So it’s come to this: I’m not gonna pretend there’s any more to this than, Hey, I’ve got this folder with photos of pretty people smoking cigarettes, and I figure I can’t be the only one who likes looking at these, so… here you are. A new one every week. Trying to link to official sources and give credit as thoroughly as I can. No need to tell me that smoking is awful, either. I know.
No reviews on Letterboxd last week, but for the record, here’s what I watched:
• On Wednesday, March 18, I watched “Song of the Sea” (2014). 4½ stars.
• Also on March 18, I re-watched “Dredd” (2012) in 3D. 4½ stars.
• On Friday, March 20, I saw “Sans toit ni loi” (“Vagabond,” 1985). 2½ stars.
• On Saturday, March 21, I re-watched “Planet of the Apes” (1968). 4½ stars.
• And on Sunday, March 22, I watched “Boudu sauvé des eaux” (“Boudu Saved from Drowning,” 1932). 3½ stars.
Finally, we get to the third part of “Yesterday, Today and Tomorrow,” Mara. It’s my favorite story in De Sica’s film, and we get treated to plenty of beautiful imagery, most notably courtesy of Sophia Loren, of course:
But, sticking with the theme, my pick for Best Shot is once again one of Marcello Mastroianni being denied the pleasures he seeks. Plus: cat!
Following Adelina, the second story in “Yesterday, Today and Tomorrow” is the Milan-set Anna. It’s the shortest of the three, and the camera is locked in on Mastroianni and Loren in the car most of the time, so there aren’t as many memorable shots as in the other installments. I love the way Anna looks at Renzo, seen above, but my favorite shot focuses, once again, on Marcello Mastroianni:
Part 3 coming up!
This week we’re watching Vittorio De Sica’s “Ieri, oggi, domani” (“Yesterday, Today and Tomorrow”), winner of the 1965 Best Foreign Language Film Academy Award and showcase of Sophia Loren and Marcello Mastroianni as maybe the two sexiest people on the planet at that time.
The film is made up of three stories, and I will share my favorite images from each in separate posts. First: Adelina.
My favorite shot, and this will be a repeating theme in the second and third installment, as well, is Mastroianni defeated:
Parts 2 and 3 to come. You can (and should, really) watch “Yesterday, Today and Tomorrow” on Netflix or wherever fine films are offered.
I made this handy chart to help you keep track of the “Fast and Furious”-franchise‘s inconsistent naming scheme.
In the episode “Brother from the Same Planet,” Homer engages in a long, drawn-out fist fight with Bart’s Bigger Brother, Tom. It wasn’t until I bought the DVD set of season 4 in 2004 that I learned this was a direct reference to the 1952 John Ford film.
Showrunner Al Jean explains in the episode’s audio commentary:
“We were looking to rewrite the ending of the show, and [Sam Simon] suggested that we look at the movie ‘The Quiet Man,’ the John Wayne movie where he and Victor McLaglen have this huge fight that goes all the way across Ireland. And I remember we came in on a Saturday to watch that movie, or to watch at least the fight sequence, which goes on for a long time.
It’s a great fight. Just two huge guys pounding each other all the way across Ireland. And the people in the community really love the fight. John Wayne, at one point, is dragging his wife across town, and a woman comes up and goes, ‘Here’s a stick for you to beat the pretty lady with.’ It’s these attitudes you certainly couldn’t put in a movie now.”
The film won Ford and cameramen Winton C. Hoch and Archie Stout Oscars in 1953, and there are plenty of images to pull from “The Quiet Man” that confirm the Academy’s judgement. Here are some of my favorites:
My best shot of “The Quiet Man,” though, is this one from just a few minutes into the film:
It’s the first time Sean (Wayne) lays eyes on Mary Kate (O’Hara), and the way she leaves the frame on the bottom of the image, dwarfed by the emerald trees of Inisfree, is just so unusual and beautiful to me.
“The Quiet Man” is streaming on Netflix.
So I was searching for photos of Brie Larson, Shailene Woodley and Miles Teller (as you do) and came across this gallery from the 2013 Sundance Film Festival and it is amazing. My favorite picture in it and quite possibly the greatest thing to ever appear on the internet is the one of Amanda Seyfried posing with some very happy photographers. Just amazing.
At RogerEbert.com, Michał Oleszczyk writes about Polish director and “sci-fi visionary” Piotr Szulkin.
And on The Film Experience, Anne Marie Kelly writes up my favorite noir, Ida Lupino’s “The Hitch-Hiker” (1953):
Over on Letterboxd I rate and occasionally review the films I see. Here’s my activity for week 11 of 2015:
• On Monday, March 9th, I watched “Still Alice” (2014) and gave it 4/5 stars.
• On Tuesday, March 10th, I rewatched “Robot & Frank” (2012) and gave it 5 stars.
• On Wednesday, March 11th, I watched “À nous la liberté” (1931) and gave it 4 stars.
• On Thursday, March 12th, I watched “Le bonheur” (1965) and gave it 4½ stars.
A character in this movie describes a kind of scene that usually happens in these kinds of movies and then says “But this is not that kind of movie” and then the next thing that happens is literally that kind of scene.
Many, many great parts that somehow add up to less than their sum. Still very enjoyable, but also quite erratic in its tone. More “Free Bird,” less exposition would have been nice. And don’t waste Jack Davenport like that.
What is more menacing than an avalanche moving slowly towards you?
A camera doing just the same.