Quote:

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Chris Weitz, the writer of the upcoming Star Wars spinoff Rogue One, was drawing on these long-established parallels when he tweeted a few days after the election, “Please note that the Empire is a white supremacist (human) organization.” It’s one that’s opposed in Rogue One “by a multicultural group led by brave women,” chimed in Weitz’s co-writer Gary Whitta.

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Quote:

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Originally posted by 6stringJoker:
Was Rogue One good? I got the feeling that since Disney took over it was just a bunch of suits making the movie.

https://www.theatlantic.com/entertainment/archive/2016/11/the-inevitab
le-politicization-of-star-wars-rogue-one/508358/

Quote:

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Chris Weitz, the writer of the upcoming Star Wars spinoff Rogue One, was drawing on these long-established parallels when he tweeted a few days after the election, “Please note that the Empire is a white supremacist (human) organization.” It’s one that’s opposed in Rogue One “by a multicultural group led by brave women,” chimed in Weitz’s co-writer Gary Whitta.

---

To be fair, I haven't watched a Star Wars flick since Episode 2. I watched the original 3 a million times when I was a kid but kind of lost interest after that.

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Quote:

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Originally posted by JEWELSTAITEFAN:
We have discussed great films, our favorite films, wonderful performances, and one concept that I have not quite put into words before was the masters or one-timers who really merge storytelling and the majesty of cinema.

This is about Directors who brilliantly intertwine the cinematic experience while magically telling a story.

Lately we have heard laments of the dearth of wonderful films. Sometimes the technical or effects portion of a film, while successful, overshadow the story - or fail to supplant it. Sometimes the film has a wonderful story, but falls short of incorporating all of the tools, tricks, and breathtaking nature of the cinematic experience.

I hope to concentrate on films of the past 10 years, and perhaps stretching to the past 20 years - how many have there been?

I suspect in this concept will wear thinly in the category of Rom-Com, and perhaps Comedy. The stories might be great, but how much of the full silver screen potential is realized with these flicks? It seems Rom-Coms are largely dependent upon the music, attractiveness of the stars, and performances of the stars. Many seem to be just as ready for TV as the big screen. I am not sure if there are any which qualify, but expect not a lot. Perhaps some Adam Sandler works have encompassed a large portion of the cinematic capabilities.

Some great storytelling have been overshadowed by fiscal miscalculations, or major plot holes. Hopefully we can overlook minor traps of inconsistency, incontinuity, plot holes, if the cinematic experience helped cover or overlook other small problems.

One possibility is Kick-Ass, but I wonder if the Director was merely blessed enough to capture Chloe Grace Morentz at the right time, playing off Nick Cage. Hard for me to separate.

Past Examples:
George Miller with Road Warrior (1981)
Ridley Scott with Blade Runner (1982)
Russell Mulcahy with Highlander (1986)
James Cameron with Terminator (1984), Aliens (1986), Terminator 2 (1991), and even Titanic (1997).
Mel Gibson with Braveheart (1995)
Kevin Costner with Dances With Wolves (1990)
Anthony Minghella with The English Patient (1996)
Terry Gilliam with 12 Monkeys (1995)
Clint Eastwood with Pale Rider (1985)

Quentin Tarantino with Pulp Fiction
Don Siegel with Dirty Harry (1971)
Ron Howard with Apollo 13 (1995)
Robert Zemekis with Forrest Gump (1994)
John McTiernan with The Hunt For Red October (1990)
Jonathon Demme with Silence of The Lambs (1991)
Philip Kaufman with The Right Stuff (1983)
Richard Donner with Superman, Lethal Weapon
Bond films - some, anyway
George Lucas with Star Wars 4: A New Hope (1977)
Steven Spielberg with Raiders of The Lost Ark (1981) and Saving Private Ryan


So, who do you think have been truly gifted with their application of cinematic magic while crafting a story to tell you?

