Works exactly as Netflix. It's based in the US. They have some NTSC region 1 discs, but most of their discs require a "universal player" that can handle both NTSC and PAL formats. Just joined, hope it's worth it. On my queue: Resnais' Melo, Bresson's Mouchette, Mizoguchi's Lady of Musashino and Life of Oharu, Welles' Chimes at Midnight, Tati's Jour de Fete (color version)...
I take it the reason you have joined (and it is more expensive) is that you get quite a few films not available on Netflix--not available in fact on US dvd's.. And since you have a universal player (I still don't--though I find I can watch European code dvd's on my computer) the other codes aren't an obstacle for watching chez Jubis.
Computers play anything. Nicheflix cost for 3 discs at a time: $25 for 6 weeks, $25 for 4 weeks thereafter. Three discs mailed today (will likely receive on Thursday): Samuel Fuller's 40 Guns, Their First Films: Resnais/Rivette/Godard/Leconte/Melville/Pialat, and Jean Genet's Un Chant d'amour(1950), the first truly gay movie?
I guess you've exhausted the possibilities of Netflix, or did you never use it? (I haven't--exhausted; hardly used.)
I prefer to patronize local rental shops, especially an independent one in my neighborhood. When they don't have a region 1 disc I want, my brother Eduardo gets it for me from Netflix (I'll be asking him to put Munchhausen on his queue soon). I still have over 100 discs on my shelf I haven't watched though.
Monday February 28th
Ma 6-T va Crack-er, translated as "Crack City" but the most direct and appropriate translation would be: "My Gun goes Bang" on Import dvd.
Jean-Francois Richet (not the sensitive teacher from Truffaut's Small Change but the banlieu-raised French director of De L'Amour and the recent Assault on Precinct 13) directed this cult film released in 1997 and quickly "banned from French screens as a danger to public safety" (Rosenbaum). Documentary-like film follows the daily routine of two trios of "banlieu" residents, most of Arab or African descent. One trio of high school teens who get into fights, steal cars, rob liquor stores, deal small amounts of drugs, try to get laid; and a trio of unemployed 20-somethings who follow a similar lifestyle but also find themselves in a serious turf war with a rival gang. They come together for a riot and a brutal confrontation with mostly white cops. The film is bookended with a hip-hop video in which Virginie Ledoyen carries a big red flag, cradles a baby girl, and handles weapons. The closing credits give thanks to Marx, Engels, and Lenin, among others.
Author and Cinematheque Francaise programmer Nicole Brenez:
"A masterpiece of that most perilous kind of cinema, namely militant, political cinema. Richet finds the means to fundamentally reconcile Renoir and Eisenstein, Max Ophuls and Public Enemy. A call to revolt that returns us to the radical bases of the 1791 Republican Constitution."
Viennesse author Christoph Huber:
"Powerful piece of Marxist propaganda aired here on tv once and is otherwise unavailable. Compared to this, Kassovitz's acclaimed La Haine looks like a feature for The Disney Channel".
Last edited by oscar jubis; 02-28-2005 at 11:48 PM.
The film is bookended with a hip-hop video in which Virginie Ledoyen carries a big red flag, cradles a baby girl, and handles weapons. The closing credits give thanks to Marx, Engels, and Lenin, among others.
So you're seen it. So are you implying you got this from the local video shop, or from Netflix via your brother?
The formatting sounds like the most blatant "radical chic" -- but also like Godard in his heyday, Godard when he was elegant, provocative, and exciting; an updated hiphop Godard. I certainly want to see it.
"Compared to this, Kassovitz's acclaimed La Haine looks like a feature for The Disney Channel".
Maybe Kassovitz is better as an actor. But he got good publicity with La Haine. A career-maker? And "Ma 6-T va crack-er" got Richet the publicity he needed too.
Instead of just quoting the two critics, why didn't you say how the film struck you? Your description as always is excellent, but this time too neutral.
*Bought the Hong Kong dvd for $8.99. The French one doesn't have English subs.
