Taupe Beats
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Posts posted by Taupe Beats
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@Nebraska You saw Come and See at age 10? Very curious about background to that. My dad recommended A Clockwork Orange to me at age 11 and I remember thinking that was a bold recommendation after seeing it. Come and See at age 10 would have traumatized me for life!
So much fascinating backstory to that film. For instance:
SpoilerThe swamp scene was not doctored in any way. It's been reported that Klimov knew that the leads would need therapy for years after its production.
As well, between this film and Throbbing Gristle, I've always found the sound of a phaser inherently macabre.
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2 minutes ago, Nebraska said:
this was a very interesting "fake" documentary that presents a decent argument for a possible alternative to federal prison which involves a trek through the desert to reach the american flag in 3 days while being pursued to law enforcement. this intercut with the 'criminals' in a kangaroo court in front of a committee that unfortunately gets a little repetitive and (imo) slows things down whenever things are getting interesting.
still- this was pretty brutal and amazingly well made. approved!
Anything by Peter Watkins is worth a watch. His Edvard Munch biopic is one of the all-time greats. His documentary "The War Game" is the first time the BBC ever funded something and then refused to release it due to their fear it would cause a panic (this doc won several awards).
And then there's "Culloden"...which a certain xenophobic nationalist shithead on this very board tried to take my head off for commenting on once. Culloden is great, that shithead is not.
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That track always reminded me of Throbbing Gristle's "Beachy Head", which I love. Faith in Strangers is great. Between "Science and Industry" and the title track, ton of great stuff there.
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Loving the living shit out of this. I always get reflexively giddy when a new Andy Stott album comes out. It's kinda embarrassing.
edit: With that said, needs more Alison Skidmore
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Balderdash and Trivial Pursuit
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13 minutes ago, Rubin Farr said:
Terminator Dark Fate - first, yes it's a big dumb action movie like the F&F franchise, but as a child of the 80s, still holds a nostalgic place in my heart. This is a sequel to T2, so the last 3 movies are best forgotten. Linda Hamilton is the reason to go see this, the FX are loud and visually overwhelming at times, but she holds it together. Maybe the best acting she's done, the pain and weight on her face comes across as sincere, as well as her reaction to several game changing revelations. Ahnold is Ahnold, old grey and still buff, but just as bad as ever at delivering dialogue, and some ludicrous character development on his part. The cultural symbolism was clever, but not shoved down your throat like Battlestar Galactica was. It was interesting to see, but flew way over the heads of the kids we took to see it. Gabriel Luna is pretty relentless, shame Ghost Rider got canceled before even filming. It looks to be a theatrical bomb, losing maybe hundreds of millions of $$$, so might be the last Terminator for a while, or ever. Maybe they'll try a TV series again, mebbe not.
I saw the trailers and could only think that Linda Hamilton should have taken her own advice with the SPF 1 Million joke...
*ducks tomatoes*
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A Page of Madness rules
I went kinda nuts this weekend with the Criterion 50% off sale at Barnes and Noble. Upgraded a lot of my personal favorites.
With that, gave a re-watch to Jeanne Dielman over the weekend. This may be the most technically perfect film I've ever seen. Between framing, pacing, brilliant use of ellipsis, Delphine Seyrig.
SpoilerAfter seeing it the first time, I watched an interview with Akerman who explained that Dielman really starts to unravel because she has her first orgasm on the 2nd day. At the time this was quite a surprise to me. Upon 2nd viewing it made a bit more sense. After watching again last weekend, now it's painfully obvious and I was quite obtuse for not noticing.
With as much feminist theory as a straight white male can muster, the film is an amazing vision of someone who's humanity has been totally robbed of them to the point where she no longer feels comfortable in her routine of robotic service to her son (and clients), and esp. not when alien and formative human emotions/experiences come into play (arguably a sexual awakening).
I'll stop now but this is def. one of the greatest films I've ever seen, if not the greatest.
