If you are on a Zinneman kick, hunt down ACT OF VIOLENCE, in which the subtexts of film noirs (post war trauma, the ensuing tension between cities and suburbs) is made explicit.

ditto Lizabeth Scott— (although i'm glad to see Stern get recognition. Interviews that he's given about REBEL are quite revealing)

The shorter version is that CHE is more interested in how Che Guevera wrote history during two distinct periods of time than in comprehensively analyzing his legacy. Whether this is responsible filmmaking is another matter.

I'm working on a longer piece that defines these ideas more specifically before jumping to conclusions. Historical facts are basically data, and truths are conclusions that can be mined from a logical reading from the data. Fossils, for example are facts and evolution, from a scientific perspective is truth. …

There are fundamental differences between historical facts and historical truths that are derived from the facts. When defining facts are omitted to simply re-frame the protagonist's story in a manner that has been repeated elsewhere in the culture, most notably in a narrative truths inspired by, but not beholden to,…

CHE is less about the internal psychology of its protagonist and more about the verisimilitude accorded to writing history. Part one involves the process of writing the history of the Cuban revolution in the past tense while the second part, based on Guevera's Bolivian diaries is told in the present. The ellipsis…

The question that should be put to AMERICAN SNIPER's producers is why make it a biopic as opposed to a combat film if the goal was simply to dramatize the psychological effects of combat in the most generic terms.

The most pressing question, as you suggest, is why it seemed necessary to conceive the film and to market it as a true story when the most distinct biographical facts are eliminated for something more generic.

I'm waiting for the film noir shared movie universe ala David Thomson's SUSPECTS

based on the added scenes on the DVD I think you're assumption is correct. A director's extended cut of this would clear things up, but I doubt that its coming.

One of my colleagues curated a Polish poster show of American and Italian Westerns back in the 90s— It was very—-exceptional.

and WISCONSIN DEATH TRIP

And to think that in the context of this film what you report is a good thing. I'll definitely check this out.

My guess is that you are correct, seeing how the reputation of the film's cinematography is a key reason as to why people will be buying this.

I hope they didn't take the grain out.

I wonder as well. All of the negative flashing that occurred in post, as well as the overexposure Zsigmond did in the camera, left even the best prints I've seen of this a hazy, heavily desaturated palette. I'd be interested to see how sharp the images are on blu-ray.

Altman tried to do ANGELS for a number of years. That would have been interesting

This made me remember that Juanita Bartlett, who penned a number of ROCKFORD FILES episodes and story edited a lot of the series passed away earlier this year as well.

I think that Fuller's mis-en-scene also influenced Godard, particularly the plastering of signs with text on walls and surfaces. Actually, I hadn't thought of how his film's could appear somewhat distant and remote. I kind of approach him on a more intellectual level than I realize.

I'll agree with you somewhat on your first argument. Fuller had a problem with believing that melodramatic tropes constituted some profound knowledge of the human condition, and THE NAKED KISS is one of the worst offenders. It's notion of feminine psychology is as dated as its depiction of rape and prostitution…