*The film seems to discourage viewer identification with any single protagonist ("banlieu" kids playing themselves, by the way). Richet regards them as members of an oppressed class and most specifically, as victims of the police. All four features directed by Mr. Richet portray the police as either racist or corrupt, or both. In De L'amour, which I haven't seen, Ledoyen and her Arab boyfriend take revenge on a sadist cop. His debut, Etat des Lieux has a similar bent. (According to Rosenbaum, Richet raised its $20,000 budget by gambling his unemployment check at a local casino).
*Not a single commentary from the pundits I quoted or viewers (IMdb) disagrees with the fact that the film promotes violence as the only solution. Before the final credits appear, article 35 of the Republican Constitution is quoted, which basically states the right of oppressed people to resort to violence. I have a personal reluctance to accept violence as constructive, particularly when these projects where the boys live and schools they attend appear to provide a better environment than their American counterparts. Also, there's evidence here that these kids are at least partly responsible for their plight. The film's stance and its conclusion ignore this evidence. That said, Ma 6-T va Crack-er has value as a document of life in the "banlieu" and features expertly staged action sequences of urban violence.
Tuesday March 1st
Dog Days (Austria,US Theat. dist. in 2003) rental dvd
"Get down on your knees and sing La Cucaracha, you bastard!"
Documentarian Ulrich Seidl's fiction move is a cruelty exhibition involving residents of a suburban community in Austria during a heat wave. One poignant moment_an estranged couple sit on their deceased daughter's outdoor gym under the rain_stands out among a series of acts of abuse and humilliation. A dog and a mentally ill woman amongst the victims. Lots of naked old folks. Non-actors improvised their own dialogue after Seidl provided sketchy scenarios. I know there's an audience for it out there.
Adoption (Hungary, 1975) on region 1 dvd.
A Golden Bear winner at the Berlin Film Festival, Adoption was directed by the prolific and still active Marta Meszaros (the Diary trilogy), who was once married to the great Miklos Jancso (The Red and The White, Red Psalm, Elektra, My Love). Interview with Meszaros: http://www.sensesofcinema.com/conten.../meszaros.html
Interestingly, Meszaros claims in this 2002 interview that Adoption was nominated for an Oscar and that she could attend thanks to money donated by some Hungarians living in L.A. My research indicates that Adoption was NOT nominated for an Academy award.
Widowed, financially secure and involved with a married man, 42 y.o. Kata yearns for motherhood. Though having little in common, Kata meets Anna, a rebellious teen now confined to a nearby "institute" after years of parental neglect. With some difficulty, a bond grows between them. Kata allows Anna to use her house to meet with the nice 22 y.o. she loves. They want to marry and Kata intercedes on their behalf. But fulfillment won't come easy for either woman. Meszaros' film is a poignant and candid examination of yearnings for intimacy and self-realization, and a nuanced depiction of a stagnant society. She favors facial close-ups and emotionally intense exchanges reminiscent of the films of Ingmar Bergman. Meszaros is said to be the most prolific female director in cinema history. Her Adoption is a must-see.
Last edited by oscar jubis; 03-01-2005 at 11:50 PM.
So you bought the Hungarian film dvd? Apparently issued on US dvd recently? Nothing on it on IMDb except two brief viewers' comments. How did you know about this film -- with its difficult to spot title (there are many "Adoptions", if few Örökbefogadáses) -- and why do you say (using Rosenbaum's terminology) that it's "a must-see"? It isn't clear from the description what's special about it, or how it becomes one of her best, if she made so many, or should we see more of them, also?
Thanks for the further detail on this one with some of your personal feelings, which often you seem to omit. Would you say this has more redeeming social value than City of God? YOu didn't respond to my Godard suggestion so I guess that doesn't relate, for you, and this is far more gritty and "vérité" in its way than any Godard?Ma 6-T va Crack-er has value as a document of life in the "banlieu" and features expertly staged action sequences of urban violence.
