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johnmiller's Replies
It's on right now on MGM HD in the States. In High Definition, no less.
Both thin, both shapeless. Of course, that's a vast majority of Hollywood "actresses."
The F-word is said around a half dozen times in "All the President's Men" and it's a PG. With zero violence and zero sex, they could get away with that.
I would love to see "Garbage Compacting" being a rating reason in one of the MPAA ratings boxes on a movie poster!
Dick Smith! The greatest Make-Up Artist of all time! Yeah, having Smith on board is going to definitely make a difference.
There's a Japanese 7" of the love theme out there. But, that's all I could find.
She was Producer Robert Evans wife, and that's how she got the part. Of course, as "thanks," she dumped him after this movie wrapped and took off with McQueen! :-)
I love it because it shows us some of the early days of Amtrak. (Yeah, I know that's a non-movie like!) Amtrak started as a conglomeration of all of the nation's passenger lines that had gone out of business. So, here, you see Southern Pacific cars, but with the Amtrak signage inside the cars, and inside the station.
I thought that the sequence provided the benefits other posters here have mentioned. But, yeah, seeing the Amtrak-related scenery is what I liked most! :-)
Yeah, Neil's death was just too much for me. I think he had way too much life in him to kill himself. It just felt like the writer wanted a tragedy for the sake of tragedy.
The rest of the film felt naturalistic. So, injecting melodrama in the final act hit me as inconsistent and out of step with the rest of the movie.
I grew up in the 1970's, so it formed my impression of cinema. I was lucky to get to see edgier, adult fare just in time in 1976, before blockbusters took over. So, by time the 1980's came along, that decade just seemed like a let down.
There were great movies, like "Reds," "Amadeus," etc. But, films at that level seemed to become a rarer commodity in that decade. Less edge, less inventiveness, in my opinion. One thing was that I went to a LOT of movies in the 1980's, so saw a lot more than I did in the 1970's, where I was dependent on my mother to take me. That certainly meant that I was going to end up seeing more movies I wouldn't like.
It is cool to have this discussion! Great to connect with you. :-)
Everyone had to know that he was toast the second the movie started.
I had not seen the movie until just this evening. Just one of those films that I hadn't seen until now. So, my hopes for it, and how it turned out to be, got to me.
I just think they could have gotten their point across without being so bludgeoning. If Neil had become despondent, ran away from home, and gotten killed in an accident in the process, for example. Then, have the parents still wanting to blame Keating. Follow that with the school wanting to have Keating gone, but leaving out the concocted statement thing. Have it where the students fight for him verbally, but ultimately back down, giving the appearance that they were defeated. But, still have the final scene, which would show that their fight was still there.
After the films of the 1970's, I personally saw the 1980's as turning its back on individualism from filmmakers, and going to a more manufactured, less artistic aesthetic. There are still great films that come out. But, they are more scattershot then they were during that great decade of 1967-1977.
p.s. Isn't it good to have Moviechat here to discuss these things? I was really let down when IMDb closed their boards.
Do you realize that he's a fictional character? Probably not!
Like way too many movies from the 1980's, they had to beat their point into the ground. So, of course, a student "has" to die, and the Headmaster "has" to be a sociopath.
I consider the 1980's to be where the permanent decline of film began. And, considering this film, it is ironic, since it was the decade that crushed individualism underfoot, and let corporations completely dictate that films were manufactured, instead of being created.
This is demonstrated here since, while there are so many great aspects to this film, this 1980's film shows again where filmmakers stopped trusting their audiences, and felt they had to beat them over the head to "make their point."
The melodramatic aspects of this seriously hurt it for me.
There are a LOT of great jokes in here, though. Some of the best are the ones that are almost Easter Eggs, where you have to pay attention to see them.
My favorite is probably the boy lying asleep with a copy of Jean-Paul Satre's "No Exit."
It'll be entertaining when you need a cop some day!
Trying too hard for tragedy, without earning it in the writing.
Movies on film are shot with the sound separate. They are combined on the release prints. So, the large-format film of 65mm is just the image, no sound. The sound was recorded on tape. When the release print was made, the combined print was 70mm, which accommodated the picture and up to six tracks of sound.
I went through it at 1/4 speed in high definition. Pretty impressive, I thought!
I think that's the point: Neither side is "good." They both have members consumed by hate.
I'm guessing that the TCM staffers just try to randomly grab trivia tidbits off of whatever blogs, websites, etc. So, I wouldn't go too much by what anyone on TCM says. With Robert Osborne gone, it's better to just skip the commentary and go right to the movie.