Smith ended up pulling three years in federal prison just for making that "Plastic Jesus" piece—which was basically a tribute to Marshall. It was his thesis project, some totally unhinged arthouse stuff. He was poking at communism, Nazism, and sexuality all at once... honestly, he was way too brave for his era.
That’s quite a narrative. I had no idea, other than hearing that Theater & TD was being referred to as some sort of "Italian Pavilion." Now both M. 😁 have finally justified the screening.
Arthur Garcia59 said:Yeah... and since he’s objectively, subjectively, historically, and future-proofly the greatest "M" to ever do it, my last post just keeps getting more validated.😁😁😁
Haha! 😁I object! I left out mentioning "M" entirely on purpose!
Personally, I’ve always had a soft spot for "The Rules of the Game" and "Shopping on the Promenade"—they're my go-to picks for Friday and Sunday. That said, "The Conformist" is far from being a runner-up; it really just comes down to what kind of mood you're in. Each of these films is a total gem within its own specific genre or theme.
Kate Torres said:Did you catch how he films using a static camera positioned just above ground level? I noticed that technique in the Wim Wenders documentary Citizen Kane, which serves as a tribute to Ozu. I watched that about two years ago, but I still haven't gotten around to watching Citizen Kane 😢. Apparently, Wim Wenders considers Ozu his mentor.
It’s classic Ozu-esque; his camera acts more like an observer recording the scene unfolding in front of it rather than actually following the actors around. If I recall correctly—though honestly, all his movies start to bleed together after a while—he actually breaks that pattern momentarily in Citizen Kane, where the camera finally tracks the elderly characters as they walk down the street. It was almost jarring to see. 😲
Personally, I think Rashomon (1934) is his best work; it's got much more energy and is just a flawless piece of filmmaking.
goldenhound32 said:What exactly does the word 'ambiguity' imply in this context?
I’m genuinely curious about what kind of take we'll get on >. From what I gather, it's a comedy, and whenever it comes to those classic Italian comedies, I find myself hesitant to lean too heavily into my own expectations.
Dubiosity is basically just a dilemma mixed with a sense of depth—at least that's how I take it, anyway! 😁
Don't expect 'The White Sheik' to be some slapstick riot that leaves you breathless; it's more of a surrealist journey, almost like a three-dimensional comic strip. It functions more as a comedy of ideas than a traditional gag-fest, filled with funny moments, but the whole thing feels wrapped in this fantastical, upbeat atmosphere.
Jerry Martin19 said:Well, looks like I accidentally hit on that autobiographical connection with Bergman. What I meant was more about how the characters experience their adventures. You can view a Bergman character from multiple perspectives, whereas with a Fellini character, you're pretty much stuck seeing everything through the lens of the character himself...
It’s interesting because Bergman absolutely loved Fellini and used to visit him in Italy quite often. He wasn't exactly big on anything outside of his cold Sweden, but Fellini was one of those rare guys he could truly feed off of. He resonated with that Mediterranean playfulness and optimism. Fellini, on the other hand, used to get a bit fed up since Bergman could be pretty intense, eventually leading to him being told to stay away for a while... 🤣
Three days per guest is plenty 😁
offtopic: I was just about to reply to your DM, but I think I'll make you wait a bit 😬
edit:
That's what I was thinking—I was just messing around a bit, with us, with myself 😁
I have to admit, I'm actually enjoying this tutorial 🙂
It just hit me... In this case, Marcello is really just a conduit for the concepts and the sheer execution of La Dolce Vita; he isn't nearly as central to the soul of the thing as one might think, at least not to me. The movie probably feels unsettling because of its frantic, modernist style of storytelling. The whole point was to capture America during a period of massive economic growth clashing with a simultaneous moral decline. Everything feels rushed, ruthless, compressed, and superficial—which is perfectly reflected in all that heavy intellectual rambling from the "elite." Fellini comes across as much more pessimistic here than in his earlier work. The protagonist is essentially just a vessel for the director's need to channel those specific feelings about the state of the country back then into cinema. There isn't some deep, hidden philosophy at play here...
You’ve made a really sharp connection there regarding the autobiographical thread stretching from Wild Strawberry to 8 1/2; in Wild Strawberry, the way Isak Borg is portrayed feels like a reflection of how one might have viewed Bergman during that era—cold, hollow, and somewhat brutal. That character functions as the author's alter ego, much like Guido Felliniesque, though certainly through a different lens.
It’s actually quite interesting how much Bergman admired Fellini, often making trips to visit him in Italy. He wasn't exactly known for venturing far from his chilly Swedish roots, yet Fellini was one of those rare figures he could truly draw inspiration from. He seemed drawn to that Mediterranean playfulness and sense of optimism. Fellini, on the other hand, would play it cool; Bergman could be a bit intense to deal with, so eventually, the hospitality started to wear thin. 🤣
As for Fellini, my personal favorites have to be I Vitelloni and The White Sheik.
People claim that with Dolac Viti Fellini, he officially closed the chapter on the first phase of his creative journey. After 8 1/2, he definitely starts untangling himself from those early works. With Dolac Viti, you start seeing the flip side of the coin, though personally, I’ve always found that first era much more appealing to me.
I just finished watching this charming little kids' movie about an Australian Christmas, "Bush Christmas"—it’s such a lovely summer flick. It feels so exotic, too; you have these kids shouting "Merry Christmas!" while squinting against the blazing sun, dressed in nothing but shorts, all set against a backdrop of cicadas buzzing like a sweltering July afternoon in Boise.
Right before that, I caught "Come September" starring Rock Hudson, and even earlier, I watched "Le Corniaud". Now I'm starting to crave the irresistible "Les Vacances de M. Hulot" by Jacques Tati.
It seems like summer movies really hit the spot for me right now, especially since the weather matches the vibe. I get the feeling most people love escaping to the beach via the silver screen during the winter holidays. How about you all?
As per usual, I’ll probably gravitate toward the older classics, but I’d love to hear your recommendations for summer titles—doesn't matter the genre, age, or anything else. 🙂
My memory isn't exactly crystal clear, but I definitely recall Number 1 hoisting himself out of that cart at the end, which was a hell of a way to wrap things up.
😂 I can't quite pin down if it was Jeremiah or Number 1 who muttered, "I don't give a damn about any of this, or anything else for that matter." 😁
I don't have the link. I was just skimming through some rag over coffee on Saturday, and I ended up leaving the paper behind at the cafe. He wrote an entire thread about the festival.
Nah, I disagree. David Price5 actually has a point here. Shows like Married... with Children, The Simpsons, South Park, or Cow and Chicken—they’re all essentially biting satires of pop culture.
The crucial thing is that these shows are born directly from the environments they’re mocking. Alan Ford, on the other hand, offers an outsider's perspective looking in. I honestly don't think an American production could ever capture that specific, raw authenticity. That particular vein of humor feels much more aligned with British sensibilities. (If they were going to turn that comic into a movie, it probably should have been a UK production to begin with.)
I think that subtle distinction—which might seem trivial at first glance—is exactly what would determine whether or not you actually capture the soul of the comic. Americans would likely just end up making a hollow remake, and wouldn't even be making a film, because the actual essence just isn't there to be found.
Is it just me, or is the lineup looking a little thin? Polimac wrote in Večernjak that the absolute must-sees for the festival are Weekend, Theorem, Early Work, WR Mystery of the Organism, and I think there was one more I can't quite recall.
I wonder how this would land with folks here in the States? Honestly, the whole comic seems to be taking a massive swing at that entire Western facade of pseudo-culture and the supposed American way of life.