Letter to Jane Magazine

Three Outlaw Samurai Watched this tonight and loved it as much...

Fri, 24 Feb 2012 22:52:39 -0800

Three Outlaw Samurai

Watched this tonight and loved it as much as everyone said I would. I’m not the biggest Samurai movie fan, but this was just fun. Had a great Western pace and feel to it. I still think Harakiri is the best Samurai film I’ve seen, but this is up there. I’ll post stills later.

Jack Nicholson superseventies: Jack Nicholson by Ron Gallela,...

Fri, 24 Feb 2012 22:17:13 -0800

Jack Nicholson

superseventies:

Jack Nicholson by Ron Gallela, 1970s.

Photo

Fri, 24 Feb 2012 17:00:32 -0800

Alain Delon

Fri, 24 Feb 2012 14:19:04 -0800

Alain Delon

Orpheus

Fri, 24 Feb 2012 13:06:31 -0800

Orpheus

filmsdulosange: La Carriere De Suzanne (dir. Eric Rohmer, 1963)...

Thu, 23 Feb 2012 23:25:16 -0800

filmsdulosange:

La Carriere De Suzanne (dir. Eric Rohmer, 1963) 4.5/5

The second of Rohmer’s ‘Moral Tales’, the delightful La Carriere De Suzanne (Suzanne’s Career), tells the tale of two seemingly misognystic adolescents’ exploiting of the generous and seductive Suzanne.

Joen So I watched this last night and I’m still not sure...

Thu, 23 Feb 2012 22:51:00 -0800

Joen

So I watched this last night and I’m still not sure what I think of it. Overall I think it’s pretty weak, especially compared to its peers, but then I remember one amazing shot after another and I have to think about it some more. Out of the other Yoshida films I’ve seen Woman of the Lake and Blood is Dry are better films. But if you’re into looking at really beautiful images, this film may be for you.

Errol Flynn, Nora Eddington, Rita Hayworth, and Orson Welles

Thu, 23 Feb 2012 02:46:05 -0800

Errol Flynn, Nora Eddington, Rita Hayworth, and Orson Welles

The American Friend I’ve now watched this 5 times in the...

Thu, 23 Feb 2012 02:01:40 -0800

The American Friend

I’ve now watched this 5 times in the last month and it still keeps getting better. Also I can’t believe this was Bruno Ganz’s first film.

Pina filmsdulosange: philipchircop: PINA’S WORDS OF WISDOM “I’m...

Thu, 23 Feb 2012 01:59:55 -0800

Pina

filmsdulosange:

philipchircop:

PINA’S WORDS OF WISDOM

“I’m not so interested in how they move as in what moves them.” ― Pina Bausch

“To understand what I am saying, you have to believe that dance is something other than technique. We forget where the movements come from. They are born from life. When you create a new work, the point of departure must be contemporary life — not existing forms of dance.” ― Pina Bausch

“Dance begins where words end.” ― Pina Bausch

“Dance, Dance, Otherwise we are Lost.” ― Pina Bausch

Pick one quotation and spend some quiet time with it. Read it slowly, chew it diligently, taste it and feel it … Allow Pina’s words to read you perhaps, instead of your reading them.

Debbie Harry & The Muppets

Wed, 22 Feb 2012 22:16:10 -0800

Debbie Harry & The Muppets

Luis Buñuel strangewood: The Films of Luis Buñuel Part I: Un...

Wed, 22 Feb 2012 16:02:39 -0800

Luis Buñuel

strangewood:

The Films of Luis Buñuel

Part I: Un chien andalou | L’Age d’Or | Los Olvidados | Susana | El bruto | The Criminal Life of Archibaldo de la Cruz | Death in the Garden | Nazarin | Viridiana

Shelley Duval Nashville! Nashville! Nashville!

Wed, 22 Feb 2012 14:36:55 -0800

Shelley Duval

Nashville! Nashville! Nashville!

92y: capitalnewyork: Woody Allen, last night at 92Y,...

Wed, 22 Feb 2012 14:35:28 -0800

92y:

capitalnewyork:

Woody Allen, last night at 92Y, discussing how much Diane Keaton changed the way he wrote.

“When I started, I could only write for me. Now I think I write better women than men.”

More pics from last night.

redvelvetteacake: Speaking of Wim Wenders and food, if you...

