Quote of the Day postsSunday March 15, 2009
The-More-Things-Change Quote of the Day
"Why does the audience keep coming to this type of photoplay [Action Pictures] if neither lust, love, hate, nor hunger is adequately conveyed? Simply because such spectacles gratify the incipient or rampant speed-mania in every American."
— Vachel Lindsay, "The Art of the Moving Picture," 1915
Quote of the Day
"We all have the right to be free from the interference of petty, small-minded, single-track dirty sniffers who feel that they have to justify their official existence. The motion picture industry is often faced by pressures from narrow, ignorant individuals and groups. Some of them may have the best intentions in the world. But it’s a mistake to take that pressure lying down."
— Samuel Goldwyn on HUAC, from the documentary "Goldwyn: The Man and His Movies"
Joe Henry Quote of the Day
Through the best of times
Then he'll ask you
Where do all the good times go?”
— from “Some Champions” by Joe Henry
Who Watches the Watchers of “Watchmen”?
“I am apparently in the lonely 1.4% of the public who is only somewhat interested in this movie. In other words I want to see it but I'm not salivating after that 15 minutes I saw. NY Post wonders if Zack Snyder is the new Stanley Kubrick. This is why I'm not salivating. Mass preemptive hyperbole just kills my will to live.”
— Nathaniel R. on Film Experience Blogspot.
Check out, too, Anthony Lane's review in The New Yorker in which he tears “Watchmen” (and “V for Vendetta,” not to mention leering 19-year-olds in general) a new one.
How W. is Dumber than a Fascist
Andre Harris: Bearing in mind what you learned in the last war, the results of National Socialism, which, as you explained, had a certain appeal or charm about it at one point in your life, bearing this in mind, would you change the choices you made at that time?
Christian de la Mazière: Yes, of course. I think only an idiot would refuse to change their opinion.
— from "Le Chagrin et le pitie" (1971), Marcel Ophuls great documentary on the occupation of France during World War II. The original New York Times review can be read here. Among the many fascinating details — the equivocation of collaborationists, the straightforward account of an aristocrat like de la Maziere, the sad amusement (and heroics) of Pierre Mendes-France, who had to wait for two lovers to seal the deal, or at least the agreement, and leave, before he could climb down from a prison wall and escape an unjust sentence, along with the horrors of such propaganda films as "Le Juif Suss" — I was also intrigued to discover that, in French anyway, sorrow (chagrin) is masculine, while pity (pitie) is feminine. True? And does this expand our interpretation of "Annie Hall"? Feel free to discuss.
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