My suggestions:
Joss Whedon with Serenity (2005).
Denis Villeneuve with Arrival (2016).
Doug Liman with Bourne Identity (2002), Edge of Tomorrow (2014),
Christopher Nolan with Batman Begins (2005), Inception (2010)
JJ Abrams with Star Trek (2009)
Dean Parisot with Galaxy Quest (1999)
Michael Bay with Armageddon (1998), Transformers (2007)
Randall Wallace with Secretariat (2010)
James Gunn with Guardians of the Galaxy (2014)
Zach Snyder with 300 (2006)
Joseph Kosinski with Oblivion (2013)
Frank Miller & Robert Rodriguez with Sin City (2005)
M. Night Shyamalan with The Sixth Sense (1999)
Gareth Edwards with Rogue One (2016)
Ridley Scott with Gladiator (2000), Blackhawk Down (2001)
Clint Eastwood with Absolute Power (1997), American Sniper (2014)
Frank Durabont with The Green Mile (1999)
Joe Wright with Atonement (2007)

---

Quote:

---

Originally posted by 6stringJoker:
I've heard that the writers of Rogue One wrote the Empire to represent the "Evil White Patriarchy" and immediately tuned out and put it on my list of movies not to watch,

---

Quote:

---

Originally posted by SHINYGOODGUY:

Quote:

---

Originally posted by JEWELSTAITEFAN:
We have discussed great films, our favorite films, wonderful performances, and one concept that I have not quite put into words before was the masters or one-timers who really merge storytelling and the majesty of cinema.

This is about Directors who brilliantly intertwine the cinematic experience while magically telling a story.

Lately we have heard laments of the dearth of wonderful films. Sometimes the technical or effects portion of a film, while successful, overshadow the story - or fail to supplant it. Sometimes the film has a wonderful story, but falls short of incorporating all of the tools, tricks, and breathtaking nature of the cinematic experience.

I hope to concentrate on films of the past 10 years, and perhaps stretching to the past 20 years - how many have there been?

I suspect in this concept will wear thinly in the category of Rom-Com, and perhaps Comedy. The stories might be great, but how much of the full silver screen potential is realized with these flicks? It seems Rom-Coms are largely dependent upon the music, attractiveness of the stars, and performances of the stars. Many seem to be just as ready for TV as the big screen. I am not sure if there are any which qualify, but expect not a lot. Perhaps some Adam Sandler works have encompassed a large portion of the cinematic capabilities.

Some great storytelling have been overshadowed by fiscal miscalculations, or major plot holes. Hopefully we can overlook minor traps of inconsistency, incontinuity, plot holes, if the cinematic experience helped cover or overlook other small problems.

One possibility is Kick-Ass, but I wonder if the Director was merely blessed enough to capture Chloe Grace Morentz at the right time, playing off Nick Cage. Hard for me to separate.

Past Examples:
George Miller with Road Warrior (1981)
Ridley Scott with Blade Runner (1982)
Russell Mulcahy with Highlander (1986)
James Cameron with Terminator (1984), Aliens (1986), Terminator 2 (1991), and even Titanic (1997).
Mel Gibson with Braveheart (1995)
Kevin Costner with Dances With Wolves (1990)
Anthony Minghella with The English Patient (1996)
Terry Gilliam with 12 Monkeys (1995)
Clint Eastwood with Pale Rider (1985)

Quentin Tarantino with Pulp Fiction
Don Siegel with Dirty Harry (1971)
Ron Howard with Apollo 13 (1995)
Robert Zemekis with Forrest Gump (1994)
John McTiernan with The Hunt For Red October (1990)
Jonathon Demme with Silence of The Lambs (1991)
Philip Kaufman with The Right Stuff (1983)
Richard Donner with Superman, Lethal Weapon
Bond films - some, anyway
George Lucas with Star Wars 4: A New Hope (1977)
Steven Spielberg with Raiders of The Lost Ark (1981) and Saving Private Ryan


So, who do you think have been truly gifted with their application of cinematic magic while crafting a story to tell you?

My suggestions:
Joss Whedon with Serenity (2005).
Denis Villeneuve with Arrival (2016).
Doug Liman with Bourne Identity (2002), Edge of Tomorrow (2014),
Christopher Nolan with Batman Begins (2005), Inception (2010)
JJ Abrams with Star Trek (2009)
Dean Parisot with Galaxy Quest (1999)
Michael Bay with Armageddon (1998), Transformers (2007)
Randall Wallace with Secretariat (2010)
James Gunn with Guardians of the Galaxy (2014)
Zach Snyder with 300 (2006)
Joseph Kosinski with Oblivion (2013)
Frank Miller & Robert Rodriguez with Sin City (2005)
M. Night Shyamalan with The Sixth Sense (1999)
Gareth Edwards with Rogue One (2016)
Ridley Scott with Gladiator (2000), Blackhawk Down (2001)
Clint Eastwood with Absolute Power (1997), American Sniper (2014)
Frank Durabont with The Green Mile (1999)
Joe Wright with Atonement (2007)

---

Wow, JSF really good topic! No, great topic!!

