6/3 Dogville

Dogville is a 2003 film written and directed by Lars von Trier. Even though this is pretty recent, I believe this is a great film and I’m excited that, aside from Rory, no one else has seen it.

“DOGVILLE is shot exclusively in studio with a minimum of props allowing the actors' maximum freedom and full exposure inspired by televised theatre of the 70s.”

The viewing will be held at the following address: 5115 Jackson St #2 Houston, Texas 7004

Dogville Stew will be served, so bring your f-ing appetite.

Joe Ross (what a smart guy) suggested changing the hour we meet and I’m all for it. The reason for the suggested time change is due to the fact that when we arrive at our weekly destination we converse, eat and don’t end up getting to the film till around 10. Please note this film is 178 minutes and you are more than welcomed to arrive early. In fact, please arrive at 8 p.m. Your thoughts are greatly appreciated. Hasto Domingo!

Olga Schoberová

Because I think she's really beautiful, and we just watched Lemonade Joe in which she played Joe's love interest. Olga Schoberová on the cover of Playboy, March 1964 - the same year Lemonade Joe was released.

Up next

I know it won't be my pick for a few more weeks but I want to let all concerned parties know that I intend to select Ingmar Bergman's 1966 film "Persona" next. Hopefully not too many of y'all have seen it. If it is next in your queue you may want to hold off on watching it until we have movie night at my place again.

Errol Morris' Miller High Life commercials

or: something for Joe to do at work.

His official website has a page of over 80 commericals for Miller High Life beer, which are pretty good (misogyny aside).

http://www.errolmorris.com/commercials/miller.html

My favorite is "Bounty." Although, admittedly, I haven't yet watched them all.

Be sure to also check out the PBS commercials, especially "Light" and "Photobooth."

5/28: Czech New Wave Trilogy, Part II

It's that time again, folks. Keep in mind that in addition to pizza I will be supplying Czech beer for the drunks among us and lemonade for those of us who don't dig on hops (for explanation, see below).

LEMONADE JOE
1964, directed by Oldrich Lipsky



Lemonade Joe will be the second installment of the Czech New Wave Trilogy. Good times should be had by all attendees. Bear in mind that the current DVD release features a less-than-desirable print of the film which has been poorly cropped from widescreen into full screen. Unfortunate as this is, it's not unwatchable and I don't think there will be another DVD release in the near future.

"This Czechoslovakian spoof of classic Hollywood Westerns features hookers with hearts of gold, evil cattle rustlers, heroic duels and the title character -- a sweet, teetotaling cowboy. When alcoholic villains threaten a gorgeous temperance crusader at the Trigger Whiskey Saloon, Lemonade Joe (Karel Fiala) comes to the rescue. Oldrich Lipsky, the artistic director of Prague's Satirical Theater, helms this silly song-filled send-up."
-netflix.com

Czechoslovak New Wave Trilogy
Part I: INTIMATE LIGHTING (1965)
Part II: LEMONADE JOE (1964)
Part III: THE SHOP ON MAIN STREET (1965)

Criterion Geeks

Besides visiting this blog three times a day, this Criterion forum has been my favorite website lately. It is basically a message board ran by a bunch of movies geeks. There is a thread on every Criterion title (even the yet-to-be released ones). They even have sections for other brands like Fox, Warner and the Masters of Cinema Series (something like a UK Criterion).

I like the forum because I want to see people telling me about the DVDs if I am going to make a purchase. Also, they have a lot of extra knowledge that I would not be able to find otherwise. Some people were talking about how Criterion inserted random postcards of their cover art in random Criterion titles. My favorite part is they have a list of titles expected to be forthcoming from Criterion, but has yet to be officially announced. These people got the information from Criterion's newsletters, blog and even emails from the staff. I'm very happy to see the following titles on the list:

Jean-Luc Godard's Breathless (finally, a Criterion for this French New Wave classic, possibly 2007)

Akria Kurosawa's Drunken Angel (one of the first Kurosawa masterpiece, possibly 2007)

Masaki Kobayashi's The Human Condition Trilogy (early 2008)

Nagisa Oshima's Merry Christmas, Mr. Lawrence (David Bowie + Ryuichi Sakamoto = Opposing officers in POW camp = hidden homosexual attraction)

Jim Jarmusch's Night On Earth

Louis Malle's Le Feu Follet (I don't think they have enough information about the possibility of this release, but I'm very interested)

and a possible Mikio Naruse boxset

Apparently, there is quite a debate and speculation about what title is gonna be Criterion's spine number 400 (as if anyone cares). The interesting thing is Criterion announced their upcoming titles on their page but the number 400 was left out (they have up to 402). Let's hope it is going to be Breathless, or something great.

