― Dr Morbius (Dr Morbius), Sunday, 9 April 2006 17:20 (twenty years ago)
― jinx hijinks (sanskrit), Monday, 10 April 2006 01:12 (twenty years ago)
(even though i kinda hate jacques tati)
― s1ocki (slutsky), Monday, 10 April 2006 01:31 (twenty years ago)
jinx, how so? I was in the third row next to TWO OLD GUYS WHO WOULDN'T SHUT UP.
― Dr Morbius (Dr Morbius), Monday, 10 April 2006 12:13 (twenty years ago)
― Dr Morbius (Dr Morbius), Monday, 10 April 2006 12:42 (twenty years ago)
― jinx hijinks (sanskrit), Monday, 10 April 2006 13:18 (twenty years ago)
― jaymc (jaymc), Monday, 10 April 2006 16:12 (twenty years ago)
― Washable School Paste (sexyDancer), Monday, 10 April 2006 16:13 (twenty years ago)
― s1ocki (slutsky), Monday, 10 April 2006 16:16 (twenty years ago)
holy shit the bluray of this @_@
i take back everything bad i said about the guy
― super mario bros. (s1ocki), Thursday, 31 December 2009 16:52 (sixteen years ago)
the scales fall from the eyes
― Rage, Resentment, Spleen (Dr Morbius), Thursday, 31 December 2009 16:58 (sixteen years ago)
in a major way
TBF i'd only seen mr hulot's holiday which i'm not sure i'd like now either
― super mario bros. (s1ocki), Thursday, 31 December 2009 16:59 (sixteen years ago)
incredible restoration
Playtime is sort of a leap beyond (while being part of his vision) in the way 2001 is for Kubrick.
also I am gonna hafta rassle sexyDancer for that comment above.
― Rage, Resentment, Spleen (Dr Morbius), Thursday, 31 December 2009 17:04 (sixteen years ago)
i just watched 2010 out of curiosity
it is kind of the godfather 3 of scifi
― super mario bros. (s1ocki), Thursday, 31 December 2009 17:06 (sixteen years ago)
heh, not even!
― Rage, Resentment, Spleen (Dr Morbius), Thursday, 31 December 2009 17:07 (sixteen years ago)
more like the Faraway, So Close!
I assume BR has doc scenes of Tativille being destroyed.
― Rage, Resentment, Spleen (Dr Morbius), Thursday, 31 December 2009 17:08 (sixteen years ago)
BR? Baton Rouge? Some kind of Louisiana-France exchange program?
― the embed's too big without you (James Redd and the Blecchs), Thursday, 31 December 2009 18:17 (sixteen years ago)
http://chud.com/articles/content_images/5/blu_ray_300px.jpg
― super mario bros. (s1ocki), Thursday, 31 December 2009 18:54 (sixteen years ago)
Oh, of course.
Are you going over to FF to Ring In The New Year With Jack & Shirley tonight, Morbius?
― the embed's too big without you (James Redd and the Blecchs), Thursday, 31 December 2009 19:16 (sixteen years ago)
jealous if u r
― ctrl-f-u (s1ocki), Thursday, 31 December 2009 19:24 (sixteen years ago)
dooooooooooooooooooooooooope film. I wd go bluray for tati
true fact: I walked out the cinema the first time I saw this; it's now probably my favourite film
were you not a fan before, slocki?
― cozwn, Thursday, 31 December 2009 19:25 (sixteen years ago)
dr morbs the accepted shorthand is BD not BR fyi
― cozwn, Thursday, 31 December 2009 19:26 (sixteen years ago)
i had never seen it cozenationator
― ctrl-f-u (s1ocki), Thursday, 31 December 2009 19:31 (sixteen years ago)
no Redd, I have about fifteen 00's films to evaluate.
― Rage, Resentment, Spleen (Dr Morbius), Thursday, 31 December 2009 21:04 (sixteen years ago)
watched it again last night.
just... magnificent.
― Who Makes the Na'vis? (s1ocki), Tuesday, 12 January 2010 17:09 (sixteen years ago)
“The Royal Garden sequence, making up roughly half of the film, may be the most formidable example of mise-en-scène in the history of cinema. It is certainly the most Brueghel-like in its expansion of the principle—found in such populated landscape paintings as Landscape with the Fall of Icarus and The Procession to Cavalry—that life and history unfold in a plethora of small, almost indiscernible details.
“The crucial catalyst for our appreciation of this sequence is the music, played by two successive bands and then sung by an old-fashioned chanteuse, who’s eventually joined by the customers—an element that helps us to cope creatively with Tati’s overload of invention by furnishing a rhythmic base to work from. Thanks to this music, each set of visual options has a rhythmic pattern for one’s gaze to follow while scanning the screen’s busy surface of swarming detail, through which we can join Tati in charting our own choreographies, improvising our own organizations of emphasis and direction in relation to the director’s massive ‘head arrangement.’ What other movie converts work into play so pleasurably by turning the very acts of seeing and hearing into a form of dancing?”
(rosenbro)