So much to comment on here, so I'll keep it as simple as possible.
First, I totally agree with your "Past Examples" list, bravo! More on that later.
I have some comments, however, about your contemporary list. Don't worry, I'll be civil.

Instead of going over everything I like about your Contemporary list, I'm going to pick out those that gave me pause...

JJ Abrams - Now, let me preface my comments by saying that I ordinarily like his work (Fringe - although a TV series is among his very best work, and SW Episode 7 was a crowd pleaser with several minor flaws) with Star Trek I enjoyed the set up within the story, but there were some elements that I had minor issues with. Overall I liked it, but for me, there needs to be so much more. For example Aliens,
or perhaps Braveheart, a good solid story with solid acting, pacing and so on.
Star Trek, at times, felt a little forced, but parts of it (especially the first act) were excellent. Again, this is me and what I look for in a film - the storytelling must be genuine and solid through and through, in every aspect (Edge of Tomorrow comes to mind).

Michael Bay - Okay, I liked Armageddon and the first Transformers, but I wouldn't say that the cinematic part of the equation was solid through and through. Good stories, but not great. My quibble with Bay is his cinematic presentation, SFX and pacing. It's almost like he's racing us, the audience, towards the end of the movie. He films at a very frenetic pace. I prefer my stories told at a pace somewhere from Arrival to Aliens or Serenity. Keep me engaged, don't have my eyeballs bouncing all over the place (that's good for a short period of time, to change up the pace, but not to be sustained throughout).

Here's my contribution to the Contempo List:

The Wachowskis and Tom Tykwer - Cloud Atlas/Run, Lola, Run

Darren Aronofsky - The Fountain and The Wrestler

Alfonso Cuaron - Gravity, The Little Princess, Children of Men, Y Tu Mama Tambien

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Quote:

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The above are some of the most inspiring films of our time, well for me anyway.
My classic list I will submit later.

SGG

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Quote:

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Originally posted by JEWELSTAITEFAN:

Quote:

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Originally posted by 6stringJoker:
I've heard that the writers of Rogue One wrote the Empire to represent the "Evil White Patriarchy" and immediately tuned out and put it on my list of movies not to watch,

---

That is too bad. I have heard of that claim which was made to reflect retroactive credit - but it was BS. I saw no overt bias in the film, but then I wasn't looking for Libtard Eggs.
I think you'll be safe with Rogue One. Lately I was thinking that the other Star Wars films left me with a sensation of "well, that was an experience" whereas Ep 4 and Rogue One left me enthralled and thinking I wanted to see them again (I have seen RO at least a second time.)

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Quote:

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Spike Jonze - Her

Abdellatif Kechiche - Blue is the Warmest Color

Jonathan Glazer - Under The Skin

I don't think I saw it in cinema, probably DVD. So I was unable to absorb the full impact.

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Quote:

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Some great storytelling have been overshadowed by fiscal miscalculations, or major plot holes. Hopefully we can overlook minor traps of inconsistency, incontinuity, plot holes, if the cinematic experience helped cover or overlook other small problems.

One possibility is Kick-Ass, but I wonder if the Director was merely blessed enough to capture Chloe Grace Morentz at the right time, playing off Nick Cage. Hard for me to separate.

---

Quote:

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Originally posted by SHINYGOODGUY:
(As an aside, her career has taken a sideways turn. My guess is that her management team went for the quick dollar and advised her wrong by placing in front of her such iffy vehicles as Carrie and Let the Right One In, both remakes of very strong originals with cult followings. There are some movies better left alone - Some Like It Hot and Casablanca come to mind).

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Quote:

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Originally posted by SHINYGOODGUY:

Quote:

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Originally posted by JEWELSTAITEFAN:
We have discussed great films, our favorite films, wonderful performances, and one concept that I have not quite put into words before was the masters or one-timers who really merge storytelling and the majesty of cinema.

This is about Directors who brilliantly intertwine the cinematic experience while magically telling a story.