Originally posted by Chris Knipp
So you bought the Hungarian film dvd? Apparently issued on US dvd recently? Nothing on it on IMDb except two brief viewers' comments. How did you know about this film -- with its difficult to spot title
Yes. IMdb not always reliable. Viewers not quite discerning. http://half.ebay.com/cat/buy/prod.cg...1877&meta_id=3
East European Cinema has traditionally been ignored in the West, especially USA. Blame the Cold War? I do research. In the process, I learned this Berlin winner was released on disc so I bought it. Will continue to seek out other titles.
why do you say that it's "a must-see"?
"poignant and candid examination.....reminiscent of Bergman"
Thanks for the further detail on this one with some of your personal feelings, which often you seem to omit.
Thanks for your interest, CK. You may be the only person here interested in films/directors few are familiar with. It's hard sometimes given the volume of film I watch and the limited time. But I appreciate and will respond to any prompting from you or others.
Would you say this has more redeeming social value than City of God?
Salles wants to entertain, his City of God involves much younger kids (at times) in showy, gorier scenes that titillate. Salles has no political agenda in mind. Richet's in wrong-headed, in my opinion. Both Richet and Salles ignore the kids' families and the larger social context. Richet's film may more accurately depict the kids' day-to-day routine, but City of God is more fun.
You didn't respond to my Godard suggestion so I guess that doesn't relate, for you, and this is far more gritty and "vérité" in its way than any Godard?
Yes, more gritty and verite, and more agenda-driven, more tendentious. "Richet's kids" don't know who the fuck is Marx or Lenin. What specific Godard film advances the point of view that violence is the only solution to the plight of underclass youth? Maybe I can provide a better answer to your inquiry if I have a clear memory of the specific film you have in mind.
Last edited by oscar jubis; 03-02-2005 at 01:46 AM.
Actually I was curious not about how you found the dvd of Marta Meszaros' 1975 Adoption but was seeking further insight into your "process" as a sophisticated student of world cinema -- how you found out about this director in the first place, and where. I know you're under pressure just to get the information out because you cover so many films: you need a staff of assistants. (Chelsea may be busy. Other family members otherwise occupied.) Sorry if I seem to keep prodding you, but you see I am paying attention.(Originally posted by Oscar Jubis)
Yes. IMdb not always reliable. Viewers not quite discerning. http://half.ebay.com/cat/buy/prod.c...=1877&meta_id=3
East European Cinema has traditionally been ignored in the West, especially USA. Blame the Cold War? I do research. In the process, [Italics mine--CK.] I learned this Berlin winner was released on disc so I bought it. Will continue to seek out other titles
Also sorry, I overlooked your phrase "poignant and reminiscent of Bergman" which certainly justifies (if telegraphically) a "must-see" rating.
Hardly; but thanks anyway. I do follow this thread closely but I notice it's become the most viewed, so others surely are interested too -- notably the very well informed arsaib4. I am slowly trying to get to know just a few directors Americans barely know but others on this site recommend such as Hou, Tsai, Kiarostami, that Thai guy and those new Latin Americans. I am sometimes resistent: Kiarostami still hasn't grabbed me; Hou has, and Tsai already had, if fleetingly. I'm probably behind others here in actually seeking them out and appreciating them. Your taste and curiousity are more comprehensive than mine and I value those qualities.](Originally posted by Oscar Jubis)
Thanks for your interest, CK. You may be the only person here interested in films/directors few are familiar with.
Clear and sharp comparison of City of God and Ma 6-T Va Crack-er. Thanks.
About Godard -- I don't know if I had any film in mind though I was vaguely thinking of the politically provocative La Chinoise. Needless to say, Godard doesn't advocate violence. Notre Musique powerfully affirms that. Shall we connect the dots and note it's "interesting" that a director like Richet would go from agit-prop to Assault on Precinct 13? Does he think he's doing good by going mainstream and injecting some subversion into an American actioner remake? What's he doing for the banlieu now?
