directors #46

I had given up checking, but the whole thing is available on youtube it seems.