Lately we have heard laments of the dearth of wonderful films. Sometimes the technical or effects portion of a film, while successful, overshadow the story - or fail to supplant it. Sometimes the film has a wonderful story, but falls short of incorporating all of the tools, tricks, and breathtaking nature of the cinematic experience.

I hope to concentrate on films of the past 10 years, and perhaps stretching to the past 20 years - how many have there been?

I suspect in this concept will wear thinly in the category of Rom-Com, and perhaps Comedy. The stories might be great, but how much of the full silver screen potential is realized with these flicks? It seems Rom-Coms are largely dependent upon the music, attractiveness of the stars, and performances of the stars. Many seem to be just as ready for TV as the big screen. I am not sure if there are any which qualify, but expect not a lot. Perhaps some Adam Sandler works have encompassed a large portion of the cinematic capabilities.

Some great storytelling have been overshadowed by fiscal miscalculations, or major plot holes. Hopefully we can overlook minor traps of inconsistency, incontinuity, plot holes, if the cinematic experience helped cover or overlook other small problems.

One possibility is Kick-Ass, but I wonder if the Director was merely blessed enough to capture Chloe Grace Morentz at the right time, playing off Nick Cage. Hard for me to separate.

Past Examples:



So, who do you think have been truly gifted with their application of cinematic magic while crafting a story to tell you?

My suggestions:

---

Wow, JSF really good topic! No, great topic!!

So much to comment on here, so I'll keep it as simple as possible.
First, I totally agree with your "Past Examples" list, bravo! More on that later.
I have some comments, however, about your contemporary list. Don't worry, I'll be civil.

Instead of going over everything I like about your Contemporary list, I'm going to pick out those that gave me pause...

JJ Abrams - Now, let me preface my comments by saying that I ordinarily like his work (Fringe - although a TV series is among his very best work, and SW Episode 7 was a crowd pleaser with several minor flaws) with Star Trek I enjoyed the set up within the story, but there were some elements that I had minor issues with. Overall I liked it, but for me, there needs to be so much more. For example Aliens, or perhaps Braveheart, a good solid story with solid acting, pacing and so on.
Star Trek, at times, felt a little forced, but parts of it (especially the first act) were excellent. Again, this is me and what I look for in a film - the storytelling must be genuine and solid through and through, in every aspect (Edge of Tomorrow comes to mind).

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Quote:

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Michael Bay - Okay, I liked Armageddon and the first Transformers, but I wouldn't say that the cinematic part of the equation was solid through and through. Good stories, but not great. My quibble with Bay is his cinematic presentation, SFX and pacing. It's almost like he's racing us, the audience, towards the end of the movie. He films at a very frenetic pace. I prefer my stories told at a pace somewhere from Arrival to Aliens or Serenity. Keep me engaged, don't have my eyeballs bouncing all over the place (that's good for a short period of time, to change up the pace, but not to be sustained throughout).

---

Quote:

---

Here's my contribution to the Contempo List:

The Wachowskis and Tom Tykwer - Cloud Atlas/Run, Lola, Run
Darren Aronofsky - The Fountain and The Wrestler

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Quote:

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Alfonso Cuaron - Gravity, The Little Princess, Children of Men, Y Tu Mama Tambien

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Quote:

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Spike Jonze - Her

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Quote:

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Abdellatif Kechiche - Blue is the Warmest Color

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Quote:

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Jonathan Glazer - Under The Skin

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Quote:

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Guillermo Del Toro - Pan's Labyrinth

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Quote:

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The above are some of the most inspiring films of our time, well for me anyway.
My classic list I will submit later.

SGG

---

Quote:

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Originally posted by SHINYGOODGUY:
I want to recommend A Monster Calls. A very good story and film.

SGG

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Quote:

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Originally posted by SHINYGOODGUY:
The above are some of the most inspiring films of our time, well for me anyway.
My classic list I will submit later.

SGG

---

Quote:

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Originally posted by JEWELSTAITEFAN:

Quote:

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Originally posted by SHINYGOODGUY:
The above are some of the most inspiring films of our time, well for me anyway.
My classic list I will submit later.

SGG

---

Recalling Sandra Bullock in The Blind Side, is it later?

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Quote:

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Originally posted by SHINYGOODGUY:
My classic list I will submit later.