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23 hours ago, Rubin Farr said:
My gf is all about Dia de los Muertos this week, so we watched Coco. Very cute and amazingly colorful, especially in 4K HDR.
Loved this movie. So awesome that there was an El Santo reference.
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So for all the great celebrated music out of Detroit, it appears some of the worst music has also originated there.
Forgot this:
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So for all the great celebrated music out of Detroit, it appears some of the worst music has also originated there.
And yeah totally missed the 2nd post.
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No Dilla postings at all? I smiled at the lack of Eminem and Kiss but no Dilla?!
(the story behind that video is amazing, Jerry Stackhouse was extorted so they could use his house to films scenes)
And close enough:
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On 10/21/2019 at 2:33 AM, donquixote said:
The Entity - This is really good for a supernatural early 80s horror. Also because of "if it really is me" I've got this mad childhood affinity with the woman's voice that almost gives me goose bumps. Good synth pad sequence sequence towards the end too.
One of the all-time great experimental short films was made entirely out of footage from The Entity
I got incredibly lucky and saw this for the first time in a theater back in '01-'02 (it was part of a full Tscherkassky retrospective, no less). Was the major catalyst for my interest in film.
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Not much of a surprise, but most of the recent Frontline episodes have been great. The MBS episode, the Flint water crisis episode, and the Bork/Federalist Society episodes in particular.
They recently licensed a doc made in the Philippines related to Duterte's drug war. As a massive Lav Diaz fan, the production style was kinda jarring but still an important subject and doc.
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Tried watching the first episode of the Ken Burns country music retrospective. Gave up after the overlong opening salvo of hagiography (while still making it clear that the hagiography is selective by era, classic Ken Burns).
I agree with the earlier assertion about his Jazz equivalent being narrow minded (specifically with Fusion jazz). Sorry but the time that Louis Armstrong took a crap in 1931 does not hold as much importance as Bitches Brew.
Basically every Ken Burns series always has this same habit of ranking eras of a particular subject and then essentially promoting generation gaps and supremacy. Nonsense.
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Good material posted on this forum in the last week. This mix kicks ass.
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If choosing the Manson clan murders is a vehicle for "entertainment", that's a shitty vehicle. Saying Once Upon a Time in Hollywood is solely (or even predominantly) entertainment is reductive.
I also find Tarantino's insistence on an alternate narrative to this moment in history to be a weakness. To me, this film feels like conservative fantasy-fulfillment of what could have been in Hollywood, posing the Manson murders as a theft of Hollywood's collective innocence. It's a very narrow perspective and one I find no enjoyment or quarter.
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To Korg Volca Drum owners, Korg posted a fix today for the MIDI Channel issue.
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15 hours ago, sheatheman said:
Ruismaker noir is an iOS version of DFAM.
it’s amazing. Highly recommended.
ive done an a - b and it’s freaking close, but a lot more features.
Had no idea they were so close in comparison. Thanks for sharing! I love Noir, and admittedly I hadn't heard any similarities in any DFAM videos I've seen (I haven't heard one in-person). The combo of modulation and the sequencer in Noir makes it really easy to get usable phrases quickly. A lot of the sounds I get out of Noir sound like Randomer to me.
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Sergei Loznitsa's "Maidan" about the Maiden square protests and subsequent squashing in Kiev. Loznitsa's documentaries typically consist of archival footage brilliantly arranged to give context ("The Event", "The Trial", "Blokade", "State Funeral", etc.). However some of his newer work, including "Maidan" (and "Victory Day") actually have Loznitsa behind the camera. And just like his fiction films, the work is all the better for it.
Documentaries typically have an aim to bring the viewer closer to the experience, or even try to bring a "you are there" type perspective. However, most fail miserably in achieving these goals (including good documentaries, Lav Diaz's "Storm Children Book 1" immediately springs to mind). "Maidan" is a rare exception, imo. Between the lack of narration, very little spatial awareness amidst the chaos, and ominous fatalism that captures every moment of this conflict, even in its earnest and optimistic beginnings.
