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There was a car in the ocean off of Suicide Bridge
My poem "Green and Dying" is now online at Ideomancer. It's my first publication there, and possibly the only science fiction poem I've ever written. I have to thank Josephine Tey for the initial inspiration.
There was a total eclipse of the moon tonight, but the overcast was such that I only saw it dimly around seven o'clock, when the earth's shadow was mostly indistinguishable from, well, clouds.
Before the eclipse,![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
rushthatspeaks and nineweaving and I watched A Matter of Life and Death (1946). It was sort of the opposite experience from The Tales of Hoffmann—which I loved rather more than I had expected to, while I liked A Matter of Life and Death somewhat less than I had hoped—but I did love some of the images, like the moving stairs and their ancient statues, where Abraham Lincoln is as weatherbeaten as Plato, and the fact that the plot can be explained in mystical and medical terms simultaneously. I suspect that somewhere among the stars Marius Goring's Conductor 71 and Edward Everett Horton's Messenger 7013 (Here Comes Mr. Jordan, 1941) gloomily compare notes on their respective debacles. And I really cannot hate any movie that reminded me of both Euripides' Alkestis and Stephen Vincent Benét's "The Devil and Dan'l Webster," but it was still weirdly Hollywoodlike for an Archers film. I will have to think more about it.
On the other hand, I really, really liked Breaker Morant (1980), which I taped off TCM yesterday and watched with my family in the evening. Previously I had known Edward Woodward only as the father of Peter Woodward, with whom I was familiar from J. Michael Straczynski's short-lived Babylon 5 sequel Crusade. (They did appear together in one episode. Yes, I'm a geek.) As it turns out, of course, he's immensely cool in his own right. And has a beautiful singing voice.
I need to bake hamantashn.
There was a total eclipse of the moon tonight, but the overcast was such that I only saw it dimly around seven o'clock, when the earth's shadow was mostly indistinguishable from, well, clouds.
Before the eclipse,
rushthatspeaks and nineweaving and I watched A Matter of Life and Death (1946). It was sort of the opposite experience from The Tales of Hoffmann—which I loved rather more than I had expected to, while I liked A Matter of Life and Death somewhat less than I had hoped—but I did love some of the images, like the moving stairs and their ancient statues, where Abraham Lincoln is as weatherbeaten as Plato, and the fact that the plot can be explained in mystical and medical terms simultaneously. I suspect that somewhere among the stars Marius Goring's Conductor 71 and Edward Everett Horton's Messenger 7013 (Here Comes Mr. Jordan, 1941) gloomily compare notes on their respective debacles. And I really cannot hate any movie that reminded me of both Euripides' Alkestis and Stephen Vincent Benét's "The Devil and Dan'l Webster," but it was still weirdly Hollywoodlike for an Archers film. I will have to think more about it.On the other hand, I really, really liked Breaker Morant (1980), which I taped off TCM yesterday and watched with my family in the evening. Previously I had known Edward Woodward only as the father of Peter Woodward, with whom I was familiar from J. Michael Straczynski's short-lived Babylon 5 sequel Crusade. (They did appear together in one episode. Yes, I'm a geek.) As it turns out, of course, he's immensely cool in his own right. And has a beautiful singing voice.
I need to bake hamantashn.
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---L.
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Congrats on the pub. Nice poem there.
Hope you get the hamantashn baked soon, and enjoy them.
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Breaker Morant is a great little film.
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Great poem. And well done for getting it published in Ideomancer, they're so pretty. :)
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And I really cannot hate any movie that reminded me of both Euripides' Alkestis and Stephen Vincent Benét's "The Devil and Dan'l Webster"
now that's intriguing. *wanders over to look at film up* I've been meaning to see The Red Shoes and The Tales of Hoffmann for a while now.
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died in her eyes so long ago.
:)
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:D
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Thank you!
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I recommend both of those, particularly The Tales of Hoffmann, which surprised me. (I love the opera, so I was very dubious about any film translation, but this one takes an already fantastical story and punches up all the supernatural elements into pure surrealism: all the guests at Spalanzani's are dolls and marionettes; the courtesan Giulietta steals reflections and shadows for the Devil; the soprano Antonia not only sings herself to death, but dies in an artistic inferno of applause; everything is so artificial it achieves its own hyper-reality. It's wonderful.) A Matter of Life and Death, however, is the first film by the Archers that I haven't wanted to write an essay about afterward. I'm not sure it should be the one you start with.
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Thank you!