SGG

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Quote:

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Originally posted by 6stringJoker:
Cruel Intentions 2. Not family friendly. One of my favorite so-bad-it's-good movies. Total crap compared to the first movie, but hilariously so.

It would probably ruin Enchanted for you though.

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Quote:

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Originally posted by JEWELSTAITEFAN:

Quote:

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Originally posted by SHINYGOODGUY:
I want to recommend A Monster Calls. A very good story and film.

SGG

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I wanted to see that, but somehow have not yet.

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Quote:

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Originally posted by JEWELSTAITEFAN:

Quote:

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Originally posted by 6stringJoker:
Cruel Intentions 2. Not family friendly. One of my favorite so-bad-it's-good movies. Total crap compared to the first movie, but hilariously so.

It would probably ruin Enchanted for you though.

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For what reason would it ruin Enchanted for a viewer?

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Quote:

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Originally posted by JEWELSTAITEFAN:
After finally watching Trouble With The Curve, and the DVD Bonus material where Amy Adams effuses about working with Clint Eastwood for the first time (Clint did not direct), I was reminded about her other roles.

Although the best film she's been in may well be Arrival, and she performed wonderfully in it, I still harken back to her excellent and adorable performance in Enchanted. Although it obviously great editing and transition for segue between formats, Amy was a critical part, I felt.
If you are an Amy Adams fan and have not yet seen Enchanted, I certainly encourage you to check it out. And it is family friendly.

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Quote:

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is it later?

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Quote:

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Originally posted by 6stringJoker:

Quote:

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Originally posted by JEWELSTAITEFAN:

Quote:

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Originally posted by 6stringJoker:
Cruel Intentions 2. Not family friendly. One of my favorite so-bad-it's-good movies. Total crap compared to the first movie, but hilariously so.

It would probably ruin Enchanted for you though.

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For what reason would it ruin Enchanted for a viewer?

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Why try explaining it when I can just show you?

That's just a little taste though. From seducing and blackmailing a professor to just generally ruining every life she wants to, she makes Sarah Michelle Gellar's villain from the first movie look like a saint. It's pure trashy comedy.

I'm kind of surprised that it didn't ruin Amy's career. Usually once somebody does those Cinemax late night movies they were either stuck doing them until their looks gave out or were never heard from again.

Maybe it wouldn't ruin Enchanted for you. I've never seen it. But the idea of seeing Amy Adams as a virtuous "Disney Princess" to me is pretty funny.

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Quote:

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Originally posted by SHINYGOODGUY:

Quote:

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is it later?

---

Yes.

Casablanca - goes without saying, one of the best stories on film ever told.

2001: A Space Odyssey - Kubrick's genius redefined storytelling in film.

The Searchers - John Ford's classic western that seamlessly went from drama to comedy with equal aplomb

To Kill a Mockingbird - Great story, well acted and directed, well defined characters

Some Like It Hot - Classic comedy, a twist on the Valentine's Day Massacre; guys in drag seems to always bring the funny. Billy Wilder knew how to put together a comedy.

Maltese Falcon - Sam Spade, master detective. Again the story drives the movie.

Singing in the Rain - As musicals go, among the best ever. Like you say, there's more there than what's on the script.

My Fair Lady - The rain in Spain, falls mainly in the plain


Special Mention:

Citizen Kane
Robin Hood
It's A Wonderful Life
Mister Roberts
The Quiet Man
The King and I


SGG

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Quote:

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Originally posted by JEWELSTAITEFAN:
You have not seen Enchanted? You really should, unless you dislike AA.
After that, let us know how funny you thought it all was.

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Quote:

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Originally posted by 6stringJoker:

Quote:

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Originally posted by JEWELSTAITEFAN:
You have not seen Enchanted? You really should, unless you dislike AA.
After that, let us know how funny you thought it all was.

---

I can't imagine Enchanted is a movie I'd ever watch on my own, but I've got a 3 year old niece who I'm sure has already seen it but wouldn't mind watching it again.... that is if I can ever get her to sit down and watch a movie with me. Just hung out with her all weekend again and we didn't sit down to watch anything. Whenever I'm around we're out playing in the yard or with her toys or reading books. My bro and sis tell me that she watches all sorts of Disney movies and has seen Frozen a thousand times, but she just wants to play when I'm around. I'm thinking that the boob tube is a good babysitter for her when they need to unwind, and I watch enough of it on my own. I prefer to be more active in our fun when I see her.

