It's been a while since I've blogged and that's because I encountered a hard drive failure with my trusty, old laptop (purchased in 2008). I could have used my tablet, but I prefer this laptop for blogging (not sure why), so on the advice of a friend I purchased a solid-state drive to breathe new life in to this aging PC and, except for a nagging propensity to shutdown from time-to-time (for no apparent reason), things are good for this machine. Of course, this also means I'm back to blogging.
In addition to a lack of blogging for several weeks, I've also not viewed much VHS (or any films for that matter) recently. This is normal for me though, as March-April are the busiest time of the year work-wise in my current position and I typically find that I'm simply too tired to watch & appreciate a film after a long day at work. One film I did screen recently is Ramparts of Clay, a 1971 (actually, it appears to me that it may have been made in the late 1960s) VHS-only (i.e. no Region 1 DVD is available) French film about a labor strike in a tiny, remote, backwards Tunisian village. The production shows a lot of promise, but ultimately I did not enjoy the film. It's extremely slow-moving, having an almost documentary-like feel, as well as being nearly devoid of dialog. And to be honest I'd think this would be right up my alley since I like documentary and love silent (non-dialog) films. However, I found my interest waning during the later stages of the film. However most of all, I was stunned and upset by a scene in which the locals sacrifice a lamb. It seems to me that, while this may have been standard practice in the time & place depicted in the film (rural Tunisia in the early 1960s), this scene appeared to be staged specifically for the production, thus extinguishing this creature's life needlessly. Moreover, there are several shots of this lamb struggling in its death-throes and these are (IMHO) absolutely gratuitous and excruciating to watch. Often I'll put-aside a film for later so as to watch it again, but in the case of Ramparts of Clay I will not do so simply due to this brutal sacrifice scene.
Sunday, April 27, 2014
Saturday, March 1, 2014
Post 5
I finished watching Hanna K. the other night and it seemed much more involving during the 2nd half of the film, so much so that I found myself engrossed in it and very interested in how things were going to shake-out. Although it ended with many unanswered questions, the finale was very attention-grabbing. So, although I didn't exactly love the film, overall I believe it's definitely worth viewing if you're a fan of Costa-Gavras and/or interesting, intelligent films.
My "find" of this past week, however, was something special for me, in that I have an incurable attraction to quirky, beguiling films, especially ones with a heart. Therefore, 1982's The Personals was right up my alley. Where do I start with this one...well, it was independently produced in Minneapolis (before the advent of the Independent Film movement), it's completely refreshing and free of the requisite mawkishness of Hollywood romantic comedies, it's peopled by characters to whom I could relate (and actually cheer for), it featured excellent all-around nuanced performances, and it was an awful lot of fun to watch. So much so that I screened it one night, then again the next (something I've only done once or twice before...ever). The narrative does contain a few sequences in which it appears to be teetering towards silliness, but each time it redeems itself before it gets there. Also, the film's lack of Hollywood nonsense, while a real strength, takes a little bit of getting used to, in that the absence of slickness makes for a rough-around-the-edges feel initially (that, again, becomes a strength as things move-along). Best of all, actor Bill Schoppert's lead character "Bill" is remarkable: it's a rare instance of a fully realized, original performance that's remarkably derivative-free. In other words, Schoppert never builds his performance by leaning on any stock characters or other film personalities. The only downside to this is that Schoppert has appeared in very, very few films since, which is too bad because, based on his performance in this film, he's a true original and that's a commodity that's all too rare. Actually, there is one more downside to this wonderful & engaging film: it's only available via used, ancient 1984 VHS that was released by Embassy Home Entertainment. And even though I have a true passion for obscure VHS finds, the picture quality is, as you might expect, very murky (and the audio isn't much better). I'd like to think that someday this one will see a DVD release, but I highly doubt it since this wasn't a big-budget production that included recognizable stars and it features songs by the late Nicolette Larson throughout (which fit the mood of the film quite nicely). And if you know anything about the DVD age & music, it's that the dreaded "music rights" issue (the owner of the rights to the music used in a film will prevent it from being released on DVD until such time as she/he/they feel justly compensated) is typically what often keeps older films from making it to DVD. A real shame because this is a truly delightful endeavor.
