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Spring Season: Week 15
Gonna make it quick this week: back to work, wireless earbuds are proper futuretech, covert podcasts make the shifts go by MUCH quicker, one week into trying to lose some weight, I miss the burritos already, Mémère's birthday was nice for what it was (giving her presents in a parking lot), movie theatre is opening next weekend although our case numbers are on the rise, the van is dying, boil water advisory finally got lifted, New Pokémon Snap means I need to get a damn Switch now, thumb is all covered in fresh pink skin that is very tender but keeps all of the blood inside, watched far too many movies on my week off so I'm mostly just c/ping from Letterboxd this week, okay let's go!
Themes for the week include Jean Arthur (four movies), Gary Cooper (seven movies), and my old friend Columbia Noir (eleven movies, but only five I didn't watch during my last time in the pit)~
Fast Five (2011): I DON'T UNDERSTAND HOW A SERIES SO CRAPPY GOT SO GREAT SO SUDDENLY. They just got worse and worse until they hit rock bottom and then smashed through the floor and somehow wound up warping up through the ceiling and breaking the game.
The Cowboy and the Lady (1938): Almost painful in its earnestness, but everyone in this movie is just so gosh darn endearing that it winds up being a whole lot of fun for a pretty straight romance. Uncle Hannibal for MVP, but it's a real tight race, those maids were awesome.
Pushover (1954): Novak feels like she's trying too hard, but the way the tension just keep on steadily ramping up through the entire runtime? SO good.
The Lineup (1958): Cut the boring cop stuff and this movie is 🔥🔥🔥🔥🔥
Adam Resurrected (2008): Oh my god you guys it's Jeff Goldblum in The Day the Clown Cried.
The Limey (1999): My second favourite movie to open with a mysterious car accident on Mulholland Drive featuring an incompetent hitman and a black-and-white headshot of Melissa George.
Le Charme discret de la bourgeoisie (1972): Fun, but way too disconnected from any real frame of reference I have for the satire to have much bite. Better when it gets into the more surreal stuff. Have I mentioned yet how much I like Jean-Pierre Cassel? I really like Jean-Pierre Cassel. MANGE LES RICHES.
The Dark Past (1948): The psychology involved is, uh.... questionable, but behind that hokeyness, there's a decently tense little hostage drama here. Nice to see Lois Maxwell in something other than a Bond movie for once.
Blind Alley (1939): Glad I watched The Dark Past first, because this one is slightly better and it probably would have ruined it for me the other way around (they are the same movie).
The Whole Town's Talking (1935): So silly and so much fun, even if the ending makes no sense (what about his fingerprints?? they'd realize it wasn't you, buddy!). It's a real shame the way Jean Arthur pretty much disappears in the final third or so.
Bonjour Tristesse (1958): A beautiful, complex drama of codependent family relationships, but UGH Cecile is one of the most tooth-gnashingly insufferable protagonists I've been subjected to in a WHILE. Just the worst.
Mr. Deeds Goes to Town (1936): Cinematic cotton candy. You can't not be happy watching this fluff.
Foxy Brown (1974): THE LESBIAN BAR FIGHT SCENE ALONE, COME ON.
Nightfall (1956): That finale makes the whole thing worth it. Bright snowy mountainscapes? In my moody noir? Yes please.
The Hanging Tree (1959): An interesting take on a western, really kept me guessing as to what the hell it was actually going to end up being about through the whole thing. Pretty good, even if it feels like the script doesn't support the way we're supposed to feel about some of the characters. You know, like Ant-Man?
5 Against the House (1955): Ocean's 11 starring the oldest college students ever. I seriously don't know if these characters are meant to be in their twenties but played by guys in their thirties, or guys in their thirties going to college after coming back from Korea, the movie is never clear about how old they are??? Spends a little too long noodling around in the middle, but once the actual heist gets underway, it's great.
If You Could Only Cook (1935): Was expecting something real sexist from the title, but oh oops it's actually the single most delightful 'mistaken identity/pretending to be someone else' rom-com I've ever seen? It's got fake marriage AND 'there was only one bed' tropes in it!!!
Songs My Brothers Taught Me (2015): I was really blasted on painkillers when I watched this, but it was pretty beautiful.
Party Wire (1935): Everyone in this town is fucking horrible, and it deserved to be destroyed. Love that the fact that the rumour was false was the only thing that made it wrong, it'd be totally fine to ruin this girl's life if she'd ACTUALLY been pregnant, ugh. WHY DOES IT ALL START OUT SO LIGHT AND FUN, WHAT THE FUCK.
Red Sun (1971): FFFFFFFFGOD THIS CAST, WHAT A FUCKING STACKED DECK. LET'S JUST THROW AN ICON OF AMERICAN COOL, AN ICON OF FRENCH COOL, AND AN ICON OF JAPANESE COOL IN A BLENDER WITH THE MOST ICONIC BOND GIRL AND SEE WHAT HAPPENS. I want to watch it again right now, fuck.