I've got nothing against Amy Adams. What's not to like? She's beautiful. She was great in Cruel Intentions 2. The only other thing I remember seeing her in was another pretty forgettable movie called Serving Sara. She's the only thing I remember about the movie at all. She played some outrageously hot goldigging ex-wife or something.

She was probably great in Enchanted too. I'm just saying that the joke is that she played all of these incredibly sexy/trashy people before she did that movie. I think it would be hard for me to separate the two while watching it.

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Quote:

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Originally posted by JEWELSTAITEFAN:

Quote:

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Originally posted by SHINYGOODGUY:

Quote:

---

is it later?

---

Yes.

Casablanca - goes without saying, one of the best stories on film ever told.

2001: A Space Odyssey - Kubrick's genius redefined storytelling in film.

The Searchers - John Ford's classic western that seamlessly went from drama to comedy with equal aplomb

To Kill a Mockingbird - Great story, well acted and directed, well defined characters

Some Like It Hot - Classic comedy, a twist on the Valentine's Day Massacre; guys in drag seems to always bring the funny. Billy Wilder knew how to put together a comedy.

Maltese Falcon - Sam Spade, master detective. Again the story drives the movie.

Singing in the Rain - As musicals go, among the best ever. Like you say, there's more there than what's on the script.

My Fair Lady - The rain in Spain, falls mainly in the plain


Special Mention:

Citizen Kane
Robin Hood
It's A Wonderful Life
Mister Roberts
The Quiet Man
The King and I


SGG

---

My Fair Lady with Hepburn from Cukor in 1964?
Having played in it in High School, I normally discounted the cinema version because it seemed so precisely suited to the stage.

Which Robin Hood?
King and I with Brynner?


Regarding Casablanca and Falcon, do you think these are ultimately unimprovable, meaning they were state of the art for their time, and further cinematic progression of sound, CGI, would not have significant impact upon their storytelling? I somewhat feel they are almost stuck in time, and I would likely be dismayed at attempts to remake them. I cannot recall, were they bot black and white? If so, do you think color would have improved or detracted? I normally prefer still photos to be B/W, for their artistic depiction.
I agree they were excellent examples, but I didn't want to put everything in my list.

I tried to keep my list to under 10, and mostly from the Golden Age of Film in our history between 1935 to about 1950. Bogart, Bacall, Stewart, Davis, Wayne, Edward G., Kelly, Garland, Astaire and Cagney. The storytellers were actors and directors; and sometimes studio chiefs. Couldn't talk about film without mentioning those iconic giants of cinema.


SGG

Did you realize Beautiful Life was a Box Office disappointment?

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Quote:

---

Originally posted by JEWELSTAITEFAN:

Quote:

---

Originally posted by SHINYGOODGUY:

Quote:

---

is it later?

---

Yes.

Casablanca - goes without saying, one of the best stories on film ever told.

2001: A Space Odyssey - Kubrick's genius redefined storytelling in film.

The Searchers - John Ford's classic western that seamlessly went from drama to comedy with equal aplomb

To Kill a Mockingbird - Great story, well acted and directed, well defined characters

Some Like It Hot - Classic comedy, a twist on the Valentine's Day Massacre; guys in drag seems to always bring the funny. Billy Wilder knew how to put together a comedy.

Maltese Falcon - Sam Spade, master detective. Again the story drives the movie.

Singing in the Rain - As musicals go, among the best ever. Like you say, there's more there than what's on the script.

My Fair Lady - The rain in Spain, falls mainly in the plain


Special Mention:

Citizen Kane
Robin Hood
It's A Wonderful Life
Mister Roberts
The Quiet Man
The King and I


SGG

---

My Fair Lady with Hepburn from Cukor in 1964?
Having played in it in High School, I normally discounted the cinema version because it seemed so precisely suited to the stage.

Which Robin Hood?
King and I with Brynner?


Regarding Casablanca and Falcon, do you think these are ultimately unimprovable, meaning they were state of the art for their time, and further cinematic progression of sound, CGI, would not have significant impact upon their storytelling? I somewhat feel they are almost stuck in time, and I would likely be dismayed at attempts to remake them. I cannot recall, were they bot black and white? If so, do you think color would have improved or detracted? I normally prefer still photos to be B/W, for their artistic depiction.