On a side note, some of the messages on the message boards are so dumb and geeky, it's hilarious.

5/20 - Bob Le Flambeur

Yeah, it is French again. And yes, it is also a Criterion title. But we ain't no whore (as Rory put it), for we are not forced to sell our bodies and dignity for anything. Lucky me.

Back to the movie. I want to pick Bob Le Flambeur because it is arguably the first French New Wave movie. I think Joe knows a hell lot about the French New Wave, so I don't even bother to introduce the movement here (as this is just another "Joe and Francisco's conversation).

The story: Bob, who used to be a bank robber and now loses all his money to gambling, plans a casino heist with the help of some of his so-called friends. Sounds like Ocean's Eleven (or whatever number it is now)? Maybe. Afterall, this is also the first "heist" movie.

see you at Joe's on Sunday.

There are more people attending movie night now (a good thing). But I live in a tiny studio apartment. So I'll re-think my position on hosting movie night at my place in the future.

%

In response to some speculation regarding our possible alliance with Criterion Collection, Inc., I decided to post some statistics.

41.27% of the films we've watched have been Criterion titles.

58.73% of the films have been non-Criterion releases (meaning they were released by Warner Bros., Sony, Fox Family, etc.)

Considering we've only had 26 Criterion movie nights (out of a possible 63) and they've released 385 dvds, about 375 of which are considered 'worth watching,' I think we're doing pretty good as far as representing Warner, Sony, and Fox Family is concerned.

60 Years of Cannes

This year is the 60th anniversary of the Cannes Film Festival. Among the filmmakers who are attending Cannes this year, a few of them had had their films shown on Movie Night. Steven Soderbergh (Bubble) is having a world premiere for Ocean's Thirteen. Gus Van Sant's (Paris, Je t'aime) Paranoid Park is of the twenty films in competition. Wong Kar-Wai's (In The Mood For Love) English-language debut "My Blueberry Nights" is the opening film for the festival. The film features Norah Jones, Jude Law, David Stratharim, Rachel Weiz and Tim Roth (plus Chan Marshall of Cat Power?).

Again, I'm trying to report faster than criterion.com on related filmmakers. My last attempt was announcing the death of Robert Altman.

To answer Rory's question after every movie night:

If I am not mistaken, I'm going to pick for the next movie night.

I know it's just Monday, but let's play a little guessing game here.

Guess what movie will be picked for the next movie night?

Hints:
1. It is said to be the precursor of the French New Wave, if not the first French New Wave film.
2. It is black & white, made in 1955.
3. The director had a cameo role in an early Godard film.

I'll reveal the answer on Friday.

5.14.07 Movie Night

Ladies and gentlemen:
You are invited to attend a screening of the 1939 Jean Renoir film "La Grande Illusion" at the apartment of Rory Crossin. Pizza and beverages will be provided.

I've been meaning to select this film for a while. Basically my last few picks have all been films directed by highly regarded directors which I have read a lot about but have not yet had the pleasure of seeing.

My address is 764 International Blvd. Apt # 51. The zip code is 77024. My phone number is 713.447.8748. Parking is kind of tricky so call me if you have any questions.

See you on MONDAY evening.

5/6 Hearts and Minds

It's been a while since I've chosen a film- I think this is actually only the second or third time that I have. I chose Peter Davis' Hearts and Minds for a couple of reasons. I've been wanting to watch a documentary and I recently read the book Bloods, which is a collection of black Vietnam veterans' oral accounts of their experiences in Vietnam. Not only did they deal with the atrocities of the actual war, but they also delt with racism from their fellow soldiers and the knowledge that they were fighting for a country that was not fighting for them. It was a great book, and I wanted to learn more about the war and the events surrounding it, including its ties to the Cold War. Hearts and Minds seems to encompass all of that and more, and appears to be the most widely acclaimed documentary of the war. If any of you have already seen it please let me know because I can always pick another- I've got months of not choosing anything to make up for.