Wed, 22 Feb 2012 13:20:54 -0800

redvelvetteacake:

Speaking of Wim Wenders and food, if you lived in San Francisco around the years Wenders was making Hammett for Francis Coppola’s American Zoetrope studio, as I did, you probably ate breakfast now and again at Wim’s Restaurant. Wenders was often seen around town in those years, as Zoetrope headquarters is located on the edge of the North Beach district. There’s a triangular building (the Sentinel) right where Kearney and Montgomery streets meet, and at the base of the Sentinel was Wim’s. If memory serves, Coppola bought what was a Zim’s Restaurant (at one time San Francisco’s “largest local restaurant chain) and replaced the Z with a W but kept the good, greasy-spoon diner just as it was. For years, it remained a fine place to get a stack of pancakes and bacon and coffee to nurse a hangover. The location is still owned by Coppola, but now it’s been turned into a bistro, Cafe Zoetrope.

Sissy Spacek

Wed, 22 Feb 2012 12:08:33 -0800

Sissy Spacek

Rainer Werner Fassbinder

Wed, 22 Feb 2012 11:55:28 -0800

Rainer Werner Fassbinder

My Crasy Life I love this film. Gorin follows along with the...

Wed, 22 Feb 2012 00:28:00 -0800

My Crasy Life

I love this film. Gorin follows along with the members of the SOS (Sons of Samoa) Crips. Gorin is great at just listening. Nothing is forced or explained and before you know it you’re following three different stories and pretty invested. Criterion posted a great little essay of the film I pasted it below, check out the full article here.

MY CRASY LIFE: CRASY RHYTHMS

My Crasy Life (1992) is the least appreciated of Jean-Pierre Gorin’s Southern California films. It is also the spookiest, and perhaps the richest.

Much ink has been spilled over the question of authorial intervention in documentary filmmaking, as if every intervention were intended to accomplish the same purpose. Most descriptions of My Crasy Life refer to this blindingly obvious side of the film, but the real questions are: Where do the Sons of Samoa gangsters take Gorin, and where does his film take them?

In fact, the film is less observational than collaborative. Everything in My Crasy Life—staged reenactments of “typical” activities, a primer on gangsta lingo, interviews in which hypothetical questions are posed about vengeance and love and “your family or your homies,” a Hawaiian police officer patrolling Long Beach like an astronaut on Mars—seems to have been arrived at by mutual accord. Throughout, American Samoa itself appears as an apparition, beckoning its Sons. When one of them returns to his birthplace and stands on its shores, he is in turn beckoned by the memory of his crew back in Long Beach—like the filmmaker, a man caught between two worlds.

The movement of the film is altogether different from that of an ethnographic or sociological investigation. My Crasy Life floats on cinematographer Babette Mangolte’s crisp images, which endow every fabric and skin tone with elegant tactility. Gorin alternates haunting lyrical refrains with rhapsodic stretches of the purest behavioral and verbal bravado, in which the gangsters are seen exactly as they would like to be seen. The sarcastic asides emanating from the dashboard computer in Sergeant Kaono’s patrol car, a HAL knockoff with a sense of humor, have a jarring effect that offsets the flow (as in Poto and Cabengo, where the flattened speech of the specialists offsets the musicality of everyone else, the voice of authority is tone-deaf). Two montages of murder-scene photos, brief but chilling, are like offerings to the angel of mortality, reminders that everybody in this movie is on borrowed time.

“It is a basic problem to be able to hear the social music we are involved in,” Gorin said in 1974, and with My Crasy Life, he made a film that must be apprehended musically or not at all. This is not a movie of words and illustrative images but of accents and rhythms, gestures and stances. You don’t remember what Kaono says as much as the contrast between his stiff, official affect and the fluid motion of the crew—the coded hand movements and strides, the constant flamboyance that gives a funny undercurrent to every action. Most touching of all is the body language of the gangster who visits Samoa: a proud OG on 32nd Street, a compliant child in the land of his birth.

“These gangsters, Jerry. Do they hold as much mystery for you as they do for me?”—these are the computer’s final words. Trying to understand how or why someone becomes a gangbanger is like trying to date the beginning of time—a tantalizing prospect, an ultimate brain twister. For the Sons of Samoa themselves, who dutifully heed the calls of two homelands as they try to survive with savage pride, the question is nonexistent.

Ana Cabaleiro inspiredbyme: Rocky Mountain. Photo: Ana...

Tue, 21 Feb 2012 19:49:11 -0800

Ana Cabaleiro

inspiredbyme:

Rocky Mountain. Photo: Ana Cabaleiro

The Passenger

Tue, 21 Feb 2012 19:26:01 -0800

The Passenger