Highly recommended, along with literally anything else Loznitsa's done.
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Going through Mindhunter. Very disappointing, imo. Interesting premise but way too stylized.
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Just wanted to let everyone know I'm still doing my show. Stopped posting here to avoid gumming up the works. If you're curious, new shows get posted here:
As always, thanks for listening!
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Watched Jan Troell's "Emigrants" and "The New Land" over the weekend. Impressive scope, great performances all around, and wonderful cinematography. With that, really disliked the music in both films. Liv Ullman is a once-in-a-lifetime talent, but she was still better in Persona than here.
Also watched Bergman's "Sawdust and Tinsel". I get why this film is so polarizing. The film has a nasty outlook from start to finish. With that said, it would be a pretty great double-feature with Pabst's "Pandora's Box" (the Pabst film imo is far superior but they're an interesting comparison).
edit: The Blomdahl score for Stardust and Tinsel is wonderful. My favorite part of the film.
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Watched Bruno Dumont's "Flanders" for the first time last night (currently steaming on The Criterion Channel). Have to say...this one was a miss for me. The main protagonist is a classic "blank slate with a touch of brutality" Dumont archetype and frankly not much else. The best thing I can say for the woman protagonist is...her part is underwritten. The war scenes were undercooked. I definitely think Dumont's intentions was ambiguity but I'd argue this wasn't executed well. It almost feels like Dumont's first foray into self-reference (he has a habit of it). He got better with this over time (see Lil' Quinquin).
After that, I needed to see what I'd classify as "good" Dumont, so I re-watched Camille Claudel 1915 (also on The Criterion Channel). What an underappreciated film. I'd argue this movie may be Dumont's masterpiece. Bruno Dumont's first time working with a well-known actor (Juliette Binoche) and she delivers an all-time great performance. Her stop-on-a-dime emotional shifts which feel very real. Dumont's framing is perhaps its most refined here. If you appreciate "chamber" style films/acting, I recommend this highly.
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Finally bought the blu-ray of Shoah (only had a torrent before). For those unaware, it's Claude Lanzmann's 9.5 hour documentary on the Holocaust which came out in the mid-80's. No archival footage is used. You are introduced to several "witnesses" (survivors, townspeople near the camps who were alive at the time, some of the Nazi functionaries), who tell their stories.
I understand that Lanzmann is polarizing, but I find it inappropriate to watch this work and focus on the director. I *do* understand the criticisms of only translating (for subtitles) the translator for the Polish/Yiddish/Hebrew (Lanzmann didn't need a translator for German and English), but it's a catch-22 because without a translator, there's no way these stories come out the way they do. However, I'm left with the strong feeling that a lot of important nuance is lost w/o your own knowledge of Polish, Yiddish or Hebrew. It would be interesting to see a version w/their words translated directly to subtitle, instead of the translator's.
The dualities of the natural beauty (mostly) shown to you vs. the horrors being dictated to you at the same time are very moving. It would be near impossible not to be moved by the stories of the survivors, however the total lack of archival footage, instead choosing to show you these places in near or total stillness. Between that and the running time, Shoah somehow a strange and complete inverse of Night and Fog. I'd say both are vital viewing for study on the Holocaust.
I will stop there, but yes, a lot to say about this film. Highly recommended. Here is an amazing read about it's premier in Jerusalem: https://www.theguardian.com/world/2015/dec/10/the-day-israel-saw-shoah.
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Posted · Edited by Taupe Beats
I know the exact moment you're referring to. Yep, I would have been bent for life if exposed to that at age 10.
Any opinions on Gillo Pontecorvo's "Kapo"? As well, I highly recommend Sergei Loznitsa's "In the Fog". Guessing you'd appreciate it.