Don-102
Aug. 1999 ist beigetreten
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I would hope that people who truly love and respect the STAR WARS story as much as I do will put behind any unrest they have for the 1st episode. It was spectacular and it is JUST the first in a line of three films we have to travel back to that galaxy far, far, away. If you hated the first episode, you have forgotten what it was like to experience that place from the very start.
No doubt, the 1st of George Lucas' saga is the best (with EMPIRE coming a close second), but the excitement is there, the galaxy has expanded, we see a younger version of Sir Alec Guiness played well by Ewan McGregor, and Lucas is behind it all more than ever. Watch Episode IV - A New Hope and remember what we will be arriving at. For God's sake, use your imagination. Any naysayers are forgetting what you were witnessing the first time around.
STAR WARS: EPISODE IV - A NEW HOPE - ****
No doubt, the 1st of George Lucas' saga is the best (with EMPIRE coming a close second), but the excitement is there, the galaxy has expanded, we see a younger version of Sir Alec Guiness played well by Ewan McGregor, and Lucas is behind it all more than ever. Watch Episode IV - A New Hope and remember what we will be arriving at. For God's sake, use your imagination. Any naysayers are forgetting what you were witnessing the first time around.
STAR WARS: EPISODE IV - A NEW HOPE - ****
Until 1977, Woody Allen films were mostly screwball comedies. Pictures like BANANAS and EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX... were episodic comedies, films that seemed more like short television sitcoms along the Monty Python vein. He finally reached his full potential with what seems to be everyone's favorite Woody picture, ANNIE HALL. It is without a doubt one of his better films and foresaw a lot of the narrative techniques and content you can see in his great films of the past decade. This is Woody playing himself, more or less, for the first time, but it is Diane Keaton as the title character who steals the show in a heartwarming performance that won her an Academy Award.
Woody plays comedian "Alvy Singer", a comedian who hates anything that is not New York and who cannot seem to function outside of it. He is constantly bickering to best friend Tony Roberts about New York being considered a target for anti-semitism. He is, for the first time in his long filmography, playing himself, a self-hating Jew who has broken relationships with women. He even talks directly to the camera describing his paranoid self in the movie's first shot. After some brief intercutting of failed marriage footage, "Alvy" meets the peculiar, but sensual "Annie Hall" from Wisconsin.
At this point in ANNIE HALL, the film goes back and forth in time revealing the peaks and valleys of this sweet romance. "Annie" is a lonely girl, plain-looking, but with a quality Woody and the audience can't quite put a finger on. She grows more and more lovable as the story of these complete opposites evolves. It is still hard to figure out what makes Annie so delightful to the eyes and the mind. She is simple and endearing, which makes her more attractive to you as you watch. It is great acting by Keaton, who is so original in her choice of wardrobe and mannerisms (especially her need to relieve tension a certain way).
The film contains Woody standards like his fear of driving, his fear of bugs, or things that move in the dark ("you have a bug the size of a Buick in there"), and his mockery of Los Angeles. The scenes in L.A. are some of the funniest I've seen in all of Allen's films especially the physical condition that besets him as soon as he gets off the plane. "Alvy", like Woody, is always writing something too.
ANNIE HALL is not my favorite Allen film. That honor goes hands down to MANHATTAN, made just 2 years later. Keaton has a major role in that flick, as an intellectual "Annie" you could say. His great films of the 90's MIGHTY APHRODITE and DECONSTRUCTING HARRY are direct descendants of ANNIE HALL because of the overlapping narrative, Woody's talking to the audience or to imaginary people, and adorable love interests.
The one thing true of this film is that it is his warmest in regard to New York relationships and that is made completely possible because of Diane Keaton. "La-di-da, La-di-da," became as familiar to the American vernacular as "Yada-Yada" has in recent years to Seinfeld fanatics. ANNIE HALL is complex in structure, yet deceptively simple and entered Woody into the big leagues of artistic filmmaking.
RATING: ***1/2
Woody plays comedian "Alvy Singer", a comedian who hates anything that is not New York and who cannot seem to function outside of it. He is constantly bickering to best friend Tony Roberts about New York being considered a target for anti-semitism. He is, for the first time in his long filmography, playing himself, a self-hating Jew who has broken relationships with women. He even talks directly to the camera describing his paranoid self in the movie's first shot. After some brief intercutting of failed marriage footage, "Alvy" meets the peculiar, but sensual "Annie Hall" from Wisconsin.