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Quote:

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I agree they were excellent examples, but I didn't want to put everything in my list.

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Quote:

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Did you realize Beautiful Life was a Box Office disappointment?

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Quote:

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Originally posted by JEWELSTAITEFAN:
Edited for readability.
I assume this is what was intended.


Originally posted by SHINYGOODGUY:

Quote:

---

Originally posted by JEWELSTAITEFAN:

Quote:

---

Originally posted by SHINYGOODGUY:

Quote:

---

is it later?

---

Yes.

Casablanca - goes without saying, one of the best stories on film ever told.


Maltese Falcon - Sam Spade, master detective. Again the story drives the movie.


My Fair Lady - The rain in Spain, falls mainly in the plain


Special Mention:

Robin Hood
It's A Wonderful Life

The King and I

SGG

---

My Fair Lady with Hepburn from Cukor in 1964?
Having played in it in High School, I normally discounted the cinema version because it seemed so precisely suited to the stage.

Which Robin Hood?
King and I with Brynner?


Regarding Casablanca and Falcon, do you think these are ultimately unimprovable, meaning they were state of the art for their time, and further cinematic progression of sound, CGI, would not have significant impact upon their storytelling? I somewhat feel they are almost stuck in time, and I would likely be dismayed at attempts to remake them. I cannot recall, were they bot black and white? If so, do you think color would have improved or detracted? I normally prefer still photos to be B/W, for their artistic depiction.

---

My Fair Lady with H & H: Hepburn and Harrison.

Robin Hood with Errol Flynn

The King and I with Brynner, of course!

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I often thought that maybe, just maybe, Casablanca could be remade (actually Pamela Anderson attempted it in 1996's Barb Wire), but thought better of it and decided, along with the experts, that that was not such a good idea. Some classics are better off left alone.

You see, it doesn't matter so much the advances we've made in the tech side, because it's about the story, setting, characters and ultimately, the director. They wrote a fantastic script and it has stood the test of time. Yes, they're both in black & white, which adds to their mystique and film noir vibe. A colorized version of Casablanca or Falcon would be considered by many to be a mortal sin. The black and white versions of these films is what gives it it's charm and appeal.

Quote:

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I agree they were excellent examples, but I didn't want to put everything in my list.

---

I tried to keep my list to under 10, and mostly from the Golden Age of Film in our history between 1935 to about 1950. Bogart, Bacall, Stewart, Davis, Wayne, Edward G., Kelly, Garland, Astaire and Cagney. The storytellers were actors and directors; and sometimes studio chiefs. Couldn't talk about film without mentioning those iconic giants of cinema.


SGG

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Quote:

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Quote:

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Did you realize Beautiful Life was a Box Office disappointment?

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SGG

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Quote:

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Originally posted by JEWELSTAITEFAN:
But now using the term black/noir/negro in film has become merely descriptive of dark mood or dark subject matter.

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Quote:

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Originally posted by JEWELSTAITEFAN:
Edited for readability.
I assume this is what was intended.


Originally posted by SHINYGOODGUY:

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Originally posted by JEWELSTAITEFAN:

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Originally posted by SHINYGOODGUY:

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is it later?

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Yes.

Casablanca - goes without saying, one of the best stories on film ever told.

2001: A Space Odyssey - Kubrick's genius redefined storytelling in film.

The Searchers - John Ford's classic western that seamlessly went from drama to comedy with equal aplomb

To Kill a Mockingbird - Great story, well acted and directed, well defined characters

Some Like It Hot - Classic comedy, a twist on the Valentine's Day Massacre; guys in drag seems to always bring the funny. Billy Wilder knew how to put together a comedy.

Maltese Falcon - Sam Spade, master detective. Again the story drives the movie.

Singing in the Rain - As musicals go, among the best ever. Like you say, there's more there than what's on the script.

My Fair Lady - The rain in Spain, falls mainly in the plain


Special Mention:

Citizen Kane
Robin Hood
It's A Wonderful Life
Mister Roberts
The Quiet Man
The King and I


SGG

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My Fair Lady with Hepburn from Cukor in 1964?
Having played in it in High School, I normally discounted the cinema version because it seemed so precisely suited to the stage.

Which Robin Hood?
King and I with Brynner?