A landmark in documentary feature films, this Academy Award-winning documentary is an insightful critique of the US's cataclysmic involvement in Vietnam. The film exposes the duplicitous nature of the American government, obsessive in its quest to squelch Communism and advance its own imperialist agenda, documented here in a media-savvy trail of propaganda ranging from archival footage, excerpts from press conferences, newsreels, and clips from jingoistic Hollywood war pictures. Director Peter Davis also uses damaging interviews (including disturbingly racist comments from US soldiers and General William Westmoreland), pop music from the period, and material he shot himself in Vietnam to create an indelible visual essay against war. Eschewing narration, the film has a cinema verite style, which gains its power from juxtaposition and the severity of its images. Released only two short years after the January 1973 agreement that brought home U.S. troops, the film stands as one of the strongest films condemning the war and the America's involvement in it. HEARTS AND MINDS's title derives from a now-infamous speech given by former President Lyndon Johnson in which he stated, "The ultimate victory will depend on the hearts and minds of the people who actually live there."

20 Films (edited)

My annually revised all-time favorite films list has finally arrived... I found it impossible to narrow it down to 10, and the only way I managed 20 is by limiting myself to two films per director (hence the exclusion of Stolen Kisses) and no films under 10 years old (hence the exclusion of The Celebration, Rushmore, and films from the 21st century)... I also left out silent films

Citizen Kane (1941, Orson Welles)
The Bicycle Thief (1948, Vittorio De Sica)
The Third Man (1949, Carol Reed)
Kind Hearts and Coronets (1949, Robert Hamer)
Rashomon (1950, Akira Kurosawa)
Tokyo Story (1953, Yasujiro Ozu)
Paths of Glory (1957, Stanley Kubrick)
Wild Strawberries (1957, Ingmar Bergman)
The 400 Blows (1959, Francois Truffaut)
Jules and Jim (1962, Francois Truffaut)
My Life to Live (1962, Jean-Luc Godard)
8 1/2 (1963, Federico Fellini)
Dr. Strangelove (1964, Stanley Kubrick)
The Battle of Algiers (1966, Gillo Pontecorvo)
The Firemen’s Ball (1967, Milos Forman)
A Woman Under the Influence (1974, John Cassavettes)
Taxi Driver (1976, Martin Scorsese)
Amadeus (1984, Milos Forman)
Pee-Wee’s Big Adventure (1985, Tim Burton)
Fargo (1996, Joel & Ethan Coen)

(edited: as I read back over this I realized I completely missed Wild Strawberries)

Scheduling

Cinematheque Houston Citizenry,

It seems the best way to go about addressing our scheduling issues would be to tackle it in a two-pronged manner.

First, we should have movie night EVERY OTHER SUNDAY. In my opinion, this should coincide with Rory's work schedule so that he can attend.

Second, we should have movie night EVERY OTHER MONDAY. The best way to do this whilst still carrying out our first objective would be to have the Monday movie nights on the Mondays that do not immediately follow a Sunday on which we held movie night.

Does this work for everyone?

Favorite Directors

It is always difficult to summarize all the movies we like into a list of 10. How about a list of favorite film directors? My basic criterion here is I have to watch at least 3 of the directors' films and I enjoy most of their works a lot. Here's my top 10 list and please post yours:

Orson Welles
Akria Kurosawa
Stanley Kubrick
Yasujiro Ozu
Federico Fellini
Francois Truffaut
Hayao Miyazaki
Jim Jarmusch
Wong Kar-Wai
Takeshi Kitano

I didn't put Martin Scorsese, even though I love Taxi Driver and Raging Bull a lot. His other movies are good too but I lost interest in his recent stuff. Godard is great, but sometimes he's too style-over-substance. Wes Anderson is on the bubble.... I don't watch enough David Lean, Kenji Mizoguchi and John Cassavetes movies, but I'm certainly interested. Other honorable mention: Pedro Almodovar, Hal Ashby, Michel Gondry, Edward Yang, Takashi Miike and probably more.

