Posts Tagged ‘movies’

Combining music and movies

In Vox on December 26, 2008 at 2:50 pm

There is this Steven Jay list of 1001 movies you must see before you die ( ) and though I don't totally agree with the choices (no Ed Wood, No Barbarella, No Duel), it brought some forgotten gems to my attention so that I'm currently working my way through the list (Just approaching the two thirds mark). Along the way I had unwittingly done a few videos using footage from various films on said list and I thought it would be a really good thing to eventually have 1001 videos that will cover all of Steven Jay's picks individually. For that, of course, I need your help. So what I want you to do is: Get the list, choose your favourites and create a video that is based on only one movie at a time. It doesn't have to be the rather easy music clip thing that I do. Whatever takes your fancy really. Then join and submit your video. But please be creative and don't just add the official trailer.

Excellent idea. Here are some of my favourites:

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In Too lazy to assign a category on February 16, 2008 at 8:50 pm

Bettie Page teams with Tempest Storm in the Holy Grail of Girlie Flicks! America's legendary pin-up queen, cult icon Bettie Page, stars with superstar stripper Tempest Storm in the biggest burlesque film of them all, "Teaserama!" With her girl-next-door smile and hourglass figure, Bettie Page performs two stylized dance numbers that are amalgams of her classic poses. She also scorches the screen when she teams up with that "hurricane of delight," Tempest Storm, in a boudoir bit that explodes into fetish central. Produced and directed by glamour-girl photographer Irving Klaw, "Teaserama" also boasts leggy Chris La Chris, a sultry strip courtesy of Trudy Wayne, female impersonator Vickie Lane, contortionist Twinnie Wallens, and baggy pants comics Dave Starr and Joe E. Ross. (Source: Donut Media)

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In Too lazy to assign a category on February 16, 2008 at 8:47 pm

Bettie Page and Lily St. Cyr in a Burly-Q classic! The legendary Queen of the Curves, Bettie Page, America's greatest pin-up model, stars in "Varietease," a unique peek at the wonderful world of burlesque, complete with singers, slickers, and saucy strippers! Flashing her sexy smile and gyrating in a harem girl costume, Bettie Page does her Dance of the Four Veils and easily steals the show. Another legend, the sophisticated and sparkling Lili St. Cyr, shows us just how elegant a strip tease can be. Aiding and abetting are jokester Bobby Shields, bikini-clad Chris La Chris, warblers Cass Franklin and Monica Lane, exuberant contortionist Twinnie Wallens, and "famed female impersonator" Vicky Lynn. Produced and directed by girly-pix impresario Irving Klaw (the man who photographed Bettie in bondage). (Source: Donut Media)

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In Too lazy to assign a category on February 16, 2008 at 8:41 pm

Rumour has it that Dimitri (Vincent Lecuyer) has a tragic past, though we haven’t heard that from him, or much else for that matter. An employee at an estate agent based in the flat greyness of Liège, Belgium, he’s a shy, retiring sort who seems generally bemused by his surroundings, his colleagues and the very possibility of romance. His neighbour Jeanne (Marie du Bled) tells her pal Cathy (Hélène de Reymaeker) that Dimitri lost his parents as a boy; Dimitri and Cathy meet under appropriately forlorn circumstances when they help a man search for his missing dog. One of Dimitri’s workmates harbours a strange fixation on pregnant women; another seems perpetually coiled in barely suppressed rage.

Slender scion of Jarmusch and Kaurismäki, ‘Ultranova’ may strain for its 83-minute run time, but its bone-dry comic setups and reticent characterisations deepen on reflection. Cornered in monotonous jobs, mired in a landscape shaped by the concrete demands of the motorway, Dimitri and company either lack affect or possess it in excess. Their heads teem with neuroses and magical thinking, as if to conjure suspense and excitement from their tract architecture and asphalt vistas: one man attributes mystical significance to his car’s faulty air bag; a young woman slashes the palm of her hand to alter her lifeline. Also a painter and actor (he had a small role in last year's mordant comedy ‘Aaltra’), first-time feature director Bouli Lanners refuses to dig for the wellhead of his characters’ pain or, for the most part, to resolve conflicts once they’re raised; perhaps that task is up to us, or just as likely, up to the stars. (Source: Time Out London)