At this point in ANNIE HALL, the film goes back and forth in time revealing the peaks and valleys of this sweet romance. "Annie" is a lonely girl, plain-looking, but with a quality Woody and the audience can't quite put a finger on. She grows more and more lovable as the story of these complete opposites evolves. It is still hard to figure out what makes Annie so delightful to the eyes and the mind. She is simple and endearing, which makes her more attractive to you as you watch. It is great acting by Keaton, who is so original in her choice of wardrobe and mannerisms (especially her need to relieve tension a certain way).
The film contains Woody standards like his fear of driving, his fear of bugs, or things that move in the dark ("you have a bug the size of a Buick in there"), and his mockery of Los Angeles. The scenes in L.A. are some of the funniest I've seen in all of Allen's films especially the physical condition that besets him as soon as he gets off the plane. "Alvy", like Woody, is always writing something too.
ANNIE HALL is not my favorite Allen film. That honor goes hands down to MANHATTAN, made just 2 years later. Keaton has a major role in that flick, as an intellectual "Annie" you could say. His great films of the 90's MIGHTY APHRODITE and DECONSTRUCTING HARRY are direct descendants of ANNIE HALL because of the overlapping narrative, Woody's talking to the audience or to imaginary people, and adorable love interests.
The one thing true of this film is that it is his warmest in regard to New York relationships and that is made completely possible because of Diane Keaton. "La-di-da, La-di-da," became as familiar to the American vernacular as "Yada-Yada" has in recent years to Seinfeld fanatics. ANNIE HALL is complex in structure, yet deceptively simple and entered Woody into the big leagues of artistic filmmaking.
RATING: ***1/2
I first saw BIRTH OF A NATION in a film class and I found it very hard to stay awake. That was 8 years ago. My eyes stayed open this time to witness a film of monstrous racism and an epic feeling of sympathy for the Ku Klux Klan. Of course, I know all of the significance and importance of the movie and how director D.W. Griffith invented the language of modern cinema, at least as far as the silents go. I must say that the influence, techniques, and legendary status of the picture goes out the window because of some idiotic ideas and horribly racist scenes that made my stomach churn.
Its a shame the first ever feature length film has few moments that can only be appreciated unless you consider them within the context of time. Filmed in 1914, there are massive crowd scenes, re-enactments of critical moments during the civil war, and even the first known depiction of the assassination of President Abraham Lincoln (done quite well by the way). Griffith's huge mistake was to show the KKK as heroes and to sympathize with the Confederacy ideals of a Southern republic.
Word has it that Griffith was raised by African-Americans and even loved them. He pays them no respect or even any credit for anything in this miserable play on race. That's really the problem. Innovative techniques aside, Griffith must have never realized the pain that is surely felt by African-Americans today who must study this film or even see it for its renowned "importance". BIRTH OF A NATION is for buffs only and believe me when I tell you this. I could not look past the white actors playing blacks as drinking, jumping, would-be rapists in dark-face.
And what is with the "mulatto" who tries to create a black empire only to be foiled by the "glorious" clan members ? Griffith shows great empathy for the clansmen who look a lot more ridiculous in their clown outfits than the actors in black-face. I don't mean to sound like a civil rights activist (I am a white guy from the suburbs), but BIRTH OF A NATION is a document not only of the racism that existed in the 1800's, but also of the early 1900's. The first ever film to tell a cohesive story, feature-length style, should be forgotten. Luckily, Griffith was able to redeem his social image as far as history has written it with some more imaginative films.
RATING: *
Its a shame the first ever feature length film has few moments that can only be appreciated unless you consider them within the context of time. Filmed in 1914, there are massive crowd scenes, re-enactments of critical moments during the civil war, and even the first known depiction of the assassination of President Abraham Lincoln (done quite well by the way). Griffith's huge mistake was to show the KKK as heroes and to sympathize with the Confederacy ideals of a Southern republic.
Word has it that Griffith was raised by African-Americans and even loved them. He pays them no respect or even any credit for anything in this miserable play on race. That's really the problem. Innovative techniques aside, Griffith must have never realized the pain that is surely felt by African-Americans today who must study this film or even see it for its renowned "importance". BIRTH OF A NATION is for buffs only and believe me when I tell you this. I could not look past the white actors playing blacks as drinking, jumping, would-be rapists in dark-face.
And what is with the "mulatto" who tries to create a black empire only to be foiled by the "glorious" clan members ? Griffith shows great empathy for the clansmen who look a lot more ridiculous in their clown outfits than the actors in black-face. I don't mean to sound like a civil rights activist (I am a white guy from the suburbs), but BIRTH OF A NATION is a document not only of the racism that existed in the 1800's, but also of the early 1900's. The first ever film to tell a cohesive story, feature-length style, should be forgotten. Luckily, Griffith was able to redeem his social image as far as history has written it with some more imaginative films.
RATING: *