My "find" of this past week, however, was something special for me, in that I have an incurable attraction to quirky, beguiling films, especially ones with a heart. Therefore, 1982's The Personals was right up my alley. Where do I start with this one...well, it was independently produced in Minneapolis (before the advent of the Independent Film movement), it's completely refreshing and free of the requisite mawkishness of Hollywood romantic comedies, it's peopled by characters to whom I could relate (and actually cheer for), it featured excellent all-around nuanced performances, and it was an awful lot of fun to watch. So much so that I screened it one night, then again the next (something I've only done once or twice before...ever). The narrative does contain a few sequences in which it appears to be teetering towards silliness, but each time it redeems itself before it gets there. Also, the film's lack of Hollywood nonsense, while a real strength, takes a little bit of getting used to, in that the absence of slickness makes for a rough-around-the-edges feel initially (that, again, becomes a strength as things move-along). Best of all, actor Bill Schoppert's lead character "Bill" is remarkable: it's a rare instance of a fully realized, original performance that's remarkably derivative-free. In other words, Schoppert never builds his performance by leaning on any stock characters or other film personalities. The only downside to this is that Schoppert has appeared in very, very few films since, which is too bad because, based on his performance in this film, he's a true original and that's a commodity that's all too rare. Actually, there is one more downside to this wonderful & engaging film: it's only available via used, ancient 1984 VHS that was released by Embassy Home Entertainment. And even though I have a true passion for obscure VHS finds, the picture quality is, as you might expect, very murky (and the audio isn't much better). I'd like to think that someday this one will see a DVD release, but I highly doubt it since this wasn't a big-budget production that included recognizable stars and it features songs by the late Nicolette Larson throughout (which fit the mood of the film quite nicely). And if you know anything about the DVD age & music, it's that the dreaded "music rights" issue (the owner of the rights to the music used in a film will prevent it from being released on DVD until such time as she/he/they feel justly compensated) is typically what often keeps older films from making it to DVD. A real shame because this is a truly delightful endeavor.
Saturday, February 22, 2014
Post 4
Not a lot of film-watching for me this week as I've been putting in longer days at work, which translates to shorter evenings and earlier bedtimes. Oh well, c'est la vie, eh? Regardless, I did begin watching the 1983 Costa-Gavras release Hanna K. (which is only available on VHS), starring the late Jill Clayburgh and a young Gabriel Byrne. Unfortunately, I found the film (at the least the beginning of it) to be oddly dull (which surprised me because the plot seems like it would be very interesting and Costa-Gavras productions [IMHO] are typically gripping affairs). Anyway, the result of longer workdays and a film that hasn't (so far) grabbed my attention was that I found myself nodding-off about an hour in to the proceedings. I plan to complete my viewing of it in a day or two, so more comments to come....
One more thing for now: Just want to mention (and remember) that about 10 days ago I finally watched a film that has proved illusive to me for more than 20 years: George Sluizer's original The Vanishing (Spoorloos), which has been on my mental "must-see" list since oh, only about 1991(!). So here's the deal with this film...it is arguably the best and most intelligent thriller/horror film...ever. I simply can't say enough good things about it and I've been recommending it to anyone who enjoys good films ever since watching it (if you happen to stumble-upon this blog, go get your hands on a copy as soon as you can--do not hesitate). By the way, even though the film still exists on VHS (and I, of course, love VHS), I viewed it via DVD as I recently ordered a copy of the disc for the library in which I work after noticing that Criterion offered it, figuring that they would include some extra goodies. Oddly enough, their release only contains the film, the theatrical trailer, and a brief essay. Can't complain though, as the print looked fantastic on an HDTV.
One more thing for now: Just want to mention (and remember) that about 10 days ago I finally watched a film that has proved illusive to me for more than 20 years: George Sluizer's original The Vanishing (Spoorloos), which has been on my mental "must-see" list since oh, only about 1991(!). So here's the deal with this film...it is arguably the best and most intelligent thriller/horror film...ever. I simply can't say enough good things about it and I've been recommending it to anyone who enjoys good films ever since watching it (if you happen to stumble-upon this blog, go get your hands on a copy as soon as you can--do not hesitate). By the way, even though the film still exists on VHS (and I, of course, love VHS), I viewed it via DVD as I recently ordered a copy of the disc for the library in which I work after noticing that Criterion offered it, figuring that they would include some extra goodies. Oddly enough, their release only contains the film, the theatrical trailer, and a brief essay. Can't complain though, as the print looked fantastic on an HDTV.
Monday, February 17, 2014
Post 3
I screened Vincent Ward's 1984 feature-length debut Vigil on Saturday, February 15th. Visually a very interesting film with a mostly engaging, yet cryptic story. Overall, a pleasure to watch and a unique film (I can't recall anything else like it). I have very vague memories of it when it hit U.S. shores back in the mid-to-late-1980s, but my existence (and mental state) at the time was such that I never did get to a theater to see it. After that, as with many near-misses in life, I suppose my attention shifted on to something else, then something else, then something else, and then, well, Vigil faded from my view. Nice to have rediscovered such an intriguing and gripping film. Speaking of Ward, I saw his big-budget U.S. debut Map of the Human Heart recently (streamed via Netflix) and, while it was also of interest visually, the script tried to cover way too much, which resulted in a muddled and ultimately frustrating production. I can't help but surmise that, like many other foreign directors who encounter the surreality & vagaries of movie-making in Hollywood, Ward found his interest in that profession waning after the experience of Map of the Human Heart (as well as his ill-fated work on Alien³); his output has slowed to a crawl since. A real shame as Vigil is a memorable debut and his second feature, The Navigator: A Mediaeval Odyssey, also appears to be worth a look (I've seen some very interesting-looking sequences of it). An organization known as NZonScreen (I believe it might be the New Zealand Government's film board) has a section on Ward, which includes a clip of an early student film, a short entitled A State of Siege (its source is a Janet Frame novel), and this looks like another Ward production worth viewing. Almost makes me willing to spring for the Region 4 DVD of Vigil that includes this as well as a short documentary by Ward.