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Der Himmel über Berlin

In Too lazy to assign a category on February 16, 2008 at 8:17 pm

Damiel (Bruno Ganz) and Cassiel (Otto Sander) are angels who watch over the city of Berlin. They don't have harps or wings (well, they usually don't have wings) and they prefer overcoats to gossamer gowns. But they can travel unseen through the city, listening to people's thoughts, watching their actions and studying their lives. While they can make their presence felt in small ways, only children and other angels can see them. They spend their days serenely observing, unable to interact with people, and they feel neither pain nor joy. One day, Damiel finds his way into a circus and sees Marion (Solveig Dommartin), a high-wire artist, practicing her act; he is immediately smitten. After the owners of the circus tell the company that the show is out of money and must disband, Marion sinks into a funk, shuffling back to her trailer to ponder what to do next. As he watches her, Damiel makes a decision: he wants to be human, and he wants to be with Marion, to lift her spirits and, if need be, to share her pain. Wim Wenders' Wings of Desire is a remarkable modern fairy tale about the nature of being alive. The angels witness the gamut of human emotions, and they experience the luxury of simple pleasures (even a cup of coffee and a cigarette) as ones who've never known them. From the angels' viewpoint, Berlin is seen in gorgeous black-and-white — strikingly beautiful but unreal; when they join the humans, the image shifts to rough but natural-looking color, and the waltz-like grace of the angels' drift through the city changes to a harsher rhythm. Peter Falk appears as himself, revealing a secret that we may not have known about the man who played Columbo, and there's also a brief but powerful appearance by Nick Cave & the Bad Seeds. Wings of Desire hinges on the intangible and elusive, and it builds something beautiful from those qualities. (Source: All Movie Guide)

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Dancer in the Dark

In Too lazy to assign a category on February 16, 2008 at 8:02 pm

Reportedly the third in acclaimed director Lars von Trier's "Golden Hearts" trilogy (preceded by Breaking the Waves and The Idiots), this film is a hip reworking of the classic Hollywood Musical, starring international pop diva Bjork. Set somewhere in rural Washington state, Czech immigrant Selma (Bjork) works in a pressing plant, struggling to make ends meet for herself and her 10-year-old son, Gene (Vladica Kostic). Her best friend is coworker and fellow European Kathy (Catherine Deneuve). While outside work, she is maintaining a cautious friendship with local yokel Jeff (Peter Stormare). She also landed a starring role as Maria in an amateur production of The Sound of Music. Selma's life would be one of relative contentment if it were not for the ugly secret she harbors — she is on the verge of blindness due to a genetic disorder, and her young son will suffer the same fate without an operation. Selma has quietly been stashing away money for the surgery and has already amassed $2,000. When her savings, squirreled away in a can in the kitchen, suddenly disappear, she confronts her cash-strapped landlord Bill (David Morse). Of course, like all musicals, the plot periodically takes a backseat to the seven production numbers, including a show-stopping sequence in Selma's factory. Shot entirely on digital video, the film reportedly used up to 100 cameras for each musical number. Dancer in the Dark received top prizes at the 2000 Cannes Film Festival including Best Actress for Bjork and the coveted Palme d'Or for Best Picture. (Source: All Movie Guide)

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Lady in a cage

In Too lazy to assign a category on February 16, 2008 at 7:54 pm

Olivia de Havilland stars in this sensationalistic shocker as Mrs. Halyard, a wealthy widow recuperating from a broken hip. Inside her mansion, she becomes trapped between floors in her elevator. She activates an emergency alarm but succeeds only in attracting the attention of the wino (Jeff Corey), who steals goods from her house and sells them to a fence. The wino visits Sade (Ann Sothern), a prostitute, who spreads the plight of Mrs. Hilyard's dilemma to three young hoods, Randall (James Caan), Elaine (Jennifer Billingsley), and Essie (Rafael Campos). The trio follows the wino and the hooker back to the mansion, where they have an orgy, kill the wino, and lock Sade in a closet. Randall taunts Mrs. Hilyard and confronts her with a nasty suicide note from her son, Malcolm (William Swan). Mrs. Hilyard, mustering up her strength, attempts to fight back against Randall and the two other goons. (Source: All Movie Guide)