(next time, we'll talk about our favorite living/working directors)

Directions to Jason and Jennifer's for all attending parties

5115 Jackson #2

From Montrose: Left on Binz, Left on Jackson.
From 288: Exit Southmore, right on Southmore, right on Jackson, first house on the right.

This is my number: 979.235.7576

C'era una volta il West

Spaghetti Western DELUXE.

Director:
Sergio Leone

Writers:
Dario Argento (story) & Bernardo Bertolucci (story) ...

Release Date:
21 December 1968 (Italy)

Starring: Henry Fonda, Claudia Cardinale, Jason Robards and CHARLES BRONSON

Never eat spaghetti on a first date.

conflicting schedule

Due to my new work scedule I will only be able to attend Movie Night every OTHER Sunday. This coming Sunday (4/29/07) will be the first I will not be able to attend due to this new schedule. I am trying to get a more agreeable schedule but until then I was wondering if we might be able to possibly change Movie Night to a different night on the weeks when I can't attend on Sunday. I don't want to inconvenience you but perhaps we could work something out that would work for everyone. What do you think?

4/22: Czech New Wave Trilogy, Part I

For my next three picks, I've chosen a trilogy of Czech New Wave films. Hopefully it'll be a fun adventure into the oft-overlooked "other" 1960s movement (the one that happened outside France).

Part I: INTIMATE LIGHTING (1965)



I chose Intimate Lighting as the first installment mostly because I've wanted to see it for quite some time and I can't hold out any longer. It was written by Ivan Passer and Jaroslav Papousek, Milos Forman's co-writers on Loves of a Blonde and The Firemen's Ball (both of which have been featured for movie night). It was also directed by Ivan Passer, who would later follow Forman to the USA to make films here (although obviously not as successfully). Intimate Lighting is often cited as one of the masterpieces of the Czech New Wave, and Milos Forman calls it one of his favorite films of all time.

Because Criterion Collection has decided, for some stupid reason, not to release Intimate Lighting on DVD, it's only available on VHS (the VHS was put out by Criterion Collection in 2000 - why not just put it out on DVD?). This means we'll have to watch it over at my place. Hopefully that's not a problem for anyone.

Czechoslovak New Wave Trilogy
Part I: INTIMATE LIGHTING (1965)
Part II: LEMONADE JOE (1964)
Part III: THE SHOP ON MAIN STREET (1965)

4/15 - Paris, Je T'aime

Tonight, we're screening "Paris, Je T'aime", which has not been not officially released in the United States yet. Here's a description from imdb:

Paris, je t'aime is about the plurality of cinema in one mythic location: Paris, the City of Love. Twenty filmmakers will bring their own personal touch, underlining the wide variety of styles, genres, encounters and the various atmospheres and lifestyles that prevail in the neighborhoods of Paris. Each director has been given five minutes of freedom, and we, as producers, carry the responsibility of weaving a single narrative unit out of those twenty moments. The 20 films will not appear in the order of the arrondissements, from one to twenty, but rather, in a pertinent narrative order, initially unknown to the audience. They will be fused together by transitional interstitial sequences, and also via the introduction and epilogue sequences of the feature film. Each transition will begin with the last shot of the previous film and will end with the first shot of the following film, and will have a threefold function: 1) The first is to extend the enchantment and the emotion of the previous segment, 2) The second is to prepare the audience for the surprise of the next segment, and 3) The third is to provide a general, comfortable and cohesive atmosphere to the feature film. The delightful and brief interludes of these transitions will enable the viewer to slide from one world to the next, featuring a recurring and unexpected character. This mysterious character is a witness to the Parisian life and helps create a continuous narration. It appears both in and in-between the films. In addition to the information these transitions will provide about the city and its people, their tone will be intentionally light often referring to famous scenes easily attributed to the history of Paris cinema. Similar specifications will be followed by the composer who will supervise the musical fusion between the films and the transitions as he creates the musical score of Paris, je t'aime. Considering the common theme of Paris and Love, the fusion between the films and the transitions, the fast pace of a fluid and complete storytelling, Paris, je t'aime will not be just another "anthology" picture. It will be a unique collective feature film that will constitute a two-hour cinematographic spectacle whose original structure will make for a dramatically different experience for its global audience. Written by Emmanuel Benbihy