So Dark the Night (1946): Geray's always such a comforting, avuncular presence in these movies (see: Gilda, The Dark Past), it's so fun and weird to see him in such a bonkers lead role. Soooo many shitty French accents, though.
Baxter (1989): they're not all good dogs, brent
Task Force (1949): Feels more like a dry, two-hour-long educational film than a proper drama, and the military fawning is thick enough to choke you by the end, but the subject matter was interesting enough. Straight up could not tell any of the three (I think???) identical wife characters apart (the one getting mowed the fuck down at Pearl Harbor was brutal, though). And the last twenty minutes are randomly in colour? Sure, okay.
Cet obscur objet du désir (1977): I really don't understand most of what Bunuel's doing here with the two different actresses switching off and the weird terrorism subplot, but gosh it's entertaining, whatever it is.
The Winning of Barbara Worth (1926): I WAS SO UNPREPARED FOR BABY GCOOPS, OH MY GOD HE'S THE TALLEST FETUS. Anyway, I really loved the use of colour here (that hot pink shootout, hell yes), and the big flood climax does NOT fuck around and apparently that's a fun new surprise thing I find kinda triggering now? Thanks, 2020!
Lilac Time (1928): Had to put on some sick lo-fi beats to go with baby GCoops this time around, because silent movies without accompaniment wig me out, but damn he was hot as hell huh??? "SACRENOMDENOMQUIESTCEQUMAFICHEUSTASDENGLICHESAVENCLEURSSALESVIOTURESMECANIGUESDEMALHOURPOUR FAIR, EPERUAAMAPAUVEREPOURRIQUE" - actual dialogue
The Wedding Night (1935): Brutal, messy little romance with no possible happy endings for anyone involved! Hooray!
In a Lonely Place (1950): Pretty much perfect, and still probably my single favourite Bogart performance? Goddamn.
The Burglar (1957): A movie all about the pulpy aftermath of the big dramatic heist that is almost beside the point this time around. Slaps even harder now that I've see Dan Duryea play so many total sleazebags when he was younger??
The Brothers Rico (1957): Weirdly paced, but the bloody familial vengeance angle is well earned.
Johnny O'Clock (1947): I need to see more Dick Powell noirs, this ruled and was so much darker and weirder and saltier than I was expecting from such a musical mainstay. Also, they say Johnny O'Clock so many times that it loses all meaning within about five minutes.
Fast & Furious 6 (2013): THE CAR X-MEN IN: THE CARK PHOENIX SAGA, feat. the longest runway ever. Utterly glorious nonsense, except now I'm really sad about the idea of Han coming back without Gisele. IF OWEN COULD SURVIVE HIS FALL, SURELY SHE SHOULD BE FINE, TOO.
okay see you monday byeeeee
Themes for the week include Jean Arthur (four movies), Gary Cooper (seven movies), and my old friend Columbia Noir (eleven movies, but only five I didn't watch during my last time in the pit)~
Fast Five (2011): I DON'T UNDERSTAND HOW A SERIES SO CRAPPY GOT SO GREAT SO SUDDENLY. They just got worse and worse until they hit rock bottom and then smashed through the floor and somehow wound up warping up through the ceiling and breaking the game.
The Cowboy and the Lady (1938): Almost painful in its earnestness, but everyone in this movie is just so gosh darn endearing that it winds up being a whole lot of fun for a pretty straight romance. Uncle Hannibal for MVP, but it's a real tight race, those maids were awesome.
Pushover (1954): Novak feels like she's trying too hard, but the way the tension just keep on steadily ramping up through the entire runtime? SO good.
The Lineup (1958): Cut the boring cop stuff and this movie is 🔥🔥🔥🔥🔥
Adam Resurrected (2008): Oh my god you guys it's Jeff Goldblum in The Day the Clown Cried.
The Limey (1999): My second favourite movie to open with a mysterious car accident on Mulholland Drive featuring an incompetent hitman and a black-and-white headshot of Melissa George.
Le Charme discret de la bourgeoisie (1972): Fun, but way too disconnected from any real frame of reference I have for the satire to have much bite. Better when it gets into the more surreal stuff. Have I mentioned yet how much I like Jean-Pierre Cassel? I really like Jean-Pierre Cassel. MANGE LES RICHES.
The Dark Past (1948): The psychology involved is, uh.... questionable, but behind that hokeyness, there's a decently tense little hostage drama here. Nice to see Lois Maxwell in something other than a Bond movie for once.
Blind Alley (1939): Glad I watched The Dark Past first, because this one is slightly better and it probably would have ruined it for me the other way around (they are the same movie).
The Whole Town's Talking (1935): So silly and so much fun, even if the ending makes no sense (what about his fingerprints?? they'd realize it wasn't you, buddy!). It's a real shame the way Jean Arthur pretty much disappears in the final third or so.