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My father had remembered for years the line "the tent is rigged all right."
Did he do any other films worth watching?
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Thank you!
Hope you get the hamantashn baked soon, and enjoy them.
The hamantashn are a-baking as I type.
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You should. And if you know where anyone can find recordings of Edward Woodward singing "At Last" and "Soldiers of the Queen," you should also let me know, because I have one of them stuck in my head.
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The Wicker Man is certainly worth seeing.
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That squares with what I mostly hear about that movie. It's the Archers movie I've been least eager to see. I still mean to see it eventually, though.
Did you watch The Sorcerer's Apprentice included on the Tales of Hoffmann DVD? I just watched it last night--beautiful sets and costumes, but apparently it was edited down from Powell's original thirty minute cut, and it has a distracting, redundant narration.
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I'm not quite sure what happened. Given how deftly the Archers handled folklore and fairy tale in movies like A Canterbury Tale and The Red Shoes and the fantastically weird in The Tales of Hoffmann, I was surprised that elements of A Matter of Life and Death fell as flat as they did—I found much less wonder in its afterlife than a sort of cardboard whimsicality. Part of it might have been the props, stiff white wings, a heavenly bureaucracy, the courts of all the assembled dead that include only those nationalities pertinent to the protagonist's trial, that would have worked better for me in a satire than in a serious film. The other world was too much like this one for me to believe in its awe, whereas the real-world scenes with their odd touches like a naked goatherd on an English beach, the camera obscura with which Roger Livesey's Dr. Reeves watches the town around him, and an amateur rehearsal of A Midsummer Night's Dream, worked beautifully. I don't categorically dislike angels, either; I love Wings of Desire (Der Himmel über Berlin). But here, the magic failed.
beautiful sets and costumes, but apparently it was edited down from Powell's original thirty minute cut, and it has a distracting, redundant narration.
I felt about as positively toward that narration as toward Philip Glass' score for Notes on a Scandal, which made me pray that the DVD would come with a "no soundtrack" option. But the costuming for the man made from the broom, the owl and the raven, and the dancers who perform the water that fills up the house, was wonderful.
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Yeah, sounds like it. Or maybe as a cartoon.
I felt about as positively toward that narration as toward Philip Glass' score for Notes on a Scandal, which made me pray that the DVD would come with a "no soundtrack" option.
I want to see that movie--it's too bad about the score, especially as I'm something of a Philip Glass fan. I frequently listen to his soundtrack for Kundun, even though I haven't watched the movie since it was in theatres.
But the costuming for the man made from the broom, the owl and the raven, and the dancers who perform the water that fills up the house, was wonderful.
Yes indeed. I especially loved the water.
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Yeah. I don't remember that I had the same complaint about Here Comes Mr. Jordan, of which A Matter of Life and Death strongly reminded me—here a pilot overstays his death bailing out of a doomed bomber when the angel responsible loses him in a fog; there an overzealous angel snatches a boxer from the plane crash he was, in fact, scheduled to survive; bureaucratic complications ensue—but it's a sillier film, in which the device of the heavenly screw-up allows for mistaken identities, screwball noir, and Claude Rains as God. (Edward Everett Horton as Messenger 7013 is clearly a Small God of Dithering. I love the man.) The clerical minutiae of the afterlife through which the protagonist boings like a yo-yo are never meant to invoke anything other than smiles or possibly winces, that the paperwork doesn't end when you're dead and newbie nebbishes can still ruin your day. It's a completely different feel.
If you do see A Matter of Life and Death, let me know what you think. I keep seeing it referred to glowingly, which makes me wonder if there's some central point I'm missing.
I want to see that movie--it's too bad about the score, especially as I'm something of a Philip Glass fan.
You might like it; I'm not familiar with Philip Glass as a composer, so it's possible that this is a characteristically excellent example of his work and I just don't happen to like his music. The film itself is awesome.
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Heh. Sounds like something I'd like to see.
Claude Rains as God.
I'm pretty sure he is God, actually.
Edward Everett Horton as Messenger 7013 is clearly a Small God of Dithering. I love the man.
I like him, too. I only know him from the Fred Astaire/Ginger Rogers movies and Ernst Lubitsch's Trouble in Paradise (http://en.wikipedia.org/wiki/Trouble_in_Paradise).
I keep seeing it referred to glowingly, which makes me wonder if there's some central point I'm missing.
I bet it's probably just that it seemed more palatable to mainstream Hollywood, and consequently got shown more through the years.