Late last night & very early this morning (February 16th-17th), for the first time in more than 25 years, I watched the delightful Turtle Diary. Wow, what a fantastic film (much more thoughtful and wistful than I recall the first time-around)! Then again, how can you go wrong if you combine a Harold Pinter screenplay of a Russell Hoban novel with leads Glenda Jackson & Sir Ben Kingsley in addition to supporting players Michael Gambon & Jeroen Krabbé (among others)?!??! Funny that as a young man I found the film pleasant, yet unexceptional; however, with time and experience between that me and today's me I now see this film (and its source novel, also entitled Turtle Diary) as a truly sublime work on the joys & sorrows of life (and being truly alive). Remarkable accompaniment as well from the late Geoffrey Burgon.
I also squeezed-in Bergman's Winter Light (via Criterion's DVD release) on Saturday the 15th, so a terrific weekend as far as film-watching goes. IMHO Winter Light is one of the more accessible Bergman films (still, it's jammed with meaning layered upon meaning) and, although it seems hopeless & pessimistic in many ways, it's ultimately uplifting.
I'll conclude with a couple of odds-n-ends:
I also squeezed-in Bergman's Winter Light (via Criterion's DVD release) on Saturday the 15th, so a terrific weekend as far as film-watching goes. IMHO Winter Light is one of the more accessible Bergman films (still, it's jammed with meaning layered upon meaning) and, although it seems hopeless & pessimistic in many ways, it's ultimately uplifting.
I'll conclude with a couple of odds-n-ends:
- My VHS of Vigil included some very faint, extraneous noise on the audio track. At first I thought I had left the radio on in another room or that my neighbors kids were outside playing. Eventually I realized it was on the tape. Not sure how it got on to a new, shrink-wrapped, never before viewed cassette. It sounded like dialog from a Spanish-language film, but it didn't ruin Vigil for me.
- I tried to watch an inexpensively acquired VHS of Turtle Diary that I purchased about two months ago, but the tape was unusable. The picture was almost nonexistent and I was unable to even rewind or fast-forward. Luckily, someone has posted the entire film on to YouTube, so I was able to access it just the same. Still, it was hard to discern some of the more dimly-lit sequences, so I checked Amazon and noticed a vendor selling a brand-new VHS of the film for only $28. Decided to purchase it right away (impulse buy?) as this is a memorable flicker and that price is a steal when you consider Turtle Diary has never seen a DVD release (and, at this point in time I assume, likely never will) anywhere.
Saturday, February 15, 2014
Post 2
Here's the thing about my collecting: I tend to get ahead of myself from time to time as I'll locate several movies on VHS and purchase them over the course of a few days. So...this creates somewhat of a back-up as the search for (and acquiring of) films can be a lot of fun. By the way, the typical outlets have been (in my experience) the best places to go and these include Amazon and eBay, but I've also had some luck with half.com and blujay as well as simply digging deep via Google (i.e. trying various searches with different terminology, then persistently going through page after page of results).
Recently, my persistence has paid off as I've found several great deals. In fact, here's some of the films on VHS I've acquired over the past month or so:
Recently, my persistence has paid off as I've found several great deals. In fact, here's some of the films on VHS I've acquired over the past month or so:
- Vigil (1984, New Zealand; got it for $7.97 + shipping; condition=new)
- Starlight Hotel (1987, New Zealand; got it for $1.99 + shipping; condition=new)
- Next Year if All Goes Well (1981, France; got it for $1.99 + shipping; condition=new)
- Nudo di donna (1981, Italy; got it for $5.00 [free shipping]; condition=like new)
- The Girl in the Picture (1985, United Kingdom; got it for $7.95 + shipping; condition=new)
- Knights & Emeralds (1986, United Kingdom; got it for $5.96 + shipping; condition=new)
- Arthur's Hallowed Ground (1984, United Kingdom; got it for $5.00 + shipping; condition=new)
Post 1
Yes, it's true and I've finally decided to embrace it: I'm obsessed with VHS tapes. Okay, well, I'm obsessed with films and tracking down hard-to-find ones and especially those that are only available via VHS tape. Why VHS? Well, there are still (as of early 2014) a lot of interesting, yet sadly forgotten, films (mostly foreign ones) that remain accessible only via the VHS format (at least here in Region 1). Moreover, I find I have a fondness for VHS because it reminds me of younger, more carefree times (for me personally) in the early to mid-1980s, when this format dominated the home video market and I still had my whole life in front of me (as well as a lot of hair on my head, no house payment to worry over, very few bills, etc). So, one of my current favorite activities is to trawl the Web looking for 1980s videocassettes of now-forgotten film gems, still shrink-wrapped, that can be had at a reasonable price. And since I'm doing this as a hobby, I figure why not create a film journal of sorts, in which I list the flickers I watch and my impressions of them. Hence, Obsessed with VHS....
Subscribe to:
Comments (Atom)