I took an elective "Great Books" class in 20th Century literature in high school, and all of Pynchon's works up to that time were included. Clearly, no parents had read GRAVITY'S RAINBOW.
Son of Griff
avclub-9bc7c50cb3e4a1098f934bde8d7dee8c--disqus
I read it in high school in '82, before being exposed to Robert Anton Wilson and various other secret society conspiratorial history fiction, so its premise and its baroque elaboration were really unique and got to me at the time. A whole sub-genre of druggy/occult mystery thriller is in its debt. Reading it again…
I read it in high school in '82, before being exposed to Robert Anton Wilson and various other secret society conspiratorial history fiction, so its premise and its baroque elaboration were really unique and got to me at the time. A whole sub-genre of druggy/occult mystery thriller is in its debt. Reading it again…
When Waldo Pepper came out my parents took my brother and I to see it despite poor notices. We all loved it, and I just moticed that it's up on Netflix.
When Waldo Pepper came out my parents took my brother and I to see it despite poor notices. We all loved it, and I just moticed that it's up on Netflix.
Josh—CONVEY is an OK waste of time but don't make it your only Peckinpah.
Josh—CONVEY is an OK waste of time but don't make it your only Peckinpah.
When the term "directors cut" started to get bandied about, it usually referred to movies that were recut by the studio against the filmmakers wishes. Now it means what you say.
When the term "directors cut" started to get bandied about, it usually referred to movies that were recut by the studio against the filmmakers wishes. Now it means what you say.
What Welle's did with the audio was truly revolutionary at the time, and the recut restored the original audio track over the shot.
What Welle's did with the audio was truly revolutionary at the time, and the recut restored the original audio track over the shot.
The main problem with GANGS is that a number of things that are missing weren't shot to begin with because of rising production costs. I wish certain sequences had the time to breathe. Some establishing shots of the boxing match and the dance at the Old Brewery would have been nice.
The main problem with GANGS is that a number of things that are missing weren't shot to begin with because of rising production costs. I wish certain sequences had the time to breathe. Some establishing shots of the boxing match and the dance at the Old Brewery would have been nice.
MIAMI VICE and PUBLIC ENEMIES strike me as distillations of Mann's thematic and genre preoccupations. Their leanness and drive come at the expense of character and from what I'd hoped would be an expansion on the basic premises that the director laid out in the 80s through the mid 90s.
MIAMI VICE and PUBLIC ENEMIES strike me as distillations of Mann's thematic and genre preoccupations. Their leanness and drive come at the expense of character and from what I'd hoped would be an expansion on the basic premises that the director laid out in the 80s through the mid 90s.
Personally, the additions to THE WILD BUNCH substantially fill in the backstory and add significant character development to Pike, Deke, and most interestingly, Mapache. Granted, the film's fame rests on material that was in the original version (and one might claim that the flashbacks seem a bit awkwardly inserted…
Personally, the additions to THE WILD BUNCH substantially fill in the backstory and add significant character development to Pike, Deke, and most interestingly, Mapache. Granted, the film's fame rests on material that was in the original version (and one might claim that the flashbacks seem a bit awkwardly inserted…
When I was once helping out with an indie film program about 7 or 8 years ago I saw a screener of a remake of this, with the Stanwyck role re-written as a reformed porn star. I know, it sounds like an improvement, but noooo!
When I was once helping out with an indie film program about 7 or 8 years ago I saw a screener of a remake of this, with the Stanwyck role re-written as a reformed porn star. I know, it sounds like an improvement, but noooo!
Seconded—One of the most powerful uses of B&W Cinemascope in American cinema, and rather overtly transgressive in its views on fidelity and sexuality for its day.