[QUOTE]Originally posted by Chris Knipp
Actually I was seeking further insight into your "process"
I have a modest cinema library, and I frequent sensesofcinema and mastersofcinema on the web. Sometimes I browse through ebay for foreign dvds and come across an unfamiliar item and that will spark my research. I learned about Meszaros while reading about her well-known ex-husband Jancso, whose The Red and the White I own and will be watching soon. I liked Adoption a lot and found out a couple of her other films are available on vhs, so I will look for them at my hood's video store. If not there, I'll check if any is available on the web at a reasonable price...
Shall we connect the dots and note it's "interesting" that a director like Richet would go from agit-prop to Assault on Precinct 13?
Yes. What Assault has in common with Richet's French films is the theme of police corruption and the well-done violent scenes. I have no idea about his upcoming projects.
Wednesday March 2nd
Les Choristes at SoBe Regal
Chelsea and I enjoyed it very much. I will never want to become the type of person who can't be entertained by a film like this. I'll point out its limitations only if someone calls it a masterpiece. I'm actually glad it didn't win the Oscar. Chris Knipp's reviews and comments about this film are on-the-money.
La Devoradora (The Man-Eater)
Fernando de Fuentes was the first great Mexican director of the sound era. This 1946 release is not one of his best, but it's still well-done melodrama featuring Maria Felix (French CanCan, Dona Barbara, Enamorada). She is Mexico's most famous actress. Ms. Felix received many offers to work in Hollywood but she turned them down. She said she didn't want to learn English. She is absolutely marvelous in the femme fatale, bad girl parts she usually performed. I rented this at the public library, an under utilized resource for the cash-deprived cinephile.
...I learned about Meszaros while reading about her well-known ex-husband Jancso. . .
Where? Thanks for the reminder to "frequent" Senses of Cinema and Masters of Cinema online. We should all do that.
I feel you neutralized my remark about Assault rather than ran with it, but it's you who've seen them both, Ma 6-T Va Crack-er and it.
Thanks for backing my up on Les Choristes. I still think there's more to it than American reviewers seem to see. I wish the song had won the Oscar, but, agreed, not the film.
I got my first Hou Hsiao Hsien dvd, Goodbye, South, Goodbye, from the Concord, MA public library while visiting my goddaughter Tanya. A friend of mine gets videotapes at the SF library every week and they have upped the number that you can take out at one time to six. I used to do it too. Have you had trouble with rental dvd's being dinged and having glitches that sometimes stop the film in its tracks? I have.
Originally posted by Chris Knipp
Thanks for backing my up on Les Choristes. I still think there's more to it than American reviewers seem to see.
Reviews have been mixed. Favorable ones: LA Times, Chi. Tribune, Seattle Post, Toronto Globe, USA Today, Christian S. Monitor. I understand the negativity as a reaction to its submission to our Academy over better films. But I'm not fond of "extremist" criticism that fails to acknowledge the film's modest attributes, and that most readers are likely to find it at least "worth-watching". It's the type of practice that turns casual moviegoers off film criticism.
I got my first Hou Hsiao Hsien dvd, Goodbye, South, Goodbye, from the Concord, MA public library. Have you had trouble with rental dvd's being dinged and having glitches that sometimes stop the film in its tracks? I have.
I've been stopping myself from watching Hou's films over and over again_they give me so much pleasure_ in order to have time to watch films from countries/directors new to me.
I've had that problem you describe with both rental dvds and even a few new discs imported from Asia.
What do you do for the dvd glitches? Does cleaning the disc help? It did for laser discs, a lot, and does with any where the problem is some object on the surface. But on new Asian ones, are these inbedded glitches?
I think the nasty reviews of The CHorus came in before the Oscar nomination, actually; I agree with you that there is no call for vicious attacks on ANY movie, unless it's really pernicious or monstrously awful. A little film about choir boys? Please. It's not to my mind at all saccherine. These are knee-jerk reactions; and the US readings of foreign films are rarely to be trusted. Even when they're in the ballpark, they contain little perception of all that's there.
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