October Screening Log

Color coded via Dan Sallitt's method (Current or upcoming releases not included). Click on the titles to writing when applicable.

1.    Only Yesterday (Stahl, USA, 1933)
2.    The Dawn Patrol (Hawks, USA, 1930)
3.    Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean (Altman, USA, 1982)
4.    Manila in the Claw of Light (Brocka, Philippines, 1975)
5.   L'Intrus (Denis, France, 2004)
6. Arabian Nights (Pasolini, Italy, 1974)
7. La Notte (Antonioni, Italy, 1961).
8.   La Chembre (Akerman, Belgium/USA, 1972)
9.    A Song Is Born (Hawks, USA, 1948)
10. Providence (Resnais, France, 1971) 

No Placement Because I Have No Idea What To Do With This Yet: Historie(s) Du Cinema (Godard, France, 1988-1998)

Also Notable (No order besides color categorization): Smile (Ritchie, USA, 1975), Air Force (Hawks, USA, 1948), La Libertad (Alonso, Argentina, 2001), The Chase (Ripley, USA, 1946), Hail Mary (Godard, France, 1985), The Book of Mary (Meiville, France, 1985), Rapado (Rejtman, Argentina, 1992), The Uninvited (Allen, USA, 1944), Hotel Monterey (Akerman, France, 1972), News from Home (Akerman, France, 1977)

Rewatches: His Girl Friday (Hawks, USA, 1946), Paris, Texas (Wenders, Germany/USA, 1984).

August Screening Log

Color coded via Dan Sallitt's method (Current or upcoming releases not included). Click on the titles to writing when applicable.

1. The Enigma of Kaspar Hauser (Herzog, Germany, 1974)
2. Coogan’s Bluff (Seigel, USA, 1968)
3. Opening Night (Cassavetes, USA, 1977)
4. Repo Man (Cox, USA, 1984)
5. The Bottom of the Bottle (Hathaway, USA, 1956)
6. The Man From London (Tarr, Hungary/France, 2008)
7. Little Murders (Arkin, USA, 1971)
8. 3 Women (Altman, USA, 1977)
9. Trouble Every Day (Denis, France 2001)
10. A Woman Is a Woman (Godard, France, 1961)

Also Notable (No order besides color categorization): Love Is Colder Than Death (Fassbinder, Germany, 1969), The Boston Strangler (Fliescher, USA, 1968), Native Land (Hurwitz and Stand, USA, 1942), Good Morning, Taipei (Hsing, Taiwan, 1979),  It Conquered the World (Corman, USA, 1956), The Unknown (Browning, USA, 1927), The Hour of the Furnaces (Satanlo, Argentina, 1968), Lucky Jo (Deville, France, 1964), The American Soldier (Fassbinder, Germany, 1970), Faster Pussycat! Kill Kill! (Russ Meyer, USA, 1965), A King In New York (Chaplin, USA, 1957), As Tears Go By (Wong, Hong Kong, 1988), The Hunger (Scott, UK, 1983)

Rewatches: Moonrise Kingdom (Anderson, USA, 2012), Intolerance (Griffith, USA, 1916), Ikiru (Kurosawa, Japan, 1952).

July Screening Log

Color coded via Dan Sallitt's method (Current or upcoming releases not included). Click on the titles to writing when applicable.

1. A Woman Under the Influence (Cassavetes, USA, 1974)

2. Traveling Light (Telaroli, USA, 2010)

3. Silver Lode (Dwan, USA, 1954)

4. The Fury (De Palma, USA, 1978)

5. Edvard Munch (Watkins, Norway, 1974)

6. Tennessee's Partner (Dwan, USA, 1955)

7. If... (Anderson, UK, 1968)

8. The Big Trail (Walsh, USA, 1930)
9. Love Streams (Cassavetes, USA, 1984)

10. Ashes of Time Redux (Wong, Hong Kong, 1994/2008)

Also Notable (No order besides color categorization): Fake It So Real (Greene, USA, 2012), Le Amiche (Antonioni, Italy, 1955), Brigadoon (Minnelli, USA, 1954), Kati With An I (Greene, USA, 2011), Slightly Scarlet (Dwan, USA, 1956), Escape to Burma (Dwan, USA, 1955), Gloria (Cassavetes, USA, 1980), Faces (Cassavetes, USA, 1968), A Child is Waiting (Cassavetes, USA, 1964).

Rewatches: L'Avventura (Antonioni, Italy, 1960), The Player (Altman, USA, 1992), Girl Walk // All Day (Krupnick, USA, 2012), The Straight Story (Lynch, USA, 1999), The Night of the Hunter (Laughton, USA, 1955)

Link Round Up: Do Podcasts Have Birthdays?

Happy Birthday? That's right, The Cinephiliacs made it one year into existence without missing an episode. To celebrate, I brought on the one, the only, the legendary New York Times chief film critic A.O. Scott. It's a very fun, wide-ranging episode, and includes a funny discussion of Robert Altman's The Player. Take a listen over here.

My other big experience of the week was finally revisiting L'Avventura, which I had written off at the young age of 17. This week, I murdered that young boy for being so wrong, and wrote an SEO-friendly piece comparing it to some of the major American works of this year. This includes my first published thoughts on films I had been avoiding writing about, including Spring Breakers, Upstream Color, and The Bling Ring (all of which I'm quite mixed on). But read about Antonioni's epic over at The Film Stage.

Over at the Boxd, I visit early Antonoioni, Le Amiche, and dive two Cassavetes: A Woman Under the Influence and A Child Is Waiting (Faces also forthcoming).

Interlude: Judith Crist on "The Long Goodbye"

            It is into the 1973 world that Altman has thrust his Philip Marlowe and seen him, half in sorrow and half in laughter, as a man out of his time, clinging not only to the clothes, the unfiltered cigarettes, and even the car (a 1948 Continental convertible) but also more importantly to the ethic and morality of a time gone by. And, unfashionably at the moment but with remarkable success, he has embodied him in Elliott Gould, that capable actor over-exploited and misused after his initial success, who makes of Marlowe a loose mam, a too rational and too caring a man for now, a sotto voice commentary his bulwark, that foolish grin a façade for the devastating perception of where people are at. And when he puts his values on the line because he alone still cares about right and wrong and gets “You’ll never learn—you’re a born loser” in exchange, he does what the last righteous man has to do—in 1973. And down the road he goes, a shattered myth behind him and a surging swell of “Hurray for Hollywood” flooding the soundtrack.

--Judith Crist, “Current Shock,” New York Magazine, October 29^, 1973.

 Crist was 90. Read the obituary here.