Regarding Casablanca and Falcon, do you think these are ultimately unimprovable, meaning they were state of the art for their time, and further cinematic progression of sound, CGI, would not have significant impact upon their storytelling? I somewhat feel they are almost stuck in time, and I would likely be dismayed at attempts to remake them. I cannot recall, were they bot black and white? If so, do you think color would have improved or detracted? I normally prefer still photos to be B/W, for their artistic depiction.

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My Fair Lady with H & H: Hepburn and Harrison.

Robin Hood with Errol Flynn

The King and I with Brynner, of course!

I often thought that maybe, just maybe, Casablanca could be remade (actually Pamela Anderson attempted it in 1996's Barb Wire), but thought better of it and decided, along with the experts, that that was not such a good idea. Some classics are better off left alone.

You see, it doesn't matter so much the advances we've made in the tech side, because it's about the story, setting, characters and ultimately, the director. They wrote a fantastic script and it has stood the test of time. Yes, they're both in black & white, which adds to their mystique and film noir vibe. A colorized version of Casablanca or Falcon would be considered by many to be a mortal sin. The black and white versions of these films is what gives it it's charm and appeal.

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I agree they were excellent examples, but I didn't want to put everything in my list.

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I tried to keep my list to under 10, and mostly from the Golden Age of Film in our history between 1935 to about 1950. Bogart, Bacall, Stewart, Davis, Wayne, Edward G., Kelly, Garland, Astaire and Cagney. The storytellers were actors and directors; and sometimes studio chiefs. Couldn't talk about film without mentioning those iconic giants of cinema.


SGG

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Did you realize Beautiful Life was a Box Office disappointment?

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SGG

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Originally posted by 6stringJoker:

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Originally posted by JEWELSTAITEFAN:
But now using the term black/noir/negro in film has become merely descriptive of dark mood or dark subject matter.

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Noir used to be used for skin color?

Hell... I didn't even know what "Film Noir" meant before today. I never looked into it. I thought it was just a description for some old timey flicks lol.

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Originally posted by 6stringJoker:

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Originally posted by JEWELSTAITEFAN:
But now using the term black/noir/negro in film has become merely descriptive of dark mood or dark subject matter.

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Noir used to be used for skin color?

Hell... I didn't even know what "Film Noir" meant before today. I never looked into it. I thought it was just a description for some old timey flicks lol.

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Originally posted by SHINYGOODGUY:
Sorry about that, I've been having problems with my lap top.


SGG

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Originally posted by SHINYGOODGUY:
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Did you realize Beautiful Life was a Box Office disappointment?

If you mean It's A Wonderful Life, no I didn't. I know that Capra was somewhat underappreciated.


SGG

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Originally posted by 6stringJoker:
I'm not going to say that it was always this way, but I never heard that white was the absence of color. I remember my mom explaining that to me when I was really little and not understanding it at the time, but black is the absence of color and white is the presence of all colors. It didn't make sense to me when I was a kid coloring with crayons because a white sheet of paper had no colors on it and if you mixed a bunch of colors together you could essentially make the page black.

What it referred to though is the color spectrum as it pertains to light. Pink Floyd's prism is the best visual representation of it.

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Originally posted by 6stringJoker:
Yeah. I figured all of that out years back. I just didn't get it when I was a kid.

I was just saying that black is the absence of color and white is the presence of all colors. Earlier in the thread you said that both were used to mean without color.

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Originally posted by JEWELSTAITEFAN:

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Originally posted by SHINYGOODGUY:
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Did you realize Beautiful Life was a Box Office disappointment?

If you mean It's A Wonderful Life, no I didn't. I know that Capra was somewhat underappreciated.

SGG

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Correct. I did have an inkling something there was not right. Edited my original post with that, now.


It was a dud in theaters. After about 17 years, the rights were not renewed by the film or production company, and it became public domain. This allowed broadcast TV to play it for free, which it did regularly, and habitually every holiday season. This is how it became a family favorite, and considered a classic. In cinema 1947, became widely viewed and then popular in the mid-60's. Didn't hurt that Jimmy Stewart had continued his beloved career during the interim, and then this favored actor was in an old film which was now free to view. This is one story that taught Hollywood a few things about Box Office, popularity, etc.

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Originally posted by JAYNEZTOWN:
The skill of telling story going away from California, in Hollywood has died, much of the good stuff is now Indie inside America or South Korea or a smaller European flick for example.

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