I'm not familiar with Philip Glass as a composer, so it's possible that this is a characteristically excellent example of his work and I just don't happen to like his music.
Here're a few tracks;
From an alternate soundtrack he did for the Bela Legosi Dracula (http://www.sendspace.com/file/fzjzqv).
From Kundun (http://www.sendspace.com/file/xxidnk).
From a violin concerto (http://www.sendspace.com/file/90hs5b).
If you have the Criterion edition of Cocteau's La Belle et la Bete, it includes an opera he composed for the film, which you can switch on like a commentary track.
He's also composed a couple ballets based on David Bowie albums. What did you think of Outside, by the way?
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I'm not sure it's one of the classic films of the 1940's, but I saw it late in high school and can still remember ridiculous details about the plot, so I take this as a good sign.
I'm pretty sure he is God, actually.
Yeah, okay.
and Ernst Lubitsch's Trouble in Paradise.
I didn't realize he was in that. Now I really have to see it.
He's a prissy paleontologist in Lost Horizon (1937) and the anxious director of a sanatorium in Arsenic and Old Lace (1944). Both of which are worth seeing for many reasons in addition to Edward Everett Horton.
If you have the Criterion edition of Cocteau's La Belle et la Bete
I wish . . .
What did you think of Outside, by the way?
I have unfortunately not yet had a chance to listen to it, but I perused the lyrics and am expecting to love it.
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It's a great movie, too. My favourite Ernst Lubitsch movie.
Both of which are worth seeing for many reasons in addition to Edward Everett Horton.
I've actually seen Arsenic and Old Lace--I loved it. I guess I just forgot he was in it. It was a while ago--I mainly remember Cary Grant, Peter Lorre, and a guy who everyone said looked like Boris Karloff.
I haven't seen Lost Horizon, but I do have it on tape. I'll watch it to-night if I can find tape 165 . . .
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I've only seen To Be Or Not To Be (1942). But that was wonderful.
It was a while ago--I mainly remember Cary Grant, Peter Lorre, and a guy who everyone said looked like Boris Karloff.
Raymond Massey; Boris Karloff had played the role onstage, which made the joke much funnier, but due to the play's run continuing into filming, he wasn't available to reprise his role. I love Dr. Einstein, though. It has been pointed out by several of my friends that when the character played by Peter Lorre is the sanest person onscreen, there's something very wrong.
I haven't seen Lost Horizon, but I do have it on tape. I'll watch it to-night if I can find tape 165 . . .
Be warned that it's one of those films from which portions have almost certainly been irretrievably lost, since scenes were edited out for the Production Code and the original negatives later deteriorated past the point where they could have been reintegrated. For reasons I don't understand, however, the soundtrack was undamaged, so some newer versions of the film will basically play the complete soundtrack with stills superimposed so the viewer has some idea of the lost scenes. (The tape I own is like this; it's a little jarring the first time you see it, but I'd rather have at least sketches for the missing sequences than nothing at all.) Sadly, one of what sounds like Edward Everett Horton's funnier scenes went this way. Still, there's Ronald Colman.
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I haven't seen that one myself.
(The tape I own is like this; it's a little jarring the first time you see it, but I'd rather have at least sketches for the missing sequences than nothing at all.)
I agree.
I'm still holding out hope that someone will find the original The Magnificent Ambersons stashed somewhere.
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It's brilliant; it was Carole Lombard's last role and the film that introduced me to Jack ". . . I'm thinking it over!" Benny. Especially considering when it was made; unlike in the 1983 Mel Brooks remake, there was no guarantee that the wider threat of Nazism could be neutralized as easily (and as hilariously) as the particular Nazis that the theatrical company of Josef and Maria Tura, husband-and-wife Shakespeareans and upstagers extraordinaire, here take on.
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I'd like to see it--I've only seen one movie with Carole Lombard, and my only Jack Benny experience has been some of his radio show--a bonus feature on the Criterion Trouble in Paradise, actually.
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...which makes it obvious that you have yet to see The Wicker Man. Naughty girl.
I'd mail you mine, were 104-minute copies not so damnably hard to find in America.
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It's a great album. It reminds me slightly of the industrial fiction of Simon Logan, not necessarily in sound, but in image. I have now contrived to get "Thru These Architect's Eyes" stuck in my head.
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I still appreciate the offer. See discussion with
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Thank you!
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I can see the resemblance in the couple of excerpts I read on the website. Seems interesting.
I'm glad you liked the album.