Bonjour Tristesse (1958): A beautiful, complex drama of codependent family relationships, but UGH Cecile is one of the most tooth-gnashingly insufferable protagonists I've been subjected to in a WHILE. Just the worst.
Mr. Deeds Goes to Town (1936): Cinematic cotton candy. You can't not be happy watching this fluff.
Foxy Brown (1974): THE LESBIAN BAR FIGHT SCENE ALONE, COME ON.
Nightfall (1956): That finale makes the whole thing worth it. Bright snowy mountainscapes? In my moody noir? Yes please.
The Hanging Tree (1959): An interesting take on a western, really kept me guessing as to what the hell it was actually going to end up being about through the whole thing. Pretty good, even if it feels like the script doesn't support the way we're supposed to feel about some of the characters. You know, like Ant-Man?
5 Against the House (1955): Ocean's 11 starring the oldest college students ever. I seriously don't know if these characters are meant to be in their twenties but played by guys in their thirties, or guys in their thirties going to college after coming back from Korea, the movie is never clear about how old they are??? Spends a little too long noodling around in the middle, but once the actual heist gets underway, it's great.
If You Could Only Cook (1935): Was expecting something real sexist from the title, but oh oops it's actually the single most delightful 'mistaken identity/pretending to be someone else' rom-com I've ever seen? It's got fake marriage AND 'there was only one bed' tropes in it!!!
Songs My Brothers Taught Me (2015): I was really blasted on painkillers when I watched this, but it was pretty beautiful.
Party Wire (1935): Everyone in this town is fucking horrible, and it deserved to be destroyed. Love that the fact that the rumour was false was the only thing that made it wrong, it'd be totally fine to ruin this girl's life if she'd ACTUALLY been pregnant, ugh. WHY DOES IT ALL START OUT SO LIGHT AND FUN, WHAT THE FUCK.
Red Sun (1971): FFFFFFFFGOD THIS CAST, WHAT A FUCKING STACKED DECK. LET'S JUST THROW AN ICON OF AMERICAN COOL, AN ICON OF FRENCH COOL, AND AN ICON OF JAPANESE COOL IN A BLENDER WITH THE MOST ICONIC BOND GIRL AND SEE WHAT HAPPENS. I want to watch it again right now, fuck.
So Dark the Night (1946): Geray's always such a comforting, avuncular presence in these movies (see: Gilda, The Dark Past), it's so fun and weird to see him in such a bonkers lead role. Soooo many shitty French accents, though.
Baxter (1989): they're not all good dogs, brent
Task Force (1949): Feels more like a dry, two-hour-long educational film than a proper drama, and the military fawning is thick enough to choke you by the end, but the subject matter was interesting enough. Straight up could not tell any of the three (I think???) identical wife characters apart (the one getting mowed the fuck down at Pearl Harbor was brutal, though). And the last twenty minutes are randomly in colour? Sure, okay.
Cet obscur objet du désir (1977): I really don't understand most of what Bunuel's doing here with the two different actresses switching off and the weird terrorism subplot, but gosh it's entertaining, whatever it is.
The Winning of Barbara Worth (1926): I WAS SO UNPREPARED FOR BABY GCOOPS, OH MY GOD HE'S THE TALLEST FETUS. Anyway, I really loved the use of colour here (that hot pink shootout, hell yes), and the big flood climax does NOT fuck around and apparently that's a fun new surprise thing I find kinda triggering now? Thanks, 2020!
Lilac Time (1928): Had to put on some sick lo-fi beats to go with baby GCoops this time around, because silent movies without accompaniment wig me out, but damn he was hot as hell huh??? "SACRENOMDENOMQUIESTCEQUMAFICHEUSTASDENGLICHESAVENCLEURSSALESVIOTURESMECANIGUESDEMALHOURPOUR FAIR, EPERUAAMAPAUVEREPOURRIQUE" - actual dialogue
The Wedding Night (1935): Brutal, messy little romance with no possible happy endings for anyone involved! Hooray!
In a Lonely Place (1950): Pretty much perfect, and still probably my single favourite Bogart performance? Goddamn.
The Burglar (1957): A movie all about the pulpy aftermath of the big dramatic heist that is almost beside the point this time around. Slaps even harder now that I've see Dan Duryea play so many total sleazebags when he was younger??
The Brothers Rico (1957): Weirdly paced, but the bloody familial vengeance angle is well earned.
Johnny O'Clock (1947): I need to see more Dick Powell noirs, this ruled and was so much darker and weirder and saltier than I was expecting from such a musical mainstay. Also, they say Johnny O'Clock so many times that it loses all meaning within about five minutes.
Fast & Furious 6 (2013): THE CAR X-MEN IN: THE CARK PHOENIX SAGA, feat. the longest runway ever. Utterly glorious nonsense, except now I'm really sad about the idea of Han coming back without Gisele. IF OWEN COULD SURVIVE HIS FALL, SURELY SHE SHOULD BE FINE, TOO.
okay see you monday byeeeee
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