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Bad Guy

In Too lazy to assign a category on February 16, 2008 at 7:41 pm

Kim Ki-Duk, the award-winning director of The Isle and Spring, Summer, Fall, Winter… and Spring, has created a lurid fable of obsessive love, using a potent mix of dark romance, surrealist technique, and violent action. With Bad Guy, Kim paints a picture of a dark, hauntingly unforgettable neon-lit world, where two unlikely lovers meet on their own lonely street. While strutting through Downtown Seoul, Han-gi, a local gangland pimp, spots young Sunhwa, a pretty, middle-class college student, waiting on a park bench. He sits next to her, creating a disparate scene of two classes in soft harmony, until she sneers at his advances and rushes into the arms of her preppy boyfriend. Offended, he grabs her and forcefully kisses her. Sun-hwa demands an apology, and when Han-Gi refuses, he is beaten by a group of soldiers who had witnessed the assault. As a final insult, Sun-hwa spits in his face while he is restrained, humiliating him. Soon after, Sun-hwa makes the mistake of taking a seemingly forgotten wallet filled with cash. She is apprehended by the owner, and forced to a pay a huge sum or be turned into the police. With no money, she signs a contract that results in her being sold into prostitution to repay the debt. Whisked away to the neon colors of a Seoul brothel, her introduction to street life is harsh and cold, her teacher an iron-hearted woman with only disdain for the untrained Sun-hwa. As she is brought into her drab room for her first encounter, we learn who is really behind her imprisonment. Watching from behind a double mirror in her room, sits Han-gi, the 'Bad Guy.' As Sun-hwa descends further and further into street life, she takes on the full-fledged traits of a john-luring prostitute. Han-gi's curtain parts to reveal Sun-hwa's harsh education through the mirror, and his tears, creeping through the hardness of his thuggish face, expose his growing feelings for her. Han-gi's language is reduced to facial gestures, his throat marked with the long lash of a scar straight across from ear to ear. Bad Guy is a striking direction for Kim Ki-Duk and modern Korean cinema. Only Kim Ki-Duk's brilliant eye could transcend the conventions of traditional narrative to bring this fantasy-fueled clash between the classes to the light of day. Bad Guy exposes the virile beauty of pained yet true love, no matter what dark street it may be confined to. After a failed escape attempt, Sun-hwa is taken to the seashore by Han-gi. Here she is confronted with a series of mysterious torn photographs that seem to suggest a hidden past or even a possible pre-determined future between Han-gi and herself. The film turns even further away from traditional narrative structure as we see Han-gi survive several attempts on his life that would have killed any mortal man. We begin to see the world of Bad Guy less as a concrete reality and more as a canvas that has been strung to challenge our concepts of Love and Fate. Bad Guy marks a striking direction for Kim Ki-Duk and modern Korean cinema. Only Kim Ki-Duk's brilliant eye could transcend the conventions of traditional narrative to expose the virile beauty of pained yet true love, no matter what dark street it may be confined to. — © Life Size Entertainment (Source: Rotten Tomatoes)

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In Too lazy to assign a category on February 16, 2008 at 7:34 pm

3-Iron (or 빈집 (Bin-jip) meaning Empty Houses in Korean) is a 2004 Korean film from Kim Ki-duk, the director of the acclaimed Spring, Summer, Fall, Winter… and Spring.

The film stars Jae Hee as Tae-suk, a loner who drives around on his motorbike delivering takeout menus, which he tapes over peoples' front-door keyholes. He later returns to break into the apartments that haven't removed the menus, presuming them to be empty. He lives in each flat while the owners are away, even washing their clothes and mending broken appliances for them. When he breaks into the house of domestic violence victim Sun-hwa (played by Lee Seung-yeon) the couple begin a strange silent relationship, and she joins him, moving from one flat to another. The most remarkable thing in this movie is the strange kind of relationship develops between a woman and a stranger. Their love has no words. But the silence itself narrates the past of the woman, and the depth of their understanding. In the midst of breaking into houses, the couple get in trouble with the law. Sun-hwa is forced to live with her abusive husband as Tae-suk practices the art of being invisible in jail. After being released from prison, invisible to her husband's eyes, Tae-suk rejoins Sun-hwa in her house. (Source: Wikipedia)

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Knife in the water

In Too lazy to assign a category on February 16, 2008 at 7:27 pm

Roman Polanski's first feature-length film is a suspenseful three-person chamber drama reminiscent of the work of Ingmar Bergman. Knife in the Water was filmed in the director's native Poland and financed through government subsidies. Although denounced by local authorities as devoid of any significant social or political content, the film caused a minor sensation in the West, was nominated for an Academy Award as Best Foreign Film, and even made the cover of Time magazine. The action takes place almost entirely within the confined setting of a sailboat owned by a wealthy journalist (Leon Niemczyk) and his much younger wife (Jolanta Umecka). On their way to the lake for a weekend of sailing, they are accosted by a young hitchhiker (Zygmunt Malanowicz) who jumps in front of their car, forcing them to stop. Annoyed by the youth's daredevil posturing, the journalist nevertheless decides to invite him to join the couple on their boat, initiating a series of playfully competitive games between the two men. Playfulness soon gives way to hostility, however, as each tries to outshine and humiliate the other in front of the woman, who appears to be taking a more than casual interest in her husband's young rival. (Source: Rotten Tomatoes)

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